French through their work devoted to the rediscovery of historical and popular French songs. Their approach consists in giving back to these forgotten repertoires their living, theatrical and poetic force, by making them heard again not as archives, but as a sung memory that is still fully current.

Trained at the Center for Baroque Music in Versailles and then at the Paris Conservatory, Arnaud Marzorati simultaneously pursued a career as a singer with major ensembles such as Les Arts Florissant, Les Talens Lyriques, Le Concert Spirituel or Le Poème Harmonique. With Les Lunaisiens, he has developed a personal universe where musical excellence meets historical research, the French language and the art of storytelling.

Their publications devoted to revolutionary songs and to the figure of Lacenaire fully extend this artistic line: to present texts and melodies from the past with dramatic intensity, clarity of diction and program inventiveness that contributed to making Les Lunaisiens a reference in this very particular field.

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Trained at the Conservatoire National Supérieur de Musique et de Danse de Paris under Isabelle Moretti, after having also received the teaching of Germaine Lorenzini, Marcel Cara is part of the great tradition of the French harp school. Born in 1996 in Charleville-Mézières, he quickly distinguished himself by an interplay of relief, color and depth, noticed in places such as the Théâtre du Châtelet, the Salle Pleyel, the British Museum Auditorium, the British Museum Auditorium, the British Museum Auditorium, the Sala São Paulo or the Merkin Hall in New York.

Winner of the Hong Kong Harp Contest, the Young Concert Auditions in New York, a semi-finalist in the ARD competition in Munich and a scholarship from the Académie des Beaux-Arts de Paris, Marcel Cara is developing a career where instrumental requirements are accompanied by a real work of exploration of the repertoire, in particular through personal transcriptions. This dual identity of performer and presenter gives his career a strong uniqueness in the current harp landscape.

With Résurgence, his first record released in 2025, he offers a journey through the evolution of the harp in the 20th century, from Debussy to Jolivet, from Fauré to Tournier, up to Bruno Mantovani and Takashi Yoshimatsu. This program highlights a musical personality attentive to tradition, modernity and the ability of the harp to reinvent its soundscapes.

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Mariane Marchal and Maxime Desert form a duo where listening, the density of sound and the taste for poetic risk play a central role. A pianist trained in Lyon and then with Roger Germser, Edson Elias and Géry Moutier, Mariane Marchal develops a career inspired by recital, chamber music and creation. A violist trained at a very young age in Valenciennes, Maxime Desert has, for his part, built a very active trajectory between repertoire, contemporary creation and transversal projects.

With La Datcha de Chosta, they give voice to a universe of confidence, memory and inner tension, around Shostakovich and the legacy of Fyodor Drujinin. Their duo work explores the richness of the repertoire for viola and piano by combining great works and openness to more contemporary aesthetics, in an approach where expressive depth is always linked to great chamber music precision.

This project extends the career of two very committed artists, united by the same requirement of sound, line and presence. Through this program, Mariane Marchal and Maxime Desert affirm a musical companionship based on narration, the intensity of instrumental dialogue and a very embodied vision of chamber music.

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A Franco-Swiss pianist of Iranian origin, Layla Ramezan has developed a unique career at the crossroads of contemporary creation, major repertoire and intercultural dialogue. For several years, his work has sought to express living links between his Persian origins and the classical music of today, in an approach that is at once artistic, intellectual and deeply personal. She performs regularly in France, Switzerland and internationally, and her concerts are relayed by several major European and North American radio stations.

This artistic line was particularly strongly embodied in the 100 Years of Iranian Piano Music cycle, a vast project devoted to a century of Iranian piano music, then in Sheherazade by Alireza Mashayekhi, where the exploration of the keyboard is extended by a reflection on memory, modernity and the Persian imaginary. Layla Ramezan asserts herself as an interpreter of conviction, committed to projects that bring together research, transmission and invention.

His career is also marked by long-term collaborations with artists from other fields of speech and the stage. With Schubert-Rûmi, she opens a new space, between piano, poetry and meditation, confirming a musical personality that builds less a repertory career than a coherent, demanding and deeply inhabited path.

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A Franco-Romanian pianist, Mara Dobresco has built a very personal journey, driven by a game praised for her temperament, the delicacy of her phrasing and the elegance of her touch. A child prodigy, she performed with orchestra at the age of 11, won several international competitions and enjoyed the support of figures such as Martha Argerich, Dominique Merlet, Jean-Claude Pennetier and Pierre-Laurent Aimard.

