How did you become interested in working in music? 

I live in Lille, in the north of France and music was present in my family, though not as a central element, but it quickly became an essential part of my life.  I began my musical training at the age of six and later joined the Conservatory at nine.   I received my musical training at the Tourcoing Conservatory. I earned the Vermeil Medal in chamber music (quintet), playing works by Chostakovich, Schumann…  quite early on, in my early twenties, I began composing in a very instinctive way, both on piano and synthesizer, but the piano remained my anchor.  I am a pianist, and will remain one! 

Was there a point when you decided to focus more on composing rather than performing?

I wrote songs and orchestral pieces, drawing on my theoretical foundations, but also very much on my emotions.  For a long time, this remained personal. I learned through listening and observing what moved me in music, and later, specifically in film music. There was a real turning point with music production (DAW). It allowed me to give a much more accomplished form to the work I had already been doing for many years.

When working on an orchestration, I develop the structure solely on the piano before orchestrating.  Today, all these elements come together: my classical background, my intuition and the tools, all serving something more structured, yet deeply connected to emotion and the image.  Although I have a medical career, I have always maintained a strong connection to music, especially composition. From the age of sixteen, I felt a deep–yet modest at the time–need to create my own music.  Over time, and through experience, the composition connection has grown stronger, becoming an almost vital necessity. Composing is now part of who I am.

What kind of projects are you interested in working on?

I am particularly drawn to intimate projects, documentaries related to nature, as well as larger-scale works. Being a film composer also means immersing oneself in an unfamiliar world–discovering and understanding a new universe through the director’s vision, and experiencing a deeply immersive creative journey.  Among the composers who have deeply influenced me would be John Barry, particularly his magnificent work on Dances with Wolves, Hans Zimmer and Danny Elfman, whose orchestration and harmonic creativity I greatly admire.

Do you work with any collaborators?

At the moment, I’m working on expanding my network, particularly through platforms like cineaste.org, in order to connect with filmmakers and develop collaborations.   I’m developing French song projects with two artists, Maia and Baptiste Oster, which allows me to explore another side of my musical writing.   Maia is a composer and singer with her captivating voice. Baptiste is a French actor and performer–also my nephew. 

We’re working on two projects, “Les Roses” and “L’Artiste”.  Maia and I will submit “Les Roses” to the John Lennon Songwriting Contest.

I would also like to further develop projects that bring music and dance together, especially for the stage, in collaboration with choreographers: dance has taught me to feel music through the body, and to be attentive to movement, breath, and dynamics. It nourishes my way of composing, bringing particular attention to movement, breathing, and musical phrasing.

You are sometimes known as Janèle. How did that name come about?

Janèle represents an evolution in my artistic journey. Over time, I felt that the name Rhapso Melody no longer fully reflected my professional identity as a composer. I chose Janèle as a tribute to my two grandmothers, Jeanne and Adèle. This name resonates deeply with who I am: it embodies something feminine, intimate, and sensitive, which aligns naturally with my musical language. It is now the name which I wish to grow as a composer.

Are there any musical communities that you have found helpful?

I’ve found the French-speaking composers’ group created by Mo Krimba on Facebook to be particularly helpful. We regularly challenged ourselves with composition exercises, which is how the different resources on my YouTube channel came to life. It’s a great way to exchange ideas, grow as a composer, and explore how each artist approaches the same material differently.  Through my medical training as well, I am particularly sensitive to illnesses that affect women. Having encountered them far too often–women affected by breast cancer, I composed and created a visual piece in tribute to them here:  https://youtu.be/dOA9DStLPkc?si=8y2-0rQkZLFuFfRd

Another valuable network is The Cue Tube, which is a place to exchange ideas with other members, continue learning and gain additional tools in film scoring.  As well as the Alliance for Women Film Composers, of course!

What has the Alliance for Women Film Composers brought to you?

The Alliance for Women Film Composers has given me a strong sense of legitimacy and belonging within an international community of composers. Being part of the Alliance for Women Film Composers allows me to feel connected to a community of composers from around the world. I enjoy discovering the work and artistic paths of other composers, sharing experiences and perspectives.

Working in an industry that is still largely male-dominated can sometimes be intimidating, and the AWFC plays a vital role by creating space for support, exchange and visibility for female composers.  Beyond visibility, it is also a source of inspiration and motivation. Discovering the journeys of other composers, sharing experiences, and feeling understood in such a unique profession is valuable. To me, the Alliance represents a strong, committed and deeply human network that actively contributes to shaping a more inclusive industry.

Interview by Valerie Manahan

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