Orchestre de chambre de Paris

Jonathan Cohen  direction
Stéphanie D’Oustrac  mezzo-soprano

Mozart’s virtuoso vocalità meets its match with Stéphanie D’Oustrac, one of the finest current French mezzos.

Stéphanie d'Oustrac © Perla Maarek
Jonathan Cohen © Marco Borggreve


Mozart Ballet music from Idomeneo K. 367
« Voi che sapete » (Le Nozze di Figaro)
« Non ho colpa » (Idomeneo)
« Parto, parto » (La Clemenza di Tito)
Symphony No. 27 K. 199
Interludes from Thamos, roi d’Egypte K. 345
« Batti, batti, o bel Masetto», (Le Nozze di Figaro)
« Mi tradi quell’alma ingrata » (Don Giovanni)
« Ch’io mi scordi di te » K. 505

At the tender age of nine (although age is almost an irrelevance in the case of Mozart!), the musician fell in love with this musical form which consists of composing for a specific singer: “I love it when an aria is so accurately measured for a singer's voice that it fits like a well-tailored dress”. With these bravura pieces and elegant arias occasionally borrowed from operas, there is no shortage of excuses for exploiting vocalità! This concert also offers an opportunity to reacquaint ourselves with the superb incidental music for Thamos, King of Egypt. Antiquity was the flavour of the day and the score fizzes with lively, powerful and colourful writing. Symphony No. 27, a thinly veiled tribute to Joseph Haydn, is equally dynamic and full of contrast. Stéphanie D’Oustrac’s talent was spotted by conductor William Christie. After initially working in the Baroque genre, this consummate artist now performs on top international stages in a very wide range of repertoire.Production Orchestre de chambre de Paris

Cookies and plotters improve your experience on the website.
By continuing your navigation, you accept their use. For more information click here