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Events 2018 / 2019 / 2020

April, 26 2018
Conservatoire Auguste-Tolbecque. Niort
« What's up to night ?»

« La voix des monicas»
After « Un de Baumugnes » by Jean Giono.

Editions Grasset
For ceramic flute, piccolo, panpipe and tape.

Coline Drieu, narrator

To enter the universe of Jean Giono, I firstly chose to develop a composition focussing on the characters he portrayed such as « Pan , The monica, Janet » After the creation ot « Colline », and of « Pan Maître de Lure », « la voix des Monicas » was inspired by a striking episode that he wrote.

As a visionary, he tells us about the tragedy of the men with cut tongues. He makes us discover the mountain of dumb people, « a world where you don't speak like human beings »...

The choice of the main instrument is significant. It's mainly a ceramic flute playing 3 sounds that I called « a monica » This instrument is a testimony of the most ancient making of wind instruments.

The tragedy told by Giono symbolizes the will of oppressed people, deprived of language, to have a « voice » at any cost.

The story is told as a secret, which, by putting a stress on some words or phrases, will lead the audience to discover the dramaturgy.

As, very often in the works of J.Giono, Hope is always present. « The sound of music telling us we'll have beautiful hay », reminding us of the provence tradition and its « galoubet-tambourin », ends the composition.


« Silentium Nostrum »
by Elizabeth Bossero

After Shirin Ramzalani Fazel

Gérard Garcin, « prepared flute », alto flute
José Richaud, narrator

As a reponse to a request made by G.Garcin, I've decided that the Mediterranean Sea which inspires me is today's. In « El Ghibi-Rivista di Litteratura della migrazione », a literary magazine published by immigrant authors living in Italy, the text « Mare nostrum » written by S.R Fazel from Somalia, crystallised my project of composition.
(Let's remenber that Mare Nostrum was the name given to the military and humanitarian program in Italy after Lampedusa's tragedy in 2013).

This poetry, very clear in terms of content and form, confronting the point of views of well-off tourists and of refugees, seemed to me an appropriate musical version of the present days Drama. « The preparation » of the flute refers to that same Sea. The instrument inside a plastic bag like a corpse, produces a continuous sea marine crackling sensation.

G.Garcin, entirely devoted to my project , thanks to an intense collaboration, proposed to add a wistle.

By the means of these sounds and words, and with the people who will hear them, I would like to accompany the thousands of seawakes everyday in the Mediterranean...

Elizabeth Bossero



« Nessym, le souffle de la Méditerranée »

"Nessym,the Breath of the Mediterranean "

Drama department Conservatoire Perpignan-Méditerranée
Jean-François Héron, narrator
Gérard Garcin, flautist

"the Breath of the Mediterranean" is a biased choice.

Highlighting the Mediterranean Sea  litterally speaking but also , more generally , Mediterranean Culture , motivated this approach of Gérard Garcin ( as a flautist ).

To make meaning out of this Mediterranean mosaic , "The Word "  passed on via Literature and Poetry also seemed to me important and complementary.

This matching of Text /Music developped in "Nessym" has been mainly thought of, to be programmed in "Médiathéques"or be attached to their activities.

The programme of concerts proposes a double interlinking :

- traditional contemporary Tunisian music, or of a composer born in Alep , with a European musical creation; their only common point being their life around the Mediterranean.

- musical works from the XXth  and XXIst centuries with Literature and Poetry .

If the musical repertoire is entirely dedicated to the contemporary creation , the writers or poets chosen represent Mediterranean Culture from Antiquity to Present Time.

Non exhaustive list as an example

Texts and Poems after:  Mohammed Bennis, Cervantes, Nazym Hikmeth, Raphael Monticelli, Frederico Garcia Lorca, Homère, Yannis Ritsos, Amina Saïd, Sylvie Nève

Musical repertoire: Salah Mahdi, Maïté Erra, Alain Fourchotte, Georges Couropos, Joan Guinjoan, Goffredo Petrassi.

September, 14 2018 : Médiathèque des Carmes -Pertuis
January,18 2019 : Mémorial du Camps de Rivesaltes
February, 9 2019 : Médiathèque François Mitterrand - Sète
February, 22 2019 : Festival Prospective XII – Perpignan
March, 28 2019 : Mémorial du Camp de Rivesaltes
April, 19 2019 : Mémorial du camp de Rivesaltes

Creations of
Lucie Prod'homme, Gabriela Cecchi, Michel Pascal, Jean-Jacques Di Tucci, Dominique Lievre, Gérard Garcin.


