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    Te Deum

    Marc-Antoine Charpentier 

    Charpentier and Purcell where the art of the French Grand Motet and the English ode as in a mirror. 

    Sébastien Daucé
    Sébastien Daucé © Diego Salamanca

    Elena Harsanyi | dessus
    Caroline Dangin-Bardot
     | dessus
    Perrine Devillers | dessus
    Marie-Frédérique Girod | dessus
    Lucile Richardot | bas-dessus
    Blandine de Sansal | bas-dessus
    Marie Pouchelon | bas-dessus
    Joséphine Geoffray | bas-dessus
    Antonin Rondepierre | taille
    Randol Rodriguez | taille
    Ryan Veillet 
    | taille
    Jordan Mouaïssia | taille
    Thierry Cartier| basse-taille
    Etienne Bazola
     | basse-taille
    Adrien Fournaison | basse
    Maxime Saïu | basse

    Sébastien Daucé | direction and organ
    Ensemble Correspondances 

    Complementary program
    Hail Bright Caecilia 
    Dumont Super flumina Babylonis

    Composer and singer, Marc-Antoine Charpentier left more than 500 pieces, the vast majority of them vocal. Leçons des ténèbres, Te Deum, oratorios and no less than 235 motets constitute a unique corpus for the time. If Lully and Henry Dumont were the great figures of the court, Charpentier evolved far from the pomp and splendour of Versailles and the spheres of power. He was nonetheless appreciated by Louis XIV and it was at his request that he composed his most famous Te Deum, H146, most probably to celebrate the Victory of Steinkerque in 1692. This powerful fresco, whose prelude opens with the martial rhythms of timpani and trumpets, is in itself symbolic of Louis XIV's Grand Siècle des arts. In the first part, Sébastien Daucé, a brilliant connoisseur of French music, will sail to English lands to give the Ode to Sainte Cécile by Henry Purcell, the exact contemporary to Charpentier’s Te Deum.

    PRODUCTION Théâtre des Champs-Elysées
    Concert diffusé par France Musique le 31 mai à 20h et présenté par Clément Rochefort

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