Jesús Noguera Guillén was born in 1993 in Orihuela, Spain. After obtaining a grado profesional in piano and a distinction in his scientific baccalaureate in his home town, he took up the harpsichord at the Murcia Conservatoire and developed an interest in the clavichord and the organ. His teachers Alberto Muñoz and Javier Artigas communicated to him their passion for Spanish repertoire.

He studied with Olivier Baumont and Blandine Rannou at the Paris Conservatoire, obtaining a Masters in harpsichord, and went on in 2018 to join the prestigious Advanced Diploma in Performance third cycle programme. He also studies with Christophe Rousset and Skip Sempé. In parallel he is preparing a Masters at the Sorbonne, researching into keyboard music from the Golden Age, a subject which he discusses in his contribution to the Lexique Musical de la Renaissance (directed by Cristina Diego).

A prizewinner in the Milan International Harpsichord Competition in 2017, he has performed in such venues as the Musée de la Musique, the Invalides and St Sulpice church in Paris, the Château de Chambord and even the Louvre, both as a soloist and in chamber formation. He has a taste for orchestral playing, performing under the direction of Sigiswald Kuijken, Fabio Bonizzoni and Ignazio Maria Schifani.

He is committed to contemporary composition, has recorded Alex Nante’s Tres preludios para Demócrito, and is the dedicatee of Joan Magrané Figuera’s Diferencias sobre el Canto del caballero.

His enthusiasm for other art forms has frequently led him to take part in theatrical, dance and film projects. He worked with filmmaker Pierre Nativel (L’Entretien des Muses, 2016 and Les Trois Mains, 2018) – exploring the interaction between dance and baroque music – and his recording of Rameau’s La Dauphine was used in the Canadian short film La Nouvelle Française (directed by Sebastian Messinger in 2016). Together with actor Ivan Márquez, he created In ictu oculi, a show on the theme of Vanity in the 16th and 17th centuries, based on Hispanic texts.

He is supported by the Meyer, Safran and L’Or du Rhin Foundations, by the Mécénat Musical Société Générale, the Porosus Fund and the Adami, as well as the Fondation de France and the Fondation Marcelle et Robert de Lacour.

 

Translation: Sophie Ilbert Decaudaveine