Biography

This interest feeds on a form of fascination that she experiences when the sound material is taking shape and the orchestral colours are deepening. She is mesmerised by the extent of possibilities in combining textures of sound and contrasts and by the energy and the musical power of large symphony orchestras, chamber orchestras and wind ensembles.
The concept of “orchestra” instantly submerges her entire being to resonate with every aspect of her musical experience linked with musicology, live performance and the transmission of a musical heritage.

Alongside her initial training at the regional conservatory of Limoges, Chloé began studying music and musicology at university. She successfully obtained her DEM – highest diploma delivered in French regional music academies – in saxophone, chamber music and music analysis and history. She then graduated from Paris-Sorbonne (Bachelor) and the University of Tours (Master and PhD). In 2015, she became Doctor of Music and Musicology after defending a thesis on the major French jazz orchestras active from 1945 up to the present day. Her qualifications as a lecturer and a researcher have enabled her to partake in the elaboration of several published works (Les territoires du jazz; La Catastrophe apprivoisée : Regards sur le jazz en France; Jazz Research Journal – Equinox, Vol. 5).

Chloé first received guidance in conducting from Philippe Nahon and Cecilia Weston before she joined the Ecole Normale Supérieure de Musique in Paris. In 2016, after taking a training course in orchestral conducting with Dominique Rouits, she graduated from the Ecole Normale with the French Diplôme de Direction d’Orchestre (delivered by the following jury: Roger Boutry, Alexandre Myrat and Ronald Zollman). In 2017, she was then awarded the Diplôme Supérieur de Direction d’Orchestre (jury: Alexandre Myrat, Laurent Campellone and Vincent Leroy).
In France, she draws great inspiration from conductors like Aurélien Azan-Zielinski, Claire Gibault, Claude Kesmaecker and Julien Masmondet. She also improves her technique abroad by taking part in selective American and European masterclasses. She eventually started working with renowned maestros such as Jin Wang, Jorma Panula, Kenneth Kiesler, Christian Ehwald, Sigmund Thorp, Marin Alsop, Grant Llewellyn and Riccardo Frizza. Now, she often receives advice from Alexandre Myrat, her mentor and coach.

Through many inspiring projects, Chloé was able to meet outstanding artists from various regions of France and abroad (Belgium, Switzerland, Italy, Germany, Austria, Greece, Romania, Hungary and the United States). She has then conducted works from the repertoire and masterpieces in collaboration with the Maggio Musicale in Florence, the Bucharest Symphony Orchestra, the Danube Symphony Orchestra and the Orchestre National de Bretagne among others. She was assistant conductor during the festival Music in the Alps in 2018. In the area of opera, she supervised the creation of the Labopéra Périgord-Dordogne – a collaborative opera company, included in the national network of the Fabrique Opéra. Chloé will be conducting Carmen, the famous opera by Bizet (April 2022). In 2020, she experimented with baroque music and conducted Alcina by Haendel during the Académie Lyrique in Vendôme. She was also Dominique Rouits’ assistant conductor at the Opéra de Massy during the 2017-2018 musical season. During the 2021 edition of the International Conducting Competition in Bucharest, Chloé won the BMI Award (Bucharest Music Institute Award) at the end of the final round of the competition. In 2019, she won the 15th Danube Conducting Competition in Budapest. 

On one hand, thanks to her past experiences and the teachings of her mentors, Chloé has conceived a unique and diverse repertoire built upon a special aesthetic dimension and deeply anchored in both areas of symphony and opera. On the other, many engaging conversations with her peers have contributed to the emergence of numerous consubstantial approaches inherent to her artistic vision. She grants a central artistic importance to the original text – an interpretative approach shrewdly informed by her work in musicology and her personal energy and singular sensibility. Her ideas on the role and the responsibilities of a conductor have strengthened over the years, considering the progress of her musical career and her meetings with renowned music professionals.
As a young conductor, she now aspires to inspire musicians and to build meaningful connections with them that can serve the structure of the sound and the management of unpredictable musical elements. She combines her work for the preservation of a valuable musical heritage with her desire to support and defend the creation of art as well as contemporary composers. Finally, she strives to make her artistic vision “transversal”, according to two guiding principles.
The first has to be understood as a desideratum to seek transcultural experiences, meetings and confrontations between complex cultural identities. Chloé’s musical sensibility allows her to explore various styles and musical languages that surpass any particular aesthetics in order to come up with a large repertoire in which a sense of profound diversity becomes an aesthetic necessity rather than a device.
The second fundamental idea focuses both on the essentiality of adopting a multidisciplinary approach and the ambition to design projects in which different arts intertwine, clash and unite to create a unique work. Chloé finds additional energy, dynamic ideas and an inspiring form of poetry in the mingling of aesthetics.

Chloé actively perceives music as a powerful factor in the reinforcement of social ties. She accordingly liaises with local cultural stakeholders to conceive projects meant to reach out to new audiences. She is also acutely conscious of the issues related to the right of equal access to arts and cultural wealth, especially when it is known that only 4% of the population attends operatic performances. This idea persuaded her to set up workshops and organise various types of musical events with different aesthetics – small format concerts and operas for instance – in the interests of promoting music in unexpected places.
Transmission and collective musical experiences are main pillars of her practice. Chloé holds a diploma in the management of musical organisations – DADSM, Diplôme d’Aptitude à la Direction des Sociétés Musicales. She works to develop ensembles reachable for non professional musicians whilst advocating for the professionalisation of their leadership. She is also regularly invited to host training sessions in conducting. The meaning of her commitment can only be understood in light of these strong values, palpable in projects she carried out with the association Orchestre à l’Ecole and in her collaborations with several orchestras of the Confédération Musicale de France including the Orchestre de Forbach (2017-2020), the Orchestre départemental de la Dordogne and the Orchestre de Thiviers.