The complaint for sexual assault filed by the French soprano Chloé Briot against a fellow singer, who had carried the #MeToo movement in the field of music in 2020, has been dismissed, the Besançon prosecutor announced on Tuesday. The mirror complaint filed by the respondent for “slanderous denunciations” against the singer was also dismissed, said the prosecutor, Etienne Manteaux, competent because the baritone is domiciled within his jurisdiction of the Besançon prosecutor’s office.
The baritone had to “interpret love scenes for the sake of hyper realism, under the permanent control of the director, with a partner who at no time told him of her discomfort in the interpretation of these two scenes. of sexual intercourse,” noted the magistrate.
However, “it was not demonstrated during the investigation that Mr. was aware that his acting had gradually generated such painful feelings in his partner”, he explained, emphasizing the absence of a “guilty intent on the part of the defendant”.
Soprano Chloé Briot, 34, filed a complaint in 2020 for repeated sexual assaults by a fellow singer. The facts denounced took place on stage, always in the presence of witnesses, in 2018 during the opera “Le roi carotte”, in Lille, then in 2020 at the operas of Rennes and Nantes, during the show “L’flood” , by Joel Pommerat.
The Ministry of Culture had made a report to the public prosecutor in the extension of this complaint and the branch of the PJ of Besançon, the PJ of Rennes and the Central Office for the Suppression of Violence against Persons (OCRVP ) had been seized of the preliminary investigation.
The singer had publicized the case in an interview with “The letter of the musician”, affirming that her partner “always acted beyond the framework of the proposals of the director”. During the investigation, on the contrary, she acknowledged that the director had not given them a clear scenography on the scenes of simulations of sexual intercourse, according to the prosecutor.
As soon as she had informed Joël Pommerat of her feelings about the baritone’s playing, the director had “reframed” him, who had immediately stopped grabbing her buttocks during the sex scenes, by “becoming aware of the discomfort of his partner,” notes Mr. Manteaux. The magistrate considered that “the radical change” of the singer in his interpretation from the evolution of the instructions of the director “is a pledge of his good faith”.