Founded in 2008 by cellist Claire Lamquet, the Ensemble Hemiolia has been built from its beginnings as a collective of Baroque musicians deeply rooted in the Hauts-de-France region, with a concert activity that reaches out both across the regional territory — including small rural communities — and to major festivals in France and abroad. Its identity rests on a clear desire to share Baroque music with very diverse audiences, without ever separating artistic rigour from human closeness.

The ensemble explores primarily the Italian repertoire while also pursuing work on the rediscovery of composers connected to its home region. To this founding line is added the development of larger-scale projects, entrusted according to format to Emmanuel Resche-Caserta for orchestral projects and to Denis Comtet for those with choir. This organisational flexibility nourishes a rare profile: that of an ensemble capable of alternating chamber music, vocal productions, programme creation, and large forces with the same artistic coherence.

With Paraty, the Ensemble Hemiolia is notably present with Giorgio Antoniotto's Sonatas for Cello and Basso Continuo, alongside Claire Lamquet, a disc that fully showcases its taste for forgotten repertoires, stylistic research, and inventive continuo playing. This approach of rediscovery, at the heart of its project from the outset, gives the ensemble a distinctive place in the French Baroque landscape.

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Founded in Lyon in the early 2000s by violinist Antoinette Lecampion and pianist Sylvie Dauter, the Ensemble Le Piano Ambulant was built around a simple but powerful idea: to take classical music out of its usual settings and bring it elsewhere, differently, closer to audiences. This nomadic and inventive origin shaped a singular identity, at the crossroads of concert, musical theatre, transcription, and artistic mediation.

Over the course of its career, the ensemble developed a very recognisable aesthetic, founded on transforming the great repertoires into pocket-sized, theatrical, and accessible forms, without sacrificing musical ambition. Its work around Wagner offers a striking example: the tetralogy becomes a condensed adventure, conceived for six musician-narrators, with a strong approach to timbres, writing, and sonic staging.

With Paraty, the ensemble is represented by Comment Siegfried tua le dragon et caetera, an emblematic project of this approach, featuring Sylvie Dauter, Christine Comtet, François Salès, Antoinette Lecampion, Joël Schatzman, Charlie Adamopoulos, and Antoine Colonna. This disc powerfully extends the spirit of the Piano Ambulant: reinventing the monuments of the repertoire with freedom, collective intelligence, and a sense of spectacle.

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A French pianist with a singular career, Cyril Huvé very early placed his work at the crossroads of performance, reflection, and transmission. Trained notably by André Krust and then by Dominique Merlet at the Paris Conservatoire, alongside studies in philosophy at the Université Paris-Nanterre, he developed an approach to the piano profoundly nourished by the history of instruments, the sense of styles, and a demanding way of thinking about the work.

This trajectory led him to become one of the pioneers of historically informed performance on piano, interrogating the repertoire through the keyboards that composers knew or imagined. His discography, marked notably by a recording of Mendelssohn on an 1840 Broadwood awarded a Victoire de la Musique in 2010, has lastingly affirmed this rare identity, at once learned, embodied, and immediately recognisable.

With Paraty, Cyril Huvé is notably present with Felix Mendelssohn, devoted to works for piano played on an 1840 Broadwood, as well as with Franz Liszt: Carnet d'un pèlerin. These recordings extend a very coherent artistic approach, founded on the colour of instruments, the depth of discourse, and an intensely personal reading of Romanticism.

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A French pianist born in 1983 into a family of musicians, Aimo Pagin trained in Strasbourg and then in Colmar under Rena Shereshevskaya, before continuing his studies with Dominique Merlet in Geneva and Leon Fleisher in Baltimore. Noticed early in several international competitions, he built a career that has taken him to major European stages as well as to leading orchestras and festivals.

His artistic profile is distinguished by a rare alliance of pianistic mastery, sonic density, and a sense of line. An interpreter of the great Romantic repertoire, he develops a piano playing that is at once ample, refined, and strongly architectured, praised by critics and audiences alike. Based in Vienna, he is also a Bösendorfer artist, which naturally extends a musical identity marked by the pursuit of timbre and expressive depth.

