A Belgian composer, pianist-improviser, and musicologist, Stéphane Orlando has from the outset developed a highly singular career at the crossroads of contemporary composition, cinema, opera, and the stage. Trained at the Royal Conservatory of Mons, then at the Royal Conservatory of Brussels in counterpoint and fugue, he also studied musicology at the Université libre de Bruxelles, with a specialisation in the relationship between sound and image. This dual musical and dramaturgical culture deeply nourishes his work.

His artistic language has been built up over the long time of listening and improvisation: since 2001, he has accompanied more than 500 silent films at the Royal Cinematheque of Belgium, an experience that has nourished his sense of breath, narrative tension, and inner image. Today, he composes for cinema, opera, orchestra, and hybrid scenic forms, with a writing conceived as a space of encounter between structure and spontaneity. His career has also been marked by numerous international distinctions and a residency at the Grand Manège de Namur until 2028.

With Paraty, Stéphane Orlando is present with Seuls, a project particularly emblematic of his world, conceived as a traversal of photographic landscapes through multiple musical paths. This disc brings together Sara Picavet, Sébastien Walnier, Daniele Cappucci, and Antonio Fusco, and highlights an aesthetic where contemporary music, jazz, cinema, and narrative imagination intersect.

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Made up of four siblings from Avignon — Grégoire, Agathe, Hugues, and Lucie Girard — the Quatuor Girard grew out of a very early practice of chamber music within the family. Trained notably by members of the Quatuor Ysaÿe, then refined under Miguel da Silva at the Haute École de Musique de Genève, the ensemble gradually affirmed a strong identity founded on cohesion of sound, intensity of dialogue, and a very embodied vision of the string quartet.

Their career has unfolded in leading concert halls and festivals, but also in projects conceived as genuine artistic extensions, beginning with Rosa Musica, a festival they founded in Provence. The quartet is also distinguished by its commitment to contemporary creation, which it naturally integrates into its repertoire alongside the great classical and Romantic corpus.

With Paraty, the Quatuor Girard is notably present with The Starry Sky, a critically acclaimed album that has contributed to establishing their signature durably in the French quartet landscape. This disc fully extends what makes the ensemble unique: a keen sense of architecture, a fraternal intensity of listening, and a way of bringing depth of thought and expressive immediacy into dialogue.

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A pianist, composer, and choral conductor born in Nice in 1985, Matthieu Stefanelli has built a rare career at the crossroads of performance, composition, and direction. Trained very young at the Nice Conservatoire, he entered the CNSM of Paris at the age of 16, where he deepened his studies in piano, chamber music, analysis, and orchestral conducting, before pursuing orchestration at the CRR of Paris. This very comprehensive training nourished a musical personality in which technical rigour is joined by a particularly assertive sonic imagination.

His trajectory is distinguished by a constant back-and-forth between stage and composition. As a soloist and chamber musician, he has performed in more than ten countries, while developing a catalogue of works in which colour, architecture, and narrative intensity are in constant dialogue. Supported notably by Bernard Cavanna, the Charles Oulmont Foundation, and the Banque Populaire Foundation, he affirms the profile of a complete musician, nourished as much by Dutilleux, Messiaen, and Berg as by a broader curiosity for painting, poetry, and theatre.

With Paraty, his album Chroma marks an important step: a first monographic disc, it presents him as both composer and performer of his own works, notably his concerto for piano and chamber orchestra. The project brings together Olivier Cangelosi, Anastasie Lefebvre De Rieux, Timothée Oudinot, Carjez Gerretsen, Benjamin El Arbi, Joël Lasry, Pierre-Olivier Schmitt, Hugues Girard, Fanny Stefanelli-Gallois, Ralph Szigeti, Patrick Langot, and Benoît Levesque, and highlights a very personal style of writing, carried by the sense of colour that gives the disc its title.

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Born in Poland, Magdalena Baczewska pursues a particularly rich career at the crossroads of piano, harpsichord, higher education, and artistic production. Based in the United States, she has established herself as a performer with a rare profile, capable of bringing concert practice, research, and transmission into dialogue, while pursuing an international career as a soloist and chamber musician. Since 2014, she has held the positions of Senior Lecturer in Music and Director of the Music Performance Program at Columbia University.

