Reaches the Red room of the Theaters Canal, he 23 Y 25 of March, Mess, from William Christie, one of the great figures of current cult music. This harpsichord player, orchestra director, French musicologist and teacher, born in america, is also a pioneer in the rediscovery and dissemination of Baroque music, and founder of one of the most interesting lyrical projects of the last thirty years: intergenerational grouping Les Arts Florissants.

Mess is a music magazine in which Christie counts, in addition to his usual musicians, with two of the great lyrical voices of the moment: the mezzosprano Read Desandre and the counter Jakub Józef Orliński, who meet for the first time on stage on the occasion of this show, whose entries, in Canal, they were sold out just two hours after going on sale.

Evoking the original meaning of the concept 'pasticcio' or 'pastiche', arisen in the sixteenth century and that names an opera that contains pieces by different composers, Mess presents an unprecedented program in the history of Les Arts Florissants that constitutes a celebration of love, of the act of sharing, and offers an evening of exchange, with space for spontaneous improvisation and the interpretation of selected pieces in the repertoire of European music of the 17th and 18th centuries, although Rameau and Handel also coexist with Cole Porter's jazz. A) Yes, at a time marked by social distance, Willian Christie and his family offer us an explosion of joy without stylistic barriers.

About William Christie
Born in Buffalo and educated at Harvard and Yale, William Christie founded the Les Arts Florissants group in 1979, and that marked a milestone in his career. The great recognition of the public would come to him in 1987 with the production of Atys de Lully, at the Opéra Comique in Paris, followed by many other hits from the French and European Baroque repertoire. His most recent operatic works include “Rameau, dancing master ”, created at the Théâtre de Caen, Jephtha de Handel at the Opéra national de Paris and Ariodante at the Wiener Staatsoper, The Beggar’s Opera on European tour y The coronation of Poppea de Monteverdi in the Festival de Salzburgo. As a guest, William Christie often participates in opera festivals such as Glyndebourne (Julius Caesar en 2018) and opera houses such as the Metropolitan Opera or the Zurich Opernhaus. His extensive discography includes more than 100 recordings. Since 2007 He is also an artist-in-residence at the Juilliard School in New York.. In 2012, launched William Christie's Dans les Jardins festival in its own gardens, located in the French village of Thiré in Vendée.

About Lea Desandre
French-Italian mezzo-soprano Lea Desandre had 20 years when he won a position at the Academy Le Jardin des Voix, the William Christie. In 2017 she was named Vocal Disovery at the Victoires de la Musique Classique awards. Since 2015 has successfully interpreted- Urbain's roles (the Huguenots), Rosina (The Barber of Seville), Annio (La clemenza di Tito), Sixth (Julius Caesar), Dido (Dido and Aeneas), Messenger (The Orpheus), Flerida in Cavalli's Erismena and the main role in Alcione of the Marais. In 2018, surprised the public at the Opéra Comique in Paris with a completely staged one-man show, And in Arcadia I am, with music by Rameau. Made its debut at the Salzburg Festival in Whitsun 2018 at Offenbach’s La Périchole with Marc Minkowski. As a chamber recitalist, he has also collaborated with lute player Thomas Dunford, and has also worked with John Eliot Gardiner, Louis Langrée, Raphaël Pichon or Jordi Savall.

Sobre Jakub Józef Orliński
The Polish countertenor Jakub Józef Orliński has quickly become one of the most prominent performers on the international cult music scene. Exclusive artist on the Warner label / Erato, his first recording, Sacred soul, has garnered critical acclaim and earned him the prestigious Opus Klassik award. His concerts and recitals sell out in Europe and the United States, and attract new followers to this art form. His live performance of "Vedro con mio diletto" by Vivaldi, which was filmed at the Aix-en-Provence Festival in 2017, accumulates more than four million visits. In his free time, Orliński likes breakdancing, in addition to other dance styles. His achievements in this field include awards in many dance competitions: 4th place in the Red Bull BC One Poland Cypher competition, 2nd place in the Stylish Strike contest – Top Rock and second place in The Style Control competition, among others.

