Romain Guyot Clarinet Recital
Romain Guyot graduated at the Conservatoire National Superieur de Musique de Paris, with two first prizes, in clarinet and chamber music. He won the prestigious Young Concert Artist International Auditions in New York in 1996 and won the ARD International Music Competition in Munich with the Debussy Wind Quintet. He was the principal clarinet of the European Union Youth Orchestra, conducted by Claudio Abbado at the age of 16. He was appointed the first principal clarinet at the “Orchestre National de l’Opera de Paris” when he was 22 years old. In 2003, Claudio Abbado and Daniel Harding invited him to be the principal clarinet of the Malher Chamber Orchestra (MCO). He is a solo clarinetist in the Chamber Orchestra of Europe (COE) in 2008. He is a member of the Paris Bastille Wind Ensemble with Francois Lelux (oboe), Laurent Lefevre (fagott) and Herve Joulain (Horn). Romain Guyot plays solo concerts across Europe, Japan, Korea, South-America and United States. He performed the clarinet concertos with the English Chamber Orchestra, the Sinfonia Varsovia, the Tokyo Mozart Players, the “Orchestre Philharmonique de Radio-France” and the Ulster BBC Orchestra. Also passionate about chamber music, he plays with eminent artists such as pianists: Myung-Wung Chung, Pierre-Laurent Aimard, Roger Mauraro, Yuki Nakajima, Momo Kodama and Emmanual Strosser; violinists: Isabelle Faust, Ilia Gringolts, Dong-Suk Kang, Gordan Nikolich and Regis Pasquier; cellists: Marc Coppey, Xavier Philipps, Jean-Guihen Queyras and Queyras and Sung-Won Yang; string quartets: artis, Lindsay, Parisii, Sine Nomine, Vanbrugh and Ysaye.

In order to celebrate the 10th anniversary of the revolutionary Green Line materials in 2004, Romain Guyot had a successful performance with his Green Line Tosca Clarinet in the concert organized by Buffet Crampon, at a height of 4810 meters on Mont Blanc - a recital carried out on the highest altitude in the world.

Romain Guyot is the artistic adviser for Buffet Crampon and Rico International, and he plays the Buffet Crampon Tosca Green Line Clarinets in Bb and A, RICO Reserve and Grand Concert Select Evolution Reeds.
 
 
Event Review  On the 12th July 2008,  renowned French Clarinetist Romain Guyot treated the local crowd with an exemplary performance at Recital Hall, Hong Kong Academy for the Performing Arts. Presented by Buffet Crampon, the recital displayed a number of technically-demanding yet entertaining pieces in the instrument’s literature, perfected by Romain Guyot’s beautiful interpretation on the works.  Assisting Guyot throughout the evening was Mr Warren Lee on the piano. From the first bars of the program’s opening work, Fantasie by Rossini, one could instantly felt Guyot’s affection on compositions inspired by opera greats in the history. Followed by a sensitive and thoughtful rendition of Bela Kovac’s Salute, Signore Rossini!, Guyot proved that clarinet’s acoustical presence did not only make the instrument itself a good public speaker - for the warm, ripe and mellow timbre that Guyot brought to life had the capability to capture our hearts. The light and sweet upper register were just as elegant and graceful as Bel-Canto opera singing. These two numbers were colorful, tasteful and pleasing - setting a standard for the rest of the pieces in the recital.  As a technically assured player and a fearless interpreter, Guyot served opera composer Donizettie’s Etude as the main course of the first half of the program. Packed with speedy arpeggio that spreads over octaves, this piece, which is written to perfect a certain playing technique is perhaps a challenge to many clarinetist - but Guyot. Despite of vast number of musical notes packed in each measure and rapid transition from one octave to another, his playing was natural and smooth. Neither pitch nor accuracy were sacrificed - such credit should be given to his tremendous articulate fingering and flexibility.  Returning from intermission, Guyot and Lee moved on to Bassi’s Fantasia da concerto Rigoletto. At the heart of this frequently recorded and entertaining Fantasy, they introduced few of the best-known melodies of opera, such as La Donna E Mobile. The give and take between two musicians was consistently lively, giving a graceful lilt to the music.   Such flawless execution was further appreciated in Il carnevale di Venezia Variations for Clarinet and Piano, where the piano and clarinet took turns to host the theme that depicts the sights and sounds of the Venetian carnival. Portraying an atmosphere that is almost similar to Rags in the early 20’s, both musicians performed this active and highly enjoyable work in a much more expressive fashion. Lee’s pianism was playful, sturdy or pushy as appropriate, while Guyot continued to delight the audience with dynamic contrasts, infusing an amusing and sneezy feeling into the scene.   As the recital arrived at its final musical measure, Guyot and Lee gladly shook hands as they accepted the long and tremendous applause for their musicianship and virtuosic command over the acoustical properties of their instruments. Judging from the standing ovation, it is for certain that everyone loved Guyot and Lee, and the audience would happily have sat through it all again.