Aurore Blaise – soprano
Aurore Blaise, s’est d’abord consacrée à l’apprentissage du piano, avant d’intégrer en 2007 parallèlement à ses études d’Histoire, l’Orchestre et Chœur des Universités de Paris (OCUP), sous la direction de Guillaume Connesson, puis en 2010 le Chœur Vittoria d’Île-de-France de Michel Piquemal.
En 2013, elle recentre sa pratique musicale autour du répertoire baroque, son répertoire de prédilection, au sein de la Camerata Saint-Louis de Paris de Georges Guillard et, depuis 2015, du Bach Collegium Paris sous la direction de Patrizia Metzler.
Dans les différents ensembles dont elle fait ou a fait partie, elle est conduite à chanter régulièrement en soliste, notamment dans l’œuvre de Bach (cantates, Passions). En 2014, elle est sollicitée par Georges Guillard pour l’enregistrement de la Messe Modale en septuor de Jehan Alain. On a pu l’entendre à l’Oratoire du Louvre dans le Laudate Dominum de J-N. Lefebvre, avec la Camerata Saint-Louis de Paris, et dans des programmes de cantates de Bach et de musique anglaise avec le Bach Collegium Paris.

Éric Gervais – ténor
Après avoir commencé l’étude du chant avec Monique Moigneteau à Nantes et en étant membre de l’ensemble vocal de Nantes dirigé par Paul Colléaux, Éric Gervais a intégré la Maîtrise de Notre-Dame de Paris où il a suivi un cycle de trois ans de formation professionnelle. Il a complété ensuite sa formation dans la classe de Blandine de Saint-Sauveur au conservatoire de Pantin où il a obtenu son Diplôme d’Études Musicales.
Parallèlement, d’abord à Notre-Dame de Paris puis au Centre de musique médiévale de Paris, il étudie et se perfectionne sous la direction de Brigitte Lesne pour le chant grégorien et la musique médiévale.
De la musique ancienne à la création contemporaine, il a chanté avec de nombreux ensembles dont Akademia Champagne-Ardennes, le chœur de Radio-France , Les Éléments à Toulouse mais aussi A Sei Voci (musique Renaissance) et Venance Fortunat (musique médiévale).
Comme soliste, outre les interventions en musique ancienne et en récital, il s’est produit en oratorio, Schütz, Bach, Mozart, Haydn… et aussi parfois sur scène notamment dans L’enfant et les sortilèges de Ravel sous la direction de Cyril Diederich.

Pascal Bezard – baryton-basse
Chef de chœur, chanteur professionnel, musicologue et pédagogue, Pascal Bezard aime aborder toutes les composantes de la musique ayant pour dénominateur commun « la voix ». Il explore et étudie tous les répertoires et toutes les époques, aussi bien par curiosité personnelle que par passion et souci du partage avec ses choristes et élèves.
Pascal Bezard est titulaire d’une Maîtrise de Musicologie à la Sorbonne et d’un Prix de Direction de Chœur au conservatoire national de région de Boulogne-Billancourt dans la classe de Pierre Calmelet.
Après l’étude du chant avec Pali Marinov, puis au Conservatoire du Centre de Paris, il s’est produit comme chanteur dans de nombreux ensembles professionnels (Ensemble Vocal Michel Piquemal, Le Concert Spirituel, Accentus, Jacques Moderne, les Éléments, …), au sein desquels il aborda un large répertoire sous la direction de chefs aux personnalités variées (M. Minkowski, H. Niquet, J.-C. Malgoire, M. Corboz, L. Equilbey, Ph. Herreweghe, J. Suhubiette, …).
Il chante régulièrement les parties de baryton-basse soliste du répertoire d’oratorios (Charpentier, Purcell, Gilles, Bach, Mozart, Fauré, Duruflé, …).
Enseignant la formation musicale durant sept ans, Pascal Bezard s’est ensuite consacré à l’histoire de la musique dont il fut chargé de cours à l’Université d’Évry Val d’Essonne pendant trois années ; il est maintenant régulièrement invité à donner des conférences sur l’histoire de la musique et la voix (physiologie, pathologie, technique vocale). Il a collaboré pendant près de 10 ans aux recherches sur la voix au sein du LAM (Laboratoire d’Acoustique Musicale).
Sa vocation de chef de chœur l’amène à diriger plusieurs chœurs et ensembles vocaux à Paris (Ensemble Vocal “Quid novi ?”) et sa région (Ensemble “O Musica” du Vésinet) ; il anime ponctuellement des stages thématiques (chant grégorien, musiques médiévales, baroque français,…) dont un atelier aux Choralies de Vaison-la-Romaine en 2010 et 2013.
Après deux ans passés comme soliste à Notre-Dame de Paris, il fonde en 1999 avec d’autres chanteurs issus de la cathédrale, l’ensemble professionnel à voix d’hommes “Magnus Liber” spécialisé dans le chant grégorien, les polyphonies médiévales et le plain-chant baroque.
Pascal Bezard est maître de chapelle de l’église Saint-Pierre de Chaillot (XVIe arr.) et fut maître de chapelle responsable des grandes cérémonies à la cathédrale Saint-Louis des Invalides (VIIe arr.) pendant plus de 10 ans. Il est également chantre de l’église luthérienne des Billettes depuis 1991.