Program musical (subject to modifications)

  1. Jean Philippe RAMEAU

Zaïs extracts :
a- Noble entry for Sylphs and Sylphids [1’30]
b- First and second Rigaudons [1’40]

  1. Giulio CACCINI

At the source, to the lawn [1’45]
(New music, 1614)

  1. Henry PURCELL

Extracto de The Fairy Queen (Act.I) :
Rondeau [1’40]

  1. Henry PURCELL

If music be the food of love, Z.379c [3′]

  1. George Frideric TRADE

Extract from d’Ariodante (Act I) :
Pastorale Symphony [45″]
5to. George Frideric TRADE
Extracto de Julius Caesar (Atto III)
Duet «Caro ! more lovable beauty "

  1. Douglas BALLIETT, Thomas DUNFORD

That’s so you [3′]

  1. Thomas Dunford

Piece for lute solo - improvisation [1′]

  1. Reynaldo HAHN

«A Chloris», melody [3′] (accompaniment to the lute)

  1. Cole PORTER

So in love [2’45] (Arrangements : Sebastien Marq)

  1. Antonio VIVALDI

Sol da te, My sweet love (extr. Orlando furious, Act I, sc.11)

  1. Frederick LOEWE

I could have danced all night (extr. de My Fair Lady) [3’55] (Arrangements : Sebastien Marq)

  1. Tarquin CARP

Weather in Ciaccona [2’50]

  1. George Frideric TRADE

Partenope extract :
Furious the wind blows [4’13]

  1. Jean Philippe RAMEAU

Excerpt from Las Fêtes d’Hébé (Second Entrance, scene 5) :
Tender air [1’50]

  1. Jean Philippe RAMEAU

Zaïs extracts (Act III, scene 2) :
Flow my tears [3’45]

  1. Jean Philippe RAMEAU

Polymnia Holiday Extractos :
a- Majestic air (Prologue) [1’55]
b- First and second Gavottes (Prologue) [1’15]
c- Crisp air (Act III, scene 7) [1’55]

  1. George Frideric TRADE

Agrippina extract :
Accompanied «Otton, what a miraculous lightning this is ? »
Aria "You who hear my lament" [4’50]

  1. Antonio VIVALDI

Olympics excerpt :
Sinfonia, first part [2’00]

  1. Antonio VIVALDI

Extracto de Ottone in Villa (Act I, scene 11)
Jealousy, you already make my soul [3′]

  1. Cole PORTER

Night and Day (Arrangements: Louis Dunoyer de Ségonzac)

  1. Irving BERLIN

Dancing cheek to cheek (Arrangements : Louis Dunoyer de Ségonzac)

  1. Giovanni Battista PERGOLESI

Excerpt from l’Adriano in Syria (Act I, Scene 16) :
Happy so sometimes [1’40]

  1. Extract of the Coronation of Poppea (Atto III)

While I'm aiming at you [4’10]

The second session Les Arts Florissants dedicated to Gesualdo if central in su Segundo book of madrigals, a work that was published in Ferrara in 1594, as the Book I, though possibly he had known an earlier edition, Gesualdo which would have given the stamp under the name Gioseppe Pilonij, since it was not seemly for an aristocrat he devotes himself to edit your own music, Neapolitan prejudice dismissed soon. as contextualization, The group led by Paul Agnew will continue to offer the same Gesualdo sacred pieces and works of other great masters of the time.

