Trained at the CRR in Paris and then at the CNSM in Paris with Billy Eidi, Patrick Cohen, Pierre Cazes and Kenneth Weiss, Natalia Valentin then deepened her work with Susan Alexander-Max and Arthur Schoonderwoerd. Very early rewarded with several First Prizes, she developed a career focused on interpretation using historical instruments, with particular attention to the fortepiano and the performance practices of the 18th and 19th centuries.

What sets her career apart is the way in which she combines research, scene and transmission. The Paraty site highlights its commitment to modern fortepiano pedagogy, based on treatises, methods and testimonies of the period. This identity is also embodied in her recent activities: the Philharmonie de Paris presents her as a specialist in historic pianos, while several institutions invite her for conferences, master classes and educational projects devoted to the history and evolution of the fortepiano.

In addition to this dimension of pedagogy, there is an activity as a concert artist based on collaborations and transversal projects. The biography published by Paraty mentions in particular more than thirty concerts in Europe and the Americas in partnership with the Palazzetto Bru Zane, testifying to an international career that has already been firmly established. Pianist and fortepianist, Natalia Valentin thus affirms a clear artistic line: giving voice to historic keyboards while placing them in a living relationship with today's audiences.

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Founded in 2007 at the initiative of Sheikha Moza bint Nasser, the Qatar Philharmonic Orchestra quickly established itself as one of the major cultural institutions in the Gulf and the Middle East. His inaugural concert, conducted by Lorin Maazel in 2008, already gave the measure of this ambition: to build an internationally renowned orchestra from Doha, capable of carrying an artistic identity that is both demanding and open.

What sets the Qatar Philharmonic Orchestra apart is its very mission: to create a dialogue between Western symphonic tradition and Arab musical heritage, in order to inspire audiences in Qatar and the Arab world. This artistic line, at the heart of its project, is reflected in an international orchestra bringing together today 78 musicians from 28 countries, and in an activity that combines classical repertoire, creations, mediation and cultural influence.

Over the course of more than 500 concerts, the Qatar Philharmonic Orchestra has brought this vision to major international stages such as La Scala in Milan, the Konzerthaus in Vienna, the Théâtre des Champs-Élysées, Santa Cecilia in Rome, Santa Cecilia in Rome, Santa Cecilia in Rome, the Kennedy Center in Rome, the Kennedy Center in Rome, the Kennedy Center in Washington or the Royal Albert Hall in London. Through this journey, the orchestra affirms a singular place: that of an ensemble that does not content itself with representing a country, but which embodies a genuine project of cultural dialogue through music.

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Born in Argentina, Silas Bassa discovered the piano at the age of five and gave his first public concerts at an early age, before continuing his training at the National Conservatory of Buenos Aires under Aldo Antognazzi. A decisive turning point came when he was noticed during Bruno Gelber's masterclasses, which allowed him to come and work in Europe. Settling in Paris in 2002, after meeting with the pedagogue Monique Deschausées, he gradually built a singular career as a classical pianist and singer-songwriter.

What distinguishes her path is precisely this desire not to limit herself to traditional recital. His site insists on a personal approach that combines interpretation of the major repertoire, composition, and the creation of concert-performances sometimes combining music, dance, video or theater. This opening found a first significant result with Oscillations in 2015, an album published by Paraty and distributed by Harmonia Mundi, praised by critics, brought to first place in Fnac sales in contemporary classical music and selected by France Musique among the best records of the year by France Musique. He was then invited by Katia and Marielle Labèque to participate in the “Labèque and friends” evening at the Maison de la Radio in Paris.

Since then, Silas Bassa has pursued an increasingly personal trajectory, between recitals, stage creations and albums centered on his own musical universe, such as Dualità, Silas and SELF. His career thus draws the portrait of an artist who brings together the rigor of a classical education with a search for formal freedom, in a language where poetry, energy and the imaginary meet.

