About the Performance
Rescheduled for April 18, 2021
Founded in Lyon in 2009, Correspondances, led by harpsichordist and organist Sébastien Daucé, is comprised of a group of singers and instrumentalists who are specialists in the music of the Grand Siècle.
Correspondances has become a benchmark ensemble in the seventeenth-century French repertory. The ensemble’s twin commitments to breathing new life into already well-known composers and restoring the image of figures less familiar today but celebrated and frequently performed in their own time has already yielded twelve critically acclaimed recordings. Performing works by Champantier and other Baroque gems for their first visit to Kansas City.
THREE HOLY DAYS
Marc-Antoine Charpentier De Profundis H.156
Marc-Antoine Charpentier Tenebrae Factae Sunt H.129
Marc-Antoine Charpentier Desolatione Desolata Est H.380
Marc-Antoine Charpentier 1è Leçon du vendredy saint H.91
Bonifacio Graziani Repons de la Semaine Sainte, Rome 1664
Francesco Cavalli Canzon a 1
Marc-Antoine Charpentier O vos Omnes H.134
Marc-Antoine Charpentier Jerusalem Surge H.130
Marc-Antoine Charpentier Velum Templi H.128
Marc-Antoine Charpentier Stabat Mater LAUDS
Marc-Antoine Charpentier Motet pour les Trépasssés
Plain-chant • O Mors
Alessandro Melani Miserere a 8
Giacomo Carissimi Christus Factus Est
Marc-Antoine Charpentier O Oriens
Alessandro Melani Litanie per la Sa vergine a 9 voci
About Ensemble Correspondances
Founded in Lyon in 2009, Correspondances brings together under the direction of the harpsichordist and organist Sébastien Daucé a group of singers and instrumentalists, all of whom are specialists in the music of the Grand Siècle. In a few short years of existence, Correspondances has become a benchmark ensemble in the seventeenth-century French repertory.
Placing itself under the auspices of Baudelaire’s notion of correspondences between the arts, it performs music whose sonorities can still directly touch today’s listeners while presenting staged productions of rarer and more original forms such as the oratorio and the ballet de cour.
The ensemble’s twin commitments to breathing new life into already well-known composers and restoring the image of figures less familiar today but celebrated and frequently performed in their own time has already yielded twelve critically acclaimed recordings, which have earned such distinctions as the Choc Classica of the year, ffff de Télérama, the Diapason d’Or of the year, the ECHO Preis for the World Premiere Recording of the Year 2016, Editor’s Choice in Gramophone, German Record Critics’ Award, Operatic Recording of the Year 2016 in Limelight magazine and the Prix de l’Académie Charles Cros. The exceptional reconstruction of the score of Le Ballet Royal de la Nuit, the result of three years of research, allowed modern audiences to discover a major musical event of the seventeenth century, the unprecedented moment that inaugurated the reign of the Sun King.
After the public and critical success of the CD-book released on harmonia mundi (Le Concert Royal de la Nuit, 2015), the ensemble returned to this extraordinary spectacle in 2017 at the théâtre de Caen, the Opéra Royal de Versailles and the Opéra de Dijon, in a contemporary production by Francesca Lattuada combining elements of the circus and the dance. This staged version has been published recently: an exceptional box set gathering the full music (27 additional dances) and the recording of the show. Correspondances is in residence at the théâtre de Caen. It is associate ensemble at the Opéra and Chapelle of the Château de Versailles, and at the Louvre Museum. La Caisse des Dépôts and Mécénat Musical Société Générale are principal patrons of Correspondances. The ensemble receives assistance from the Fondation Musica Solis, a group of music lovers who give active support to research into and publication and performance of the music of the seventeenth century. Correspondances is supported by the théâtre de Caen, the Ville de Caen, the Région Normandie and the DRAC Normandie. It also receives regular support from the Institut Français, Adami, and the Spedidam for its concerts and recordings.