Pierre Dumoussaud

Conductor

 

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“A young conductor to watch out for” ConcertClassic

“We will follow this young man very closely: he conducts his world with an authority worthy of the most seasoned of conductors, finds colours and atmospheres, and brings drama to the highest levels of intensity” Diapason

“An elegant, precise and inspired direction in which every gesture is charged with significant meaning” The Renaissance

“Pierre Dumoussaud possesses a rare musical quality and a precise technique” Resmusica

“The young French conductor perfectly manages the performance, commanding a real coherence between the orchestra pit and the stage” OperaOnline

Pierre Dumoussaud has won the 1st International Opera Conductors Competition organized by the Royal Opera of Wallony-Liège ; he will there make his debut in Carmen in February 2018. He is also recipient of the first prize of the ADAMI Conducting Competition “Talents Chefs d’Orchestre”. Founder and musical director of the Ensemble Furians, the range of his work is already vast for such a young conductor: from opera to concert, musical creation, studio recording and ballet.

After directing the productions of Don Carlo, Le Tour d’écrou and Les tréteaux de Maître Pierre at the National Opera of Bordeaux, he will make his return to the city in 2017-2018 with Lucia di Lammermoor. Invested in creating new music, he will soon conduct the Ensemble Court-Circuit again at Lille Opera for La Princesse légère by Violetta Cruz. This season will also see him for the first time at the helm of the Pays de la Loire National Orchestra at the Angers-Nantes Opera for the resurrection and recording of P’tites Michu by Messager for the Palazzetto Bru Zane of Venice.

Attracted to the world of dance, Pierre Dumoussaud has already directed some of the great classical ballets such as Romeo and Juliet or Giselle, choreographed by Charles Jude at the National Opera of Bordeaux. He also collaborated with Jean-Claude Gallotta on L’amour sorcier/L’histoire du soldat and accompanied several choreographic creations on Le Festin de l’Araignée by Roussel and Folksongs by Berio.

His musical repertoire grew to span from the 18th to the 21st century with the Lausanne Chamber Orchestra, the Real Filharmonía de Galicia, the Janáček Philharmonic, the Budapest Opera, the Symphony Orchestra of Northern Hungary, as well as some of France’s leading orchestras: the National Orchestra of the Capitole in Toulouse, the Lille National Orchestra, the Auvergne Orchestra, the National Orchestra and Opera of Lorraine, the Montpellier National Orchestra, the Normandy Regional Orchestra, the Orchestra of Pau-Pays-de-Béarn, the Orchestra of Cannes, The Colonne Orchestra and the Pasdeloup Orchestra at the Philharmonie de Paris.

Acclaimed by both the critics and the public when he replaced Alain Lombard on short notice on several occasions, he has since maintained a privileged relationship with the National Orchestra of Bordeaux Aquitaine for which he was assistant conductor from 2014 to 2016.

Displaying a particularly strong-willed attitude in the field of cultural action, Pierre Dumoussaud imagined and directed many shows for the young public. He has been awarded by the Grand Prix of Youth Book and the Académie Charles Cros for creating and recording two tales by Roald Dahl with the Paris Chamber Orchestra – set to music by Isabelle Aboulker and read by François Morel.

Collaborations with great vocal soloists, instrumentalists and composers have already marked out his career. They have included: Mireille Delunsch, Tassis Christoyanis, Elza van den Heever, Chiara Skerath, Renaud Capuçon, Nicholas Angelich, Henri Demarquette, Yuval Gotlibovitch, Ophélie Gaillard, Emile Naoumoff, Francois Sarhan, Denis Dufour and Guillaume Connesson. He also created a strong bond and a great affinity with the upcoming young French generation of artists such as: Florian Sempey, Thomas Dolié, Adèle Charvet, Thibault Garcia, Guillaume Vincent and Thomas Enhco – whose first concerto he created.

Pierre Dumoussaud gained extensive experience by assisting Marc Minkowski, Paul Daniel, Patrick Davin, John Fiore, Karen Kamensek and Pierre Cao. They notably enabled him to work with stage directors Dimitri Tcherniakov, Olivier Py, Christopher Alden, Ivan Alexandre and Vincent Huguet on the productions of La Bohème, Tristan and Isolde, Simon Boccanegra, Norma, The Damnation of Faust, Le King of Ys, Il Turco in Italia, Semiramide, Don Giovanni, Le nozze di Figaro and Alceste. He cut his teeth in some of the greatest lyric institutions such as the Aix-en-Provence Festival, the National Opera of Paris, the Opera Comique, the Drottningholms Slottsteater and the Royal Opera of the Castle of Versailles.

Pierre Dumoussaud received his training in orchestra direction from Alain Altinoglu at the CNSMDP and Nicolas Brochot at the PSPBB. He co-directed the Symphony No. 4 by Ives at the Lucerne Festival with Peter Eötvös, and benefited from the advice and guidance of David Zinman, Michel Tabachnik, Susanna Mälkki, David Stern, Jean Deroyer and Frieder Bernius.

Bassoonist by training, he has played in orchestras such as the Paris Orchestra, the Luxembourg Chamber Orchestra, the Lucerne Festival Academy Orchestra, the Schleswig Holstein Festival Orchester and was a co-soloist with the Orchestre Pasdeloup up to 2013.

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