Gaël de Kerret
He has scoured European festivals and radio stations for about fifteen years, made a good twenty recordings, from Early music (A Sei Voci and Clemencic Consort) to contemporary compositions (2E2M, TM+, Groupe Vocal de France, Orchestre Philarmonique de Radio-France…) He has sung at the Fenice in Venice, at the Musikverein in Vienna, at the Utrecht festival and the Montpellier festival, or again, any number of times, at Radio-France, at the RCAM or within the Union européenne des Radios with such renowned conductors as Philippe Herreweghe, Jean-Claude Pennetier, Peter Eötvös or Jean-Claude Malgoire. In 1997, he also conducted the Children’s choir of the Paris national Opera for a dozen concerts and a recording. He is the Director of the baroque ensemble Les Cours Européennes, and Artistic Director of the music festival “Valloire baroque”. A passionate pedagogue, he is a Senior professor at the Versailles Conservatoire à Rayonnement Régional, where he teaches future professional singers.
The Neapolitan school
Gaël de Kerret
Artistic Director of the Festival Valloire baroque
A l’école de Naples.
Following Ciro Costabile, born and bred in Naples, we shall amble through “Neapolis”, i.e. the new city, and get acquainted with the most authentic interprets of its baroque repertoire.
But Naples is unlike any other city: it radiates music. Why so?
Long a jigsaw of states and kingdoms, Italy, as a country, never existed before the end of the 19th century. Owing to its strategic location on the Mediterranean coast, Naples was, understandably, much coveted and often invaded by many foreign powers. Nurtured by the influx of diverse, successive cultures, Naples then became a teeming reservoir, spawning its artistic influence throughout the whole of Europe, all the more easily as it had set up an education policy unparalleled in the Italian peninsula. Incidentally, the word “conservatoire” used to refer to music schools in France comes straight from the word conservatorio in Naples. In his lecture, on July 30th, Xavier Lacavalerie, author and critic, will enlighten us on the choice of the title of this year’s festival, together with Enrico Baiano, the most amazing of harpsichordists. On July 27th and 28th, the Neapolis ensemble and singer Maria Marone, drawing from the city’s musical melting pot, will offer us a highly contrasted programme of Neapolitan songs.
Tenor Pino de Vittorio, will stop at Valloire on July 29th and sing for us cantatas by the major Neapolitan composers, bound as he is by his exceptional vocal talent to travel the world. On August 1st, La Venexiana, the oft-rewarded ensemble, will guide us into new realms of musical sensitivity. Solely instrumental, the concert by Classica pizzicata, on August 3rd, will bring together such typically Neapolitan instruments as the mandolin and the baroque music of the leading composers of that period, breathing an extraordinary joie de vivre through new sounds! There will be more joie de vivre and musical surprises on August 4th with Francesco Cera’s two concerts which mingle popular songs with Domenico Scarlatti, the composer of 555 sonatas.
Reinvented by Le Concert de l’Hostel-Dieu, the Stabat Mater by Pergolesi, in a true-to-life format, will end our journey to baroque Naples. Was there any other way?