Fauré: Requiem - Gounod: Messe de Clovis Emőke Baráth, Philippe Estèphe, Le Concert Spirituel & Hervé Niquet

• Gabriel Fauré (1845 - 1924): Requiem, Op. 48:
• 1Fauré: Requiem, Op. 48: I. Introït & Kyrie05:37
• 2Fauré: Requiem, Op. 48: II. Offertoire05:30
• 3Fauré: Requiem, Op. 48: III. Sanctus02:59
• 4Fauré: Requiem, Op. 48: IV. Pie Jesu03:02
• 5Fauré: Requiem, Op. 48: V. Agnus Dei05:12
• 6Fauré: Requiem, Op. 48: VI. Libera me04:24
• 7Fauré: Requiem, Op. 48: VII. In paradisum03:18
• Charles Gounod (1818 - 1893): Messe de Clovis:
• 8Gounod: Messe de Clovis: I. Kyrie02:52
• 9Gounod: Messe de Clovis: II. Gloria04:45
• 10Gounod: Messe de Clovis: III. Credo07:57
• 11Gounod: Messe de Clovis: IV. Sanctus01:12
• 12Gounod: Messe de Clovis: V. Benedictus02:08
• 13Gounod: Messe de Clovis: VI. Agnus Dei03:26
• Louis Aubert (1877 - 1968): O salutaris:
• 14Aubert: O salutaris03:15
• André Caplet (1878 - 1925): Adagio pour violon et orgue:
• 15Caplet: Adagio pour violon et orgue03:21
• Total Runtime58:58

Info zu Fauré: Requiem - Gounod: Messe de Clovis

Während das Requiem von Fauré ein Monument der französischen Kirchenmusik ist, ist Gounods Messe de Clovis weit weniger bekannt. Sie wurde ab 1891 als Hommage an Chlodwig (466 - 511) komponiert, der wie Jeanne d'Arc nach der Niederlage Frankreichs im Deutsch-Französischen Krieg von 1870 zu einer ikonischen Figur geworden war. Die beiden Werke haben einen besinnlichen und intimen Charakter, der den Eindruck einer Rückkehr zur Schlichtheit des gregorianischen Gesangs erweckt, was jedoch dem jubelnden Charakter von Faurés Requiem keinen Abbruch tut: „Dieser warme, üppige Klang führt zu einer Erhebung des Geistes“, so Hervé Niquet. Das Werk ist hier in der Fassung von 1893 eingespielt, in der weder Violinen noch Holzbläser eingesetzt werden; eine spätere Fassung mit vollem Orchester wurde im Juli 1900 veröffentlicht. O salutaris von Louis Aubert (1877-1968) für Sopran, Violine, Harfe, Orgel und Chor und L'Adagio für Violine und Orgel von André Caplet (1878-1925) komplettieren dieses Programm, das in Zusammenarbeit mit dem Palazzetto Bru Zane entstanden ist und vom Concert Spirituel mit beeindruckender Hingabe aufgeführt wird.

Emőke Baráth, Sopran (Tracks 4, 14)
Philippe Estèphe, Bariton (Tracks 2, 6)
Chouchane Siranossian, Solo Violine (Tracks 14, 15)
Le Concert Spirituel
Herve Niquet, Leitung

Emőke Baráth
began her musical education studying the piano and the harp. She began singing at the age of 18 following the teaching of József Hormai and Katalin Szőke and then Professor Júlia Pászthy at the Franz Liszt Academy in Budapest. During the 2011/2012 school year, she also studied at the Luigi Cherubini Conservatory in Florence, Italy. In 2009, she received the third prize at the 44th Anton Dvorak International Competition (Czech Republic). In 2011, she won the First Prize and the award of the Public at the Second International Singing Competition for Baroque Opera in Innsbruck (Austria). The same year, she won the Grand Prix of Verbier Festival Academy (Switzerland). She took part in several master classes with, among others, Barbara Bonney, Kiri Te Kanawa, Stephen Stubbs, Deborah York. Early on, as a student she was already invited to perform as a soloist at many festivals and venues as famous as the Müpa (Budapest, Hungary) and the Hungarian State Opera, the Theater an der Wien, the Amsterdam Concertgebouw, the Théâtre des Champs-Elysées, the Opéra Royal de Versailles in France and the Verbier Festival in Switzerland; the Nikolaisaal in Potsdam, the Braunschweig Staatstheater, and the Brandenburger Theater in Germany; the Concert Hall of the Tchaikovsky Conservatory in Moscow, Russia. ​

