We are very pleased to announce two new collaborations, with conductors Stéphanie-Marie Degand et Camille Delaforge.
Let's meet them through a cross-examination, conducted by Sévag Tachdjian:
- What made you want to become a conductor and what were your sources of inspiration or models in this field?
Camille Delaforge (CD): As a child, I copied by hand the libretto and translations of the operas I loved to know the texts by heart, then I took the conductor to follow the music - in other words, this desire has been in me for a long time! I have always liked to approach a work of art in a way that is both global and precise. Fortunately, I have a memory that allows me to remember very quickly what I see, and allows me to have the global vision of a score.
Stéphanie-Marie Degand (SMD): I had the desire to become a conductor at a very young age because my violin teacher, Jean-Walter Audoli, was also a very good conductor. It was obvious to me that I was going to become a violinist and then a conductor.
As women, it is true that we lack models in this field, but I was lucky enough to have Emmanuelle Haïm as my harmony teacher, of whom I was the concertmaster at the creation of her orchestra. Seeing her become a conductor showed me the example and paved the way: I saw her impose this model, which was not a model of a "traditional", i. e. male. And it was a real inspiration when I decided, at my own pace, to give up my solo career and turn to direction.
CD: The question of models is always difficult. It is obviously interesting for a young artist to confront them without trying to copy them. So in all simplicity, I would say that my models are simply the creators (conductors, directors, choreographers, musicians) that I have met during various projects.
- What is your current repertoire of choice and how do you see it evolving in the coming years?
CD: For the moment my repertoire is oriented towards 17th and 18th century vocal, French and Italian music. It's already very large, but I admit I don't want to specialize. My dream is to conduct a Monteverdi's opera as much as Mozart's The Magic Flute. Through my rather rich background, I have been able to study the piano, the fortepiano, the harpsichord, and I enjoy playing all periods on my keyboards, I imagine I can do the same for the direction - even if I have to admit I have a certain inclination for the vocal and operatic repertoire.
SMD: As a violinist, I play all kinds of music, but my background makes me feel more specialized in French music and classical music, for which I think I have many keys to interpret, with the central question of ancient and modern instruments. If I were asked where I feel in my place, where I feel useful, I would say the French repertoire on the one hand, and the German repertoire ranging from Mozart (Mass in C!) to Brahms (his 2. Symphony). One of my big dreams would be to run Bartok's Bluebeard's Castle.
- You both created your own orchestra. Can you explain to us what guided you in this process and what are your projects?
SMD: I wanted to choose my partners, to play the repertoire I liked, and not to wait for someone to offer me things. Moreover, when I was a violinist, I took advantage of the direct transmission from Emmanuelle Haïm, Christophe Rousset and William Christie, who made me progress very quickly. It is this model that I wanted to reproduce by giving a pedagogical dimension to my ensemble: the most talented instrumentalists of the CNSM come to play for a while with a fixed core. For the "elders", it is a way of keeping in touch with the primary passion of these young musicians, and for the latter, it is an immersion in the professional world and the enhancement through trust that is made to them.
CD: As an artist, many encounters guide us in our lives and lead us to discover ourselves and our deepest desires. As a harpsichordist, I have met many conductors for whom I have always tried to use my know-how to further their vision of art. This allowed me to know my desires and to affirm them as I gained experience as a harpsichordist or assistant. For me, founding Il Caravaggio was the realization of all this accumulated experience. Moreover, to lead is to be the guarantor of communication between all the authorities of a project so that it succeeds in harmony. That's what I'm passionate about!
SMD: Indeed, the idea I don't want to give up is that the focus of this project is still music! I prefer to federate rather than dominate: I believe in leadership, not by authority but rather by competence.
Interview conducted by Sévag Tachdjian in November 2019
Photos - SMD : © VM / François Sechet - CD : © Charles Plumey / Victoria Duhamel
--> To know more about Stéphanie-Marie Degand : www.rsbartists.com/en/artists/stephanie-marie-degand/
--> To know more about Camille Delaforge : www.rsbartists.com/en/artists/camille-delaforge/
