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DSCH - Shostakovich Ensemble

DSCH – Schostakovich Ensemble

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DSCH - Shostakovich Ensemble

DSCH – Shostakovich Ensemble

The DSCH – Shostakovich Ensemble is a chamber music project based in Lisbon since its creation by the pianist Filipe Pinto-Ribeiro in 2006, the centennial year of the birth of the composer Dmitri Shostakovich, to whom the ensemble owes its name, using his famous musical signature DSCH. A mixed-format chamber ensemble, the Shostakovich Ensemble constitutes a platform for the meeting and interaction of excellent musicians. The vast repertory of the Shostakovich Ensemble includes works by composers from various periods and musical styles, from Bach to Schumann, from Mozart to Messiaen, from Brahms to Ravel, from Beethoven to Dvořák, including Portuguese composers, and contemporaries such as Sofia Gubaidulina, with whom the Ensemble has established a close collaboration. Since its debut in 2006, the Shostakovich Ensemble presents its concert season in Portugal and became Ensemble in Residence at the Belém Cultural Center in Lisbon in 2008. It has performed in several countries, such as Spain, France, Belgium, Germany, Estonia, Sweden or Russia, obtaining a great receptivity of the public and excellent reviews of the musical critic. Throughout its existence, it has had the participation of musicians such as Corey Cerovsek, Adrian Brendel, Renaud Capuçon, Pascal Moraguès, Jack Liebeck, José van Dam, Benjamin Schmid, Isabel Charisius, Michel Portal, Gary Hoffman, Eldar Nebolsin, Tatiana Samouil , Adriana Ferreira, Gérard Caussé, Cerys Jones, Christian Poltéra, Rosa Maria Barrantes, Lars Anders Tomter, Nicolas Altstaedt, Kyril Zlotnikov, Edgar Moreau, Tiago Pinto-Ribeiro, Pedro Carneiro, Silvia Careddu, Marcelo Nisinman, Anna Samuil, Ramón Ortega Quero and Filipe Pinto-Ribeiro, among others. The Ensemble recorded concerts for Radio Antena 2 and for the Mezzo channel. The DSCH – Shostakovich Ensemble has the artistic direction of Filipe Pinto-Ribeiro.

 

website DSCH

 

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Emmanuelle Guigues

Emmanuelle Guigues

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Emmanuelle Guigues

Born in Lyon, Emmanuelle Guigues studies the Viola da Gamba in the Conservatoire of Lyon with Genevieve Bégou, then in the Schola Cantorum of Basel with Jordi Savall and Paolo Pandolfo.  Holder of the Solist Diplôma in 1996, she improves her art two years more with Christophe Coin in the frame of the Professional Third Cyclus of the Conservatoire National supérieur de Musique de Paris.

Emmanuelle Guigues  plays and records with several ensembles notably:  La Simphonie du Marais, Le Concert d’Astrée, Les Paladins, xviii-21, Le Baroque Nomade, Le Parlement de Musique, Ricercar consort, Allegorie…
Since 1996, it is under the enlightened direction of Michaël Radulescu (Wien) that she played the Passions, as well as the musical Offering and the cantatas 106 and 198 of Bach.In 2004, she is invited to join the duet formed by Hugo Reyne and Pierre Hantaï: this collaboration goes on until now.

Of her very first meeting with the viola da gamba and its particular voice, she kept the taste of the sound sculpture: she practises the improvisation – as “another saying” – in duet with the accordionist Olivier Innocenti and in trio with the Syrian singer Noma Omran and the saxophonist Lionel Garcin.

She is also interested in the contemporary repertory for viola da gamba and played with composers such as George Benjamin or Claire Renard.

She cultivates with greediness transversal meetings with theater (Comedie Française, la Fabrique à Théâtre/Jean-Denis Monory), cinema (musical directing of a documentary by Bahman Kiarostami for Arte) or dance (compagnies Ana Yepes, Le Miroir des songes, Fêtes galantes, Les Cavatines).

She teaches the Viola da Gamba at the National School of Music of Villeurbanne and in the Conservatoire of Levallois.

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EnsAliaMens

Ensemble Alia Mens

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EnsAliaMens

Alia Mens Ensemble
Olivier Spilmont

The Alia Mens Ensemble features singers and period instrumentalists led by Olivier Spilmont. The ensemble has performed at numerous festivals and national concert halls, including Lille Opera, ”Embaroquement immédiat”, Festival de la Chabotterie, the Mont-Blanc Festival, Midsummer Festival, le Bateau feu-Dunkerque, le Phénix-Valenciennes, Arras Theater, the ”Musique et Mémoire” Festival, Teatro de Vicenza, Bozar Brussels, ”Tage alter Musik” Regensburg and many others.

