{"id":56472,"date":"2025-07-15T13:12:48","date_gmt":"2025-07-15T10:12:48","guid":{"rendered":"https:\/\/eamt.ee\/perrine-madoeuf-opetaja-olulisim-roll-on-toetada-noort-inimest-eelkoige-headusega\/"},"modified":"2025-07-15T14:04:43","modified_gmt":"2025-07-15T11:04:43","slug":"perrine-madoeuf-the-most-important-role-of-a-teacher-is-to-support-young-people-with-kindness-above-all-else","status":"publish","type":"post","link":"https:\/\/eamt.ee\/en\/perrine-madoeuf-the-most-important-role-of-a-teacher-is-to-support-young-people-with-kindness-above-all-else\/","title":{"rendered":"Perrine Madoeuf: \u201cThe most important role of a teacher is to support young people, with kindness above all else.\u201d"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":22,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-56472","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"acf":{"not_home":"no","not_main":"no","is_not_a_page":false,"is_drama_page":false,"is_cppm_page":false,"is_hidden":false,"is_hidden_submenu":false,"show_in_sub_menu":false,"post_image":{"ID":56454,"id":56454,"title":"Perrine Madoeuf. Photo: Aiga Redmane","filename":"Perrine-1.jpg","filesize":88356,"url":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1.jpg","link":"https:\/\/eamt.ee\/en\/perrine-madoeuf-the-most-important-role-of-a-teacher-is-to-support-young-people-with-kindness-above-all-else\/perrine-2-2\/","alt":"","author":"22","description":"","caption":"","name":"perrine-2-2","status":"inherit","uploaded_to":56472,"date":"2025-07-15 10:01:17","modified":"2025-07-15 10:23:39","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/eamt.ee\/wp-includes\/images\/media\/default.png","width":683,"height":1024,"sizes":{"thumbnail":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1-200x300.jpg","medium-width":200,"medium-height":300,"medium_large":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1.jpg","medium_large-width":683,"medium_large-height":1024,"large":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1.jpg","large-width":683,"large-height":1024,"1536x1536":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1.jpg","1536x1536-width":683,"1536x1536-height":1024,"2048x2048":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1.jpg","2048x2048-width":683,"2048x2048-height":1024,"640px":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1-640x960.jpg","640px-width":640,"640px-height":960,"768px":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1.jpg","768px-width":683,"768px-height":1024,"1024px":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1.jpg","1024px-width":683,"1024px-height":1024,"1280px":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1.jpg","1280px-width":683,"1280px-height":1024,"1366px":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1.jpg","1366px-width":683,"1366px-height":1024,"1600px":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1.jpg","1600px-width":683,"1600px-height":1024,"1920px":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1.jpg","1920px-width":683,"1920px-height":1024,"2400px":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1.jpg","2400px-width":683,"2400px-height":1024,"woocommerce_thumbnail":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1-415x415.jpg","woocommerce_thumbnail-width":415,"woocommerce_thumbnail-height":415,"woocommerce_single":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1-600x900.jpg","woocommerce_single-width":600,"woocommerce_single-height":900,"woocommerce_gallery_thumbnail":"https:\/\/eamt.ee\/wp-content\/uploads\/2025\/07\/Perrine-1-100x100.jpg","woocommerce_gallery_thumbnail-width":100,"woocommerce_gallery_thumbnail-height":100}},"dont_show_img":false,"page_content":[{"acf_fc_layout":"tekstikast","page_text":"

Perrine Madoeuf\u2019s name has been familiar to Estonian opera audiences since 2017, when she made her debut on the stage of the Estonian National Opera in the role of Marguerite in Charles Gounod\u2019s opera <\/b>Faust<\/i><\/b>. Originally from Lyon, France, Madoeuf has built an impressive career, but the road to the top has not been easy. As a young singer, she had to face both narrow-minded teachers and the rigid structure of the French music education system. In the early years of her career, she lost her voice, and with it, her confidence. But she didn\u2019t let it break her. On the contrary, her dedication and passion for opera helped her rebuild her voice, and after nearly a decade of self-discovery, she found her place in the opera world.<\/b>
\n<\/b><\/p>\n