Olivier Willemin – orgue
Après avoir été organiste à la collégiale de Montmorency, Olivier Willemin est depuis 1995 titulaire en l’église Sainte Rosalie à Paris. Il a été plusieurs fois l’invité des festivals d’orgue de Nice, Masevaux et Saint-Malo.
Compositeur, il a publié un Psautier triennal des dimanches et fêtes (studio SM, 2002), divers chants du répertoire de Saint-Séverin (Voix Nouvelles, 2023) ainsi que deux messes liturgiques (Atelier du Fresne, 2009 et 2012). Ses œuvres pour orgue demeurent inédites. Improvisateur, il a enregistré une suite française dans le cadre d’un disque consacrée aux orgues de la vallée de la Doller (Ligia Digital).
Ses activités de continuiste l’ont amené à accompagner la Camerata Saint-Séverin, le chœur Jean Sourisse et, à présent, le violoniste Igor Ramos notamment dans des œuvres de Bach et de Vivaldi. Olivier Willemin fait en outre partie du Trio Gallican, voué à la musique traditionnelle française.
Enfin, il est l’auteur d’un article sur la Genèse du psaume et son évolution musicale à travers les âges, et d’une Histoire de la chanson française des origines à la Révolution.

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Ariane Kerouanton began playing the violin at the age of 4. She then joined the CHAM classes (Music classes with flexible schedules) at the Chartres departmental conservatory in Priscille Lachat-Sarrete’s class, and took part in training courses with Alexis Galpérine.
She explored a wide range of disciplines, from jazz to theater, then discovered the Baroque repertoire, for which she developed a passion, taking up harpsichord in Irène Assayag’s class.
She then joined the Regional Conservatory in Versailles, where she studied violin with Saskia Lethiec, and Baroque violin with Patrick Cohën-Akénine. She is currently studying to obtain her bachelor’s degree.

Priscille Lachat-Sarrete studied at the Paris VI Conservatoire with Isabelle Lesage. She continued her violin studies with Catherine Courtois at the Regional Conservatory (CRR) in Saint-Maur-des-Fossés, where she won a gold medal, then at the CRR in Rueil-Malmaison, marked “excellent”. She spent two years perfecting her technique with Géza Kapás, professor at the Franz Liszt Conservatory in Budapest, then with Pavel Vernikov at the Santa Cecilia Academy in Portogruaro (Italy).
At the same time, she obtained a certificate in music history from the Conservatoire National Supérieur de Musique de Paris, as well as a prize for musical culture in Brigitte François-Sappey’s class. She is also defending a doctoral thesis in musicology at the Paris-Sorbonne University under the supervision of Jean-Pierre Bartoli.
Priscille Lachat-Sarrete performs chamber music in Paris and the Paris region. Her repertoire ranges from Baroque music – with solo violin recitals devoted to Bach, Locatelli, and Telemann – to contemporary music – with Takemitsu, Tanguy or Finzi, via the vast field of classical and romantic sonatas. She has also played with the Orchestre de Bretagne and the Orchestre des Pays de Loire.
A violin teacher at the Chartres departmental Conservatory, and the Francis Poulenc Conservatory in Paris 16, she is also a lecturer at Paris-Sorbonne University.
Priscille Lachat-Sarrete has recorded two CDs: “Le cercle Schumann” in 2006, and a solo violin recital at Chartres Cathedral in 2010, “Flammes baroques“.

