A Franco-Swiss pianist of Anglo-Turkish origin, Joanna Goodale links the classical music repertoire to sacred music from the East. His albums released by Label Paraty — Bach in a Circle (Bach & Sufi music) and Debussy in Resonance (Debussy & creations for piano, bowls and gongs) — were praised by Le Monde, France Musique, RTBF and RTS, and co-produced by Radio Télévision Suisse (Espace 2) with the support of the Tempo Foundation, the Tempo Foundation, the Engelberts Foundation and My Big Geneva.

With a Master's degree in piano (Geneva) and a master's degree in anthropology (London), she received advice from Alice Ader, Alain Kremski, Cédric Pescia, Menahem Pressler and Anne Queffélec, as well as support from the L'ABRI Foundation. Inspired by pianists-improvisers (Gabriela Montero, Jean-François Zygel, Jean-François Zygel, Alain Kremski, Marc Vella, Édouard Ferlet), she integrates her own comprovisations into her concerts, in resonance with Bach, Debussy and the grand piano repertoire.

Active on European stages, Joanna Goodale is developing hybrid projects: Extase en Contrepoints with the dancer Nour Joseph Gebrael, the Afshan Trio with Pouya Khoshravesh (Kamantché) and Simon Leleux (percussion), lecture-concerts with Leili Anvar, “Les Gourmandises de Satie” with Pascale Bessard, and a kora-piano duo with Sankoum Cissokhard O. She also leads workshops to introduce improvisation and prepared piano in schools, festivals and on the sidelines of her concerts.

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Trained at the Conservatoire National Supérieur de Musique et de danse de Paris under Christophe Rousset and Pierre Hantaï, Bruno Procopio has been pursuing an international career as a conductor and harpsichordist since the end of his studies. Invited to major festivals and venues in Europe, Latin America and Asia, he has performed at the Edinburgh International Festival, Bozar, the Théâtre des Champs-Élysées, the Simon Bolivar Hall, the Fundação Gulbenkian and the Centro Cultural de Belém in Lisbon, in particular, he has performed at the Edinburgh International Festival, Bozar, the Théâtre des Champs-Élysées, the Salle Simón Bolívar, the Salle Simón Bolívar, the Fundação Gulbenkian and the Centro Cultural de Belém in Lisbon, while leading tours in China, India, Iran and Indonesia.

At the head of prestigious orchestras such as the Brazilian Symphony Orchestra, the Simón Bolívar Symphony Orchestra of Venezuela, the Royal Philharmonic Orchestra of Liège, Les Siècles, the Orchestre National des Pays de la Loire or the OSESP, Bruno Procopio has developed a career marked by artistic excellence and the rediscovery of repertoires. His lyrical productions with the Brazilian Symphony Orchestra, in particular Oro Non Compra Amore by Marcos Portugal and Renaud by Sacchini, in co-production with the Bru Zane Foundation, were acclaimed by critics. On record, his recordings devoted to Bach, Rameau, Couperin and Marcos Portugal bear witness to this same artistic coherence. Her album Rameau in Caracas, recorded with the Simón Bolívar Symphony Orchestra, received a CHOC from Classica and 5 tuning forks.

A committed pedagogue, Bruno Procopio founded the JOR — Jeune Orchestre Rameau, which brings together 55 musicians from 22 countries in France, and teaches regularly at several universities in Latin America, as well as in China and Italy. At the same time, he created the Paraty label, now distributed worldwide by Universal, which brings together nearly 500 albums and 170 artists. Awarded a Victoire de la Musique Classique in 2010 for the best record of the year, Paraty was recently praised by Le Monde for its business model.

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Founded in Paris by the Franco-Cuban gambist and conductor Ronald Martin Alonso, the Ensemble Vedado was born from a desire for circulation between repertoires, eras and cultures. Its name, taken from an emblematic district of Havana, immediately reflects an open artistic identity, nourished by the dialogue between ancient music, popular traditions and today's creation.

