On the release of LUZIA (Live), meet Sébastien Laurendeau, producer of the sountrack that will transport you through the culture of Mexico with influences from flamenco, Caribbean, and tribal music.
About Sébastien Laurendeau
What is your background and how long have you been working with Cirque du Soleil / on LUZIA?
I joined Cirque du Soleil in the summer of 2000, during the creation of Zumanity, as an assistant composer. Subsequently, I collaborated on various projects, including special events, Wintuk, Banana Shpeel, Zarkana, and Iris, in collaboration with Dany Elfman. I then served as the bandleader on Amaluna. After a professional break outside of Cirque, I was contacted to participate in the creation of LUZIA, where I have been working since 2015.
What inspired your decision to run away with the circus?
It's funny to note that, contrary to what one might think, I initially had no desire to work for Cirque du Soleil. When I was first approached to become the drummer on Zumanity, I declined the offer, despite my difficult personal situation at the time. A few weeks later, Simon Carpentier contacted me again to offer me the bassist position, my primary instrument, but I refused once more because I wanted to become a bandleader. Eventually, when I was offered the role of assistant composer, I accepted – and that's how my adventure at Cirque began. Since then, apart from a short interruption, I have never stopped collaborating with this company.
Personnal Perspective
How would you define the music of LUZIA in 3 words? What makes the music so special for you and the band?
Improvisation. Latin. Emotional.
What makes the music of LUZIA so unique is the way Simon Carpentier and I designed the musical accompaniment. Rather than adopting a completely rigid approach, where every movement is precisely synchronized, we preferred to create fixed structures while leaving room for improvisation. Our scores are more like lead sheets, with melodies, chords, rhythms, and key moments, but they offer musicians a certain freedom of interpretation.
This flexibility allows each musician to make the music their own while respecting certain predefined limits.
Do you have a favorite track or moment from the live album?
I would say that the track “La Lucha”, performed as a duet on the studio album, is particularly subtle and different. However, my favorite piece, both on the album and in the show, is “Florès En El Desierto”, which accompanies the trapeze act.
What do you hope fans and listeners take away from this album when they hear it at home?
My hope is that this album will evoke memories of the show for them. The goal is to recreate the atmosphere of the Big Top, as if they were with us again, immersed in the universe of LUZIA.
About the album LUZIA (Live)
How did you ensure the live album captured the energy and essence of the live performance?
What makes a good producer is the ability to hear what isn't necessarily written in the notes but manifests in the energy. I've always believed that our role as musicians and sound engineers is to sell air. When everything goes well, when the music resonates, you don't need to be a musician or specialist to feel that energy. The goal is to collect those magical moments.
Were there any particular tracks or moments in the show you felt were crucial to highlight in the album?
The piece “Adagio”, or “Tiembla La Tierra”, holds particular importance. This musical theme recurs throughout LUZIA, much like leitmotifs in a film. This iconic melody appears in the introduction, the animation, and the Final Fiesta, offering a distinctive musical signature to the show.
Creative Process
How do you balance the musical needs of a live performance with the technical precision required for a recording?
Recording differs from live performance, but the principle remains the same: music is always at the heart of the process. Whether through instrumental technique, microphone placement, or recording methods, each step serves the music. Success depends on selecting the right people, in the right positions, at the right time. It's always about finding the balance between technical precision and creative expression.
What’s unique about composing or arranging music for Cirque du Soleil compared to other projects you’ve worked on?
Musical arrangement at Cirque du Soleil considers the dynamic nature of acrobatic performances, which are never exactly the same. The music is designed to adapt, with sections that can be repeated or skipped while remaining musically coherent. The fluidity between different sections, as well as the harmonic integration of transitions, are unique aspects I haven't encountered elsewhere.
Were there any special collaborations or guest musicians involved in the creation of the album?
A remarkable collaboration was with our director, Daniele Finzi Pasca, who co-wrote the lyrics with his spouse, Julie Hamelin. Their involvement was an immense source of inspiration for Simon and me, and it's quite rare to have a director directly contribute to the writing of an album's lyrics.
What role do improvisation and adaptability play in the live performances and the recording?
Improvisation is closely tied to the acrobatic performance. To capture the essence of the show we needed to capture the best transitions and solos possible. This approach allows for reconciling the spontaneity of the stage with the sound quality required for a live recording.
Listen to the Album Now!
Listen to LUZIA (Live) on your favorite platform now or stream it below on Spotify!