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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Isabelle Durin has built a career in which instrumental rigour is combined with a strong dimension of transmission and memory. Trained to the highest level in France and recognised early for her playing, she has for several years pursued a particularly affirmed chamber music activity, with a predilection for the violin-piano duo and invitations in France and internationally. A member of the Orchestre national d'Île-de-France since 2003, she inscribes her work in a dual fidelity: to the great repertoire and to projects of strong human significance.

This artistic vision is powerfully embodied in Mémoire et Cinéma, a programme conceived with pianist Michaël Ertzscheid around film music connected to Jewish traditions, the Second World War, and the Shoah. Through pages that have become emblematic, the violin here finds a voice of confidence, contemplation, and evocation, in a duo format that sharpens the listening and gives these melodies a very direct intensity. The project has accompanied numerous concerts in France, Europe, and internationally, in places marked by history, memory, and culture.

With this disc, Isabelle Durin affirms the personality of a musician capable of bringing emotion, narrative, and historical depth into dialogue without ever sacrificing the elegance of instrumental gesture. Her discographic career, praised by critics, reflects the same coherence: placing the violin in service of considered, embodied, and meaningful programmes, in an approach where music becomes also an act of memory.

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The Ensemble Il Caravaggio, founded and directed by Camille Delaforge, has established itself as a newly noticed actor in the Baroque landscape on period instruments. The ensemble explores above all the French and Italian lyric repertoires, working with leading young singers, and develops an immediately recognisable identity through its sense of theatricality, intense expressivity, and a very embodied approach to Baroque sensibility.

Its artistic project does not limit itself to revisiting the great works of the repertoire. Il Caravaggio also pays particular attention to the rediscovery of less-frequented corners of the musical heritage, in particular the works of forgotten women composers such as Isabelle Leonarda, Élisabeth Jacquet de La Guerre, and Mademoiselle Duval, whose opera Les Génies the ensemble recorded in 2023 at the Opéra Royal de Versailles. This artistic vision gives the ensemble a distinctive place, at the crossroads of musicological rigour, dramatic impulse, and a taste for revelation.

This identity extends into more intimate formats, where the boundary between learned repertoire and popular music becomes more porous. The disc La Dame de mes songes, available with Paraty, fully illustrates this approach: around a Spanish world as dreamed by several composers, the ensemble reunites Guilhem Worms, Camille Delaforge, and Ronald Martin Alonso, in a programme that blends colour, freedom, and poetic imagination.

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The Ensemble Irini, founded in Marseille in 2015 by Lila Hajosi, has affirmed itself as a singular vocal ensemble in the landscape of early music. Specialising in the sacred repertoires of East and West, between Rome and Constantinople, it develops an immediately recognisable identity, carried by a cappella work, a polymorphic ensemble, and a warm and deep vocal colour, without soprano.

Through its programmes, the ensemble has built a genuine space of dialogue between liturgical worlds, vocal traditions, and spiritual imaginaries. From Maria Nostra to O Sidera, then to Printemps Sacré and Janua, it brings together Western Middle Ages, Renaissance, Byzantine heritage, and Eastern Christian traditions, in an approach that is at once musicological, sensitive, and audacious. This artistic vision has earned it growing recognition in France and internationally, culminating in its residency at the Fondation Singer-Polignac in 2025.

Under the impetus of Lila Hajosi — first a singer, then a musicologist and conductor — the Ensemble Irini today champions increasingly ambitious projects, while remaining faithful to what has been its strength from the outset: creating bridges between eras, rites, and sensibilities. Its name, meaning 'peace' in Greek, aptly summarises a musical adventure founded on listening, the circulation of heritages, and the search for a deeply embodied expression.

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