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Residing in his native French hometown of Briançon by choice and because of the beauty of the mountainous landscape,
Alain Daboncourt leads an active concert life, performing a widely eclectic repertoire, from Bach to Penderecki and Takemitsu,
including recital programs, chamber music, as well as more than eighty concertos.
As a soloist he plays in many countries : USA, Argentina, Brazil, Uruguay, France, Italy, Switzerland, Russia, the Ukraine, Lithuania,
Romania, Poland, India, Vietnam, China, Taiwan, Indonesia, the Middle-East ...
He appears in such major halls as : Taipei National Concert Hall, St Petersburg Philharmony, Vilnius Philharmony,
Torino's Teatro Alfieri and RAI Auditorium, Paris Salle Gaveau...
Until now, he has recorded 12 CDs.
Among his partners :
Orchestre de Chambre d'Auvergne, Russian Chamber Philharmonic, Kharkov Philharmony,
Chisinau Philharmony, Varsaw Baroque Soloists, I Virtuosi dell'Accademia, Manchester Sinfonia, Stockholm Chamber Orchestra, Macau Chamber Orchestra...
François-René Duchâble, Jean-Marie Cottet, Jean-François Ballèvre, Billy Eidi, Giuseppe Massaglia, Elena Winther, Maria Calleja, Mary Wu.. (piano)
Isabelle Courret, Marion Fromonteil... (harp)
Zoltan Toth, Yuri Bashmet... (viola)
Sibelius Trio, Solistes de Cannes, les 3B...
Alain DABONCOURT was brought into contact with music at a very young age, playing the piano in his childhood. At 14, he discovered the flute while attending a flute concert in his small hometown in France. He taught himself for four years, and after enrolling for one year in Marseille Conservatory, he studied in Paris (Michel Debost) and Genève (Jean-Claude Hermenjat). He graduated from Ecole Normale de Musique de Paris (Diplôme Supérieur de Concertiste).
He improved his art listening to the lessons of J.P. Rampal, A. Nicolet, A. Adorjan.
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*For a more detailed biography and a complete repertoire list, please contact the Agency
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"... Alain Daboncourt, flutist, playing Debussy's “Syrinx”, Honegger's "La Danse de la Chèvre",
and Reinecke's Sonata Op. 167 ("Undine"), with Lei Weng. This was playing of sleekness, capturing
the ethereal qualities of this mythology-inspired repertoire. Daboncourt's fluent runs suggested
Undine's watery world, and his long lines were commendable. This is a player who knows what he wishes to
express and possesses the skill to do so with apparent ease.".
(Roxianne Schrade,
New York Concert Review, Carnegie Hall, December 29, 2006)
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