In June 2017, we won the Premier Prix and Prix du Public at the Concours International du Val de Loire, presided over by William Christie. Since then, we have performed in numerous venues in France and Europe (Auditorium de Radio France, Elbphilharmonie in Hamburg, Auditori de Barcelone, Festival de la Roque d’Anthéron… ). The Consort is in residence at the Fondation Royaumont, the Banque de France and the Fondation Singer-Polignac.
‍
Our ensemble, formed in Paris in 2015, is dedicated to Baroque music, and more specifically to the trio sonata genre. Since our beginnings, this is a repertoire that we have intensively worked on, performed and recorded, and that we are committed to bringing to the public. Our repertoire includes works by composers such as Corelli, Vivaldi, Couperin, Purcell… but also unknown composers that we strive to rediscover and make known. Bringing these unpublished composers back into the limelight is one of the artistic signatures of our ensemble. Jean-François Dandrieu, Louis-Antoine Lefevre and Giovanni Battista Reali are three composers we have recorded for the first time (on the Opus 1, Venez chère ombre and Specchio Veneziano albums respectively). For our next projects, we already have a few ideas: Nicola Matteis Junior, Ravenscroft, Exaudet, Lamolinari, Gentili… so many composers to whom we will devote ourselves in the years to come.
‍
The trio sonata was the king genre in the Baroque era, and we feel it deserves a group devoted entirely to it to do it justice. Very few ensembles perform this repertoire, despite the immense range of music written for this formation. Indeed, the trio sonata can be compared to the string quartet of the classical and romantic eras: from 1600 to 1800, it was the most popular chamber music genre.

The growth of our solo careers has led Le Consort to develop and flourish in larger forms, for violin concerto and opera projects. Drawing on our extensive chamber-music experience, this change of line-up is very fluid: our chamber-music reflexes irradiate the rest of the orchestra, and the cohesion we’ve always had as a four-piece wins over the entire ensemble.