The year opened on a fresh note, with the book-CD of Like Flesh being selected as one of the top five albums of 2025 by Le Monde, and the revival of A Woman Spilled in Basel under the baton of Elena Schwarz with the Basel Sinfonietta.
December was busy with presentations on my musical research: a three-day residency at the New Musical Aesthetics conference at the Conservatorio Alessandro Scarlatti, alongside composer Vito Zuraj and musicologist Gianluigi Mattietti, and the three-day Improtech conference at IRCAM, where I spoke about composition and improvisation in contemporary opera with researcher Jean-Louis Giavitto and RIM Augustin Muller. You can learn more here.
A new production of Like Flesh premiered last month at Interfinity Festival. Staged by Dominique Pitoiset with original video design by Luca Scarzella, this production highlighted the scientific research that went into the writing of the libretto, created for this occasion in collaboration with biologists, botanists, environmental scientists, and urban ecologists at ETH Zurich, University of Basel, and NCCR Microbiomes. The press called it “subtle, refined, compelling… a forest brought to life!” (zbb Basel). Watch a feature on Telebasel here.
I am thrilled to announce that this Fall I joined the faculty of the Norwegian Academy of Music in Oslo as Professor of Music Composition, where I am mentoring students in the bachelors, masters, and PhD programs. More info about the program here.
After three intense years of work, The Nine Jewelled Deer was born last month at LUMA Arles, then travelled to Théâtre du Jeu de Paume as part of the Festival d’Aix-en-Provence. The press are calling it “Deeply affecting” (Neue Zürcher Zeitung), “refined and cathartic” (Opera Wire), “mysterious and spellbinding…. Goes straight to the heart” (Le Monde), “Intense and enriching… a mastermind collaborative project” (Opera Today), “moving, immersive” (backtrack), “breathtaking” (Frankfurter Allgemeine Zeitung), “Pure enchantment” (d'Lëtzebuerger Land), “A rare and powerful convergence of music, myth, and visual art” (Hube). See HERE for more reviews, videos and photos.
The book-CD of Like Flesh is out, and so are the reviews. Chosen as Album of the Week by Le Monde, Pierre Gervasoni writes: “Like Flesh is an opera of contemporary resonance without equivalent since the beginning of the 21st century”. The book (EN/FR) features newly-commissioned articles and interviews, the full libretto, and a newly mixed surround sound recording. It is available for purchase here, and on all streaming platforms. Check out this trailer and interview for more info.
Next month, The Nine Jewelled Deer will have its world premiere at the Festival d’Aix-en-Provence. I invite you to read some of the articles in Le Monde, The New York Times, Opéra Magazine, and Beaux Arts Magazine about the inspiration for the opera, the work-process, and more.
I’m very glad to be joining the composition roster of Karsten Witt Music Management. More info here.
When I composed the closing chorus of Like Flesh, which speaks of nature’s death and resurrection, I imagined it being sung by children. Director Maëlle Dequiedt made that dream come true in her latest production for Antwerp Opera: An Empty House, pairing choruses from Like Flesh with Ravel’s L’Enfant et les Sortilèges. You can watch the trailer or buy ticket here.
A new semi-staged production of Like Flesh is underway! Staged by Dominique Pitoiset with original video design by Luca Scarzella, this production highlights the scientific research that went into the writing of the libretto and music. Part of the 2025 art-science Interfinity Festival. Tickets available soon here.
I am thrilled to have been awarded an Opera America Discovery Grant for Nine Jewelled Deer, my upcoming opera with Ganavya Doraiswamy, Peter Sellars and Lauren Groff. We are looking forward to using the grant to help bring the opera to US audiences in a future season. Official announcement here.
London - Aix - Brussels - Salzburg. Summer is festival season. But also teaching season. June started with a workshop at the Royal Opera House with legendary singer Aruna Sairam, who will be joining us as soloist for Nine Jewelled Deer. July started with a trip to Festival d’Aix, where we visited the venue where Nine Jewelled Deer will premiere next summer. From there, a train to Brussels, where I had the privilege of mentoring a very talented group of composers at the BE Connect academy alongside Ensemble Fractales and Thierry De Mey. Next: Salzburg Festival followed by Voix Nouvelles Academy, where I will be mentoring another group of talented composers as they create their first opera!
The last stop on accentus’ tour was also its most majestic, with an audience of over 800 at the auditorium of La Seine Musicale. Cult News described it as “A truly moving premiere […] a captivating work, combining Western and Eastern sonorities. An undeniable success.” While Olyrix described the evening as “a combination of music, text, atmosphere and interpretation that both illuminates and enlightens”, accentus’ interpretation as “crystal-clear, delicate, and supple”, and Ganavya’s performance as “an infinite play on softness that builds up to a momentous and resonant call for liberation.” More info about future performances by Latvian Radio Choir, Spirito, and Festival Saint Denis coming soon.
My love child with Ganavya Doraiswamy just had its world premiere at the magnificent Chapelle Corneille alongside Rachmaninov’s radiant Vespers. An immense thank you to Sigvards Klava and accentus choir for bringing the work to life with so much care. Next on their tour: Maison de la Culture in Bourges and La Seine Musicale in Paris. Until then, you can check out a few video excerpts here.
Last week, Peter, Ganavya and I united the full ensemble for 5 intense days of work on our upcoming opera Nine Jewelled Deer. A huge thank you to Dana Barak (clarinet), Aakash Mittal (sax), Rajna Swaminathan (Mmudangam/synth), Nurit Stark (violin), Severine Ballon (cello), Augustin Muller (electronics), and Luca Bagnoli (sound engineer) for joining us on this journey, and to Festival d’Aix-en-Provence, IRCAM, and Royaumont Foundation for supporting it. We are looking forward to coming back in October for the second phase of our residency!
I was honored to serve on this year’s jury for the 2024 International Sonosfera Ambisonics Competition (ISAC) alongside IRCAM’s Frank Madlener, Philippe Langlois, and Markus Noisternig. The competition will bring 3 prize-winning HOA compositions to IRCAM’s Espace de Projection for a public concert on March 22nd. Keep an eye out for the press release.
This week, mayor Anne Hidalgo unveiled the restored Stravinsky fountain by Niki de Saint Phalle and Jean Tinguely. For the occasion, I was commissioned by IRCAM and the Pompidou Center to create a work inspired by the fountain’s sculptures. I joined forces with poet Laura Vazquez to create l’eau, la colonne, le fer. You can listen to it at the location of the fountain, or online here, or next spring at the Grand Palais.
Work on the new opera continues! This time at the Camargo Foundation, where Ganavya and I are spending one month developing the libretto. It’s truly a gift to be back in this studio by the sea, where I composed the first scenes of Like Flesh back in 2021. A big thank you to Julie Chenot and the Villa Albertine for making this possible. If you’re in the Marseille area, come join us for a public presentation on October 25th!
