Pierre Dumoussaud



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Pierre Dumoussaud won the 1st International Opera Conductors Competition organized by the Royal Opera of Wallonia in 2017 and made his debut with the orchestra the following year with Carmen. He is also a recipient of the First Prize of the ADAMI Conducting Competition “Talents Chefs d’Orchestre” in 2014.

Passionate about opera, Pierre Dumoussaud will, in 2019-2020, conduct three new productions: Mignon at the Bayerische Staatsoper, La belle Hélène at the Lausanne Opera (dir. Michel Fau) and Hamlet at Angers-Nantes-Rennes Opera. Since 2015, he has also conducted Madame Butterfly at the Opera of Rouen, Lucia di Lammermoor at the Athens National Opera, Werther at the Vichy Opera, Fantasio at the National Opera of Montpellier and has accompanied the Final of the Toulouse International Singing Competition.

His discography demonstrates his love for French music: he recorded the first full version of the P’tites Michu by Messager with the Pays de la Loire National Orchestra, Jean Cras’s Âmes d’enfants and Jacques de La Presle’s Soir de bataille with the Opera of Toulon. Pierre Dumoussaud will soon record some French unreleased with the Brussels Philharmonic for the Palazzetto Bru Zane’s label as well as Olivier Greif’s works for B Records on the occasion of the 20th anniversary of his death. He received the Children’s Books’ Grand Prix and a “Coup de Coeur” from the Charles Cros Academy for his two Roald Dahl / Isabelle Aboulker bookalbums (Gallimard Jeunesse) with the Paris Chamber Orchestra.

Attracted to the world of dance, Pierre Dumoussaud has already directed some of the greatest classical ballets such as Romeo and Juliet or Giselle at the National Opera of Bordeaux. He accompanied Kylián, Robbins and Béjart’s Lieder einen fahrenden Gesellen at the Opera of Limoges. He also collaborated with Jean-Claude Gallotta on L’amour sorcier 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 Orchestra della Svizzera Italiana, the Orchestra Ensemble Kanazawa and the Budapest Opera, as well as some of France’s leading orchestras: the National Orchestra of the Capitole in Toulouse, the National Orchestra of Lille, the National Orchestra of Auvergne, the National Orchestra of Île-de-France, the National Orchestra of Metz and the National Opera of Lorraine. Acclaimed by both the critics and the public when he replaced Alain Lombard on short notice and 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.

Collaborations with great soloists have already punctuated his career, among others: Renaud Capuçon, Bertrand Chamayou, Sarah Nemtanu, Nicholas Angelich, Henri Demarquette, Alexandre Tharaud, Yuval Gotlibovitch, Romain Descharmes and Ophélie Gaillard. Having forged a great complicity with the upcoming French generation of artists, he notably created Thomas Enhco’s Piano Concerto. He also performed alongside actors such as François Morel or Didier Sandre from La Comédie Française for the centennial of L’histoire du soldat.

Pierre Dumoussaud gained extensive experience by assisting Marc Minkowski, Paul Daniel, Patrick Davin, John Fiore and Pierre Cao. They notably enabled him to work with stage directors Dimitri Tcherniakov and Olivier Py 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, Opéra 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, and benefited from the advice and guidance of David Zinman, Michel Tabachnik, Susanna Mälkki, David Stern, Jean Deroyer and Frieder Bernius. A 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 Orchester Pasdeloup up to 2013.