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Born in 1964 into a family of artists, Pierre Hantaï discovered Bach's music very early on, which became the starting point of a decisive career. Initially self-taught on a small harpsichord, he then deepened his training with Arthur Haas, then in Amsterdam with Gustav Leonhardt, whose influence permanently marked his relationship with the instrument and the repertoire. From this almost internal birth of music came one of the most singular trajectories of contemporary harpsichord.

Very quickly, Pierre Hantaï established himself as a major figure in interpretation on ancient instruments. His activity as a recitalist, chamber musician and conductor has taken him to major halls and international festivals, while his discography has largely contributed to the promotion of his art. His official website highlights a particularly deep relationship with Bach, but also with Scarlatti, Couperin and Rameau, through recordings that have become references. This artistic authority relies less on effect than on thinking about sound, style, and freedom of interpretation, which makes each of its programs an intensely embodied experience.

Through this career, Pierre Hantaï appears as a musician who knew how to make the harpsichord a fully alive instrument for today's stages. His concerts, as presented on his site, reflect an international presence that is still active, with recitals and chamber music projects still scheduled for 2026. This fidelity to the concert, combined with a rare artistic requirement, explains the eminent place that it has occupied for several decades in the world of Baroque music.

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Trained at the Bordeaux Conservatory and then at the Paris Conservatory of Music under Ventsislav Yankov, Véronique Bonnecaze also continued her work with Germaine Mounier, Vladimir Nielsen and Oxana Yablonskaya at the Juilliard School in New York. Very early noticed in several international competitions, she built a career as a concert pianist based on a high level of style, a culture of sound and a direct relationship with the public, at the very heart of her artistic approach.

Over the years, she has established herself as a faithful interpreter of the great romantic and French repertoire, with a discography praised by critics. Its official site highlights this search for an interpretation where respect for the score is combined with a deeply personal expression, in a desire to exchange with the listener. This artistic line is also extended in his recitals, his recordings and his more recent projects, especially around his album Musical moments.

In addition to this concert activity, there is a lasting commitment to transmission. Véronique Bonnecaze teaches piano at the École Normale de Musique de Paris — Alfred Cortot, where she was also in charge of the Concerts de Midi et Demi. Her career thus draws the portrait of a complete musician, at the same time performer, teacher and repertory presenter, whose artistic authority was built over time between stage, studio and teaching.

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Founded in 2010, the Tana Quartet has established itself as one of the most unique quartets of its generation, making the string quartet a laboratory for the 21st century. From the very beginning, the ensemble has chosen to bring together the major repertoire and contemporary creation, not as two separate worlds, but as the same field of exploration. This artistic line allowed him to build an immediately identifiable career, based on curiosity, commitment to composers and a resolutely lively vision of chamber music.

Over the years, the Tana Quartet has become a major player in contemporary music, creating more than 250 works and collaborating closely with composers such as Ivan Fedele, Philippe Hurel, Hèctor Parra, Hèctor Parra, Franck Bedrossian, Franck Bedrossian, Raphaël Cendo or Yann Robin. His career has been distinguished by numerous awards, including the Fuga Prize from the Union of Belgian Composers, an Octaves of Music for Contemporary Music, a Coup de Coeur from the Charles Cros Academy and an HSBC Prize at the Aix-en-Provence Festival. His discography has also greatly contributed to his influence, in particular with Shadows, the complete quartets of Philip Glass and, more recently, Bleu Ébène.

Composed today of Antoine Maisonhaute and Selinsu Düz on violins, Ondine Simon on viola and Jeanne Maisonalta on cello, the Tana Quartet affirms an identity that combines instrumental excellence, research and openness. Its regular presence on international stages, from the Philharmonie de Paris to the Aix-en-Provence Festival, confirms the place it now occupies in the European musical landscape: that of an ensemble capable of reinventing the string quartet without ever breaking the link with its heritage.

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Marie-Claude Bantigny is part of the great French cellists, after a background marked in particular by the teaching of Maurice Gendron, André Navarra and Roland Pidoux, at the CNSM in Paris, where she won a First Prize in cello and chamber music. Very early on, his career was built at the meeting of instrumental requirements and a more internal artistic research, nourished by a taste for repertoire, speech and transmission.