National Music Auditorium, Friday, 7 of June, Symphony hall

Les Arts Florissants

William Christie: musical director and founder

Paul Agnew: musical associate director

Set of singers and instrumentalists worldwide recognition, dedicated to baroque music, faithful interpretation with ancient instruments. Founded in 1979 by harpsichordist and conductor William Christie Franco-American, the group whose name is taken from the opera by Marc-Antoine Charpentier, He has played a pioneering role imposed on the French musical landscape a repertoire hitherto neglected (including the rediscovery of the countless treasures from the collections of the National Library of France); and today amply admired and interpreted, not only Grand Century French, but also of European music of the seventeenth and eighteenth centuries. Directed by William Christie who, since 2007, He has regularly entrusted the functions of co-direction of the British tenor Paul Agnew. Since the triumph of Atys by Lully at the Opéra Comique in Paris 1987, reinterpretada triumphantly in May del 2011, It is in the lyrical scene where Les Arts Florissants has achieved its greatest successes. Les Arts Florissants enjoy an equally excellent profile in concert halls, as revealed by their acclaimed operas in concert semi-performing version of operas and oratorios. every season, Les Arts Florissants offer around 100 concerts and opera performances in France -in Paris Philharmonie, where are artists in residence, en el Caen Theater, the Opéra Comique, el Théâtre des Champs-Élysées, el Versailles, as well as numerous festivals- and are an active ambassador for French culture abroad, He is invited regularly in New York, London, Edinburgh, Brussels, Vienna, Madrid, Barcelona and Moscow, among others. Les Arts Florissants has to its credit an impressive discography: about 100 recordings (CD and DVD) as well as its own collection, in collaboration with Harmonia Mundi, under the direction of William Christie and Paul Agnew. In recent years, Les Arts Florissants has created numerous training programs for young musicians. The flagship project is the Academy of Le Jardin des Voix: created in 2002 and held every two years, and provides a substantial number of new singers. El programa The Arts Flo Juniors, launched in 2007, It allows students to join the conservatory orchestra and choir for a production, from the first day until the last performance tests. There is also a partnership between William Christie, Les Arts Florissants and the Juilliard School of Music in New York, from which 2007 He has allowed a fruitful artistic exchange between France and the US. Les Arts Florissants also organizes numerous events to create new audiences at the Philharmonie de Paris, Vendee, in France and worldwide. States each annual program of concerts, They are designed for both amateur musicians and fans of all ages.

In 2012, William Christie Les Arts Florissants are Crean el festival in the Gardens of William Christie, in collaboration with the department of Vendée Conseil. A evento anual as a artistas de Les Arts Florissants, Students at the Julliard School and Jardin des Voix finalists for concerts and "musical walks" in the gardens created by William Christie in Thiré (Vendée). In addition to the festival, Les Arts Florissants is collaborating with the endowment fund "Les Jardins de Musique de Vendée William Christie in" to the creation of a permanent place in cultural THIRE. This anchor was strengthened in 2017 through some remarkable events: the establishment of Le Jardin des Voix in Thiré, creating a Spring Festival directed by Paul Agnew and the award of the National Seal Center culturel de Rencontre for Les Arts Florissants and William Christie Les Jardins de, an award that distinguishes the associated creation projects, heritage and dissemination. In 2018 Les Arts Florissants Foundation was created - William Christie and its founder gave his full ownership of the Foundation Thiré. In Spain they have been invited by the Teatro Real in Madrid, by the stage director Pier Luigi Pizzi, in Monteverdian trilogy between 2008 Y 2010. They regularly perform at the Auditorio Nacional de Madrid, Barcelona Palau, Theaters Canal Madrid, etc.

Photo: Les Arts Florissants © Oscar Ortega

William Christie

He Sunday 19 November at 19 hours, the cycle Baroque universe National Broadcasting Music Center (CNDM) It presented in the Symphony Hall of the National Music Auditorium in Madrid Les Arts Florissants directed by William Christie and accompanied by six young singers selected in the last edition of the project Le Jardin des Voix: Natalie Pérez, soprano (France, 1988); Natasha cord, soprano (Germany, 1991); Eva Zaïcik, mezzo soprano (France, 1987); James Way, tenor (Britain, 1992); Josep Ramon Olive, baritone (Spain, 1988) y Padraic Rowan, bass baritone (Ireland, 1990). The 'A cottage garden', It is focused on English opera of the seventeenth and eighteenth centuries and includes the biggest names in the composition of that era (Gibbons, Dowland, Lawes, Purcell and Haendel). The baritone Josep-Ramon Olivé will also be the protagonist of one of the four concerts of Schubert Lied cycle, new musical series CNDM program in Barcelona.

