Marina Venant: soprano
Jean-Paul Bonnevalle: alto
Benoît Arnould: baritone
Hugo Peraldo: tenor, Antoine Saint-Espes:  bass
Patrick Rudant: traverso
Flavio Losco, Nirina Bouges: violin
Pierre Vallet: viola,
Annabelle Luis: cello
Baptiste Masson:  double-bass
Etienne Galletier: theorbo
Franck Emmanuel Comte: harpsichord, conductor

Programme:

Giovanni Battista Pergolesi (1710-1736):
Stabat Mater:
Stabat Mater (soprano, alto)

Cujus animam gementem (sopran / soprano)
O Quam tristis (5 glasno / 5 voices), Quae moerebat (bariton / baritone)
Quis est homo (sopran, bariton / soprano baritone)
Vidit suum dulcem natum (sopran / soprano)
Eja mater fons amoris (alt / alto)
Fac ut ardeat cor meim (5 glasno / 5 voices)
Sancta mater, istud agas (sopran, alt / soprano, alto)
Fac ut portem Christi mortem (bariton / baritone)
Inflammatus et accenus (sopran, bariton / soprano baritone)
Quando corpus morietur (sopran, alt / soprano alto)
Amen (5 glasno / 5 voices)
(rokopis iz Lyona / Lyons Manuscript)

Pause:

Dance group Celestina
direction: Hedvika Lopatič

Jean-Philippe Rameau (1683-1764):
Les Indes Galantes (izvleški / extracts):

Prélude pour l’adoration du soleil
Air Brillant soleil
Air en rondeau Clair flambeau et chœur Baryton
Air en Louré Permettez
Gavottes I et II
Airs pour les Zéphirs
Air L’éclat des roses
Air en rondeau triomphez avec chœur
Air pour les fleurs
Gavotte en rondeau
Air Sur les bords
DuoViens Hymen
Air Bannissons et chœur
Rondeau des sauvages
Duo Forêts paisibles et chœur

About the Programme:
Giovanni Battista Pergolesi (1710-1736) composed his Stabat Mater a few months before his death at the Monastery of Pozzuoli. With this master-piece of sacred music Pergolesi follows the recent movement in baroque music: the sacred music is more and more inspired by the style of opera and profane music. Le Concert de l’Hostel Dieu proposes this Neapolitan master-piece in an unusual version: during the 1730’s an anonymous French musician re-arranged the Stabat Mater in order to propose, such as Bach did in Germany, other colours for this universal and timeless piece. This manuscript has been re-discovered in Lyon by Franck-Emmanuel Comte. This arrangement kept the melodies and harmonies of the original version, the orchestra remaining also the same, but the vocal part changed: five voices instead of the original soprano/alto or soprano/baryton.

The opera called “Le Indes Galantes” was composed by Rameau in 1735. This piece reflects the fashion of oriental influence typical for the French Age of Enlightenment. However, far from being only the product of fashion this piece reveals the charms of its melodies and the dynamism of dance music.
Rameau re-worked this opera into a chamber version, fearing that the Parisian public would dislike it. This version which offers a selection of the most spectacular pieces has been chosen by Le Concert de l’Hostel Dieu. There is some evidence that Rameau went further than his contemporaries in the utilization of instruments, in his operas as well as in this chamber score. The virtuosity required from the violins are worthy of soloist sonatas and the harmonic complexity can only be the work of the author of the Traité de l’Harmonie, published by Rameau in 1722.

Bio:
Created in 1992 by Franck-Emmanuel Comte, "Le Concert de l'Hostel Dieu" is a flexible vocal and instrumental Ensemble, which follows three artistic lines:
- it devotes a large part of its programs to the rediscovery and the promotion of regional musical heritage from the XVIIth and XVIIth centuries in showing the link between France and Italy thanks to a strong Italian heritage in Lyons. (Le Concert de l’Hostel Dieu is the only one group in the region that plays principally this repertoire.)
- creation of interdisciplinary musical programs that points up a link between learned music and traditional music.
- original and creative presentation of masterpieces of the sacred and profane repertoire