{"id":38,"date":"2022-12-04T16:18:20","date_gmt":"2022-12-04T15:18:20","guid":{"rendered":"https:\/\/raphaelekennedy.com\/en\/?page_id=38"},"modified":"2026-03-13T14:37:42","modified_gmt":"2026-03-13T13:37:42","slug":"da-pacem-company-concerts","status":"publish","type":"page","link":"https:\/\/raphaelekennedy.com\/en\/da-pacem-company-concerts\/","title":{"rendered":""},"content":{"rendered":"<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-1024 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/DaPacem.jpg\" alt=\"\" width=\"500\" height=\"auto\"><\/p>\n<p style=\"text-align: justify;\">All soloists, the musicians of <strong>DA PACEM <\/strong>master with equal ease the repertoire of early music on period instruments and that of contemporary creation on modern instruments and new technologies.<br \/>\nFrom the end of the Renaissance to the Baroque era, their historical requirements are articulated around thematic projects, imagining a dramaturgy specific to each concert, in a great diversity of timbres and moods. The Italian-style organ, custom-made by Quentin Blumenroeder, contributes to the richness of the continuo, which serves as a showcase for the voices.<br \/>\nSoprano <strong>Rapha\u00eble Kennedy <\/strong>and composer <strong><a href=\"http:\/\/www.pierreadriencharpy.com\/\" target=\"_blank\" rel=\"noopener\">Pierre-Adrien Charpy<\/a><\/strong>, founders of the ensemble in 1998, have also established it as a laboratory for contemporary musical research and dialogue with musicians from both the popular and learned oral traditions.<br \/>\nNeither mixing of genres, nor crossbreeding, nor crossover, their approach privileges the true meeting and confrontation, with rigor and sensitivity.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-1026 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/RK-et-PAC-DaPacem.jpg\" alt=\"\" width=\"600\" height=\"auto\"><\/p>\n<p><strong>Musicians<\/strong><br \/>\nRapha\u00eble Kennedy, Vincent Bouchot, Anne Magou\u00ebt, Isabelle Deproit, Geoffroy Buffi\u00e8re | voices<br \/>\nVirginie Descharmes, St\u00e9phanie Paulet | violin<br \/>\nMarine Sablonni\u00e8re | recorder<br \/>\nSylvie Moquet, Marianne Muller |&nbsp;viol<br \/>\nJulien Lucchi |&nbsp;sackbutt<br \/>\nClaire Antonini, Marc Wolff, Andr\u00e9 Henrich | theorbo, archilute<br \/>\nYannick Varlet, Jean-Luc Ho | harpsichord<br \/>\nPierre-Adrien Charpy |&nbsp;organ<br \/>\nCamilla Hoitenga |&nbsp;flute<br \/>\nSerge Bertocchi |&nbsp;saxophone<br \/>\nMarylise Florid |&nbsp;guitar<br \/>\nThomas Keck | electric guitar<br \/>\nVal\u00e9rie Dulac | cello<br \/>\nAna\u00efs Gaudemard |&nbsp;harp<br \/>\nJean-Jacques B\u00e9dikian, Anne Etienvre |&nbsp;piano<\/p>\n<hr>\n<p style=\"text-align: center;\"><span style=\"color: #800080;\"><strong>VOCAL ENSEMBLE<\/strong><\/span><\/p>\n<hr>\n<ul>\n<li><strong>TENEBRAE FACTAE SUNT<\/strong><br \/>\nMusic by Tom\u00e1s Luis de Victoria<\/li>\n<\/ul>\n<p style=\"text-align: center;\">Rapha\u00eble Kennedy, Anne Magou\u00ebt, Isabelle Deproit, Vincent Bouchot, Geoffroy Buffi\u00e8re | voices<br \/>\nPierre-Adrien Charpy | organ<\/p>\n<p style=\"text-align: justify;\">The pieces of the <em>Officium Hebdomadae Sanctae<\/em> by Tom\u00e1s Luis de Victoria were part of a complex and very long set of offices. Rather than a liturgical reconstruction or a re-contextualization of this repertoire, we offer the quintessence of this repertoire with the nine Tenebrae Lessons and the eighteen Responsories of Holy Week, a total of twenty-seven pieces unanimously considered as one of the greatest masterpieces of sacred music.<\/p>\n<hr>\n<p style=\"text-align: center;\"><span style=\"color: #800080;\"><strong>VOICE &amp; INSTRUMENTS<\/strong><\/span><\/p>\n<hr>\n<ul>\n<li><strong>AU SECOURS MA RAISON<\/strong><\/li>\n<\/ul>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-1027 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/visuel_au-secours.jpg\" alt=\"\" width=\"400\" height=\"auto\"><\/p>\n<p style=\"text-align: center;\">Rapha\u00eble Kennedy | voice<br \/>\nSylvie Moquet | viol<br \/>\nClaire Antonini | theorbo<br \/>\nYannick Varlet | harpsichord<\/p>\n<p style=\"text-align: justify;\">Happiness to love and to be loved: such is the quest of the one who, by his or her winning attractions, deploys all his or her energy to sigh, to please, to have the advantage, to win the heart, to love tenderly, to cherish sometimes in ardor and sometimes in sweetness, always in constancy. In these <em>airs s\u00e9rieux<\/em>, <em>brunetes<\/em> or <em>petits airs tendres<\/em> and <em>chansons<\/em> <em>pour danser<\/em> of the second half of the XVIIth century, the feelings are jostled: anger, shame, pity, pains and troubles echo to the torment, to the confusion. While the reproaches fly in an extreme sorrow or languor, the forces in action exceed the reason which one calls with the assistance.<\/p>\n<hr>\n<ul>\n<li><strong>HENRY PURCELL \u2013 FACES OF WOMEN<\/strong><\/li>\n<\/ul>\n<p style=\"text-align: center;\">Rapha\u00eble Kennedy | voice<br \/>\nSylvie Moquet | viol<br \/>\nMarc Wolff | theorbo<br \/>\nYannick Varlet | harpsichord<br \/>\nPierre-Adrien Charpy | organ<\/p>\n<p style=\"text-align: justify;\">All the women who inhabit the poetry of Henry Purcell&rsquo;s songs are so many contrasting images. In the collections <em>Orpheus Britannicus<\/em> and <em>Harmonia sacra<\/em> &#8211; excerpts from which are the subject of this program &#8211; we find the absent, disdainful, cruel beloved, the lover herself in love, the future queen, the Goddess, the Virgin. Purcell pays tribute to each of them in turn with the genius that we know of him.<\/p>\n<!