Today, Perrine Madoeuf is more than just a brilliant soloist \u2013 since 2024, she has also been sharing her knowledge and experience with young singers as a guest professor of vocal studies at the Estonian Academy of Music and Theatre, inspiring the next generation with her dedication and love for the art of opera.<\/b><\/p>\n

Perrine recalls her childhood with fond words. \u201cI wasn\u2019t born into a family of musicians, but my mother had always dreamed of becoming one. Coming from a very modest background, she never had the chance to follow that dream herself, so she hoped her children \u2013 me, my older brother and sister \u2013 would at least give it a go.\u201d So, at the age of five, Perrine began learning the piano at the local music school. But her lively nature and restless spirit didn\u2019t quite suit the piano and before long the instrument was swapped for another one \u2013 drums. \u201cI played the drums for a bit, which suited my personality much better, but not my parents, as the drums were in our living room and drove them mad!\u201d<\/p>\n

Perrine\u2019s sister noticed a poster at the music school inviting young singing enthusiasts to audition for the children\u2019s opera choir at l’Op\u00e9ra de Lyon. She helped Perrine prepare and the bold, creative girl with a love for performing made it into the choir. \u201cI got into the opera choir without ever having seen an opera before.\u201d Her first experience of opera is still vivid in her memory \u2013 Giacomo Puccini\u2019s Turandot<\/i>, in which she was performing already at the age of nine. \u201cThe prologue of the opera is incredibly powerful. There\u2019s an orchestra and a huge choir on stage. I still remember the overwhelming emotion that swept over me,\u201d Perrine recalls animatedly. \u201cI found myself in the middle of it all and was simply speechless \u2013 the intensity of the music was overwhelming! After my first rehearsal with the orchestra, I started to cry because it touched me so deeply. At the end of the rehearsal, I went to my mother and said: \u2018This is what I want to do when I grow up!\u2019 It was love at first sight,\u201d she describes. Even today, Perrine becomes emotional whenever she hears the prologue overture of Puccini\u2019s Turandot<\/i>.<\/p>\n

The following years were spent balancing schoolwork and the opera choir. \u201cAll my free time was spent with the opera choir. Since performances ended late at night, I often got home around midnight without having had time to do my homework. The next day, I had to wake up at 6 a.m. to get to school. It was very intense,\u201d she admits. \u201cDid it break me? No, but it changed my attitude towards regular school. From the moment I discovered the world of opera choir, which included not only performances but also tours and various exciting projects, going to regular school became difficult for me. Still, it gave me so much! Imagine telling a lively and energetic child who doesn\u2019t particularly enjoy school: \u2018We\u2019re going to take you and your friends, dress you up in costumes, and let you play and perform on stage!\u2019 Of course you don\u2019t want to go back to regular school after that \u2013 you\u2019ve found what you love and nothing else seems to matter. For me, school became really hard. To this day, I still have nightmares about it.\u201d<\/p>\n

From children\u2019s opera choir to the opera stage<\/b>
\n<\/b>
\n<\/b>At the age of 15, she began studying at the National Conservatory in Lyon \u2013 far earlier than most. \u201cMy voice wasn\u2019t yet as developed as a professional\u2019s, but I already had a solid foundation and understanding from my time in the opera choir,\u201d Perrine explains. She was a quick learner with an insatiable appetite for music and notes. \u201cI picked things up quickly and thoroughly. I\u2019ve even told my students that, at their age, I could learn an aria I loved in just one day. I \u2018devoured\u2019 musical notes,\u201d she says with a laugh. \u201cEvery week I\u2019d take on a new piece because I was eager to explore and see results as fast as possible.\u201d Perinne\u2019s progress was remarkable. While most students take two years to complete the course, she finished it in just one. \u201cAfter the first year, I asked the academic board for permission to take my final exam early, as I was progressing faster than others. But the principal didn\u2019t like the idea. They always found some flaw, some reason I wasn\u2019t good enough.\u201d Despite the principal\u2019s reluctance, which took a toll on Perrine\u2019s confidence, she was still given the opportunity to complete the course in a year. Midway through the academic year, she performed in front of a visiting jury, who concluded that Perrine was on a completely different level from her classmates and should also be allowed to take the exam for the following year. Looking back, Perrine remembers that period as a constant struggle \u2013 a time when she had to keep proving that she was good enough.<\/p>\n

