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Jury
The names of the jury members are announced after the video preselection round, together with the names of the selected candidates.

While the composition of the jury may vary from one round to another, members of the jury attend the whole of the round that they have been appointed to judge. Each member of the jury gives his or her marks for all the candidates to the ministerial official at the end of each round. The members of the jury may not vote for their own students. No consultation takes place between them.
The role of the Chairperson of the jury is to direct the operations of the competition. He or she is assisted in this task by a Secretary. Neither takes part in the voting. As from 2019, the jury of the next instrumental sessions (2019, 2020 & 2021) is chaired by Gilles Ledure, that of the next voice session (2022) by Bernard Foccroulle.
Personalities
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Chairperson of the Jury
Arie Van Lysebeth was the President of the Jury of the Queen Elisabeth Competition from 1996 to 2018. He took up the violin at the age of four. He completed his higher education at the Brussels Conservatory in music theory, bassoon, chamber music, and orchestral conducting. Following a competition, he was appointed bassoon soloist of the Belgian Radio and Television Symphony Orchestra. Two years later, he came joint first in the Prague International Bassoon Contest. He also studied conducting under Bruno Maderna in Salzburg and under Pierre Boulez in Switzerland. Starting in 1970, he conducted the Flemish Chamber Orchestra, both in Belgium and abroad. As a guest conductor, he has appeared with the major Belgian orchestras as well as with symphony orchestras in the United States of America, Argentina, Taiwan, the United Kingdom, Italy, and Germany. He has performed with many famous soloists, including Igor Oistrakh, José Van Dam, Murray Perahia, and Augustin Dumay. From 1995 to 2004 he was the regular conductor of the Symphony Orchestra of the Brussels Conservatory, where he taught chamber music for many years (1970-1994) and served as director (1994-2003). From 2004 to 2014, he was the artistic director of the Queen Elisabeth Music Chapel.
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Member of the jury
From the stages of the world’s most prestigious opera houses - New York’s Metropolitan Opera, the Paris Opera, London’s Covent Garden, Milan’s La Scala, the Vienna State Opera, and the Buenos Aires Teatro Colón - to the concert halls of Salzburg, Berlin, Rome, Paris, and New York - the name of Martina Arroyo (New York) has become synonymous with music-making of the highest order. Famous for her interpretations of Verdi, Puccini, Strauss, and Mozart, she is equally at ease with contemporary music. She has made more than 50 recordings, including major operas and orchestral performances with internationally renowned conductors. She is a Distinguished Professor Emerita of the faculty of Indiana University, a Trustee of Carnegie Hall and the Metropolitan Opera Guild, and a Fellow of the American Academy of Arts and Sciences. She was a member of the National Endowment for the Arts for six years, and was a recipient of the first American Council for the Arts awards. Martina Arroyo is founder and artistic director of the Martina Arroyo Foundation, Inc., which sponsors two programmes for young singers, a ‘Role Development Class’ and ‘Prelude to Performance’, which is a six week summer residence programme. Martina Arroyo has been awarded the Kennedy Center Honor, as well as honorary doctorates from several universities and institutions, including the Juilliard School, Hunter College, the New England School of Music, and Rutgers University.
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Member of the jury
Born in Marseilles, Renée Auphan began her career there as an assistant director at the city’s opera house. Employed later by the Opéra de Monte-Carlo, she took on its entire management for five years. At the same time, she also studied singing and music; she made her operatic debut at the Opéra Comique and appeared soon after in the Monte Carlo and Marseilles opera houses. She went on to perform as a soloist at the Opéra de Paris, including during the period when Rolf Liebermann was its director. After retiring from her singing career in 1983, she was appointed to head what was known at the time as the Festival de Lausanne, which she transformed into a season of opera and ballet. This led to the establishment of the Opéra de Lausanne, of which she was director from 1984 to 1995. In 1993, she was awarded French-speaking Switzerland’s Prix des Belles-Lettres for her book Mezza voce. Between 1995 and 2001, Renée Auphan ran the Grand Théâtre in Geneva, before being appointed in 2009 to head the Opéra de Marseille, where she has directed a number of productions, including Massenet’s Manon, Sauguet’s La Chartreuse de Parme, Jean-Michel Damase’s L’Héritière, and Tomasi’s Sampiero Corso, as well as reviving Lausanne and Tours production of Honegger and Ibert’s L’Aiglon; this year, she will also revive La Traviata. She is an Officier de la Légion d’Honneur and an Officier de l’Ordre du Mérite.