The late Alan Curtis was one of the first conductors to discover her talent and he gave her the opportunities to sing in prestigious productions with works by Händel – for example, Giulio Cesare (role of Sesto, alongside Karina Gauvin and Marie-Nicole Lemieux, with a recording by Naïve), Admeto (role of Antigona), Amadigi di Gaula (role of Oriana), Arianna in Creta (role of Alceste), in prestigious venues such as Theater an der Wien, Auditorio Nacional in Madrid or Théâtre des Champs-Élysées,Paris). Händel takes a major role in her repertoire: she sang The Messiah (Detroit Symphony Orchestra and National Symphony Orchestra Washington, Nathalie Stutzmann conducting), Almirena in Rinaldo (Il Pomo d’Oro and Riccardo Minasi), Armindo in Partenope (Il Pomo d’Oro and Maxym Emelyanychev, with a recording by Erato-Warner Classics), Morgana in Alcina (Accademia Bizantina and Ottavio Dantone, with Inga Kalna and Philippe Jaroussky) and Asteria in Tamerlano (Les Ambassadeurs and Alexis Kossenko). In April 2014, she sang the soprano part in Duello Amoroso, a pasticcio after Händel, with Nathalie Stutzmann conducting the ensemble Orfeo 55 at the Bordeaux Opera (with Jean-Louis Grinda as stage director). ​

Emőke Baráth regularly sings Bach’s masterpieces: Mass in B minor (Les musiciens du Louvre and Marc Minkowski), Saint Matthew Passion (Liverpool Royal Philharmonic with Nathalie Stutzmann), Christmas Oratorio (successively with the Freiburger Barockorchester, the Göteborg Symphony Orchestra and the French ensemble Accentus conducted by Laurence Equilbey). She also sang cantatas with Accademia Bizantina conducted by Andreas Scholl (Festival de Beaune). ​

She is also particularly in demand for the composers of the Seicento: she was the title-role in Elena by Cavalli (Cappella Mediterranea conducted by Leonardo García Alarcón, with Jean-Yves Ruf as stage director – Festival d’Aix-en-Provence), Romilda in Xerse by the same composer (Le Concert d’Astrée, Emmanuelle Haïm, with a staging by Guy Cassiers – Lille Opera, Théâtre de Caen, Theater an der Wien). Regarding Monteverdi, she sang the title-role of L’Incoronazione di Poppea at the Innsbruck Festival and at MÜPA (Budapest), and Euridice in L’Orfeo (Les Talens Lyriques and Christophe Rousset, Claus Guth as stage director). She sang Monteverdi’s Selva Morale e Spirituale with Concentus Musicus Wien conducted by Pablo Heras Casado. In 2016 at Budapest Spring Festival she sang the title role of Pietro Antonio Cesti’s Orontea with the ensemble Aura Musicale (musical director: Balázs Máté). In 2017 she sang the title role in Francesco Cavalli’s Hipermestra (Orchestra of the age of Enlightenment, William Christie, staging by Graham Vick). In 2017, she made her Carnegie Hall debut with Il Pomo d’Oro Orchestra performing a mostly Seicento love duet program with Italian mezzo-soprano Giuseppina Bridelli. She sang the title role of Doriclea by Alessandro Stradella on a recording and on a concert in Rome at Accademia Nazionale di Santa Cecilia with Il Pomo d’Oro Orchestra and Andrea de Carlo. ​

