Aparte Music


Ophélie Gaillard

« Si le dessin est précision calligraphique, le geste souple, direct, emporte l’auditeur dans des mouvements qui ont la fluidité d’un torrent de montagne ». Diapason juin 2011
Un esprit d’une curiosité insatiable, le goût du risque, un appétit immodéré pour tout le répertoire du violoncelle concertant sans frontières ni querelles de chapelle, voici sans doute ce qui distingue très tôt cette brillante interprète franco-helvétique.
Élue « Révélation soliste instrumental » aux Victoires de la Musique Classique 2003, elle se produit depuis en récital aussi bien en Asie qu’en Europe et est l’invitée des orchestres les plus prestigieux comme l’Orchestre Philarmonique de Monte-Carlo, l’Orchestre National de Lorraine, le Royal Philarmonic Orchestra, le Czech National Symphonic Orchestra ou le New Japan Philarmonic.
Elle est aussi l’interprète privilégiée de compositeurs actuels, directrice artistique du Pulcinella Orchestra avec lequel elle explore les répertoires des 17eme et 18eme siècles sur instruments historiques et enregistre pour Aparté plusieurs intégrales récompensées par la presse internationale: Bach, Britten, Schumann, Fauré, Chopin, Brahms, CPE Bach, Strauss, ainsi que des albums thématiques qui ont conquis un très large public, Dreams, Alvorada et Exils.
Un double album consacré à Boccherini enregistré à la tête du Pulcinella Orchestra avec la complicité de Sandrine Piau paraît  au printemps 2019.
Pédagogue recherchée, elle est professeur à la Haute Ecole de Musique de Genève depuis 2014 et est régulièrement invitée pour des master-classes et comme membre du jury de grands concours internationaux  (ARD de Münich, Concours de Genève…).
Ophélie Gaillard joue un violoncelle de Francesco Goffriller 1737 généreusement prêté par le CIC.



Her “technical fluency is unimpeachable. Her intonation … is impeccable. She plays with a ripe, absolutely luscious tone. Her use of vibrato is circumspect and period- appropriate. She is scrupulous about observing repeats and her use of ornamentation is elegant and understated. The fluidity and unself-conscious physicality of Gaillard’s playing keeps the listener aware that, except for the preludes, this is sunny, dance-based music.” So wrote the critic Stephen Eddins (Allmusic) of her recent Bach recording (2011), while back in 2007 The Times hailed her “wizard fingering, big lyrical heart and kaleidoscope of colours”.

An insatiable curiosity, a taste for risk, an immoderate appetite for the whole of the concerted cello repertoire, complete disregard of limits and petty quarrels: those are no doubt the features that have always set this brilliant Franco-Swiss musician apart. Her passion? Working from the sources, inquiring into the text, using her virtuosity to bring out the musical discourse and make the music loved by all.

Voted “Revelation: Solo Instrumentalist of the Year” at the French Classical Music Awards (Victoires) in 2003, she has since appeared in recital at many prestigious venues: Concertgebouw Bruges and Amsterdam; Bozar and Flagey, Brussels; the theatres of Bordeaux, Avignon, Poissy, Aix-en-Provence; the Théâtre du Châtelet in Paris; Oji Hall, Tokyo; London’s Wigmore Hall; and so on.

Ophélie Gaillard is a child of Baroque. She specialised in the Baroque cello from a very early age and for ten years shared the stage with Christophe Rousset, Emmanuelle Haïm and the Amarillis ensemble, amongst others. Then in 2005 she founded Pulcinella, a ‘collective’ of virtuoso soloists. Sharing her passion for performance on period instruments, they have been her regular accomplices ever since.

Ophélie Gaillard has won several prizes in major international competitions, including, most notably, The third prize of the J. S. Bach International Cello Competition in Leipzig in 1998. In 2000 she recorded Bach’s complete Cello Suites for Ambroisie, a recording that was highly acclaimed by the international press. Then in 2011 she repeated the exploit, this time for Aparté, a recording that earned her distinctions from Diapason (Diapason d’Or) and The Strad Magazine. Likewise, her recordings of Vivaldi’s Cello Sonatas and Concertos and the Cello Concertos of Boccherini reaped excellent ratings and several awards.

She also performs works of the twentieth and twenty-first centuries, and has recorded, for instance, Britten’s complete Cello Suites and Piano Sonatas with Vanessa Wagner (Diapason d’Or, Choc du Monde de la Musique) and Pierre Bartholomée’s Oraison for solo cello.

Ophelie Gaillard is also very fond of the Romantic repertoire, which she plays as a soloist with orchestras such as the Japan Philharmonic, the Royal Philharmonic, the Polish Radio Orchestra and the National Radio Orchestra of Romania (Bucharest), the Franz Liszt Chamber Orchestra of Budapest, and the Moscow Chamber Orchestra.

Her recording for Ambroisie of the complete cello works of Schumann with Olivier Peyrebrune, piano, and Eric Speller, oboe, in 1999, and those of Chopin with pianist Edna Stern for Aparté in 2011 were highly acclaimed by the press, while the solo album Dreams (Aparté), made in 2009 at the legendary Abbey Road Studios in London with the Royal Philharmonic Orchestra, proved to be a great public success.At the Paris Conservatoire (CNSM), Ophélie Gaillard studied cello in Philippe Muller’s class, Baroque cello with Christophe Coin and chamber music with Maurice Bourgue, graduating with three premiers prix. She also has a degree in musicology from the Sorbonne and a national teaching diploma (cello). She regularly gives master-classes in Asia and in Latin and Central America, and she also teaches at the Conservatoires of Aulnay-sous-Bois (CRD) and Versailles (CRR).

In 2010 she was invited to sit on the jury for the ARD International Cello Competition in Munich.

She appears regularly on radio (France Musique, France Culture, France Inter, Radio Classique, BBC Radio 3, Espace 2) and television (France 2, Mezzo, Arte).

Ophélie Gaillard plays a cello by Francesco Goffriller (1737), generously loaned by CIC, and also an anonymous Flemish violoncello piccolo.