From the court of Louis XIV to Barbara, the French ensemble La Palatine brings courtly airs and chanson, music and theatre into dialogue with rigour, wit and imagination. In January 2027, it will appear at the Salle Cortot in Paris in “Éros et Thanatos”, alongside French countertenor Rémy Brès-Feuillet, among others.
With “Glosas de oro”, we discover Barbaroco, a young early music ensemble breathing new life into the songbooks of the Spanish Renaissance. The ensemble will perform the programme on 12 September at the Church of Saint-Pierre-Saint-Paul in Gonesse, in the Île-de-France region, before presenting it at Madrid’s Fundación Juan March in January 2027.
Marie Nadeau-Tremblay’s name has risen like a rocket through Quebec’s Baroque music scene in recent years. The colourful violinist, who has built a series of recording projects far off the beaten path, reflects on her journey, her artistic convictions, and the place of art in North American society today.
At 23, the French musician Manon Papasergio is already pursuing a distinctive path between the viola da gamba and early harps, placing them at the service of rarely explored repertoires, from the Renaissance to the threshold of the Baroque. Invited by ensembles such as Les Musiciens de Saint-Julien and Il Caravaggio, and the author of a much-noticed first recording, she moves forward with insatiable musical curiosity and a firmly embraced refusal of boundaries.
At the helm of El Gran Teatro del Mundo, Julio Caballero has, for the past ten years, shaped a distinctive aesthetic centred on the French repertoire of the seventeenth century—born of an original return to the sources, meticulous work on declamation, and a pronounced taste for theatricality. From Bern to Madrid, from the Lullists to Rameau: this is the story of an ensemble that makes each project an informed yet free reinterpretation of the codes of the Grand Siècle and beyond.
For over a decade, the French quartet Kapsber’girls have been reclaiming overlooked pages of the Baroque repertoire. Driven by in-depth research and creative work, the ensemble develops original programmes conceived for the stage and shaped by a strong taste for experimentation. Their journey also sheds light on the practical realities of production and touring today, balancing artistic ambition, collective organisation and a changing sector.
In Cleveland as in London, Apollo’s Fire defies the narratives of classical music’s decline. Founded in 1992 by harpsichordist and conductor Jeannette Sorrell, the ensemble has, in just a few decades, established itself as one of the most dynamic forces in the American Baroque landscape. Balancing fidelity to Affekt with bold programming, it continues to attract ever-growing audiences, driven by a vibrant stage presence and an undiminished artistic vision.
Trained in Caracas and then at the Conservatoire de Paris, the sopranist Samuel Mariño, with his crystal-clear, high-pitched voice, recounts how he failed his diploma because he was not a countertenor, how he sources his flamboyant stage costumes in thrift shops, and why he dreams of a kinder and more benevolent world than the one in which he spent his childhood.
After thirty-five years at the helm of San Francisco’s Philharmonia Baroque Orchestra (and a career that spans several decades), British conductor Nicholas McGegan is set to receive a lifetime achievement award. From Rameau to Handel, from the harpsichord to the podium, we look back at the career of a leading musician who has helped revive a whole swath of the Baroque repertoire.