Emőke Baráth is more and more in demand in Mozart’s works: she was a successful Susanna in Le Nozze di Figaro (Les Musiciens du Louvre and Marc Minkowski, with director Felix Breisach), Tamiri in Il Re Pastore (Verbier Festival Chamber Orchestra and Gábor Takács-Nagy – Verbier Festival), Zerlina in Don Giovanni and Despina in Così Fan Tutte (Hungarian State Opera). In 2016, she sang the Great Mass in C minor on three occasions: with the Bergen Philharmonic and the São Paolo Symphony Orchestra (soprano 2 solo part), and with the Verbier Festival Chamber Orchestra (soprano 1 solo). ​

Emőke Baráth’s repertoire is particularly wide: she sang Mahler’s Symphony N°2 with the Orquesta de Valencia and Yaron Traub, Scylla et Glaucus by Leclair (role of Scylla, with Les Nouveaux Caractères and Sébastien d’Hérin, with a recording by Alpha), Rameau’s Fêtes de Polymnie (with the Orfeo Orchestra Budapest and György Vashegyi, with the support of the Centre de Musique Baroque de Versailles) or Falstaff by Verdi (role of Nanetta, at the Hungarian State Opera). ​

Among her recent projects, we can mention the release of two recordings with Philippe Jaroussky, both with I Barocchisti and Diego Fasolis by Warner Classics: in 2017 La storia di Orfeo with works by Monteverdi, Sartorio, Rossi; and the other release in 2018 is Gluck’s Orfeo ed Euridice, where she sings the role of Amore. In 2017, she had her first solo recording released by Hungaroton on which she sings songs by Claude Debussy with Emese Virág at the piano. ​

Emőke has a successful collaboration with the Boston Early Music Festival (musical directors: Paul O’Dette and Stephen Stubbs). Her first recording with the group was a nice selection of love duets by Agostino Steffani (label CPO) which project they presented on a tour at many venues in the USA and in Canada. She made her debut at the festival in June 2019 singing the role of Bradamante in Steffani’s Orlando. ​

In 2017/2018, she sang the role of L’Ange in Messiaen’s Saint François d’Assise with Sylvain Cambreling and the Yomiuri Symphony Orchestra Japan. She sang the role of Cleopatra in Händel’s Giulio Cesare on a tour with Accademia Bizantina and Ottavio Dantone. She performed Bach’s Magnificat and Händel’s Dixit Dominus with Emmanuelle Haïm and Le Concert d’Astrée on a tour in France and Bach’s Mass in B minor with Concentus Musicus Wien at Musikverein. In March 2018, she jumped in two times on short notice to sing the role of Morgana at Théâtre des Champs Élysées in Händel’s Alcina from the orchestra pit - with Cecilia Bartoli and Philippe Jaroussky on stage, with Le Concert d’Astrée, conducted by Emmanuelle Haïm. She sang the role of Amore in Gluck’s Orfeo ed Euridice at TCE, alongside Philippe Jaroussky and Patricia Petibon, under the baton of Diego Fasolis and with a staging by Robert Carsen. ​

2018/19 included, among others, a tour with Philippe Jaroussky and the Ensemble Artaserse presenting a program of Händel love arias and duets, Mozart’s Requiem on a tour with the Orchestra of Théâtre des Champs-Élysées conducted by Philippe Herreweghe, her debut with the Royal Concertgebouw Orchestra conducted by William Christie, singing Händel, Pergolesi and Vivaldi with the group Arcangelo and Jonathan Cohen in Barcelona and London, her debut as Amore in Gluck’s Orfeo at the Opera of Rome. ​

Last season's engagements were unanimously acclaimed by press and public alike: the role of Aminta in Il Re Pastore in concert version at the Salzburg Mozarteum with Christina Pluhar, successfully reprised at the Salzburg Festival 2023 this time conducted by Ádám Fischer); Sister Constance in Poulenc's Dialogues des Carmélites at the Rome Opera conducted by Michele Mariotti with staging by Emma Dante; triumphant tour of Asia in La Storia di Orfeo with Philippe Jaroussky and the Artaserse Ensemble.

