How would you define your style?
Most of the time, my music is resolutely melodic and narrative. When I approach a text for a vocal work, I stay very close to the dramatic content of that text to compose, to meld the two media together, so they become inseparable and create shivers.
Tell us about your work, La nuit est ma femme, on the Oper’Actuel— Works in Progress 2019 program
This is a project I have been working on since 2017 (start of research and composition of the first bars). But in the past year, with greater intensity, and in collaboration with several artists, including the author, poet and slammer Ivy, who is developing the libretto. But the collaboration means that we each are sticking our nose into the other’s work…The idea for the opera came to me because the story of Jack Kerouac and his francophone roots has always moved me. So, when I realized that Jack’s francophone background was much more than roots, as he had written a great deal in French and his mother tongue was at the heart of his style and his work, even in English, I dove in. In addition, Jack is the perfect tormented soul to create an opera!
What made you want to participate in Oper’Actuel?
The prospect of working with Chants Libres and interacting with other composers currently creating operas was especially enticing to me.
A link to a video or audio excerpt representative of your work?
La nuit est ma femme – the moon (TCML 2017)
Your favourite instrument?
Help, that’s hard! Ok… the human voice.
Latest favourite CD, show, exhibition, series or film?
The latest album by Innu artist Florent Vollant, Mishta Meshkenu.
The retrospective exhibition of Marcel Barbeau’s work at the Pavillon Pierre Lassonde at the Musée des Beaux-Arts de Québec.
The opera Vireoby composer Lisa Bielawa, presented as a web series (the first performance will be in late 2019, I believe).
An excerpt of La nuit est ma femme will be presented at Oper’Actuel – Works in progress 2019.