Founded in 1992 by Brazilian singer Luiz Alves da Silva and Swiss violinist Mathias Weibel, the TURICUM Ensemble is dedicated to historically informed performance on period instruments. Ranging from 5 to 30 musicians, the sound of the ensemble modulates while remaining recognizable. The ensemble distinguishes itself by the freshness of its interpretations, but also by its programming; unusual works are juxtaposed in ways that illuminate their interrelatioships.
Emphasis is placed on music from the 18th to the early 19th centuries from the Iberian Peninsula and South America, with a particular preference for Brazilian composers such as José Mauricio Nunes Garcia, Manuel de Oliveira , Marcos Portugal, and Antonio dos Santos Cunha. Naturally, the music of Italy and German-speaking countries is also represented.
In the TURICUM Ensemble’s concerts, it is not ununsual to experience classical music, folk songs and literature in the course of a single event. In this context the Swiss writer Hugo Lötscher (a renowned specialist on Brazil and Portugal) has collaborated with the Ensemble.
In addition to frequent appearances in Zurich, the TURICUM Ensemble has performed in several international festivals, including: Schlosskonzerte Thun, Festival für Musik Sakrale Schwäbisch Gmünd, Friedenauer Kammerkonzert Berlin, Musica Antiqua Wien Musikverein, Les Chemins du Baroque (Sarrebourg and Paris), Yverdon Expo02, The Year of Brazil in France (Paris, Nîmes and Alençon), Festival de Santa Cruz de la Sierra (Bolivia), Festival de Inverno de Ouro Preto (Brazil), Música nas Igrejas (Rio de Janeiro), and Kammermusikverein (Ettelbruck and Luxemburg).
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Ensemble Vedado
The Vedado Ensemble takes various forms, assembling singers and musicians according to the repertoire but always under the direction of the viola da gamba player Ronald Martin Alonso. The ensemble specialises in music from the baroque period as well as in contemporary music played on baroque instruments. Its first project in 2011 centered on the work of the Cuban composer Esteban Salas, kapellmeister at Santiago de Cuba Cathedral from 1764 until his death in 1803. Several projects highlighting the viola da gamba followed and gave rise to two recordings: « À la Marésienne » (K617 label) and « Les Folies Humaines », both of works by the composer Marin Marais. The Ensemble Vedado is a frequent guest at festivals in France including Les Grands Concerts in Lyon, the Festival Baroque du Mont-Blanc, the Festival Format Raisins, Sinfonia in Périgord, the Journées musicales d’Automne in Souvigny and Les Méridiennes in Tours, as well as abroad: Festival du Museo de la Citta, Cremona (Italy), Midi-Minimes, Brussels (Belgium), Festival de música antigua Esteban Salas, Havana (Cuba), Festival de musica da camara, Almaty (Kazakhstan), Teatro Nacional, Quito (Ecuador), Festival de música Antigua, Lima (Peru). The ensemble also performs regularly on French radio in programmes produced by Gaëlle Le Gallic, Xavier Carrère, Clément Rochefort and Edouard Fouré Caul-Futy
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Eudes Bernstein, saxophones
After starting his musical studies in the Yvelines, Eudes Bernstein obtained a Paris Conservatory’s Master degree in saxophone under Claude Delangle. He also studied with Daniel Gauthier during an Erasmus exchange at the Cologne Hochschule and completed his training with a degree in musicology from the Sorbonne.
Award winner in several international competitions (Osaka, Dinant, Aeolus, FMAJI, FNAPEC), he has
performed as a soloist with many international orchestras (Orchestre de Chambre de Belgique, Düsseldorfer Symphoniker, Sud Westphalen Philharmonie, Orchestre Pasdeloup, Orchestre d’Harmonie de la Garde Républicaine, Orchestre de Chambre Nouvelle Europe) notably under the direction of David Reiland, Benjamin Levy, Nicolas Simon, Julien Leroy, Romain Dumas and Martin Lebel. He is also one of very few saxophonists to receive support from the prestigious Fondation Banque Populaire.
