VITA
Dear reader,
It is difficult for me to define my work in just a few words, but if I were to express its essence through a few key ideas, I would speak of creation, so-called early and contemporary music, sharing, rhetoric, and scenography.
Having trained at the Pôle Supérieur de Paris, the Schola Cantorum Basiliensis, and the Conservatorium van Amsterdam—where I obtained my master’s degrees with unanimous jury distinction—I have developed a practice at the intersection of historically informed performance, artistic creation, and the contemporary stage. This approach has been shaped through collaborations with musicians such as Pierre Hamon, Sébastien Marq, Susanna Borsch, Jorge Isaac, Andreas Böhlen, Lea Sobbe, Katharina Bopp, Walter Van Hauwe, and Antonio Politano, and continues today through an expanded artistic research that integrates composition and stage writing.
Alongside recorder, I have also studied baroque bassoon with Jérémie Papasergio, clarinet with Marina Moth, composition with Nigji Sanges, as well as mime and stage direction at MAPA (The Moving Academy for Performing Arts).
Equally passionate about historically informed performance and contemporary creation—whether in collaboration with composers or through my own compositions and arrangements—I currently perform with international ensembles such as the European Union Baroque Orchestra and Ensemble Xàcara, and appear at renowned festivals including Festival en Tarentaise, Embaroquement Immédiat, Présence Compositrices, the Spiegelungen Projekt (Bird’s Eye Jazz Club), and the Festival des Arts Sacrés.
My three main artistic directions are developed through the following ensembles and projects:
— Xàcara and Funny Hats, where I explore dialogues between early instruments, jazz, and contemporary creation in immersive formats;
— Les Incidences, a consort dedicated to promoting a formation still little known to the general public and to contemporary creation, notably through the UMAMI project in collaboration with composer Yumi Augustine (tour in Japan);
— projects in which historically informed performance meets contemporary and engaged staging (King Arthur, productions with Les Goûts Réunis, Les Noctambules, cie Furinkaï, among others).
Sharing and transmission lie at the heart of my artistic and professional commitment, both in my concert practice and in teaching. I am dedicated to revealing the richness and versatility of the recorder, highlighting the diversity of its repertoire—from early music to contemporary works—and encouraging an open, creative approach that remains attentive to stylistic contexts.
After teaching in France at the Conservatoire Hector Berlioz (Paris) and the Conservatoire Maurice Cornet (Deuil-la-Barre), I am currently teaching at the Freie Musikschule Basel and at the Musikschule Mellingen (Switzerland) and regularly work as a substitute teacher at the Musik-Akademie Basel and the Musikschule Konservatorium Zürich.
Today, I am committed to creating innovative and interactive performances for a wide and diverse audience. Through my projects, I enjoy blurring stylistic boundaries and unfolding narrative threads that invite renewed listening.
Dear reader, I wish you an enjoyable visit to this website and look forward to hearing from you!