Since 2012 the Alia Mens Ensemble has dedicated a substantial part of its activities to the works of Johann Sebastian Bach, the Weimar cantatas in particular. The ensemble also regularly performs Bach’s multi-keyboard concertos with harpsichordists Pierre Hantaï, Maude Gratton and Olivier Spilmont.

The ensemble is in residence at the “Musique et Mémoire” Festival for 3 years, starting in summer 2016. The ensemble is supported by the Hauts-de-France Region.

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Ens Antiphona

Ensemble Antiphona

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Ens Antiphona

Created in 1996 by Rolandas Muleika, its artistic director, the Antiphona Ensemble promotes a vast vocal repertoire and endeavours to (re)discover some forsaken though remarkable works dating back from the Gregorian period up to the 19th century. The Antiphona Ensemble devotes all of its voices to serving early types of music from Perotin’s polyphonies and Monteverdi’s madrigals  to the finest  pages of Baroque music all over Europe. Among its latest ‘coups de coeur’ stand out  Bernard-Aymable Dupuy and  Joseph Vallette-de-Montigny the talented composers  who used to live in Toulouse as  well as  Czech composer  Jan Dismas Zelenka whose emotional expression  is close to Bach and Mozart’s. Eager to promote the musical heritage of their region, Rolandas Muleika and the Antiphona Ensemble have devoted the largest part of their yearly programming to Villefranche-de-Rouergue’s manuscripts for quite a few years. This collection of unpublished archives of outstanding musical quality, totally forgotten and bound to disappear, is being minutelyrestored and preserved. Thanks to its musicological and stylistic expertise, the Antiphona Ensemble can revive musical pieces by performing them aptly with respect to the specificities  of each period, each place or each composer. But the Antiphona Ensemble is also determined  to re-interpret this early music repertoire by blending it with contemporary pieces or pieces taken from the traditional repertoire. Thus the Ensemble re-creates some musical forms while modernizing them at the same time.  For instance, a contemporary piece on the theme of the Way of Saint James especially composed for us  or a new version of the first act of Monteverdi’s Orfeo with  a percussion ensemble are part of next season’s programme.

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Ensebaroque_Monaco

Ensemble Baroque de Monaco

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Ensebaroque_Monaco

L’Ensemble Baroque de Monaco, fidèle à l’histoire baroque de la Principauté, défend les plus belles pages de la musique tirée du répertoire des XVIIème et XVIIIème siècles, tout en s’évertuant à recréer des ouvrages oubliés ou méconnus qui, par centaines, abondent dans le paysage de la musique baroque. Tous les instrumentistes jouent sur instruments d’époque, accordés aux diapasons historiques. Attaché à ses racines, l’Ensemble vit cependant avec son temps et fut placé en 2013 sous la direction de Matthieu Peyrègne, chanteur et chef d’orchestre spécialiste de musique ancienne. Fidèle à la vie musicale baroque faste de la Principauté sous le règne d’Antoine 1er qui recevait les meilleurs artistes transitant par la France et l’Italie, l’Ensemble fait des compositeurs originaires de ces deux pays sa spécialité. En témoignent ses récentes prestations de la Messe de l’Homme Armé pour 4 chœurs de Carissimi dont la recréation mondiale donna lieu à une tournée de concerts en 2015, ou ses prestations des plus belles pages de la tragédie lyrique telles les Indes Galantes de Rameau ou Armide de Lully. Ou encore la récente recréation mondiale de l’Assunzione della Beata Vergine d’Alessandro Scarlatti illustrée par ce disque. Monaco ayant accueilli en ses terres les plus grands compositeurs baroques de l’époque, cette formation s’inscrit dans une volonté d’être l’ambassadrice, et la mémoire vivante d’une période historique et culturelle d’une richesse incroyable à perpétuer. L’Ensemble Baroque de Monaco s’est aussi engagé à perpétuer le travail de la maison d’édition musicale de « L’Oiseau Lyre » qui n’a eu de cesse pendant le demi-siècle passé, de ressusciter nombre de chefs d’œuvres vocaux et instrumentaux de la période baroque.

website Ensemble Baroque de Monaco

 