At the age of 19, Perrine continued her studies at the National Conservatory of Music and Dance in Lyon (Conservatoire national sup\u00e9rieur de musique et de danse de Lyon<\/i>), under the guidance of a renowned opera singer who had just started teaching. \u201cAt the time, no one really knew whether he would be good at teaching or not. For me, the experience turned out to be a disaster \u2013 within four months, I lost half of my vocal range under his instruction, and with it, my confidence.\u201d After that ordeal, Perrine decided to leave the conservatoire. Although her choice was met with confusion by some, it was the right thing to do. \u201cI couldn\u2019t find my place at the conservatoire and I was deeply unhappy,\u201d Perinne recalls, adding that the environment was not one that nurtured the growth of a young singer. \u201cPeople never encouraged you to be your true self. They didn\u2019t see your uniqueness. Instead, they tried to fit you into a mould. That just wasn\u2019t for me.\u201d Perinne eventually regained her voice with the help of her first singing teacher, Evelyne Brunner, with whom she remains in touch to this day and fondly refers to her as her \u201cmother in music\u201d.<\/p>\n

A new chapter began at the age of 20, when Perrine was accepted into the opera studio of the Opera Flanders and moved to Belgium. \u201cI thought the doors would now be open for me, but it wasn\u2019t quite that simple. Over the course of four years, I took part in 26 international competitions and auditions, because if you don\u2019t have work, you have to keep putting yourself out there.\u201d She often made it to the finals, but rarely won a prize or landed a role. Perinne described it as exhausting \u2013 making it all the way to the final round, only to be passed over for the role and the work. This cycle of constant auditioning went on for ten years \u2013 a long time by any standard. \u201cEventually, things did start to move forward. I began my professional singing career quite early. I got my first contract at just 20, but a contract doesn\u2019t automatically mean you\u2019ll be given roles or actual work.\u201d Perrine points to Estonia and the Baltics more broadly as a positive examples, expressing admiration for how opera houses here treat young, emerging singers. \u201cThey really take care of their singers. They trust them and offer opportunities to grow with both smaller and larger roles. They give them a chance, which is a big contrast to places like France where only a select few are chosen. It\u2019s as if the rest simply don\u2019t exist.\u201d<\/p>\n

\u201cWhen I sang in the children\u2019s opera choir, my sister worked as an usher at the opera house. She got to see all the performances staged there. One day, she invited me to see Jacques Offenbach\u2019s The Tales of Hoffmann, <\/i>where the role of Olympia was sung by Natalie Dessay, who was 29 at the time and still unknown. We went with our parents, and when she sang the famous Doll song (Les oiseaux dans la charmille<\/i>), I was speechless! Her A in the second octave sounded as if it came from beyond this world. That was the moment I decided that I wanted to become a coloratura soprano. But you can\u2019t simply decide what kind of voice you have. Still, I worked incredibly hard for it. I was 16 when I met my first teacher. I told her I had a final exam coming up and that I wanted to sing The Doll Song, but I couldn\u2019t reach the high notes. She replied in a humorous manner: \u2018Mademoiselle, I don\u2019t have a magic wand. But all right, if you want to be a coloratura, then be one! No high notes? Then figure out how to reach them.\u2019 So, I practised and did everything I could to sing these notes. For a while, I did sing as a coloratura soprano, but of course, you can\u2019t turn yourself into something you\u2019re not.\u201d That said, Perinne still admires Natalie Dessay\u2019s talent and voice to this day.<\/p>\n