Her musical identity is distinguished by this dual fidelity to piano and harpsichord, with a marked interest in questions of historical performance practice, pedagogy, and programmes conceived as genuine journeys of listening. Her career has taken her to perform with major orchestras, including the San Francisco Symphony, the Philadelphia Orchestra, and the China National Symphony, as well as to collaborate with artists such as Joshua Bell and Tan Dun.

With Paraty, Magdalena Baczewska is present with Chopin & Szymanowski, a recording conceived to illuminate the affinities between two composers born in Poland. This disc extends with coherence an artistic personality founded on depth of perspective, clarity of discourse, and a very considered way of inhabiting the keyboard.

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Belgian flutist Stefanie Troffaes and Belgian harpsichordist Julien Wolfs form a particularly coherent duo in the world of early music, driven by a shared stylistic rigour and a profound affinity with the repertoires of the 17th and 18th centuries. Trained in Bruges and then at the Royal Conservatory of Brussels under Marc Hantaï, Barthold Kuijken, Frank Theuns, and Bart Coen, Stefanie Troffaes has established herself as a recognised performer of the traverso and recorder. Julien Wolfs studied harpsichord in Jodoigne, Amsterdam, Lyon, and at the IMEP, before developing a career as a performer, teacher, and artistic director.

Their artistic partnership is rooted in a historically informed practice in which refinement of phrasing, clarity of counterpoint, and shared breathing occupy a central place. Both perform at the highest level in the field of early music: Stefanie Troffaes collaborates with leading specialist ensembles, while Julien Wolfs pursues a highly acclaimed parallel career with Les Timbres and in various chamber music projects.

With Paraty, their album devoted to Johann Sebastian Bach's sonatas for flute and harpsichord is an important milestone in their discographic journey. This project brings to light a duo in which intelligence of styles, suppleness of dialogue, and quality of instrumental colour allow Bach to be heard in all his density and all his freedom.

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A Franco-Belgian pianist, Maxence Pilchen revealed himself very early through an uncommonly precocious career: introduced to music in childhood, he performed in concert from the age of five and at eleven won the television competition for Young Soloists of the RTBF in Brussels, before being distinguished the following year in Bologna at a world competition broadcast by the RAI. This very early entry into the public arena nourished a musical personality already marked by intensity, sensitivity, and a deep bond with the great Romantic repertoire.

Over the years, he affirmed a profile as a pianist who is at once virtuosic and inward, particularly associated with the world of Chopin, but also with Beethoven, Schubert, Mendelssohn, Mozart, Liszt, and the historic Pleyel piano. His career has taken him notably to the Salle Gaveau and several festivals where his playing has been praised for its depth, mastery, and the force of his poetic commitment. Today, he pursues an activity as a recitalist and festival musician that confirms a singular presence in the French-speaking pianistic landscape.

With Paraty, Maxence Pilchen is present with Chopin: 24 Préludes op. 28, a debut disc released in 2015 that established itself as an important milestone in his discographic career. This recording fully highlights what characterises his art: a very personal sense of breath, nuance, and expressive intimacy, in service of a deeply inhabited reading of Chopin.

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A French guitarist with a particularly rich career, Stéphane de Carvalho trained under Pedro Ibañez, Alexandre Lagoya, and Roberto Aussel. Very early, he developed an activity that extends beyond the solo recital to explore chamber music, notably alongside cellist Alain Meunier, while affirming a musical personality deeply attached to the guitar as an instrument of colour, song, and narrative.

His artistic identity is distinguished by a wide repertoire range, extending from the 19th century to the music of the 20th and today, with a marked affinity for Hispanic and Latin American composers. To this is added a strong bond with flamenco, nourished by numerous stays in Andalusia and by an openly acknowledged desire to bring the classical tradition and this living tradition into dialogue, in a shared impulse of fervour, rhythm, and freedom.

With Paraty, Stéphane de Carvalho is present with Con Fuoco and Cathédrales, two solo albums that already clearly trace his world. The first crosses a wide stylistic spectrum, from Scarlatti to Ginastera, while the second proposes a journey through South America around Villa-Lobos, Brouwer, Piazzolla, Barrios, and other composers, in a reading where the popular and the learned come together with rare naturalness.

