Adélaïde Ferrière opened her season with Play, successful ballet by the Swedish choreographer, Alexander Ekman, revived at the Palais Garnier. She continued in December, on Radio France, with the French creation of Marsyas, rhapsody for trumpet, percussion and orchestra by Wolfgang Rihm, as part of the Festival d’automne. Timpani, snare drum, cymbals, tam-tam, celesta, gong, xylophone, bells, castanets, triangle and other toms and wood-blocks hold no secrets for the percussionist. But it is the marimba that has his preference. An evidence when you see this little warrior fairy twirling, four sticks in hand, in the arrangement of the Libertango by Astor Piazzolla performed in 2017 at the Victoires de la musique Classique, from which she left with the prize for revelation of the year in the “instrumental soloist” category.
This important keyboard percussion – 2 meters long and five octaves –, composed of precious wood blades and sound-amplifying metal tubular resonators, brings together the rhythmic domain of his father, percussionist in the Dijon Burgundy Orchestra, and the melodic and harmonic world of the maternal piano. “These instruments complement and enrich each other, argues the young woman of 25 years, whose parents are both professors at the conservatory of Dijon, the city where she was born. That’s why I wanted to study both. »
“Sound impact”
What she will do from the age of 8 to 15, until she obtains her diplomas from Dijon, before turning exclusively to percussion “for the diversity they offer, the scenic aspect, the sound impact”, embracing a musical career hoped for from her young years as a listener. “I have very fond memories of concerts from my childhood. I was drawn to the stage, the world of music and entertainment. »
After the royal road to the National Conservatory of Music in Paris (in the class of Michel Cerutti), then a brief course at the Royal College of Music in London, the young woman naturally imposed herself in the reputedly masculine world of percussionists. She tempers this image of Epinal, evokes her Bulgarian colleague Vassilena Serafimova and the duet she forms with the jazz pianist Thomas Enhco, cites as examples the Japanese marimbist Keiko Abe, the Scottish Evelyn Glennie, whose deafness adolescence did not prevent the career.
Adélaïde Ferrière: “Percussion is in no way a question of size or physical strength”
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