--[if lt IE 9]><script>document.createElement('audio');<\/script><![endif]-->\n<audio class=\"wp-audio-shortcode\" id=\"audio-38-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/the-sparrow.mp3?_=1\" \/><a href=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/the-sparrow.mp3\">https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/the-sparrow.mp3<\/a><\/audio>\n<p style=\"text-align: center;\"><strong>Henry Purcell<\/strong><br \/>\n<strong><em>The sparrow and the gentle dove<\/em> (live)<\/strong><\/p>\n<blockquote>\n<p style=\"text-align: justify;\">Rapha\u00eble Kennedy shows great skill and profound affinity with this style of music. [\u2026] She brings the full depth of feeling to these different atmospheres. It is poetry itself, she distils grace and makes us dream.<br \/>\nL\u2019impartial, Denise de Ceuninck, 2005<\/p>\n<p style=\"text-align: justify;\">We were charmed by the perfect match between the soprano and Purcell\u2019s music. The musicians delighted soul and imagination, while the soloist hovered above them in an almost way. It was a unique, magical moment.<br \/>\nLa libert\u00e9, TD., 2005<\/p>\n<p style=\"text-align: justify;\">The soprano gave her many-sided, flexible voice to all these women&nbsp;[\u2026]. She evolves in clear arabesques, lives and modulates her texts with perfect diction.<br \/>\nLa Provence, G.L., 2007<\/p>\n<p style=\"text-align: justify;\">In addition to displaying the beauty and natural elasticity of a well-placed voice, this young woman, [\u2026] brings a beautiful consistency to each of these works, achieving a rich and brilliant palette of feelings. Her task is rendered all the more easy by a solid continuo quartet who glorify Purcell\u2019s scores.<br \/>\nLa Marseillaise, Michel Eg\u00e9a, 2007<\/p>\n<p style=\"text-align: justify;\">It is a voice with contrasting inflexions, alternately sensual, cheerful, celestial, moving, which is well served by the instrumentalists.<br \/>\nMarseille l\u2019hebdo, M.-J.L., 2007<\/p>\n<\/blockquote>\n<hr>\n<ul>\n<li><strong>AMOROUS DISARRAY<\/strong><br \/>\nItalian music of the 17<sup>th&nbsp;<\/sup>century<\/li>\n<\/ul>\n<p style=\"text-align: center;\">Rapha\u00eble Kennedy | voice<br \/>\nSylvie Moquet | viol<br \/>\nMarc Wolff | theorbo<br \/>\nYannick Varlet | harpsichord<br \/>\nPierre-Adrien Charpy | organ<\/p>\n<p style=\"text-align: justify;\">At the turning point between the 16<sup>th<\/sup> and 17<sup>th <\/sup>centuries, the notion of music in the image of the harmony of the spheres was progressively abandoned in favour of a musical art which was a vector of the expression of the passions of the human soul. Of all these passions, by far the greatest centre of concern to the poets was love; and as it would not have been seemly to boast of a happy love, amorous disarray was deconstructed in all its forms.<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-38-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/si-dolce-site.mp3?_=2\" \/><a href=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/si-dolce-site.mp3\">https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/si-dolce-site.mp3<\/a><\/audio>\n<p style=\"text-align: center;\"><b>Claudio Monteverdi<\/b><br \/>\n<strong><em>Si&nbsp;dolce \u00e8\u2019l tormento<\/em>&nbsp;(live)<\/strong><\/p>\n<hr>\n<ul>\n<li><strong>A MUSICAL ALCHEMY : DIETRICH BUXTEHUDE<\/strong><\/li>\n<\/ul>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-330 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/pochette-buxtehude.jpg\" alt=\"\" width=\"350\" height=\"auto\"><\/p>\n<p style=\"text-align: center;\">Rapha\u00eble Kennedy | voice<br \/>\nVirginie Descharmes, St\u00e9phanie Paulet | violon<br \/>\nSylvie Moquet | viol<br \/>\nMarc Wolff | theorbo<br \/>\nYannick Varlet | harpsichord<br \/>\nPierre-Adrien Charpy | organ<\/p>\n<p style=\"text-align: justify;\">Who can resist the pleasure of exploring the universe of this wonderful composer? He was a true middleman between different musical styles and periods, who achieved a staggering synthesis of the polyphonic, numerical and rhetorical traditions of his predecessors with a very personal poetry, by building musical structures of hitherto unknown richness, all embellished with great tenderness, taking care to make his music accessible to everyone, from the specialist to the layman.&nbsp;It is not surprising that Bach took him as his model!<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-38-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/O-dulcis-Jesu.mp3?_=3\" \/><a href=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/O-dulcis-Jesu.mp3\">https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/O-dulcis-Jesu.mp3<\/a><\/audio>\n<p style=\"text-align: center;\"><b>Dietrich Buxtehude<\/b><br \/>\n<strong><i>O&nbsp;dulcis Jesu<\/i>&nbsp;(extract from CD&nbsp;<em>Une alchimie musicale<\/em>)<\/strong><\/p>\n<blockquote>\n<p style=\"text-align: justify;\">A perfect musical alchemy. [&#8230;] The performers have not spared their talents, which are numerous. Rapha\u00eble Kennedy&rsquo;s timbre, diaphanous and ethereal, knows how to embody herself in vibrant accents. [&#8230;] This soprano has a deep sense of declamation which is marvelous here in this music which is permanently based on the text.<br \/>\nUtmisol, Hubert Stoecklin, 2011<\/p>\n<p style=\"text-align: justify;\">[&#8230;] The soprano Rapha\u00eble Kennedy is an exact accomplice of the Buxtehudian piety. [\u2026] [She] knows how to stimulate the power of words from within, both Latin and German motets. However, to the accuracy of her expressiveness is added virtuosity, not conquering and sure of its effects, but concerned with touching, rather than pleasing. This is the most fervent portrait of this outstanding creator [&#8230;].