Mode d'Emploi 9: Nathalie Dupuy

Florent Mothe: I work with a coach named Nathalie Dupuy who’s really well-known in this business, she knows a lot of people, she has really helped me, so I [discuss most everything?] with her.

 

Nathalie Dupuy: My job is to give the singer the confidence to little by little let go of the hold of his internal tension, so that the technique allows him to structure his articulation with a greater or smaller amplitude of air going in and to link that work with the emotional aspect of it.  But this link alone is- if the singer is good with his feelings, he’s good with his emotions.

 

Florent Mothe: I met Nathalie Dupuy during the Mozart l'Opéra Rock auditions, because she was there and offered advice and I thought I should take this advice because it’s pretty important.

 

Nathalie Dupuy: There aren’t so many differences between Mozart l'Opéra Rock and Florent: we want prolongations, a development, that you can find L’Assasymphonie in his album even if it’s in another form.  In any case there’s an emotionality that has the same power. But you get to a point where that power is Flo’s, and I have to trust him completely that there will be Florent Mothe in his album.  So there will be L’Assasymphonie, there has to be, because the two are linked in a way.  It’s like a marvelous costume that goes with a marvelous person.  You can’t disassociate the two.  And I think if it hadn’t been for Florent, L’Assasymphonie couldn’t have become the hit that it was.  Because I heard him singing it at the auditions and I had never heard it performed as emotionally as what Florent did with it.  It was his song. It is his song.  It will always be his song.