In this disc released by Harmonia Mundi, Marielou Jacquard, Stéphane Degout and Felicity Palmer, accompanied by pianist Simon Lepper, interpret some of the most beautiful lieder of German romanticism.
« The dark mezzo of Marielou Jacquard in Die Nonne und der Ritter »
Marie-Aude Roux for lemonde.fr
READ THE PROUST'S FAMOUS QUESTIONNAIRE BY MARIELOU JACQUARD ON FORUM OPÉRA!
“ Playing the acrobat between baroque music and contemporary creation, mezzo Marielou Jacquard cultivates her taste for eclecticism in the diversity of her repertoire. She performed in Acteon by Charpentier with Les Cris de Paris, directed by Benjamin Lazar and shot at the Théâtre du Châtelet, and in the spring she will record Cavalli's Egisto with the Poème Harmonique. In the meantime, she answers, not without humor, to our Proust's questionnaire. "
Marielou Jacquard interprets the role of Junon, accompanied by Les Cris de Paris under the direction of Geoffroy Jourdain, and directed by Benjamin Lazar.
Video recording realized by Corentin Leconte at the Théâtre du Châtelet.
« Marielou Jacquard embodies Costanza with a supple voice that highlights the character’s profound sensitivity. Her musicality and extremely well-done piani allow her to express Costanza’s deep suffering. »
Online Musik Magazin - Costanza/Riccardo Primo, HÄNDEL
Young mezzo-soprano with a lush and rare timbre, Marielou Jacquard studied opera singing at the Hochschule für Musik Hanns Eisler (Berlin) in Christine Schäfer’s class. She studied over there with KS Julia Varady, Wolfram Rieger for Lied and Peter Berne for Bel Canto.
At a very early age, as she was a member of the Maitrise de Radio France, Marielou discovered her passion for music and stage acting by interpreting her first role, Flora, in The Turn of the Screw by B. Britten, at the Dijon opera in 2002-2003. After that, she incarnated l’ange in Ursule1.1 by Morgan Jourdain, directed by Benjamin Lazare and conducted by Geoffroy Jourdain at the Quimper Theater.
In 2014, conductor Wolfgang Katschner noticed her because of her musicality and vocal agility. He chose her to play the part of Costanza in Händel’s Riccardo Primo at the Händelfestpiele Halle and the Ludwigsburger Festspiele in a Lautten Compagney production. This is the beginning of an affinity with baroque music which asserts a little more every day. The same year, during a residency under René Jacobs at Royaumont, she played Nerone in the Incoronazione di Poppea by Monteverdi.
She recently embodied the role of Juno in Actéon by Charpentier in a production of Les Cris de Paris by Geoffroy Jourdain, directed by Benjamin Lazare, and collaborated on several occasions with the Poème Harmonique by Vincent Dumestre (Coronis by S. Duron, Egisto by Cavalli).
As an eclectic artist, Marielou is also deeply involved in contemporary creation. She has been invited to perform at the Tischlerei of the Deutsche Oper Berlin as well as at the Werkstatt of the Staatsoper Unter den Linden for two world creations - My corporate Identity by Thierry Tidrow and Abstract Pieces by Manos Tsangaris. She is dedicatee of several pieces, notably Le Coeur Crucifié by Héloïse Werner.
Over the past few years, she has performed at the Festival d’Aix en Provence Academy, at the Royal Chapelle in Versailles, at the Ambronay Festival and at the Musica Sacra Festival in Quito (Ecuador). In Berlin, she has sung at the Tacheles, the Radial System, and the Konzerthaus.
Recently, she played with temperament the young Cherubino in Mozart's Marriage of Figaro in a French tour of Opéra Eclaté, the 3rd camerist in Le Nain by Zemlinsky at the Lille, Rennes and Caen operas and Lady MacBeth in a creation by guitarist and composer Marc Ducret at the Lille opera. She also participated in a production of L'Enfant et les Sortilèges by Ravel with the ONB (Bordeaux) at the Pulsation Festival of the Ensemble Pygmalion.
Her « very resonant voice, with a solid anchor, and the prosody of storyteller, souple and well articulated » (Olyrix, Charles Arden) leads her naturally to the art of recital. She participated in the inaugural promotion of the Académie de Lied et Mélodie Orsay-Royaumont and gave numerous recitals, in particular with the pianist Kunal Lahiry at the Musée d'Orsay, at the auditorium of the Petit Palais -Récital Jeunes Talents- and in the framework of the Concertini at the Monnaie in Bruxelles. She also recently gave La Fontaine's Fables set to music by Offenbach with the Orchestre de Picardie, conducted by Arme van Beck.
She is also involved in highlighting the work of women composers by collaborating on several occasions with the Elles Creative collective (on the initiative of the Boite à Pépites and the Un temps pour elles festival) as well as with the Femmes artistes, Femmes d’action festival.
Passionate about acting skills, she has interpreted at the theater the roles of Sascha, Ivanov’s lover, in the eponymous play by Tchekhov, and of Hitler in Germania by Heiner Müller at the Arts Academy of Berlin.
