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Carte blanche à Cécile McLorin Salvant
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chant et composition Cécile McLorin Salvant direction Bastien Stil piano jazz Sullivan Fortner batterie Kush Abadey basse David Wong arrangements Darcy James ArgueBastien Stil, conductor
A true modern and protean artist, Bastien Stil stands out as a conductor through his precise and committed interpretation of symphonic and lyrical repertoires.
The 23/24 season saw him make his debut conducting the Rotterdam Philharmonic Orchestra, the Orchestre de la Suisse Romande and the Orchestre National des Pays de la Loire.
He is regularly invited by the greatest orchestras (the Radio France Philharmonic Orchestra, the Ensemble InterContemporain, the Orquestra Sinfónica do Porto Casa da Música, the National Orchestras of Bordeaux, the Capitole de Toulouse, Lille, the Philharmonic Orchestra of Monte Carlo, BBC Concert Orchestra, etc…) in a repertoire ranging from classics to the current avant-garde, while tackling projects at the crossroads of musical genres or even film scores in concert or screen versions.
He thus directs the creation and recording of works by Raphael Cendo, Bastien David, Olga Neuwirth, Sasha Blondeau, François Meïmoun, Vasco Mendoça, Pedro Amaral, David Hudry, symphonic tributes to Philippe Sarde, Michel Legrand, John Williams, Maurice Jarre and collaborates with Wayne Shorter, Avishai Cohen, Stacey Kent, Lizz Wright, Magma, Jaz Coleman, Marcus Roberts, Philippe Lavilliers, Arthur H and Philippe Katerine.
He is also associate conductor of productions at the Théatre Marigny/Jean-Luc Choplin in 2019 (Funny Girl, Guys and Dolls), collaborating with Stephen Mear and major artists from London’s West End or Broadway (Ria Jones, Christina Bianco, etc.) .
His recording activity is just as representative: At the head of the National Orchestra of Ukraine (1st Symphony by Shostakovich – Violin Concerto by Chesnokov, soloist: Sarah Nemtanu / Klarthe Records 2018), With the Ensemble Intercontemporain (The ForgottenCity by David Hudry, Siemens Foundation Prize 2017) or with the Rouen-Normandie Opera (The Abduction from the Serail: overture and arias, Haydn / Mathilda Lloyd NoMadMusic 2018-2019) Soviet Trumpet Concerto / Moscow Symphony Orchestra (Thierry Gervais/Eric Aubier -Indésens 2016).
Graduated in 2001 from the Conservatoire National Supérieur de Musique de Paris (CNSMDP) after having obtained the highest distinctions there, he first led a rich career within the various Parisian orchestras, in contact with the greatest maestri of our time ( Abbado, Chung, Jaarvi, Eschenbach, Svetlanov, Mutti, Boulez…). It was in 2010 that he decided to devote himself fully to conducting and went to improve with Neil Thomson (Royal College of Music) and John Farrer (USA). At the same time, he trained in the lyrical repertoire at the Rouen-Normandie Opera, as an assistant to Antony Hermus.
In 2018, Bastien Stil was a laureate of the 1st International conducting competition in Bucharest.
CD – Modernisme
The album “Modernism”, under the baton of the talented conductor Bastien Stil and featuring the brilliant violinist Sarah Nemtanu, takes you into the heart of Soviet music from 1917 to 1932 …
Listen to the emblematic 1st Symphony by Shostakovich in a remarkable performance of the National Symphony Orchestra of Ukraine. Discover Liatochinski’s “Balade” Op.24 and finally the world’s first recording of Dimitri Tchesnokov’s Violin Concerto composed in 2015 in resonance of the great masters of the past.
Latest reviews
- Toutelaculture.comBastien Stil directs and coordinates the ensemble with a masterful hand. He impresses with his precision and rigor.
- La revue des deux mondes“Modernism” is the title adopted by another “small” label, Klarthe, for a disc with a curious but exciting program. We hear a work by a contemporary Ukrainian composer, Dmitri Tchesnokov, his Violin Concerto from 2016 of an assumed but never provocative modernity, with iridescent reflections and sparkling virtuosity.
- Ernst Van Bek – Classiquenews.comConductor and orchestra give the measure of this intermediate state, which could be uncomfortable, but which installs a powerful, equivocal and strangely grandiose breath. Here is the true and most authentic Shostakovich, who asserts himself here with a mastery of sound and a sense of construction… remarkable.