My current work today revolves around two distinct approaches.
As a pianist and an interpreter, I play the repertoire, focusing particularly on the scrupulous study and respect of form and language.
Simultaneously, I investigate into transdisciplinary research, collaborating with artists from the theatre, dancing, movies, video, and plastic arts.
This angle opens up new conceptions and new standards, which prove quite enriching on emotions and meaning. It is also for me an opportunity to react to new schemes and to acquire a new « grammar » to speak a common « language » with the « other ».
As an interpreter, I have played various repertoires, from the baroque period to contemporary music. I like to meet the challenges this job offers, the investigating work, the dedication necessary to find a sound, a touch, but also to be able to bring to light the creative gesture of a composition.
The very foundation of a work, in the traditional meaning of the word at least, lies on the fact that this note comes after that one because it is the only one that could appear at that particular moment. The role of the interpreter is to feel and transmit the necessity bond which hence becomes a force of conviction. The transmission of the “necessity bond” cannot go without a long and thorough investigation , a sort of “mastication” of “going over and over” the text, of organizing the discourse , of giving perspective and depth to the succession of notes. In a word, to bring forward many interpretation choices.
But them choices are made in function of the context : place, audience, state/mood of the musician, reaction of the public… The performer will choose his options on the spur of moment, influenced by the situation; they will be a sort of becoming, determined by his desire, his inclination, the limitations imposed by the place, the world, life, breathing, memory…
I have been now for several years participating in the creation of multidisciplinary shows, along with dancers, plasticians and widely differently-oriented artists. In these cooperation’s, the main point is to go towards “the Other” and thus to better define my limitations in the process. I am above all interested in establishing bridges and links between our senses ; sight, hearing, touch but also know-hows and new ways of reception.
In the word, to try to understand the other, his art, first implies to accept to master and conquer the different types of techniques, perceptions, sensations involved. Everyone abandons his own track, his questionings concerning his art and his job to eventually give up his usual guiding marks. These meetings bring me then to reach an unknown expression of art.
Formation & diplômes
2008/2009 – Théâtre instrumental avec Frédéric Stöhl – Cnsmdp
2008 – Titulaire du C.A de piano – Cnsmd de Lyon
2007 – Entrée en 3ème cycle de musique de chambre (cycle de perfectionnement) dans la classe de Pierre-Laurent Aimard – Cnsmd de Paris
2005 – Prix de musique de chambre mention très bien – Cnsmd de Paris
2004 – Prix de piano mention très bien – Cnsmd Paris
2001 – improvisation « générative » avec Alain Savouret – Cnsmdp
2000 – Entrée au Cnsmd de Paris dans la classe de piano de Jean-François Heisser et Marie-Josèphe Jude
de 1998 à 2000 – médaille d’or à l’unanimité en piano, harmonie, contrepoint, formation musicale et 1er Prix de perfectionnement en piano – CNR Lyon.
2009 – Lauréate du 3ème concours des « innovatoires » pour la création d’un spectacle associant danse/musique/vidéo (Cnsmdp)
2007 – Lauréate du forum de normandie (1er grand prix)
2006 – Lauréate du concours international de musique de chambre de Beychevelle
2006 – Lauréate du concours de la Fnapec
2004 – 2ème prix au concours international de piano de Brest
2004 – Lauréate de l’académie Internationale de musique Maurice Ravel
2001 – 1er prix concours jeunes talents
2017 – création de SOLI.DES avec Sébastien Laurent : danseur, chorégraphe
2016 – création du duo RISS avec Elise Dabrowski (chant, contrebasse)
2015 – chant d’hiver de Samuel Sighicelli, texte original de Tanguy Viel.
Avec : Samuel Sighicelli : composition, mise en scène, Elise Dabrowski : mezzo soprano, contrebasse, Claudine Simon : piano, Dominique Tack : comédien, Fabien Zocco : graphisme vidéo, Nicolas Villenave : lumières, Max Bruckert : son, informatique musicale, Julien Duprat : régie plateau, Élodie Monet : scénographie, Marian Del Valle : direction du mouvement.
2013 – Cabaret lunaire, d’après Pierrot lunaire d’Arnold Schönberg
Direction musicale Guillaume Bourgogne, mise en scène Pierre Meunier, musiciens de l’ensemble op.cit
2012 – Cage’s Satie, ensemble op.cit
2012 – concert en situation irrégulière, ensemble op.cit
2008 – Sub Rosa de Camille Ollagnier (chorégraphe) – pièce pour 5 danseurs et 3 musiciens
2014 – phase music (music, vidéo/arts plastiques ) avec : François Sales : vidéo, Joseph Schiano Di Lombo (installations), Nathalie petit-Rivière et Claudine Simon : piano
2013 – Once upon a time – (théâtre, musique) avec : Jean-philippe Grometto : flûte, Violaine Launay : contrebasse, Jean-michel pirollet : saxophone, claudine Simon : piano, Joël Schatzman : création lumière, Omid Hashemi : vidéo
2012 – Ciné-concert , improvisation au piano sur des courts et moyens métrages du cinéma muet (Keaton, Feuillade, Guy, Chaplin etc…)
2010 – drôles de K – (danse, théâtre, vidéo, musique) avec
2010 – au fil de Pétrouchka – (danse, musique) pour deux pianistes et trois danseurs avec Pauline Simon, Laurent Falguiéras, Raphaël Dupin : danse ; Valérie Mercier et Claudine Simon : piano
It is by inventing melodies on a toy battery-powered organ that I had my first contact with the piano. This free approach made me enter the sound word just like a child learns to master his language, by hesitating, by playing with sounds he likes and mixing them, without any preliminary command of the syntax. This initiation to the musical word had a lasting impact. It is an element which has made me attentive to sounds, for their own sake, much more than in their interconnection and recognition.
I started my piano studies at the Lyon CNR (gold medal and higher level distinction cum lande with the jury’s unanimity). I then went on to develop my background in harmony, analysis, counter-point and accompaniment.
In 2000, I was accepted in the Paris CNSMD, in the class of Jean-François Heisser and Marie-Josephe Jude, and graduated 4 years later with a very honorable mention. I have there learnt to improve my technique, to enrich my music repertoire and to reexamine the very notion of interpretation.
In my desire to discover a larger repertoire, I was fortunate enough to meet exceptional pianists such as…, along with…
Those exchanges have enabled me to discover many various ways to grasp the texts. They also provided the opportunity, as was the case in particular with Maria Joao Pires, to set a new standard in the body/instrument relationship.
In 2003, I founded the Estampe trio (violin, cello, piano) which has regularly developed and improved under the guidance of Pierre-Laurent Aimard. It will earn the 2005 chamber music prize (very honorable mention) before integrating, with the unanimity of the jury, the higher proficiency cycle.
As a soloist ans chamber musician, I took part in many French events : artistic meeting of Bel Air (Renaud Capuçon), Aix en Provence and la Roque d’Antheron festivals, Arles music soirées, Lyon opera, Cité de la Musique (Paris)… as weel as abroad : Italy, germany, England, Spain, Hollan, India… I have played the major works of the repertoire with orchestra, including concertos by Mozart, Beethoven , Liszt, Ravel…
I have also been recorded by radio France and have participated in several France Musiques programs.
More recently, my curiosity for other arts disciplines have led me to join creations associating dancing and acting, but also music and cinema, being at the same time concepter, interpreter and improviser. These new forms both liberate me from my daily technical preoccupations and help me solve them. The grasping of a larger sensitive universe, far from being a mere form of eclecticism, stimulates my desire to discover and confront music texts, enhances my aptitude to review their interpretation, and in a way my capacity to bring them to life.