Ave Cezary !

La musique ancienne... pour les nuls ?

C’est à chaque fois un plaisir de retrouver Cezary Zych qui, contre vents et marées, organise chaque année nombre d’événements musicaux en Pologne (vous savez ? ce petit pays d’Europe où les femmes manifestent actuellement pour que le droit à l’avortement ne leur soit pas retiré ...). Toujours moqueur, il me disait lire avec plaisir mes prises de position « politiques » dans certaines des newsletters de Faenza.

A new creation concocted with the richest tastes

It was with pleasure that we premiered our new production, « Les 4 saveurs de l’amour » ("The Four Savors of Love"), an aperitif-Baroque concert full of humor and uncommmon music, on September 11th at the Abbey of Moyenmoutier (in the context of Faenza's residence at the Festival des Abbayes en Lorraine) and September 16th at the Château de Lassay.

Olga Pitarch: vocals, castanets
Marco Horvat: vocals, theorbo, Baroque guitar
Francisco Mañalich: vocals, bass viol, Baroque guitar

In May, make the music that you like!

This month, the Pays des Abbayes in Lorraine welcomed us in the Vosges, in the framework of a three-year residence, started this year with enormous pleasure and enthusiasm. In the exquisite little church of Saint Jean d'Ormont, to which its municipality very kindly trusted us with the keys (even going so far as to stop the traffic so we would have peace and quiet for five days!), we recorded a colorful program: Le Délire des Lyres, with Francisco Mañalich and Marco Horvat, who both sung, while accompanying themselves on a great number of instruments.

Résidence, résidence...

A beautiful success for this last year of Faenza's residence at the Université Reims Champagne Ardenne.

Le Carnaval - a university residence creation

Faenza's two-year residency at the Université Reims Champagne Ardenne is now coming to an end!

Some press reviews of "Madrigaux et Sonates de Giovanni Zamboni:"

"The instrumental ensemble indulges itself in a variety of timbres rarely combined: archlute, Baroque guitar, triple harp, and harpsichord, as well as a bass viol. In the guise of interludes, madrigal transcriptions are intermingled with sonatas remarkably interpreted by Marco Horvat on the archlute. The vocal quartet are up-to-date aesthetically, placing these late matrigals in the dawn of nascent Classicism, with a deliberately enormous palette of color."

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Translations by Sally Gordon Mark

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