From Sydney’s Opera House to Washington’s Kennedy Center, from Tokyo
Suntory Hall to London’s Wigmore Hall, from Berliner Konzerthaus to Palermo’s Teatro Politeama, from Teatro Colon in Buenos Aires to the Wiener
Musikverein, Francis Gouton is a sought-after soloist, chamber musician, conductor, and professor performing across all continents.
With chamber music partners such as Josef Silverstein, Nelson Görner, Thomas Brandis, Anna Chumachenko, Peter Nagy and the Jerusalem Quartett, he has performed at the Menuhin Festival in Gstaad, the Musicades in Lyon, the St Barth Music Festival, the Schwetzingen Schlossfestspiele, and the Australian Chamber Music Festival in Townsville; he has collaborated with notable conductors like Sylvain Cambreling, Gerard Schwarz, Martin Turnovsky, Gabrielle Ferro and Helmuth Rilling with orchestras including the Tokyo Metropolitan Orchestra and the Kanagawa philharmonie orchestra in Japan, the Orchestra Sinfonie Siciliana (Italy), the Real Filharmonia de Galicia (Spain), the Orquestra Sinfonica de Maracaibo (Venezuela), the
Izmir National Orchestra (Turkey), and Stuttgart State Orchestra (Germany).
Gouton’s broad repertoire, spanning from Baroque music to cello concertos composed specifically for him, includes collaborative performances with jazz
musicians such as Claude Bolling, Danyel Schnieder, and Jason Marsalis.
Francis Gouton is professor at the Hochschule für Musik in Mannheim, Germany, and guest professor at the Tainan University of Arts in Taiwan and
the Shanghai University of Music in China. He conducts masterclasses around the world, sharing the teachings of his mentors: Maria Kliegel, Janos Starker, and Pierre Fournier. He has been invited multiple times to Venezuela as part of the "El Sistema" project and traveled to Haiti in January 2011 to teach at a school in Port-au-Prince that had been devastated by the 2010 earthquake.
“Gouton is as eloquent as a voice…” (Stuttgarter Zeitung)
“Gouton’s lustrous cello would soften the heart of a statue…” (Richmond-USA)
“Francis Gouton’s interpretation seems to capture, through vivacity, brilliance, energy without ostentation, the spirit of the great French cellists of
yesteryear, from Maréchal to Fournier…” (Diapason-France)