During the 2021-2022 season, Marielou will make her debut at the Opéra Comique in Paris in two productions: Coronis by S. Duron with the Poème Harmonique (Vincent Dumestre), in an explosive staging by Omar Porras, as well as in Lakmé by Delibes in a new production by Laurent Pelly, under the direction of Raphaël Pichon. Marielou will also perform at the Théâtre des Champs-Elysées in a concert version of Thaïs by Massenet.
In the spring, she joins the baroque music ensemble Correspondances (Sébastien Daucé) for a North American tour, in a repertoire ranging from Buxtehude's Membra Jesu Nostri until 17th century French court arias.
She will finally sing recital, notably alongside mezzo Fiona McGown and pianist Célia Oneto Bensaid in a program for two mezzo-sopranos, and in Brahms Schöne Maguelone alongside Baritone Stéphane Degout and pianist Alain Planès.
Furthermore, the Actéon movie, directed by Benjamin Lazare and Corentin Leconte, produced by Les Cris de Paris is still visible on Arte Concert.
« The duet with the Marielou Jacquard's Apollo is very precise, their two voices marrying wonderfully. The latter, arched legs, asserts a comic presence which is found in the theatricality of her phrasing and the brilliance of her voice. »
Olyrix - Appolo / Coronis - DURON
April 29th - May 17th 2022
North America tour with Ensemble Correspondances
Membra Jesu Nostri by Buxtehude
Pleasures of the Louvre
Charpentier and his italian masters
Musical direction: Sébastien Daucé
« Marielou Jacquard does not shy away from deploying her deep-seated, anchored voice, with the supple and articulate prosody of a storyteller. »
Olyrix - Recital at Abbaye de Royaumont
« Marielou Jacquard’s facetiousness as a Cherubino vibrant with desire, jostled around and roughed up, [...] mischievously punctuated the quality of this first-rate production. »
La dépêche du midi - Les Noces de Figaro - Festival de Saint Céré 2018
Femmes artistes, Femmes d’actions Festival: a weekend with George Sand - September 2021
« Marielou Jacquard, mezzo-soprano with a tonic and light voice, offers melodies transcribed by Pauline Viardot. »
« Marielou Jacquard, mezzo-soprano that the public finds with pleasure, offers a fuller and liberated voice in the role of Mercedes. »
Joëlle Rallet - Olyrix
« Marielou Jacquard, wonderful recitalist »
« Superb Mercedes by Marielou Jacquard, which shows that she is not just a recitalist (we greatly appreciated her the day before in traditional arias). »
Junon in Actéon by Charpentier - Théâtre du Châtelet - December 2020
« the mezzo-soprano affirms her determination with an ample timbre as well as a full voice »
Charlotte Saulneron - resmusica.com
« As for the vengeful goddess Juno, she is sung with character by the mezzo-soprano Marielou Jacquard, with a velvety tone. » Olyrix.com
Récital at the Orsay-Royaumont Academy - October 2019
« Relying on a solid, flexible instrument, [...] this light mezzo-soprano offers brilliant highs allied to scenic ease and economy of means, mainly through the gaze, which hit the mark in quite tasty Natural Histories by Maurice Ravel. »
« The mezzo Marielou Jacquard (accompanied by Kunal Lahiry), in front of Van Gogh's Nuit étoilée, gives a very pleasant and velvety tone, a quivering and elegant line of song in Schubert's Romanze and Wolf's Die Nacht, as well as a real ease in appropriating the contemporary repertoire (brilliant interpretation of two melodies by George Crumb: The Night in silence under many a star and Dance of the Moon in Santiago). »
Stéphane Lelière - Olyrix.com
Apollo in Coronis - Théâtre de Caen - Fall 2019
« Apollo, little rooster mounted on its spurs, played by a funny Marielou Jacquard »
« Marielou Jacquard embodies the role of Apollo with conviction. A beautiful technique with well-projected bright highs bring the requested theatricality to the character »
Véronique Boudier - Olyrix.com
« The duet with the Marielou Jacquard's Apollo is very precise, their two voices marrying wonderfully. The latter, arched legs, asserts a comic presence which is found in the theatricality of its phrasing and the brilliance of its voice. » Damien Dutilleul- Olyrix- 7.11.2019
« Marielou Jacquard and Caroline Meng brilliantly embody Apollo and Neptune. » Webtheatre Christian Wasselin 7.11.2019
"« Marielou Jacquard in God of the sun and Caroline Meng in God of the sea are absolutely amazing, putting an impeccable vocal technique and loud voices at the service of these two characters both disturbing and funny despite themselves. » Forum Opera Jean-Marcel Humbert 8.11.2019
« the bouncing Apollo of Marielou Jacquard digs the ambiguity of a cruel and hysterical character. » Bachtrack Philippe Ramin 8.11.2019
« Marielou Jacquard's fabulous Appolo with highs filled with panache » Classique News 18.11.2019
See the complete press review