With Paraty, Aimo Pagin is notably present with Chopin – Complete Waltzes, an album that has contributed to strongly affirming his discographic presence. This disc highlights a particularly strong affinity with the Chopinian world, combining elegance of gesture, freedom of breath, and poetic intensity.

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An organist and harpsichordist born in Marseille in 1982, Christophe Guida has built a career in which instrumental virtuosity is allied with a strong musical personality. Trained very young in organ and improvisation, then refined in Paris and Monaco, he was appointed at only 22 years old as titular organist of the Basilique du Sacré-Cœur de Marseille, before embarking on a career that has taken him throughout France and internationally.

His path is distinguished by a wide repertoire range, from Baroque to contemporary, and by a regular presence at prestigious tribunes in Paris. A particularly recognised interpreter of the French repertoire, he also champions a broader vision of the organ, seeking to bring the instrument to shine beyond its usual frameworks, including towards more unexpected worlds. Today, he is titular organist at Notre-Dame de Vincennes and professor of organ and harpsichord at the Conservatoire à Rayonnement Départemental de Chartres.

With Paraty, Christophe Guida is present with Georg Böhm: Organ Works, Volume 1, the first volume of a complete edition devoted to the composer, recorded at the Temple Saint-Jean de Wissembourg. This disc extends with coherence an artistic identity founded on stylistic rigour, knowledge of instruments, and a very embodied approach to the organ repertoire.

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Born into a family of artists and musicians, Belinda Kunz came into contact with the stage very early, before pursuing a rigorous intellectual path that led her to the agrégation. She then returned fully to singing and built a rare identity at the crossroads of music, theatre, and artistic project conception. Franco-German-Swiss and perfectly bilingual, she champions with equal intensity the lied, mélodie, oratorio, opera, and recital forms where text occupies a central place.

This sensibility finds a particularly natural continuation in Métamorphoses, released by Paraty on 13 February 2026, where she forms with flutist Sandrine François and pianist Valentin Mansard a true chamber music trio. The programme brings into play a dialogue of timbres of great refinement between voice, flute, and piano, with more solo moments that allow each musician to assert their musical personality. The album thus brings together three artists with complementary profiles, in service of a poetic journey founded on transformation, colour, and the circulation of instrumental voices.

Around Belinda Kunz, Sandrine François brings the authority of a leading musician — principal flute of the Orchestre Philharmonique de Strasbourg and a committed pedagogue in higher education. Valentin Mansard, recognised for his sensitivity, his tonal colours, and his regular activity in recital and chamber music, completes this balance with an attentive, structuring, and nuanced playing style. Together, they give Métamorphoses the character of a fully inhabited collective project, where elegance of sound is constantly in service of expressivity and imagination.

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Founded in 2017, Duo Anthemis brings together pianist Juliette Boubel and clarinetist Florent Charpentier around a shared desire for chamber music, nourished by an artistic complicity built up through shared stages and projects. Both originally from Nancy, they have made this encounter a genuine terrain of expression, founded on listening, flexibility of dialogue, and a strong taste for programmes with a distinct personality.

Their musical identity is distinguished by a very lively approach to the repertoire for clarinet and piano, in which virtuosity, lyricism, and a sense of colour are in constant dialogue. The duo champions an art of recital that is at once refined and accessible, with particular attention given to the narrative of programmes and the balance between emblematic works and rarer pieces.

With Paraty, Duo Anthemis is present with Le Printemps dans l'âme, released on 6 October 2023, an album that fully reflects the spirit of their collaboration. It features Juliette Boubel and Florent Charpentier in an inspired, lively, and contrasting programme that immediately affirms the singularity of their duo in the landscape of French chamber music.

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Founded around a rereading of printed and manuscript sources from the Renaissance, La Quinta Pars devotes itself to a living interpretation of 16th-century European music. The ensemble is distinguished by the cultural diversity of its five musicians and by an instrumentarium combining lute, recorders, violin, and viols, conceived to bring out both the independence of polyphonic lines and the richness of timbres.

