Lucrezia (Portraits of a Woman) Sandrine Piau, Amel Brahim-Djelloul, Karine Deshayes, Lucile Richardot, Les Paladins & Jérôme Corréas

• Michel Pignolet de Montéclair (1667 - 1737): Morte di Lucretia:
• 1 Montéclair: Morte di Lucretia: Ferma, ferma Tarquinio il passo 01:03
• 2 Montéclair: Morte di Lucretia: Dove vai, crudo spietato 04:27
• 3 Montéclair: Morte di Lucretia: Ma folle! e che vaneggi 01:04
• 4 Montéclair: Morte di Lucretia: Coraggio miei spirti 03:22
• 5 Montéclair: Morte di Lucretia: Assistemi, oh dei! 03:04
• 6 Montéclair: Morte di Lucretia: Cosi mori Lucretia 00:14
• 7 Montéclair: Morte di Lucretia: Trionfo, ben che morta 00:38
• Bernardo Pasquini (1637 - 1710): Il martirio dei santi Vito, Modesto e Crescenzia:
• 8 Pasquini: Il martirio dei santi Vito, Modesto e Crescenzia: Sinfonia 01:49
• Alessandro Scarlatti (1660 - 1725): Lucretia Romana (Lasciato havea l'adultero superbo), H. 377:
• 9 Scarlatti: Lucretia Romana (Lasciato havea l'adultero superbo), H. 377: Lasciato havea 02:04
• 10 Scarlatti: Lucretia Romana (Lasciato havea l'adultero superbo), H. 377: Barbaro, hai vinto 01:22
• 11 Scarlatti: Lucretia Romana (Lasciato havea l'adultero superbo), H. 377: Ma crudel, dove n'andrai 01:06
• 12 Scarlatti: Lucretia Romana (Lasciato havea l'adultero superbo), H. 377: Voi genitor, voi consorte 02:30
• 13 Scarlatti: Lucretia Romana (Lasciato havea l'adultero superbo), H. 377: Dove quel ferro istesso 02:56
• 14 Scarlatti: Lucretia Romana (Lasciato havea l'adultero superbo), H. 377: Sò ch'il mondo dirà che s'io volea farmi 02:14
• 15 Scarlatti: Lucretia Romana (Lasciato havea l'adultero superbo), H. 377: Si, si, corri alla morte 01:30
• Benedetto Giacomo Marcello (1686 - 1739): Concerto a Cinque in F Minor, Op. 1 No. 7, S.C792:
• 16 Marcello: Concerto a Cinque in F Minor, Op. 1 No. 7, S.C792: I. Adagio e staccato 01:50
• 17 Marcello: Concerto a Cinque in F Minor, Op. 1 No. 7, S.C792: II. Allegro – Largo 01:40
• 18 Marcello: Concerto a Cinque in F Minor, Op. 1 No. 7, S.C792: III. Adagio 01:24
• 19 Marcello: Concerto a Cinque in F Minor, Op. 1 No. 7, S.C792: IV. Presto 02:15
• Georg Friedrich Händel (1685 - 1759): Lucrezia, HWV 145:
• 20 Händel: Lucrezia, HWV 145: O numi eterni! 01:04
• 21 Händel: Lucrezia, HWV 145: Gia superbo del mio affanno 04:54
• 22 Händel: Lucrezia, HWV 145: Ma voi forse nel cielo 00:50
• 23 Händel: Lucrezia, HWV 145: Il suol che premere 03:10
• 24 Händel: Lucrezia, HWV 145: Ah! che ancor 01:22
• 25 Händel: Lucrezia, HWV 145: Alla salma infedel 02:58
• 26 Händel: Lucrezia, HWV 145: A voi, a voi padre 00:58
• 27 Händel: Lucrezia, HWV 145: Gia nel seno 01:45
• Benedetto Giacomo Marcello: Lucrezia, S.169:
• 28 Marcello: Lucrezia, S.169: Lasciato havea 02:44
• 29 Marcello: Lucrezia, S.169: Barbaro, hai vinto 02:14
• 30 Marcello: Lucrezia, S.169: Di libiche selve 01:47
• 31 Marcello: Lucrezia, S.169: E s'al ciel giunger saprai 00:56
• 32 Marcello: Lucrezia, S.169: Voi, genitor, voi, consorte 03:12
• Total Runtime 01:04:26

Info for Lucrezia (Portraits of a Woman)

Jérôme Correas versammelt vier der größten Stimmen Frankreichs - Sandrine Piau, Amel Brahim-Djelloul, Karine Deshayes und Lucile Richardot - um Lucretia in den einzigen vier Kantaten, die auf ihrer Geschichte basieren, eine Stimme zu geben.