This uniqueness is expressed as much in his orchestral career as in his personal projects. Principal cello of the Orchestre Colonne, she also works as a concert artist in recitals and chamber music, with particular attention to meaningful programs. Her first album, I am another, designed around Arthur Rimbaud, Bach, Bach, Eric Tanguy and Laurent Petitgirard, reveals this approach: creating a dialogue between music and text, past and present, in the same poetic and spiritual space. More recently, his recording of the complete Brahms Sonatas with Karolos Zouganelis was presented as unanimously acclaimed by critics.

Through this career, Marie-Claude Bantigny affirms the profile of a musician who is at once sober, generous and deeply inhabited by her art. Interpreter, chamber musician and teacher, she builds a trajectory faithful to a certain idea of music: demanding in form, free in inspiration, and always focused on a sensitive and shared experience.

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A major figure in early music in France, Martin Gester has led for several decades a career where organ, harpsichord, fortepiano, conducting and transmission meet. Trained in Strasbourg, he developed a dual culture as a musician and a scholar very early on, before founding the ensemble Le Parlement de Musique in 1990, which would become one of the structuring axes of his work. This trajectory draws the portrait of an artist for whom interpretation, repertoire research and the construction of projects go hand in hand.

Over the years, Martin Gester has established himself as a performer and conductor who is particularly committed to the rediscovery of baroque and classical music, leading projects with Le Parlement de Musique, Génération Baroque and Arte dei Suonatori. His discography, rich in several dozen recordings, has been widely praised by critics, with major awards in particular for certain recordings devoted to Charpentier, to the Saint Matthew Passion of 1667 found in Uppsala, or more recently to J. S. Bach, or more recently to J. S. Bach, with the publication in June 2025 of the 18 Chorals de Leipzig and the Canonical Variations.

In addition to this activity as a concert artist and conductor, there is a constant commitment to teaching. Former head of the early music department at the Strasbourg Conservatory, Martin Gester still continues to this day an intense activity of recitals, concerts, academies and masterclasses. His career thus affirms a rare fidelity to the stage as well as to transmission, in a relationship with ancient music that combines stylistic requirements, sonic imagination and a spirit of sharing.

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Les Fleurs Noires is a female contemporary tango orchestra bringing together ten Argentine and French musicians around the pianist and composer Andrea Marsili. The ensemble has established itself through a very unique identity: a tango of today, nourished by its roots, but open to other languages, far from the stereotypes of traditional tango as well as electro-Tango.

At the heart of the project, Andrea Marsili transforms the essence of tango into a current style of writing, filled with new tones, spaces for improvisation and influences from experimental music, post-minimalism and jazz in particular. From this material comes sensual, nervous, contrasting music, carried by cultural diversity and the strong personality of the performers.

With Tangos aumentados, the fifth album announced in 2026, Les Fleurs Noires affirm this daring artistic line more than ever: a highly skilled, deeply collective orchestra that makes the stage a place for the invention, energy and renewal of tango.

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Founded and directed by the harpsichordist Olivier Spilmont, the Ensemble Alia Mens brings together singers and instrumentalists on historical instruments around demanding work on Baroque music, with a particular emphasis on the work of Jean-Sébastien Bach. Since its beginnings, the ensemble has developed a reading of this repertoire that is both rigorous, internal and intensely expressive.

Their first album, La Cité Céleste, devoted to three cantatas from Bach's Weimar, was very well received, then Anti-Melancholicus confirmed the uniqueness of their approach. Critics have emphasized the depth, sobriety, expressive precision and poetic power of their interpretation, all qualities that today shape the identity of the ensemble.

Present on stages and festivals in France and abroad, Alia Mens is pursuing a career in full affirmation, between major sacred programs, new stylistic explorations and growing influence. In residence in Boulogne-sur-Mer since 2021, the ensemble stands out as one of the striking presences of the French Baroque landscape.

