"The classic is the artist who works for eternity with what is eternal."

(André Suarès to Romain Rolland)

 

In a world where music is increasingly giving way to entertainment and the temptation of the masses - and where, more generally, art and literature are subject to fatal trends : politicization and commodification - it seems to me, on the contrary, that it must remain the expression of privileged moments and a shared spirituality, of a "direct vision of the spirit by the spirit".

Producing concerts is first and foremost a matter of conviction.

Convictions are not forged by adopting those of others, by reading reviews where the seductive (sometimes) writing masks the emptiness of thought and the repetition ad nauseam of the same refrains, or by keeping one's eyes riveted on box-office successes.

They are formed over time, through in-depth study and reflection. It is risk-taking, as always, that legitimizes them, and it is sometimes considerable.

Those who want to know mine can refer to my work Ni Lang Lang, Ni Glenn Gould - Interpréter la musique (Le Condottiere).

I mainly defend three main types of artists : those who are entering or are already in the maturity of their art and are ensuring the succession of their great elders, iconic artists who are probably not heard enough anymore because they still have too much to say, and young artists who dare to refuse the path of entertainment and excessive media coverage.

For more than fifteen years, the concerts I have produced, mainly at the Théâtre des Champs-Elysées in Paris and at the Festival de la Haute-Clarée, have brought together dozens and dozens of artists and an ever more loyal audience.

Join them.

You won't regret it.

 

Michel Mollard