Albi – « Le frigo »
April, 26 2019

Trilogy dedicated to Georges Petit

For several wind-instruments, saxophones and audio support.

For the saxophonist and improviser Georges Petit.

Without neglecting in any way his saxophones  , Georges Petit has been developing for years a genuine craftsmanship by reinventing traditional instruments very often evoking the Mediterranean countries.

Tubos” aims to make the most of the world  of sounds that Georges Petit has thus explored.

"Recceto" is the title of the first part of this trilogy.


Theâtre de Douai
May 27,28, 2019

commissioned by the Conservatoire à Rayonnement Régional de Douai.

« La sonnerie des Gayants »
(The call of the Gayants)
Suite for brass quintet

« Elzeard »
Symphonic poem after « The man who planted trees »
by Jean Giono-Editions Gallimard

« Les deux ailes de l'âme »
(The two wings of the soul)
Concerto for a grand harmony orchestra.
After « Euphonia » by Hector Berlioz

Symphonic orchestra, conductor Jean-Charles Benthowski
Harmony orchestra, conductor Georges Mouy

Students of the Music, Dance, and Drama Departments of the CRR

These commissioned works, aim at creating a dynamic and a better transversality between Music, Dance and Drama Departments.

A preparatory phase was planned during the schoolyear 2017/2018 to organize exchanges between composer / teachers / students.

This mutual understanding has led to establishing specifications enabling the composer to write « made to measure » compositions.



« Montezuma à Venise ou le miroir des mondes »
a « uchronical »  opera

Opera based on the literary work by Alejo Carpentier «  Concert Baroque »

Libretto:Ricardo Montserrat

 Meeting  Ricardo Montserrat, writer and librettist, as much interested as I was  in this writer, led me to “ actually do it “ and to take into consideration a total “ re – reading” or even more a rearrangement.

When one reads the literary work of the Cuban writer whose knowledge of the European culture is flawless, one tends to say that the word “baroque“ is insufficient.

As well as the comical side of the story, the historical approach,  underlying but essential, the time-lags, backwards and forwards in time, are the basic facts generating a form very close to musical writing, in which life and death are “ leit-motiv” acting as a” time – factor”.

Project :

The search of a language using all the forms of a theatrical language from narrative to lyric singing in all its approaches.

--“Baroque “side : developed in the setting of an opera.

The musical arrangement giving support to the stage-acting played by “a l’ inglese “ instruments taught by Vivaldi at the “Ospedale de la Pieta,” in contrast with modern instruments, but reminding the Cuban and Latin-American culture, such as the bandoneon.

--Vocal casting : a voluntarily wide choice of types of voices.
 -Male voices for the parts of Montezuma, Haendel, Scarlatti.
-A counter- tenor  for Vivaldi.
-A  female voice (alto or mezzo) for Francisquillo ( manservant 1)
-A lyric voice coming from traditional musics for the part of Filomeno ( manservant 2)
-A  women’s choir   in the scene  at “ the Ospedale de la Pietà “ in which the Priest Antonio Vivaldi introduces the orphans , pupil-musicians of the “ Maestro” :

 Cattarina del Cornetto…..Bettina della viola all’inglese…
Bianca Maria Organista…Margherita dell’arp dopio…
Giuseppina del chitarone….Claudia del flauto…
Lucietta della violetta inglese….

 As well as in the hospital scene , the choir  also acts as a”coryphaeus “ taking turns with manservant 1.
 Several supporting roles  are also  cast to members of the choir.
In order to achieve an alchemy of voices, the vocal mass it represents, is combined with the instrumental writing.

“Reading and reading …off”

The meeting of Vivaldi , Haendel ,Scarlatti , Stravinski , Armstrong  is also  a new musical story resulting in contemporary rearrangement, leading the audience to recognize or find out some quotations or borrowings……

Creation : season 2020 / 2021
Opéra du Grand Avignon (Executive Producer)



Work in progress


« Pan, maître de Lure »
New version for the 50th anniversary of J.Giono's death

 “Tryptique” for Jean Giono

Trio for flautist  playing percussion
Narrator playing recorder
Cellist making sounds with objects


« La voix des monicas »
New version for the 50th anniversary of J.Giono's death

Version for flute and tape
Version for flute and narrator


« Fortis est ut mors dilectio »
(L'amour est fort comme la mort)

 After le « Cantique des Cantiques »
Six voix voices and organ