Emmanuelle Lemirre holds a Premier Prix in cello and chamber music from the Conservatoire National Supérieur de Musique de Paris, and continued her studies in the United States with Janos Starker, then in France with Lluis Claret.
As a member of the Albaran Quartet, she participates in numerous festivals and follows the training offered by Pro-Quartet (European Chamber Music Center). The quartet won a Special Prize for French and Contemporary Music at the Lantier International Competition.
She plays regularly with the Divertimento Symphony Orchestra and the Versailles Chamber Orchestra.
She also teaches at the Choisy-le-Roi and Villejuif music schools.

Didier Seutin began his musical studies at the Montreal Children’s Choir in Quebec. Following this training, he continued his organ studies, obtaining the Premier Prix from the Conservatoire de Montréal. After receiving merit scholarships from the Canada Council for the Arts and the Ministère des Affaires culturelles du Québec, he moved to France to further his studies with André Isoir and with Odile Bailleux in early music. These studies were crowned by First Prizes from the Boulogne-Billancourt and Bourg-la-Reine conservatories.
He went on to study choral and orchestral conducting, later obtaining the Diplôme d’Etat de Direction d’ensembles vocaux. As a choral singing teacher at the Conservatoire du Centre de Paris, he set up a course to teach the basics of choral singing, as well as various workshops to deepen and enrich the initial experience.
Artistic director of the Paris Ladie’s Choir from 1995 to 2009, he took part in the Paris premiere of Jacques Castérède’s Cantique de la Création. As choral director of the Saint-Eustache Choral Society, he has also given a number of concerts featuring works such as Bach’s Magnificat and St. Matthew Passion in F. Mendelssohn’s version, as well as Mozart’s Vesperae solennes de Confessore.
He produces a large number of arrangements and transcriptions for the ensembles he conducts.
In 2009, Kaija Saariaho entrusted him with the musical arrangement of one of her compositions: Horloge, tais-toi!
In 2012, he was appointed assistant organist at Notre-Dame church in Boulogne-Billancourt. He has given numerous concerts in Quebec, France, and the United States.

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Born on March 5, 2001 in Chartres, Olivia Benjamin began her musical career by joining the children’s choir of Chartres Cathedral at the age of six, while taking violin lessons at the Lèves music school. She later joined the CHAM program (Music classes with flexible schedules) at the Chartres conservatory, and the soprano section of the conservatory’s Children’s & Ladies’  choir.

During her school career from high school to college, she was able to perform in Europe (Germany, Italy, Bulgaria, England, Portugal) as a soloist (soprano).

From 2017 to 2019, she replaced the choirmaster of the Children’s choir of   Chartres cathedral , as well as at the local Maintenon-Pierres choir “Les voix Soleil”. She then joined the semi-professional ensemble “Sequentiae” while continuing her musicology studies at the University François-Rabelais in Tours.

Nicolas Lhoste began singing at the age of 8 with the “Maîtrise de la Cathédrale de Chartres”, and went on to train with other choirs such as the “Maîtrise des Hauts de Seine” and the “Chœur d’enfants de l’Opéra National de Paris”. He took part in numerous productions with children’s voices (Paillasse, Werther, Turandot, Wozzeck, Tosca, Boris Godounov, La Bohème, etc.).

Now a male voice, he continues to sing in various ensembles, including the “Chœur de l’Armée Française” and the “Chœur Français d’Opéra”, and is regularly engaged as an extra in France’s opera houses (Opéra de Montpellier, Opéra de Strasbourg), working with great names in the profession (François-René Duchable, Roberto Alagna, Karine Deshayes, Ton Koopman, Alain Altinoglu, Michael Schønwandt or Jean-Claude Casadessus, etc.).

Particularly attracted to the early music and oratorio repertoires, he participates in concerts and recordings with a number of vocal and instrumental ensembles.
In 1994, he founded a male vocal ensemble specializing in early music. In 2006, the rector of Chartres Cathedral entrusted him with the post of cantor, and he became administrator of all concerts for the cathedral.

Today, Nicolas Lhoste performs in ensembles of varying sizes, ranging from medieval music with Ensemble La Maurache to contemporary music with Ensemble Sequenza93. He is also an additional chorister with the Radio France choir.

