Cori spezzati d’hier et d’aujourd’hui



Here, it's all about spirituality, a sense of space and affinities. Over the centuries, the ensemble headed by Léo Warynski unearths kinship, emphasizes family tunes, in a long line of composers touched by grace. Rameau, whose religious practice is too often underestimated, offers an address to heaven, a five-part motet rarely given because it is cleverly concealed in his Treaty of Harmony. Marc-Antoine Charpentier - who was able to observe during a trip to Italy what in Venice was called the “cori spezzati”: the dialogue of vocal groups installed on either side of a church - delivers a sumptuous Salve Regina with three choirs. But the centerpiece of this new program is signed Orazio Benevolo, an unknown musician, chapel master at the Vatican from 1646 to 1672. Thanks to the conductor and musicologist Louis Castelain, who patiently copied the score in a Roman library, Les Métaboles chantent for the first time since the 17th century this four-choir Mass by the Italian composer. A novel, in a way, which parallels the one written by the very young Lithuanian composer Juta Pranulyte. Beyond eras, beyond styles, musicians speak to each other.

Project co-produced by La Fondation Royaumont (as part of the Métaboles 2019-2021 residency) and supported by La Fondation Bettencourt-Schueller


Orazio BenevoloMesse à quatre chœurs (score by Louis Castelain)
Marc-Antoine Charpentier, Salve Regina
Jean-Philippe Rameau, Laboravi (score by Louis Castelain)
Juta Pranulyte, création

Les Métaboles (16 singers)
Louise Pierrard, viola da gamba
Lucile Dollat, organ

Léo Warynski, direction