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A vision in Pastel: The Debut Album from Mélanie Laurent
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November 22, 2025
Gold medalist of the USA International Harp Competition and solo harpist of the Orchestre Philharmonique de Strasbourg, Mélanie Laurent is undoubtedly one of the most eminent French harpists working today. Given her background, she has a natural affinity with the ethereal music of her compatriots. In tribute to the exquisite lightness of French repertoire, Mélanie titled her debut album Pastel, a word rich with delicate connotations. We asked Mélanie what this title specifically meant to her.
“The album title resonates with me in several ways. First, it’s a nod to my origins, through the pastel flower, nicknamed ‘the blue gold” of Toulouse. It also represents a palette of soft, subtle colors, as well as a drawing medium, like the harp, allowing me to paint an impressionistic universe full of nuances. These hues evoke delicacy, transparency, and subtlety, suggesting without imposing.”
Mélanie Laurent ©Lou Sarda
All these reasons led her to adopt this title quite naturally. “I must admit that my recent discovery of Pastel de Nata, a deliciously addictive Portuguese pastry, only strengthened my attachment to this word!” she laughs. Some of the repertoire’s association with this ravishing aesthetic is immediately apparent, as in Marcel Tournier’s Pastels du vieux Japon; others are more fleeting.
“Above all, I aimed to feel completely myself behind the harp, with pieces that speak to me and touch me deeply. I was eager to recreate the delicate atmosphere of French impressionism, as if immersing myself in a Monet painting.” However, curating a satisfying program for the disc can be an overwhelming task, and, naturally, the program’s shape has evolved over a long period of reflection. “It’s funny to think I started with an almost purist idea: to record Renié’s complete works. In the end, I ended up with a varied and somewhat enigmatic program, but one that makes perfect sense to me.”
Mélanie Laurent ©Lou Sarda
The identity of the artist is vital, but another aspect of fascination with this project is the identity of the composers, too, notably the inclusion of works by distinguished French women composers. Their presence in Pastel came about quite naturally, Mélanie explains:
“It seemed essential to me to include works by female composers, not just on principle, but because they occupy a fundamental place in the harp repertoire and have been able to express a voice of great sensitivity through this instrument. Germaine Tailleferre, Henriette Renié, Mel Bonis… they all share a refined, expressive, often luminous style of writing, a real touch of freshness.”
Though the principle remains important, “Women have always composed, but their voices have often been relegated to the shadows, sometimes even made invisible. Through this programme, I wanted to recall this constant, discreet but essential presence, simply letting the music speak for itself.“
Mélanie Laurent ©Lou Sarda
Beyond curation, the countless hours of preparation, and then the funding and planning of such a substantial project, the experience of the recording itself is unforgettable for any musician faced with the challenge of creating something beautiful for posterity. Naturally, there were notable moments of difficulty: “The few days of recording were very intense, mixing moments of suspended grace with others that were more challenging, sometimes even comical. Like when the room’s rumbling ventilation system kicked in during a particularly successful take, or when I was stunned to discover that my tuner had mysteriously reset itself to 445 Hz, making the harp too high to use the patches we had just recorded… We had a good laugh!”
[We are glad that Mélanie could laugh, we aren’t sure that we would! -Ed.]
But Mélanie, a refined artist and human, has understood that the nature of such a project is simply a milestone in the ever-evolving relationship between the artist and their work.
“We must keep in mind that even when recording an album, perfection does not exist: it is only a snapshot of a moment in time, whereas we are beings in constant evolution. The future of this album no longer belongs to me; I entrust it to the listeners, who are free to adopt it and make it their own in their own way.”
Pastel is released on Nov. 22 on Indésens Calliope Records.
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