Hélène Breschand
Harpist

"Hélène Breschand is one of those musicians capable of evolving at the limit of several domains, from contemporary music to jazz. It is enough to hear her play to realize that she fully lives interpretation and improvisation as two complementary approaches to music." - Hugues le Tanneur, Le Monde.

International soloist and composer, Hélène Breschand is an emblematic figure of the experimental and contemporary harp. "With a great meditative force and a musical richness nourished by very diverse sources, Hélène Breschand's music manages to make us forget the specificity of her instrument in order to reach a singular universality. This description, taken from the magazine Mouvement, tells of her ability to harmonize silences and resonances with a mastery and relevance which, combined with a rare inventiveness, give the instrument an astonishing dimension.

Julian Cowley in The Wire adds, "If you still consider the harp an anachronism, just experience the range and power of Breschand in The Taste of Salt."

She belongs to a generation of musicians eager for cross-border experiences. Sensitive to multiple artistic disciplines, she has collaborated with classical musicians (Luciano Berio, Bernard Cavanna...), contemporary composers (Eliane Radigue, David Toop, Elliott Sharp, Reinhold Friedl, Franck Vigroux, Wilfried Wendling...). She also creates for the visual arts (Hiroshi Sugimoto, Christian Marclay...) the cinema(Joan of Arc by Dreyer, Salome by Charles Bryant) and the dance (with Mic Guillaumes, Christian UBL...).

In 2017, she participated in commissions by Michèle Lamy with visual artist Caecilia Tripp. In 2019 she created a new Solo on electric harp and voice, which was the subject of a record and a tour.

Wilfried Wendling
Composer

"Everyone knows that poetry is music, but you have to be a composer to exploit its wealth of timbres, rhythms and images.
Today, the composer finds in the computer an instrument with unprecedented possibilities for shaping what the poets inspire in him. Wilfried Wendling (...) plays the computer like Liszt plays the piano or Paganini plays the violin...".- Pierre Gervasoni, Le Monde.

Born into a theatrical family, Wilfried Wendling was fascinated by the relationship between stage, text and music from an early age. He trained with Georges Aperghis, then in various conservatories. Fond of new technologies, the computer gradually became his favorite instrument, and he extended its use from electronic music to video creation and digital arts.

He collaborates with Pierre Henry, Luc and Christian Boltanski, Jacques Jouet, Anna Alvaro, Valérie Rouzeau, Marc-Antoine Mathieu, Marie-Claude Pietragalla, Mathurin Bolze, Roland Auzet, Étienne Rey, Laurence Vielle, Jérome Thomas, Denis Lavant... His pieces have been performed in many places, on many national stages or theaters and in various festivals: Présence, Festival d'Automne, Nuit Blanche in Paris, Musica ...

Wilfried Wendling has been composing and directing multidisciplinary shows since 1995, notably presented at the Théâtre des Amandiers, the Odéon Théâtre de l'Europe and regularly at the 104 (Paris). He is an associate artist at the Maison de la poésie de Paris from 2010 to 2012 as part of the DGCA / SACEM scheme.

In 2013, Wilfried Wendling was appointed by the Minister of Culture to direct La Muse en Circuit, Centre National de Création Musicale.

In 2017, he directed a show aroundHamlet with Serge Merlin, which he composed in collaboration with Pierre Henry (Archipel, scène nationale de Perpignan, Nouveau théâtre de Montreuil, MAC de Créteil). In 2019, he created the FAKE project with Abbi Patrix and Linda Edsjö, based on Ibsen's Peer Gynt. Since its creation with Lieux Public, this performance in the public space is on tour until 2021.