She encourages her students to see university as a place for growth and experimentation. A young singer shouldn\u2019t be met with immediate judgment, but given the space to discover themselves. \u201cYou can only do that in a safe environment \u2013 and it\u2019s through trying things out that you begin to understand your limits. You have to experiment to find your voice. For example, take Natalie Dessay and Cecilia Bartoli \u2013 two brilliant coloratura sopranos. They both sing beautifully, but their technique is completely different. You have to find your own path, because every singer\u2019s instrument is unique. As a teacher, I can\u2019t apply a single \u2018recipe\u2019 to every student and expect the same result. It really is a bit like baking \u2013 you have to find the right balance between different ingredients,\u201d she says. \u201cI\u2019ve had to endure teaching methods that didn\u2019t suit me, and now, as a teacher myself, I feel a responsibility to turn those lessons into something better. Our voices are an incredibly delicate and unique instrument. There\u2019s no single truth or one-size-fits-all approach. Every voice is different.\u201d As a teacher, Perinne believes the most important thing is to support young singers with kindness. \u201cWhen you sing, you open your heart. But if the person in front of you takes that open heart and \u2013 figuratively speaking \u2013 stabs it, they can destroy the joy that should be at the very core of this beautiful profession. If a student feels safe, happy and trusts you, they\u2019ll be able to grow, explore, take risks and feel free to fail sometimes, too. And if something doesn\u2019t go well, that\u2019s fine \u2013 we\u2019re not singing at La Scala tomorrow!\u201d she laughs. \u201cYou have to experiment to understand how your instrument \u2013 your voice \u2013 really works.\u201d<\/p>\n

Perinne likes to say that the relationship between teacher and student is a mutual exchange \u2013 both on the level of knowledge and energy \u2013 without a hierarchical structure where one is above the other. \u201cI try to pass on my experiences to my students,\u201d she says. \u201cThe lessons I\u2019ve learned from both successes and failures. I\u2019m still an active performer myself. I continue to do auditions, though I no longer take part in competitions. So I remain engaged in that dynamic, and I can share real, up-to-date insight into what young singers need to know: what to expect, how to prepare, how to manage their nerves, and so on. It\u2019s not a distant memory for me \u2013 it\u2019s still a very real and important part of the opera singer\u2019s journey. Learning to sing is one thing, but being an opera singer is about so much more than just singing. The world of singing is vast, and technology and the internet have played a huge role in opening it up.\u201d The competition, she says, is intense. \u201cEven I, as an active performer, have to keep up with social media alongside my busy life \u2013 it\u2019s simply part of being an opera singer today. Thirty or forty years ago, audition and competition panels were usually made up of opera singers or casting directors. These days, the jury might include people who aren\u2019t singers or even musicians. And such decision-makers often have different criteria: acting ability, stage presence or vocal individuality, rather than just the voice itself. At auditions like these, it\u2019s not enough to rely solely on your voice or technique \u2013 you have to bring your whole being and musicality. Repertoire choice also plays a big role. If you find pieces that few others perform, you immediately stand out. One thing is certain, you have to put in the work,\u201d Perrine emphasises. \u201cYou need to find your strength and make it your advantage.\u201d<\/p>\n

Tallinn has a special place in her heart<\/b>
\n<\/b>
\n<\/b>Perrine first came to the Baltics thanks to her partner at the time, who was also a singer. \u201cMy career started in France, but I grew tired of the snobbish attitudes that often didn\u2019t support local opera singers. What bothered me most was the lack of honesty in how singers were treated. When I came here, I discovered that the opera houses really look after their singers,\u201d she says. Perrine highlights Estonia\u2019s strong opera culture, saying, \u201cYour opera houses are always full! That\u2019s much more than I can say for France, where people often go to the opera just to tick a cultural box.\u201d Her collaboration with the Estonian National Opera began in 2017. At the time, Helen Lepalaan \u2013 then head of international relations at the opera house and a visiting lecturer at the Estonian Academy of Music and Theatre \u2013 heard Perrine at an audition and offered her a role immediately. Perrine was deeply impressed by Lepalaan\u2019s directness and the decision to start working together came easily.<\/p>\n

