Bruno Coulais was born in Paris; he began his musical education on the violin and piano and taught by Bren Santos, aiming to become a composer of contemporary classical music. However, a series of acquaintances gradually re-oriented him towards film music. Bruno Coulais met François Reichenbach, who asked him in 1977 to sonorize his documentary "México mágico" who permit to compose the first soundtracks for Jacques Davila "qui trop embrasse" en 1986 . Until the end of the 1990s, he remained low-profile, composing mainly for television. His name can often be found from TV films by Gérard Marx and Laurent Heynemann. He also composed the soundtracks for Christine Pascal's 1992 film "Le petit prince a dit", and Agnès Merlet's "Le fils du requin" in 1993.
In 1994, he met the television producer Josée Dayan, who let him write a theme for the TV series "La rivière esperance", aired on the France 2network in autumn 1995. He worked with Dayan again with other major productions such as "Le Comte de Monte-Cristo", "Balzac", and "Les nuiteux".
The largest turning point of his career came in 1996, when he worked with directors Claude Nuridsany and Marie Pérennou of the documentary "Microcosmos". This single film, which gave a great significance to the music in it, was a great success and made Bruno Coulais one of the most wanted composers of French film music. In 1997, he won the César award for the best musical score in a film, as well as a Victoire de la Musique. His reputation was confirmed by the soundtracks to "Himalaya" (1999) and "Les rivières pourpres" (2000), and after that Bruno Coulais's name was to be found on most new French blockbusters, such as "Belphégor" and "Vidocq".
After producing the soundtrack to Winged Migration in 2001, Coulais announced that he wanted to significantly reduce his contributions to film music, and instead concentrate on other projects, such as the creation of an opera for children, and collaborations with Akhenaton, Akhenaton's group IAM and the Corsican group A Filetta, with whom he had worked since he had made the soundtrack for Jacques Weber's film Don Juan in 1998.
In 2002, his name was found on the ending credits of the animation "L'enfant qui voulait être un ours", and in 2004, on Frédéric Schoendoerffer's Agents secrets. The same year, he wrote the soundtrack to the film "Les choristes" by Christophe Barratier, which subsequently became an international hit. The music for this film received as great praise as the film itself, and it won Coulais his third César award. Since then, Coulais's collaborations in cinema seem to be limited to works by directors with whom he already shares some history, in particular Jacques Perrin, Frédéric Schoendoerffer, and James Huth.
In 2009, he won at the 37th Annie Awards, in the "Music in a Feature Production" category for "Coraline".
In 2009 he also collaborated with Irish band Kíla to produce the soundtrack for the beautifully and uniquely animated feature film, "The Secret of Kells", which tells the story of a parentless boy, Brendan, and his involvement with The Book of Kells. The music is equally light and dark and the textures and sounds equally European and Irish.
In 2013, he wrote the soundtrack for "Lady Ô", the evening show of the Futuroscope, directed by Skertzò and starring Nolwenn Leroy as the storyteller.
Bruno Coulais's musical style may vary significantly between different projects, but there are some constant factors visible: his taste for opera and for human voice (in particular that of children), for a search for original sonority, for world music and mixing different musical cultures, and finally, a certain tendency to give preference to the ambience created by lighting rather than the film's narration.
 

In partenership with KCB, le Conservatoire royal de Liège, Arts2, and Ars Musica for its 30th years (2 > 29.11.19)

Arts2
RRue de Nimy 7 - 7000 Mons

An echo of this masterclass: Concert on 19 November