Puisque c’est comme ça je vais faire un opéra toute seule

In 2014, the creation of “Je garde le chien” is the culmination of a tenacious desire and a new decisive stage in Claire Diterzi’s artistic path. An obstinate, stubborn desire to thwart the influence of frameworks, assignments and shackles. A very personal signature, an irreducibly singular way of combining words and music. Driven by a panoramic curiosity, she continues to refine her outlook through artistic encounters, which have never ceased to spur her journey without ever making her deviate from her goal: to offer song new spaces of autonomy and experience

www.jegardelechien.fr

In 2014, the creation by Claire Diterzi of the company “Je garde le chien” did not only appear as the logical “conclusion” of 15 years of assiduous frequentation of the sets. Above all, it represented the culmination of a tenacious desire, and a new decisive step in an artistic journey which, since the mid-1980s and his beginnings, at 16, at the head of the Touraine alternative rock collective Forguette-Mi- Note. An obstinate and stubborn desire to thwart the influence of the frameworks, assignments and shackles in which we too often want to confine the “song”.

Thus, for 20 years, Diterzi has never stopped seeking to offer people, more than hypothetical “letters of nobility”, new areas of play and invention. Elsewheres and possibilities, ignoring the rules of etiquette, industrial strategies and institutional formatting. In this, she anticipated many contemporary developments. But this conception of a transgender and multidisciplinary song took it well beyond: from its obsession with “placing the song in space” was born an uninhibited and bold musical theater, poetic and political, whose strong The female figures who punctuate it – from Calamity Jane to Tassadite, his recent Kabylo-Ivryan heroine, via Sarah Kane and Rosa Luxembourg – clearly express the taste for freedom.
His creations assert a very personal style, an irreducibly singular way of marrying words and music.

Claire Diterzi knew how to ignore the illegitimacy trials, the controversies which surrounded her admission to the Villa Medici now seem far away. Driven by a panoramic curiosity, she continues to assert a perspective that has been refined through contact with theater people and choreographers, not to mention writers, visual artists and filmmakers; through these encounters so essential in her eyes, which never ceased to spur her journey without ever making her deviate from her goal. “I keep the dog” could just as easily have been called: “I stay the course”.

Finalist in the Opéra en Arles 2022 competition and winner of the Eurydice Foundation Prize in the 2023 operetta and comic opera competition of the Maîtres du chant, Anaïs is strongly committed to defending her multidisciplinarity.

Dancer and instrumentalist, she perfected her skills at the Pôle Lyrique d'Excellence with Cécile de Boever after obtaining her DEM at the CRD in Pantin in the class of Mickaël Mardayer and training in musical comedy.
She receives advice from Mariella Devia, Patricia Petibon, Emmanuelle Cordoliani, Vincent Vittoz and singing directors Fabrice Boulanger, Emmanuel Olivier and Mathieu Pordoy.

From the Basilica of Vézelay to the National Stage of South Aquitain, Anaïs puts no barriers; she plays roles in opera, operetta, musical comedy (Blanche, Despina, Frasquita, Barbarina, Eva Marchal, Maria, Roxie Hart,...) and performs in recital and as an oratorio soloist (Mass in C minor of Mozart, Magnificat by Rutter,...). She explores the repertoire of lieder and duet melodies with pianist Flore-Élise Capelier.
She joined the Mikrokosmos choir (dir. Loïc Pierre) from 2013 to 2019, where she worked alongside conductors Grete Pedersen and Félix Bénati. She was heard performing solo soprano performances at the Théâtre des Champs Élysées and at the Folle Journee in Nantes and Tokyo, Via Aeterna at Mont Saint Michel and the Forest Festival. She also sings under the direction of Michel Laflénie, Catherine Simonpietri and Pierre Cao.

Alongside her choral practice, Anaïs broadens her artistic palette with Daïnouri Choque, Sonia Cat Berro and Philippe Duchemin, and discovers the world of cinema with Anna Cazenave Cambet who offers her a role in her first feature film, De l'or pour les dogs, selected for the critics' week of the 2020 Cannes Film Festival.

Following their meeting for the show “Génération France Musique, le live”, Ayano Kamei asked her to become “her” Thérèse (Les mamelles de Tirésias, Poulenc) for her singing conducting recital at the CNSMD in Paris.

Script, composition, direction and scenography Claire Diterzi
Collaboration script and dramaturgy Kevin Keiss
Soprano coloratura and actress Anaïs de Faria
Technical control Jean Paul Duché

Production Compagnie Je garde le chien / Claire Diterzi conventionnée par le ministère de la Culture DRAC Centre-Val de Loire.
Théâtre de Sartrouville et des Yvelines – CDN Spectacle créé dans le cadre d’Odyssées 2022, festival de création théâtrale enfance et jeunesse conçu par le Théâtre de Sartrouville et des Yvelines-CDN, en partenariat avec le Conseil départemental des Yvelines.

Coproduction Théâtre Molière, Scène nationale de l’Archipel de Thau – Sète (34) • L’Atelier à Spectacle de Vernouillet, Scène conventionnée “Art et Création” de l’Agglo du Pays de Dreux (28) • Trianon Transatlantique, Scène conventionnée “Art et Création / Chanson Francophone”, Sotteville-lès-Rouen (76)

Soutiens La Région Centre-Val de Loire et la SPEDIDAM