VILLA ALBERTINE RESIDENCY

My work lives at the crossroads of performance, research, and artistic design. I’m driven by a deep curiosity for personal narratives, cultural encounters and social issues that shape the world.

My career has led me to create an opera for young audiences that addresses homophobia and to develop opera projects in rural communities where cultural needs are strong but artistic opportunities remain scarce. I am also passionate about musical creation, regularly collaborating with composers and exploring multidisciplinary forms.

Beyond performance, I have led research, recording, recording projects, and musical conferences.

These experiences have allowed me to trace the circulation of music — especially classical — between France and other cultures, notably Spain, Jewish cultures, and more recently, the United States, with a particular focus on Franco-American friendship through melody.

At the heart of my work is a continuous dialogue between research and creation, grounded in collaboration and enriched by musicology, history and, when needed, rigorous investigative inquiry.

In 2023, together with composer Omer Barash, we created a work for voice and electronics at IRCAM,-Centre Pompidou in Paris, based on homoerotic letters found in a medieval tomb in Cairo.

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In 2025, I came across a haunting photograph: a gay choir in San Francisco, decimated by the AIDS epidemic, with only seven survivors looking into the lens. These two artistic elements reactivated a childhood memory in me—the TV news broadcasts, the prevention campaigns, the silence.

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New York interests me both as a city-archive and as a world-city shaped by struggles, memories, and artistic practices tied to the history of HIV. What draws me to this territory are the people and places where the act of singing becomes a gesture of resistance, remembrance, or healing—whether amateur or professional, ritual, experimental, community-based, or popular.

I want to meet people for whom singing in a context of epidemic, stigma, or mourning has been a vital act. My focus is as much on survivors as on younger generations. What I seek to collect are stories of voices: lived, carried, transformed.

I plan to work with institutions such as GMHC, Act Up New York, the AIDS Memorial, the New York Public Library, or Columbia University. But I also want to go to less visible places, where voices circulate differently.

For me, New York is a living territory, where vocal practices continue to bring forth collective, embodied, sometimes forgotten narratives. It is within this in‑between space, between the intimate and the communal, that I wish to root my approach.