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Alice Ader is a singular figure on the French piano, whose career combines a very high level of standards, artistic freedom and profound fidelity to repertoires chosen out of inner necessity. Trained at the Conservatoire National Supérieur de Musique in Paris, then in Vienna under Bruno Seidlhofer, she has led a career as recitalist and soloist for decades marked by a rare independence of taste.

Her path has led her to the major pages of classical repertoire as well as to 20th century music and contemporary creation, with a particular affinity for works where sound, color and interiority play an essential role. His discography reflects this uniqueness, from Messiaen to Debussy, from Scarlatti to Mompou, in an approach where poetic depth is combined with a strong personality as a performer.

With Música Callada, dedicated to Federico Mompou, Alice Ader continues this quest for music of silence, resonance and inner light. This recording is part of the career of a free artist, whose each project seems to respond to a profound musical necessity rather than to a logic of repertory.

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Founded in the early 1990s, Alla Francesca established itself as one of the reference ensembles in the interpretation of medieval music, from monodic and polyphonic songs to instrumental pieces, from the 11th to the 16th centuries. Now under the direction of Brigitte Lesne, the ensemble defends an approach that is at once scholarly, lively and deeply embodied, nourished by a long work of research, practice and transmission.

Invited to major festivals in France, Europe and far beyond, Alla Francesca has built an international career praised for the quality of her performances, the originality of her programs and the rare combination of musical rigor, the poetry of singing and the meaning of the scene. His repertoire explores the world of troubadours and trouvères as well as instrumental traditions and the resonances between ancient music and certain living traditions.

With Paraty, the publications Variations am, Le Chansonnier de Bayeux and Tre donne belle fully reflect this artistic identity: an art of text, color and narration, carried by interpreters familiar with this repertoire and by a strong taste for programs with a strong personality.

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Fanny Azzuro has established herself as a pianist with a very unique personality, driven by a strong taste for color, the imaginary sound and the great poetic architectures of the repertoire. Trained in several major European institutions, she has developed a career where pianistic excellence is combined with real freedom of design, nourished as much by romanticism as by 20th-century music.

His discographic career reflects this very coherent artistic line. Initially drawn to the Russian repertoire with Russian Impulse, she then explored the refined universe of 1905 Impressions, then Rachmaninov's Preludes, before opening a new chapter with Golden Dreams, around Chopin and Scriabin. From one project to another, a portrait is drawn of an artist who builds her trajectory through climates, resonances and deep affinities, rather than by simple juxtaposition of repertoires.

Winner of several international competitions, regularly present in recital as well as in chamber music, Fanny Azzuro is now a leading performer, recognized for the intensity of her playing, her sense of narration and her ability to create a dialogue between virtuosity, light and interiority.

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SpiTango Quartet brings together four musicians from classical training around a project where tango becomes a real field of invention. Formed at the Paris Conservatory, the ensemble first established itself in the world of Astor Piazzolla before expanding its repertoire to include tango nuevo, contemporary creation and original arrangements, with the same requirement for precision, energy and freedom.

The quartet stood out with Chin Chin, and then deepened this path with Transgressions, a program that shakes up the boundaries of traditional tango and celebrates today's composers. This singular identity is based on a real complicity on stage, on a very embodied pulsation and on a chamber music approach to tango, which is at the same time virtuoso, rhythmic and intensely collective.

Throughout its projects, SpiriTango Quartet has brought together artists such as Vassilena Serafimova around its core and has built a personal trajectory, at the crossroads of classical concert, the spirit of creation and the South American imagination. At Paraty, the available releases bear witness to this evolution, between the momentum of Chin Chin and the fully assumed audacity of TransGression.

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Founded in 2007 by Perceval Gilles, Sarah Sultan and Pierre-Kaloyann Atanassov, the Trio Atanassov has established itself as one of the most outstanding French formations of its generation. From their first record, devoted to Smetana and Dvořák, the ensemble won a Diapason d'Or, revealing an already very strong identity: clarity of speech, sense of dialogue and a subtle balance between emotion and legibility.

