Maguelone Vidal 
Composer, director, musician, and performer 
Maguelone Vidal has developed a unique artistic practice. She explores the poetic and sensory relationships between the body and sound, and creates stage and sound installations that invite a synesthetic approach to music.
After studying piano and medicine, she devoted herself to the saxophone and trained with leading figures in improvisation and contemporary creation. 
She then performed on stages across France and Europe alongside numerous artists, including Joëlle Léandre, Pascal Contet, and Bruno Chevillon. Deeply interested in the intersection of artistic fields, she writes for theater, dance, and film, and engages in numerous transdisciplinary collaborations. 
Today, with the company Intensités, where she directs artistic projects, she composes and stages resolutely hybrid creations, presented in France and abroad, such as *Le Cœur du son*, which makes the city resonate through the hearts of its inhabitants; *La Tentation des pieuvres*, a piece for a chef, four musicians, and a hundred guests; and*Qui m’appelle?*. Her works blend music, performance, theater, and choreography into immersive experiences that challenge our sensory and collective perceptions. As the 2024 recipient of the Villa Kujoyama residency in Kyoto, she is launching the project La musique est dans la parole in Japan. Maguelone is currently an associate artist at the Dôme d’Albertville, a state-subsidized venue of national interest for the 2025–2026 and 2026–2027 seasons.
Constantly striving to open up new social and political spaces, her creations celebrate a form of contemporary communion between the arts and individuals.

Maguelone Vidal 
Designer 
A DPLG-certified architect, Maguelone Vidal studied at the École Nationale Supérieure de Montpellier and completed her degree at the École Technique Supérieure d’Architecture de Barcelone, in the studio of Catalan architects Jaume Bach & Gabriel Mora. Her passion for the fine arts and visual arts is complemented by a practice in theater and dance, which she has pursued alongside her studies since her teenage years. 
In 2007, she founded Cabinet d’Architecture(s), which brings together a team of diverse and complementary individuals capable of approaching architecture in all its forms. She is currently Vice President of the Regional Council of the Order of Architects of Occitanie. 

Magali Mougel 
Author 
After studying at Ensatt in Lyon (2008–2011), Magali Mougel taught at the University of Strasbourg and served as an editor for the Théâtre National de Strasbourg. 
In 2015, she decided to devote herself entirely to writing. She is convinced that the writer’s/playwright’s place is first and foremost in the theater, at the heart of the creative process, surrounded by artistic teams. She collaborates with numerous companies and theaters and regularly accepts commissioned writing projects. 
Her works are published by Espaces 34 and Actes Sud — Papiers and have been translated into numerous languages and published in England, Germany, Argentina, Korea, Italy, and Mexico, among other countries. 
She wrote *Guérillères ordinaires* (Ed. Espaces 34), directed by Anne Bisang at the POCHE / GVE in Geneva in 2015; *Elle pas Princesse, Lui pas Héros* (Ed. Actes Sud / Heyoka), directed by Johanny Bert at the CDN in Sartrouville in 2016 and in New York in 2019 (translated by Chris Campbell); Suzy Storck (Ed. Espaces 34) directed by Simon Delétang at the Théâtre du Peuple in Bussang in 2019; Penthy sur la bande (Ed. Espaces 34) directed by Renzo Martinelli in 2019 at the Teatro I in Milan (translated by Silvia Accardi); Shell Shock (Ed. Espaces 34) directed by Hélène Gay at the GRAND R – Scène Nationale de La Roche-sur-Yon; Frisson (Ed. Espaces 34) directed by Johanny Bert at the CDN de Sartrouville in 2020... For the 2020–2021 season, she is collaborating with Hélène Soulié on her MADAM project and writing the script for the showMU·E for Le Petit Théâtre de Pain. Magali Mougel is a member of the artistic ensembles at Quinconces l’Espal — Scène Nationale du Mans and the Théâtre Suisse Romand in La Chaux-de-Fonds (CH). She is also a lecturer at Ensatt in Lyon and the Literary Institute of the University of the Arts of the Canton of Bern in Biel/Bienne (CH).

