The feminine baroque

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The feminine baroque

Part 1: Bocage and banter

 Françoise-Charlotte de Saint-Nectaire
« On dit qu’Amour vient surprendre » and « Aux lois d’Amour » (court arias)
Barbara Strozzi
« Mie pensieri » (Aria extrait de l’op.6)
Julie Pinel
Recitative « Déjà la riante verdure » and « Doux Rossignols » (extract from the cantata « Le Printemps »)
Mademoiselle Duval
"Accourez jeux charmants" (from Les Génies Elémentaires) and Tambourin (from Les Génies Elémentaires)
Barbara Strozzi
La Vendetta (Canzonette)

Part 2: Tragic destinies

Barbara Strozzi
L’Eraclito amoroso (Lamento)
Isabella Leonarda
Sonata Dodecima : Adagio, allegro e presto, Vivave e largo, Spiritoso, Aria Allegro, Veloce
Antonia Bembo
Lamento della Vergine
Elisabeth-Claude Jacquet de la Guerre 
Aria « Funeste mort » and « Passepied « extract from the lyrical tragedy Céphale et Procris,
Recitative « Mais quel bruit étonnant se répand »,
Aria « Quel triomphe quelle victoire ! »,
Recitative « Je vois ce palais s’enflammer » extraits de la cantate Semélé Semélé

Heather Newhouse, soprano
Sayaka Shinoda, violin
Aude Walker-Viry, cello
Nicolas Muzy, theorbo and guitar
Franck-Emmanuel Comte, harpsichord and musical direction

On stage:
1 soloist and 4 instrumentalists

In the early 17th century, Italy witnessed a true flowering of female composers. Although some, like Isabella Leonarda, made their careers in the shadow of a convent, Italy was also home to the first established professional composers, such as Barbara Strozzi, a symbolic figure of Venetian musical genius, and Antonia Bembo, who was less known but just as fascinating to discover. At the same time, in France, artistic education and musical training for young girls from good families were essential, even if only in exceptional cases did they manage to become professionals. The most famous of these was undoubtedly Élisabeth-Claude Jacquet de la Guerre, a protégée of King Louis XIV. The composer of one of the rare operas written by a woman and performed at the Paris Opéra, she left her mark on her century and was a source of inspiration for many of her colleagues, such as Françoise de Saint-Nectaire, Julie Pinel and Mademoiselle Duval. So many forgotten scores and charismatic personalities to discover...




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