Lucretia, die von Sextus Tarquin, dem Sohn des etruskischen Königs, der Rom besetzt hält, vergewaltigt wurde, schildert ihre Tortur und fordert Gerechtigkeit. Sie weigert sich, in Schande zu leben, und nimmt sich das Leben. Diese von Titus Livius überlieferte Episode markiert die Gründung der römischen Republik und war Inspiration für zahlreiche Werke der Kunst, Literatur und Musik.

Jérôme Corréas und Les Paladins erforschen diese Geschichte und setzen die einzigen vier bisher bekannten Barockkantaten zu diesem Thema in Szene. In diesen Miniaturopern haben Alessandro Scarlatti, Montéclair, Händel und Marcello die Rede der Lucretia vertont: Abwechselnd mit expressionistischen Rezitativen und virtuosen Arien folgen diese Monologe der Entwicklung von Lucretias Gefühlslage, die vom Murmeln bis zum Schrei, von der Begeisterung bis zur Verzweiflung reicht, bis hin zu ihrem endgültigen Schweigen. Jérôme Corréas hat sich mit vier der besten Sängerinnen Frankreichs - Sandrine Piau, Amel Brahim-Djelloul, Karine Deshayes und Lucile Richardot - zusammengetan, um Lucretias Geschichte zum Leben zu erwecken und sie uns in all ihrer Kraft und Gewalt intakt zu präsentieren, überlagert von den Geschichten von heute und wirft Fragen über die Stimmen der Frauen von heute auf.

Sandrine Piau, Sopran
Amel Brahim-Djelloul, Sopran
Karine Deshayes, Sopran
Lucile Richardot, Mezzosopran
Les Paladins
Jerome Correas, Dirigent

Sandrine Piau
A renowned figure in the world of Baroque music, French soprano Sandrine Piau regularly performs with celebrated conductors such as William Christie, Philippe Herreweghe, Christophe Rousset, Gustav Lleonhardt, Ivor Bolton, Ton Koopman, René Jacobs, Marc Minkowski and Nikolaus Harnoncourt.

Ms. Piau embraces both lyric and Baroque repertoires. The roles she has recently performed include Alcina at la Monnaie and in Amsterdam, Dalinda (Ariodante) and Tytania (A Midsummer Night’s Dream) at the Festival d’Aix en Provence, Cleopatra (Giulio Cesare) at the Opéra de Paris, Mélisande in Nice and at la Monnaie, Ännchen (Der Freischütz), Constance (Le Dialogue des Carmélites), Pamina (Die Zauberflôte) and Donna Anna (Don Giovanni) at the Théâtre des Champs-Elysées; the title role of L’Incoronazione di Poppea in Cologne; Sandrina in a new production of La Finta Giardiniera at La Monnaie, Ismène (Mitridate, Re di Ponto) at the Grand Théâtre de Genève and Sophie in Massenet’s Werther at both the Capitole de Toulouse and the Théâtre du Châtelet.

Sandrine Piau regularly appears in concert. In recent years she has performed at the Salzburg Festival, Carnegie Hall, Wigmore Hall, Covent Garden Festival, Musikverein, Paris’ Salle Pleyel, Festival de Saint Denis, Amsterdam’s Concertgebouw, Teatro Communale in both Florence and Bologna and with the world’s most prestigious orchestras including Berlin Philharmonic Orchestra, Munich Philharmonic, Orchestre de Paris and Boston Symphony Orchestra. ​

Ms. Piau takes great pleasure in the art of recital. As a singer of both French and German repertoire, she has performed with many renowned accompanists including Jos van Immerseel, Roger Vignoles and Corine Durous. She has a privileged relationship with pianist Susan Manoff with whom she recently made recital tours in the USA, in Europe, and in Japan.

Recent season highlights included Ariodante in Amsterdam and her return to the Festival d’Aix en Provence for a new production of Cosi fan tutte, directed by Christophe Honoré. This production went on to appear at the Mostly Mozart Festival in New York and at the Edinburgh Festival.

