Orchestre National de Mulhouse, Founded in 1867, the Orchestre National de Mulhouse is one of the oldest permanent French formations. A resident of La Filature, he now deploys an activity that embraces the great symphonic repertoire, opera, ballet, contemporary creation and numerous cultural actions, with a strong presence in Mulhouse and in the region. Since 2023, its musical direction has been provided by Christoph Koncz, and the ensemble officially adopted the name Orchestre National de Mulhouse in 2025 after obtaining the “Orchestre national en Région” label.

At Paraty, the orchestra appears in a symphonic project dedicated to David Lampel, alongside the Victor Hugo Bourgogne Franche-Comté Orchestra. This recording highlights a group capable of combining orchestral density, commitment to creation and dialogue with great soloists, here Emmanuelle Bertrand and Marie-Josèphe Jude.

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The Orchestre Victor Hugo Bourgogne Franche-Comté is the permanent orchestra of the Bourgogne-Franche-Comté region. It has established itself through an open artistic identity, ranging from Bach to The Rite of Spring, from the great symphonic repertoire to new works, with constant attention given to young audiences, innovative formats, and diffusion across the entire territory. Artistically directed by Jean-François Verdier, it develops a singular activity associated with several venues and numerous transmission projects.

Its discographic presence with Paraty is reflected notably in the album devoted to the orchestral works of David Lampel, shared with the Orchestre National de Mulhouse. This project fully illustrates the ensemble's stylistic flexibility and its capacity to carry a contemporary symphonic programme with relief, in the company of two major soloists, Emmanuelle Bertrand and Marie-Josèphe Jude.

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Pierre Lénert is one of the great French figures of the viola. Principal super-soloist viola of the Orchestre de l'Opéra national de Paris, he simultaneously pursues an international career as performer and chamber musician, nourished by regular presence in major European concert halls and by a constant commitment to his instrument. Trained notably under Kim Kashkashian, Yuri Bashmet, and Hatto Beyerle, he has been distinguished in several major competitions, including Markneukirchen, Maurice Vieux, and Lionel Tertis.

His career is distinguished by a rare desire to broaden the territory of the viola, both in the great repertoire and in more singular projects. A sought-after chamber musician, creator of new works, and festival artistic director, he has built an identity as a musician in which virtuosity is accompanied by a genuine spirit of exploration, in service of an instrument that he champions as a voice in its own right.

With Paraty, this approach is embodied in spectacular fashion with the recording of Paganini's 24 Caprices transcribed for viola, an exceptional project presented as a European premiere and praised by critics. This album perfectly illuminates Pierre Lénert's personality: a performer capable of combining audacity, technical mastery, and sonic imagination in a repertoire considered one of the most formidable in all instrumental literature.

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Founded in 1986 and based in Dijon, the Quatuor Manfred has made a lasting mark on the French and international string quartet scene. Recognised very early as one of the most prize-winning French quartets of its generation, it established itself through the rigour of its work, the breadth of its repertoire, and a curiosity that led it equally towards the great classics and contemporary creation.

Made up of Marie Béreau, Luigi Vecchioni, Christian Wolff, joined at viola by Emmanuel Haratyk from 2008, the ensemble pursued over more than thirty years a career rich in concerts, collaborations, and discographic projects. Its identity was built around a very pronounced taste for programmes of strong poetic coherence, from Schumann and Tchaikovsky to the mélodies of Fauré and Berlioz with Jean-Paul Fouchécourt.

With Paraty, the albums Schumann & Tchaikovsky and Clairs de lune fully reflect this artistic personality: a quartet of great chamber tradition, attentive to colour, line, and the breathing of discourse, capable of bringing Romantic intensity, French refinement, and the art of sung text into dialogue.

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A French-American harpsichordist born in Berkeley and living in Paris since adolescence, Lillian Gordis has established herself as one of the most outstanding personalities of her generation. Trained under Pierre Hantaï after discovering the harpsichord at an early age, she developed a career in which freedom of thought, intellectual commitment and expressive intensity play a central role. She is now regularly invited to major festivals and on European and American stages.

His discographic career has greatly contributed to affirming this uniqueness. With ZONES, devoted to Domenico Scarlatti, and then with a first major Bach project, she gave voice to an approach to the harpsichord that was at once poetic, organic and deeply personal, praised for its freshness, panache and evocative power.

From one project to another, Lillian Gordis is building less a career as a specialist than a true universe of interpreter, capable of bringing Bach, Scarlatti and contemporary creation into dialogue with the same high standards of sound, form and vision. This artistic coherence, combined with a very strong stage presence, explains the singular place it occupies today in the harpsichord world.