Her concert activity takes her to Europe, but also to Argentina, Australia, Australia, Japan and the United States, in major venues and in a wide range of projects, from recitals to chamber music. His trajectory is distinguished by a constant search for poetic depth, clarity of line and inner freedom, with particular attention paid to musical narration and sound color.

With Paraty, her album Soleils de Nuit fully extends this artistic identity. Through a program bringing together Chopin, Grieg, Debussy, Tchaikovsky and rarer pages, Mara Dobresco deploys a nocturnal and contemplative universe, where the intimacy of the piano becomes a space of resonance, mystery and imagination.

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Jean-Charles Gandrille has established himself as a singular figure in current French creation, at the same time composer, pianist and organist. Her universe seeks to reconcile heritage and invention, in a style of writing focused on emotion, lyricism and the power of evocation, with particular attention to the narrative dimension of music. His career has been distinguished by eleven prizes in international competitions, in particular in Armenia, Madrid, Taiwan and Italy.

His catalog embraces a broad spectrum of forms and arrangements, from piano music to choral works, from violin to cello, from organ to concerto. This breadth reflects the personality of a composer who builds his career over time, with a strong taste for inspired works, great expressive impulses and a certain proximity to the imaginary world of film music.

His discographic partnership with Paraty has resulted in several significant releases, including Gandrille Piano Trios, presented as his second album for the label and supported by the Fondation du Festival d'Auvers-sur-Oise. This project is part of a career in which chamber writing plays an important role, alongside other strong areas such as the repertoire for solo cello, the violin and organ duo or the major vocal pages.

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Reunited as a fortepiano duo, Knut Jacques and Morgane Le Corre defend a work centered on ancient keyboards and on a historically informed approach to the classical repertoire. Their joint project highlights the practice of playing the piano with four hands and the richness of period tones, in a search for balance, clarity and chamber music breathing.

With Mozart: Piano 4 Hands, they explore three major works by Mozart for piano four hands, bringing to life the orchestral verve, theatrical impetus and the subtlety of writing specific to this repertoire. In it, the duo affirms a musical complicity based on listening, the articulation of discourse and the same attention to style.

Through this program, Knut Jacques and Morgane Le Corre are part of an approach that does not only consist in replaying Mozart, but in finding a gesture, a sound and a way of bringing this music to life in its original proximity to the instrument.

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Anne de Fornel and Jay Gottlieb form a duo of two pianos who find in the encounter between research, interpretation and musical thought a particularly singular field of expression. A French-American pianist and musicologist, Anne de Fornel combines a career as a performer with significant intellectual work on 20th and 21st century music. Jay Gottlieb, a leading figure in contemporary piano, has made a name for himself through his commitment to creation, his taste for risk and his special relationship with the legacy of John Cage. Together, they give rise to a dialogue of very high intensity, where musical ideas become living matter.

Their album Cage Meets Satie fully sheds light on this affinity. Through a program for two pianos and two prepared pianos, they explore the profound resonances between Erik Satie and John Cage, revealing not only an aesthetic filiation, but a real common space of freedom, relaxation and listening. The program includes Three Dances and Experiences No. 1 by Cage, as well as a version for two pianos of Socrates de Satie produced by Cage.

Released in 2020, this record was praised by critics and awarded 5 stars in Classica. It reveals a duo capable of conveying, with rare clarity, everything that this encounter between two composers and two pianists can have that is radical, refined and intensely poetic.

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Founded in 1999, Arsys Bourgogne has established itself as one of the most remarkable French vocal ensembles of its generation. First shaped for fifteen years by Pierre Cao, it is now continuing its career under the direction of Mihály Zeke, with an identity based on vocal excellence, chamber music flexibility and the exploration of six centuries of repertoire, both a cappella and with instruments.

A conductor with a European background, born in London, trained in Athens and then at the Musikhochschule in Stuttgart, Mihály Zeke leads a double career as a choirmaster and conductor. His arrival at the head of Arsys Bourgogne accompanied a new artistic impetus, marked by a very precise work on solo voices, a taste for tailor-made repertoire and a renewed attention to the link between ancient music and contemporary creation.

The album Birth of Venus, published by Paraty, fully reflects this orientation. Devoted to French choral music of the first half of the 20th century, from Debussy to Messiaen, from Ravel to Milhaud, this a cappella program was praised for the quality of its interpretation and for the broadening of the artistic spectrum of the ensemble.