He is also the founder of the atypical Trio Dämmerung, with violin and piano, whose ambitious project is to create new transcriptions of works from the great orchestral repertoire (Ravel’s La Valse, Stravinsky’s Petrouchka, Debussy’s Prélude à l’Après-midi d’un faune, Berlioz’ Symphonie Fantastique). The trio works with the collective of arrangers Lacroch’, clarinetist Paul Meyer and soprano Marina Viotti. It was featured on Radio France in Gaëlle Le Gallic’s program « Générations Jeunes Interprètes ».
Very much attracted to contemporary music, Eudes Bernstein premiered the concerto for saxophone
by Karol Beffa as well as works by Thierry Escaich, Bruno Mantovani, Philippe Hurel, Matteo Franceschini, Jonathan Pontier, Naoki Sakata, Philippe Leroux and Orlando Bass. In 2020 he performed at the Venise Biennale in the world premiere of Habitat, a multimedia work in collaboration with the composer Francesco Pellegrino and the visual artist Roberto Cassano under the direction of Thierry Coduys and Andrew Quinn.
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“Azzuro: the young French pianist’s crystal-clear, poetic and luminous playing matches her surname to perfection.” Alain Cochard –concertclassic.com
Fired by an insatiable curiosity and decided zest for the fusion of musical and artistic styles, Fanny Azzuro, born in 1986, dedicates her first solo recording to the Russian repertoire so dear to her heart, from which she has chosen three contrasting works from the 20th century.
Prize-winner at several prestigious international competitions, including the World Piano Competiton in Cincinnati (World medalist, 4th prize), Lalla Meryem in Rabat, Morocco (Best interpretation of modern music and the Chopin prize), Washington International Piano Competition (semi-finalist), Piano Campus (Best interpretation of modern music), Vulaines-sur-Seine (1st prize), she has been invited to perform on many national and international stages: in Paris, at the military museum in Les Invalides (showcasing young artists just starting their career), at the National archives in Hôtel de Soubise (Festival of young artists) and at the maritime museum; as well as at the Debussy museum in Saint-Germain-en-Laye, at the Abbaye aux Dames (Saintonge Piano Festival), at the Montpellier ‘Radio France’ Festival, at the Prades Pablo Casals Festival, at the Piano Campus Festival in Cergy-Pontoise, at the Annecy Classic Festival, at the Auditorium de Vaucluse, at the Passerelle national venue in Gap; in Germany, in Austria, at the Salzburg Mozarteum, in Belgium at the Brussels Royal Conservatoire, in Luxembourg, in Italy, in Spain and in Croatia. She also performed in the United States (New York Piano Festival, Bowdoin Music Festival, Texas Piano Festival), Morocco, Djibouti, Brazil, the United Arab Emirates and China.
She has also been heard on the radio, in broadcasts by France Inter, France Musique, France Culture, RFI and FIP.
She started studying the piano in Saint-Rémy-de-Provence with Jean-Pierre Lecaudey and then José Arrué, at the Montpellier Conservatoire with Mireille Michaud and Suzan Campbell, at the Paris Regional Conservatoire with Olivier Gardon then at the Paris National Conservatoire with Théodore Paraskivesco, Laurent Cabasso and Denis Pascal, when she completed –respectively– herBachelor’s and Master’s degrees in Piano and Chamber music (in the classes of Jean-Noël Crocq and Ami Flammer with the SpiriTango Quartet). In 2011, she was a pupil of Tuija Hakkila at the Helsinki Sibelius Academy (Finland). Since 2012, she has continued to improve her technique at the ‘Incontri col Maestro’ International piano master-class in Imola (Italy), under Boris Petrushansky.
Other encounters helped stimulate her energy and musical curiosity: the unique Russian pianist Vladimir Viardo, the renowned French teacher Dominique Merlet, as well as Dmitri Bashkirov, Jacques Rouvier, Aldo Ciccolini, Jay Gottlieb and Gisèle Magnan.
As part of SpiriTango Quartet or together with jazzmen Tigran Hamasyan and Hervé Sellin, Fanny Azzuro breaks down barriers and broadens her experiences as a chamber-music player: dueting with horn-players Pierre Azzuro (her brother), André Cazalet, Hervé Joulain and Matthieu Romand, with violinists Kristi Gjezi, Sora Han and Vanessa Szigeti, as well as with the pianist Audrey Abela.