Ronald Martin Alonso's career fully sheds light on this approach. Trained in Havana, then in France, he developed a unique path that combined the requirement for historically informed practices with a sensitivity deeply marked by cultural mixing. With Vedado, he brings together artists from various backgrounds around programs where the concert becomes a living space for encounter, memory and reinvention.

In a few years, Ensemble Vedado has established itself as an original presence on the music scene, in France and internationally. His creations, recordings and residencies reflect a coherent project, both demanding and accessible, driven by the same ambition: to make music heard as a place of transmission, emotion and openness.

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Born in Rosario, Argentina, Diana Baroni very early on made music a territory of exploration. Trained first in her country, then in Europe thanks to a grant from the Yehudi Menuhin Academy in Gstaad, she has since built a singular career as a flutist and singer, marked by a rare freedom when it comes to repertoires. Her site presents her as a “musician between worlds”, a formula that aptly summarizes a trajectory nourished by ancient music, popular traditions of oral transmission, poetic corpora and contemporary writings.

This artistic identity has been affirmed through major collaborations and in-depth work on aesthetic crossings. A founding member of the Café Zimmermann ensemble, Diana Baroni belongs to a generation of performers who have deeply marked the Baroque scene, while at the same time developing personal projects open to other musical imaginations. His universe brings together Baroque music, Latin American repertoires, contemporary creation and hybrid forms, with the same attention to color, memory and stage presence.

A performing, transmitting and creative artist, Diana Baroni is also regularly invited as a teacher by institutions such as the Versailles Baroque Music Center, the Dartington International Summer School or the Académie Internationale de Sablé. His albums and projects, praised by several specialized media, extend this process of exploration and passage between cultures. Through them, she affirms a deeply personal voice, which makes each program not a simple assembly of repertoires, but a real landscape to be crossed.

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Founded in 1975 within El Sistema, the Simón Bolívar Symphony Orchestra has established itself as one of the great symbols of Venezuelan musical life and as an international ambassador of a vision of music that is at once artistic, collective, and deeply formative. Born from the impulse of José Antonio Abreu, the orchestra was built in constant dialogue between orchestral excellence, transmission, and openness to the world.

Since Gustavo Dudamel's appointment as musical director in 1999, its reach has continued to expand, with landmark tours in major concert halls and festivals across Europe and the Americas — from Carnegie Hall to the BBC Proms, including Salzburg, Berlin, Paris, Madrid, and London. The ensemble has also collaborated with major conductors such as Claudio Abbado, Sir Simon Rattle, Daniel Barenboim, Krzysztof Penderecki, Esa-Pekka Salonen, and Lorin Maazel, affirming an orchestral profile that is both virtuosic, committed, and immediately recognizable.

Within the Paraty catalogue, this adventure takes on a singular colour with Rameau in Caracas, a project born from an encounter with Bruno Procopio around a programme entirely devoted to Jean-Philippe Rameau. For the Venezuelan musicians, this immersion in the French Baroque was a formative experience, revealing the curiosity, stylistic flexibility, and collective energy that characterise the orchestra.

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Sébastien Llinares was built at the crossroads of several musical worlds. Trained in the tradition of the Spanish school with Rafael Andia at the École Normale de Musique in Paris, he developed a career that went beyond the usual boundaries of classical guitar. His work draws as much from ancient music as from jazz, popular repertoires or creation, with the same requirement for clarity, style and freedom.

Over the years, he asserted his identity as a performer, arranger, transcriber and composer. His site highlights a personal approach where, without the effect of collage, worlds as diverse as Satie, Turina, Gershwin, Hendrix or Rufus Wainwright meet. This ability to make languages interact gives his career a unique color: that of a musician who does not limit himself to interpreting works, but seeks to make them resonate in an idiom that is unique to him.

Stage artist and music presenter, Sébastien Llinares is also the producer of the show Guitar, guitars on France Musique. Through his concerts, his recordings and his broadcast work, he defends an open vision of the guitar, which is both scholarly and accessible, nourished by curiosity, listening and a taste for the passages between styles.

