Olivier Toussaint looks like a star: the epitome of a French matinee
idol. Tall, sophisticated, suave, with tremendous presence and stunning
charisma. He acts like a star, too, and exudes a warm Gallic charm, an
almost boyish enthusiasm for showbusiness and a gentle sense of humour. He talks passionately about music... and indirectly he has been
responsible for amassing worldwide record sales nearing 100 million.
Toussaint is a flamboyant Frenchman who just happened to discover a
phenomenon and went on to create a legend.
For the past twenty five years or so, he has meticulously guided the
international career of his protégé, Richard Clayderman. He has seen him
emerge from almost total obscurity as an unknown session musician in
Paris, to become one of the biggest selling recording artists the world
has ever seen, with an incredible 218 Gold and 60 Platinum Discs [1999
figures] to his
credit, although that figure changes virtually every day. Toussaint was once quoted as saying "A good pianist with a bad manager,
will not amount to much. A good artist alone cannot accomplish much. "Quite simply, Toussaint is a good manager and his delicate skills,
coupled with Clayderman's talent and virtuosity as a musician, is a
devastating combination and his own achievements are a true testimony to
For the man who has quietly planned and masterminded this success,
Toussaint remains refreshingly modest about his contribution to
Clayderman's outstanding career, preferring to heap the acclaim on
Richard's own shoulders. "The fascinating thing about Richard," he says,
"is that he has been at his very best over the last 23 years. And we
still have a long, long way to go."
It was Toussaint and his partner Paul de Senneville, both renowned
producers in their own right and who successfully run the French
recording company Delphine, who in 1977, handpicked Clayderman from a
bunch of young and unknown hopefuls at an audition. They were searching
for a pianist to play and record a gentle ballad they had written for de Senneville's daughter, Adeline, entitled "Ballade pour Adeline". From 20
other aspiring pianists, Clayderman got the job -he stood out from the
Ballade pour Adeline
"He was an interesting musician with a soft touch and good
technique," says Toussaint. "And he looked good, too. But after the song
was recorded, we simply could not have predicted its outstanding
success. At first we didn't have a goal to aim for with Richard. How
could we? It was all so new. We thought the records potential sales
would be around 10,000 singles, maybe 20,000. We honestly could not
have expected to be so successful the way things have happened. But it
was not an overnight phenomenon. Richard Clayderman's career did not
take off immediately all over the world. It came gradually, country by
country, year after year.
"When we started out trying to establish Richard, we decided to take
each new market as a separate identity," he says. "We learnt as we went
along. Every market is different so we had to apply different rules to
each territory. No two are the same." "It's funny, but after we had a little success at the beginning and we
started to build for the future, a lot of people kept telling me that I
was an expert in marketing, which was an enormous compliment because I
was really only learning myself.
"Things started to snowball so quickly and I was doing the very best
I thought possible according to my own instincts for what I thought
would benefit his career. I believed passionately in Richard. But to be
honest, I had no big marketing plan at all. No strategy. It all came
together so easily by chance. Eleven years ago, marketing was not as
important as it has become today."
So why did he choose Clayderman, and what was the attraction of a piano
player? "Instinct I suppose" he smiles.
"My partner and I were also handling Jean Claude Borelly, a fantastic
trumpeter who was acclaimed in many countries throughout the world. He
was a big star in France, Germany, South America and Japan and had sold
a lot of records. We were very pleased with his success and we basically
knew the market we were aiming for." Being a Frenchman, Toussaint was elated when Clayderman started to break
through in England.
"All the markets of the world and important..." he says. "...but England
is special. It is unique. It is a very difficult record market to break
into for a foreigner because the music scene has always been dominated
by British and American artists."Very
few French artists have become big starts in Britain in recent years,
only Charles Aznavour and Sacha Distel spring to mind, and I could not
imagine that it could not happen again for some time. So, I was delighted
when Richard started to take off. But I firmly believe it was that
winning combination of Richard's charisma and his outstanding musical
ability that hone through as it has all over the world. Shortly after he
established himself in Britain, he succeeded in America."