One of her first roles in Estonia was Marguerite in Charles Gounod\u2019s Faust<\/i>, followed by a lead role in the opera Rom\u00e9o et Juliette<\/i>. \u201cI never imagined I\u2019d be performing French repertoire outside my home country. But actually, it\u2019s wonderful,\u201d she says. \u201cIt felt like my destiny \u2013 why not take French music beyond my home country and share it elsewhere? I\u2019m more than happy about that.\u201d<\/p>\n

Estonia holds a special place in Perrine\u2019s heart. \u201cI was seven months pregnant when I first performed on the stage of the Estonian National Opera. It was a truly special experience. I felt incredibly lucky to be able to sing \u2013 pregnancy isn\u2019t easy for many women, especially when you\u2019re working as an opera singer,\u201d she says, recalling how her sage partner at the time was Ain Anger. \u201cI was under a lot of stress and worried my performance would be cancelled, but I had support. I\u2019m very grateful to the Estonian National Opera for that,\u201d Perinne says. She also highlights Ott Maaten, the director of the Estonian National Opera, who first told her about the opportunity to teach at EAMT and encouraged her to consider it. It was EAMT\u2019s rector, Professor Ivari Ilja, who ultimately convinced her to join the faculty. \u201cI\u2019m deeply thankful to both of them,\u201d she adds.<\/p>\n

Not everyone can become an opera soloist. What matters is finding your own path<\/b>
\n<\/b>
\n<\/b>\u201cWhen we started rehearsals for Carmen<\/i> in September, I was able to bring some of my students along,\u201d Perrine says. She believes it\u2019s important for young vocal students to get an early look behind the scenes of opera, so they can understand if they have what it takes. \u201cIt takes nerve and courage. You won\u2019t realise this in the classroom,\u201d she says. \u201cI know many singers, who, after finishing their studies, realise they\u2019re not cut out to be soloists on big opera stages and choose, for example, a career in the chorus instead. You never know what will happen. I give them the tools to develop, but who they become in the end is up to them. What really matters is finding what makes them happy.\u201d<\/p>\n

International career and family life: finding the balance<\/b>
\n<\/b>
\n<\/b>\u201cI push back against the idea that everything always has to be hard. I have a child who\u2019s often with me. I travel a lot with her, giving her the chance to experience opera, hear different music and be exposed to different languages. Yes, it\u2019s tiring, but also very interesting. I believe it\u2019s absolutely possible to be a mother and have an international career at the same time.\u201d Perinne gave her first concert when her daughter was just one month and ten days old. \u201cShe sat in the front row with her father while I was singing. People often talk about those who are struggling and forget about those who aren\u2019t. We go on about how difficult it all is, but in reality, there\u2019s no need to overdramatise,\u201d she says. \u201cYou can be a mother and an opera singer \u2013 anything is possible. The older I get, the more I allow myself to just be who I am. And with that, I can achieve more.\u201d<\/p>\n

The job offer from the Estonian Academy of Music and Theatre came as a surprise to Perrine, but she didn\u2019t hesitate for a moment. \u201cWhen the offer reached me, I felt it was meant to be, and I knew I had to accept it. Academic life has given me even more opportunities to practise flexibility \u2013 juggling a busy travel schedule, performances and motherhood. While it can be challenging at times, I see each day as a gift and a chance to live fully and dedicate myself to what I love most.\u201d<\/p>\n

The author of the interview is Jaanika Vilipo. The article was published in the third issue of the Estonian Academy of Music and Theatre magazine<\/a> (spring 2025).<\/em><\/p>\n

The photo gallery opens when you click on the image.<\/p>\n

Additional admission for the Classical Music Performance (Vocal) are open until 18 August 18 at 5:00 p.m. More information on the academy’s website here<\/a>.<\/strong><\/p>\n"},{"acf_fc_layout":"galerii","images":[{"ID":56454,"id":56454,"title":"Perrine Madoeuf. 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