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A French recorder player, Marine Sablonnière has built a career at the highest level in the world of early music, nourished by both solid training, teaching, and an intense performing activity. She performs regularly under the direction of leading conductors and alongside first-rate ensembles, among them Skip Sempé, Jordi Savall, Marc Minkowski, Raphaël Pichon, Gérard Lesne, Hervé Niquet, Vincent Dumestre, and Christina Pluhar. In parallel, she teaches at the CRR of Marseille, extending in transmission an artistic practice founded on stylistic rigour and freedom of breath.

Her profile is distinguished by a rare openness of aesthetics within the early wind instruments themselves. With Mosaïques, she conceives a programme that crosses centuries, traditions, and instrumental colours — from medieval to contemporary, from so-called learned music to traditional repertoires — bringing into dialogue recorder, kaval, Irish flute, and traverso. This way of constructing a very personal sonic narrative gives her work an immediately recognisable identity, between exploration of timbre, expressive virtuosity, and a taste for musical journey.

With Paraty, Marine Sablonnière is present with the album Mosaïques, which fully highlights this personality of a free and curious musician. Her activity as a chamber musician and ensemble partner confirms this distinctive place in the current landscape of early music, where the exploration of repertoire goes hand in hand with a very embodied musical presence.

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Born in Santiago de Compostela, Manuel Vilas has established himself as one of the great specialists in historical harps, from medieval instruments to the Baroque harps of the 17th and 18th centuries. Trained notably under Nuria Llopis in Madrid and Mara Galassi in Milan, he has for many years developed a practice founded on the study of original sources, with a constant desire to bring musicological rigour into dialogue with the intensity of musical gesture.

His career has taken him to perform as a soloist and with numerous ensembles in major festivals in Spain, Europe, Latin America, and the United States. This international trajectory is accompanied by a deep commitment to the rediscovery of Iberian and Latin American repertoires, as well as pioneering work around harp traditions rarely heard in concert today.

With Paraty, Manuel Vilas is notably present with Compendio Numeroso, devoted to Diego Fernández de Huete. This recording fully embodies his artistic approach: bringing to light a musical heritage of great richness, through a learned, free, and profoundly sonorous reading of the arpa de dos órdenes.

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Created in 2005, the Trio Antara brings together three exceptional musicians around a rare and immediately evocative instrumentation: flute, viola, and harp. Emmanuelle Ophèle, Odile Auboin, and Ghislaine Petit-Volta cultivate an art of instrumental dialogue founded on colour, shared breathing, and refinement of textures, in the direct lineage of an instrumentation made iconic by Debussy.

The trio has established itself through programmes conceived as true journeys of listening, where masterpieces of the repertoire encounter contemporary creation, transcriptions, and a very pronounced taste for sonic correspondences. Their album Concert pour Debussy, released by Paraty, is the fruit of several years of collaboration with composer and artistic director Benoît Sitzia, and highlights an aesthetic that is twilight-like, refined, and intensely poetic, conceived as an extension of the Debussian world.

This artistic identity gives the Trio Antara a very distinctive place in the French chamber music landscape: that of an ensemble capable of bringing together timbral rigour, intelligence of programming, and freedom of invention. With Paraty, Concert pour Debussy fully affirms this signature by associating the trio with Benoît Sitzia, whose work in transcription and artistic conception accompanies the project in depth.

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Véra Tsybakov and Romain Hervé met at the Conservatoire National Supérieur de Musique de Paris, where they obtained the Diplôme de Formation Supérieure in piano and chamber music with the highest honours before entering the advanced study cycle. Very quickly, their artistic complicity led them to perform together on major stages, from the Cité de la Musique to Radio France, and then in numerous concert halls in France and internationally.

A student of Brigitte Engerer, Véra Tsybakov is a laureate of the Marguerite Long – Jacques Thibaud competition, the Banque Populaire Foundation, and several competitions including Radio France, Steinway Paris, and Vulaines-sur-Seine. Romain Hervé, for his part, has been distinguished notably by the International Competition of the Société des Arts de Genève, the Festival Polignac, Radio France, and the Cziffra and Banque Populaire foundations. Their shared career has also been built around themed programmes, a regular presence on major stages, and a discography recognised by several critical distinctions.

