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Født i 1956, begynte Arnaud de Beauregard sine orgelstudier som 14-åring, med Pierre Vidal ved "Conservatoire National" i Strasburg og senere med Louis Robilliard ved "Conservatoire National" i Lyon.
I 1983, tok Arnaud de Beauregard vituosodiplom med høyste karakter ved Schola Cantorum, Paris. Han ble av en samstemt jury (som besto m.a. av Jean Guillou) erkjent Konsertdiplom i 1984.
I 2 år var Arnaud de Beauregard lektor ved Schola Cantorum. In 1985, spilte han i "dominical"-konsert ved Notre-Dame de Paris, og noen dager senere deltok i 300-års feiringen der for Händels fødsel. Siden har Arnaud de Beauregard gitt mange orgelkonserter i Norge, Danmark, Sverige, Frankrike, Tyskland, Sveits, Nederland, USA, Canada og Japan.
I tillegg til deltagelse i International Festival of Gdansk, fikk han åpne "Musiques d’Eté" Festival i Biarritz, der Yuri Bashmet og Viktor Tretiakov, (Presidenten ved Moskvas International Tchaikovsky Konkurranse) også var tilstede.
I tillegg til sine solo orgelkonserter har Arnaud de Beauregard adaptert for orgel eller orgel og piano, ulike verk, bl.a. Vivaldis "Fire Årstidene" og konserter av Bach.
Hans orgelspill har også inspirert komponistene James de Mars og Russel Reeds til å skrive nye verk for piano og orgel.
Arnaud de Beauregard gir f.t. mesterklasser ved belgiske og amerikanske universiteter.
Kritikk
- The "Colloque n°2" for piano and organ, a contemporary work by Jean Guillou, has first surprised the audience , then caught its attention , through the unusual dialogue it staged . Mystical accents were merged into a lyrical mood , all the more enhanced by Arnaud de Beauregard’s talent and hiss powerful organ.
- Sud-Ouest
- The hands and feet of Arnaud de Beauregard emotionally caress the wood and ivory of the organ keyboards . His subtle and nuanced playing is breathtaking and meswerizing all the more so when he interprets work by Bach and Liszt . In his first concert in Mâcon in 1978 he was nervous , but talented , and was immediatlely transformed as soon as he touched his instrument . Arnaud de Beauregard is one of the most sensitive and gifted organists of these years .
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Figaro-Magazine
- An attentive, impassioned audience could judge how skilfully this young performer conjured up a breathtaking emotion through his virtuosity and his taste for the colour of sounds . The " Introduction and Passacaille in D minor " by Max Reger , which had been very rigorously written , turned out to be teeming with life and anxiety in Arnaud de Beauregard’s interpretation. As for the " Prelude and Fugue on the name of Bach " , by Franz Liszt , no more awe-inspiring and intensely moving interpretation could be imagined . Liszt himself could not have played it more brilliantly .
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Courrier de Saône et Loire
- This young organist whose career is brilliant, lays emphasis on the quality of tone in music , and does not flinch from running risks , especially in the shifts from one keyboard to another .This method gave an incredible taste the " 10th Concerto in D minor " by Haendel , which was brilliantly performed . The audience was enthralled by this dynamic and lifely interpretation .
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Le Dauphiné Libéré
- This exceptionnal concert was something transcendant. During these two hours, the powerful personality of Arnaud de Beauregard imposed itself from the outstart . As a moving symbol , one can note the repeat of Jean Guillou’s transcription of "Vivaldi’s Concerto in D major", which stands for a homage paid by the student to the teacher .The student kept the teacher’s clarity in playing , and his next piece attacks, but he added his own ardour to it , which changed everything .
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Le Progrès
- The stunning resources of the recently restored organ in Trinity Cathedral in Trenton were brilliantly demonstrated on Sunday afternoon by Arnaud de Beauregard , the renowned French organist .In a recital sponsored by the Cathedral Arts Series , Beauregard achieved sonic wizardry in a performance that featured his own transcription for organ of Vivaldi’s masterwork for orchestra , " The Four Seasons ". ... All of this could have been a jumble of sound in less gifted hands, but Beauregard produced music of detailed clarity throughout the piece . Those who are familiar with the work may have missed the wonderful violin solos which are a major part of the original , but there was much admirable solo work in the soloist’s version , including a lovely rendition of the Largo in the Winter scene . Following a brief intermission, Beauregard played a shorter work, a Toccata by Jean Guillou , the organist in St. Eustache’s Church in Paris . This is a bravura piece featuring crashing chords and sparkling runs , which the soloist obviously offered to show in spectacular fashion the possibilities of this magnificent organ . It also doubly reinforced the impression he had made earlier as a superlative keyboard artist . Called back more than once for bows, Beauregard in turn applauded the organ, and came down into the audience to greet Bynum Petty , his friends who arranged the concert and who restored the organ last year after it had been seriously damaged by water leaking from the Cathedral roof .
- By Donald P.Delany
THE TIMES, Wednesday August 6, 1997
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