Ms. Piau records exclusively for Alpha Classics. Her 16/17 season was marked by concerts in Paris, Brussels, Munich, Hamburg (for the opening of the Elbphilharmonie), a recital tour in the United States and her return at the Salzburg Whitsun Festival in Ariodante.

Future engagements include, among others, concerts with the Chicago Symphony Orchestra, Basel Symphony Orchestra and the Orchestre de Chambre de Paris, as well as her return to La Monnaie for Dialogues des Carmélites. Her latest disc “Mozart, Desperate Heroines” recorded with Ivor Bolton and the Mozarteum Orchestra was critically acclaimed.

Sandrine Piau was given the title of Chevalier de l’Ordre des Arts et Lettres in 2006 and was named “Lyrical Artist of the Year” at the Victoires de la Musique Classique award ceremony in 2009.

Amel Brahim-Djelloul
ontinues on her luminous and singular path, rich in her two cultures. The 2024/2025 season bears witness to this, with concerts including the orchestral premiere of CD program "Les chemins qui montent" with the Orchestre de Cannes conducted by Benjamin Levy, the world premiere of Bushra El-Turk's "Oum" at the Dutch National Opera in Amsterdam, concerts in the USA with the Amedyez ensemble, in France with Jérôme Correas’s Les Paladins, and with guitarist Thomas Keck.

A graduate of the CNSMD in Paris, as well as of William Christie's "Jardin des Voix" and nominated in the "Most promising lyrical artist" category of the Victoires de la Musique classique 2007, she quickly sang many roles of the repertoire: Susanna (Le Nozze di Figaro) at Angers-Nantes Opéra and at the Opéra de Lausanne, Despina (Così fan tutte) at the Opéra de Nice, Servilia (La clemenza di Tito) at the Opéra de Paris and the Festival d'Aix en Provence, but also The Princess (L'Enfant et les sortilèges), Ninette (L'amour des trois oranges) and Suor Genovieffa (Suor Angelica) at the Opéra de Paris, the title role of Messager's Véronique at the Théâtre du Châtelet, Gabrielle (La Vie Parisienne) at Angers-Nantes Opera, Nanetta (Falstaff) at the Théâtre des Champs-Elysées, Adina (L'Elisir d'Amore) and Pamina (Die Zauberflöte) at the Opéra d'Avignon, Andreloun (Mireille) at the Chorégies d'Orange, Hébé, Fatime and Phani (Les Indes Galantes) at the Opéra national de Bordeaux and the Concertgebouw in Bruges, or Drusilla, Amore and Valletto in various productions of L'Incoronazione di Poppea (Opéra de Paris, Théâtre des Champs-Elysées, Berlin Staatsoper, Théâtre de la Monnaie in Brussels, Grand Théâtre de Genève, Opéras de Lille and Dijon), to name a few.

Regularly invited by many orchestras (Orchestre national de France, National Symphony Orchestra of Washington, Orchestre Philharmonique Royal de Liège, National Philharmonic Orchestra of Ukraine, Orchestre Philharmonique de Strasbourg, Orchestre des concerts Pasdeloup, Orchestre Symphonique National Algérien, Orchestre national d'Ile-de-France, Orchestre Philharmonique du Maroc...) and ensembles (Les Arts Florissants, Le Poème Harmonique, Les Paladins, Il Caravaggio, 2E2M, Mezwej, Les Talens Lyriques, Quatuor Debussy...), Amel Brahim-Djelloul broadens each season her range of personal projects which often link East and West, such as the programs "L'Orgue du Sultan" (with Achéron and Sultan Veld), "Les 1001 Lunes de la Princesse Boudour" (with Aymeric Lecerf and Nicolas Jouve), the "Populaires" recital (with Nicolas Jouve), "Canciones" (with C Barré) as well as her Mediterranean programs with the Amedyez Ensemble.

Her discography includes numerous opuses, like recitals with pianists Anne Le Bozec ("Les 1001 nuits") and Nicolas Jouve ("Populaires"), as well as a program of works from the Arab-Andalusian heritage ("Amel chante la Méditerranée") adapted by her brother, violinist and musicologist Rachid Brahim-Djelloul, and performed with the Amedyez Ensemble.

Amel Brahim-Djelloul is the artistic director of the association Nour with whom she sets up various projects ranging from teaching to the production of new shows and recordings.

