The French connection

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The French connection

Robert Cambert and Louis Grabu: Ouverture from Pomone (1671)
Matthew Locke: excerpts from Psyche (1675)
Jean-Baptiste Lully: excerpts from Psyché (1678)
Nicholas Lanier: Loves constancy “No more shall meeds”
Matthew Locke: suite from The Tempest (1674)
Pelham Humfrey: “Where the bee sucks”, from The Tempest (1674)
Henry Purcell: excerpts from The Tempest, King Arthur, The Fairy Queen

Axelle Verner, mezzo soprano
Le Concert de l’Hostel Dieu
Franck-Emmanuel Comte, harpsichord and direction

On stage:
1 soloist, 9 instrumentalists (string quintet, oboe/flute, bassoon/flute, theorbo, harpsichord)

During Cromwell’s revolution, King Charles II spent part of his exile at the court of his first cousin, Louis XIV, where he developed a special taste for the music of Versailles. In 1660, his Restoration was to go hand in hand with a true artistic renaissance, in which music was to come predominantly under French influence. While many Parisian artists would settle in London, many were the English composers who, being enraptured by Jean-Baptiste Lully, would draw their inspiration from the music played in Versailles. This mix of styles inspired fascinating and highly creative music that reflects the spirit of openness prevailing in this cosmopolitan court, which hosted the best artists from the continent.

Watch the concert's video recording

FORUMOPERA – 07/06/2021 – Yvan Beuvard
« Les musiciens du Concert de l’Hostel Dieu renouvellent l’exploit. Leur jeu, virtuose, coloré, toujours animé, à la plus large palette expressive, n’appelle que des éloges. Chacun mériterait d’être cité, du violon solo à la hautboïste-flûtiste… »

BACHTRACK – 09/06/2021 – Jean Landras
« Le Concert de l'Hostel Dieu et son directeur musical ont émerveillé le public par la rigueur et la beauté de leur jeu individuel comme d'ensemble. Chaque pupitre a su se montrer à la hauteur des attentes. »

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