Rediscover Georg Friedrich Handel's cantatas through the prism of his trip to Italy. Through a programme varied in its forms and emotions, imagine and travel through the Rome of the early 18th century. Caroline Mutel (soprano) • Hager Hanana (cello) • Ugo Gianotti (violon) • Sébastien d’Hérin (harpsichord and direction)
Stabat Mater is back on stage, at the Sacred Music Festival of Perpignan! Sébastien d'Hérin, David Bobée and Caroline Mutel have chosen to make Pergolesi's Stabat Mater a show where the music is expanded by the addition of staging, dance and circus. A bridge between the arts, at the service of a score where three […]
Created for Holy Week in the 18th century, the "Lessons of Darkness" are intended to prepare the faithful for Easter. Based on the Old Testament text of Jeremiah's Lamentations, they are true exhortations to repentance and meditation. In the Christian liturgy, they symbolise the solitude of Christ at the moment of his agony.
"Handel’s score sparkles with exuberance, imagination and a flamboyant embrace of Italian taste. The soloists have the opportunity to display their virtuosity, as do several of the instrumentalists. But the real stars are the exquisite tunes, such as Io sperai, Lascia la spina and the breathtaking Tu del ciel ministro eletto. ” Sébastien d'Hérin, director […]
Silete venti is a naturalistic motet in five parts for a soprano voice. It was probably inspired by Handel's return to Italy in 1729. Recognised as one of the composer's most vocally demanding compositions, it is situated between the profane evocation of the 'furious winds' and religious passion, in a text that blurs the distinctions […]
Splendid, ambitious, Heinrich Ignaz Franz Biber's Harmonia artificiosa is a work that delivers all the talents of its author and marks the budding virtuosity of the violin. It is a tour de force and is defined as the culmination of technical and stylistic research. With it, the violin takes on a new place in the […]
During the Parisian musical evenings of the Concert spirituel in 1750, one could hear a few pages by the great Lully, then by the innovative Rameau, and a few notes of sacred music alternating with the latest fashionable cantata. This was called the 'Fragments', the idea being to retain only the best, or rather what […]
