I am based between Paris and Avignon in the south of France where I'm teaching the historical flutes, after 15 years spent in Germany and Switzerland.
I'm playing a lot in orchestra, enjoying discovering all historical flutes from the traverso to the early 20th century flutes. I have been collaborating with orchestras and ensembles such as le Cercle de l'Harmonie, Les Ambassadeurs-La Grande Écurie, les Passions de l'Âme, Orchestre des Champs-Elysées, Freiburger Barockorchester, Ensemble Jupiter, les Siècles, l'ensemble Pygmalion, le Concert de la Loge, Anima Eterna, les Musiciens du Prince, Balthasar Neumann Ensemble and I am a member of the Spira Mirabilis Project in Italy.
I had the privilege to study with great teachers who taught me a lot, Karl Kaiser, Marc Hantaï, Jan de Winne for the traverse flute and Patrick Gallois, Felix Renggli, Robert Aitken and Isabelle Krief for my modern studies.
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The first thing you do when you pick up your traverso to start the practice day, and why?
I'll try to always play the first note having observed how my whole body is feeling: do I feel already relaxed or tensed, in the neck, shoulders, hips for example? I also pay attention to the room I am in. I try to imagine in advance how I could sound with my flute. And after this "body scan", I generally play a D, the medium one, the note on which I feel the most vibrations under my fingers.
Any recurring piece to play every day, and why?​
I don't think so. I have also to say that with the rhythm of the different projects I play, I never have the possibility of a routine. It depends on which flute I have to practice. I will not play the same piece to warm up on the traverso or the romantic flute. Also, with the traverso in 415hz, I don't have always the same recurring piece, I really try to adapt the way I warm-up to the instrument.
Do you have a daily routine?​
I think my daily routine is more based on small exercices to warm up the body (takes from the yoga, qi gong, dispokinesis). It could be really fast, but still essential to have a high practice quality. Then with the flute, I have some warm-up exercises I like particularly. I always  begin on a D in the medium register (I think on each flute I play) to feel the vibrations of the air under my fingers. Then I "test" the flute, going with some little ornaments from this D up to the A, and back to the D. Then I go with D major arpeggios to the low D and to the high one. And this is all, I'm ready to begin my journey and go on with the warm-up that we will describe later.
What kind of goals do you set for your practice?​
My main goal is to be as close as possible to the singer technique, meaning finding all the right resonances in every register, the opening of the sound, the flexibility and balance between instrument and body.
I'm translating it for the flute by studying with a lot of attention the quality of my air (different speed, warm or cold, regular or not...).
And that is for the most important thing for me: the beauty of the sound. It is the first step to give and receive emotions.
Do you do any systematic warm-up?
If by systematic you mean a sort of mechanical way of practising and playing, then I would try to avoid that.
But if I am aware and open to observe and research about sensations, I regularly use some exercises I really like. As an example, Reichert’s Daily Exercises number 1, 2 and 4. I change the rules of what we want to improve with modern flute : I'm not looking for long phrase in one breath that is really not the point : I breath a lot between each scale or arpeggio, I often begin always with the same last tone I played. So, short passages, I can repeat as much as I need to feel comfortable with my sound and the life of my air (speed, quantity, density…) First, I play slow with slurs, then faster still with slurs. And then I work with the articulation, paying attention to the pronunciation.
Do you have a specific structure for warm-up and practice sessions?​
Not really, as every day is different, and my energy too. The goals we already spoke about are important to me, and I choose different ways to achieve them every day.
Any distinctive characteristics of baroque flute daily practice vs. modern flute or other instruments?​
For a long time, I played in parallel modern flute and traverso. Now, the balance is maybe 90% in favour of historical flutes. But I really like to observe first the difference between the structure of the two instruments, like the bore, the material, and all the rest, and the higher resistance of the modern flute.
All these affects a lot the relation we have with intonation (high register low on the traverso and high on the modern flute for example).
My goal (sound flexibility, healthy playing) is exactly the same on both flutes, but with the traverso, I discovered a new world of details and refinement. Every note is special and it is so fantastic to use the heterogeneity of each note. This is unfortunately not so true most of the time on the modern flute.
The traverso is in this way for me much more demanding, but in a more human way. The breathing is "easy", and the whole playing is closer to the verbal expression (speech and language).
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What are the key elements and unmissable points of daily practice?
Difficult to say because it really depends on which "stage of life" you are, your studies, personal and professional life, etc., and how much time you really have to practice your instrument.
Personally, I did most progress when I got my twins and had no time anymore to practice. But I discovered what was really important for me: thinking in advance and a lot of intellectual processing work without having the possibility to touch my flute. So I would say, aspiration. To think about the music, the beauty of the sound, to try to find solution with a distance from the instrument. Trying to feel your body, the sensation of the fingers movement... 
And the next point is how I consider the progress. I strive to think every day that I could be a bit better, a bit further than yesterday. Step by step but each day different. It also requires quite a lot of patience!
How long and distributed should warm-up and practice be?
Difficult to say, it depends on each person. In my case, I prefer to have many small blocks, it's better for the concentration, for the body, for the desire to play. How I distribute time depends on each day and on what I have to practice...
Any  specific tip to address difficult technical passages during daily practice, and how?
Slowly, this is the most important for me, the best work to save the right information. I almost begin and finish my daily practice with a slow version of a vocalise or difficult passage. It helps my brain to remember from the very beginning of the practice the right things. It takes so much time to correct a mistake! 
Then I practice also with a lot of slurring, paying attention on my air, on the expression between each note.
And for fingers difficulties, I analyse the movement without blowing and then decide which finger is the chief or the basis of this difficulty. It helps to try to "put the brain" in the finger, then the latter becomes more and more aware and fast in the reaction.
Are there any tools that are particularly useful for practicing?
I really like to have a mirror while practicing, it is a good help to notice some details, to have a general control on the entirety of the body, if you know really what you are looking for.
I use a tuner but most of the time only as a sound pedal to play intervals or arpeggios.
And recording your own playing could also be useful to work on small passages and always try to improve on one specific point.
How do you advise your students as far as structuring their daily practice?
I try to adapt to each student; they are all so different. I help them to focus and improve on the right points. I help them to find the right balance between warm-up and practising pieces, to look for flexibility and relaxing when playing, to pay attention to focus, never going on an automatic pilot when practising.
Do you suggest or teach a warm-up routine?
Yes sure, I try also to adapt the routine to the student and to the repertoire the student is playing. Some details in the next answer!
I advise them to be in a state of mind where they open their ears and question what they are doing.
Are there any specific pieces particularly beneficial to be played regularly in daily practice?
I use a lot the Daily Exercises from Reichert, 1, 2 and 4 for the sound and air quality and also for intonation training.
Then Quantz’s Solfeggi and Caprices, Hotteterre’s L'Art de préluder for the flexibility and the colour of each tonality, slow and lyrical movements, like Vivaldi’s Concerti, Mozart’s Quartet in D, and many others.
And for the classical keyed flutes, there are also a lot of nice methods and études.