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Bruno Procopio

LUEURS

Jean-Christophe Revel & invités

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LUEURS

Jean-Christophe Revel, organ

Jean-Christophe Revel discovered the organ with Jean-Marie Meignien and more particularly the old organ. This is perhaps why he has never stopped putting music and history, ancient music and works of our time into perspective, and for 20 years he has been working on the transmission of repertoires and musical practices over time.

He perfected his art with Odile Bailleux. He was rewarded with a first prize for organ and “prix de perfectionnement” for specialization in early music. Under the direction of Georgie Durosoir, he devoted his master’s degree to the tablature of B. Schmidt Le Jeune (1607). His meeting with Jean Boyer and Jean- Charles Ablitzer is also decisive in the pursuit of his musical journey.

Convinced chamber musician, Jean-Christophe Revel accompanied artists such as James Bowman, Josep Cabré, Isabelle Desrocher, William Dongois, Eugène Green, Raphaele Kennedy, Manuel Weber, Marcel Pérès and Jean Tubéry, among others, as well as with different ensembles. (including the Musicians of Parnassus and I Sospiranti). Curious about all musical genres, he works both in the fields of early music and in those of today’s music with many composers who write for him such as J. Lenot, E. Tanguy, R. Campo, B. Pauset, E. Canat de Chizy, G. Pesson, A. Markéas, B. Mantovani, B. Clouteau or even C. Roche or G. Lorieux. He is a guest artist at numerous festivals, (in France and abroad), records for France Musique radio and european television. Since 2014 he is the pedagogical manager of the early music department of the CRR de Paris, teaches basso continuo, old repertoires on the organ at the PSPBB and is director of the keyboard festival in the Auch region, where he is the permanent organist at the magnificent console of the Jean de Joyeuse instrument at the cathédrale of Sainte-Marie.

 

Vincent Lièvre-Picard, haute-contre

He studied at the Tours and Paris Conservatoires, and then at the Conservatoire Supérieur. He graduated from these three establishments in Lyrical Singing (unanimous First Prize) and in Early Music (Post-Graduate Diploma with honours). His teachers were Noémi Rime and Howard Crook in Early Music, and Ana Maria Miranda and Anne-Marie Rodde in Lyrical Singing. He studied with Udo Reinemann for several years, and he also took master-classes with Alain Buet. His current coach is François-Nicolas Geslot.

At the opera, Vincent Lièvre-Picard has performed works by Charpentier, Rameau, Mozart, Haydn, Offenbach and Carl Orff: the title role of Charpentier’s Actéon at the Théâtre de Bordeaux, Rameau’s Zoroastre in Marseille, Cecco in Haydn’s Il Mondo della Luna in Angers and Die Erzähler in Orff’s Der Mond at the Opéra National de Paris-Bastille. He was Tamino (Die Zauberflöte) in Toulon, Monostatos, and the Servants in Offenbach’s Les Contes d’Hoffmann in Grenoble. He recently sang Arnalta in Monteverdi’s Incoronazione di Poppea conducted by René Jacobs, and then took part in the world premiere of Le Petit Prince by Michaël

Lévinas, conducted by Arie van Beek and staged by Lilo Baur – in which he sang L’Aviateur – first in Lausanne, then in Lille, at the Grand Théâtre of Geneva and finally at the Théâtre du Châtelet in Paris. Gentilhomme staged by Denis Podalydès. In the concert hall, under Michel Corboz’s impetus, Vincent’s renderings of the Evangelist in Bach’s Passions have acquired an international prominence; he also frequently performs pieces from the French Baroque repertoire – ideally suited to his effortless high notes and his understanding of the proper style required for the “French haute-contre” parts – and oratorios by Mozart, Haydn, Berlioz, Dvorak, Rachmaninov, Orff and Britten. .Several recordings of his are about to be published. They will complement a discography that can already boast 30 releases, of which several have been awarded prestigious distinctions (Diapason d’Or, Choc of Le Monde de la Musique, Prix Massenet for the best complete recording of a French opera, CD of the month of the Goldberg Magazine…).