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Pianist and accordionist, Fanny Vicens leads a singular international career reconciling her double profile, from classical piano recitals to experimental music mixing microtonal accordion and electronics. She appears on prestigious stages as a soloist and chamber musician in some twenty countries (Arsenal de Metz, Philharmonie de Paris, Musikverein de Vienne, Philharmonie de Odessa, Konzerthaus de Vienne, Haus der Berliner Festspiele, KKL Lucerne, Philharmonie de Cologne, Auditorium Pollini de Padova, … She is also an active ensemble musician: a member of the ensembles Cairn, Flashback and Soyuz21, she has been a guest of some thirty ensembles throughout the world, including the Ensemble Intercontemporain, Ensemble Modern, 2e2m, l’Itinéraire, Court-Circuit, the NEC, the Collegium Novum Zürich, the NEM (Montreal), Argento (New York), the Philharmonisches Orchester Augsburg, and the Secession Orchestra, among others.
She is regularly invited to play in concerto, as a pianist and as an accordionist, with renowned orchestras such as the Luxembourg Philharmonic Orchestra, the Kammerorchester Pforzheim, the Nouvel Ensemble Contemporain, the orchestras of Besançon, Cannes, Metz, Perpignan, the Orchestre des gardiens de la Paix, the Orchestre de Bretagne… under the baton of Jacques Mercier, Olari Elts, Pierre-Alain Monot, Daniel Tosi, David Reiland, Susanna Mälkki, Nicolas Chalvin, Johannes Kalitzke, Pascal Rophé: She defends the classics of her instruments (concertos for keyboards by Bach, Haydn, Mozart, Shostakovich and those for accordion by Nordheim, Haas, Françaix), but also works to enrich the repertoire by being the dedicatee of several concertos for classical accordion (Sua Seo, Chengbi An), or microtonal (Bastien David, Naoki Sakata).
She contributes to the influence of the accordion through her commitment to the contemporary repertoire and the historically documented interpretation of the baroque and classical repertoires, defending a wide solo repertoire ranging from the Goldberg Variations to Berio’s Sequenze for piano and accordion, with a predilection for 18th century keyboard music and that of the 20th and 21st centuries. Through her contact with the composers of her time, she has developed a reflection on the sound identity of the accordion and the piano, which is reflected in the creation of a rich repertoire, sometimes using electronics, or the invention of microtonal accordions. She appears in interdisciplinary performances, where chamber music often has a privileged place, within the duo XAMP, the trio 20° dans le noir or in collaborations with the choreographers Maud le Pladec, Annabelle Bonnery or Hervé Robbe.
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Né en Transylvanie (Roumanie) en 1974, Ferenc Vizi débute ses études de piano dans la classe d’András Körtési dans sa ville natale de Reghin puis rejoint la classe de Gérard Frémy au CNSM de Paris. Il reçoit également les conseils de Cyril Huvé, Jacques Rouvier et de la pianiste Françoise Thinat à l’École Normale de Paris.
Ferenc Vizi se distingue dans plusieurs grands concours internationaux : Saratov en Russie, Hamamatsu au Japon, Rubinstein à Tel-Aviv, et au ARD de Munich, grâce auxquels il bénéficie de nombreux engagements en Amérique du Sud, au Japon, et dans plusieurs pays d’Europe, et d’un enregistrement du 2e concerto de Bartók avec l’orchestre de la Bayerischen Rundfunk sous la direction de Peter Rundel pour la Radio de Munich.
Depuis il se produit en tant que soliste avec des orchestres ou en récital principalement en Europe. Parmi ses partenaires de musique de chambre, on peut retenir Henri Demarquette, Raphaël Perraud, Jean-Marc Phillips-Varjabedian, Alexis Cardenas, Benoit Fromanger et Richard Galliano. Il rejoint Ann-Estelle Médouze et Laura Buruiana au sein du Trio Brancusi en 2014.