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Very early distinguished by a double First Prize in piano and chamber music at the Conservatoire National Supérieur de Musique de Paris, Laurent Cabasso was part of an excellent French pianistic tradition, which was then nourished by the teaching of Maria Curcio-Diamand. Winner of major international competitions, including Géza Anda in Zurich, Tokyo and Clara Haskil, he has since built a career as a soloist and chamber musician that has taken him to numerous stages in Europe, Japan and the United States.

Over the years, Laurent Cabasso has established himself as a performer recognized for the depth of his approach and the breadth of his repertoire. His discography, from Beethoven to Prokofiev, from Schumann to Bach, has been regularly praised by critics, including a Grand Prix du Disque from the Académie du Disque Français, several major awards in the specialized press, as well as a particularly noted reception for his solo recordings. His career path outlines that of a musician who combines stylistic requirements, freedom of interpretation and fidelity to the works.

This artistic trajectory is accompanied by a lasting commitment to transmission. Professor at the CRR in Strasbourg since 1993, then at the CNSM in Paris and at the CNSMD in Lyon, Laurent Cabasso occupies an important place in the training of new generations of pianists. Concertist, chamber musician and teacher, he thus embodies the figure of a complete musician, whose artistic authority was built over time, between stage, studio and teaching.

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Constance Luzzati belongs to this generation of performers who expand their instrument as much as they live with it. Harpist soloist, musicologist and speaker, she has made the transcription of ancient music and contemporary creation the heart of her career. As an extension of her doctorate as a performer, she has in particular adapted works by Rameau, Couperin, Royer, Forqueray, Duphly, Scarlatti and Bach to the harp, thus building a singular path where research directly feeds the scene.

This approach has given rise to projects that have attracted attention on record and in concert. Her albums Enharmonic (2023), devoted to Rameau, and jupiter (2024) were acclaimed by critics, from Classica unto Télérama and Mediapart. Dedicator of works for solo harp by Bruno Mantovani and Edith Lejet, she also defends today's creation and has recently created works by Vincent Trollet and Joséphine Stephenson. As a soloist, she has performed at the Philharmonie de Paris, the Maison de la Radio and the Petit Palais, as well as in numerous festivals in France and abroad, in Europe, Japan and the United States.

In addition to this career as a performer, there is a strong commitment to musical transmission and thought. Winner of six international competitions, distinguished in particular by the CNSMDP Avant-Scenes, Cultures France, the Marcel Bleustein-Blanchet Foundation and the Tissier-Grandpierre Prize, Constance Luzzati has been teaching the history of music at the Conservatoire de Paris — CNSMDP since 2021. Her career, also nourished by theater and by scenic forms combining music, text and circus arts, draws the portrait of a complete artist, for whom playing, transmitting and inventing proceed from the same impetus.

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Founded in 1992, the Taipei Chamber Singers has gradually established itself as one of the leading vocal ensembles in Asia. First established as a vocal ensemble, then developed as a chamber choir before further broadening its artistic spectrum, the group was built on the same requirement: to create a dialogue between vocal excellence, stylistic curiosity and openness to repertoires. This trajectory of more than thirty years has given birth to a strong identity, supported by a choral practice that is both precise, flexible and resolutely focused on the international scene.

Under the impetus of its successive artistic directors, the Taipei Chamber Singers has developed a repertoire ranging from ancient music to contemporary creation, while affirming particular attention to modern choral music. The ensemble won more international awards than any other Taiwanese choir, and was the first ensemble from Taiwan invited to the ISCM-ACL World Music Days in Hong Kong in 2007, before participating in the World Symposium on Choral Music in Denmark in 2008. This career has contributed to making its name one of the most remarkable choral groups on the continent for the long term.

Today, the Taipei Chamber Singers continues this outreach work through large-scale collaborations and an active presence in major vocal projects. His recent activity testifies to this vitality, in particular through distinguished productions such as his collaboration around Bach cantatas, or even his recognition at the Golden Melody Awards for Traditional Arts and Music. Through this path built over time, the ensemble affirms a legible artistic line: to make heard, from Taiwan, a choral voice that is demanding, contemporary and deeply open to the world.

