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Another recording of The Four Seasons? A year after ‘Concerti per una vita’, the orchestra of Le Consort, in the course of its exploration of Vivaldi, reveals the many facets of this inexhaustible cycle. To achieve this, Théotime Langlois de Swarte has held up a subtle mirror to other works by the ‘red-haired priest’. All of them perpetuate the seasons in their own way, through shared memories and impressions; in the background Lambranzi's Venetian dances complement this musical picture awash with colours!

More than 300 years after Antonio Vivaldi composed The Four Seasons , the most famous work in the history of music is still as lively and invigorating as ever. Now Le Concert de la Loge has recorded this Baroque treasure with its founder and director, the violinist Julien Chauvin, as soloist. For the occasion, the Château de Versailles has loaned him an exceptional instrument: a Neapolitan violin by Nicola Gagliano, adorned with fleur-de-lys and inlaid decorations. This instrument, which was played by Yehudi Menuhin in the 1970s, comes from the ‘collection de Madame Adélaïde’, named after one of Louis XV’s daughters. It has not left the Château for almost a century and is in a perfect state of preservation. The main work is complemented by Vivaldi’s no less celebrated ‘La Follia’ and an aria that is now famous in its own right, ‘Sovvente il sole’ from Andromeda liberata , the score of which was discovered in Venice in 2002. It is performed here by the countertenor Paul-Antoine Bénos-Djian.

Member of the famous Ébène quartet, Gabriel Le Magadure highlights two masterpieces of chamber music for violin: the Chausson Concert and the Lekeu Sonata. Surrounded by pianist Frank Braley and the Agate quartet, Gabriel Le Magadure expresses with accuracy and depth the breathtaking romanticism of these two singular works.

Encore peu connu des entreprises françaises, le Mind maping est très utilisé dans les entreprises anglosaxonnes. Son succès réside dans sa simplicité et son efficacité. Il correspond à la façon dont notre cerveau fonctionne, par rebondissement et associations d'idées. cf. exemple joint. Cette technique libère notre potentiel créatif et transforme notre façon de communiquer. Le livre fait découvrir les bénéfices de cet outil pour le manager dans des activités quotidiennes telles que choisir et atteindre ses objectifs, prendre les bonnes décisions, optimiser ses réunions, prendre des notes…

After the success of Officina Romana (awarded 5 Diapasons, 5 stars in Musica , and selected amongst the best albums in Le Monde in 2021), Le Stagioni, under the direction of Paolo Zanzu, invites the listener on a journey through 17th-century Venice in the company of outstanding singers: Emmanuelle de Negri, Blandine Staskiewicz, Paul-Antoine Bénos-Djian, Zachary Wilder and Salvo Vitale. From 1637 to 1645, between the opening of the first public opera houses and the start of the Cretan War, Venice witnessed a musical blossoming of international significance. Numerous operas were premiered on Venetian stages, with travellers from all over Europe in attendance. Alongside famous extracts of L'incoronazione di Poppea and Il ritorno d'Ulisse in patria , Un secolo cantante allows us to hear little-known works by Cavalli, Sacrati and Strozzi, as well as previously unrecorded, forgotten pieces, making use of sources from the period and the most recent scholarship to offer a fresh listening experience of this fascinating music.

For a musician, encountering a composer's work or a certain part of the repertoire may come at a time more or less favourable to the understanding of the music in question. It really doesn't matter: "You have to start them early", said Pablo Casals of the mighty works that impudent youths tackled with gusto. A work absorbed in this way, continues its underground route over the years before emerging at the appropriate time, and obviously and ingenuously declaring: "I'm here! Have you been expecting me?"

Baroque Italy still conceals many works that are too rarely performed. Here, ensemble Le Palais royal brings together Lotti's Credo, Rubino's Lauda Jerusalem, Vivaldi's Laetatus sum and Scarlatti's splendid Stabat Mater. Brilliant, virtuosic and richly ornamented, these pieces were composed for festivities and celebrations, and reflect the effervescence and opulence of the Italian cities of the seventeenth and eighteenth centuries. Far from the smooth, cold marble, the ensemble's performance on period instruments reveals all the asperities, reliefs and volumes of a language and music that it sculpts like a colourful and sensual material.