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    Hyper string sensitivity – 2022 disc selection.
    Pierre Gervasoni, Le Monde (2022)
    Irresistible momentum, colours, impressions, sensations, a high sharpness of play, phrasing clarity, dynamics, drama and feelings.
    Jérôme Gillet, Froggy’s Delight (2022)
    The chamber ensemble’s intimate colour is a soft setting for the mystery of the night.
    Joséphine Laffaille, ComposHer (2022)
    Marianne Piketty and her ensemble Le Concert Idéal, thought an agreed commitment, reach a most accomplished unity of inspiration, letting the audience at the core of undeniable musical richness.
    Jean-Jacques Millot, Opus HD (2022)
    Blue Hour: a concert that raises your soul.
    La Renaissance du Loir-et-Cher (2022)
    5 TUNING FORKS. Solists at are their virtuoso level [...] to offer sprays of exhilarating ornamentations. A not-to-miss disc.
    Roger-Claude Travers, Diapason (2021)
    Interpretation is, as often by Marianne Piketty & Le Concert Idéal, full of colours, liveliness, generosity and sense.
    Jérôme Gillet, Froggy’s Delight (2021)
    Musical chemitry lets us speechless.
    Laurent Pfaadt, Hebdoscope (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)
    Music […] is explored at each notes with high delicacy. The musicians […] play beyond virtuosity and make themselves marvel setters.
    Coline Robert, La Provence (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)
    A refreshing break in Avignon.
    Marie Gicquel, France Musique (2021)
    This disc is only but light.
    Claude Lamarque, Lion Magazine (2021)
    5 stars ***** Marianne Piketty's expressive palette, supported by Le Concert Idéal, makes this "Blue Hour" an interior journey of great density: refusing any demonstrative outrage, she gives the selected works a vision that is both coherent and profound.
    Sarah Léon, Classica (2020)
    In the Hartmann Funeral Concerto, Marianne Piketty is irresistible.
    Pierre Gervasoni Le Monde (2020)
    From time to time, in the world of classical music, an album appears that is unlike any other, as surprising by the originality of the concept as by its program. "L'Heure Bleue is one of this kind of creation, unique.
    Maciej Chiżyński, Audiokoneser (2020)
    The Blue Hour thus represents that moment when time, like music of this incredible ensemble, seems to stop, to freeze in a kind of grace.
    Laurent Pfaadt, Hebdoscope (2020)
    A rich and inspired record, which invites you to look deep within yourself.
    ComposHer (2020)
    Inspired by strong strings (The Ideal Concert) and by a violinist gifted for homelessness (Marianne Piketty), Philippe Hersant delivers here one of his most successful works.
    Le Monde (2020)
    With this disc, the Ideal Concert has never lived up to its name.
    Laurent Pfaadt, Hebdoscope (2020)
    The Blue Hour: this record gives faith in the future.
    Anne-Sandrine Di Girolamo, Gang Flow (2020)
    You are recommended to go on this extraordinary sound journey to discover the richness of the atmospheres offered by Marianne Piketty and Le Concert Idéal.
    Maciej Chiżyński, Audiokoneser (2020)
    Three liturgical compositions by Hildegarde Von Bingen were delivered to the public, masterfully served by the instrumentalists, particularly by Marianne Piketty, virtuoso first violin and artistic director of the ensemble.
    La Nouvelle République
    A musical effusion, where the dazed souls of Vivaldi and Piazzolla crackle as if by a fireside… superbly interpreted… We discovered with amazement the potential of these musicians.
    Le Monde (2019)
    On stage, the music of two sacred monsters, Antonio Vivaldi and Astor Piazzolla, meet, cross and challenge the audience in a haunting beauty and the musicians are aerial.
    DNA (2018)
    A pure moment of moving and rhythmic music. Avignonnais.es and festival-goers stop your race to attend this sublime music, so well played and yet unique and vibrating. These musicians combine choreography and music brilliantly for our greatest pleasure.
    Avignon à l'Unisson (2018)
    At the head of her ensemble, the aptly named Ideal Concert, Marianne Piketty artfully unrolls the ball of violinistic threads in a labyrinth from which, like us, she does not seem to want to leave.
    Pierre Gervasoni, Le Monde (2019)
    Ferruccio Nuzzo, Grey Panthers (2019)
    A masterpiece of sensitive diffraction, as intelligently written as it is deeply felt.
    Pierre Gervasoni, Le Monde (2019)
    This is an album of joyful synthesis and occasional genius, a thoughtful experiment in threading together the old and the new.
    Mark Seow, Gramophone (2019)
    We warned you: Marianne Piketty is anything but the prototype of the traditional concert performer. She never ceases to invent new forms, flirts with theater, dance and even creates her own orchestra: Le Concert Idéal.
    Antoine Pecqueur, La Terrasse (2018)
    Marianne Piketty takes us with generosity, lightness and virtuosity in the ardor of the music of Vivaldi and Piazzolla which intersect, repel each other as if to better fit together.
    DNA (2018)
    Musicians don't just be performers, they live their show with bodies and soul. They embody the melodies, find each other, lose their life, find each other.
    DNA (2018)
    This Concert Idéal brilliantly interpreted by the Celebrated violinist Marianne Piketty and a magnificent ensemble of musicians have thrilled audiences of connoisseurs as they travel from shore to shore, season to season.
    Mathias Chaidat, Ouest-France (2017)