Yann Tiersen Live at OGR Torino: An Immersive Journey of Piano and Electronics

On March 7, 2026, the Sala Fucine at OGR Torino had the honor of hosting Yann Tiersen, the acclaimed composer and multi-instrumentalist. Over the years, Tiersen has cultivated a distinctive musical style, seamlessly integrating piano, electronic elements, and experimental soundscapes. Widely recognized by the public for his iconic soundtracks to films like Amélie and Good Bye, Lenin!, the French artist arrived in Turin to premiere Rathlin from a Distance | The Liquid Hour. This latest project showcases a profound dialogue between piano and electronics, marking a significant new phase in his ongoing sonic exploration.

The venue's hall presented itself as a vast and entirely open space. There were no traditional chairs, and the audience gradually settled onto the floor, either sitting or lying down, forming a large, silent expanse focused towards the stage. The evening commenced with a captivating performance by Alice Boyd and Rachel Kitchlew, whose set blended harp, vocals, synthesizers, and field recordings. Their soundscape, evocative of ambient and experimental folk, served as a perfect prelude, preparing the audience for a concert that unfolded as a continuous, evolving stream of music.

From the very beginning, the listening experience was deeply intimate and focused. The concert began with Tiersen at the piano, establishing a foundational quietness. Gradually, synthesizers joined in, and ambient textures began to expand the sonic environment. The lighting also shifted, transitioning subtly from a deep blue to a clearer, more defined white. As the electronic layers built up, the sound gained greater density, and the rhythm progressively intensified, making the musical structure more urgent and compelling.

The new project unveiled at OGR was deeply inspired by a recent journey Tiersen undertook along the North Atlantic coasts, encompassing Ireland, Scotland, and the Faroe Islands. This profound experience gave rise to two complementary musical dimensions: on one side, an essential and contemplative piano style; on the other, a more dynamic electronic texture built from intricate sequences and layered sounds. During the concert, these two components did not rigidly alternate but rather intertwined seamlessly, crafting a rich sonic journey that evolved from initial tranquility into a progressive rhythmic intensification.

In recent years, Tiersen's body of work has progressively moved beyond the immediate imagery associated with his early film scores. While the piano undeniably remains central to his compositions, electronics now play an increasingly structural role, significantly broadening the scope and dimension of his works and transforming the live concert into a more expansive and intricate sonic construction.