A key project that discovers great talent
In the year 2002, William Christie created an academy for young singers who called Le Jardin des Voix and he linked to the activity of his famous ensemble Les Arts Florissants. The experience was repeated in 2005 and since then it is celebrated every two years.

Under the direction of William Christie and Paul Agnew, The garden It is an activity for young people who are starting their careers. After several weeks of intensive training, the chosen singers perform a concert presentation before embarking on a world tour. This time, its premiere took place this summer in the 'Dans les Jardins de William Christie' festival. In this eighth convocation they have been elected six singers from five different nationalities.

Le Jardin des Voix allows selected to continue their international careers in the most prestigious concert halls, becoming regular contributors to Les Arts Florissants. The project has discovered 50 new talents 16 countries, among which Katherine Watson, Marc Mauillon, Sonya Yoncheva, Christophe Dumaux, Emmanuele De Negri, Read Desandre or Spanish Xavier Sabata, Juan Sancho, Gabriel Pérez-Bermúdez and Lucía Martín-Cartón.

William Christie

The Christmas concert of the 47th season Ibermúsica It will feature the French group Les Arts Florissants and the legendary bandleader, William Christie. Together they will perform one of the most popular oratorios about the life of Jesus of Nazareth: The Messiah, from Haendel, next Wednesday 21 from December, to 19:30 hours, at the National Auditorium of Music in Madrid. grouping, recognized for rescuing from oblivion the French baroque repertoire, will address one of the most impressive and symbolic works of that time.

The Messiah It premiered in Dublin 1742. Since then and throughout his life, Haendel directed each year their representation at Covent Garden in London during the Easter period. The work was written with unusual speed (between three and four weeks) and there is no definitive version, Haendel then rewrote several of its parts to suit different soloists concerts. Although the bulk of the oratorio addresses the death and resurrection of Jesus, during the nineteenth century became popular as a Christmas piece in the United States.

The 47th season Ibermúsica, in which this appearance fits, began last 24 June with the opening concert of the Vienna Philharmonic. Since then, and until May 2017, Programmed Ibermúsica 25 performances 12 of the best orchestras in the world. This is the brand that bears nearly half a century bringing the best music to Spain. The institution, Founded by Alfonso Aijón and co-directed now Llorenç Caballero, It has evolved in line with the times and has managed to preserve the interest in classical music.

Les Arts Florissants

This French ensemble was founded in 1979 by harpsichordist and conductor Franco-American, William Christie. Since then, the group has played a pioneering role in imposing on the French musical landscape repertoire hitherto neglected and admired and played too well today: that of the Great Century French and European music of the seventeenth and eighteenth centuries. usually directed by William Christie, he has held since 2007 regularly co-director with British tenor, Paul Agnew.

every season, Les Arts Florissants offer around 100 concerts and opera performances in France. They do it in stages as prominent as the Philharmonie de Paris, where they are artists in residence from 2015-, en el Caen Theater, The Opéra Comique, el Théâtre des Champs-Élysées, el Versailles, as well as numerous festivals. They are an active ambassador for French culture abroad and receive invitations to perform in New York, London, Edinburgh, Brussels, Vienna, Salzburg, Madrid, Barcelona and Moscow , among other cities worldwide.

They have an extensive discography with about a hundred recordings on Harmonia Mundi seals, Warner Classics/Erato y Virgin Classics. In 2013, They launched their own record label, Publishing Arts Florissants, with which they have recorded five albums. Last 4 November was released his latest LP, La Harpe Queen (with the Harmonia Mundi label), along with Christie and renowned harpist Xavier de Maistre. The album is inspired by the music of the harp that prevailed at the French court of the eighteenth century after the arrival of Marie Antoinette of Austria to the country Gallo.