Géraldine Keller 
Soprano, opera singer, and vocalist 
Géraldine Keller’s preferred repertoire is rooted in the creation of contemporary works, emphasizing the synergy between written and improvised music. Having transitioned from the visual arts to sound exploration, she has since forged an open-ended path that incorporates other disciplines: contemporary dance, musical theater, object theater, poetry, and performance. Her encounter with Gaston Jung, an Alsatian poet, gave rise to a long-standing collaboration centered on poetry in French, Alsatian, and German. Since 1992, as a participant in these various projects, she has been invited by numerous musical ensembles, theater and dance companies, and French and European festivals, and has frequently contributed to the creation of works by contemporary composers. 
Through these cross-disciplinary artistic ventures, Géraldine has forged a lasting connection with the Bordeaux-based ensemble Proxima Centauri and the Ars Nova ensemble, as well as a fruitful collaboration with numerous improvisational musicians, including currently the Comité Zaoum quartet with Jean-Luc Cappozzo, Benjamin Bondonneau, and Raphaël Saint-Rémy; the Ortie Brûlante duo with Christelle Séry based on texts by Eugène Savitzkaya; and alongside Dominique Pifarély,Gegenlicht is taking shape, an improvisation on the poetry of Paul Celan.
Since 2006, she has been a member of the European ensemble ]H[IATUS, which presents programs blending written pieces and improvisations.
At the same time, she collaborates with the author Raharimanana to explore new poetic and sonic forms, including *Parfois le vide* in2018, as well as *Chants sacrés*in 2021— createdat the archaeological site of Bibracte—and *Soonoo* foryoung audiences. As part of a trio with Patricia Kuypers and Franck Beaubois, she continues to develop*Le lieu dit*, a project that builds bridges of improvisation exploring the relationship between space, body, and voice. Since 2021, she has also been participating in the research project led by Raphaël De Angelis / Théâtre de l’Éventail, focused on the relationship between Japanese Noh theater and Western theater through Yukio Mishima’s modern Noh plays. With dancer Karim Sebbar-Pôle K, she is currently developing Paysages Intérieurs #3 – Babel habile. Since 2017, she has been teaching Contemporary Vocal Techniques at the E.S.M. in Dijon / Bourgogne-Franche-Comté.

Julieta Leca 
Singer, rapper, and beatboxer 
Julieta began composing and writing at the age of fifteen. Born in 1996 in Paris’s 11th arrondissement, she draws inspiration from all over: from hip hop to soul, funk, ragga dancehall, and disco—Julieta’s influences know no bounds. 
After winning the French Beatbox Championship in 2018 and finishing as runner-up in 2020 and 2022, Julieta will represent France at the upcoming World Championship.
Since the summer of 2020, Julieta has been a member of Kùzylarsen, a Brussels-based group with which she performs regularly in Belgium. 
Since 2021, she has been collaborating with two new groups, Moonsonic and Ohlala, and is also pursuing a solo project, with a debut Rap/R&B album. She also participates in theater projects and is now entering the world of new sound compositions with composer and director Maguelone Vidal. 

Makeda Monnet Wouassi 
Soprano 
Makeda Monnet is an opera singer, soprano, harpist, and actress. Between opera and theater, soprano Makeda Monnet didn’t want to choose. She has been moving between the two since her studies at the Paris Conservatory. 

Anne Barbier 
Mezzo-soprano 
Anne Barbier is an eclectic and versatile artist: musician (pianist and cellist), actress, and opera singer. As all these disciplines feed into and enrich one another, she truly thrives on the variety of techniques and the transitions between them. She trained with G. Lebreton at the Carré Silvia Monfort, G. Werler, J. Garfein, and J. Strasberg as an actress; at the CNSM in Paris (1st prize in Opera, Musical Theater, and Chamber Music) as a singer; and more recently in Balinese mask dance with C. Wistari and in clowning with P. Hottier and F. Robbe. Her career as a solo performer thus allows her to explore a wide variety of genres, ranging from contemporary musical creation (Sommaire Soleil by C. Prey at the Péniche Opéra, Kurka’s The Good Soldier Schweik at the St. Céré Festival), to cabaret (Cabaret Interlope with Olivier Desbordes, Cabaret Vienne-Berlin with F. Berthier and the Pays de Savoie Orchestra), and opera (Falstaff with O. Desbordes, Le petit Ramoneur with M. Laroche, Eugene Onegin with Michel Fau), opera buffa (Le Roi Carotte, La Vie parisienne, La belle Hélène with O. Desbordes), musical theater (Bernstein’s Trouble in Tahiti with J. Lacornerie), and of course theater (L’Opéra de 4 sous with P. Delaigue). Since 2016, she has been starring in Trinidad’s Et pendant ce temps Simone veille !, directed by Gil Galliot (Studio Hébertot, Avignon Off 2016, 2018, and 2019; at the Comédie Bastille since 2017; over 1,000 performances). Her passion for working with words has led her to create several song sets, drawing from a retro repertoire, including café-concert styles, with Thierry Boulanger on piano.

