Photo credits
Sofiane KRIFAH
Emmanuelle is one of the oldest clarinetists of her generation—which suits her just fine, since the clarinet itself is a rather old instrument. That said, she often plays for young ears, picking up flutes, the cuatro, guitar, and singing in deep registers. Armed with diplomas, she could have easily blended into the crowd, but since she plays loud, she’s found room to expand within ARFI.
She’s also a clown—surely very funny on stage or in the street, because in rehearsal, she’s not there to mess around. Emmanuelle watches fast and listens long, not wanting to miss a single crumb of music. She doesn’t repeat herself. Her entire path as a musician proves it—constantly seeking the unexpected, new encounters, intersections of artistic worlds. That journey once led her, almost miraculously, to Venezuela, where her finely tuned ears delighted in a music that felt strangely familiar. A folklore that may have only been missing her to be reimagined?
The list of her musical, choreographic, and theatrical contributions is a long one—through all of it, she remains deeply attentive to her audience and to her own sense of artistic self.
After creating numerous productions for young audiences, she now performs as a clown in healthcare settings with Vivre aux Éclats (Lyon), brings Venezuelan music to French stages with the trio La Vaca Mariposa, and makes her mark in Venezuela alongside Venezuelan musicians.
At ARFI, she led the Bululu project, joined La Marmite Infernale, and, naturally, plays in the bass clarinet trio Clarib & Sila.