The Festival in the words of Chloe Dumoulin

Taking advantage of its position as an international hub for classical music in Canada, since 2022 the Festival de Lanaudière has offered a mentoring program that enables six young Canadian classical musicians to create privileged professional links with international musicians and cultural partners. Découvrez-en plus sur l’expérience de l’une de mentorés de l’édition 2023 : Chloé Dumoulin


A graduate of the Conservatoire de musique de Montréal, in 2023 Chloé Dumoulin completed a dual master’s: in piano with André Laplante, and in accompaniment with Claire Ouellet. Crowned Grand Prize winner in the piano category, laureate of the Hélène Lessard special prize, and of the Québécor Third Grand Prize at the Prix d’Europe Competition in 2021, Chloé was also awarded the Canimex Grand Prize at the Festival-Concours de Sherbrooke in 2021, and a First Prize at the Canadian Music Competition.

Chloé has just taken part in the Mastercourse at the prestigious Oxford International Song Festival with baritone Olivier Bergeron, also a 2023 mentee.


Tell us a bit about your musical background, about how you got started, up to the present day. We are interested to know what led you to music and to your instrument.


Chloé Dumoulin

My parents are not musicians, but being great music buffs, they transmitted their love of music to me very early on. They love telling me about how my mother would listen to Brahms and Chopin piano concertos while she was pregnant with me. My grandmother, my “mamie,” is an opera singer and pianist, who also founded a music-focused elementary school in Sainte-Thérèse named Arthur-Vaillancourt (on Montreal's North Shore). My older sister went to this school before me and learned the violin. I would tap out many melodies I had heard, by ear on my grandma’s piano, and I loved to sing, even before I could talk!

I enrolled at Arthur-Vaillancourt in piano—but I really enjoyed the violin as well! After that, I attended the Pensionnat Saint-Nom-de-Marie in Montreal, because I was determined to join its music-study program, so I could continue to go to a school where I was making music for half the day.

My love for music remained constant, and ultimately, I ended up at the Conservatoire de musique de Montréal, where I completed my Cégep, my bachelor’s, and two master’s degrees—one in solo piano and one in collaborative piano. I finished my studies at the Conservatoire in May 2023, and since September 2023, I have been at the Guildhall School of Music and Drama, in London, working on an Artist Diploma, concentrating on my artistic practice and my personal development.


This summer’s program enabled you to meet with international actors within the cultural sector. What was your takeaway from these encounters? 


So many things! First, my week in Lanaudière was an important time of reflection and introspection for me since I was experiencing a fairly intense musical lifestyle in Montreal and preparing my transition to London. These encounters came at the best time in my journey. It is difficult to reduce to a few words the impact that the program had on me, but what stays with me the most is the power of a strong artistic identity: knowing ourselves, knowing in what direction we want to go, and knowing how to surround ourselves with people who align with our values and our goals.


Another powerful takeaway was that we shouldn’t hesitate to reach out to people with whom we wish to collaborate artistically. Our own individual responsibility for our careers, and all the actions we can take to become the best versions of ourselves as human beings, are very closely connected our musical evolution. We spoke candidly about ego, self-management, and individualism, and these discussions nourished me in my relationship to these concepts, and in terms of how an artist must have enough ego to survive.


Tell us about a highlight and/or about a concert that stood out for you during your week with the Festival de Lanaudière.


Concert Strauss au sommet | Orchestre Métropolitain

Two concerts made a deep impression me: the Everything Bach recital given by Angela Hewitt and Alpine Symphony with the OM and Yannick Nézet-Séguin. After a loaded week of discussion and reflection, it was beyond inspiring for me to come back to the simplicity of music, and to the emotions that a concert can evoke for us.

I think the artistic depth of these musicians, of their careers, and what they bring to the world, was a great lesson in humility. I was very moved after these two concerts, and the feeling that came to me as I listened to this music, offered so generously and authentically, will stay with me for a long time. The quality of concerts like these is part of a balance that’s needed, in my opinion, in a mentorship program where emphasis is mainly placed elsewhere than on the aspect of performance.


Why would you recommend it to young performers to take part in a mentorship program such as the Festival de Lanaudière’s?

I would recommend it to anyone who wants to invest in their career, who feels they are at a turning point and requires more tools for achieving their objectives. Because of the quality of our exchanges, both within the group of mentees and with the mentors, and with the Festival team, a lot of musical and artistic connections took shape in Lanaudière!

The mentorship program allowed us the time to take stock of ourselves personally and open up possibilities on a broader level, both in our thoughts and in concrete reality.



  • Chloé currently studies at the Guildhall School of Music and Drama in London. Her concentration is on learning new repertoires and building programs for international competitions;
  • She continues to give concerts with the Quatuor Vatra;

Chloé will perform in several chamber music concerts in Montreal in the coming months, including:

  • The Canadian Centre for Architecture as part of its Chapelle historique du Bon-Pasteur Concerts;
  • The Conservatoire de musique de Montréal as part of its Intermezzo series;

Chloé will also give the premiere of a solo work that was written for her, to be presented in collaboration with ECM+, in addition to recording her first album with violist Frédéric Lambert, and her various other personal projects.


The Festival de Lanaudière’s mentorship project is made possible thanks to generous support from the Fondation Père-Lindsay and the Jacques Martin Fund.

The mentees stayed at l’Appartement – coliving of Libre Entrepreneur.

Crédits-photos : Amélie Fortin & Agence BigJaw