Flor Paichard 
Opera singer and vocal performer 
Trained as a countertenor, Flor Paichard studied at the École Normale de Musique de Paris and early music at the CRR in Toulouse, then at the CRR in Paris, where they graduated in 2015. Alongside their studies, encounters during masterclasses with Robert Expert, Gérard Lesne, and Damien Guillon rounded out their training. After being introduced to Byzantine and Gregorian chant by members of the Organum ensemble (Marcel Pérès, Frédéric Tavernier-Vellas), they developed a particular interest in medieval and Renaissance music with the ensemble Graindelavoix (Björn Schmelzer) at the Fondation Royaumont, where they were a laureate in 2016, Barnabé Janin (CNSM de Lyon, Coclico ensemble) and Damien Poisblaud (Chantres du Thoronet) with the CIMM in Montpellier. At the same time, and with a contemporary approach to the voice, they experimented with vocalism and free improvisation during workshops and residencies with Phil Minton and Claire Bergerault and collaborated on a project led by contemporary artist Matthieu Saladin titled *Time Capsule of a First Day of Strike*, presentedat the BBB art center in Toulouse. They co-founded the Eranos company in 2020, a Toulouse-based research and creation collective of musicians specializing in early music, and are currently working, in addition to repertoire concerts, on their first hybrid vocal and stage solo creation,LAPSE_RELAPS(e). This work explores the life and work of the mystical Beguine Marguerite Porete (c. 1250–1310), seeking to offer a queer perspective on this medieval cultural heritage and aiming to develop a unique political approach within a sector historically rooted in conservative values. They are also writing a multidisciplinary triptych titled HARO!, which explores the parallels between counter-music and social protest in 14th-century Occitania. Through these various creative projects, they seek to develop their own artistic language and contribute to new explorations in performative musical theater.

Leonard Mischler 
Bass-baritone 
Léonard Mischler began his musical studies with the violin at the Conservatoire National de Région d’Angers. He then turned to singing and joined the choir of the Centre de Musique Baroque de Vers a i l l es. He explores a wide-ranging repertoire spanning from the Renaissance to contemporary works with Les Cris de Paris, the Doulce Mémoire ensemble, the Les Éléments Chamber Choir, the Concert d’Astrée Choir, the Radio France Choir, and La Symphonie du Marais. 

Nicolas Hérédia 
Actor and director 
Since 2007, Nicolas Hérédia has been conceiving and developing the artistic projectLa Vaste Entreprise, which brings together his work in theater (as a playwright, director, actor, and set designer) and his practice in the visual arts (photography, video, graphic design, and installations). 
He directs and performs in the solo productionLa Mastication des morts (oratoriosolo) by Patrick Kermann, which has been on an extended tour since 2009 with over 100 performances in France and abroad. 
In 2011, he directed and performed a second solo installation,L’Augmentation (épopée immobile), based onGeorges Perec.
In 2010, he collaborated with several actors to create a sound variation centered on a found object: the photo album of an anonymous family. This work would later give rise to the photographic exhibition Les Anonymes (le temps qu’ils restent), and then to the evolving exhibition-performancePortrait / Paysage. 
From 2009 to 2011, the projectLes Vies Argentiques (mémorial tricoté)—a process of interrogating the memory of a territory and its inhabitants—confronts documentary material with work on image, installation, and sound composition.
Starting in 2013, writing took on a more prominent role in his projects: in December 2013, he created*Faux-plafond (ciel variable)*, a show written on stage, born from encounters between workers and labor and business analysts, featuring six actors from the company *La Bulle bleue* (a professional theater company of actors with intellectual or mental disabilities). 
In 2014, he wrote and directed*N’attrape pas froid (ma grand-mère)*, based on saved voicemail messages, filmed footage, and texts. La Vaste Entreprise published a book on this occasion that extends the show (images and texts). 
In 2015, he was invited to develop a project as part of Paysages en Chantier / Les Archives du Sensible (Narbonnaise Regional Nature Park). He created *Inventaire Balnéaire*, based on encounters with local residents, photographs, footage from the webcam monitoring the beach, and Google Street View imagery. A second project was carried out in 2016, leading to the writing, stage presentation, and publication of*Encore des Vestiges*.
In 2016, he wrote*Visite de Groupe*, specifically for a synthesized voice, an audio-guided tour for public spaces, museums, and art centers. 
In 2018, he wrote and performedL’Origine du monde (46x55), a theatrical performance inspired by a copy of Courbet’s painting purchased at a flea market.
He also collaborates regularly or on an ad hoc basis with other artists: with Marion Coutarel, director (Théâtre de la Remise), on La Dent Creuse, a visual and choreographic performance for public spaces (2010); together they adapted and performed Martin Winckler’s novel La Maladie de Sachs (premiered in 2012 and toured from 2013 to 2017), then collaborated again on the creation of Si ce n’est toi (2017). For the circus company Lonely Circus, he directed the showFall Fell Fallen (Sébastien Le Guen and Jérôme Hoffmann—premiered in 2012, toured in France, Italy, England, Croatia, and Australia—2013–18). 

