"I don't have a story to tell. I didn't call an agency to write my story. Because to tell a story is to make a choice. To present oneself means to choose, to select, and somehow to accept labels. But an identity is always the fruit of a complex process, and mine is no exception. I'm steeped in the works of Ravel, Rachmaninov, Pink Floyd, David Bowie, Ligeti, Kaija Saariaho, the great Western tradition as well as French chanson, rock and pop. The result of my years studying at the Conservatoire combines here with my family memories and favourite radio, record and television programmes. The very reason I chose to make music my profession, is because I love people, whether they're amateurs or hyper-specialists. I've conducted a lot of school orchestras, amateur orchestras... and at the heart of so-called contemporary music, I also prefer to be enraptured by chance encounters with music. Here, too, I've chosen not to choose, neither chapels nor schools. And from these experiences I have formed a few personal beliefs:

A certain relationship to creation

For decades, musical institutions have premiered new works. But once the climax has been reached, what remains of these works? How many ballets and operas have only been performed once, to a single audience? I like to invite professionals in the field to reuse these pieces which were created a few years ago in other concerts, with a new context and with a new cast, in order to contribute to the repertoire. It's a deeply-held belief that we should give priority to conducting works that have already been created but are too quickly forgotten.

A certain relationship with audiences

Even if you're an expert and a professional, some works escape you... so what can you say about the need for mediation for newcomers! Fortunately, the need for mediation in our sector no longer needs to be proven, but I think it's also the role of a conductor. That's how I see my role; I'm a mediator between those who create and those who receive. I like to help audiences understand, especially young people, naturally, but also music enthusiasts, so that they are ready to be surprised and discover new masterpieces.

A certain relationship with the territories

Mediation goes hand in hand with the impetus needed to get music out of the big institutions. I like the idea of taking projects and programmes as close to the people as possible and all over the country, especially in rural and remote areas, in workplaces and in places where people live.
The many arts and cultural education projects I have led have made me aware of the challenges of cultural rights. It's not an aside, it's the heart, the raison d’être of my endeavour.”