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Alice Szymanski belongs to this generation of female musicians who make curiosity a real common thread. A graduate of the CNSMD in Lyon and Paris, as well as from the Haute École de Musique de Genève in early music on historical flutes, she is developing a course where modern flute, piccolo, traverso and improvisation coexist with a rare fluidity. Her site presents her as a “curious and daring flautist”, a formula that summarizes well a trajectory built in the opening of repertoires, from the Baroque to contemporary creation.

Throughout this career, Alice Szymanski asserts a particularly flexible identity as an interpreter, attentive as much to ancient languages as to today's writings. She performs in chamber music as well as in ensembles and orchestras, and develops personal projects that extend this need for exploration. Among them, the Zerline Trio, founded in 2017, defends both the uniqueness of the repertoire for flute, viola and harp and the creation of new works, revealing a musician committed to the life of the repertoire as well as to its renewal.

In addition to this concert activity, there is a strong commitment to transmission. Holder of the Certificate of Aptitude, Alice Szymanski has been teaching at the CRR in Toulouse since 2018, while supporting young musicians in their educational and artistic training. Winner of the Yamaha grant, supported by Adami, she is thus pursuing a path where interpretation, instrumental research and teaching advance together, in the same fidelity to sound, style and sharing.

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Born from the artistic partnership of Aurélienne Brauner and Lorène de Ratuld, Au bord du Rêve is the continuation of a collaboration begun at the CNSMD in Paris and deepened in 2011 with the founding of the Duo Luperca. After an initial recording devoted to the great sonatas of the French school, the two musicians chose to take a completely different path: that of a poetic collection of short forms, designed as a space for appeasement, suspension and inner escape.

This poetry of the program is based on two high-level courses. Aurélienne Brauner, appointed super-soloist at the Orchestre National de France in 2021, has led a remarkable career as a soloist and in chamber music on major international stages. Lorène de Ratuld, trained at the CNSMD in Paris with Brigitte Engerer in particular, defends a vast repertoire ranging from the Romantic period to French music, while giving an important place to rare works and to today's composers. Together, they make Au Bord du Rêve much more than a simple album: a sensitive journey, driven by musical requirements and by a common imaginary.

Trained at the CRR in Boulogne-Billancourt then at the CNSMD in Lyon with Hortense Cartier-Bresson, Marie Vermeulin also deepened her career with Lazar Berman in Italy, before perfecting her skills with Roger Muraro. Distinguished very early in major international competitions, particularly in Barcelona and the Olivier Messiaen Competition, she established herself as a pianist whose career combines rigor, singularity and stylistic depth.

Throughout the concerts, Marie Vermeulin has built a particularly recognizable artistic identity, at the crossroads of the great repertoire, French music of the 20th century, contemporary creation and rarer works. Several reference biographies highlight both the sensitivity of her performances, the breadth of her color palette and her constant commitment to less frequented repertoires, especially that of female composers. This artistic line extends naturally to the record, with recordings devoted in particular to Messiaen, Debussy, Schumann or even more singular programs, always carried by a personal perspective.

A stage artist, Marie Vermeulin performs in recitals, chamber music and with orchestra, on stages and at festivals in France and abroad. Her career thus draws the portrait of a musician who is not content with living in the repertoire: she rereads, illuminates and expands it, with a rare fidelity to both the text, the sound and the spirit of the works.

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Born at the CNSMD in Lyon in the class of Pierre Hamon, the Consort Brouillamini was built around a rare project: to make the recorder consort a space for research, sonic vitality and freedom of repertoire. Bringing together five flutists, the ensemble initially specialized in Renaissance music, before affirming a broader identity, based on its own transcriptions of Renaissance and Baroque works, as well as on a real commitment to contemporary creation.

