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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
Count Eugène Traey (1915-2006) was born in Amsterdam of Belgian parents and studied music at the Royal Conservatory of Music in Antwerp, where his piano teacher was Emmanuel Durlet. He went on to study in Paris under Robert Casadesus and in Germany under Karl Leimer and Walter Gieseking. After this international training as a pianist, Eugène Traey pursued a career both as a concert performer and a teacher at the Royal Conservatory of Antwerp, of which he was the director until 1980. He gave recitals, performed with orchestras and took part in chamber music recitals with Arthur Grumiaux and Jean Laurent, as well as performing piano duos with Frédéric Gevers. He was the founder of the deSingel concert hall in Antwerp and was a regular member of juries at international competitions (Moscow, Warsaw, Munich and Tokyo, among others). From 1982 until 1995 Eugène Traey presided over the jury of the Queen Elisabeth Competition.
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Member of the jury
Irina Arkhipova originally studied architecture but switched to voice and studied with Malisheva, graduating in 1953. That same year she won an international singing competition in Warsaw. She began studies with Savransky at the Moscow Conservatory and from 1954 to 1956 sang with the Sverdlovak Opera where her roles included Marina in Boris Godunov, Eboli in Don Carlos, Charlotte in Werther and Marfa in Khovanshchina. Her first appearance at the Bolshoi Theater was as Carmen in 1956 which became one of her most famous roles. The Bolshoi became her operatic home and she sang all of greatest roles there. At the Bolshoi she was especially noted for roles in Queen of Spades, War and Peace, Tsar's Bride and Mazeppa as well as her earlier roles in Boris Godunov, Don Carlos and Khovanshchina. After 1960, she began to appear outside Russia and first won fame as Carmen in Naples. She sang Helene in War and Peace at Teatro alla Scala in 1964 where in later seasons she sang Marina in Boris Godunov and Marfa in Khovanshchina. Her first American appearance was in a recital in Ann Arbor, Michigan, with John Wustman as accompanist. Her sensational performance of Azucena at the Orange Festival in 1968 brought her even more international acclaim. Her San Francisco Opera debut came in 1972 as Amneris. In 1975, she made her debut at the Royal Opera House, Covent Garden in London, as Azucena and in 1988 she returned to London as Ulrica in Un Ballo in Maschera. Although she sang at the Metropolitan Opera House with the Bolshoi Theater several times, she did not sing with the Metropolitan Opera until 1997 when she sang Filippievna in Eugene Onegin at the age of seventy-two. She also appeared at the opera houses in Berlin, Paris, Hamburg, Lyon, Marseille, Belgrade and the Savonlinna Festival. She directed several opera productions as she moved into semi-retirement. She was married to heldentenor Vladislav Piavko. In 1993, a voice competition was set up in her name. Her recorded legacy is vast but much of it has only been available in Russia. While her Marina in Boris Godounov was reissued by Melodiya, her Eboli in Don Carlos, Joan in the Maid of Orleans by Tchaikovsky and Laura in Dargomizhsky's The Stone Guest are still unavailable. Almost none of her wonderful song recitals are currently available. In particular, the songs of Tchaikovsky, Rachmaninov, and Mussorgsky bring out the best in her interpretive art.
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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
Après des études musicales brillantes au Conservatoire de Toulouse, la mezzo-soprano Jane Berbié débute à La Scala, en 1958, dans L'Enfant et les Sortilèges de Ravel, et au Festival d'Aix-en-Provence, dans le Flûte enchantée, collaboration qui se poursuivra pendant de nombreuses années. Elle a chanté sur toutes les scènes françaises, mais aussi à Genève, Cologne, Bologne, Lisbonne, Milan et plusieurs fois à Salzbourg, invitée par Karajan, à Glyndebourne, ou au Maggio Musicale de Florence. À l'Opéra Garnier, elle a participé aux grand opéras de Mozart à l'époque de Rolf Liebermann. À New York, elle chante aux côtés de Montserrat Caballé. Parallèlement à l'opéra, Jane Berbié est une merveilleuse concertiste et récitaliste et a participé à de très nombreux enregistrements, sous la baguette de chefs d'orchestre tels que Karajan, Krips, Solti, Maazel, Muti, Abbado, Prêtre, etc. Elle a reçu l'Oscar de l'Art Lyrique en 1975 pour sa contribution à la défense de l'art français dans son pays, comme à l'étranger. Jane Berbié a été Professeur au Conservatoire national supérieur de Paris.
