I devote myself mostly to early and contemporary music, out of personal inclination for these repertoires as well as artistic commitment. My inclination draws me to these two types of music for the extrarodinary richness of their tones, colors and thoughts – a quality that the classical harp repertory doesn’t always show, especially the pieces written by 19th century harpists. Another reason why I chose to specialize in early and contemporary music is that I believe the repertoire of my instrument could be fruitfully widened with quality pieces. I am currently working toward a PhD on the transcription for the harp of the French harpsichord repertory, and I also collaborate regularly with contemporary composers.

Of course, I also play the classics frequently: Hindemith, Fauré, Caplet… Those are wonderful pieces, and not playing them would be detrimental for the instrument as much as for the performer.

Harp is an instrument with vast possibilities, and my ambition is to help make it a recital instrument in the same way as the king instruments, and move away from its image of a salon instrument.