Lisandro Nesis, taille

Born in Argentina, Lisandro Nesis started his artistic studies at the Buenos Aires Conservatory, then moved on to study early music singing in France at the Centre de Musique Baroque de Versailles and the Conservatoire National Supérieur de Musique de Lyon. He has also participated in many early music workshops and academies (Ambronay, Royaumont…) and trained as an actor in commedia dell’arte (Carlo Boso, Alberto Nason) and Baroque gesture (Nicole Rouillé, Benjamin Lazar), as well as in American musical theater interpretation (Jen Waldman & Andrew Byrne in New York, Julie Atherton & Paul Spicer in London). He has performed as a soloist in over fifteen countries with prestigious ensembles such as Le Poème Harmonique, Les Musiciens du Louvre, Il Seminario Musicale, Elyma, La Tempête, Les Nouveaux Caractères, Cappella Mediterranea… Within the Baroque repertoire, he has performed the opera roles of Octavio (L’Europe Galante by A. Campra, W. Christie, cond.), Ruggiero (La Liberazione di Ruggiero dall’Isola d’Alcina by F. Caccini, G. Garrido, cond.), Pastore and Spirto (L’Orfeo by C. Monteverdi, S. d’Hérin, cond.), Phoebus (The Fairy Queen by H. Purcell, S. d’Hérin, cond.), Licas (Scylla et Glaucus by J. M. Leclair, S.d’Hérin, cond.), Sailor (Dido & Aeneas by H. Purcell, K. Weiss, cond.), to name a few. He has also performed as a tenor soloist in two international touring productions of Le Bourgeois Gentilhomme by Molière and Lully, staged by Benjamin Lazar with Le Poème Harmonique (V. Dumestre, cond. – DVD Alpha) and by Jérôme Deschamps with Les Musiciens du Louvre (M. Minkowski, cond.). He also performed, to critical acclaim, the title-role in the opera Atys by J.-B. Lully in a historically-staged production at Château de Meudon for the reopening of the Grand Dauphin’s Orangerie.

He appears regularly in solo concerts and Baroque recitals in France, Germany and South America and has an extensive discography.
Lisandro Nesis is a member of the faculty of the early music department of the Paris Conservatory (CRR de Paris), where he teaches Baroque gesture, historic pronunciation, declamation and theatricality.

 

Jean-Manuel Candenot, basse-taille

A pupil of Lionel Sarrazin, Jean-Manuel Candenot performs a wide range of repertoire from baroque music to contemporary creation. In this field, he is a member of the Musicatreize ensemble (Victoire de la Musique 2007). He regularly performs oratorio and opera in France and abroad (Brazil, United States, Colombia, Peru, Netherlands). He has been invited to perform in numerous festivals such as La Chaise Dieu, Aix-en- Provence, Salzburg.

His projects will lead him to participate in the creation of two chamber operas: “El Reto” by Paul Desenne, and “Allongé sur le Divin” by François Rossé, and he will sing the role of Jesus in the “St John Passion” by Bach, in Toulouse (Festival: Passe ton Bach d’abord). Finally, he will be the title role in “Don Pasquale” (Donizetti) in the summer of 2022, and will record works by the American-Swedish composer Kali Malone as part of a video recording for the Blogothèque de Paris.

Passionate about teaching and research, he gives singing lessons at all levels.

Jean-Manuel Candenot is a member of the Radio France Choir (M. Batič), as Bass.

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FLEURS NOIRES

Fleurs Noires

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FLEURS NOIRES

Fleurs Noires is an all-female, 10-piece orchestra, all of them from Argentina or France. Together, they deliver a vigorous and contemporary Tango that differentiates itself from traditional or Electro Tango. From Classical and Pop backgrounds, they are able to combine their cultural backgrounds and their respective repertoire’s originality. This tango has a sensual strength which shows the variety of its roots. Fleurs Noires brings back to life the historic line Paris‐Buenos Aires by making the woman condition free in this music, originally made by men. These young passionate women break with this tradition. Ten musicians are taking us to this wonderful odyssey which blends class, freshness and audacity!

 

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Photo-groupe artiste

La Note Brève

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Photo-groupe artiste

La Note Brève is an early-music ensemble, a close-knit group of singers and musicians who specialise in the repertoire and share a desire to promote the music of the Middle Ages and the Renaissance. La Note Brève revisits music from many centuries ago using the latest musicological methods, working from period treatises and facsimiles and playing on period instruments. Since its creation, La Note Brève has performed at the most important festivals in France and Europe. It also has a long-standing partnership with the Musée des Tissus in Lyon, the city where the ensemble was first founded.

website La Note Brève

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899 intérieur livret ac mv

Anne Cartel & Marie Vermeulin

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899 intérieur livret ac mv

Anne Cartel (flute) et Marie Vermeulin (piano)