Through Richard Clayderman's undoubted success, Toussaint has not only
become one of the most successful record producers in the world, but
also one of the most acclaimed and accomplished personal managers. Yet
he modestly shrugs his shoulders when you try to sing his own praises. "I try to do my best," he says. "I try to produce Richard's records to
the best of my ability and to handle his career in exactly the same way. I am always there to iron out any problem that might arise and to take
care of him professionally. I also try to ease his workload as much as
possible. But, of course, I can't do it alone. I also try to surround
myself with the right team to act on his behalf, people with specialist
knowledge in their own fields. I have the same working pattern all over
the world, and it works well.
So, what is his own specific role?
"Well, I produce and arrange Richard's records with my partner Paul de
Senneville, and I help to choose the right kind of material to record,
for each particular country we are playing. But I couldn't possibly do
everything. I am not a Svengali character. Richard himself, a strong
character, knows what he wants to do and exactly where he is going. I
just help to nudge him in the right direction occasionally. We have a
very good working association and trust each other. I try to look after
his career with dignity.
"It was never my strategy to say that I know everything that needs to
be done at all times. How could I? I am always listening to advice and
suggestions from other people. We have a healthy dialogue. I listen to
what the experts say in each different area and then act accordingly. "They give sound advice and I am delighted to back their judgment. I am
French which can sometimes be a handicap in the international market
place because I do not possess the mentality of an American, or an
Australian, or an Englishman so I do not conduct my business in this
way. I need to be guided...and I listen a lot...It's the best
Olivier Toussaint's own career is steeped very much in music.
"Music, music, music...it is my passion," he admits. "I always
wanted a career in music, although my mother told me that it could be a
dangerous path to follow and I must get a degree and qualifications in
the professions to fall back on. So to please her, I studied Sociology
at University in Paris. But as soon as I graduated, I was back making
music." He worked professionally as a singer and musician, playing
After performing with several local groups and bands in the French
capital, he later turned his hand to writing, producing and recording
and enjoying a few hit records in his own right. At the same time he was
involved in writing for television and the cinema. "I wanted to work, to
do anything as long as it involved music," he admits.
After he became more successful, he opened his own
Parisian recording studio. "It was very small, little
more than two tape recorders". He
met Paul de Senneville and the two formed what has become a unique
partnership. "I was looking for a
producer for my material and songs when we met," he says. "Paul was
recording Michel Polnareff at the time and was very successful. I played
him some of my songs which he quite liked and we started writing
together. When we had build up a large enough repertoire we began
recording. Michel Polnareff recorded one of our songs and took it to
Number One in France.
"Then, Jean-Claude Borelly recorded another song, Dolannes Melody -
which we had written for the movie, 'Un Linceul n'a Pas de Poche' and it
sold over two million copies in France alone. It was very successful,
although the film was a disaster." Today, Olivier and Paul run a
thriving organisation in the centre of Paris which boasts no less than
four major studios, and a highly successful record company.
"When I started working with Richard Clayderman, I had no intention of
becoming a manager. But I had so much faith in him that I thought it
would be a nice idea to look after him myself, especially the
international aspects of his career. My experience in this direction was
very limited, but I was determined to take a chance. I've been very
lucky. Now I also look after the career of Nicolas de Angelis, who is
also very popular in France and Australia." Yet what he fails to mention is that he is very much in demand to
represent a number of artists and he has been approached on many
"You have to have a very special relationship with your artists. It's
hard work and if you have too many clients how can you give each one
individual attention? You have to give 100 per cent, 24 hours a day.
Luckily I can combine my career as manager with record production and
composing. I have the best of every world."
For the future, however, Toussaint is still passionately involved with
Richard Clayderman's career. "There's no end to what Richard Clayderman
might achieve," he enthuses. "And each year we set ourselves new
projects to achieve in each of the many countries he has become
successful - projects specifically geared to each individual territory. It might be a concert tour, a new record album, television appearances. This way the work is stimulating and exciting. We try to consolidate as
much as we can and to retain Richard's identity."
With Olivier Toussaint at the helm, Richard Clayderman will never have
an identity crisis.