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Founded in 2005 by Bruno Bonhoure and Khaï-Dong Luong, La Camera delle Lacrime occupies a very distinctive place in the landscape of medieval music. The ensemble was built around a dual rigour: the study of sources, rituals, and vocal practices of the Middle Ages, and their reinvention in a fully contemporary research-creation perspective.

This identity rests on the complementarity of its two artistic directors: Bruno Bonhoure, singer and musical director, and Khaï-Dong Luong, stage director, artistic designer, and researcher. Their work does not limit itself to concert: it articulates performance, transmission, musicological reflection, and participatory projects, with constant attention to the way in which these early repertoires can regain a force of presence for today's audiences.

Through its productions, La Camera delle Lacrime has affirmed a very personal way of bringing medieval music to life: a practice nourished by the stage, by the voice, by thought, and by the collective. This artistic vision is also found in its discographic projects around great narratives, heritage manuscripts, and spectacular forms in which the memory of the past becomes a living experience.

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Founded in Brussels, Laterna Magica brings together musicians who are graduates or teachers from the major conservatoires of Brussels, Paris, and The Hague. The ensemble first built itself around the interpretation of trio sonatas from the Baroque repertoire, while giving particular place to the historical art of transcription and arrangement, which has become one of the guiding threads of its artistic identity.

Over the course of its discographic projects, Laterna Magica has affirmed an increasingly singular personality, blending fidelity to the Baroque language, instrumental freedom, and a sense of colour. After Exercitium, then Handel with Care with the Opera Minima programme, the ensemble continued its journey with Mimesis, presented as its third album, around an ever more inventive exploration of forms, timbres, and circulations between works.

This approach gives Laterna Magica a distinctive place in the landscape of early music: a chamber ensemble that does not merely restitute a repertoire, but offers a living, mobile, and intensely musical reading, nourished by collective practice, by the virtuosity of the performers, and by a pronounced taste for programmes constructed as genuine journeys of listening.

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Julie Azoulay develops a singular world at the crossroads of singing, writing, and composition. Trained in literature and deeply marked by poetry, art history, and Mediterranean traditions, she builds a career in which the voice becomes a place of passage between languages, images, ancient texts, and a very contemporary expression.

With L'Ivre, she affirms a rare artistic identity: a personal song, nourished by poetry and oral traditions, carried by her compositions and by a close partnership with Jérémie Schacre and Thomas Bourgeois. This project, released in 2021, deploys a Francophone lyricism open to the Near East, Persia, and the Mediterranean basin, in a form that is at once concert, inner narrative, and sensitive traversal.

Her work also extends in other directions, with Haïku, Nascör, and also the Ensemble Irini, revealing an artist who never separates musical creation, poetic research, and stage presence. From one project to the next, Julie Azoulay builds a deeply personal language, founded on the voice as a space of memory, invention, and transformation.

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Founded in 2019 around Jérémie Couleau, La Quintina has rapidly affirmed itself in the landscape of early polyphony through an approach that is at once erudite and intensely alive. Its name refers to an ideal of Sardinian music: this 'fifth voice' produced by harmonics, without being sung, becomes here the symbol of an art of singing in which sonic research, fusion of timbres, and collective grace occupy a central place.

The ensemble devotes itself to the rediscovery of forgotten repertoires of the Middle Ages and Renaissance, without limiting itself to any one territory or school, and constructs its programmes as genuine explorations. Its albums released with Paraty already bear witness to this strong identity: a debut recording around the Missa Sabato of Nicholas Ludford, then Ymaginacions, devoted notably to Ludford, Whitbroke, and Dunstable, with an approach that brings into dialogue the science of sources, freedom of phrasing, and the carnal presence of voices.

Around Jérémie Couleau, La Quintina brings together performers such as Esther Labourdette, Sylvain Manet, and Christophe Deslignes, alongside other artists familiar with medieval and Renaissance singing. From one project to the next, the ensemble affirms a very particular signature: making rare polyphonies heard as works of interior scene, traversed by the light of text, the tension of breath, and the invention of timbre.

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Born in Paris and trained very early in Portugal, Mickael Viegas has established himself as a singular personality of classical guitar through an approach that combines instrumental virtuosity, organological reflection, and a taste for exploration. His career was built between academic training, master classes with major guitar figures, and in-depth work on the polyphonic limits of the instrument.

This research found a particularly powerful expression in his project devoted to the complete guitar works of Heitor Villa-Lobos. Through The Complete Guitar Works, Mickael Viegas champions the idea of a 'guitar of the future', capable of more fully restoring the harmonic richness and the power of writing of this major 20th-century repertoire. His approach is therefore not limited to interpretation: it proposes a genuine reflection on the possible evolution of the instrument and on the means of renewing the listening of this corpus.