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Member of the jury
Chair of the voice department at the Juilliard School, Edith Bers also serves on the faculties of the Manhattan School of Music, New York University, and Bard College Conservatory Graduate Program in Voice, of which Dawn Upshaw is Director. She has had a performance career in both opera and concert, singing the U.S. premier of Schumann’s Der Sängers Fluch. Edith Bers has judged and given master classes for the Metropolitan Opera National Council Auditions, the Korean Broadcasting System, the Hong Kong/Juilliard Master Classes (Hong Kong), and Concert Artists Guild and has taught at various summer festivals including the Aspen Music Festival, the Ravinia Festival Steans Institute, and Bel Canto Institute (Florence). Her students perform with major opera companies throughout the world, including the Metropolitan Opera, and the operahouses in New York, Santa Fe, Philadelphia, Glyndebourne, Hamburg, Bordeaux and Frankfurt.
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Member of the jury
Born in Antwerp, Marc Clémeur studied theatre studies and musicology at university in Cologne, before going on to work as a stage direction assistant to Götz Friedrich in Amsterdam, Bayreuth, and Düsseldorf. He became a producer of classical music for Belgian radio and television in 1977. In 1984, he was appointed Director of the Vlaams Filharmonisch Orkest; in 1989, he became Director General of Vlaamse Opera, which, under his management, built up an international reputation. In 2009, he became director general of the Opéra National du Rhin, where he oversaw an original project that aimed to present a broad view of the repertoire, from baroque music to the music of our time, with a particular focus on contemporary composers, including Battistelli, Eötvös, and Manoury. He devoted a cycle to Janáèek, which was directed by Robert Carsen, and also staged rarely seen French works by Charpentier, Rameau, Thomas, Meyerbeer, Bizet, and Chausson. He actively sought to reach younger audiences and, on his initiative, the Colmar-based Opéra Studio developed as a centre for the production of operas for children. After a long career in the musical world, Marc Clémeur is now frequently asked to be an artistic adviser to opera houses and competitions and is often invited to serve as a member of the jury of prestigious international competitions.
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Member of the jury
Born in Texas, Lella Cuberli first revealed her talents to bel canto lovers at international competitions in Italy; she decided to settle in the country in order to study its language and culture, while developing her operatic repertoire. She made her debut in 1978 at La Scala in Milan in Die Entführung aus dem Serail. She later sang in New York (Carnegie Hall), Berlin, and Salzburg under such renowned conductors as von Karajan, Barenboim, Abbado, Muti, and Levine. Lella Cuberli has performed on the world’s leading opera stages (the Metropolitan, Covent Garden, and the Opéra Bastille, among others) in Tancredi, I Capuleti ed i Montecchi, La Donna del Lago, Semiramide, Così fan tutte, Le Nozze di Figaro, Lucia di Lammermoor, Otello, La Traviata, La Bohême, The Rake’s Progress, and other works. She has also given a great many concerts and recitals the world over. In 1986 she received the Grand Prix du Disque for best female performance in the recording of Il Viaggio a Reims. In France she has also been awarded the Rossini Prize and the title of Chevalier dans l’Ordre des Arts et des Lettres.
