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<\/a>\u2018Emmanuelle Bertrand is one of the cellists who has impressed me the most (…) I appreciated the sensitivity and intelligence with which she conveyed the styles specific to each composer, highlighting their originality. I was immediately captivated by her interpretation, with its transparent sound, rhythmic precision, technical perfection and brilliant playing.\u2019<\/span>– Henri Dutilleux<\/span><\/p>\n
A radiant and generous personality, Emmanuelle Bertrand is recognised as a leading figure in European cello playing. Trained at the Conservatoires Nationaux Sup\u00e9rieurs de Musique et de Danse in Lyon and Paris in the classes of Jean Deplace and Philippe Muller, and winner of numerous international awards and competitions, she was notably voted \u2018Artist of the Year\u2019 in France by Diapason magazine and France Musique listeners (2011), and three times winner of the Diapason d’Or award for her recordings released by Harmonia Mundi. In 2017 the Academy of Fine Arts awarded her the prestigious Simone and Cino Del Duca Interpretation Prize. She has received two Victoires de la Musique awards, \u2018instrumental revelation\u2019 in 2002, then \u2018instrumental soloist of the year\u2019 in 2022.<\/span><\/p>\n When she was 25, she met the composer Henri Dutilleux who spoke of her as a “real revelation”. Since then, she has been the dedicatee of works by Nicolas Bacri, Thierry Escaich, \u00c9dith Canat de Chizy, Bernard Cavanna, Janez Mati\u010di\u010d, David Lampel, Pascal Amoyel and Beno\u00eet Menut. She also gave the world premiere of Luciano Berio’s Chanson pour Pierre Boulez. <\/span><\/p>\n It was during this period that she formed a duo with pianist Pascal Amoyel, her partner in life and on stage, with whom she fervently champions both forgotten works and the great repertoire.<\/span><\/p>\n She performs regularly as a soloist, notably with the Lucerne Symphony Orchestra, the Orchestre M\u00e9tropolitain du Grand Montr\u00e9al, the National Orchestra of Ukraine, the Moscow State Symphony Orchestra, the BBC National Orchestra of Wales, the Busan Symphony Orchestra (Korea), the Quebec Symphony Orchestra, the Wuhan Symphony Orchestra (China), the Radio France Philharmonic Orchestra, the National Orchestras of Ile de France, Lille and Lorraine, and the Philharmonic Orchestras of Strasbourg and Monte Carlo.<\/span><\/p>\n Passionate about the links between music and the word, she works in close collaboration with Laurent Terzieff on texts by Jean-Pierre Sim\u00e9on. In 2005, she co-wrote and performed with Pascal Amoyel in Le Block 15 ou la Musique en r\u00e9sistance, directed by Jean Piat, based on the testimonies of musicians saved by music in the death camps. In 2011, she created Le violoncelle de guerre (The War Cello) in tribute to Maurice Mar\u00e9chal and his cello, made a few steps from the trenches in 1915. She went on tour with this program until 2018 in turn with Didier Sandre, Christophe Malavoy, Francis Perrin, Fran\u00e7ois Marthouret or Richard Bohringer. In 2020, Robin Renucci entrusted her with the role of Agafia in Oblomov by Gontcharov (Tr\u00e9teaux de France), offering to link the roles of actress and musician.<\/span><\/p>\n She teaches chamber music and cello at the Conservatoire National Sup\u00e9rieur de Musique et de Danse de Paris. In 2022, she became the first woman to be appointed professor of cello in the history of the institution, founded in 1795. <\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n<\/span>","protected":false},"excerpt":{"rendered":" \u2018Emmanuelle Bertrand is one of the cellists who has impressed me the most (…) I appreciated the sensitivity and intelligence with which she conveyed the styles specific to each composer, highlighting their originality. I was immediately captivated by her interpretation, with its transparent sound, rhythmic precision, technical perfection and brilliant playing.\u2019- Henri Dutilleux A radiant […]<\/p>\n","protected":false},"author":3,"featured_media":248859,"comment_status":"open","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"project_category":[1302,1606,365,372],"project_tag":[151,387,1113],"class_list":["post-227144","project","type-project","status-publish","has-post-thumbnail","hentry","project_category-aca-paris-2022-en","project_category-aca-paris-2026-en","project_category-academie-printemps-ang","project_category-violoncelle-en","project_tag-violoncelle-en","project_tag-cours-violoncelle-en","project_tag-emmanuelle-bertrand-en"],"_links":{"self":[{"href":"https:\/\/www.musicalta.com\/en\/wp-json\/wp\/v2\/project\/227144","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musicalta.com\/en\/wp-json\/wp\/v2\/project"}],"about":[{"href":"https:\/\/www.musicalta.com\/en\/wp-json\/wp\/v2\/types\/project"}],"author":[{"embeddable":true,"href":"https:\/\/www.musicalta.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musicalta.com\/en\/wp-json\/wp\/v2\/comments?post=227144"}],"version-history":[{"count":35,"href":"https:\/\/www.musicalta.com\/en\/wp-json\/wp\/v2\/project\/227144\/revisions"}],"predecessor-version":[{"id":248863,"href":"https:\/\/www.musicalta.com\/en\/wp-json\/wp\/v2\/project\/227144\/revisions\/248863"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musicalta.com\/en\/wp-json\/wp\/v2\/media\/248859"}],"wp:attachment":[{"href":"https:\/\/www.musicalta.com\/en\/wp-json\/wp\/v2\/media?parent=227144"}],"wp:term":[{"taxonomy":"project_category","embeddable":true,"href":"https:\/\/www.musicalta.com\/en\/wp-json\/wp\/v2\/project_category?post=227144"},{"taxonomy":"project_tag","embeddable":true,"href":"https:\/\/www.musicalta.com\/en\/wp-json\/wp\/v2\/project_tag?post=227144"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}