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Founded in 2019 by Mihály Zeke following his years at the head of Arsys Bourgogne, the Ensemble Cytherea is a European chamber choir that brings together singers from ten countries. Conceived as a collective of soloists capable of blending into a great homogeneity of sound, the ensemble defends both the great old choral repertoire and more recent music, with the same technical and expressive requirements.

Under the leadership of Mihály Zeke, a conductor with a deeply European background, Cytherea was built around a clear ambition: to create a dialogue between vocal excellence, artistic openness and a transnational vision of choral singing. The variable size of the ensemble according to the projects allows it to approach various formats while maintaining a strong identity of tone, flexibility and collective intensity.

The ensemble's first disc, Homelands Vol. 1, released in 2021 with pianist Marie Vermeulin, offers a journey into a polyphonic repertoire born from the encounter between folklore and scholarly music in the 19th and 20th centuries, from Hungary to Germany. This project perfectly sheds light on Cytherea's personality: a choral art nourished by European culture, by the uniqueness of voices and by a very strong taste for programs with a strong artistic coherence.

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Founded in 1996 by Rolandas Muleika, the Antiphona Ensemble established itself through a rare approach, at the crossroads of musicological research and artistic creation. The vocal and instrumental ensemble defends the Baroque repertoire with a particular attachment to forgotten works from the South of France, by restoring their context, color and expressive power for today's public.

Based in Toulouse, Antiphona has built a very strong identity around the rediscovery of the Occitan heritage of the 17th and 18th centuries. His work highlights composers who have long remained in the shadows of the major centers of Versailles, while affirming an artistic line based on stylistic requirements, the link with concert venues and a genuine commitment to transmission.

The releases available at Paraty fully extend this adventure: L'Occitanie Baroque des Pénitents Noirs, Grands Motets by Joseph Valette de Montigny and Grands Motets vol. 2 bear witness to a long-term partnership with this southern repertoire, in a perspective where heritage restoration, singing intensity and discographic rediscovery advance together.

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A Belgian organist, Arnaud van de Cauter has devoted an essential part of his work for many years to the repertoire of the 17th and 18th centuries, with a particular affinity for the music of the ancient Netherlands and for the organ as a place of color, architecture and breathing. Trained in Belgium, France and Germany, he is an organ professor at the Royal Conservatory of Music in Liège, he also teaches in Mons, and holds the organs of the Notre-Dame au Sablon church in Brussels.

His career as a concert artist has led him to perform regularly in Belgium and abroad, while developing an artistic activity nourished by research and by a very singular attention to the link between body and instrument. This dimension is extended in his work around “Physical Integration with the Instrument”, a sensitive approach to musical practice based on an organic relationship between the musician and his gesture.

The releases available from Paraty, in particular Organ Work and Peeter Cornet: Work for Organ, fully reflect this identity: an organ art based on the clarity of speech, the richness of the tone and the taste for rare repertoires, served by a performer whose recordings have been praised by the international press.

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Born in Transylvania in 1974, Ferenc Vizi first studied in Reghin with András Körtési, before continuing his studies in Paris in the class of Gérard Frémy, while receiving advice from Cyril Huvé, Jacques Rouvier and Françoise Thinat. Very early distinguished in major international competitions, from Saratov to Hamamatsu, from Tel Aviv to Munich, he developed a career that took him to Europe, Japan and South America, with a broad repertoire and a strong affinity for major piano cycles.

His career is distinguished by a rare diversity of programs, ranging from Beethoven, Schumann, Liszt and Chopin to Bartók, Schubert or Wagner-Liszt, with particular attention paid to the dramaturgical construction of the recital. This identity has been affirmed both in concert and on record, in particular through projects devoted to the Diabelli Variations, Liszt and the Gypsies, to Mendelssohn or even to Schubert.

With Paraty, her album Schubert fully extends this artistic line. Through the Sonata in A Major D 664 and the Four Impromptus D 935, Ferenc Vizi highlights an art of singing, breathing and architecture that illuminates the poetic depth of this repertoire.

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Camille Seghers and Alexis Thibaut de Maisières form a cello and piano duo where musical complicity meets real stage companionship. Both have been performing for several years in Belgium, France, France, France, Germany, Germany, Germany, Turkey and Russia, with a repertoire centered on chamber music and a marked taste for programs built around a strong narrative coherence.

