Théo Ould, accordion without borders
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When you listen to Théo Ould, you have to forget everything you know about music. Works that he interprets, often transcriptions, like the instrument he uses, formerly exclusively attached to the popular repertoire, but today used by many composers in original scores. Under the fingers of the artist with a vast field of action, the accordion neither claims a new identity nor seeks to prove that it is worth the piano or the organ by appropriating their part in pages classics.
Théo Ould evacuates the benchmarks. Alone, as will be the case, Friday August 19, during a traveling Serenade at the La Chaise-Dieu Festival (Haute-Loire), where he will slip the Laterna Magica by Régis Campo between Bach and Weber. But also later, in a duet, with the clarinettist Florent Héau, to wander from Marin Marais to Leonard Bernstein and in a trio (the breathtaking Philia Trio), in a program (Vivaldi, Beethoven, Prokofiev) which has just appeared on CD in the DiscAuverS collection. Without forgetting his performances within the Quatuor Æolina, in particular for a memorable rendition of the fantastic symphony by Berlioz of which a disc will testify in the fall.
Mozart could have been on these eclectic posters because it is his – throughAmadeus, the film by Milos Forman (1984) – which Théo Ould owes his first musical shock. The child playing the conductor at home, thinking of the prodigious Wolfgang of the cinema, we take him to the open days of the local conservatory where, at first sight, he opts for the accordion. “For me it was a toy, a spaceship, a computer”, says the one who first held the instrument on his knees, flat, “like a typewriter”. He did not consider, as a teenager, the job of shorthand typist, but that of musician, by studying conducting for a long time with Roland Hayrabédian.
Pop star look
“I find it difficult to talk about it today because it is really old”slips Théo Ould, who has just turned 24 years old. “Classical Music Fan”, he then wants to play Brahms trios or Schubert sonatas, but he is also attracted by Jimi Hendricks and the Pink Floyd. It is not easy to reconcile these two inclinations. “I had a lot of complexes, I turned to jazz and I really thought I was going to give up the accordion”, confides the one who still invites us to qualify retrospective considerations. “It’s all very far away and I feel like I’m talking about another person. »
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