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Four women, making every decision together, embracing a quartet that combines artistic freedom with uncompromising rigour. Founded in London around French music, Ensemble Théodora has made friendship, source materials, and long-term collaboration the foundations of a shared sound, refined with meticulous care. Lucie Chabard and Mariamielle Lamagat speak about the intimate process behind their collective.
To mark the 30th anniversary of L’Orfeo Barockorchester, founders Michi Gaigg and Carin van Heerden look back on three decades of intense, joyful work centered on sound and interpretation. As dynamic as ever, the ensemble will be at Greinburg Castle (Austria) from August 1 to 9 for Sophia, an imaginary opera by Bach in which cantatas and choruses engage in a dialogue with artificial intelligence, freedom, and our concept of humanity.

In love with the French language and with voices that inhabit the space in between, Olivier Bergeron finds in Charpentier an ideal terrain. At 29, the Quebec baritone has made the composer one of the central themes of his 2026 season. A laureate of Le Jardin des Voix, trained in Montreal and Paris, he will reunite this summer with Les Arts Florissants and William Christie for a North American tour, before singing his first Papageno in Montreal.
In New York, GEMS lives up to its name. Since 2007, this discreet yet indispensable organization has helped young early music ensembles grow, secure funding, organize concerts, and build their audiences. John Thiessen has served as Executive Director from 2022 until early 2026. As GEMS enters a new chapter under new leadership, the Canadian-born musician reflects on how the organization became one of the driving forces behind the American early music scene.
What if the real revolution were to make music with human beings again? At a time when artificial intelligence is churning out fake sacred chants and culture is reduced to a consumable commodity, Marcel Pérès proposes an alternative path: human voices, passed-down gestures, unpredictable gatherings, and Old Roman chant restored to its ritual power. In Moissac, early music is once again becoming an experience.
Who in the world of early music is not yet familiar with the mark left by Marcel Pérès and his ensemble Organum? An archaeologist of sound, a pioneer of ethnomusicology applied to early music repertoires, and a thinker on sacred music, the French musicologist, singer, and conductor has established himself as one of the leading European figures in the revival of medieval music. On the eve of his 70th birthday, he recounts his life as if it were a novel.
