Julia Robert

“At first glance, Julia Robert’s work defies description. Leaping from astring quartet (Quatuor IMPACT) to a transdisciplinary solo performance (FAME, 2021)performance (FAME, 2021), forming a duo with Charliebeatbox (EXIT), which will lead to awhich will lead to a performative musical piece (2024), taking the time toto integrate an Orchestra of New Musical Creations, Experiments and Improvisations(O.N.C.E.I.M) and to become the artistic director of her structure (CompagnieLeidesis), she composes (alètheia – solo viola d’amore and singing, 2023; sound creation ofdaté.e.s by Pol Pi, 2020), she joined stage productions (Ce qui demeure by ÉliseChatauret, 2016; Knit by Marine Mane, 2022). “It’s a bit risky”, she warns, “becauseIt’s a bit risky,” she warns, “because with each creation, it seems as if I go from one thing to another. In reality, from one to the next, I have the samethe same desire to shake people up, to confront the material and to offer the public other ways of listening tothe public with other ways of listening. If it is difficult to grasp her at first, it is because her workis precisely in the transformation itself.”I am in evolution, but everything was already there. For many years, I carried all this without expressing it.without expressing it. Today, I dare to bring it out of myself. There is an urgency in what I am trying to tell and do.There is an urgency in what I am trying to tell and do. Sound is the common, constantly shifting root of his many projects,of his multiple projects: “I always start with sound. I hear before I make. The art of musicis the one that defines me the most.

Coming from a music-loving family “who listened to musicmusic all the time”, she is amused that she was literally born “to a powerful opera tune byMaria Callas”. She has practised dance, singing and music since childhood, and trainedclassical viola at the Conservatoire National Supérieur de Lyon and then with thewith the quartet player Friedemann Weigle. She made her first change, through listening,during her long stay in Berlin in 2010-2011, during which she navigated betweenconcerts at the Philharmonie, “where the orchestra plays with its guts”, and the evenings at the Berghain,electro discotheque with a “magnificent sound that I have not found anywhere else”, and theand the teeming scene of improvisations and performances. It was there that she had her firstfirst encounters with trans or non-binary people (i.e. those who do not identify with the traditional categorisation of men and women).(i.e. not recognising themselves in the traditional categorisation of male/female), with whom she particularly enjoys working today.I am not trans myself, but in terms of sensitivity, I feel that I am a trans person.I’m not trans myself, but in terms of sensitivity, I feel much more comfortable with them. In 2014, she attended theIn 2014, she attended the Darmstadt festival, which focused on new music, and the experience was a turning point.I came out of it saying to myself that I wanted to do everything! Eclecticismas a principle of radical exploration.