This September I began a three-year visiting artist-researcher position at IRCAM with Gerard Assayag’s Musical Representations team, under the direction of Jean-Louis Giavitto. I will be working on tools related to my upcoming project with the Philharmonie de Paris, a blended intensive program linking IRCAM with Oslo, Vienna and Paris conservatories, and a new opera for Grand Théâtre de Genève. I look forward to sharing more as each takes shape.

My electroacoustic work L'eau la colonne le fer (2023), in collaboration with poet Laura Vazquez, got a facelift this summer as I remixed it for IRCAM’s Espace de Projection in high-order ambisonics. It was then performed to a wide range of audiences: at the International conference on Audio for Virtual and Augmented Reality (AES AVARIG), the Traversées du Marais Festival, and the European Heritage Days. It remains available for online binaural streaming on IRCAM’s Circus app.

Antiwords, my 2013 collaboration with Spitfire company, has travelled to Berlin, Osaka, Tokyo, Washington, New York, London, Beijing… and finally made it to Avignon Festival this summer for eight shows, where it received the Prix Lueur for best direction. The press called it “a gem of dark humor” (Un Fauteuil Pour l'Orchestre), “with a sense of rhythm and image that never falters” (M La Scene) and “a powerful physical and visual score” (Sceneweb).

This month I’ve been leading a composition workshop with three amazing soloist from Ensemble Intercontemporain: Renaud Déjardin, Valeria Kafelnikov, and Lucas Ounissi. Yesterday, five new composition were brought to life by the participants: Yifan Guo, Marta Haladzhun, Donghyuk Lee, Jasmine Morris, and Rodrigo Pascale. Congratulations to everyone for a very special concert!

I was invited to Wilmington this month to participate in the 2026 Opera America Conference. I presented The Nine Jewelled Deer, for which I was awarded the 2024 Opera America Discovery Grant , and discussed North American collaborations for my new opera The Ice Palace. I look forward to sharing more details soon!

Juries are always a good way to discover new, exciting composers, and this Spring I had the privilege of sitting on three of them: The inaugural Prix Pichon Comtesse at the Philharmonie de Paris (Festival Explore), the Camargo Foundation’s Residency Program, and the ICMC (International Computer Music Conference) in Hamburg. Congratulations to all the winning artists!

Alongside my professorship in Oslo, I continued my international teaching and mentorship activity this Spring, as a visiting artist in the composition department at Cambridge University, and as a mentor in the Adami Jazz program. A special congratulations to composer-guitarist Paul Jarret, with whom I got to work over several months through the Adami program, for receiving this year’s scholarship!

Last month, Mivos Quartet continued touring Solicitations, this time at the Wiener Konzerthaus. Ö1 will broadcast the live concert recording on its Zeit-Ton programme in June. You can listen here.

The year opened on a strong note, with the book-CD of Like Flesh being selected as one of the top five albums of 2025 by Le Monde, and as the Critics’ Choice Award from the Académie Charles Cros. Another highlight was the revival of A Woman Spilled in Basel under the baton of Elena Schwarz with the Basel Sinfonietta.