Matthieu Peyrègne, direction

Chanteur, et chef d’orchestre, Matthieu Peyrègne a suivi une brillante formation au C.N.R de Nice où il fut d’abord diplômé en violon pour ensuite obtenir les plus hautes récompenses en écriture et direction d’orchestre et de chœur. Ayant toujours eu un goût prononcé pour la musique baroque, il entreprend des études de chant auprès de Monique Zanetti au Conservatoire d’Aix-en-Provence, pour lesquelles il obtiendra un prix avec mention très bien, tout comme au Conservatoire de Nice dans la classe de Claire Brua. Il a travaillé les répertoires polyphoniques renaissance et baroque auprès de Denis Raisin Dadre (ensemble Doulce Mémoire) et Dominique Vellard (ensemble Gilles Binchois) à la Schola Cantorum de Bâle où il poursuivit son apprentissage auprès de Richard Levitt, professeur, notamment d’Andreas Scholl. Demi-finaliste du Concours International de Chant Sacré de Rome en 2014, Matthieu Peyrègne chante avec les plus prestigieux ensembles vocaux tels Les Arts Florissants (William Christie), Les Talents Lyriques (Christophe Rousset), l’ensemble Doulce Mémoire (Denis Raisin Dadre) avec qui il enregistre le disque consacré à Claude Lejeune en 2017, l’ensemble Consonance (François Bazola), l’ensemble Correspondances (Sébastien Daucé),…En tant que chef, Matthieu Peyrègne s’attaque à tous les répertoires, en partant de la musique baroque dont il a fait l’une de ses spécialités, jusqu’à la musique contemporaine qu’il a travaillé aux côtés de Nicole Corti au Chœur Britten de Lyon. Ayant été retenu pour les phases finales des concours internationaux de direction d’orchestre des Jeunesses Musicales de Bucarest en 2015, et de Nice en 2018, il dirige régulièrement l’orchestre Passion Classique et l’Ensemble Baroque de Monaco. Il est aussi directeur artistique des «Confé-Concerts» (www.confeconcerts.com), cycle annuel de manifestations se déroulant sur la Côte d’Azur, ayant désormais attiré plus de 15.000 spectateurs depuis sa création en 2010 au travers de plus de 100 concerts!

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E concentus

Ensemble Concentus Peninsulae / Vasco Negreiros

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E concentus

Vasco Negreiros is primarily a conductor. He sees his compositional works not as abstract constructions, but as a matter for musicians to deal with, working gladly with its performers. Negreiros’ interest in composition is hence based on his practical experience as a musician, including a zest for improvisation, much more then on pure rational calculation.Besides his academic studies in conducting, concluded with the Kappell-Meister degree obtained at the Hochschule für Musik und Darstellende Kunst of Heidelberg-Mannheim (Germany), Vasco Negreiros is mainly dedicated to Early Music in Portugal, Spain, Germany and Brazil, although he also embraces other periods and styles. He teaches conducting, among other parallel signatures, in the Aveiro University, as well as in other parts of Portugal and other countries, in Master Classes, such as the Curso y Festival de Música Antigua de Daroca (Spain).

As a musicologist, essayist and editor, he has worked on the overtures by Jerónimo Francisco de Lima, which he published in 2014. On the other hand, his PhD examined the Livro de varios motetes. Officio da Semana Santa. E ovtras cousas, printed in 1648, which he published as a book-CD in 2005 with the National Press of Portugal. When he lived in Brazil, he published the CD Brasil Barroco (1989) including first contemporary performances of colonial music from the Minas Gerais state.

As a composer, he was awarded the 3rd Prize at the International Competition for Composition for Children’s Choir in Varna (Bulgaria). It is precisely within the field of creating works for young people that he mostly develops his compositional career, chiefly in Portugal and Spain, where some of his compositions and arrangements have been recorded. His children’s opera As palavras na barriga [Words in the Belly] — which opened the Festival Dias da Música, at the Centro Cultural de Belém, 2009 — and the musical tale O gato das botas [Puss in Boots], a pedagogical approach to symphonic music, were each performed over twenty times, reaching more than seven thousand children. The CD of the work ‘Peronatus Catus – cujusvis linguae’ [Puss in boots – in any language], in its Portuguese version (O Gato das Botas) , came out in June 2016, by the lable mPmP.

On the last years Vasco Negreiros studied mainly the Portuguese music of the 18th Century, publishing in 2015, for the french lable Paraty, the CD «Rabbia, Furor, Dispetto», featured by Monika Mauch and the Concentus Peninsulae, under his conducting, a monographic CD on operatic works by Jerónimo Francisco de Lima, editing also the several scores of this composer.

He also has been devoting his studies on the music of the Indian subcontinent, as well as on the study of Indian languages. His Sonata Hindustani, published 2015, should be only the first output of this dedication; others should follow soon!