Since 2019, he has been director of the Maîtrise choir. Trained at the Institut Catholique de Paris (Certificat de Musique Liturgique), he holds a professional license as a liturgical singer.
Nicolas Lhoste was awarded the Chevalier des Arts et Lettres in 2015.

Organist at the church of Sainte-Geneviève-des-Grandes-Carrières in Paris XVIII, Marie Faucqueur studied with François-Henri Houbart, Michèle Leclerc and Eric Lebrun, with whom she obtained a Premier Prix de Perfectionnement with unanimous congratulations from the jury at the Conservatoire de Saint-Maur-des-Fossés (94). In November 2006, she won the Gaston Litaize Grand Prix at the Duruflé-Litaize International Organ Competition. She has made several recordings in Alsace, the latest of which, devoted to the organ works of Léon Boëllmann, received 4 Diapasons and the Léon d’Or from the Boëllman-Gigout association.

At the same time, Marie Faucqueur is pursuing a career as a conductor, having studied with Nicolas Brochot at the CRD in Evry. Regularly called upon for unifying projects, she is notably found at the head of Vents d’Automne, the Orchestre Départemental d’Harmonie du Val-de-Marne and the Orchestre d’Harmonie Français, as well as for creations such as Trombonille by Thibaud Rance for 120 Trombones, Orchestre d’Harmonie, Big Band and Children’s Choir, or Tezcatlipoca, concertino for conductor and Orchestre d’Harmonie.

Marie Faucqueur holds State Diplomas in Organ and Orchestral Conducting, and teaches at the Conservatoire de Rungis (94), where she directs the Ensemble Harmonique de Rungis, ranked in the Excellence division.

A student of Jean-Paul Leroy, Daniel Benzakoun and Claude-Henry Joubert, this atypical poly-instrumentalist forms an original trio, “le Taramonium Project”, with jazzmen Philippe Dourneau and Hidéhiko Kan.  Thanks to a varied instrumentarium (Harmonium, Taragot, Chalumeau, Euphonium, Melodica, Kaval, Sansula, etc.), this ensemble develops a unique musical universe through improvisation and personal compositions.

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Nathalie Lefebvre-Maisongrande, a lyric soprano, obtained her agrégation in music (French state examination) at the age of twenty-three, as well as first prizes from the Conservatoire in lyric singing, flute and musical training. She perfected her vocal technique and studied voice pedagogy with Gilles Denizot (Studio Operalab Paris) and ARIAM.
For over twenty years, she has devoted herself to teaching vocal technique and choral singing (Paris IV la Sorbonne, children’s master classes, CHAM classes, IUFM de Créteil, public Education, vocal coaching for soloists and actors). At the same time, she conducts adult and children’s choirs, sharing her knowledge and passion with the choristers.
She performs regularly as a soloist in a repertoire of Lieder, melodies and oratorio (Mozart’s Coronation Mass and Vespers of a Confessor in 2023).

Pierre Zevort, titular organist of the historic Dourdan organ, is a teacher with the French Ministry of Education, and teaches music in the music sections of Dourdan’s Collège & Lycée Condorcet.
A student of André Isoir and Jean Galard, he performs in numerous concerts in France and abroad (Poland, Czech Republic, Belarus, Ukraine, Brazil, Germany, USA).

Genes Ogheard graduated in June 2022 from the Conservatoire de Boulogne-Billancourt with a DEM music diploma in Frédéric Presle’s class. He is currently enrolled in the Cycle pluridisciplinaire d’études supérieures de Jazz at the Conservatoire Paris-Saclay, in Jean Gobinet’s class.
A versatile musician, Genes Ogheard easily embraces different musical styles, from baroque to jazz. He has performed in numerous churches in Paris, including Saint-Paul Saint-Louis and the Dominican Convent. This diversity has enabled him to perform alongside great musicians such as Ibrahim Maalouf at La Seine Musicale.

Augustin Zevort is a graduate of the Boulogne Regional Conservatory, and a pupil of Frédéric Presle. He has performed extensively in orchestras, and as a soloist in duets with organ.
He currently works as a music education teacher at the Jeanne d’Arc secondary school in Dourdan, where he passes on his knowledge and passion for music to young pupils.

CHAM soloists
Garance Bounadi-Grison, Nina Colas, Lucille Crespo,
Lison Lecot, Emy Maji, Mathilde Tranquart-Lossouarn
Made up of girls in CHAM classes (Music classes with flexible schedules) at Dourdan’s Condorcet secondary school, the choir has given numerous concerts in Paris, in partnership with the Massy opera house, in Germany and in London.
Singing is one of the major elements in the training of these young musicians. The CHAM section comprises some 60 children aged 11 to 15, both instrumentalists and singers.