In recent years, They have created numerous training programs for young musicians, como la Academia emblemática Le Jardin des Voix. Likewise, in 2012 pusieron en marcha el festival in the Gardens of William Christie, evento anual one that a artistas de Les Arts Florissants, students from the Juilliard School of Music in New York and finalists of the festival and musical concerts offer rides. The group is supported by the Ministry of Culture and Communication French, as well as the American Friends of Les Arts Florissants.


clavecinista, director, musicologist and professor, is the engine of one of the most exciting musical projects of recent 40 years: Les Arts Florissants. He rediscovered for the public French baroque music, a repertoire neglected to date. Career native east of Buffalo (NY), formed at Harvard and Yale, and installed in France 1971, took a decisive turn when 1979 launched this pioneering initiative. At the head of this set instrumental and vocal, William Christie impuso, both in concert and opera stages, a very personal style musician and showman, renewing the interpretation of this repertoire. In 1987 he met a true public consecration production Atys Lully in the Opéra Comique de París, a production that later also triumphed in many international stages.

Desde Charpentier Rameau, through Couperin, Mondonville, Campra the Montéclair, William Christie is the undisputed master of French lyric tragedy as well as opera-ballet productions, French motets and court music. Likewise, It has been dedicated to European repertoires, contributing to the rediscovery of the works of Italian composers such as Monteverdi, Rossi y Scarlatti. Besides being a great connoisseur and interpreter of the music of Purcell, Haendel, Mozart and Haydn. The extensive operatic career of William Christie has been marked by numerous collaborations with the most renowned stage directors and opera, como Jean-Marie Villégier, Robert Carsen, Alfredo Arias, Jorge Lavelli, Graham Vick, Adrian Noble, Andrei Serban, Luc Bondy and Deborah Warner. His recent projects include two productions at the Opéra Comique in Paris: Plataea (Rameau), in 2014; Y The Venetian Festivities (Campra), in 2015. As a guest, Christie regularly appears in prestigious opera festivals, as well as international operas, as the Metropolitan Opera in New York, the Opernhaus Zurich or the Opéra National de Lyon. Between 2002 Y 2007 He was also guest conductor of the Berlin Philharmonic Orchestra.

Its abundant production record (more of 100 recordings, many of which have won awards in France and abroad) It has been published by Harmonia Mundi seals, Warner Classics/Erato y Virgin Classics, and they reflected the richness of his artistic adventure. His most recent recordings have taken place with the seal Editions Les Arts Florissants: Belshazzar, Le Jardin de Monsieur Rameau, Music for Queen Caroline (a program of religious works of Haendel).

With a long career as a teacher, throughout his career William Christie has been involved in the formation of many of the directors of French baroque ensembles that began in Les Arts Florissants. He taught at the Paris Conservatoire from 1982 until 1995, and since 2007 He has been artist in residence at the Juilliard School of Music. In 2002 Fundo junto Les Arts Florissants the academia Le Jardin des Voix, whose runners are part of a world tour of the grouping leads. Because of his love of gardening, Christie launched in 2012 In the Gardens of William Christie, a music festival that takes place every August in the gardens of Vendée.

William Christie has been awarded the Legion of Honor, the most important recognition of France, así como the Ordre des Arts et des Lettres are the National Order of Merit. Doctor Honoris Causa by the State University of New York, la Juilliard School of Music y la University of Leide (Netherlands). In November 2008, He was elected to the Academy of Fine Arts in France. further, He is Honorary Member of the Royal Academy of Music in London.

In Spain, He was invited between 2008 Y 2010 by the Teatro Real Madrid to lead with stage director Pier Luigi Pizzi's trilogy Monteverdian. He has given recitals at the Arriaga Theater in Bilbao, the Auditorio Nacional in Madrid, Center Auditorium Miguel Delibes of Valladolid (of which are residents since the season 2010/11), Auditorio de Galicia in Santiago de Compostela. In 2011 was a great success in the Prince Felipe Auditorium in Oviedo Chamber Arias and Duettos, by Philippe Jaroussky and Max Cencic. That same year was also celebrated its Pygmalion Rameau at the Palau de la Música in Valencia. In 2015 he led the National Orchestra of Spain at the Auditorio Nacional of Madrid.