Karine Deshayes
Considered as one of the best singers of her generation, three times awarded best “Singer of the year” at the Victoire de la Musique, Karine Deshayes first joined the troupe of the Lyon Opera before to be invited by the more important opera houses. At the Paris Opera she successfully sang Mozart roles (Cherubino, Dorabella, Donna Elvira), Rossini roles (Angelina, Rosina, Elena), but also Poppea (Incoronazione di Poppea), Romeo (I Capuleti e I Montecchi), Charlotte (Werther), Carmen and Urbain (Les Huguenots). She sang the title-roles of Rossini’s Armida (at the Montpellier Opera) and Semiramide (at the Saint-Etienne Opera), Gluck’s Alceste at the Lyon Opera, Elvira (Malibran version of Puritani) at the Festival of Radio France and Montpellier, Marguerite (Damnation de Faust) in Nice Opera and at the Paris Philharmonie.

Outside France, she sang at the Salzburg Festival (Die Zauberflöte under Riccardo Muti), Theâtre de La Monnaie (Marie de l’Incarnation in Dialogues des Carmélites), the Liceu in Barcelona (the title role of Massenet’s Cendrillon), the Teatro Real Madrid (Adalgisa in Norma) in San Francisco (La Cenerentola) and at the Metropolitan Opera in New York (Siébel in Faust, Isolier in Le Comte Ory, Nicklausse/La Muse in Les Contes d’Hoffmann under James Levine and Stéphano in Roméo et Juliette).

More recently she sang Donna Elvira (Don Giovanni) at the Chorégies d’Orange, Charlotte (Werther) at the Toulouse Théâtre du Capitole, Adalgisa (Norma) at the Moscow Tchaikovsky Concert Hall, Elena (La Donna del Lago) and Balkis (Gounod’s Reine de Saba) at the Marseille Opera, Angelina (Cenerentola) at the Paris Theâtre des Champs Elysées, Liege royal Opera and the Theatro Real Madrid.

She also has a huge success in the title role of Rossini’s Elisabetta Regina d’Inghilterra at the Pesaro Festival, Giovanna Seymour (Anna Bolena) at the Zürich Opera and in concert at the Paris Théâtre des Champs-Elysées, Valentine (Les Huguenots) at the Royal Theater of la Monnaie and in the title role of Norma at the Festival of Aix-en-Provence, Elisabetta (Elisabetta Regina d’Inghilterra) in Marseille.

Among her future projects, la Comtessa (Nozze di Figaro) at the Toulouse Theatre du Capitole, Médée (Lully’s Thésée) in concert at the Théâtre des Champs-Elysées the Brussels Bozar and at the Theater an der Wien, Adalgisa (Norma) in Hamburg, Valentine (Les Huguenots) at the Marseille Opera.

Lucile Richardot
started singing at 11 in a children’s choir in the East of France, she worked first as a journalist until she was 27. Graduated in 2008 from the Maîtrise de Notre-Dame de Paris and in 2011 on Early Music from d Conservatoire à rayonnement régional e Paris, she attended teachings of Margreet Hoenig, Noëlle Barker, Paul Esswood, Howard Crook, Jan van Elsacker, Martin Isepp, François Le Roux, Monique Zanetti, Jill Feldman.

In 2012, she founded her own Ensemble, named Tictactus, with two friends lutenists and also multi-instrumentalists. She works in early music as in contemporary repertoire, on stage as in concerts, with Les Solistes XXI (conductor Rachid Safir), Correspondances (Sébastien Daucé), Pygmalion (Raphaël Pichon), Le Poème Harmonique (Vincent Dumestre) or since 2012 with Les Arts Florissants for full implementation of Madrigals Books of Monteverdi, conducted by Paul Agnew. He even invited her to perform in Bach’s “St John’s Passion”, with the Liverpool Philharmonic Orchestra.

In 2009, she created the role of the first Aunt in the Philippe Boesmans’ opera, ”Yvonne, Princesse de Bourgogne”, held in Paris Opéra Garnier and in the Theater an der Wien. End of 2014, she was invited by French Ensemble intercomporain, for ”Omaggio a Kurtag” by Luigi Nono, in Festival d’Automne in Paris, and by the viola player Christophe Desjardins with composer Gérard Pesson. She is also delighted in designing some recitals with keyboard players, viols consort or string quartet.

In 2017 she will embody Lisea in the Antonio Vivaldi’s Opera ”Arsilda” performed in Czech Republic and the whole Europe with Collegium 1704 (Vaclav Luks).

Booklet for Lucrezia (Portraits of a Woman)