Ignacio Jarquin
Music Director, Vocal Coach, and Instructor
Born in Mexico City, Ignacio works as a music director, singer, actor, vocal coach, and solo artist in Europe, Asia, and North Africa. He trained at the University of Vienna and earned a degree in conducting with honors. 
After making his professional debut as a rehearsal pianist and conductor in Austria, he moved to Paris, where he founded and directed his own Orchestra and Opera Company. In the United Kingdom, where he settled in 2001, Ignacio trained as an actor and singer and made his debut as an actor-singer in an award-winning production of JohnWebster’s The Duchess of Malfi. 
With support from Arts Council England, he toured extensively throughout the UK and the Republic of Ireland with musical theater productions, including two shows about Enrico Caruso and a unique take onMadame Butterfly seenthrough the eyes of her son. 
Since arriving in Berlin in 2018, Ignacio has developed an interest in electronic music and artificial intelligence technologies and has collaborated with established opera and dance companies in Germany, France, Belgium, and the United Kingdom. 
Ignacio is a music director, voice coach, and teacher: he has developed his own vocal training method, Archetypal Singing, which combines concepts from vocal ecology, biotensegrity, functional voice training, and archetypal psychology. 

Leonardo Montecchia 
Mezzo-soprano 
Leonardo Montecchia views dance as a tool for thought. Each of his creations could be seen as a photograph, a freeze frame of a lived experience in motion. His dual background as a dancer and actor often leads him to blend text, acting, and dance in his creations. 
After training and working as an actor and dancer in Buenos Aires (Argentina), Leonardo Montecchia moved to France in 1998, thanks to a scholarship from the Antorchas Foundation and the French Embassy in Argentina. This scholarship enabled him to earn a Bachelor’s degree in Performing Arts with a concentration in dance at Paris 8 University. He then continued his training with Mathilde Monnier as part of the Professional Training Program at the Montpellier Choreographic Center in 2001. At the same time, he worked with various companies in London, Zurich, and Turin. He began his career as a choreographer by creating two works: La Cravate (2001) andduO2 (2002). 
In 2004, he founded the Compagnie de la Mentira, for which he created several works blending dance and text: Le MenSonge (2003), Potosi, la montagne d’argent (2005), Intimidité (2006), Patetico (2006), French Kiss (2007), Tout va bien and Entrelacés (2008), Le Nombril (2010), Tango Paradoxe (2011), Tout Terrain (2014), andIn-Utile (2016). 
In 2005, in Montpellier, he created the “Hors Lits” concept, apartment-based performances that allow for experimentation and intimate encounters with the audience. Since then, “Hors Lits” has been staged in 35 cities across France and abroad. 
In 2008, he participated in the “Transforme” program directed by Myriam Gourfink at the Fondation Royaumont, which enabled him to begin research into the concept of choreographic writing. 
Alongside his career as a dancer and choreographer, Leonardo Montecchia teaches choreographic composition and Tangocontact, leading workshops in Europe and Latin America. He also leads numerous dance workshops for various amateur audiences—seniors, people with disabilities, teenagers, students, and schoolchildren. In 2015–16, he was artist-in-residence at the University of Montpellier, where he created the choreographic pieceIn-Utile.
Currently, he works as a choreographer, director, and educator for the Compagnie de la Mentira; as a choreographer, performer, and teacher for several companies and institutions in France and abroad.