This musical identity is rooted in an approach that articulates historical research, orality, and freedom of interpretation. Based in Lyon, the ensemble has performed in several of the city's institutions, as well as in numerous early music festivals in the region and across Europe. A laureate of the chamber music competition of the Sinfonia en Périgord festival in 2021, it subsequently graduated from the Master in Chamber Music of the CNSMD of Lyon in 2023, the year of the recording of its first disc in collaboration with Rolf Lislevand.

With Paraty, La Quinta Pars is present with Harmonic Treasury, an album devoted to Renaissance songs and dances. This project features Morgan Marquié, Ondřej Hanuš, André Costa, Haruna Nakaie, and Lucas Alvarado, and fully extends the ensemble's artistic vision: an informed, inventive, and intensely collective restitution of the Renaissance musical heritage.

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Among the most committed French saxophonists of his generation, Alexandre Souillart has built a career that is at once virtuosic and curious, marked by comprehensive training at the CNSMD of Paris in saxophone, chamber music, and pedagogy, as well as by an international career as a soloist, chamber musician, and teacher. His path is distinguished by constant attention to contemporary creation, the great saxophone repertoire, and the broadening of the instrument's horizons.

At the heart of this journey, his complicity with pianist Matthieu Acar gave rise to a particularly remarkable duo. Together, they developed demanding work around the repertoire for saxophone and piano, while stimulating new works and bringing their programmes to stages in France, Europe, and South America. Their collaboration has affirmed itself around a shared taste for carefully constructed programmes, the French tonal character, and stylistic exploration.

With Paraty, their album Voyage Esquisse fully embodies this identity. Devoted to French musical neoclassicism of the first half of the 20th century, it showcases the alliance of saxophone and piano in a spirit that is at once elegant, incisive, and intensely expressive, and lastingly inscribes the duo in the landscape of French chamber music.

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Born from the encounter between harpist Primor Sluchin and pianist Maud Renier, Emaho Duo was formed in 2016 in an almost natural context: their instruments already responded to each other daily in the music school where they taught, before this proximity became a genuine artistic project. The duo's name, meaning 'wonder' in Tibetan, well reflects an approach founded on sonic wonder and rediscovery. Their work very early turned towards a rare repertoire for harp and piano, nourished by research conducted in Belgian and other libraries.

The duo develops a singular artistic vision, inspired by the history of European salons of the 18th and 19th centuries, where transcription, virtuosity, intimacy, and a taste for novelty came into dialogue. Emaho Duo thus brings to light forgotten or rarely recorded works, while broadening its horizons from bel canto to later pages. This approach can also unfold on historical instruments, notably with a piano and an Érard harp from the second half of the 19th century, which further strengthens the historical coherence and distinctive colour of their world.

With Paraty, Emaho Duo is present with Opéra Émoi, an album devoted to a journey through three centuries of music, around opera, transcription, and instrumental fantasy. This disc showcases Primor Sluchin and Maud Renier in a repertoire where elegance of timbre, a taste for the rare, and the spirit of narrative occupy a central place.

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The Ensemble Baroque de Monaco is rooted in a project closely linked to the musical history of the Principality, centred on the great repertoires of the 17th and 18th centuries, as well as on the rediscovery of forgotten or little-known works. Playing on period instruments and tuned to historical pitches, the ensemble affirms an artistic vision founded both on stylistic fidelity and on a taste for recreation. Since 2013, it has been led by Matthieu Peyrègne, a singer and conductor specialising in early music.

Faithful to its roots, the ensemble places particular emphasis on French and Italian Baroque repertoires. Its career has been notably marked by programmes devoted to Carissimi, Rameau, Lully, and Alessandro Scarlatti, with a constant desire to bring rare scores back to life in forms that are demanding yet accessible to today's audiences. This focus gives the Ensemble Baroque de Monaco a distinctive place, between cultural heritage, musicological research, and stage presence.