Lauréat Juventus dès 1995, Ferenc Vizi est régulièrement invité en France au Théâtre de la Ville et se produit à Radio France, au Grand Théâtre de Bordeaux, Théâtre de Caen, au Festival de l’Épau, Piano à Riom, Piano à Auxerre, aux Serres d’Auteuil, Piano Passion de Saint-Etienne, au Musée d’Orsay et à l’Opéra comique à Paris, aux Festivals de Nohant, Toulon, Périgord Noir, 1001 Notes, à la Folle Journée de Nantes, Festival de la Roque d’Anthéron, La Chaise Dieu, Piano(s) festival Lille, Festival d’Eté de Toulouse, à Londres au festival It’s all about piano, et dans de nombreuses Scènes Nationales et théâtres de province. Il se produit avec l’Orchestre National de Lille, l’Orchestre National d’Île de France, l’Orchestre d’Auvergne et l’Ensemble Orchestral des Hauts-de-Seine et interprète le 1er concerto de Tchaikovsky et le concerto de Grieg avec l’Orchestre Philharmonique de Târgu-Mures, où il fait ses études, en tournée en France au Pin Galant de Mérignac, Palais Neptune de Toulon, au Cratère d’Alès et à la Rampe d’Échirolles. En novembre 2018 il interprète le Concerto en Sol de Ravel au Palais de la Culture avec ce même orchestre à Târgu-Mures. Pendant l’été 2016 il interprète pour la première fois les 12 Notations de Boulez au Festival Juventus et remporte un vif succès avec son programme Blue Notes dans plusieurs festivals en France. Après de mémorables Variations Diabelli au Théâtre de la Ville en novembre 2015 il est ré-invité par le Théâtre avec son programme de récital Chimères & Contemplations en janvier 2017. C’est également en 2017 que Ferenc Vizi crée son programme Liszt, Hanover square rooms, Londres, 9 juin 1840 au Festival Berlioz, et qu’il donne un récital au Musée d’Orsay dans le cadre du cycle Degas sur tous les tons. En 2018 il participe à la Folle journée de Nantes et donne un récital au festival Liszt en Provence.
Avec l’ensemble de musique traditionnelle hongrois Cifra, Ferenc Vizi crée le programme Rhapsodies – Liszt et les Tziganes à la Scène nationale de Martigues puis au festival Lisztomanias de Châteauroux. Depuis ce programme a sillonné la France, dernièrement au Théâtre Impérial de Compiègne et aux Opéras de Montpellier et Nancy.
Ferenc Vizi enregistre la Sonate opus 111 de Beethoven et la Fantaisie opus 17 de Schumann pour le label Æon, et Voyage – œuvres de Schubert, Liszt, et Wagner/Liszt pour Satirino records. Au printemps 2013 sort son enregistrement de Rhapsodies, Liszt et les Tziganes pour Satirino records sous le titre de Czardas Fantasy , l’intégrale de l’oeuvre pour violoncelle et piano de Mendelssohn avec la violoncelliste Laura Buruiana chez Coviello Classics, ainsi qu’un album avec la violoniste Elsa Grether dédié à Ernest Bloch sur le label Fuga Libera. Son enregistrement des Variations Diabelli chez Anima sort en novembre 2014, puis Romance oubliée avec la violoncelliste Hermine Horiot sur le label 1001 Notes début 2015. Son enregistrement de la sonate en La majeur D 664 et des Quatre Impromptus D 935 de Schubert pour le label Paraty sort en automne 2021.
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One of Portugal’s most recognised musicians, both nationally and internationally, Filipe Pinto-Ribeiro is considered a ‘poet of the piano’, whose musical interpretations, characterised by profound emotion and intellectuality, are appreciated as being without equal both by the public and by music critics. Born in Porto, he studied in various countries before becoming a disciple of Lyudmila Roshchina at the Tchaikovsky Conservatory in Moscow, where he obtained Doctorate in Musical Performance in 2000.
He is intensely active as a concert artist, invited as a soloist by major concert halls, festivals, and orchestras internationally. He has premiered the works of several composers, including Sofia Gubaidulina and Marcelo Nisinman, and has regularly performed with acclaimed musicians such as Gary Hoffman, Renaud Capuçon, José van Dam, Nicolas Altstaedt, Gérard Caussé, Jack Liebeck, Michel Portal, Anna Samuil, Lars Anders Tomter and Christian Poltéra. In 2006, he founded the DSCH-Schostakovich Ensemble. He is currently a university professor and serves as artistic director for numerous musical projects. Filipe Pinto-Ribeiro is a Steinway Artist.
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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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