• In a few words, how would you describe yourself?

I’m a curious musician, primarily a bassoonist. I come from southwestern France, where mountains and ocean meet, and I elected to do a master’s at Université de Montréal in classical performance.

• Could you talk to us briefly about your background?

I started on the bassoon at the age of six thanks to a music introduction program at the Conservatoire de Dax. My teacher François Proud stayed with me until I reached eighteen so that I could get into Laurent Le Chenadec’s class at the Conservatoire de Toulouse. There I improved my playing and I also discovered a broad spectrum of so-called “classical” music. Today I’m progressing in Mathieu Lussier‘s class and continue to explore that tremendously vast world. Also, in shooting a self-produced video for one of my compositions, I was able to discover other aspects of my work. Over the years I’ve had the chance to work with a number of orchestras and chamber-music ensembles.

• Why choose performance at the Faculty of Music?

The program offered very interesting activities that were completely in tune with my ambitions. The teaching staff at the Faculty of Music being well-known, I really had no choice but to follow that path!

• What do you like best about the Faculty?

The encounters you can make there. You can meet people with very different profiles and backgrounds. That mix makes for an incredible musical breeding ground.

• Which teacher inspires you?

It’s hard to give a specific name: there are a lot of them. What impresses me the most is their commitment. They’re musicians, but also conductors, artistic directors and people who compose works, besides being teachers. In that sense, all those I’ve been able to interact with are inspiring, in their own way.

• Have you done any learning at the Faculty whose existence you wouldn’t have suspected before?

Yes, the seminar on experimental recording gave me an unexpected opportunity in my field. Learning to capture a piece of music on video and bring an artistic vision without having a lot of experience in the field – that’s quite the challenge!

• For you, classical performance is what, exactly?

Performance is giving a meaning to what one sees. Here, that’s exactly what we do. We’re given tools to express our ideas, perceptions and emotions, so that by way of our instruments, people can understand everything we have to say.

• What, in your view, gives the UdeM Faculty of Music its special “color”?

No doubt it’s all the projects! The Faculty trusts its students to carry out ambitious projects, and in my opinion it’s that energy that’s the heartbeat of the university beat.

• Which is your favorite artist (composer, musician, etc.), and why?

I listen to so much music in every style and from every period. To give just one name would be a little restrictive. In general, what I admire in an artist is newness. All those musicians who are ahead of their time and who create the music of tomorrow fascinate me.

• What are your inspirations ?

Latterly I’ve enjoyed listening to the bassoonist Theo Plath, whose has very interesting things to say. For me, he’s a species of alien! Also, bassoonists with longer careers like Sergio Azzolini, or my various instrument teachers. They all have something that fascinates me, as much in their lives as in their music performance.

• In what way is your stay at the Faculty of Music influencing your life?

First of all, I changed country. It’s an important parameter in my personal development. Next, the courses offered allow me to discover other professions than that of performer. In addition to being interesting, these are true indicators for future orientation. That’s a direct influence for a lifetime.

• In your time at the Faculty of Music, you must have interacted with memorable people who had an impact on your development. Could you talk to us about one (or some) of them?

I think the person in the Faculty who’s had the most influence on my progress is Mathieu Lussier, my bassoon teacher. He has a conception of the bassoon, of music ion general, that’s very new for me. Under his guidance I reconsider a lot of the aspects of my playing, and he always gives free rein to any proposals I may make during the classes, while still providing a word of advice, an additional suggestion.

• Describe an ambitious project you’ve worked on.

As part of the seminar on experimental live recording we produced a video. We were a team of four students, with different experiences in audio-video recording. We worked on one of our compositions so we could turn it into something visual. Thanks to the material the Faculty possesses, we had everything we needed. Not lacking imagination for our shoot, we had the crazy idea of completely changing the color of the Faculty recording studio to white. We had to work on the set, implement our plans, do the sound pick-up – in a word, everything that characterizes the production of a recording. All that was completely foreign to us. The members of the team put in a lot of time and personal investment to be able to complete the project. A human and artistic adventure as crazy as it was brilliant!

• Do you have an especially memorable moment at the Faculty of Music, or an anecdote you’d like to share with us?

After the lockdown, the resumption of activities by the Orchestre de l’Université de Montréal was a very powerful, emotional, moment, especially in the presence of the public. The musicians were galvanized by a common energy. The music, the audience, the atmosphere before and of course after the concert... All that had been cruelly missing!

• What advice would you give to a first-year student?

Discuss, open yourself up to others. It’s them who are the key to a year that’s rich in experience! Also, try the maximum of things the Faculty has to offer.

• What are the three most important qualities for a musician?

Patience, diligence and a certain personal rigor.

• Beyond music, what are your interests or passions ?

I like the movies a lot, and just about everything relating to image.

• What are your aspirations ?

In the years ahead, I’m hoping to be part of a symphony orchestra.

• What are your plans for the future?

I really like to do things in the right order. First finish my master’s in the best possible way. Then, audition to get into orchestras, in order to attend new establishments and improve my preparation for competitions.

March 2022