<br \/>\nClassica, Roger Tellard, 2011<\/p>\n<p style=\"text-align: justify;\">Buxtehude transmuted. [\u2026] In these pieces, Rapha\u00eble Kennedy&rsquo;s timbre and phrasing are marvelous: her sometimes ethereal voice and unaffected singing have just the right amount of human character to give sacred laments, with a final Klag-lied, in other words, a lamentation, which she unfolds with emotion like a painful litany that would never end.<br \/>\nMusikzen, G\u00e9rard Pangon, 2011<\/p>\n<p style=\"text-align: justify;\">In the service of superb opuses to be discovered, [the instrumentalists] create a subtle, intimate and poetic universe to support and dialogue with the very beautiful timbre of the soprano, suave, airy and perfectly controlled.<br \/>\nZibeline, Fr\u00e9d\u00e9ric Isoletta, 2011<\/p>\n<p style=\"text-align: justify;\">This was the first time I&rsquo;d heard soprano Rapha\u00eble Kennedy and I was immediately impressed by her clear, present voice, which sparkles in the high notes and displays all its brilliance while always being in tune with the Christian humility of these religious texts.<br \/>\nRadio S\u00fcdwestrundfunk, Doris Blaich, 2011<\/p>\n<\/blockquote>\n<hr>\n<ul>\n<li><strong>O BEATA VIRGO<\/strong><br \/>\nItalian marian music of the 17<sup>th&nbsp;<\/sup>century<\/li>\n<\/ul>\n<p style=\"text-align: center;\">Rapha\u00eble Kennedy | voice<br \/>\nAndr\u00e9 Henrich | theorbo<br \/>\nYannick Varlet | harpsichord<br \/>\nPierre-Adrien Charpy | organ<\/p>\n<p style=\"text-align: justify;\">\u00ab\u00a0Who is she who shines like the dawn when it appears? \u2026 Fair as the moon, clear as the sun, she brings abundant joy to earth, heaven and seas alike.\u00a0\u00bb<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-38-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/merula.mp3?_=4\" \/><a href=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/merula.mp3\">https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/merula.mp3<\/a><\/audio>\n<p style=\"text-align: center;\"><b>Tarquinio&nbsp;Merula<\/b><br \/>\n<strong><i>Canzonetta spirituale sopra alla nanna<\/i> (extract from 2-CD box set&nbsp;<em>Sillages<\/em>)<\/strong><\/p>\n<hr>\n<ul>\n<li><strong>ECSTASY, SPLENDOUR AND PENITENCE<\/strong><br \/>\nFrench sacred music of the 17<sup>th<\/sup>&#8211; 18<sup>th&nbsp;<\/sup>centuries<\/li>\n<\/ul>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-1033 alignleft\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/raphaele-kennedy.png\" alt=\"\" width=\"350\" height=\"auto\"> <img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-1032 alignnone\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/anne-magouet.png\" alt=\"\" width=\"300\" height=\"auto\"><\/p>\n<p style=\"text-align: center;\">Rapha\u00eble Kennedy, Anne Magou\u00ebt | voices<br \/>\nSylvie Moquet | viol<br \/>\nMarc Wolff | archlute<br \/>\nYannick Varlet | harpsichord<br \/>\nPierre-Adrien Charpy | organ<\/p>\n<p style=\"text-align: justify;\">At the height of the baroque period, Versailles represented the high point of French classical art and culture. Under the influence of the Counter-Reformation, the Jesuits and Madame de Maintenon sacred art reigned supreme.&nbsp;If in this \u00ab\u00a0Grand si\u00e8cle\u00a0\u00bb penitence was still one of the foundations of catholicism, two other characteristics emerged in religious practice : splendour &#8211; the exaltation of the power of God, of his ministers or of the monarch of divine right &#8211; and ecstasy &#8211; the expression of the sensual mysticism of Saint Theresa of Avila or of Saint John of the Cross.&nbsp;This choice of petits motets shows off the richness of this trinity of religious expression.<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-38-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/danielis.mp3?_=5\" \/><a href=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/danielis.mp3\">https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/danielis.mp3<\/a><\/audio>\n<p style=\"text-align: center;\"><b>Daniel&nbsp;Danielis<\/b><br \/>\n<strong><i>Adore te mea&nbsp;salus<\/i>&nbsp;(live extract)<\/strong><\/p>\n<blockquote>\n<p style=\"text-align: justify;\">The audience experienced an exceptional musical moment. Ecstasy, splendor and penitence [&#8230;] were masterfully transmitted to the audience. Rapha\u00eble Kennedy&rsquo;s pure and limpid voice blends with Anne Magou\u00ebt&rsquo;s powerful and ample voice in the same sensuality. The diction is quick and fluid but all in roundness. And sometimes time seems to stop to leave room only for the unique spirituality, as in these answers in distant echo of the motet of Danielis.<br \/>\nL\u2019Eclaireur du G\u00e2tinais et du Centre, B. M.-R., 2010<\/p>\n<p style=\"text-align: justify;\">The audience is offered a spiritual journey [&#8230;]. Just listen and the cult of beauty, the nature of the sacred, the humility of the human condition, the inclination towards the divine burst forth, sublimated by the excellence of the performers. The marvelous range of the voices arouses shivers and emotions. The audience follows, troubled, enthusiastic, amazed.