Anne Cartel

Close to both new composition and classical repertoire, Anne Cartel defines herself as a sensitive and engaged artist, always ready to push the boundaries of music. She performs frequently with symphonic orchestras as well as in chamber music formations or as a soloist. She has thus
played with orchestras such as the Orchestre Philharmonique de Radio France, the Ensemble Orchestral de Paris, or the Orchestre National des Pays de la Loire, under the direction of conductors like Myung Wung Chung, Esa-Pekka Salonen, Mikko Franck or Armin Jordan.
She has been invited to play, both in France and internationally, in prestigious festivals and halls, such as Wigmore Hall and St John’s Smith Square in London, Festival Présences of Radio France, Festival Messiaen au pays de la Meije, Bourgie Hall in Montréal, Town hall in Seattle, Fundacion BBVA in Bilbao, Cervantino International Festival in Guanajuato, Music on Main in Vancouver, Lille Piano(s) Festival, Mural Museum in Mexico, Ferst Center for the Arts in Atlanta, Barge Music in New York,
French Alliance in New Delhi, Festival Arabesque in Hamburg, Ottawa Chamberfest music festival, Auditorium in Lyon, Arsenal in Metz, Théâtre des Arts in Rouen, Bristol New Music festival, Festival Heidelberg Frühling, Gaudeamus Muzieckweek in Utrecht, Musica Sacra in Maastrich, Lisinki Hall in Zagreb, Gregynog Music Festival…
Passionate about contemporary music, Anne Cartel has found a place with the ensembles Court-Circuit and Variances of which she is a member, and collaborates with the ensemble Athelas Sinfonietta in Copenhagen directed by Pierre-André Valade, as well as with composers like Tristan Murail, Michaël Levinas, Philippe Leroux, François-Bernard Mâche, Mauro Lanza,
Lara Morciano, Michele Tadini and Gabriela Ortiz. Her explorations with the talented Philippe Hurel and Thierry Pécou have led her to several recording projects: Les liaisons magnétiques 2016, Tremendum (diapason d’or) 2012 by Thierry Pécou, Cantus by Philippe Hurel 2015, Sadka by Christophe Bertrand, Imaginary travel by Marc Monnet 2008, cinq degrés de crayonnage by Riccardo Nillni 2012.
Anne Cartel’s musical world is thus defined by a spirit of open-mindedness and the desire to serve the most challenging classical and contemporary repertoires.

Marie Vermeulin

Winner of several grand prizes in international competitions (notably the Concours Maria Canals in Barcelona in 2006 and the Concours Olivier Messiaen in Paris in 2007), Marie Vermeulin has progressively imposed herself on the French piano landscape, distinguishing herself with playing of great sonic richness, and with her engagement with composers and creators of her time.
She is invited to perform in major festivals and halls, in France (Théâtre des Champs-Elysées, Philharmonie, Opéras de Paris and Limoges, Printemps des Arts de Monte Carlo, Théâtre des Bouffes du Nord…) as well as internationally (Europe, North America, North Africa, the Near-East and South-East Asia).
She regularly performs concertos and collaborates in this context with numerous prestigious orchestras and conductors (Ensemble Intercontemporain dir. Pierre Boulez, Orchestre Lamoureux dir. Darell Ang, Orchestre Philharmonique du Liban dir. Walid Moussallem, Orchestre de l’Opéra de Toulon, dir. Fuad Ibrahimov, Ensemble orchestral contemporain dir. Daniel Kawka, Orchestre de chambre de Wallonie, dir. Paul Goodwin, Orchestre Victor Hugo Franche Comté dir. Debora Waldman…).
Her recordings, reflections of her personal affinities, are dedicated to Olivier Messiaen, Claude Debussy, Clara et Robert Schumann, Tristan Murail, Bela Bartok, Charlotte Sohy, Mel Bonis, Virginie Morel…
In November 2014, her entire career was recognized by the Académie des Beaux-Arts, who attributed her the Prix d’Interprétation Simone et Cino Del Duca

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Trio-Zerline-photo-CD-livret-2

Trio Zerline

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Trio-Zerline-photo-CD-livret-2

The Zerline Trio
Founded in 2017, the Zerline Trio is comprised of flautist Alice Szymanski, violist Estelle Gourinchas and harpist Joanna  Ohlmann.  Having  met  at  the  Lyon  Conservatoire  for  Music  and  Dance,  from  the  very  beginning of  the  trio’s  formation  these  three  musicians  felt  the  need  to  play  music  of  their  time  and  encourage the  creation  of  new  pieces,  while  proudly  promoting  the  uniqueness  of  the  repertoire  for  flute,  viola  and harp.  Particularly  fastidious  in  their  choice  of  music,  the  Zerline  Trio  benefits  as  much  as  possible  from  the precious  advice  of  the  composers  they  are  championing:  Martin  Matalon,  Alain  Louvier  and  many  more.
The performers are convinced that performing contemporary works demands the same level of excellence as  that  of  earlier  works  and  that  performing  a  wide  repertoire  enhances  their  interpretations.  With  this  in mind,  they  embrace  a  great  variety  of  aesthetics,  improving  and  developing  through  these  fertile  and constructive exchanges between the old and the new.

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