Bruno Bisaro is a Paris-based singer/songwriter, poet, actor, playwright and multi-disciplinary artist, who has been deeply involved in France’s avant-garde theater, writing and music scenes over the past decade or so:
He received theater training at Blanche Salant’s and Paul Weaver’s International Theater Workshop.
Poet and friend Geneviève Pastre helped him publish his first book 2005’s L’intrépide.
Bisaro adapted one of his major poems “Octavia Or The Second Death of the Minotaur” to the theater.
In 2009, the French multidisciplinary artist performed at the Winter Shifts Festival and was handpicked by Didier Desmas for recognition in the festival’s avant-garde song category.
Bisaro had a role in a production of Chekhov’s The Seagull — and he collaborated on a show dedicated to Marina Tsvetaïeva.
He also collaborated on two different projects — a new staging of Les Valises with actors Hélène Arié and Jean-François Chatillion and a multidisciplinary performance featuring music, poetry and theater based on Yves Navarre’s poems “Chants de tout et de rien” and “Chants de rien du tout” with Ines Hammache.
In 2013 Bisaro released his full-length debut Beaujeau. Last year, he released his long-awaited Julien Vonarb-produced sophomore album Bruno Bisaro & Les Ourgans Gris. The album is a concept album, a musical novel of sorts, which features traditional songs, originals, spoken word, sound poetry and protest theater among others, dedicated to Bisaro’s friend and producer, Alain Moisset, who was a member of French punk rock act Via Viva, as well as to other lost friends.
Interestingly, Bruno Bisaro & Les Ourgans Gris’ latest single is the brooding and atmospheric “Etranger à demeure.” Centered around acoustic guitar, twinkling piano, soaring strings and Bisaro’s dramatic, baritone crooning, the album’s latest single possesses a cinematic quality while reminding me quite a bit of Untitled #23-era The Church.