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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
The soprano June Anderson was born in Boston and graduated with honours from Yale University in French Literature. She began her career in 1978 with the New York City Opera as the Queen of the Night and then began her European career in Rome with Rossini’s Semiramide. She soon made her debuts at the Paris Opera (Robert le Diable), Covent Garden (Semiramide), La Scala Milan (La Sonnambula), and the Metropolitan Opera (Rigoletto). Her Lucia di Lammermoor, La Traviata, and Norma in particular were hailed in all the major opera houses of Europe and North and South America. She has collaborated with many of the world’s greatest conductors, including Leonard Bernstein, Lorin Maazel, Riccardo Muti, Seiji Ozawa, James Levine, Zubin Mehta, Daniele Gatti, and Kazushi Ono. In recent years she has expanded her repertoire to include many 20th-century and contemporary works, such as operas by Richard Strauss, Francis Poulenc, Hans Werner Henze, and John Adams. Her extensive discography encompasses a wide variety of music from Albinoni and Pergolesi to Beethoven, Wagner, and Orff, as well as many operas by Verdi and Rossini and lesser-known French operas. She received a Grammy Award for her recording of Candide, conducted by its composer, Leonard Bernstein. In France she has been made a Commandeur des Arts et des Lettres.
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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
In the course of a successful career that has spanned 25 years so far, Maria Bayo has built up an international reputation and has performed with some of the world’s most renowned conductors and directors. Although her voice has led to a preference for the works of Mozart, Rossini, and the French school, her repertoire includes more than 80 roles, from the operas of the 17th and 18th centuries (such as those of Cavalli, Graun, Nebra, Haendel, and Gluck) to 20th-century works by Debussy, de Falla, Stravinsky, Poulenc, and others. Her extensive discography also bears witness to her interest in - and her efforts to revive - unfamiliar operas and forgotten zarzuelas. In lieder and oratorio, she has appeared to acclaim at Lincoln Center (New York), the Concertgebouw (Amsterdam), Wigmore Hall (London), the Musikverein (Vienna), and other celebrated venues in Paris, Rome, Brussels, Madrid, Barcelona, Berlin, Munich, Dresden, Salzburg, Warsaw, Moscow, Tokyo, and elsewhere. She has received numerous awards, including the Premio Nacional de Música in 2009 for her role in championing and promoting Spanish music. She was recently awarded the Traetta Prize in recognition of her efforts to rediscover the European roots of the music of the 18th century.
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Member of the jury
In an international career that has spanned 50 years, Teresa Berganza has travelled the world, performing in its leading opera houses and concert halls, including the Paris Opera, La Scala in Milan, Covent Garden, the Metropolitan in New York, the Teatro Colón in Buenos Aires, the Rome Opera, and others in Vienna, Hamburg, Stockholm, Chicago, Dallas, San Francisco, etc. ; she has performed under celebrated 20th-century conductors such as C.M. Giulini, H. von Karajan, G. Solti, Z. Mehta, C. Abbado, D. Barenboim, and R. Muti. Her stage presence and interpretive ability have been repeatedly acclaimed and have led to her being sought after by directors such as F. Zeffirelli, J.P. Ponnelle, G. Strehler, and P. Faggioni. Her roles have included Cherubino, Zerlina, Dorabella, Rosina, Angelina, Isabella, La Périchole, Charlotte, and Carmen. Her vast repertoire ranges from the masters of the Italian Baroque to the composers of the 20th century, with a predilection for Spanish music. In parallel with her career as a soloist, she has given numerous master classes in major Spanish and international centres, including Madrid, Santander, Paris, St Petersburg, and Rome. The recipient of a hundred different distinctions, Teresa Berganza attaches particular importance to her election as the first female member of the Real Academia de Bellas Artes de San Fernando.
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Member of the jury - Member of the artistic committee
After studying at the University of Music in Bucharest, Marius Brenciu made his debut as Don Ottavio (in Don Giovanni) in 1997. He has taken part in numerous competitions and has won many prizes, including 2nd Prize in the Queen Elisabeth Competition in 2000 and the Singer of the World prize at the Cardiff Singer of the World Competition in 2001. He has worked under distinguished conductors such as C. Abbado, L. Maazel, Z. Mehta, V. Gergiev, K. Petrenko, M. Jansons and S. Ozawa. He has appeared with great orchestras, including the Berlin Philharmonic, the Gewandhaus Orchestra, the NDR Sinfonieorchester, the BBC Philharmonic, and the Orchestre Philharmonique de Radio France. He has sung in La Bohème in Hamburg, San Francisco, Tel Aviv, and Brussels ; in La Rondine at the Metropolitan Opera in New York and in Paris and Toulouse ; in Simon Boccanegra in Hamburg ; in La Traviata in Berlin, Rome, Brussels, San Diego, and Montpellier ; in Eugene Onegin in Vienna, Tokyo, Geneva, Zurich, and Munich ; and in L’Elisir d’amore in Berlin and Tel Aviv. He has worked with stage directors such as F. Zeffirelli, P. Stein, N. Joel, K. and U. Hermann, and A. Homoki. He has recorded for EMI, the BBC, the SWR, NHK, and Radio France. He lived in Brussels for a number of years and has become a Belgian citizen.
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Member of the jury
Interweaving roles as pianist and Sony Award-winning broadcaster with equal aplomb, Iain Burnside is also a master programmer with an instinct for the telling juxtaposition. He has performed in recital with many of the world’s leading singers. His discography of over 50 recordings straddles an exuberantly eclectic repertoire ranging from Beethoven and Schubert to Schoenberg, Copland and beyond, with a special place reserved for the highways and byways of English Song, as acclaimed performances of Britten, Finzi, Ireland, Butterworth, Parry and Vaughan Williams have proved. In 2014, Delphian released Burnside’s complete Rachmaninov songs with seven outstanding Russian artists. For Guildhall School of Music and Drama Burnside has written and devised a number of highly individual theatre pieces. His play A Soldier and a Maker was performed at the Barbican Centre and the Cheltenham Festival, and broadcast on Radio3 as part of the BBC’s World War One season. In demand as a teacher and animateur, Burnside also works at the Royal Opera House, Covent Garden and the National Opera Studio. He is International Visiting Artist at the Royal Irish Academy of Music, Dublin.
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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 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
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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