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Nox

Ensemble de Musique Interactive

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Nox

Founded in 2001 by composer Jacopo Baboni Schilingi, the Interactive Music Ensemble is dedicated to musical creation using interactive technologies.

An ensemble of variable size depending on the project, the Interactive Music Ensemble has been supported since 2011 by Franche-Comté’s Regional Management for Cultural Affairs.

The Interactive Music Ensemble’s primary sponsor is the Camille Fournet Foundation.

Jacopo Baboni Schilingi comes from an “art music” background in which writing and interactivity are paramount.  He is one of the most representative composers of his generation, and recognised as such in conservatories and classical concert halls: he was associated artist at the Saline Royale d’Arc-et-Senans, composer-in-residence at IRCAM, curator of the annual worldwide Prisma conference, and associated artist of the EMW Festival in Shanghai. Mr. Baboni Schilingi is equally at home in interdisciplinary modes of artistic expression which combine visuals, architecture and interactions with the public in new contexts.  His work with French-born American visual artist Arman in the 2000s initiated a series of creative collaborations with Miguel Chevalier, Jean-Pierre Balpe, Alain Fleischer, Elias Crespin, Sarkis, and others. Mr. Baboni Schilingi is artistic director of the Interactive Music Ensemble, which he founded in 2001.  In 2014, he was a guest professor at Harvard University (USA) and at Wuhan Conservatory (China).

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Ensemble Enthéos

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The work of Plato, translated and edited in the 15th century, opposes the traditional interpretive technique, preferring the poet’s inspiration, and is a creative force, a fury. The term “enthusiastic” comes from the Greek “enthusiasmos,” and describes the sort of divine possession that takes over the poet, rendering him “engodded” or “entheos.” The creative ardour of Renaissance artistes has produced important literary and musical materials that Ensemble Entheos has chosen to revive through their concerts and shows.Created in 2005, Ensemble Entheos explores the musical repertoire from the end of the Middle Ages and the Renaissance connected to the courts of the French dukes of Guise and Lorraine. Strong in its research of history of art, organology, and rhetoric, Entheos subscribes to a reasoning of memory and scientific rigour. However, as important as this research-based approach is, Entheos’ concerts and performances are occasions to show the ties between literature, art, music, and history. We want to be loyal to the ways of thinking of Renaissance artists, for whom all creation was also a respect for aesthetic canons and imitation of the Greeks.Coming from ensembles such as Akadémia, Le Concert Spirituel, Le Poème Harmonique, Les Arts Florissants, Les Percussions de Strasbourg, and Sagittarius, the artists of Entheos have worked under the direction of conductors such as Martin Gester, Valérie Fayet, and Pierre Cao. The instrumentalists of Entheos play on facsimiles of 16th century instruments and conduct their own research on facture, bows, reeds, mouthpieces, and methods of playing. The close examination of the works themselves constitutes, however, the heart of Entheos’ artistic project.

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Ensemble et Chœur L’Échelle

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The scale is a wonderful tool which has accompanied man throughout the ages.

Indispensable for navigators, who measured his ropes knot by knot, scales are present in every part of the ships which gave birth to the earliest international merchants and economic empires.

The patterns of scales can be seen along mats, sails, hulls and on the piles pushing into the water, and help balance the ballast in the hold of the ships.

So it was that during the Renaissance certain ports in the East and in Asia were called Echelles, before becoming the exotic trading-posts of the Indies.

At the same time, the word scale designates everything which grades, measures, climbs, situates, and gives the possibility of reaching, balancing and progressing : hence Jacob’s ladder, the scale of values, shades of colour and the different musical scales. Still essential to man, scales permit him to organise his place in the biodiversity of his cultural and physical world.

The Ensemble l’Échelle declares itself partisan of certain Renaissance music, for the profoundly humanist ideas which it expresses. The chamber musicians who make it up seek to pool their musical talent in the search for an appropriate historic verisimilitude.

In the polyphony of the 16th century, the laws of counterpoint direct that each voice is of equal importance. On this secure basis, each line evolves according to the opinion and the manner of the others treating the same material. The music comes to life through the exercise of a common approach and the expression of common thought.

The artistes of l’Échelle seek firstly to respect, then go out to meet, and finally to surprise their public. They seek to modify classical concert-giving mode, the better to attract a new regard from a new public by exposing new facets of their chosen repertoire.

Aware of the particular architecture and different acoustics of each performing space, they propose a “made to measure” organisation of that space according to the programme, to give each listener a truly unique experience. And in their desire to surprise that listener, they also propose the juxtaposition of different kinds of performers – circus artists, dancers, comedians, philosophers and poets to share the stage with the musicians as equal partners.