<br \/>\nLe Dauphin\u00e9 Lib\u00e9r\u00e9, Christine Barbier, 2010<\/p>\n<\/blockquote>\n<hr>\n<ul>\n<li><strong>ELEGANCE AND INSOLENCE AT THE COURT OF CHARLES IX<\/strong><br \/>\nMusic by Guillaume Costeley, Guillaume Boni, Anthoine de Bertrand, Claude Lejeune<\/li>\n<\/ul>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-1034 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/visuel_elegance.jpg\" alt=\"\" width=\"450\" height=\"auto\"><\/p>\n<p style=\"text-align: center;\">Rapha\u00eble Kennedy, Vincent Bouchot | voices<br \/>\nMarine Sablonni\u00e8re | flutes<br \/>\nSylvie Moquet | viol<br \/>\nJulien Lucchi | sackbut<br \/>\nPierre-Adrien Charpy | organ<\/p>\n<p style=\"text-align: justify;\">Great men embodied the ideal of the humanist civilization of the Renaissance. Sensitive to this preoccupation, certain kings of France gave their approval to some literary men and musicians among other great minds; it is the case of Charles IX, educated prince and cultivator of letters. In a preface addressed to this one, Ronsard writes for the biggest happiness of the musicians: \u00ab&nbsp;Celui, Sire, lequel oyant un doux accord d\u2019instruments ou la douceur de la voix naturelle ne s\u2019en r\u00e9jouit point, ne s\u2019en \u00e9meut point et de t\u00eate en pieds n\u2019en tressaut point, comme doucement ravi, et si ne sais comment d\u00e9rob\u00e9 de soi : c\u2019est signe qu\u2019il a l\u2019\u00e2me tortue, vicieuse et d\u00e9prav\u00e9e&nbsp;\u00bb.<\/p>\n<blockquote>\n<p style=\"text-align: justify;\">It is a repertoire of great variety that flows to the ear: from the superb melody Je suis d\u00e9sh\u00e9rit\u00e9e by Claude Lejeune, interpreted with infinite suavity by Rapha\u00eble Kennedy, to the strange chromatic songs or songs measured in the antique style by the same composer, avant-garde for his time. [&#8230;] It is the texts of Pierre de Ronsard that we taste [&#8230;]. A whole refined universe that rubs shoulders with the saucy&#8230; and some frankly naughty texts! Vincent Bouchot puts them in his mouth and tenorizes with a visible pleasure to send back his rabelaisian line to his soprano partner&#8230; just as truculent!<br \/>\nZibeline, Jacques Freschel, 2015<\/p>\n<\/blockquote>\n<hr>\n<ul>\n<li><strong>ULYSSES IN THE FEMININE<\/strong><br \/>\nFrench cantatas of the 18<sup>th&nbsp;<\/sup>century<\/li>\n<\/ul>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-1036 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/ulysse-au-feminin.jpg\" alt=\"\" width=\"500\" height=\"auto\"><\/p>\n<p style=\"text-align: center;\">Rapha\u00eble Kennedy | voice<br \/>\nSt\u00e9phanie Paulet | violin<br \/>\nMarine Sablonni\u00e8re | flute<br \/>\nMarianne Muller | viol<br \/>\nYannick Varlet | harpsichord<\/p>\n<p style=\"text-align: justify;\"><em>Ulysses in the feminine<\/em> is a water story. Musical, poetic, symbolic [&#8230;]. And by water, we mean not so much mirrors as tides, rocks and storms, the fury of the elements in the restrained setting of a French concert. Alternating cantatas and instrumental pieces [&#8230;], the program combines spoken evocations, constituting, over and above the succession of concert pieces, a vast new chamber opera with recitatives that would tell the story of the works and days of a feminine Ulysses &#8211; that is to say, precisely of the women who make and unmake Ulysses throughout his Odyssey, restoring the hero&rsquo;s feminine part and justifying the grammatical genre of his adventure. They are numerous, [&#8230;] &#8211; loving, tempestuous, dangerous, faithful or nurturing, they say as much if not more than the sweat and leather on the hero&rsquo;s fabric.<br \/>\nDidier Lamare<\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/DVcIr9jYj_c\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><br \/>\n<b>Elisabeth Jacquet de la Guerre<\/b><br \/>\n<b><i>Le Sommeil d\u2019Ulisse <\/i>(extrait live)<\/b><\/p>\n<blockquote>\n<p style=\"text-align: justify;\">In order to define Rapha\u00eble Kennedy&rsquo;s voice in this program, we would like to dare to use the word \u00ab\u00a0liquidity\u00a0\u00bb &#8211; if it had not taken on this awful market value. A satiny, ductile soprano, sometimes moir\u00e9 like the cloths brought to the hero on his return to his homeland, a Persian voice like Athena&rsquo;s eyes [&#8230;]. One would like to know what one has heard of these stories of water, tides and storms. The slack in the perfect unison of the violin and the flute, one slipping into the wake of the other, inventing a rare sonic jewel whose attacks and holding are neither those of the bow, nor those of the breath &#8211; but something else that perhaps has to do with the spirit of the voice. The ample or turbulent backwash of the basso continuo, the virtuoso complicity of the viol and the harpsichord, constantly drawing, with a gesture that is ephemeral each time, new paths on which to place the song.<br \/>\nDemi-cadratin.fr, Didier Lamare, 2016<\/p>\n<\/blockquote>\n<hr>\n<ul>\n<li><strong>LE\u00c7ONS DE T\u00c9N\u00c8BRES BY NICOLAS BERNIER<\/strong><\/li>\n<\/ul>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-332 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/pochette-bernier.png\" alt=\"\" width=\"350\" height=\"auto\"><\/p>\n<p style=\"text-align: center;\">Rapha\u00eble Kennedy | voice<br \/>\nSylvie Moquet | viol<br \/>\nPierre-Adrien Charpy | organ<br \/>\nPlain-song<\/p>\n<p style=\"text-align: justify;\">Nicolas Bernier is incontestably one of the most remarkable figures in French music at the&nbsp;beginning of the 18<sup>th&nbsp;<\/sup>century. His Tenebrae Lessons hold a special place in his output : apart from the fact that none of them were published, they are the expression of a typically french art from the pen of a deliberately italianist composer.<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-38-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/Premiere-lecon.mp3?