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Member of the jury
De Vlaamse alt Ria Bollen kreeg haar opleiding aan het Koninklijk Vlaams Conservatorium Antwerpen. Ze trad na haar studies over heel Europa op en maakte tal van opnames. Ze won verschillende internationale prijzen. Ze debuteerde in 1965 als solist in het oratorium Godelieve van Edgar Tinel. Ze was voornamelijk een lied- en oratoriazangeres. Optredens brachten haar naar Canada,, Oostenrijk, Duitsland, Zwitserland en Nederland. Ze zong in Bach's h-moll Messe met het Israel philharmonic Orchestra onder leiding van Helmuth Rilling. Ria Bollen verwierf ook bekendheid door de vele lp-opnames die ze maakte, waaronder bij Intercord missen van J. Haydn, bij CBS religieuze muziek van J.S. Bach, bij Claves religieuze vocale muziek van Galuppi; opnames bij HMV (Lieder, Alessandro van Händel) en bij Disco Jecklin: de premiere van het Requiem van Frank Martin in 1973 door hem zelf geleid.
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Member of the jury
Présente sur les plus grandes scènes internationales, à Vienne, au festival de Salzburg, à New York, à Londres, à Berlin, à Munich, à Rome..., la carrière de la soprano colorature dramatique Christiane Eda-Pierre est celle d'une artiste d'envergure exceptionnelle. Les plus grands chefs d'orchestre ont été à ses côtés tels que Georg Solti, Charles Munch, Karl Boehm, Lorin Maezel, Seiji Ozawa, Daniel Barenboim, André Cluytens, Ricardo Muti et Pierre Boulez. Elle a cotoyé les plus grands artistes de la scène lyrique tels que Placido Domingo, José Van Dam, Luciano Pavarotti et Alfredo Kraus. Née en 1932 à Fort de France, Martinique, elle vit dans un milieu artiste de la bourgeoisie foyalaise où l'on enseigne la Musique, notamment dans l'enseignement secondaire. Sa mère, connue sous le surnom de "Tante Alice", est professeure de musique au lycée Schoelcher et au collège Pérrinon. Son père, journaliste au Courrier des Antilles, est dessinateur et géomètre. Sa tante Paulette Nardal, est l'une des figures pensantes de la vie antillaise, fondatrice de la revue La Revue du Monde Noir. Le grand père, ingénieur, est un pianiste et un flûtiste accompli; sa femme étant elle-même organiste. Très jeune, Christiane Eda-Pierre apprend donc le piano avec sa mère. Elle reconnaît par ailleurs l'influence qu'a eu dans le destin de cette famille l'ancienne capitale culturelle de la Martinique qu'était St Pierre. Proche des milieux du théâtre de St Pierre, la famille s'est en effet très tôt consacrée à la vie artistique et ce, bien avant l'éruption de 1902. Elevée au pensionnat colonial, partie à 17 ans pour Paris, avec l'idée de revenir enseigner le piano, Christiane Eda-Pierre y devient cantatrice, l'une des toutes premières cantatrices noires de carrure internationale en France métropolitaine et dans le monde aux côtés de Barbara Hendricks et de Léontine Price. Et sur les conseils de ses professeurs, c'est bien l'une des toutes premières musiciennes noires a avoir franchi les portes du Conservatoire National Supérieur de Paris. Ses étonnantes capacités retiennent la plus grande attention de ses professeurs dont celle d'un chanteur genevois, Charles Panzera. Après 3 ans d'études, Christiane Eda-Pierre est très vite distinguée au Conservatoire National Supérieur de Paris avec les Premiers Prix de Chant, d'opéra et d'opéra comique en 1957. Sa carrière commence réellement à Nice, en 1958, où elle chante Leila