Pierre Dumoussaud : « diriger, c’est un grand jeu »

By Tristan Labouret, 16 December 2019

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“Une grande partie du métier est une question de gestion des ressources”

Mark Pullinger, 7th April

The Hong Kong-born conductor talks about her entry into music, her love of big Russian repertoire, her “Cinderella moment” winning the Donatella Flick Conducting Competition and her ambition to “go against the grind”.

Inner necessity: training opera’s next generation at the RCM

Jessica Duchen, 6th April

The Royal College of Music offers an enviable nurturing ground for the next generation of operatic talent. Audrey Hyland, head of the Vocal and Opera faculty, talks about what makes the department special.

Opera in the blood: Speranza Scappucci

Mark Pullinger, 17th March

The Royal Opera’s Principal Guest Conductor explains her passion for opera, her journey into the pit and how good conductors share the attributes of football managers.

Pure agilità: Aya Wakizono returns to Tokyo

Nahoko Gotoh, 13th March

The Japanese mezzo soprano is returning to the New National Theatre, Tokyo for her role debut in Massenet’s Werther. We talk about her love for Rossini, and expansions into later Romantic opera.

Bleeding and dancing: Mark Ravenhill gets his teeth into Salome

Kevin W Ng, 5th February

The trailblaizing playwright makes a return to the operatic stage to direct a new production of Strauss’ Salome with Regents Opera – held in an old boxing venue, an apt location given the opera’s bloody subject...

Back in the spotlight: Bru Zane gives women composers chance to shine

Elodie Olson-Coons, 2nd February

With significant works by Louise Farrenc, Augusta Holmès and Clémence de Grandval – including two grand operas – Palazzetto Bru Zane is pioneering rediscovery of French music of the 19th century.

Tristan Labouret

Musicologue diplômé du CNSMD de Paris, Tristan Labouret collabore avec de nombreux artistes et institutions musicales (Printemps des Arts de Monte-Carlo, Orchestre national d'Île-de-France, Opéra Orchestre National Montpellier, festivals de musique de chambre de Deauville, Just Classik Festival…), menant des activités de médiation à destination de tous les publics. Ex-altiste toujours passionné par les répertoires chambristes et symphoniques, il occupe depuis 2018 le poste de rédacteur en chef de la partie francophone de Bachtrack.

« Diriger, c’est un grand jeu » : entretien avec Pierre Dumoussaud