_=6\" \/><a href=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/Premiere-lecon.mp3\">https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/Premiere-lecon.mp3<\/a><\/audio>\n<p style=\"text-align: center;\"><b>Nicolas Bernier<\/b><br \/>\n<b><i>1\u00e8re le\u00e7on de T\u00e9n\u00e8bres du premier jour&nbsp;<\/i>(extract from CD <em>Le\u00e7ons de T\u00e9n\u00e8bres du premier jour<\/em>)<\/b><\/p>\n<blockquote>\n<p style=\"text-align: justify;\">The performance of the Le\u00e7ons deserves nothing but the highest of praise. Rapha\u00eble Kennedy\u2019s voice is solid, supple, attentive to the least inflexion of the musical text, and in perfect complicity with the continuo. Her timbre is at once clear, homogenous and warm.<br \/>\nR\u00e9pertoire, Michel Lamalle, 1998<\/p>\n<p style=\"text-align: justify;\">Rapha\u00eble Kennedy\u2019s sweet, clear voice is full of grace and delicacy. [\u2026] Everything contributes to an atmosphere of ecstasy<br \/>\nClassica, St\u00e9phan Perreau, 1998<\/p>\n<p style=\"text-align: justify;\">The devotional character revealed by soprano Rapha\u00eble Kennedy is prodigious in its simplicity : without artifice and with total disregard of herself, she communicates suffering, sadness and doubt with these \u00ab\u00a0musical lamentations\u00a0\u00bb which touch the heart and truly reach the mark. [\u2026] An exaltation that intoxicates and delights&lt;<br \/>\nCrescendo, No\u00ebl Godts, 1998<\/p>\n<p style=\"text-align: justify;\">Rapha\u00eble Kennedy shows herself to be completely at home in this music, and faultless in her precision [\u2026].<br \/>\nDiapason, Jean-luc Macia, 1998<\/p>\n<\/blockquote>\n<hr>\n<ul>\n<li><strong>TO OUR ANCESTORS, TO OUR CHILDREN<\/strong><br \/>\nCollaboration between Pierre-Adrien Charpy and Moussa H\u00e9ma, a traditional balafonist from Burkina-Faso<\/li>\n<\/ul>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-1042 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/visuel_a-nos-ancetres.jpg\" alt=\"\" width=\"350\" height=\"auto\"><\/p>\n<p style=\"text-align: center;\">Rapha\u00eble Kennedy | voice<br \/>\nMoussa H\u00e9ma | balafon, n\u2019goni, voice<br \/>\nSylvie Moquet | viol<br \/>\nYannick Varlet | harpsichord<br \/>\nPierre-Adrien Charpy | organ<\/p>\n<blockquote>\n<p style=\"text-align: justify;\">I wanted this encounter with the Burkinabe balafonist Moussa H\u00e9ma to reach a form of joy and jubilation from the sometimes troubled depths of beings and history. Could we open up traditions, eras and styles to each other, with energy and health, without compromising their identity? This piece is for me an encounter with the other, as well as with oneself, at the most intimate level.<br \/>\nPierre-Adrien Charpy<\/p>\n<\/blockquote>\n<p style=\"text-align: justify;\">This very long piece is not actually a piece, no more than it is a fully written composition : it is a meeting between musicians. [\u2026] Between the initiatory voice of Rapha\u00eble Kennedy, the chromatic instruments of the ensemble Da Pacem [\u2026] and Moussa H\u00e9ma&rsquo;s pentatonic instruments : the \u00ab\u00a0young man&rsquo;s\u00a0\u00bb n\u2019goni, the balafon made of African bar-wood, his singing in the Dyula language which honours the most enduring of the African cults, expressing reverence for the ancestors and promise to the children. It is a weird baroque symphony [\u2026]. It is a concert \u2013 in the etymological sense. [\u2026] a work of mutual respect; it&rsquo;s all about welcoming and giving.<br \/>\nDidier Lamare<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-38-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/ana-danse.mp3?_=7\" \/><a href=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/ana-danse.mp3\">https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/ana-danse.mp3<\/a><\/audio>\n<p style=\"text-align: center;\"><b>Pierre-Adrien Charpy \/ Moussa H\u00e9ma<\/b><br \/>\n<b><i>Danse<\/i> (extrait coffret 2 CD <em>Sillages<\/em>)<\/b><\/p>\n<blockquote>\n<p style=\"text-align: justify;\">The sound of the balafon is full of laughter and phantoms, the wind of the organ and the grain of the harpsichord make rain fall on the fertility dance, the viol sings the deep roots of the tree and the rapids of the river. According to how much faith we have in the future the soprano voice hovers in a sunset over red ruins or like the white light of the bird flying away from the tree. Between the Europe and Africa of yesterday and today, \u00c0&nbsp;nos anc\u00eatres, \u00e0 nos enfants is a concert of transmission, a music aspiring to human brotherhood.<br \/>\nDidier Lamare, 2017<\/p>\n<p style=\"text-align: justify;\">The concert had a title that was a program, a moving respect for the elders and a tender tribute to the children. Turning to the past and looking to the future, it made of an old music and a new music, both timeless, supported by a traditional African music, a magnificent harmony in act, a beautiful present, a superb gift.<br \/>\nClassiquenews.com, Benito Pelegr\u00edn, 2011<\/p>\n<\/blockquote>\n<hr>\n<ul>\n<li><strong>MOTETS FOR ONE AND TWO VOICES BY ANDR\u00c9 CAMPRA<\/strong><\/li>\n<\/ul>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-331 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/pochette-campra.jpg\" alt=\"\" width=\"325\" height=\"auto\"><\/p>\n<p style=\"text-align: center;\">Rapha\u00eble Kennedy, Claire Lefilli\u00e2tre | voices<br \/>\nVirginie Descharmes | violin<br \/>\nPierre-Adrien Charpy | organ<\/p>\n<p style=\"text-align: justify;\">Andr\u00e9 Campra is a federator of French and Italian styles, even in his smallest motets. He is a man of jubilant vocalisations, subtle harmonies, colourful orchestration and refined melodies. In his Apologie de la musique fran\u00e7aise, Laugier summed up perfectly in 1754, the soul of this outstanding figure of the French 18th century: \u00ab\u00a0Lalande is an artist who is held in higher esteem, Campra is a seducer who is infinitely loved\u00a0\u00bb.