Marc-André Dalbavie is now one of the most frequently performed composers of his generation, having opened up contemporary music in numerous directions. He has received commissions from the most prestigious orchestras (Chicago Symphony, Cleveland Orchestra, Berlin Philharmonic, Philadelphia Orchestra, Royal Concertgebouw Orchestra of Amsterdam, Orchestre de Paris, BBC Symphony, Montreal Symphony, Tokyo Philharmonic…), as well as from musical institutions such as Carnegie Hall, Suntory Hall in Tokyo, London’s ‘Proms’ Festival, Aspen (Colorado) Music Festival, Marlboro (Vermont) Festival, Radio France’s Présences festival, Cité de la Musique in Paris…
Starting from research on timbre and the phenomenon of sound, linked to electronics, he went on to produce a set of spatialised acoustic pieces. These create a spatial sensation in continuous transformation, within which the listener is immersed. Written especially for the halls and venues where they were to have their first performances, some of them are even in situ works and, as such, modify the framework of the traditional concert.
At the same time, the composer began work on the orchestra in order to explore full potentialities, from sound diffraction up to the symphonic bloc, gliding from one to the other via the principle of generalised « morphing ».
This innovative context has enabled him to lift several modernist taboos, and he has thus reintegrated consonance and rhythmic beat, redeployed the genres of concerto or certain chamber music combinations, given back its melodic fluidity to the voice, and rethought the question of text/music relations. In October 2010, he conducted the premiere of his first opera, Gesualdo, on a libretto by Richard Millet, at the Opernhaus in Zurich, directed by Patrice Caurier and Moshe Leiser. He is currently writing a ballet for the New York City Ballet on a choreography by Peter Martins.