With Paraty, the ensemble is represented by Alessandro Scarlatti's L'Assunzione della Beata Vergine, a project born of long rediscovery work. This disc features Matthieu Peyrègne, Aurora Peña, Béatrice Gobin, and Mélodie Ruvio, and has contributed to affirming the ensemble's identity in the current Baroque landscape.

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Organist, continuo player, chamber musician, and pedagogue, Jean-Christophe Revel has built a singular career at the crossroads of early music, research, and contemporary creation. Trained first under Jean-Marie Meignien, then refined by Odile Bailleux, he has for many years developed an approach founded on placing repertoires, practices, and their transmission through time in perspective.

This musician's curiosity has led him to collaborate with artists such as James Bowman, Josep Cabré, William Dongois, Eugène Green, Raphaele Kennedy, Marcel Pérès, and Jean Tubéry, while regularly working with contemporary composers such as Jacques Lenot, Édith Canat de Chizy, Gérard Pesson, and Bruno Mantovani. Alongside his performing career, he directs the Claviers en Pays d'Auch festival, holds the Jean de Joyeuse organ at the Sainte-Marie Cathedral of Auch, and holds major pedagogical positions at the CRR of Paris and the PSPBB.

With Paraty, Jean-Christophe Revel is notably present with Dernières lueurs du Grand Siècle, devoted to André Raison. This disc, recorded in Auch, illuminates a rare repertoire with a very pronounced sense of historical colour and liturgical dramaturgy. It brings together Vincent Lièvre-Picard, Lisandro Nessis, and Jean-Manuel Candenot, confirming an artist whose work coherently connects erudition, freedom of interpretation, and sonic intensity.

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A Franco-Brazilian pianist born in João Pessoa, Juliana Steinbach began her musical studies in France before pursuing a particularly demanding path at the CNSM of Paris and then at the Juilliard School in New York. Also trained under such personalities as Franco Scala, Maria João Pires, and Joseph Kalichstein, she has established herself over the years as a musician of great stature, at once soloist, chamber musician, and artistic director.

Her career is distinguished by a dual fidelity: to the great pianistic repertoire, which she approaches with intensity and freedom, and to chamber music, which she pursues with the same rigour. A laureate of several international competitions, she has developed a career present on European, American, and South American stages, while building long-term projects such as the Musique en Brionnais festival and the Transylvania Chamber Music Festival.

With Paraty, Juliana Steinbach is notably present with Tableaux, devoted to Debussy and Mussorgsky. This disc has marked her discography by affirming an art of the piano founded on colour, architecture, and sonic imagination — three traits that run more broadly through the whole of her career.

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Brought together by a shared instrumental rigour and a musical affinity forged over many years, violinist Kristi Gjezi and pianist Louis Lancien form a duo particularly committed to the great repertoire for violin and piano. Kristi Gjezi, trained very early under his father and then at the Bordeaux Conservatoire and the CNSM of Paris, distinguished himself in several international competitions before pursuing a leading career in major French orchestras. Louis Lancien, for his part, received a comprehensive training at the CNSM of Paris in piano, chamber music, harmony, and accompaniment, developing a profile as a musician who is at once soloist, chamber musician, and sought-after partner.

Their artistic encounter naturally crystallised around a shared taste for works of strong dramatic intensity, particularly in the Russian repertoire. Their duo is distinguished by a very considered approach to musical discourse, in which precision, sonic density, and expressive tension are placed in service of a genuine shared vision. This musical understanding, nourished by years of study and stage experience, gives their collaboration a coherence and force that are immediately perceptible.

With Paraty, their album devoted to the complete original works for violin and piano by Prokofiev marked an important milestone in their discographic journey. This project fully highlights the identity of the duo: a powerful commitment, a keen sense of architecture, and an evident affinity with a musical world that is tense, lyrical, and full of contrast.

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Founded in 2007, La Note Brève is an early music ensemble built around a shared desire to restore voice to the repertoires of the Middle Ages and Renaissance. Its identity rests on work nourished by musicological research, study of period treatises, facsimiles, and the use of historical instruments, in an approach where historical rigour always remains in service of musical vitality.

