Sandrine

A CD of world premiere recordings of music not heard since Vivaldi’s day. Volume 28 of the Foà Collection is Vivaldi’s personal collection of opera arias, and includes variants on the arias performed in the operas. The performances under the stylish direction of Federico Maria Sardelli, who also contributes a dazzling recording obbligato in the concluding aria, are splendid.

Sandrine Piau and the pianist David Kadouch have formed a new duo whose first concerts have been enthusiastically received. As is her wont, the French soprano enjoys intermingling languages and the worlds of different composers and poets around a theme; here Schubert, Liszt, Wolf and Clara Schumann rub shoulders with Lili Boulanger, Duparc and Debussy. Sandrine Piau explains: ‘The promise of new horizons, the joy of new encounters: the journey in all its forms was the common thread of this recital for David and me.

Internationally-acclaimed harpist, Sandrine Chatron, playing the beautiful 18th century harp by Sébastien Érard, takes us on a musical journey that recreates the intimate atmosphere of a musical salon at the time of Marie-Antoinette. In this third recording in the Cité de la Musique series, Sandrine Chatron plays the very rare and 18th-century harp by Sébastien Érard. The programme recreates the intimate atmosphere of a musical salon at the time of Queen Marie-Antoinette. It includes works by Gluck, Mozart and Gossec, as well as world premiere recordings of compositions by Dauvergne, Saint-George and Krumpholtz.

'The dreamer! That double of our existence, that chiaroscuro of the thinking being', wrote Gaston Bachelard in 1961. 'The old is dying, the new cannot be born, and in that chiaroscuro, monsters appear', adds Antonio Gramsci. Sandrine Piau has chosen to use these two quotations as an epigraph to her new recording: 'My family and friends know about this obsession that never leaves me completely. The antagonism between light and darkness. The chiaroscuro, the space in between…'

Handel: Opera Seria is the third solo recital disc to come from soprano Sandrine Piau on Naïve Classique. In this instance, Piau is taking on the opera arias of ye big, bald, and perpetually peruked master of musicke, George Frideric Handel. Here Piau receives the sumptuous support of Les Talens Lyriques, led with expertise and good tempo choices by Christophe Rousset, so this setting invites nothing of the controversy sparked by the clunky Érard piano employed by Jos van Immerseel in Piau's previous offering of Debussy: Mélodies.

Handel, Scarlatti, Corelli, Stradella, Muffat … From 1650 to the beginning of the eighteenth century, Rome exercised an immense power in attracting composers from all over Europe and experienced an intense moment of musical activity, because of - or in spite of - the papal administration. It was a prosperous period with a melting pot of influences. The programme devised here by the Roman conductor, Rinaldo Alessandrini, offers a complete and personal vision of the time, passionate and secular, lyrical (made sublime by Sandrine Piau) and orchestral, romantic in every way. Rinaldo Alessandrini is one of the leading figures in the international early music scene.

Sandrine Piau and Véronique Gens have a longstanding rapport and dreamed of making a recording together. Here they pay tribute to two singers who, like them, were born within a year of each other, Mme Dugazon (1755-1821) and Mme Saint-Huberty (1756-1812): both enjoyed triumphant careers in Paris, inspiring numerous librettists and composers. Gluck even nicknamed Saint-Huberty ‘Madamela- Ressource’, while ‘a Dugazon’ became a generic name for the roles of naïve girls in love, and later of comical mothers. Rivals? They very likely were, given the quarrelsome spirit of the operatic world of the time, even if they never crossed paths on stage.