Trained at the Conservatoire National Supérieur de Musique de Paris, at the University of Vienna and as part of the European Chamber Music Academy, the three musicians were then distinguished in several major international competitions, in particular in Frankfurt and Graz, before performing in major European venues and festivals such as the Musikverein in Vienna, the Vienna Musikverein, the Wigmore Hall, the Wigmore Hall, the Alte Oper in Frankfurt, the Paris Philharmonic or the Festival de Radio France in Montpellier.

Their discographic career reflects this requirement and this curiosity. After an acclaimed first recording, they continued with Paraty with Chic à la française, devoted to Debussy, Hersant and Ravel, then Bohemian Rhapsodies, around Dvořák and Suk, distinguished by a Clasica Choc. From one program to another, the Atanassov Trio builds an art of contrast, color and narration, supported by a true unity of musical thought.

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Founded in 2001 by the tenor Benoît Haller, La Chapelle Rhénane brings together singers and solo instrumentalists around a demanding rereading of the European vocal repertoire of the 17th and 18th centuries. From the very beginning, the ensemble has built a strong identity in the Baroque universe, supported by an in-depth work on text, rhetoric and color, with a particular affinity for Bach, Schütz, Monteverdi, Monteverdi, Purcell and Haydn.

Over the years, La Chapelle Rhénane has established itself as one of the most outstanding French groups in its field, both in concert and on record. His career is distinguished by a fidelity to great spiritual and dramatic stories, by a very fine attention to the architecture of the works, and by an approach that combines expressive intensity, polyphonic clarity and the sense of musical theater.

For Paraty, the ensemble gave Haydn's Seven Last Words of Christ on the Cross, an emblematic project of this artistic line: an art of inner tension, collective breath and incarnate speech, served by Benoît Haller and the 1781 Quartet, served by Benoît Haller and the 1781 Quartet, with Guillaume Humbrecht.

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Founded under the leadership of Bruno Procopio, the Jeune Orchestre Rameau is an orchestral project dedicated to the rediscovery and transmission of Jean-Philippe Rameau's repertoire on period instruments. It brings together young musicians from major international conservatories and aims to regain the scale, colors and spirit of the great French formations of the 18th century.

Designed as a laboratory of excellence as well as a place of transmission, the orchestra is developed in collaboration with several European and Latin American institutions, in an approach that is at once artistic, educational and heritage. His work is also based on the rediscovery of rare or unpublished scores, in order to make Rameau hear not as a fixed monument, but as a living, theatrical and deeply modern force.

This vision has already been confirmed on the record with War and Peace, the first album hailed by critics and distinguished in Spain, then with Concerts en Sextuor, a second opus devoted to an inventive re-reading of Harpsichord Pieces in Concerts. The Jeune Orchestre Rameau is thus establishing itself as a singular formation in the current Baroque landscape, supported by a new generation of musicians and a strong stylistic requirement.

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Founded in 2017 around the harpsichordist, fortepianist and conductor Paolo Zanzu, Le Stagioni brings together musicians leading international careers as soloists and within major European ensembles on period instruments. The ensemble was built around the same ambition: to create a dialogue between the experience, the freshness and the renewal of historical interpretation, in variable formats where singing plays a central role.

Paolo Zanzu's artistic project gives the ensemble a very strong identity. Trained in Italy, Paris and London, winner of the Bruges International Competition, he established himself as one of the outstanding personalities of harpsichord and fortepiano in Europe, while developing with Le Stagioni a broad vision of the repertoire, from the great European 18th century to the first 19th century. After several recordings hailed by critics, the ensemble continued its journey between residencies, program creations and transmission actions.

With Paraty, this artistic line extends with Bach's Sonatas for violin and harpsichord obligato by Bach, performed by Paolo Zanzu, the violinist Liv Heym and the exceptional participation of Christophe Coin. This record perfectly sheds light on the personality of Stagioni: demanding chamber music thinking, a profound attention to the filiation of styles, and a work on collective sound designed as a true interpretation laboratory.

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