Call for the 2020 eeemerging Academy
Carissimi – Charpentier – Rossi
Geoffroy Jourdain: musical & pedagogical direction
Applications are now closed
The musical director of Les Cris de Paris has designed for this occasion a beautiful programme around the birth of the Italian oratorio with Carissimi (Historia di Jephte) and Rossi (Oratorio per la settimana santa), its arrival in France through the intermediary of Charpentier (Denial of St. Peter). Alternating recitatives, airs and polyphonic chorales, these sacred dramas represent an ideal research situation in the company of young singers and instrumentalists.
For this Academy, are expected :
10 instrumentalists : 1 theorbo, 1 harp, 1 organ, 1 harpsichord, 2 violins, 1 lirone; 2 violas da gamba; 1 violone
6 singers for the solo roles and for the chorus parts : 2 sopranos, 1 mezzo-soprano, 1 haute-contre/light tenor, 1 tenor, 1 baritone
Auditions will take place from 7th to 9th November, 2019. Training sessions will take place in Ambronay from 1st to 7th May, 2020 and in the Collegio Ghislieri in Pavia (Italy) from 23th June to 7th July, 2020 with specialised coaches. A tour will follow from 8th to 23rd July,2020.
Giacomo Carissimi (1605-1674) Historia di Jephté
Marc-Antoine Charpentier (1634-1704) The Denial of St.Peter H424
Luigi Rossi (1597-1653) Oratorio per la settimana santa
“When I was entrusted with the direction of the 23rd edition of the European Baroque Academy, I was immediately drawn to a period which I am extremely fond of and which seemed to me to be ideal for the learning purposes of an academy: the birth of the Italian oratorio with Carissimi and Rossi and its arrival in France through the intermediary of Charpentier. Alternating, recitatives, airs and polyphonic chorales, these sacred dramas represent for me an ideal research situation in the company of young singers and instrumentalists.
During this Academy we will go back to the sources of the oratorio and we will study the prosodic, phonetic and expressive connections between Latin pronounced in the Roman manner (Carissimi), in the French manner (Charpentier) and in the Italian manner (Rossi). We will immerse ourselves in the transition which takes place in the middle of the XVIIth century between the polyphonic tradition of the Renaissance (and its collective “I”) and the advent of individuality which intervenes with the arrival of baroque monody; each singer will therefore be encouraged to practice polyphony and to move away from it in their capacity as soloists. We will work on the research for a diversification of sound suitable to serve the dramatic action using the multiple combinations available with an opulent continuo. Finally, we will raise the question of the singer’s body posture whilst narrating.”