dans les Pêcheurs de Perles de Georges Bizet. Elle y obtient un succès considérable. L'année suivante elle est au festival international d'Aix en Provence, dans le rôle de Pamina, dans La flûte enchantée de Wolfgang Amadeus Mozart. Un rôle difficile qu'elle chantera...une quinzaine de fois ! Elle chante les airs délicatement romantiques de Léo Delibes (Lakmé en 1961), la musique baroque avec Jean Philippe Rameau (Les Indes Galantes en 1962) ou le Bel Canto avec Gaetano Donizetti (Lucia di Lammermoor en 1962). Dès 1965, elle est programmée sur les grandes scènes internationales d'Europe et s'y distingue notamment en chantant le rôle de Constance dans L'enlèvement au Sérail de Mozart. Elle se produit plusieurs fois en Guadeloupe et en Martinique. Ses débuts aux Etats Unis l'ont été sur la prestigieuse scène du Metropolitan Opera, de New York, en 1976 où elle interprète la comtesse des Noces de Figaro de Mozart. La même année, elle chante Rigoletto, de Giuseppe Verdi, à Central Park, au coeur de New York devant 250 000 personnes, aux côtés du chef James Levines et du ténor Luciano Pavarotti... C'est à l'issue de ce concert, clos par une véritable ovation, que l'imprésario du fameux ténor italien la contacte... L'année suivante, elle se produit sur la scène martiniquaise, à Fort de France, pour reprendre ensuite sa tournée aux Etats Unis (San Francisco, Chicago, New York...) Au festival international de Salzburg de 1980, elle chante trois rôles de soprano dans Les Contes d'Hoffmann de Jacques Offenbach. C'est encore Christiane Eda-Pierre qui crée le rôle de l'Ange dans le St François d'Assise d'Olivier Messiaen lors de la première à Paris en 1983. Sa carrière à l'opéra s'arrête en 1986 sur un opéra de Mozart, La Clémence de Titus, bien qu' elle continue à chanter jusqu'en 1995. Avant d'être pendant près de 10 ans l'artiste invitée de l'Opéra de Paris -et ce, dès 1973,- elle aura été engagée pendant près de 12 ans à l'Opéra Comique. Elle a également figuré de 1980 à 1988, parmi les artistes invitées du Théâtre Royal de la Monnaie à Bruxelles. Mais sa carrière est aussi celle d'un professeur. Professeure de chant au Conservatoire National Supérieur de Paris, Christiane Eda-Pierre y enseigne en effet le chant lyrique de 1977 à 1996. Parfois difficiles à trouver, ses disques, trop rares, une quinzaine, ont pourtant reçu bien des distinctions que se soit aux Etats Unis (Prix du "The National Academy of recording Arts and Sciences") ou en France ("Diapason d'Or", "Grand Prix de l'Académie du disque français"). En 2008, Christiane Eda-Pierre était faite Chevalier de la Légion d'Honneur.
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Member of the jury
Après avoir étudié à la Harvard University où il commença à chanter, le ténor Robert Gartside vint à Paris étudier avec Pierre Bernac et travailler avec Francis Poulenc et Nadia Boulanger. Après quelques tournées de récitals et d'oratorios en Europe à partir de 1960, il fait ses débuts à New York en 1964 où les critiques rendent hommage à la qualité et l'authenticité de son répertoire de récital français. En 1967, il retourne définitivement vivre aux États-Unis où il est professeur de chant à l'université de Boston. Il est connu aux États-Unis pour ses séminaires sur l'interprétation de la littérature vocale française et comme professeur de technique vocale. Il a sorti deux éditions annotées des compositions pour la voix de Maurice Ravel et Gabriel Fauré.