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Louison Crès-Debacq began playing the cello at an early age at the Marseille Conservatoire.
Her curriculum includes several unanimous First Prizes in Marseille and Paris, a Master’s degree at the Conservatoire National Supérieur de Musique (CNSM) in Lyon and a Master’s degree at the CNSM in Paris with the “Trio L”, who regularly give concerts in France, also as guest soloists.
She is the dedicatee of Philippe Chamouard’s Cello Concerto Entre Source et Nuage, premiered with the Orchestre Symphonique du Campus d’Orsay.
She works with many orchestras and ensembles, including the Orchestre National de Lorraine, the Orchestre National d’Auvergne, the Orchestre de Chambre de Nouvelle Aquitaine, the Lyon opera, the Saint-Étienne opera, Les Frivolités Parisiennes… but mainly with the Philharmonic Orchestra of Radio-France (numerous concerts at the Radio France auditorium, Pleyel hall, Musikverein, Philharmonie de Paris, as well as abroad under prestigious conductors: Myung-Whun Chung, Gustavo Dudamel, Mikko Franck…).
Her artistic life has taken her all over Europe (Austria, Germany, Italy, Romania), as well as to Russia, England, Norway, Japan and the United Arab Emirates.
She also takes part in variety shows for France 2.
Her 1st album Impressions d’ici et d’ailleurs with “Trio L” (released in April 2022 on the Inouïe Distribution label) is devoted to French music.
In May 2022, still with the “Trio L”, she performs Beethoven’s famous Triple Concerto in a series of concerts around the composer.
Louison Crès-Debacq plays a Paul Bailly cello from 1879 .

Jean-Charles Gandrille studied at the Conservatoire National Supérieur de Musique de Paris, where he won prizes in orchestration, harmony, counterpoint, fugue and forms, analysis, and organ improvisation with Thierry Escaich and Philippe Lefebvre.
At the same time, he took up the violin and cello. He also studied at the Conservatoire à rayonnement régional de Paris with Marie-Louise Langlais and Sylvie Mallet, and at the Saint-Maur-des-Fossés regional conservatory with Éric Lebrun.
Between 18 and 20, he was a grand prizewinner at the international improvisation competitions in Chartres (2000), Saarbrücken (2001) and Nüremberg (2002). He also studied and worked with composer Jean-Louis Florentz in Nice in 2001 and 2002.
He has won several international Grand Premiers Prix for his compositions: Valentino Bucchi in Rome in 2001, Orchestre Français de Flûtes in Paris in 2002, and Composition for Organ in St-Bertrand de Comminges in 2006.
He has received orders from the Qatar Philharmonic Orchestra (released on CD by Paraty in 2015), and from Notre-Dame de Paris for his Magnificat premiered in 2016 in this cathedral (released in 2020 on CD by Warner Classics).
In 2019, the Piano Campus international competition in Pontoise commissioned him to write the compulsory work Danses de la nuit for piano and orchestra. His Oratorio de Noël, commissioned by Trio K/D/M, premiered in December 2021 with the Maîtrises d’enfants of the cathedrals of Paris and Lyon, and was revived in December 2022 at the Wallonia Royal Opera in Liège. It will be performed in December 2023 at Fontevraud Abbey with the Trio K/D/M. His Stabat Mater was the last polyphony sung before the fire at Notre-Dame de Paris. His Livre pour violoncelle, written for cellist Gautier Capuçon’s 40th birthday, was published in April by Billaudot.
Jean-Charles Gandrille is appointed organist at the famous Notre-Dame de l’Assomption church in Auvers-sur-Oise, and takes part every year in the no less famous International Music Festival.

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Inspired by the legacy of illustrious french brass musicians such as Maurice André or Michel Becquet, the Quintet Bacchus is one of the new ambassadors of playing “à la française”. Offering eclectic programs, combining classical, jazz and popular music, the Quintette Bacchus has never ceased to amaze and seduce audiences, in France and abroad.

