Since he founded XVIII-21 Le Baroque Nomade, Jean-Christophe Frisch has travelled all around the world, devoting himself to exchanges and encounters of European Baroque music with various forms of traditional music. This conductor’s powerful musical adventure is also a human adventure with the musicians, which is transmitted to the audience through emotion and the humanism that underpins each of his projects.
His rigour and precision goes back to his studies of biology. He is an outstanding flautist from the beginnings of his career, and his complete recording of Vivaldi’s flute sonatas (for Universal) remains a reference. His innovative vision of Baroque music persuaded him to create XVIII-21, with the aim of implementing his musical ideas. From then on, Jean-Christophe Frisch has devoted himself to conduction and opened a new way in the rereading of the Baroque repertoire, discovered some forty years ago. His interpretations are noteworthy for the sense of contrast in tempos, the balance between the low and high registers in orchestration, and the expressive inventiveness of phrasings. Guided by a constant questioning of experiments, his research is based on the incredible advances of the most recent musicological discoveries, the authenticity and sincerity of his musicians, and his personal relationship with the orchestra, based on confidence, serenity and otherness.
Jean-Christophe Frisch has conducted in 34 countries, in prestigious venues such as the Cité de la Musique in Paris, the Kölner Philharmonie, the Bergen Festival (Norway), the Southbank Centre Festival in London, the Festivals of Jerusalem, Utrecht and Granada, the Opera Houses of Rome, Damascus and La Fenice in Venice... He has recorded more than twenty albums, unanimously hailed by the international press : ‘One of the best CDs of the year 2003’ (Sunday Times), ‘One of the year’s most extraordinary releases’ (Gramophone), ‘Fascinating recordings’ (Early Music Review)...
The concerts and shows directed by this conductor, nicknamed ‘the Indiana Jones of Baroque music’ by his musicians, have been described in numerous articles as absolutely exceptional performances :
« A cultural revelation. The resulting sound is gripping. Past master in this subtle to-and-fro between the Same and the Other » - Télérama
« XVIII-21 plays on contrasts as on relationships with a skill that succeeds in respecting the poet’s share. [...] novelty of the approach, the quality of the interpretation and the musicological rigour of the chosen options... » - Le Monde
« Essential » - classicnews.com
« Admirable spirit of imagination » - Early Music Review
« His energy and charisma transport the listener into a poetic, sensitive world » - Classica
« That is called infinite respect » - Télérama