<br \/>\nSt\u00e9phan Perreau<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-38-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/Salve-Regina.mp3?_=8\" \/><a href=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/Salve-Regina.mp3\">https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/Salve-Regina.mp3<\/a><\/audio>\n<p style=\"text-align: center;\"><b>Andr\u00e9 Campra<\/b><br \/>\n<b><i>Salve Regina&nbsp;<\/i>(extract from CD <i>Motets \u00e0 une et deux voix<\/i>)<\/b><\/p>\n<blockquote>\n<p style=\"text-align: justify;\">The two young soloists [\u2026] compete with each other in grace and inspiration&nbsp;: the purity of vocal emission, the beauty of the vocalises, the expressive intensity and precision&nbsp;[\u2026].<br \/>\nLe Monde de la Musique, Philippe Venturini, 2000<\/p>\n<p style=\"text-align: justify;\">[\u2026] the performers [\u2026] present this music with perfect taste\u2026<br \/>\nT\u00e9l\u00e9rama, Xavier Lacavalerie, 2000<\/p>\n<p style=\"text-align: justify;\">Rapha\u00eble Kennedy joins up with the talents of Claire Lefilli\u00e2tre to create a real emotional whirlwind.<br \/>\nClassica, Coralie Welcomme, 2000<\/p>\n<p style=\"text-align: justify;\">Both singers have beautiful voices [\u2026]. Rapha\u00eble Kennedy\u2019s tone is [\u2026] perfect, and her subtle use of vibrato adds a bit of spice to the music, without getting in its way.<br \/>\nClassical Music Web, Kirk McElhearn<\/p>\n<\/blockquote>\n<hr>\n<p style=\"text-align: center;\"><span style=\"color: #800080;\"><strong>VOICE &amp; ELECTRONICS<\/strong><\/span><\/p>\n<hr>\n<ul>\n<li><strong>\u00c0 ELLE-M\u00caME R\u00c9V\u00c9L\u00c9E<\/strong><br \/>\nMusic by Pierre-Adrien Charpy, Robert Pascal, Kaija Saariaho, Adrien Sassier<\/li>\n<\/ul>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-248 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2023\/02\/A-elle-meme-revelee_6.jpg\" alt=\"\" width=\"500\" height=\"auto\" srcset=\"https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2023\/02\/A-elle-meme-revelee_6.jpg 1000w, https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2023\/02\/A-elle-meme-revelee_6-300x200.jpg 300w, https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2023\/02\/A-elle-meme-revelee_6-768x512.jpg 768w\" sizes=\"(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px\" \/><\/p>\n<p style=\"text-align: justify;\">Do we have any idea of how much a singer is alone in such a program, despite the most considerable orchestras, with infinite numbers of musicians, with limitless timbres? Alone, undoubtedly, but not absolutely. [&#8230;] it is above all a question of the relative uniqueness of the voice passed through \u00ab\u00a0real time electronic processing\u00a0\u00bb. The expression, inelegant, still smells a bit like a geek, but it doesn&rsquo;t mean anything more esoteric than a new way of opening and populating the musical spaces that are being dug around the voice. Voice doubled, redoubled, taken in the echo, accompanied, followed, anticipated or caught up by these other voices which inhabit us without us being really conscious of it until a composer, precisely, reveals them.<br \/>\nDidier Lamare<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-38-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/vivante.mp3?_=9\" \/><a href=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/vivante.mp3\">https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/vivante.mp3<\/a><\/audio>\n<p style=\"text-align: center;\"><strong>Pierre-Adrien Charpy<\/strong><br \/>\n<strong><i>Vivante morte \u00e9blouie<\/i> (extract from 2-CD box set&nbsp;<em>Sillages<\/em>)<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-38-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2023\/09\/xi-ling_cd.mp3?_=10\" \/><a href=\"https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2023\/09\/xi-ling_cd.mp3\">https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2023\/09\/xi-ling_cd.mp3<\/a><\/audio>\n<p style=\"text-align: center;\"><b>Robert Pascal<\/b><br \/>\n<strong><i>x\u012b l\u01d0ng<\/i> (extract from CD <em>Aubes<\/em>)<\/strong><\/p>\n<blockquote>\n<p style=\"text-align: justify;\">Rapha\u00eble Kennedy&rsquo;s voice would be [&#8230;] of the crystal, of the translucent, of the brilliance that emerges on the angle of the word. A crystal where colors would pass, elusive, as in these stained glass windows of today that are melted at a very high temperature; yes, it would be something of that order, a fusing voice, virtuoso without showiness, a crystal of flesh, an incarnated transparency. Because it is not enough, as a crystal beats in the electronics, to sing phonemes by using all the means of expression which make the language sound [&#8230;]. It is also necessary, at the same time and with the same requirement, to draw from it the flesh and the blood, the palpitation of the meaning, to give us the taste of it in order to transmit the emotion of it. This is exactly what happens on both sides of the electronic mirror, a small miracle renewed at every moment by the intertwining of the fixed voice and the living voice.<br \/>\nDemi-cadratin.fr, Didier Lamare, may 2015<\/p>\n<p style=\"text-align: justify;\">Vivante morte \u00e9blouie, two paragraphs of Belle du Seigneur by Albert Cohen where the swell rolls on the electronic waves illuminated by the luminous foam of the voice of Rapha\u00eble Kennedy, a near and far dream strike [&#8230;].