Emőke has established herself as an accomplished Mozartian, as demonstrated recently by the roles of Ilia in Idomeneo at the Budapest Opera, Sifare in Mitridate at the Copenhagen and Götteborg Operas with Ádám Fischer, and Dorabella in Mozart's Così fan Tutte conducted by Giovanini Antonini. She will make her debut as Donna Anna under the baton of Emmanuelle Haïm, then Pamina in The Magic Flute at the Rome Opera with Michele Spotti.

Haydn will also be an important focus of her 2023/2024 season, with Angelica in Orlando Paladino conducted by Giovanni Antonini, in Madrid and Barcelona.

The baroque repertoire will continue to be very present. She will sing Minerva and Amore in Monteverdi's Il Ritorno d'Ulisse in Patria conducted by Emiliano Gonzalez Toro throughout Europe, and above all will sing three great Handelian heroines: Ginevra in Ariodante at the Opéra du Rhin with Christopher Moulds, Armida in Rinaldo with Thibault Noally and Les Accents, and Maria Maddalena in La Resurrezione with Julien Chauvin and Le Concert de la Loge. ​

In 2018 Emőke has started her long-term collaboration with Warner Classics-Erato as an exclusive artist. On her first recording, she sings masterpieces by Barbara Strozzi and her masters: Francesco Cavalli and Pietro Antonio Cesti with Il Pomo d’Oro Orchestra conducted by Francesco Corti. The recording was released in early 2019.

Her recent album "Dualità", devoted to arias by Händel, conducted by Philippe Jaroussky was released in 2022.

Philippe Estephe
made his debut as part of the Chants de Garonne opera company, and then as part of Opéra Bastide. He is currently studying under Lionel Sarrazin.

He debuted with the roles of Claudio (Béatrice et Bénédict) and Masetto (Don Giovanni).

He frequently performs with the Aquitaine Philharmonic Orchestra; as part of this collaboration, he has sung the roles of Papageno (Die Zauberflöte), Escamillo (Carmen), Don Giovanni and Albert (Werther).

Philippe Estèphe has played Aeneas (Dido and Aeneas), Frédéric (Lakmé), Bobinet (La Vie Parisienne), Belcore (L’Elisir d’Amore), Papageno (Die Zauberflöte), the title role of Don Giovanni and Figaro (le Nozze di Figaro) on tour with the company Opéra Eclaté. He debuted at the Limoges Opera as Guglielmo (Cosi fan tutte), at the Montpellier Opera as Comte (Massenet’s Cherubin), and at the Saint-Étienne Opera as Taddeo (L’Italiana in Algeri) and at the Tours Opera as Dandini (Cenerentola). He has sang the role of Sparck (Fantasio) at the Opera Comique, in Geneve and the Opera de Rouen, the role Dedale (Le Monstre du Labirynthe) at the Montpellier Opera, Peer Gynt at the Limoges Opera and at the Montpellier Opera, Morales (Carmen) in Montpellier, Raimbaud (Le Comte Ory) at the Opéra de Rennes and at the Opéra de Rouen, Brétigny (Manon) at the Opéra National de Bordeaux and at the Opéra Comique, Neptune and Argus (Lully's Isis) with the Talens Lyrique at the Beaune festival, at the Théâtre des Champs Elysées, in Versailles, Papageno (Die Zauberflöte) in Marseille, Gaston (Les P'tites Michu) in Tours, Fiorello (Il Barbiere di Siviglia) in Montpellier, Brétigny (Manon) in Lyon and at the Théâtre des Champs-Elysées.