Very quickly, this work was distinguished both by the juries and by the public: 1st prize at the Vanves International Competition for Ancient Music Days in 2016, public prize for the 2014/2015 musical season at the Grenoble Museum, as well as 1st prize and public prize at the Gijón International Early Music Competition in 2012. Through these awards, Consort Brouillamini has affirmed an immediately identifiable signature, also praised for its sonic homogeneity and its sense of the collective.

Their record career extends this requirement. Their first album, Flutes en Fugue, devoted to their own transcriptions of Bach's works, was noticed by the press and radio, while The Woods so Wild, dedicated to English instrumental repertoire from the Renaissance to Purcell, received an Opus d'Or in 2020. Regularly invited to numerous festivals in France and abroad, the Consort Brouillamini is now established as an ensemble that combines historical rigor, a spirit of invention and stage presence.

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One of the most recognized pianists on the Portuguese scene, Filipe Pinto-Ribeiro has built a career where solo activity, chamber music and artistic direction come together naturally. A decisive moment in this trajectory came in 2006, when he founded the DSCH — Shostakovich Ensemble in Lisbon, in tribute to Dmitri Shostakovich, whose ensemble uses the famous musical signature. From the beginning, the project has been distinguished by a clear ambition: to create a formation of variable geometry capable of bringing together, around major repertoires, exceptional musicians from different backgrounds.

Over the years, the DSCH — Shostakovich Ensemble has established itself as one of the most significant chamber projects in its musical landscape, with regular activity in Europe and an artistic identity based on collective excellence. Based in Lisbon, the ensemble has welcomed several first-class performers over the course of its programs and has developed a remarkable discography. In 2018, he began this one with what is presented as the first worldwide recording of Shostakovich's complete chamber music with piano and strings, confirming the coherence of a project that combines musical excellence, international influence and stage intensity.

This collective adventure also sheds light on the singular profile of Filipe Pinto-Ribeiro: that of a musician who is not limited to interpretation, but who designs lasting artistic frameworks, capable of bringing together works, artists and audiences. Through the DSCH — Shostakovich Ensemble, he affirms a vision of chamber music that is at once demanding, open and deeply embodied, supported for nearly twenty years by the same fidelity to the repertoire and to the spirit of musical sharing.

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Founded in 1989, the Ensemble Orchestral Contemporain became one of the first independent French ensembles entirely dedicated to contemporary music. Through creations, tours and commissions, he has built a unique place in the musical landscape, with more than 700 works in his repertoire, including 300 premieres. Bringing together fifteen instrumentalists capable of taking on both collective play and the role of soloist, the EOC defends an open vision of creation, where the instrumental concert also dialogues with electroacoustics, dance, dance, opera, opera, literature or the visual arts.

Since January 2020, this dynamic has been driven by Bruno Mantovani, artistic and musical director of the ensemble. Composer, conductor, pedagogue and musicologist, trained at the CNSMD in Paris and then at Ircam, he has led a remarkable international career since the 1990s. His works have been performed in major venues such as the Amsterdam Concertgebouw, the Amsterdam Concertgebouw, the Berlin Philharmonic, the Berlin Philharmonic, the Scala in Milan, the Carnegie Hall and the Philharmonie de Paris, while his conducting activities have led him to conduct both specialized ensembles and major orchestras. This double experience, both as creator and performer, gives his collaboration with the EOC a particularly strong coherence.

Through this encounter between a creative ensemble and a major figure in music today, a legible artistic project is emerging: to defend the music of the 20th and 21st centuries with rigor, imagination and a spirit of transmission. Anchored in the Loire, recognized well beyond its territory, the EOC pursues in parallel an important work of mediation, training and discovery, in order to open musical creation to all audiences. This alliance between influence, curiosity and commitment now makes the Ensemble Orchestral Contemporain and Bruno Mantovani a particularly striking tandem on the French contemporary scene.

