As a soloist this season
Trained by Philippe Muller at the Conservatoire National Supérieur de Musique de Paris and Frans Helmerson at the Musikhochschule in Cologne, Ingrid Schoenlaub was nominated for Best Ensemble of the Year at the Victoires de la Musique in 2005 with the Psophos Quartet, which was also chosen as one of the BBC’s New Generation Artist.
She has been invited to play on the most important international stages: London, Amsterdam, La Folle Journée de Nantes, Musée d’Orsay, Auditorium du Louvre, Brussels, Monaco, Toronto, Mont- réal, Boston, Tokyo, Seoul, Hong Kong, Teheran, Tel Aviv…
The quality of the exchange that chamber music playing offers her is particularly revealing. She forms a duo with the pianist Sodi Braide: their concerts in France and abroad are part of this quest for complicity between performers and, beyond that, with an audience, a place and a work.
Ingrid is a member of the Paris Mozart Orchestra, created and directed by Claire Gibault, whose social commitment, particularly in prisons and schools, is close to her heart.
Her curiosity naturally leads her to the crossroads of different art forms. In 2008, together with Laure Daugé, her dancer-choreographer accomplice, she was artist in residence in Montreal, invited by the Conseil des Arts et Lettres du Québec. With Marie Tikova, director, she created Fables Amoureuses by Jean de La Fontaine, a show for two actors and a cello. She performs in Divertimento for Rope & Strings with the English acrobat Gisele Edwards.
The director Lionel Ménard invited her to perform in his creation Louise et la petite lueur in 2018 at the Philharmonie du Luxembourg. In 2019 she created violoncELLEs, a one-woman show combining music, text and movement, also directed by Lionel Ménard.
Ingrid likes to experiment with new musical forms and is involved in contemporary creation with the ensembles Sillages (France) and Lucilin (Luxembourg). In 2017, she premiered Luis Naon’s cello concerto at the Festival Présences de Radio-France.
She also follows the teaching of Wilfride Piollet, star dancer of the Paris Opera, whose method known as “Barres Flexibles” nourishes her artistic practice. She was introduced to mime during a course at the École Internationale de Mimodrame-Marcel Marceau and followed the theatre workshops of the Compagnie Feux de la Rampe-Marie Tikova.
The exceptional companion of this journey is an 18th century Venetian cello, known as Rembrandt…