This artistic identity continues today in other projects, notably Lost Souls of War, which confirms in him a pronounced taste for transversal formats, between music, memory, and thought about sound. Mickael Viegas thus appears as a musician who inscribes the guitar within a broader field: that of creation, invention, and transmission.

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Born in Yerevan into a family of musicians and based in France since the early 2000s, Varduhi Yeritsyan occupies a distinctive place in the current pianistic landscape. Trained in Armenia and then at the Paris Conservatoire, notably under Brigitte Engerer, she established herself through a particularly strong double affinity with the Russian repertoire and French music, carried by playing that is at once intense, structured, and deeply inhabited. In 2007, she won the Avant-Scènes competition at the Paris Conservatoire and became an ADAMI 'Clàssical Revelation'.

Her discographic career extends this artistic identity with rare coherence. After acclaimed recordings around Prokofiev and Scriabin, she continues with Paraty with Sweet Dreams and then Papillons, confirming the personality of a pianist who constructs her programmes as genuine narratives, between poetry of timbre, formal imagination, and expressive depth. Her regular presence in festivals and on French and European stages bears witness to a solidly established career.

From one project to the next, Varduhi Yeritsyan affirms less a simple repertoire specialisation than a very personal performer's world, nourished by her Armenian roots, the Russian school, and the French pianistic tradition. This richness of lineage, combined with a marked taste for great cycles and strongly drawn programmes, gives her career an intensity and a colour that are immediately recognisable.

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Yves Rechsteiner and Henri-Charles Caget form a singular duo in which organ dialogues with percussion in a spirit of permanent invention. Their collaboration has been built over more than fifteen years of shared projects, starting from initial work around transcriptions of Rameau, before opening up to Mozart, Haydn, Swiss popular music, Frank Zappa, and progressive rock. This freedom of circulation between styles gives the duo a rare identity, founded on transcription, colour, and a taste for sonic risk.

Organist, harpsichordist, arranger, and pedagogue, Yves Rechsteiner was trained in Geneva and then at the Schola Cantorum of Basel, before pursuing a career marked by performance, transcription, and artistic direction, notably at Toulouse les Orgues. Henri-Charles Caget, percussionist, drummer, improviser, and professor at the CNSMD of Lyon, brings to the duo a rhythmic imagination and sonic palette that moves the organ towards an orchestral, theatrical, and deeply vibrant space.

Their album MozHayique: Mozart & Haydn perfectly illuminates this approach. Conceived around transcriptions for organ and percussion, it connects Mozart and Haydn to a sonic world in which the organ seeks to imitate the orchestra and the percussion seems to spring from the instrument itself. Critics praised the duo's complicity, the precision of their playing, and the freedom of their approach — qualities that define their entire artistic career.

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A French violinist and conductor, Patrick Bismuth has built a singular career at the crossroads of Baroque violin, direction, and the rediscovery of early repertoires. Trained at the Paris Conservatoire, he subsequently taught Baroque violin at the CNSMDP and in several major French conservatoires. His work has developed both as a soloist and within his ensemble La Tempesta, with which he champions an approach in which historical rigour nourishes a very free reading of styles, from Baroque to later repertoires.

His musical identity is distinguished by a marked taste for great cycles and works with a strong narrative dimension. He has recorded the Sonatas and Partitas of Bach, the Rosary Sonatas of Biber, sonatas by Leclair, and also works by Ravel, Kreisler, and Enesco. With Paraty, his presence is embodied notably in Tientos, where he dialogues with organist Louis Thiry by performing the violin, viola, and viola da spalla parts in the music of Francisco Correa de Arauxo.

Over the years, Patrick Bismuth has also affirmed a personality as transmitter and recreator, participating in the resurrection of rare works such as Campra's opera-ballet Le Destin du Nouveau Siècle with La Tempesta. His career thus draws the portrait of a musician for whom the historical violin is not a closed territory, but a point of support for rethinking colour, style, and musical theatre.

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Founded in Brussels, the Trio Khaldei brings together Barbara Baltussen, Pieter Jansen, and Francis Mourey around a shared passion for chamber music and, more particularly, for the very singular sonority of the piano trio. Since its beginnings in 2011, the ensemble has established itself as a reference ensemble in Belgium and beyond, praised for the coherence of its playing, the delicacy of its balances, and the intensity of its stage presence.

The trio has built its career in leading concert halls and festivals, championing both the great repertoire and more original programmes. Its discographic work fully reflects this identity: Verklärte Nacht brings together Hummel, Brahms, and Schoenberg in a Viennese journey poised between lyricism, density, and transfiguration, while Jeux de couleurs juxtaposes Ravel, Frits Celis, and Lekeu in a carefully considered exploration of colour, form, and the invention of timbre.

