François Bou – Interview
In an interview with Partitura, the new artistic director of Casa da Música shares his vision for the project, which has so far been led by António Jorge Pacheco, whose work he praises highly. Among other ideas, François Bou emphasizes the importance of strengthening Casa da Música’s resident ensembles, fostering artistic cross-disciplinarity, increasing the visibility of its education service, attracting new creators – both emerging and established, national and international – and providing the audience with more tools to engage with works of art.
What led you, at this stage in your life, to leave your family behind and come to work in Portugal?
This is not the first time I’ve worked outside of France. I have worked in London as an artist agent and later in Barcelona as director of the Barcelona Symphony Orchestra. We’ve always been on the move – in a way, it’s an opportunity for our children, allowing them to be exposed to different countries and languages. I enjoy working outside of France; it is incredibly stimulating and fosters mutual cultural enrichment. To me, it feels natural – I consider myself a European citizen. And I must admit, I feel very much at home here!
But what was it, specifically, about Casa da Música that captivated you?
Several things. It is one of the great musical institutions of Europe, recognized as such through its membership in the ECHO network, which brings together the most prestigious concert halls on the continent. Its uniqueness also lies in the way it houses ensembles covering a repertoire that spans from the Renaissance to the present day. It is a great privilege to work with Orquestra Sinfónica do Porto, Orquestra Barroca, and the internationally acclaimed Remix Ensemble, as well as Coro, Coro Infantil, the outstanding popular music programming, and this remarkable Educational Service – one of the most significant in Europe. Furthermore, I have encountered incredibly skilled and highly motivated teams and artists, which is an invaluable asset when developing a strong artistic vision.
Throughout your career, you have held positions in programming as well as management and production. Which of these aspects excites you the most, and why?
For me, it was essential to gain hands-on experience in various professions within the music sector – from singer to general director of orchestras, from opera production to stage manager, from artist agent to artistic director. This has given me an in-depth understanding of the field. However, I believe programming excites me the most, as it is at the very heart of our institutions’ raison d’être. Even as a general manager, I have never stopped programming. Institutions exist to serve artistic creation, cultural projects, and their audiences – not the other way around.
The selection panel that appointed you highlighted your clear vision for Casa da Música’s artistic future. Could you summarize this vision for us?
What has always motivated me is the desire to share, with the broadest possible audience, this most elevated human, spiritual, and artistic creation that is music. This is my artistic and human compass. Building on the strength of our resident ensembles, I aim to further develop artistic cross-pollination, fostering more connections between different artists and audiences. This applies equally to our educational programs and popular music programming. I want to expand our repertoire while ensuring contemporary creation has the space it deserves. Casa da Música is internationally renowned, particularly for its commitment to contemporary music, which resonates with Rem Koolhaas’ unique architecture. I want to attract new artists, both Portuguese and international – emerging talents as well as established figures who have yet to debut in Porto. I also believe we should create more opportunities for encounters between artists and audiences, cultivating a genuine human connection between performers and spectators. We must be careful not to confuse “culture for all” with “a program that pleases everyone.” In this sense, we need to equip our audiences with more tools to engage with works of art. Expanding access to new audiences only makes sense if what we present to them is of the highest artistic ambition – on par with the grandeur of Casa da Música’s architecture. At the same time, I believe we should make our extraordinary spaces even more vibrant and welcoming. Museums have evolved in this direction, and we can do the same. Additionally, I intend to revitalize our audiovisual strategy, expanding the institution’s reach and enhancing its international visibility. I also envision a stronger local presence, more collaborations with Porto’s cultural institutions, greater interdisciplinarity, and an emphasis on accessibility – especially for younger generations.
Do you acknowledge that this vision might evolve as you deepen your understanding of the city and its culture?
Cultural policy does not exist in a vacuum! Much like a vineyard, its qualities depend on the nature of the soil, the local climate, and the tastes of its people. Naturally, understanding and respecting local and national culture informs the way programming is shaped. The cultural and institutional model of the Philharmonie de Paris is not identical to that of Vienna’s Konzerthaus or Casa da Música – even though they all share a European dimension.
What role do you see for the resident ensembles, and how would you like to strengthen their national and international presence?
The resident ensembles are fundamental – they are the very essence of Casa da Música’s project, defining its richness and uniqueness over the past 20 years. I want to further develop these ensembles by inviting top-tier conductors and soloists who can inspire them. The current international climate presents challenges, but we will find ways to position them more prominently on the national and international stage.
Regarding the Educational Service, do you advocate for a stronger connection with the artistic programming, or should it maintain relative autonomy?
As both artistic and educational director, I naturally seek greater synergy with artistic programming. I have found a highly motivated team eager to move in this direction. I also believe we should encourage more participants in educational programmes to take full advantage of the exceptional programming Casa da Música offers. The educational programme serves as a major gateway to the city and an unparalleled entry point into the Casa.
Before your professional career in the arts, you studied at the Conservatoire National Supérieur de Musique et de Danse in Paris. Where does your passion for music stem from?
I developed an early passion for theater, which led me to singing and opera at the conservatory in my hometown, Saint-Quentin. This, in turn, deepened my love for music as a whole. Later, my work as orchestra coordinator with Pierre Boulez at the Ensemble Intercontemporain opened my mind permanently to contemporary creation.
Institutions like Casa da Música—especially with its unconventional architecture—are sometimes perceived as elitist. How do you plan to make it even more accessible to the city?
People say Casa da Música looks like a meteorite, or perhaps a spaceship… Well, I invite everyone to embark on an extraordinary journey through the infinite galaxies of musical creation!
Portugal faces greater economic challenges than France. Many young people, struggling even to afford housing, often give up on attending concerts they would love to see. Do you think strategic measures could help mitigate this issue?
This issue exists in France as well. Casa da Música already offers reasonably priced tickets. While ticket pricing is important, equally crucial are attractive scheduling options and, above all, the social experience surrounding a concert – something Casa da Música has the potential to develop even further.
Casa da Música is celebrating its 20th anniversary. External perspectives are always valuable – especially from someone with deep knowledge of the field. How do you assess its journey so far?
It has been an extraordinary journey – one of a kind. Dr. António Jorge Pacheco established a visionary and intelligent model for this unique institution. His approach aligns closely with my own, which has guided my work in Barcelona and Lille. Casa da Música elevates Porto and Portugal within Europe, particularly through its commitment to contemporary music and its educational programmes. The next step is to bring greater visibility to all of its outstanding ensembles and to propel the Symphony Orchestra to the next stage of its development. Casa da Música has a loyal audience, which is a great asset, but we must strengthen our bond with the wider population. Additionally, it plays a vital role in Portugal’s professional music scene, providing opportunities for musicians and serving as a major platform for both Portuguese and international popular music artists—always upholding the highest standards of excellence.
Finally, though your tenure is currently set for just four years, what are your hopes for the next 20?
I hope Casa da Música continues to grow as a leading artistic reference in Portugal and beyond. May it become, more and more, the home of all people and all music. May it remain open to the changes of its time – without ever compromising on the highest artistic standards, without which nothing else would make sense.