The Independent 25 August 2024

Pietro Giannotti, who in the title page of Op. 1 (entirely written in Italian) is described as native of Lucca, was born in that independent Tuscan city, in an unspecified year between the end of the seventeenth century and the beginning of the eighteenth. We do not have any information about his education or his musical pursuits before his activities in France began, in 1728, when he moved to Paris. From the subsequent year to 1758 we know that he served as a double-bass player at the Académie Royale de Musique. A much-appreciated performance of his as a violinist is documented at the “Concert spirituel” of 28 March 1749; on this occasion he also played some pieces of his own.

Pietro Giannotti, who in the title page of Op. 1 (entirely written in Italian) is described as native of Lucca, was born in that independent Tuscan city, in an unspecified year between the end of the seventeenth century and the beginning of the eighteenth. We do not have any information about his education or his musical pursuits before his activities in France began, in 1728, when he moved to Paris. From the subsequent year to 1758 we know that he served as a double-bass player at the Académie Royale de Musique. A much-appreciated performance of his as a violinist is documented at the “Concert spirituel” of 28 March 1749; on this occasion he also played some pieces of his own.

Pietro Giannotti, who in the title page of Op. 1 (entirely written in Italian) is described as native of Lucca, was born in that independent Tuscan city, in an unspecified year between the end of the seventeenth century and the beginning of the eighteenth. We do not have any information about his education or his musical pursuits before his activities in France began, in 1728, when he moved to Paris. From the subsequent year to 1758 we know that he served as a double-bass player at the Académie Royale de Musique. A much-appreciated performance of his as a violinist is documented at the “Concert spirituel” of 28 March 1749; on this occasion he also played some pieces of his own.

When Clémentine Delauney (Visions of Atlantis), Anna Brunner (League of Distortion), Marina La Torraca (Phantom Elite) and Amanda Somerville came together to form Exit Eden, topped by the release of their first album, Rhapsodies in Black, in summer 2017, it became immediately clear that this combination would be powerful and magical alike! With their debut entering the German album charts at #15 and rocking the stage at the legendary Wacken Open Air, these four outstanding and independent female vocalists proved how symphonic heaviness can go hand in hand with pop music - dressing well-known classics in a yet unheard soundscape, evoking more than just a cover album! Now, more than six years later, Exit Eden are back to mesmerize audiences with their second offering, illustrating strength and female empowerment while appropriately entitled Femmes Fatales, set for release on January 12, 2024 via Napalm Records…

When Clémentine Delauney (Visions of Atlantis), Anna Brunner (League of Distortion), Marina La Torraca (Phantom Elite) and Amanda Somerville came together to form Exit Eden, topped by the release of their first album, Rhapsodies in Black, in summer 2017, it became immediately clear that this combination would be powerful and magical alike! With their debut entering the German album charts at #15 and rocking the stage at the legendary Wacken Open Air, these four outstanding and independent female vocalists proved how symphonic heaviness can go hand in hand with pop music - dressing well-known classics in a yet unheard soundscape, evoking more than just a cover album! Now, more than six years later, Exit Eden are back to mesmerize audiences with their second offering, illustrating strength and female empowerment while appropriately entitled Femmes Fatales, set for release on January 12, 2024 via Napalm Records…