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Founded in 2017 on the initiative of violist Robin Pharo, Près de Votre Oreille has established itself with a name as singular as its artistic project. Designed as a “living space for discovery, performance and music”, the ensemble brings together recognized artists and soloists around programs that combine ancient music, creation and atypical scenic forms. From the start, the project has been characterized by a clear desire: to make the ensemble not only a place for interpretation, but also a place for human encounters and for the renewal of repertoires.

Led by Robin Pharo, the ensemble develops a particularly free identity, at the crossroads of consort, vocal repertoire and contemporary creation. Its programs create a dialogue between centuries, from ancient heritage to new projects, with a marked taste for inventive concert formats and artistic objects outside the frame. This line was confirmed on stage as well as on record, in particular with Blessed Echoes and then Lighten Mine Eies, the ensemble's first album on Harmonia Mundi, devoted to the very personal universe of William Lawes.

In a few years, Près de Votre Oreille has thus built an original place in the French and European musical landscape. Invited to reference places and festivals, the ensemble conveys an approach where stylistic requirements go hand in hand with the imaginary, the poetry of sound and a real stage presence. Through this journey, he affirms a rare signature: that of a collective capable of making ancient music an intensely living art, porous to our time and open to the unexpected.

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Pianist and accordionist, Fanny Vicens has built a rare career, at the crossroads of classical recital, chamber music and creative music. Her site immediately presents her in this double identity, which she brings to life on stage all over the world. A sought-after soloist, she has performed in major venues such as the Vienna Musikverein, the Vienna Philharmonic, the Vienna Konzerthaus, the KKL Lucerne or the Cologne Philharmonic, while conducting an intense activity as a chamber musician and ensemble musician.

This trajectory is distinguished by a particularly strong artistic line: bringing together the accordion and the piano, classical music and contemporary creation, instrumental writing and sound exploration. In 2019, she created Phænomena, a concerto by Bernd R. Deutsch, at the Musikverein in Vienna with the Austrian Radio Orchestra conducted by Jakub Hrůša. Her career is also marked by a regular collaboration with reference ensembles such as the Ensemble InterContemporain, Ensemble Modern, 2e2m, L'Itinéraire or Court-Circuit, which affirms her place among the most committed performers in the music of our time.

In addition to this dimension of concert artist, there is in-depth work on projects and transmission. His site highlights his solo programs, his concertos, his early music projects, his work with DUO XAMP or his research around the accordion and electronics. Appointed accordion professor at the HEMU in Lausanne, Fanny Vicens thus affirms the profile of a complete musician, at the same time a performer, creator of formats, pedagogue and explorer of new sonic territories.

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Born in New York, trained first on the piano before devoting himself fully to the harpsichord and the organ, Kenneth Weiss is part of a major line of Baroque interpretation. After studying at the Oberlin Conservatory with Lisa Goode Crawford, he continued his training in Amsterdam with Gustav Leonhardt, a decisive encounter that permanently oriented his career. Living in France since 1985, he has since developed an international career as a harpsichordist, chamber musician, conductor and teacher.

Another founding moment in this trajectory was his collaboration, from 1990 to 1993, with William Christie at Les Arts Florissant, as musical assistant on numerous productions and recordings. Subsequently, Kenneth Weiss asserted a very complete artistic personality, both on stage and in the pit, in recitals, in chamber music and in direction. His appearances have taken him to numerous international venues and festivals, from Paris to New York, from Paris to New York, from Bruges to Tokyo, from Santander to La Roque d'Anthéron. His discographic career, particularly marked by Bach, includes recordings praised by critics, including L'Art de la Fugue, published by Paraty and awarded a Diapason d'Or in 2023.

In addition to this activity as an interpreter, there is a constant commitment to transmission. Kenneth Weiss taught at the Norwegian Academy of Music in Oslo, at the Juilliard School in New York and at the Haute école de Musique de Genève; he now teaches at the Paris Conservatory. This fidelity to the stage as well as to teaching draws the portrait of a musician deeply inhabited by ancient repertoires, whose artistic authority was built over time, between heritage, reflection and freedom of interpretation.

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