Born in Lausanne, Christian Longchamp studied art history and philosophy in Geneva and Paris before working as an exhibition curator. As a programmer at the Auditorium du Louvre, he created thematic programs (cinema, literature, philosophy and theater). From 2007 to 2013, he was artistic assistant to Peter de Caluwe at La Monnaie in Brussels, where he was director of dramaturgy, cultural development and communication.At the Opéra national de Paris, he was advisor to Stéphane Lissner until September 2014, then director of dramaturgy, publishing and communications until September 2015. In 2016, he was artistic advisor to Eva Kleinitz and dramaturge at the Opéra national du Rhin, where he directed four editions of the multidisciplinary festival ARSMONDO.As a creative dramaturge he has worked mainly with Krzysztof Warlikowski (Medea, Macbeth, Poppea e Nerone, Lulu, Wozzeck, Don Giovanni, Bluebeard's Castle / The Human Voice, The Triumph of Time and Disillusionment, Don Carlos, From the House of the Dead, Lady Macbeth, The Bassarides, Elektra, The Tales of Hoffmann, Dido &amp; Aeneas...) and with Romeo Castellucci (Orfeo ed Euridice, Schwanengesang D744, Moses &amp; Aeneas...). Erwartung, Le Grand Macabre, L'Idiot, Kátia Kabanová) and with Romeo Castellucci (Orfeo ed Euridice, Schwanengesang D744, Moses und Aron, Il Primo Omicidio, L'Or du Rhin, La Walkyrie, Stabat Mater).He also collaborates with Benjamin Millepied on the Paris Dance Project and on several of his creations, such as Jeff Buckley Dances. As an essayist, he has written for the magazine La Règle du jeu, edited the anthology Pour une autre Italie, and developed several projects on European cultural history and contemporary European literature.At the Opéra national de Paris: Moïse et Aaron, 2015; La Damnation de Faust, 2015; Le Château de Barbe-Bleue / La Voix humaine, 2015, 2018; Don Carlos, 2017; Don Carlo, 2019; Lady Macbeth de Mzensk, 2019; Il Primo Omicidio, 2019; Hamlet, 2023.

Christian LongchampDramatist