Bruno Procopio

Le Stagioni

Born from the meeting of musicians with international careers, both as soloists and members of major European period-instrument ensembles, Le Stagioni embodies a fresh and thoughtful approach to early music. Gathered around harpsichordist and fortepianist Paolo Zanzu, the musicians share a common desire: to combine artistic rigour with freedom of interpretation, constantly renewing their relationship with historical repertoire. Le Stagioni functions as a flexible-formation ensemble, where vocal music holds a place of honour, and each project is shaped by a collective effort that blends research and intuition.

The ensemble’s repertoire spans European music from the 17th to the 19th century, approached with the flexibility and insight that characterise historically informed performers — yet without ever becoming rigid or formulaic.

From their very first recordings, Le Stagioni received high praise from the specialist press.
Officina Romana. A WonderLab at the Dawn of the 18th Century (Arcana / Outhere Music, 2021) laid the foundations for their inventive and demanding interpretative language.
With La Lucrezia. Händel, Porpora, Vivaldi (La Mùsica, 2022), the ensemble explored the emotional depth of the Baroque with intensity and refinement, placing the voice at the heart of musical expression.
Finally, Un secolo cantante. The Rise of Venetian Opera (Arcana / Outhere Music, 2023) pays tribute to the birth and rise of Venetian opera, capturing a century of artistic transformation with elegance and precision.

As a member of FEVIS, Profedim, and the Arviva – Arts vivants, arts durables network, Le Stagioni embraces a demanding artistic path, one that is deeply rooted in both contemporary and aesthetic concerns.

Trained at the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP) with Isabelle Moretti, and taught by Germaine Lorenzini, Marcel Cara (born 1996 in Charleville-Mézières) is part of the finest tradition of the French harp school. His playing, full of depth and colour, immediately catches the eye.

He has made his debut as a soloist in such emblematic venues as the Théâtre du Châtelet, the Fondation Singer-Polignac, the Cité de la Musique in Soissons, the Opéra de Paris, the auditorium of the Musée Guimet, the British Museum in London, Shiodome Hall in Tokyo, Merkin Hall in New York, Qintai Hall in Wuhan, the Sala São Paulo, and the Salon Sully at the Comédie-Française.

He has also been invited to perform at a number of festivals, including the Festival Messiaen au pays de la Meije, Giverny, Ancenis, Les Musicales de Colmar, the Festival de Pâques in Deauville, and has taken part in a tour organised by AJAM to several venues in Alsace.

From orchestra to recital, he explored every facet of his instrument from an early age. Chamber music occupies an essential place in his career, in collaboration with musicians such as Amaury Coeytaux, Philippe Bernold, Gérard Caussé, Christel Lee, Adrien La Marca, Amaury Viduvier, Emmanuel Coppey, Stéphanie Huang and the Hanson Quartet.

The flute, viola, and harp ensemble first appeared in 1915 through the work of Claude Debussy. Emmanuelle Ophèle, Odile Auboin, and Ghislaine Petit-Volta continue the journey begun by the Second Sonata with the Trio Antara, founded in 2005.

While these three accomplished musicians maintain close relationships with contemporary composers, Antara – with its desire to take the audience on a journey through all musical eras – offers a varied and fascinating repertoire, ranging from Jean-Philippe Rameau to Peter Eötvös, occasionally using transcriptions. Designed to spark curiosity and foster dialogue between the audience and the performers, these programs allow masterpieces from music history to coexist harmoniously.

These unique combinations are not merely ambitious musical challenges; they represent another way of experiencing music, as proposed by Antara. Each Trio concert is thus an invitation to suspend time, to listen, feel, share, and to restore the place of pleasure and poetry.