Dumont and Charpentier where the art of the Grand Motet “à la française” in its most perfect completeness.
Caroline Weynants, Caroline Dangin-Bardot, Perrine Devillers | dessus
Marie Pouchelon | bas-dessus
David Tricou, Léo Vermot-Desroches | haute-contre
Antonin Rondepierre, Randol Rodriguez | taille
Ryan Veillet | taille
Etienne Bazola, René Ramos Premier | basse-taille
Nicolas Brooymans, Renaud Bres | basse
Sébastien Daucé | direction and organ
Charpentier Ouverture pour quelque belle entreprise H. 540
Dumont Memorare O piissima Virgo Maria
Charpentier Symphony of Kyrie de la Missa Assumpta est Maria H. 11, Salve regina for three choirs H. 24
Dumont Super flumina Babylonis
Charpentier Messe pour les Trépassés H. 2, Ouverture pour le sacre d’un évêque H. 536
Composer and singer, Marc-Antoine Charpentier left more than 500 pieces, the great majority of them vocal. Thus Leçons des ténèbres, Te Deum, oratorios and no fewer than 235 motets constitute a unique corpus for the time. If Lully and Henry Dumont are the great figures of the court, Charpentier would evolve far from the splendours 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 to the martial rhythms of timpani and trumpets, symbolises Louis XIV's Great Century of the Arts. Beyond its first eight bars, which in 1953 became the musical symbol of Eurovision, it is urgent today to rediscover other no less admirable works by this composer who was so representative of the French spirit. Sébastien Daucé, a great connoisseur of this corpus, will gladly introduce us to it.
PRODUCTION Théâtre des Champs-Elysées