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  • Vivaldi, the golden age

    In the golden age of Italian music, during the Baroque era, Venice shone brightly and the artistic abundance that reigned there at the time is still celebrated today. Marianne Piketty and Le Concert Idéal go off the beaten track by proposing rarer, even unpublished works by the author of the Four Seasons.

    Marianne Piketty and Le Concert Idéal, with the help of numerous unpublished practical documents, embark on the adventure of a journey to the heart of this Venetian School, where so many musical currents, sometimes antagonistic and anachronistic, have rubbed shoulders and let everything and its opposite germinate, without tension. From the virtuoso fevers of Vivaldi to the solemnity of Ziani, from the affects of Strozzi to the dances of Turini, saluting the majestic impetus of Gallo, Le Concert Idéal lifts the veil on a domain where reason often gives way to the senses and the force of the imagination.

    With a setting in space and movement imagined by the choreographer Olivier Fourés, musicologist and Vivaldi specialist, Le Concert Idéal celebrates the Venetian school with rare, sometimes unpublished works, for a vibrant tribute to the sound mosaic of the Italian city:

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    In the 17th and 18th centuries, music was everywhere in Venice, from temples to lounges, including bedrooms, streets, theaters, canals, ships and gardens. So many sets, to which is added a famous tradition: polychorality, that is to say the division of choirs and orchestras in different areas around the audience, in roundabout galleries, behind curtains, trees or fountains, behind the scenes or against the light.
    The staging of a Venetian program is, in a way, an essential condition for fully enjoying its musical spirit.

    Olivier Fourés


    « A refreshing break in Avignon » (Marie Gicquel, France Musique 2021)

    « Music is sufficient for the passion of feelings, as it is self-sufficient in Vivaldi’s virtuoso frenzies » (Jean-Guillaume Lebrun, La Terrasse 2021)

    « Music […] is explored at each notes with high delicacy. The musicians […] play beyond virtuosity and make themselves marvel setters » (Coline Robert, La Provence 2021)

    « Le Concert Idéal reflects in its interpretations the bustling and pulsating life of the trading city of Venice in the 18th century » (Guy Engels, Pizzicato 2021)

    « Solists at are their virtuoso level […] to offer sprays of exhilarating ornamentations. A not-to-miss disc » (Roger-Claude Travers, Diapason 2021) 5 TUNING FORKS

    « Muscial chemistry lets us speechless » (Laurent Pfaadt, Hebdoscope 2021)

    « Interpretation is, as often by Marianne Piketty & Le Concert Idéal, full of colours, liveliness, generosity and sense » (Jérôme Gillet, Froggy’s Delight 2021)

    « A timeless moment to enjoy, a powerful crush for this  festival Off 2021 » (Philippe Chassang, Tout est art Production 2021)

    « This disc is only but light » (Claude Lamarque, Lion Magazine 2021)

    « Marianne Piketty fulfills accomplishments verging on exuberance […]. Everywhere, the instrumental quality is at its highest level » (Jean-Pierre Robert, Onmag 2021)

    « It’s definitely a very beautiful Venice that the artists are narrating us here. Free, sometimes fanciful, and completely enchanting » (Anne-Sandrine Di Girolamo, Gang Flow 2022)