A native of Caprarola, Bernabei had first been a student of Orazio Benevoli, one of the most highly regarded music masters, before entering Saint-Louis des Français in 1653 as an organist, then becoming the chapel master there from 1667 to 1672. In 1672, he was named Chapel Master of the Capella Giulia at the Papal Court. He left his functions at the Vatican at the end of two years to go to the court of the Elector Ferdinando Maria of Bavaria in Munich, where he succeeded Johann Kaspar Kerll and remained until his death in 1687. The Concerto madrigalesco a tre voci diverse, dedicated to Flavio Orsini, the Duke of Bracciano, constitutes one of his most original works.
Distribution:
Madrigals by Ercole Bernabei, instrumental pieces by Angelo-Michele Bartolotti, Bernardo Pasquini, Alessandro Scarlatti and Alessandro Stradella.
Myriam Arbouz : soprano
Marine Fribourg : mezzo-soprano
Constantin Goubet : tenor
Francisco Mañalich : tenor and viol
The repertoire of the most famous French singer of the 17th century
Nature du spectacle:
Recital by Lucile Richardot
By reason of her uncommon life and the literature that she inspired, Anne Chabanceau de La Barre (1628-1688) was certainly the most famous singer of the XVIIth century. Born in an illustrious family of musicians (Joseph Chambanceau de La Barre was her brother), she was one of the first women to be part of the musique de la Chambre of King Louis XIV, her fame crossing the border and spreading in Europe as far as distant Scandinavian courts.
Distribution:
Lucile Richardot: mezzo-soprano
Alice Julien-Laferrière: violin
Anaëlle Blanc-Verdin: violin
Christine Plubeau: bass viol
Caroline Lieby: harp
Ayumi Nakagawa: harpsichord and organ
Marco Horvat: theorbo and lirone
MUSICS
Joseph Chabanceau de la Barre, Pierre Chabanceau de la Barre, Charles Dassoucy, Constantijn Huygens, Michel Lambert, Jean-Baptiste Lully, Luigi Rossi, Alessandro Stradella
From the most successful comedy-ballets of Molière, chosen by Lully himself...
Nature du spectacle:
concert mis-en-espace
On October 17, 1675, Lully had a ballet-mascarade entitled Le Carnaval given at the Court, then at Palais-Royal. Based on texts written by Molière, Benserade and Quinault, it was composed of nine ballets (entrées), each taken from previous highly successful works: Le Bourgeois Gentilhomme, Les Noces de Village, Monsieur de Pourceaugnac, Le Ballet de Flore, and La Pastorale Comique.
Distribution:
• Music by Jean-Baptiste Lully and Marc-Antoine Charpentier
• Texts by Molière
• Olga Pitarch : vocals
• Serge Goubioud : vocals
• Olivier Coiffet : vocals
• Marco Horvat : vocals and Baroque guitar
• Charles-Edouard Fantin : theorbo and Baroque guitar
• Christine Plubeau : bass viol
• Matthieu Boutineau : harpsichord
• Two violons
Far from the beaten paths of historic recreation, "The Music Salon" was born of the desire to liberate artists and spectators from the purified ritual of the concert where, separated as much by the proscenium as by a series of conventions going back to the 18thand 19thcenturies, we are no longer in a position to share the emotions conveyed by music conceived to be transmitted from one person to another. Faenza invented a concert “a la carte” in the proper sense of the term; with the help of a deck of tarot cards, the public is invited to compose a program that the artists will discover at the same time. 11 cards drawn by chance from a total of 22, the Major Arcana, including “The Lovers,” “The Hanged Man,” “Strength,” “The Fool”... will transport the audience in a voyage across time and space, from surprise to surprise, in the course of an evening which will truly be unique.
Distribution:
Music by Honoré d’Ambruys, Anonyms, Gabriel Bataille, Antoine Boesset, Cantigas de Santa Maria, Bellerofonte Castaldi, François Couperin, John Dowland, Charles Dufaut, Charles Hurel, Girolamo Kapsberger, Stefano Landi, Tarquinio Merula, Carlo Milanuzzi, Claudio Monteverdi, Giulio San Pietro de’ Negri, and Robert de Visée.
Texts by Jean Auvray, Guillaume du Bartas, Giordano Bruno, François de Malherbe, Mathurin Régnier, and Lazare de Selve.
Little is known about Giovanni Zamboni (called "the Roman") except that he was recognized in the first half of the 18th century as a virtuoso of plucked- string instruments such as the lute, the mandolin, the theorbo, the mandore and the harpsichord. In Italy, he was one of the last to write for the lute; his twelve sonatas published in Lucca in 1718 compose the final book of pieces printed in tablature for this instrument.
« At that time, there came to Locres two Lydians, very knowledgeable in music, principally the type that moves the heart to tenderness, languor and love. Great friends, they had intelligence and integrity, both playing the lyre so admirably that no one had heard it played better since Orpheus, whether they played together or separately. But what was so marvellous was that they performed so well together that the same instrument in the hands of an excellent master with a very good ear couldn't be better in tune than their two lyres. »
Madeleine de Scudéry, « La Clélie »
Distribution:
Marco Horvat : Vocals, Theorbo, Lira, Baroque Guitar
Francisco Mañalich : Vocals, Bass Viol, Baroque Guitar
Music by Honoré d’Ambruys, Joseph Chabanceau de la Barre, Gabriel Bataille ; Bellerofonte Castaldi, Sigismundo d’India, Girolamo Frescobaldi, Charles Hurel, Michel Lambert, Sébastien Le Camus and Carlo Milanuzzi
![Syndicate content](/misc/feed.png "RSS - En haut de la page "Spectacles""){kind=small}