Wim Winters is a Belgian musician born in Lommel in 1972, whose path was built very early around historical keyboards. A laureate at the age of thirteen of an international competition in the Netherlands, he subsequently pursued his training at the Sweelinck Conservatory of Amsterdam under Jacques van Oortmerssen and Willem Brons, where he obtained the highest distinctions in piano and organ.

His activity stands at the crossroads of performance, research, and instrumental heritage. After several prizes in organ competitions in the Netherlands and Europe, he performs in various festivals and participates in restoration projects for historic organs in Flanders. A significant part of his work is devoted to the clavichord, an instrument he has explored for many years in the repertoires of Bach, Mozart, Haydn, and Beethoven.

Today, Wim Winters is also developing a deep reflection on questions of tempo and historically informed practice through Authentic Sound, a platform he runs around musical experimentation, recordings, and transmission. With Paraty, the disc currently available under his name is devoted to Johann Sebastian Bach and highlights his work as an organist.

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Alissa Zoubritski is a Franco-Moldovan pianist who divides her activity between recital, chamber music, and work with the voice. Trained at the CNSM of Paris and Lyon, then refined under the guidance of such figures as Rena Shereshevskaya, Géry Moutier, Anne Queffélec, Paul Roberts, and Aldo Ciccolini, she built a path that is both solid and singular, nourished by the great French schools and a marked sensitivity for the lyrical repertoire.

Her career has taken her to numerous stages and festivals in France and internationally, with concerts given notably at La Roque d'Anthéron, Aix-en-Provence, Colmar, and the Radio France Festival in Montpellier, as well as in China, Poland, Germany, Moldova, Greece, and the United States. A laureate of several international competitions, she has developed a performer's profile combining pianistic rigour, a love of singing, and a sense of colour.

This closeness to the voice occupies a central place in her artistic identity. Having graduated with distinction in vocal accompaniment from the Guildhall School in London and been appointed chef de chant at the Atelier lyrique of the Paris Opera in 2011, she has collaborated with numerous singers and devoted a disc to piano transcriptions from the great repertoire of lied and mélodie. This project particularly showcases her art of making the keyboard sing, between reinvention of the vocal text and refinement of pianistic timbre. With Paraty, the disc available under her name is Transcriptions lyriques.

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Tomás Bordalejo is an Argentine composer born in Buenos Aires in 1983, who has been living in France since 2005. Initially trained in jazz and contemporary music in his hometown, he subsequently pursued in Paris a path centred on musical composition, arrangement, and musicology. His language gradually asserted itself through a highly personal style of writing, nourished by sonic material, the concrete relationship with instruments, and dialogue with performers.

His career is distinguished by a regular presence in major venues and networks of musical creation. He has notably benefited from a research-creation residency at Ircam, received commissions from institutions such as Radio France, and developed chamber, orchestral, and scenic works in which the energy of gesture, colour, and sonic dramaturgy occupy a central place. This trajectory paints the portrait of a free-spirited composer, at once demanding in his thinking and very close to the musicians who bring his music to life.

With Paraty, the album Fétiches particularly reflects this identity. Conceived as the culmination of a period of research and maturation, this disc brings together several emblematic works and a group of performers closely linked to his world. One hears a music that is at once inventive, incisive, and sensitive, which makes each ensemble a terrain of expressive exploration and highlights the richness of his instrumental imagination.

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Jean-Jacques Bedikian is a French pianist of Armenian origin, born in 1991, whose career was built between Marseille, Brussels, and several advanced study centres in the Paris region. Awarded a first prize very early at the J. S. Bach competition at the Marseille Conservatoire, then distinguished at the International Piano Competition of Corbelin and a semi-finalist at the International Piano Competition of Lyon, he developed a trajectory marked by solid classical training and a strong taste for pianistic rigour.

His performing activity extends across recital, chamber music, and more transversal artistic worlds. He performs in numerous festivals and cultural venues, also practises improvisation, jazz, and film music, and has regularly collaborated for several years with mandolinist Vincent Beer-Demander. Deeply attached to his Armenian roots, he also leads projects connected to this musical heritage, while continuing his pedagogical commitment at the Marseille Conservatoire.

With Paraty, the disc available under his name is devoted to Rachmaninov's Études-Tableaux, released in 2023. This debut album for the label presents a pianist of the younger generation capable of combining clarity of texture, expressive intensity, and technical mastery in a repertoire where imagination, virtuosity, and formal construction are closely intertwined.

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Duo Aurore brings together Brazilian pianists Renata Bittencourt and Diego Munhoz, who founded the ensemble in 2010 around the repertoire for piano four-hands and two pianos. Their path was built between Brazil, France, and Switzerland, with particular attention given to programmes where the great repertoire dialogues with previously unrecorded transcriptions and rarer works. Their artistic identity rests on a long-standing complicity, an affinity for tonal colour, and a very embodied way of bringing the piano duo to life.

Their trajectory has been marked by several important distinctions, notably the International Piano Four-Hands Competition of Monaco in 2016 and the Cziffra Foundation Prize in 2017. Since then, they have pursued a performing career in Europe and Brazil, with programmes that highlight both major works of the repertoire and the Brazilian and Argentine repertoires, to which they are particularly devoted.

With Paraty, the album Iguaçu powerfully reveals this artistic vision. This first recording offers an eclectic panorama of Brazilian and Argentine repertoire from the 20th and 21st centuries for two pianos, and showcases a duo capable of combining virtuosity, ensemble precision, and a sense of musical narrative. The project thus affirms a clear personality: that of a duo that champions a broad, vibrant, and deeply inhabited pianistic world.

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