Their first major joint discographic milestone was the complete works for cello and piano by Louis Vierne, published in 2022. This project highlights a rare repertoire that is at once lyrical, dense and intensely French, which the duo defends with an approach based on the clarity of speech, the depth of the tone and the passion for sharing with the public.

Their journey has been extended with a new project dedicated to Jacques Brel, where Alexis Thibaut de Maisières signs the arrangements and where the duo explores another form of musical story, between song, memory and instrumental reinvention. From one project to another, Camille Seghers and Alexis Thibaut de Maisières thus affirm a very personal chamber musician identity, nourished by tradition, curiosity and freedom at the same time.

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Born in Paris into a family of artists with a dual Franco-South American culture, Carl-Emmanuel Fisbach has been developing a singular career for many years centered on the expansion of the saxophone repertoire. A soloist with the Orchestre d'Auvergne, the Ekaterinbourg Philharmonic Orchestra, the Ekaterinbourg Philharmonic Orchestra, the Lamoureux Orchestra and the National Symphony Orchestra of Ecuador, he is also very active in chamber music and contemporary creation.

His artistic universe is distinguished by a rare curiosity for today's repertoires, transcriptions and writings. A regular collaborator with composers such as Bruno Mantovani, Christian Lauba or Benjamin Attahir, he also works with ensembles such as the Ensemble InterContemporain, Ars Nova, Cairn, Cairn or Red Note Ensemble. This openness has shaped an identity as a musician who is at once virtuoso, researcher and presenter, regularly invited in France and abroad.

At Paraty, this artistic line is reflected in Tango Continuo, with David Christopher Panzl, and in Bach & Hindemith, with Wenjiao Wang. These recordings give voice to two complementary facets of his career: on the one hand, a taste for tango and cultural intersections, on the other, a reflection on transcription, color and the reinvention of the repertoire.

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Orchestre National de Mulhouse, Founded in 1867, the Orchestre National de Mulhouse is one of the oldest permanent French formations. A resident of La Filature, he now deploys an activity that embraces the great symphonic repertoire, opera, ballet, contemporary creation and numerous cultural actions, with a strong presence in Mulhouse and in the region. Since 2023, its musical direction has been provided by Christoph Koncz, and the ensemble officially adopted the name Orchestre National de Mulhouse in 2025 after obtaining the “Orchestre national en Région” label.

At Paraty, the orchestra appears in a symphonic project dedicated to David Lampel, alongside the Victor Hugo Bourgogne Franche-Comté Orchestra. This recording highlights a group capable of combining orchestral density, commitment to creation and dialogue with great soloists, here Emmanuelle Bertrand and Marie-Josèphe Jude.

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The Orchestre Victor Hugo Bourgogne Franche-Comté is the permanent orchestra of the Bourgogne-Franche-Comté region. It has established itself through an open artistic identity, ranging from Bach to The Rite of Spring, from the great symphonic repertoire to new works, with constant attention given to young audiences, innovative formats, and diffusion across the entire territory. Artistically directed by Jean-François Verdier, it develops a singular activity associated with several venues and numerous transmission projects.

Its discographic presence with Paraty is reflected notably in the album devoted to the orchestral works of David Lampel, shared with the Orchestre National de Mulhouse. This project fully illustrates the ensemble's stylistic flexibility and its capacity to carry a contemporary symphonic programme with relief, in the company of two major soloists, Emmanuelle Bertrand and Marie-Josèphe Jude.

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Pierre Lénert is one of the great French figures of the viola. Principal super-soloist viola of the Orchestre de l'Opéra national de Paris, he simultaneously pursues an international career as performer and chamber musician, nourished by regular presence in major European concert halls and by a constant commitment to his instrument. Trained notably under Kim Kashkashian, Yuri Bashmet, and Hatto Beyerle, he has been distinguished in several major competitions, including Markneukirchen, Maurice Vieux, and Lionel Tertis.

His career is distinguished by a rare desire to broaden the territory of the viola, both in the great repertoire and in more singular projects. A sought-after chamber musician, creator of new works, and festival artistic director, he has built an identity as a musician in which virtuosity is accompanied by a genuine spirit of exploration, in service of an instrument that he champions as a voice in its own right.

With Paraty, this approach is embodied in spectacular fashion with the recording of Paganini's 24 Caprices transcribed for viola, an exceptional project presented as a European premiere and praised by critics. This album perfectly illuminates Pierre Lénert's personality: a performer capable of combining audacity, technical mastery, and sonic imagination in a repertoire considered one of the most formidable in all instrumental literature.

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