<br \/>\nLe blog-note de Benito on radio dialogue RCF, Benito Pelegr\u00edn, 2017<\/p>\n<p style=\"text-align: justify;\">[\u2026] x\u012b l\u01d0ng (2012), a spectacular Chinese-style landscape, snow-capped peaks, a boat on a lake and birds in the sky, for soprano and electroacoustic device, with the porcelain voice of Rapha\u00eble Kennedy.<br \/>\nL.L., november 2023<\/p>\n<\/blockquote>\n<hr>\n<ul>\n<li><strong>\u00c9CRIRE LA NUIT<\/strong><br \/>\nMusic by Kaija Saariaho, Philippe Leroux, Lo\u00efse Bulot<\/li>\n<\/ul>\n<p style=\"text-align: justify;\">In this program with eclectic texts, the voice carries the desire of the artists to write the night, their night. The astral music of Lo\u00efse Bulot leads into the dream. It accompanies Emily Dickinson for whom darkness is always necessary and liberating; it responds to the inner world of Kaija Saariaho and to the ethereal love lived beyond the distance of the troubadour Jaufr\u00e9 Rudel; it opposes the dynamic sound gestures of Philippe Leroux and the burning expression of darkness and light of Edmond Jab\u00e8s.<\/p>\n<blockquote>\n<p style=\"text-align: justify;\">A singer is never so alone on stage as in pieces with electronics, which paradoxically diapers her voice with unheard-of magic. Sought after by today&rsquo;s composers, Rapha\u00eble Kennedy has made a speciality of it, with a requirement comparable to that of her interpretations of Renaissance polyphonies and baroque court arias. On the program for this nocturne: [&#8230;] Lonh, by Kaija Saariaho, one of the masterpieces of the genre, of which Rapha\u00eble Kennedy has become the privileged interpreter.<br \/>\nL.L., december 2018<\/p>\n<\/blockquote>\n<hr>\n<p style=\"text-align: center;\"><span style=\"color: #800080;\"><strong>TOGETHER WITH&nbsp;<\/strong><strong>YANNICK VARLET | Organ<\/strong><\/span><\/p>\n<hr>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-755 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/voix-et-orgue.jpg\" alt=\"\" width=\"350\" height=\"auto\"><\/p>\n<ul>\n<li><strong>O BEATA VIRGO<\/strong><br \/>\nMusic by Claudio Monteverdi, Alessandro Grandi, Giovanni Felice Sances, Bonifacio Graziani<\/li>\n<\/ul>\n<p style=\"text-align: justify;\">Who is she who shines like the dawn when it appears? \u2026 Fair as the moon, clear as the sun, she brings abundant joy to earth, heaven and seas alike.\u00a0\u00bb<\/p>\n<hr>\n<ul>\n<li><strong>GOTT, EILE ZU MIR<\/strong><br \/>\nMusic by Heinrich Sch\u00fctz, Dietrich Buxtehude, Johann-Christoph Bach<\/li>\n<\/ul>\n<p style=\"text-align: justify;\">In the 17th century it was said that Italy sang, France danced and Germany prayed. The output of German composers of this period is marked by this deep piety.<\/p>\n<hr>\n<ul>\n<li><strong>VENI IN HORTUM MEUM<\/strong><br \/>\nFrench music of the 17th century<\/li>\n<\/ul>\n<p style=\"text-align: justify;\">The music illustrating this program is based directly on the universal and unique text of the Bible, the Song of Songs. Attributed to the great King Solomon, the sage among the sages, this great love poem contains the double meaning of human love and mystical love.<\/p>\n<hr>\n<p style=\"text-align: center;\"><span style=\"color: #800080;\"><strong>TOGETHER WITH JEAN-LUC HO | Harpsichord<\/strong><\/span><\/p>\n<hr>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-852 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/duo-clavecin.jpg\" alt=\"\" width=\"350\" height=\"auto\"><\/p>\n<ul>\n<li><strong>FACES OF WOMEN IN PURCELL&rsquo;S SONGS<\/strong><\/li>\n<\/ul>\n<p style=\"text-align: justify;\">All the women who inhabit the poetry of Henry Purcell&rsquo;s songs are so many contrasting images. In the collections <em>Orpheus Britannicus<\/em> and <em>Harmonia sacra<\/em> &#8211; excerpts from which are the subject of this program &#8211; we find the absent, disdainful, cruel beloved, the lover herself in love, the future queen, the Goddess, the Virgin. Purcell pays tribute to each of them in turn with the genius that we know of him.<\/p>\n<hr>\n<ul>\n<li><strong>SANCES AND VALENTINI, ITALIAN COMPOSERS IN THE COURT OF VIENNA<\/strong><\/li>\n<\/ul>\n<hr>\n<p style=\"text-align: center;\"><span style=\"color: #800080;\"><strong>TOGETHER WITH MARYLISE FLORID | Guitar<\/strong><\/span><\/p>\n<hr>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-898 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/duo-guitare.jpg\" alt=\"\" width=\"450\" height=\"auto\"><\/p>\n<ul>\n<li><strong>SOLEILS<\/strong><br \/>\nTexts and Music by Federico Garcia-Lorca, Manuel De Falla, Enrique Granados, Heitor Villa-Lobos, Andr\u00e9e Ch\u00e9did, Pierre-Adrien Charpy<\/li>\n<\/ul>\n<p style=\"text-align: justify;\">By sublimating the natural phenomenon of alternating temporal suns, this contrasted, personified poetry and music depicts two interior, emotional suns. The first is the symbol of day, of life, of action, of passions, of extreme and exalted feelings, whilst the second is that of nocturnal rest, of contemplation, of nostalgic and melancholy sentiments.<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-38-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/soleils.mp3?_=11\" \/><a href=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/soleils.mp3\">https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/soleils.mp3<\/a><\/audio>\n<p style=\"text-align: center;\"><strong>Federico Garcia-Lorca<\/strong><br \/>\n<strong><em>Canciones espa\u00f1olas antiguas<\/em> (live&nbsp;extract)<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-38-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/ce-corps.mp3?