In 1993, the ST 100 A and ST 200 N monitors, initially designed by Amadeus for the music recording studio world, were heard for the first time on a lyric stage, that of the Opéra de Rennes.

This was the beginning of a long history of innovation and complicity with emblematic venues such as the Opéra de Bordeaux, the Opéra de Lyon, the Grand Théâtre de Provence and the Opéra de Lille.

In addition to these collaborations, there have been a number of daring creations by the Paris Opera, the Opéra-Comique and the prestigious Festival International d’Art Lyrique d’Aix-en-Provence, a veritable temple to the lyric arts for over 70 years.

Today, the technologies developed by Amadeus remain a benchmark not only for sound enhancement in the lyrical arts on stage, but also for the innovative immersive experiences imagined by a new generation of stage directors and composers

Witness the ambitious sound spatialization systems deployed at the Opéra-Comique for works such as Pascal Dusapin’s Macbeth Underworld and Jean-Philippe Rameau’s Samson, as well as the active acoustic variability system designed for the Théâtre de l’Archevêché in Aix-en-Provence, offering tailor-made virtual acoustics for Mozart’s Idomeneo, re di Creta, conducted by Raphaël Pichon.