More recently, he has sung Papageno (Die Zauberflöte) in Toulouse, Markoël (Joncière's Lancelot) in Saint-Etienne, Frédéric (Lakmé) at the Opéra-Comique, Egée (Thésée de Lully) at the Théâtre des Champs Elysées, Theater an der Wien and the Brussel Bozar with Les Talens Lyriques, Dancaïre (Carmen) in Strasbourg, Urbain & Alfred (La Vie Parisienne) in Rouen, at the Théâtre des Champs-Elysées, Liège, Toulouse, Limoges and Montpellier, Peer Gynt in Limoges, Dandini (Cenerentola) at the Toulouse Théâtre du Capitole.

He is currently preparing for the roles of Masetto (Don Giovanni) at the Toulouse Théâtre du Capitole, Presto (Les Mamelles de Tirésias) in Limoges and in Avignon

Chouchane Siranossian
is one of the leading virtuosos on the international Baroque scene today, both as a soloist and alongside many prestigious orchestras. Her mastery of the instrument, nourished by her musical research and her exemplary experience, has made her a highly sought-after musician of marked individuality. When Chouchane is not on stage or researching, she devotes herself to her passion for mountaineering and ski touring.

She began studying the violin with Tibor Varga in Sion, then was admitted at the age of fifteen to Pavel Vernikov’s class at the Conservatoire National Supérieur de Musique de Lyon. In 2002, she began training with Zakhar Bron at the Musikhochschule Zürich, and obtained her soloist’s diploma with the highest honours in 2007. Shortly afterwards she became concertmaster of the Sinfonieorchester St. Gallen (Switzerland), where she remained until her decisive encounter with Reinhard Goebel. She then devoted herself intensely to the study of early music with him at the Salzburg Mozarteum and regularly worked with him as a soloist.

She also participates in the creation of new works, collaborating with such composers as Daniel Schnyder, Marc-André Dalbavie, Michael Rosin, Bechara El-Khoury, Eric Tanguy, Benjamin Attahir and Thomas Demenga.

Chouchane Siranossian performs as a soloist on both modern and Baroque violin, with partners including Kristian Bezuidenhout, Bertrand Chamayou, Andrea Marcon, Leonardo García Alarcón, Daniel Ottensamer, Thomas Demenga, Jos van Immerseel, Christophe Coin, Václav Luks, Andreas Spering, Rudolf Lutz, Alexis Kossenko, Thomas Hengelbrock and François-Xavier Roth.

She is leader of the Esperanza ensemble, founded in Liechtenstein in 2015, which was awarded an Opus Classic award in 2018 and with which she regularly tours.

Her first solo album, Time Reflexion, was awarded a ‘Diapason Découverte’ in 2015. Her recording of the Mendelssohn Concerto with Anima Eterna Brugge (In Time) and the CD L’Ange et le Diable in duo with Jos van Immerseel both received numerous prizes, including two ICMA (International Classical Music Awards, in 2017 and 2019). Her latest solo recording was released in March 2020: Tartini’s concertos with Venice Baroque Orchestra and Andrea Marcon. For this album she received the ‘Preis der Deutschen Schallplatten Kritik’ in March 2020.

Her upcoming CD projects include the violin concertos by Andreas Romberg, recorded with the Capriccio Baroque Orchestra, and “L’Art du violon selon Johann Sebastian Bach” with Leonardo García Alarcón. Chouchane Siranossian is an exclusive artist of Alpha Classics.

In Season 2020/21, Siranossian will play concerts with Venice Baroque Orchestra and Cappella Mediterranea as well as with Dresden Festival Orchestra at Kulturpalast Dresden. She will be a guest in Versailles with the ensemble Le Concert Spirituel. She also tours with Andrea Marcon and Leonardo García Alarcón and makes her debut with Bamberger Symphoniker. In the 21/22 season she is on tour as soloist with Les Siècles.

Chouchane plays on two violins: A Baroque violin by Giuseppe and Antonio Gagliano, and a violin by Giovanni Battista Guadagnini made available by courtesy of Fabrice Girardin, luthier at La Chaux-de-Fonds.

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