_=12\" \/><a href=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/ce-corps.mp3\">https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/ce-corps.mp3<\/a><\/audio>\n<p style=\"text-align: center;\"><strong>Pierre-Adrien Charpy<\/strong><br \/>\n<strong><em>Ce corps<\/em> (extract from 2-CD box set&nbsp;<em>Sillages<\/em>)<\/strong><\/p>\n<blockquote>\n<p style=\"text-align: justify;\">[\u2026] one hears every aspect and nuance of the word in the voice. Its melancholy interior and its light, its power to carve by making frozen breastplates flow red, but also the breath which brings it to life, the soft fragility of felt : one can also hear the body in a state of permanent tension, each word of the poem being brought out by the counterpoint of the guitar.<br \/>\nDidier Lamare, 2017<\/p>\n<p style=\"text-align: justify;\">The minimalist arrangement of the strings enhances the soprano\u2019s purity, with exemplary diction in the poetry of Andr\u00e9e Ch\u00e9did.<br \/>\nAnaclase, Laurent Bergnach, 2017<\/p>\n<\/blockquote>\n<hr>\n<p style=\"text-align: center;\"><span style=\"color: #800080;\"><strong>TOGETHER WITH CAMILLA HOITENGA | Flutes<\/strong><\/span><\/p>\n<hr>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-748 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2025\/05\/RC-300x225.jpg\" alt=\"\" width=\"360\" height=\"auto\" srcset=\"https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2025\/05\/RC-300x225.jpg 300w, https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2025\/05\/RC-1024x768.jpg 1024w, https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2025\/05\/RC-768x576.jpg 768w, https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2025\/05\/RC-1536x1152.jpg 1536w, https:\/\/raphaelekennedy.com\/en\/wp-content\/uploads\/sites\/2\/2025\/05\/RC.jpg 1632w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p>\n<ul>\n<li><strong>AIMONS!<\/strong><br \/>\nMusic by Patrick Burgan, Pierre-Adrien Charpy, William Brooks, Kaija Saariaho<\/li>\n<\/ul>\n<p style=\"text-align: justify;\">Complicity, energy, playfulness, poetry, work on the texture offered by the flute and the intertwined voices are the assets that we develop in the existing repertoire as well as in the creations.<\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/f6a6P8Xcn5c\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\"><strong>Patrick Burgan<\/strong><br \/>\n<strong><i>Jeux de femmes&nbsp;<\/i>(live&nbsp;extract)<\/strong><\/p>\n<blockquote>\n<p style=\"text-align: justify;\">Camilla Hoitenga, flutist and Rapha\u00eble Kennedy, soprano, black lace, pale pink satin, announced the color: it would be a sensual and vibrant exchange. [&#8230;] Camilla Hoitenga plays with brio. [&#8230;] Rapha\u00eble Kennedy, a specialist in early music, masters all the technical and expressive difficulties: soaring high notes, pianissimi, spoken sounds, strange and magical. [&#8230;] A vibrant tribute to contemporary music with the oldest of instruments: the breath!<br \/>\nZibeline, Yves Berg\u00e9, december 2009<\/p>\n<\/blockquote>\n<hr>\n<p style=\"text-align: center;\"><span style=\"color: #800080;\"><strong>TOGETHER WITH ANNE ETIENVRE | Piano<\/strong><\/span><\/p>\n<hr>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-888 aligncenter\" src=\"https:\/\/raphaelekennedy.com\/wp-content\/uploads\/2022\/12\/duo-piano.jpg\" alt=\"\" width=\"425\" height=\"auto\"><\/p>\n<ul>\n<li><strong>ALANGUIES OU FANTASQUES?<\/strong><br \/>\nFrench melodies and songs by Claude Debussy, Gabriel Faur\u00e9, Francis Poulenc, Vincent Bouchot, Pierre-Adrien Charpy<\/li>\n<\/ul>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/ykUNV3xIKWY\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\n<strong>Pierre-Adrien Charpy<\/strong><br \/>\n<strong><i>Le coeur du po\u00e8te&nbsp;<\/i>(live&nbsp;extract)<\/strong><\/p>\n<hr>\n<p>Photos credits:<br \/>\nDa Pacem\u00a9Isabelle Fran\u00e7aix<br \/>\nPierre-Adrien Charpy and Rapha\u00eble Kennedy\u00a9Isabelle Fran\u00e7aix<br \/>\nAu secours ma raison\u00a9Isabelle Fran\u00e7aix<br \/>\nRapha\u00eble Kennedy and Anne Magou\u00ebt\u00a9Alain Anselm<br \/>\nRapha\u00eble Kennedy in Ulysse au f\u00e9minin\u00a9Isabelle Fran\u00e7aix<br \/>\n\u00c0 nos anc\u00eatres, \u00e0 nos enfants\u00a9Isabelle Fran\u00e7aix<br \/>\nOrgue Quentin Blumenroeder\u00a9Isabelle Fran\u00e7aix<br \/>\nMarylise Florid et Rapha\u00eble Kennedy\u00a9Isabelle Fran\u00e7aix<br \/>\nAnne Etienvre et Rapha\u00eble Kennedy\u00a9Isabelle Fran\u00e7aix<\/p>\n","protected":false},"excerpt":{"rendered":"<p>All soloists, the musicians of DA PACEM master with equal ease the repertoire of early music on period instruments and that of contemporary creation on modern instruments and new technologies. From the end of the Renaissance to the Baroque era, their historical requirements are articulated around thematic projects, imagining a dramaturgy specific to each concert, &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/raphaelekennedy.com\/en\/da-pacem-company-concerts\/\" class=\"more-link\">Continuer la lecture<span class=\"screen-reader-text\"> de &laquo;&nbsp;&nbsp;&raquo;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/raphaelekennedy.com\/en\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/raphaelekennedy.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/raphaelekennedy.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/raphaelekennedy.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/raphaelekennedy.com\/en\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":30,"href":"https:\/\/raphaelekennedy.com\/en\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":838,"href":"https:\/\/raphaelekennedy.com\/en\/wp-json\/wp\/v2\/pages\/38\/revisions\/838"}],"wp:attachment":[{"href":"https:\/\/raphaelekennedy.com\/en\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}