All five musicians of the Quintet, winners of numerous international competitions, decided in 2014 to form a brass quintet to highlight the most beautiful lines of the original repertoire but also develop a new repertoire, symphonic and pianistic, through personal arrangements. Bacchus has performed at numerous concerts and festivals (Les Invalides (Paris), Festival de Pontlevoy, Eurocuivres, Vox Musica festival, Jeudis Musicaux de Royan, Bergerac Organ Festival… It has also recently appeared on the Radio France Musique for Gaëlle Le Gallic’s broadcast “Génération Jeunes Interprètes”.

The Quintet also builds artistic partnerships with other musicians. They have developed a close link with the organist Louis Jullien with whom they created a program Brass Quintet and Organ around Mussorgsky’s «Pictures at an Exhibition» (on tour). During several occasions, Bacchus Quintet has also been accompanied by the french military band La Musique des Gardiens de la Paix in a concerto for brass quintet and concert band. With this experience and a constant desire for artistic encounter, the Quintet now offers concerts across France and abroad moments of musical sharing through joint concerts.

Since its creation in 2000 in the Alpes-Maritimes region, the Vox Cantoris ensemble has focused its work on researching and implementing repertoires from virtually unexplored musical collections. In partnership with numerous musicologists, it aims to anthropologically study sacred music from the 16th, 17th, and 18th centuries, rediscovering the now-forgotten expertise of the singers from those eras (direct reading from the original notation, singing from the lectern, ornamentation, collection of still-existing oral traditions, etc.).

The ensemble’s discography includes around fifteen works, all praised by critics (5 diapasons, 2 Clefs de Resmusica, 4 stars from Monde de la Musique, 3 nominations for the ICMA, etc.).
In 2022, the Vox Cantoris ensemble was a finalist for the REMA Awards in the category of extra-European musical programs.

Vox Cantoris is supported by the DRAC Nouvelle-Aquitaine, the Nouvelle-Aquitaine Region, the Gironde Department, the French Institute, the Patrimonio Musical de la Nueva España association, as well as by the SPEDIDAM and ADAMI.

Marie-Andrée Joerger is a French concert artist and teacher. She is part of a new generation of musicians with a most singular career path.

An accordionist who graduated with the highest honors from the Musikhochschule in Freiburg, Germany (class of Teodoro Anzellotti) and Basel, Switzerland (specialized master’s degree in contemporary music), Marie-Andrée Joerger performs around the world as a soloist, with orchestras or ensembles, at festivals such as the Zelt-Musik-Festival in Freiburg (Germany), Musique en scène in Lyon, ÖGZM in Vienna (Austria), Upol festival in Nova Gorica (Slovenia), Festival international de musique de Colmar, Festival Folia in Montreal (Canada), Festival Musica et Arsmondo in Strasbourg, Festival Manifeste in Paris, Les Musicales de Normandie, Akordeono Festival Vilnius (Lithuania), with the orchestras of Freiburg (Germany), Nancy, Strasbourg, or the Russian National Philharmonic Orchestra.

She performs in such prestigious venues as Berlin’s Konzerthaus and Philharmonie, Zurich’s Tonhalle, Lyon’s Opéra, Frankfurt’s Alte Oper, Bucharest’s Théâtre Romana and Paris’s Philharmonie, alongside such renowned soloists as Armand Angster, Marc Coppey, Françoise Kubler, Daishin Kashimoto and Pierre Strauch.

Active in contemporary creation, Marie-Andrée Joerger has premiered numerous works, including Thierry Escaich’s first solo piece for accordion at the Berlin Philharmonic. The first accordion concerto by Annette Schlünz, as well as works by other composers such as Bernard Cavanna, Daniel D’Adamo, Beat Furer, Martin Matalon, Misato Mochizuki and Alberto Posadas.

April 2021 saw the release of her first solo album, Bach en Miroir on the Klarthe label, to widespread critical acclaim (“favorite album” Le Monde 2021, France Musique, Mediapart, Pizzicato, Classic News, France Inter, Rai3….).

Artistic director of the ensemble Les musiciens de Strasbourg (string quintet and accordion), Marie Andrée also performs as a duo with Vincent Dubois (organist, principal organist at Notre-Dame de Paris). She is a member of La Philharmonie de Poche, the contemporary ensemble Linea, and is a regular guest of Strasbourg’s Accroche Note ensemble.

For the past thirteen years, she has organized the annual Académie internationale and Festival Agora in Adelboden, Switzerland, with Vincent Lhermet and Sylvain Tissot.