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Member of the jury
Born in Dendermonde, Peter de Caluwe studied literature and the history of the theatre at the Universities of Ghent, Brussels, and Antwerp. In 1986, Gerard Mortier invited him to join him at la Monnaie/de Munt, where he worked as a dramatic adviser and was also in charge of contacts with the press, public relations, and projects for young people. In 1989, Pierre Audi and Truze Lodder asked him to join their team in Amsterdam. In 1994, he was appointed director of casting, and later artistic director. Since 2007, he has been Intendant (general manager) of la Monnaie/de Munt ; he is currently in his second term, which will last until 2019. In October 2011, under his management, la Monnaie/de Munt was named Opera House of the Year by the German specialist magazine Opernwelt. In November 2011, Radio Klara and Muziekcentrum Vlaanderen named him Musical Personality of the Year. He was the first person to be awarded an honorary master’s by the Saint-Luc Brussels University College of Art and Design. From 2011 to 2013, he was President of Opera Europa, the organisation of Europe’s professional opera companies and opera festivals. In 2013, the Vlaamse Vereniging voor Bestuur en Beleid chose him as Manager of the Year. In October 2013, he was decorated as a Chevalier de l’Ordre des Arts et des Lettres.
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Member of the jury
Born in Mechelen, Greta De Reyghere first studied music with her mother, herself a singer, while also studying Germanic languages. She would later work both as a singer and as a teacher, before definitively opting for singing, which she studied further at the conservatories in Mons and Brussels. She later studied with Alfred Deller and Erik Werba. Her career has taken her to most European countries and to Canada, as well as to most of the international festivals, where she has sung with the most renowned baroque ensembles, including La Petite Bande, La Chapelle Royale, the Amsterdam Baroque orchestra, and the Ricercar Consort, under conductors such as Gustav Leonhardt, Sigiswald Kuijken, Philippe Herreweghe, and Ton Koopman. She has also worked with Pierre Bartholomée, Pierre Cao, Robert King, and Laszlo Heltay. Greta De Reyghere has given song recitals with Guy Penson, Jean-Claude Van den Eynden, and Luc Devos. Her discography includes some fifty recordings, ranging from baroque music to that of the 20th century. She currently teaches at the Conservatoire Royal de Musique in Liège.
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Member of the jury
Helmut Deutsch is one of the world’s most sought-after and most renowned lieder accompanists. He was born in Vienna, where he studied at the Konservatorium, the Music Academy, and the Universität für Musik und darstellende Kunst. He was awarded the Vienna Composition Prize in 1965 and became a professor at the age of 24. Although he is a distinguished chamber musician, playing with eminent instrumentalists, he has concentrated primarily on lieder accompaniment. When he began his career, he first accompanied the soprano Irmgard Seefried, before going on to partner Hermann Prey for twelve years. He went on to play in the most prestigious venues, working with renowned singers such as Jonas Kaufmann, Diana Damrau, and Michael Volle. Helmut Deutsch has recorded more than 100 CDs. In recent years, he has been particularly keen to develop young talent: after a period as a professor in Vienna, he has continued to teach, mainly at the Hochschule für Musik und Theater in Munich, where he was professor of lieder interpretation for 28 ans. He is also a guest teacher in a number of other schools and gives numerous masterclasses in Europe and in the Far East. The young Swiss tenor Mauro Peter, one of his recent students in Munich, has become one of his favourite recital partners.
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Member of the jury
Serge Dorny studied art history, archaeology, musicology, and communication studies at the University of Ghent and music at the city’s conservatory. In 1983 he joined the La Monnaie/De Munt opera house as a musical dramaturge, working under Gerard Mortier, before joining the Flanders Festival, of which he became artistic director in 1989. In 1996 he was appointed Chief Executive and Artistic Director of the London Philharmonic Orchestra, the resident orchestra at the South Bank Centre in London, which also performs at the Glyndebourne festival’s opera season. Since 2003 he has been director of the Opéra National in Lyons. In October 2008 he was awarded an honorary doctorate by the Université de Montréal. He also organises expert and advisory groups and serves on the jury of several international music competitions, including Helsinki and Bamberg (for conductors), and Monte-Carlo (for pianists). He is a member of the boards of the Orchestre Français des Jeunes and the Conservatoire National Supérieur de Musique et de Danse in Lyons. His publications include L’opéra, l’avenir d’un passé (with Johan Thieleman).
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