With Paraty, their discographic presence is embodied notably in Dialogue de l'Eau et de l'Air, a project devoted to Debussy, where their duo deploys an art of the piano founded on listening, colour, and a true intelligence of atmosphere. Their musical understanding asserts itself here with evidence, in an approach where two strong personalities converge towards the same poetic breath.

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Founded in 2024 around pianist Vincent Laissy, the Trio Bagatelle brings together young musicians from the CNSMD of Lyon and was first formed for the production Mozart au Paradis, created for the Festival Off d'Avignon, before very quickly developing its own identity. From its earliest performances, the ensemble chose to place the piano trio at the heart of its work, with a particular affinity for Viennese Classicism and an art of chamber music founded on clarity, momentum, and instrumental conversation.

This artistic vision finds a natural continuation in its debut album, Mozart Piano Trios, released by Paraty in 2025. Devoted to the trios K. 542, K. 548, and K. 564, this disc features Vincent Laissy, Valentin Seignez-Bacquet, and Aurore Alix, and affirms a very clear taste for balance of voices, transparency of writing, and the vitality of Mozartian discourse. The trio thus appears as a young ensemble already very fully formed, attentive both to style and to musical naturalness.

Alongside the disc, the Trio Bagatelle continues its development on stage with a repertoire that also extends to Haydn, Beethoven, and Schubert, sometimes in expanded formations. What emerges from its nascent career is already a clear ambition: to make the piano trio a space of presence, readability, and shared joy, in a very direct relationship with the audience.

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An Italo-Brazilian organist, pianist, harpsichordist, and clavichordist based in Portugal, Marco Orsini-Brescia pursues a rare career at the crossroads of performance and research. Trained in Brazil and then in Spain and Europe, he has established himself as a specialist in Iberian and Italian keyboard repertoires from the 16th to the 19th century, while conducting high-level musicological work devoted notably to the history of the Iberian organ.

This dual identity as performer and researcher profoundly shapes his musical world. Holding a doctorate in musicology from the Universities of Paris-Sorbonne and NOVA de Lisboa, and currently a researcher at the Universidade NOVA de Lisboa and coordinator of the Music in the Modern Period group at CESEM, he approaches each discographic project as an encounter between sources, historical instruments, and sonic imagination. His playing, praised for its mastery and intellectual depth, unfolds on piano, organ, harpsichord, and clavichord.

With Paraty, Marco Brescia is notably present with Zipoli in Diamantina, the first recording made on the historic Almeida e Silva organ of Diamantina (1787) in Brazil. Devoted to the complete organ works published by Domenico Zipoli and several pieces attributed to the composer, this disc fully affirms what makes the artist unique: the capacity to bring a rich musical heritage back to life with rigour, breath, and vision.

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Founded around a shared commitment to chamber music and a marked taste for carefully constructed programmes, the Trio Zerline brings together flutist Alice Szymanski, violist Estelle Gourinchas, and harpist Joanna Ohlmann. The three musicians met at the CNSMD of Lyon and from early on affirmed a singular identity, driven both by their dedication to the repertoire for flute, viola, and harp and by a strong commitment to contemporary creation.

Since its founding in 2017, the ensemble has developed careful work on the selection of works, nourished as much by dialogue with today's composers as by an acknowledged attachment to the French tonal character and the richness of this instrumentation inherited from Debussy. This artistic vision is reflected in its first album, Debussy, couleur originale, released by Paraty in 2022, where the trio affirms a particularly refined art of timbre, breathing, and transparency.

The Trio Zerline thus occupies a very recognisable place in the landscape of young French chamber music: that of an ensemble capable of bringing together heritage, modernity, and sonic exploration, with constant attention to the balance of voices and the poetry of instrumental gesture.