The ensemble has been built as a close-knit collective of specialised singers and musicians, committed as much to the rediscovery of a heritage as to its living transmission to today's audiences. This artistic vision is extended in its programmes, which favour clarity of text, richness of timbres, and a very embodied approach to early polyphonies.

With Paraty, La Note Brève is notably present with Pierre Colin, trésor oublié de la Renaissance, a project led with Simon Gallot. This recording contributed to bringing to light a still little-known figure of the French Renaissance and to affirming the ensemble's place in the landscape of musical rediscovery.

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Founded in 2000 by Hendrik Vanden Abeele, the Ensemble Psallentes brings together professional singers around in-depth work on Gregorian chant, considered in its various historical states. From the outset, the ensemble has distinguished itself through a rare approach founded on research, study of sources, and particular attention to repertoires of the late Middle Ages and Renaissance.

Over the years, Psallentes has built a very distinctive identity in the landscape of early music, between plainchant, polyphony, and the rediscovery of liturgical traditions. Its discographic journey bears witness to this demanding artistic vision, with recordings devoted notably to Johannes Brassart, Arnold de Lantins, and Pierre de la Rue, as well as several notable collaborations with Capilla Flamenca and Millenarium. The ensemble has also been invited to numerous festivals in Flanders and across Europe, confirming its reach well beyond Belgium.

With Paraty, the Ensemble Psallentes is present with Deleuze: Tota pulchra es, amica mea. This recording extends with coherence an artistic trajectory entirely devoted to the living restitution of early repertoires, in a rare balance between musicological rigour, spirituality of sound, and vocal intensity.

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Cello at the centre, but with a very wide horizon: born in Pamplona and based in France since childhood, Maitane Sebastián has built a complete musician's career, as performer, chamber musician, composer, conductor, and pedagogue. Committed very early to orchestral practice and teaching, she has developed a trajectory in which instrumental technique is accompanied by deep reflection on phrasing, structure, and the meaning of music.

Her activity extends across both solo performance and chamber music, with regular partners such as Ann-Estelle Médouze, Naaman Sluchin, Barbara Giepner, Julien Le Pape, and Sébastien Llinares. She has performed in concert halls and festivals in France, Spain, Italy, Switzerland, Belgium, the United Kingdom, and Taiwan, affirming the profile of a free, curious artist deeply invested in the circulation of repertoires.

With Paraty, Maitane Sebastián is notably present with her recording of Bach's Cello Suites, released in 2020. This disc contributed to highlighting a very personal approach to the work, founded on the breathing of discourse, polyphonic clarity, and a very direct connection with the music's interiority.

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Austrian gambist Romina Lischka and Belgian lutenist-theorbist Sofie Vanden Eynde form a duo of rare affinity, driven by a shared commitment to early music and a profoundly sonorous approach to the repertoire. Romina Lischka, trained notably at the Schola Cantorum Basiliensis and then at the Royal Conservatory of Brussels, has established herself as one of the great personalities of the viola da gamba today, while developing projects that broaden the dialogue between musical traditions. Sofie Vanden Eynde, born in Belgium, first studied guitar before devoting herself to lute and theorbo at the Conservatory of Ghent and then the Schola Cantorum Basiliensis, affirming a career in which historical research meets a very free artistic curiosity.

Their collaboration is distinguished by a particularly refined listening, where viol and theorbo seem to extend the same breath. Both share a marked taste for 17th-century repertoires, intimate textures, instrumental rhetoric, and the rediscovery of sonic worlds where elegance never excludes expressive depth. This musical understanding has contributed to establishing their duo as a reference in the interpretation of repertoires for viol and plucked instruments.

With Paraty, their discographic presence is articulated notably around En Suite, devoted to Marin Marais, Sainte-Colombe, and Robert de Visée, as well as Orpheus' Noble Strings, where they are joined by English tenor Thomas Hobbs. These projects fully extend the duo's identity: a reading of early music that is at once learned, sensitive, and intensely embodied.

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