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Member of the jury
Yvonne Minton was one of the great mezzo-sopranos of the late sixties and seventies. Having begun her singing studies in Australia, she came to London in 1961 for further study. In 1964 she joined the Royal Opera House Covent Garden as a soloist where her many successes included the roles of Octavian, Sesto, Didon, Orfeo, Fiordiligi, Kundry, Brangane, Frika and Marina. She was soon sought after by the main opera houses on both sides of the Atlantic, appearing at all the major European and American Opera Houses including Bayreuth and the Salzburg Festival. She was a regular guest at the Opera Houses of Cologne and Paris where she took part in the first production of Lulu conducted by Pierre Boulez and recorded by Deutsche Grammophon. Alongside her operatic career, Yvonne Minton has also been an active concert singer. Her back catalogue is impressive and embraces both her opera and concert work. She focuses her activities now on teaching young singers, taking part in an advanced voice training programme in Marseilles and conducting master classes.
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Member of the jury
Vladislav Piavko was the leading tenor of the Bolshoi Opera for about 25 years. His interpretations of Aida and Il Trovatore, Tosca and Madama Butterfly, Carmen, Boris Godunov, Khovantshina, Iolanta, The Queen of Spades (Pikovaja Dama) are among the brightest pages of the Bolshoi Opera of the 20th century. He is an excellent performer of modern music, his Sergej (Lady Makbeth of Mzensk by Dmitry Shostakovich) and Nozdrev (The Dead Souls by Rodion Shedrin) have achieved a great success. Vladislav Piavko's performances on the European opera stages with world famous singers as his partners (Gena Dimitrova, Anna Tomova-Sintova, Raina Kabaivanska, Berit Lindholm, etc) strengthened the international prestige of the Russian vocal school and opera performing art. His performance of the title part in Mascagni’s Guglielmo Ratcliff in Livorno (1984) was a world sensation : as Russian tenor he was only the fourth singer for 100 years who was able to sing this extremely difficult music. For these performances he was awarded special Medals of Honour. His record of Khovantshina was awarded the Prize of the Academy of Music of France, the record of The Dead Souls was awarded by the Critic Choice Prize (Great Britain). In 2006 Vladislav Piavko recorded Otello by Verdi, as a special project for the 40th anniversary of his artistic activity with Moscow opera singers Irina Arkadieva as Dezdemona and Evgeny Polikanin as Jago. Keeping his own artistic activity as a singer, Vladislav Piavko also concentrates on pedagogical and social activity. He devotes himself to the professional support and promotion of young Russian opera singers and musicians and gives master classes in Russia and abroad. He is a member of jury of a number of International Vocal Contests and First Vice-President of the International Music Union of Russia and the Irina Arkhipova Foundation. He organises music festivals, public and charitable concerts, records, radio and TV broadcast. He is the artistic leader of the International Opera Festival in Cheljabinsk and of the very popular projects “Russian Tenors’ Parade” and “Russian Lied of two centures - from Mikhail Glinka to Georgy Sviridov”. Born in 1941 in Krasnoyarsk, Vladislav Piavko graduated in 1965 from the Russian Theatre Academy, Moscow and successfully passed the audition to the Bolshoi Opera. In 1966 he made his debut in the Bolshoi as Pinkerton in Madama Butterfly by Puccini and sang there as the first tenor until 1989. From 1979-1985 he has taught at the Russian Theatre Academy and currently is a professor at the State Moscow Conservatory. From 1989-1996 he was a soloist of the Deutsche Oper, Berlin.
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Member of the jury
Born in Leipzig, the bass Hermann Christian Polster is highly regarded in the field of oratorio. He started his musical training with the Dresden Kreuzchor. He continued his musical studies with his father - Fritz Polster - and went on to study musicology at the University of Leipzig. His international career led him to perform in both concerts and oratorios, for example with the Kreuzchor in Dresden and the Thomanerchor, the Bachsolisten, and the Gewandhaus Orchestra in Leipzig. He has performed throughout the world with many leading conductors, and has appeared on radio and television and recorded for several record labels. Hermann Christian Polster taught at the Felix Mendelssohn-Bartholdy Hochschule in Leipzig. He gives frequent international master classes and often sits on juries at singing competitions.
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