Through exploration of the instrument's repertoire, historical perspective and in-depth technical work, this course aims to develop mastery of the instrument and a critical approach to interpretation. Particular attention is paid to listening to one's body, in order to prevent the aches and pains associated with playing the instrument. The face-to-face teaching approach allows for personalised learning, helping each student to reach his or her full potential.

How do couples learn to tune up? Recital, mélodie and lied require singer-pianist pairs to work on an equal footing, in conditions of genuine listening. With their different personalities and backgrounds, they need to be able to make decisions together in harmony, and to understand each other's needs and what is at stake in their part. This initial work is followed by an encounter with the repertoire, in both its musical and poetic dimensions. Schubert's Lieder and French mélodies form the basis of the course, but students make their own musical choices according to their affinities. Each year, a recital is organised to showcase the work of the performers and, where possible, provide an introduction to programme development, based as much on dramaturgical principles as on artistic ones.

A unique feature of the Paris Conservatoire, this course prepares singers for the performance of a role, as well as for auditions and competitions. Tailored to individual needs, it provides singers with all the skills of a conductor, and prepares them for professional life by covering all the repertoires, from the most popular operas to the most complex, in all styles and languages. To achieve this, work on accuracy and harmony is accompanied by a contextualisation of the work in its time, using an approach that combines the cultural, historical, social and formal dimensions of opera. Awakening singers' curiosity as they enter professional life opens up their perspectives to a wide range of repertoires and roles, while preparing them for the realities of the profession.

The Aesthetics class studies musical repertoires by linking them to the discourse they generate, to the currents of ideas of their time, or to other art forms with which they interact, adopting the threefold point of view of composition, performance and reception. This class is aimed at musicologists, performers and composers who wish to deepen their understanding of music. At the end of their course, students can move into teaching and research, as well as musical practice and mediation.

How do you get an audience to see a score? That's the whole point of the stage work course, which teaches how to tell stories using the sung voice and music. The game is to take the audience into the writing not only of the notes, but also of the poem. Each year, the students take part in an opera or a show written for the occasion. Combining practice (performance accompanied by piano) and theory (applied dramaturgy course), the teaching encourages students to sharpen their critical thinking and provides them with stage tools adapted to all the repertoires sung: opera, oratorio, lied, chanson, operetta, vocal ensemble, etc.

What makes a good stage presence? How does the audience believe, or not, in a story? Expression, movement, occupation of space and singing combine to bring characters to life. Exploring these different parameters, not forgetting aspects of dramaturgy and analysis of the works, the performers learn to share the stage with their partners to bring out a common energy, as well as understanding and reacting to a director's request. Becoming aware of the effects produced by one's performance enables them to play freely with it. By working on improvisation and stage expression, drawing on a wide variety of disciplines (drama, dance, Alexander technique, etc.), they are introduced to the notion of addressing an audience. Each year, the course leads to the creation and public performance of a show.