National Music Auditorium, Symphony hall, 19:30 hours

duration 120 minutes

Haendel The Messiah

Vistoli CARLO, countertenor

To conclude the trilogy Monteverdian, the Royal Theater has put on the bill a production of the coronation of Poppea from the hand of the same team that was in charge of the previous two. It is this opera, the last one he composed Monteverdi when he was seventy-five years old, a greater complexity and maturity than in L´orfeo or Il ritorno d´Ulisse in patria is demonstrated.
L'incoronazione develops multiple plots with a great display of secondary characters. It begins with the confrontation between Fortune and Virtue, but it is love that triumphs, making it clear already in the prologue:

Love: “Today in a single contest, the two goddesses, submitted to me, they will say that at a signal from me the world changes“.

A great success is accompanying the performances of L´incoronazione di Poppea, under the direction of the Master William Christie what, with his Orchestra Les Arts Florissants and his vintage instruments, they manage to fill this difficult score with nuances.
Christie absolutely controls everything that happens around her, both in the pit and on stage, providing the singers with great security as stated by the Philippe Jaroussky news conference.
The Orchestra offered magical moments. Like one in which the accompaniment is reduced only to a baroque guitar creating a beautiful atmosphere.

The same cannot be said for Master Pizzi what, definitely, signs the worst set design of the trilogy. A little refined setting, cold, without details, that is not up to the music or the voices. With an unsuccessful wardrobe and sometimes (like Nerone's guard or Ottavia's page), bordering on the ridiculous. A pity that the romantic conception of Pizzi's opera has remained on this occasion more as a simple set than as a high-end scenography.

Lighting by Sergio Rossi she was not lucky either. Too many shadows that obscured the characters. The mirrors that were sometimes distracting were not very well understood..

The surprise of the night was Danielle de Niese in the role of Poppea, maybe because the expectations were not too many. Not a very subtle Poppea, and does not dominate the ornamentation of the time, but it offered freshness and timbre, with an agile voice, light and nuanced, voluminous at times that had to contain at times, but very sunny. He overused portamento and made use of some very obvious appointees. His performance was full of sensuality, maybe something innocent, he lacked a bit of the character's most lewdness.

But without a doubt the creator of the night was Philippe Jaroussky as Nero. A role full of difficulties for the stratospheric treble. At times he was noticed at the limit of his vocal capacity, especially at the beginning, but he knew how to solve difficulties with ease. Represented a capricious and tyrant Nerone, although somewhat bland (in keeping with other characters). He signed a brilliant Nerone and much celebrated by the public.
Max Emanuel Cencic, in a very different register than Jaroussky, with a beautiful and delicate timbre, did not endow his character with sufficient consistency. The result was an exaggeratedly fragile Ottone, even helpless at times. A pity for one of the best current countertenors not to have taken advantage of this opportunity.

The Octavia de Hannah Bonitatibus put elegance on stage. It may be too severe at some point, but almost fitting on an offended empress. With a great stage presence only obscured by poor lighting. His gorgeous wail downplayed a slightly annoying vibrato at times, but his bronze voice is well built and has some very nice Mediterranean nuances. Her expressive and sober departure from the stage, should have been accompanied by the applause that was not spared at the end.

For me the best of the night was, definitely, the young portuguese Ana Quintans in the character of Drusilla. With a crystal clear timbre, sparkly, full of the energy he also endowed the character with. A polished and enameled voice and an impeccable projection and mastering Baroque singing much better than Niese..

Antonio Abete it was a very decaffeinated Seneca. The character did not live and so he transmitted it. Better were his students, although some were somewhat imposing and unnatural.
The rest of the cast was full of young promises, some very interesting that will have to be followed closely because they are called to grow in importance.
In general, a very good representation of this Poppea as the culmination of the well-deserved tribute of the Real to Monteverdi.