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Besides a cycle of French melodies, Rémy-Michel Trotier composed several musical works using baroque repertoire as a reference for conception and instrumentation. In 1993, he set in music Rilke’s L’Attente au Bord de l’Aujourd’hui for counter-tenor, clarinet, viola da gamba and organ; this cantata was performed in Chapelle Saint-Louis de la Salpetrière in Paris. In 1995, he realised vocal cadenzas for a production of Haendel’s Alcina at Operastudion in Stockholm. In 1999, his composition for piano and electronics, Des Mirages, was first produced during the summer academy directed by Michael Jarrell and Jacopo Baboni Schilingi in Szombathely (Hungary). He then studied harmony and composition with Stéphane Delplace in Paris. In 1999, Rémy-Michel Trotier took part in the foundation of Académie Desprez where he set up the musical studies programme. In Drottningholm, he studied with particular attention the wind and thunder machineries and made an inventory of their sounds. In 2001, at the State Opera of Prague, as musical assistant for Gilbert Blin’s new production of Vivaldi’s Orlando furioso, he worked on the dramaturgical relation between space and music and laid out an authentic sound environment integrating Drottningholms Slottsteater’s recorded machineries. In 2003 he composed an electronic piece, La Machine des Orages, combining these sounds to those of the glassharmonica of Thomas Bloch – a piece broadcast by Swedish Radio. Under the direction of Gilbert Blin, Rémy-Michel Trotier conducted research related to XVIIth and XVIIIth theatre and opera. For the Boston Early Music Festival’s 2001 production of Lully’s Thésée, conducted by Paul O’Dette and Stephen Stubbs, he edited and translated Quinault’s libretto and was the pronunciation and declamation coach. Soon after, Rémy-Michel Trotier reconstructed Voltaire’s tragic theatre declamation for University of Leiden’s symposium The Leiden Theatre Perspective. Since 2004, in Académie Desprez, Rémy-Michel Trotier is editor of the Livrets collection, which proposes facsimile editions of opera librettos, presented with a foreword that examines the context of the work. In this collection he himself presented Voltaire and Rameau’s Samson, establishing a new chronology in the writing of this opera. In 2002 and 2003, Rémy-Michel Trotier closely studied scenic decoration and worked on stage perspective in the XVIIIth century. At the Sveriges Teatermuseum he made an inventory of iconographic sources related to the Bibiena, the most important dynasty of sets designers of the baroque era. This survey permitted him to draw the preliminary frame of stylistic reference for the stage design of Vivaldi’s Rosmira fedele, produced in 2003 at the Opéra de Nice by Gilbert Blin. In 2006, for Mozart’s Don Giovanni in Prague Estates Theatre, Rémy-Michel Trotier was consultant for the reconstitution of the original sets ; he worked in the same field in Opéra de Nice for Haendel’s Teseo in 2007 and Scarlatti’s Il Tigrane in 2012. His collaboration with Gilbert Blin in the field of set design kept on with Boston Early Music Festival with milestones such as L’incoronazione di Poppea (Monteverdi) in 2007 and Niobe, Regina di Tebe (Steffani) in 2009. In the field of information systems, Rémy-Michel Trotier implemented in 2004, for Académie Desprez’ research group, a bibliographical database: la Base bibliographique partagée, based on a process using the Internet to share references. He also collaborated with the I.R.P.M.F. (Institut de recherche sur le patrimoine musical en France) on the project directed by Anne Piéjus of a database “Vie musicale et spectacles dans le Mercure galant”. At the Paris-Sorbonne University, Rémy-Michel Trotier studies, under the direction of Pr. Raphaëlle Legrand, the works of Rameau. After a master's degree about Samson, his doctoral thesis of 2014 focuses on the harmonic architecture of this composer's tragédies en musique. During the year 2014, he co-directs with Raphaëlle Legrand the Atelier Rameau, a monthly seminar devoted to musical analysis of Rameau's works. Rémy-Michel Trotier is a member of
Société française de Musicologie,
Publications
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