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Horn player Alexandre Collard and pianist Nicolas Royez form a duo where instrumental rigour meets a true sense of colour and musical narrative. Alexandre Collard, laureate of the International Competition of the Prague Spring 2018, established himself very young in the French musical landscape before becoming principal horn, first at the Orchestre National de Lille and then at the Orchestre Philharmonique de Radio France. Nicolas Royez, pianist, chef de chant, accompanist, and festival musical director, pursues a particularly open career, between recital, vocal music, and chamber music.

Their artistic encounter finds in Aquarelles an ideal terrain for expression. The disc reveals a duo attentive to nuance, atmosphere, and the breathing of works, with an approach that favours less the effect than the precision of line and the richness of timbres. This complicity is rooted in long-term work, also visible in their concert appearances and the projects they champion together around the horn and piano repertoire.

Through this duo, two very distinct trajectories come together: that of a leading solo horn player, invited by major orchestras and festivals, and that of a pianist who is at once chamber musician, accompanist, and pedagogue. Their alliance gives rise to a reading that is at once refined, sensitive, and structured, where the horn sings with suppleness and the piano never merely accompanies, but builds alongside it a true sonic landscape.

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Formed in 1998 by Bordeaux guitarists Vanessa Dartier and Yann Dufresne, Duo Palissandre has established itself over the years as one of the most committed French ensembles in the repertoire for two guitars. A finalist in several international competitions, they notably won the José de Azpiazu competition in San Sebastián in 2002 and then the UFAM competition in Paris in 2004, affirming from early on a musical identity founded on precision, sensitivity, and a taste for instrumental dialogue.

Their career has been built in a spirit of openness and exploration, nourished by such personalities as Sérgio Assad, Pablo Márquez, Eric Sobczyk, France Desneulin, and Marco Meloni. Invited to numerous festivals and concert series in France, Europe, and Japan, the duo develops a body of work where learned repertoires, popular inspirations, transcriptions, and new works come together, with constant attention given to colour and shared breathing.

With Paraty, Duo Palissandre is notably present with Mosaïque, a programme that highlights this French aesthetic of refinement, clarity, and timbre. This discographic landmark extends an already rich trajectory of several albums and confirms an artistic signature that is very recognisable in the world of classical guitar.

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A composer, pianist, and stage director of Argentine origin, Alejandro Bonatto has built a career at the crossroads of music and theatre. Trained in Buenos Aires, where he graduated with distinction from the Art Institute of the Teatro Colón and the National Conservatory of Music, he subsequently continued his studies in London with a master's degree in composition at Kingston University, while benefiting from a Goethe-Institut scholarship in Berlin.

This dual scenic and musical culture profoundly shapes his artistic identity. His work extends from composition to musical direction and stage direction, with activity developed between Europe and Latin America. He has distinguished himself notably in musical theatre in London, where he conducted the English premiere of Rebecca at the Charing Cross Theatre, confirming the personality of a musician capable of bringing writing, dramaturgy, and stage presence into dialogue.

With Paraty, Alejandro Bonatto appears as a figure of a complete artist, whose career brings together creation, performance, and theatrical vision. This plurality gives his presence a rare singularity: that of a musician for whom the stage is never merely a place of execution, but a space of sensitive, narrative, and poetic construction.

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Duo in Vento brings together recorder player Marion Fermé and accordionist Ambre Vuillermoz around a singular instrumental alliance, founded on breath, flexibility of phrasing, and work on timbres. Active since 2018, the ensemble develops an artistic project that brings into dialogue instruments the repertoire rarely combines, with particular attention given to transcription, sonic balance, and the circulation of voices.

Their first duo album, Inventions en folie, released in 2023, explores a vast European Baroque territory through works by Johann Sebastian Bach, Marin Marais, Antonio Soler, and Antonio Vivaldi. The programme highlights as much the polyphony and counterpoint as the duo's capacity to renew the listening of well-known works through an inventive and rigorous instrumental approach.

The careers of both musicians strongly nourish the duo's identity. Marion Fermé pursues an international career between early music and contemporary creation, while also teaching in Paris, whereas Ambre Vuillermoz, an accordionist committed to classical, contemporary, and chamber music repertoires, simultaneously develops numerous artistic and pedagogical projects. Together, they are now expanding their repertoire beyond the Baroque, towards traditional and contemporary music.

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