Through these projects, Barbara Baltussen, Pieter Jansen, and Francis Mourey affirm an art of the trio founded on listening, ensemble construction, and a taste for strongly drawn programmes. From one recording to the next, the Trio Khaldei brings to light a chamber personality that is at once rigorous, vibrant, and deeply committed to musical narrative.

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A leading clarinetist, Jérôme Comte has pursued a career as chamber musician and soloist that has taken him alongside orchestras of reference such as the London Symphony Orchestra, the Mahler Chamber Orchestra, and the Ensemble intercontemporain, which he joined at 25. Trained between Geneva and Paris under Thomas Friedli, Pascal Moragues, and Michel Arrignon, he distinguished himself in several international competitions and established himself as a major figure of the French clarinet today.

Alongside him, Denis Pascal has affirmed himself as one of the most singular figures of French piano, at once soloist, chamber musician, and pedagogue. Trained notably under Pierre Sancan, Jacques Rouvier, Léon Fleisher, György Sándor, and then György Sebök, he develops an approach to the repertoire nourished by strong historical awareness, constant stylistic rigour, and great intellectual curiosity.

Their duo finds a natural fulfilment in the great summits of the repertoire for clarinet and piano. Their album devoted to Brahms's sonatas and Berg's Four Pieces was praised by critics and awarded the Grand Prix de l'Académie Charles Cros. It gives one to hear the encounter of two artists whose dialogue combines density of sound, intelligence of form, and chamber breathing.

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The Geneva Piano Trio, conceived and founded by Dan Sloutskovski, brings together internationally renowned musicians, each fully affirmed in their own career. Conceived as a shared artistic adventure, the ensemble is born of rich and singular journeys that meet in the same musical rigour.

At the heart of its identity: the great repertoire for piano trio — from Tchaikovsky, Rachmaninov, and Shostakovich to Brahms and Ravel — approached with freedom, nuance, and a sense of architecture. The trio also gives voice to rarer pages, which it champions with conviction in order to broaden listening and renew perspectives.

The ensemble's name pays tribute to Geneva, a cosmopolitan city that has become its home base: a symbol of openness and dialogue between cultures. Faithful to this spirit, Dan Sloutskovski invites partners from multiple horizons — heirs to Slavic traditions, eminent artists from Latin America, and beyond.

This complicity nourishes a singular sonic identity: communicative energy, ensemble precision, and an aesthetic of nuance. Each project is distinguished by its own colour and by a clear artistic vision, reflecting the universality that animates the Geneva Piano Trio's approach.

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A Banda brings together in Paris musicians from Brazilian popular music, jazz, and a very open instrumental culture, in a group spirit founded on conviviality, cultural blending, and a taste for encounter. At the heart of the ensemble, Julien Doumenjou and Patrícia Lestre champion a project in which Brazilian song dialogues with refined arrangement work and a very vibrant stage practice.

With the album Cantar de novo, the group chooses to foreground its own compositions, while including a cover of Chico Buarque and a nod to Mozart. The project also opens to numerous guests from jazz, classical music, and MPB, giving the disc a colour that is at once personal, warm, and deeply rooted in the art of sharing.

This adventure is part of a long-term musical complicity between France and Brazil. Around Julien Doumenjou, Patrícia Lestre, Philippe Monge, Rafaël Meyrier, and Julien Augier, A Banda develops a world that is supple, sunny, and generous, capable of bringing together the intimacy of song, rhythmic energy, and the collective joy of playing.

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Jean-François Novelli first distinguished himself through a particularly comprehensive musical career: laureate of the Concours général, holder of a master's degree in musicology from the Sorbonne, First Prize in recorder, and then a diploma from the CNSMD of Paris in singing. Recognised very early as a young ADAMI talent, he established himself naturally in the early repertoire, to which he remains deeply attached, carried by a musical curiosity that connects voice, text, and the art of storytelling.

His trajectory bears witness to a remarkable fidelity to major early music ensembles and an abundant discographic activity, with some thirty recorded discs and DVDs alongside leading conductors and ensembles. Co-founder and co-director of Les Lunaisiens for ten years, he developed a world in which stylistic rigour combines with a genuine sense of the stage, nourished also by theatre and a taste for embodied speech.

This singularity is found in Contes Croustilleux, a disc available with Paraty, where Jean-François Novelli brings his intelligence of language and his freedom of interpretation to a project on the boundary of recital, song, and musical theatre. One finds Antoine Sahler alongside him, in a proposition that illuminates a more personal, inventive, and scenic facet of his career.

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