Isabelle Battioni: “A more compact edition, but the same artistic standards”

For its 46th edition, operating under a new, more constrained budget, the Ambronay Festival has streamlined its programming to three weekends, while preserving its artistic ambition. Isabelle Battioni, Director of the Cultural Encounter Centre and of the Ambronay Festival, reflects on the highlights of the 2025 edition and the musical, heritage-based, and international pillars that shape Ambronay’s identity.

A highlight of the Festival?

Isabelle Battioni: I’ll start with the finale! This year, the third weekend, at the end of September, is packed with strong artistic offerings led by emerging or fast-rising French ensembles. That weekend, the Institut français and the Centre national de la musique will be the focus of attention. It’s a pivotal moment in which we want to shine a light on artists who have the potential to radiate beyond our borders. The festival will welcome about thirty presenters from across Europe, as well as North and South America.

A speed networking meeting will take place at the Lyon Auditorium with the support of the CNM (Centre national de la musique), the Institut français, REMA (European Early Music Network), and FEVIS (Federation of Specialized Vocal and Instrumental Ensembles). There will also be pitch sessions in Ambronay—project presentations in front of groups of presenters. These pitches won’t be limited to the five ensembles programmed that weekend; they’ll be open to other groups we believe are well-structured and ready to go international. We’re currently working out the registration and participation details.

It’s a unique opportunity for these ensembles. Some, like Alkymia, an ensemble from the Auvergne-Rhône-Alpes region working on Latin America, or La Palatine, already have this international momentum. We want to support tangibly. And beyond visibility, these encounters foster the development of real cultural mobility projects. This focus is both a recognition of Ambronay’s place in the early music scene, and, I believe, of its role as a talent scout.

What are the highlights of this third weekend (September 26–28)?

I. B.: Among others, two ensembles from Ambronay’s mentorship and incubation programs will be performing: Le Grand Ballet and The Banshies. Le Grand Ballet takes on the French comédie-ballet—a hybrid form combining music, theatre, and dance—with a scholarly investigation into 17th-century musical theatre. Their conductor, Mathieu Franchin, is pursuing a doctorate on the topic. It’s a dynamic of research and creation that brings together historians, musicians, and directors around a still underexplored heritage.

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