Marie-Andrée Joerger founded the accordion class at the Strasbourg Conservatory and has been teaching there since 2014, as well as at the Strasbourg Higher Music Academy – Haute école des arts du Rhin.

She is regularly invited to give master-classes at conservatories throughout Europe (Italy, Lithuania, Slovenia, Poland, Netherlands…), and also serves as a jury member at international competitions (Germany, Italy, Lithuania, Poland, Switzerland…).

Teja Udovič Kovačič is a Slovenian accordionist and winner of several international accordion competitions, including the Castelfidardo International Accordion Prize, the Pula International Accordion Competition, the SVIREL International Music Competition and the “TEMSIG” Competition for Young Slovenian Musicians and Ballet Dancers.

She is an accordion Master’s student and winner of the Prešeren Prize at the Academy of Music in Ljubljana (Slovenia), in Borut Zagoranski’s class. She also studied with Marie-Andrée Joerger at the Académie supérieure de musique de Strasbourg.

As a soloist and chamber musician, Teja Udovič Kovačič performs regularly in national and international concert cycles such as Festival Ljubljana, Jeunesses musicales de Slovénie, Biennale internationale de musique contemporaine de Koper, Solo e da camera de l’Académie de musique de Ljubljana, Klasika u Portu (Croatia) and ADG Sommerkonzerte (Germany). In 2021, she took part in a program on Slovenian national television.

She premiered a piece by Corrado Rojac as soloist with the NOVA Filharmonija symphony orchestra and recorded a CD with them. She has also appeared as soloist with the RTV Slovenia Symphony Orchestra, the Strasbourg Conservatory String Ensemble, the Vladimir Lovec Symphony Orchestra, the Obala Chamber Orchestra, and the accordion orchestras of the Ljubljana Academy of Music, the Maribor Conservatory of Music and Accordiona.

She collaborated with the Vocal Academy Ljubljana and conductor Stojan Kuret on the opening concert of the European Grand Prix of Choral Singing in Tolosa (Spain), as well as a concert tour of Spain, Italy and Slovenia.

Oriscus is a young ensemble that brings together musicians and singers from diverse backgrounds: classical, early, traditional and sacred music… It is particularly committed to the discovery or rediscovery of the sacred vocal repertoire and instruments of the medieval period.

In some manuscripts, the shape of the neume called “oriscus” adopts the symbol of infinity; in others, it looks like a tiny bird in flight… Like its enigmatic, polymorphous design, the precise realization of this ornamental neume remains to be discovered.

The Latin etymology of “oriscus” evokes “ors”, the mouth, and also “auris”, meaning the ear. For it was indeed by word of mouth that this ancestral song was transmitted, lost and then found again, with the help of manuscripts, leaving our imaginations, guided by science, free to recreate it. It is this freedom that the ensemble emphasizes. The programs it offers naturally include improvisations and dialogue with works from other eras inspired by this music.

Following its formation at the Rocamadour Festival in August 2021, the ensemble released a recording, dedicated to Hildegard von Bingen and entitled “Stella Maris” under the Rocamadour label in 2022. Since then, the ensemble has taken part in the Festival de Musique Sacrée de Perpignan and the Visitation concerts in Le Mans. This year, after their performance at the Chartres Cathedral Festival, Oriscus’ members will return to the Rocamadour Festival.

Founded in 2020 under the impetus of a group of Notre-Dame singers who had benefited from Sylvain Dieudonné’s teaching, the ensemble Pérotin le Grand is dedicated above all to rediscovering and promoting the musical heritage associated with Notre-Dame Cathedral in Paris from the Middle Ages to the present day.
Under the direction of Sylvain Dieudonné, the ensemble’s vocation is to spread out this heritage beyond the cathedral walls.

With a predilection for Gregorian chant and the repertoire of the École de Notre-Dame (12th-13th centuries), Pérotin le Grand also performs other forms of medieval music, both sacred and secular. The singers explore all forms of music that have maintained a link with Gregorian chant over time, additionnally promoting contemporary creation by commissioning young composers.

Variable in size, the ensemble performs a cappella or accompanied by specialized instruments.
It strives to enhance the venues in which it performs, integrating their spatial, historical and acoustic dimensions.

Since its creation, the ensemble has performed at various festivals, and in autumn 2021 recorded its first CD based on polyphony at Notre-Dame de Paris.