Charpentier: Missa Assumpta est Maria Gaétan Jarry, Ensemble Marguerite Louise, Tricou, Champion, Brooymans

• Marc-Antoine Charpentier (1643 - 1704): Missa Assumpta est Maria, H. 11:
• 1 Charpentier: Missa Assumpta est Maria, H. 11: I. Kyrie 03:48
• 2 Charpentier: Missa Assumpta est Maria, H. 11: II. Couplet d'orgue 01:56
• 3 Charpentier: Missa Assumpta est Maria, H. 11: III. Christe Eleison 01:02
• 4 Charpentier: Missa Assumpta est Maria, H. 11: IV. Kyrie (Reprise) 03:49
• 5 Charpentier: Missa Assumpta est Maria, H. 11: V. Gloria 00:20
• 6 Charpentier: Missa Assumpta est Maria, H. 11: VI. Et in terra pax 01:56
• 7 Charpentier: Missa Assumpta est Maria, H. 11: VII. Domine Deus 05:05
• 8 Charpentier: Missa Assumpta est Maria, H. 11: VIII. Credo 00:10
• 9 Charpentier: Missa Assumpta est Maria, H. 11: IX. Patrem omnipotentem 01:44
• 10 Charpentier: Missa Assumpta est Maria, H. 11: X. Et in unum Dominum 00:49
• 11 Charpentier: Missa Assumpta est Maria, H. 11: XI. Qui propter nos homines 00:28
• 12 Charpentier: Missa Assumpta est Maria, H. 11: XII. Et incarnatus 01:28
• 13 Charpentier: Missa Assumpta est Maria, H. 11: XIII. Crucifixus etiam 00:45
• 14 Charpentier: Missa Assumpta est Maria, H. 11: XIV. Et resurrexit 00:23
• 15 Charpentier: Missa Assumpta est Maria, H. 11: XV. Et iterum 00:33
• 16 Charpentier: Missa Assumpta est Maria, H. 11: XVI. Cujus regni non erit finis 00:37
• 17 Charpentier: Missa Assumpta est Maria, H. 11: XVII. Et in Spiritum sanctum 01:07
• 18 Charpentier: Missa Assumpta est Maria, H. 11: XVIII. Confiteor 01:12
• 19 Charpentier: Missa Assumpta est Maria, H. 11: XIX. Et vitam venturi saeculi 01:20
• Concert pour quatre parties de violes, H. 545:
• 20 Charpentier: Concert pour quatre parties de violes, H. 545: I. Prélude 01:30
• 21 Charpentier: Concert pour quatre parties de violes, H. 545: III. Sarabande 01:39
• Missa Assumpta est Maria, H. 11:
• 22 Charpentier: Missa Assumpta est Maria, H. 11: XX. Sanctus 01:33
• O salutaris hostia, H. 249:
• 23 Charpentier: O salutaris hostia, H. 249 02:08
• Louis Marchand (1669 - 1724): Tierce en taille:
• 24 Marchand: Tierce en taille 03:22
• Marc-Antoine Charpentier: Missa Assumpta est Maria, H. 11:
• 25 Charpentier: Missa Assumpta est Maria, H. 11: XXI. Agnus Dei 03:58
• Domine Salvum Fac Regem, H. 303:
• 26 Charpentier: Domine Salvum Fac Regem, H. 303 00:59
• Jean-Adam Guilain (1680 - 1739): Suite du Premier Ton:
• 27 Guilain: Suite du Premier Ton: I. Plein-Jeu 02:08
• Marc-Antoine Charpentier: Motet pour une longue offrande, H. 434:
• 28 Charpentier: Motet pour une longue offrande, H. 434: I. Prelude 00:51
• 29 Charpentier: Motet pour une longue offrande, H. 434: II. Paravit Dominus 01:22
• 30 Charpentier: Motet pour une longue offrande, H. 434: III. Prelude 00:31
• 31 Charpentier: Motet pour une longue offrande, H. 434: IV. Pluet super peccatores 01:35
• 32 Charpentier: Motet pour une longue offrande, H. 434: V. Vidi impium 01:01
• 33 Charpentier: Motet pour une longue offrande, H. 434: VI. Pluet super peccatores (Reprise) 01:32
• 34 Charpentier: Motet pour une longue offrande, H. 434: VII. Simphonie, Deus Justus 05:25
• 35 Charpentier: Motet pour une longue offrande, H. 434: VIII. Simphonie, Justus es Domine 08:28
• Total Runtime 01:06:34

Info zu Charpentier: Missa Assumpta est Maria

Auf dem Höhepunkt seiner Laufbahn komponierte Marc-Antoine Charpentier um 1669 seine letzte Messe "Assumpta est Maria". Dieses grandiose Werk, das die Himmelfahrt der Jungfrau Maria als ein zentrales Thema der katholischen Religion behandelt, verbindet italienische Einflüsse mit dem französischen Stil. Charpentier gelang es, Frömmigkeit und Virtuosität miteinander in Einklang zu bringen, so dass die Messe zu einem der Meisterwerke der barocken Kirchenmusik wurde, das noch heute wegen seiner mystischen Tiefe und musikalischen Brillanz geschätzt wird. Gaétan Jarry, der von seinem Ensemble Marguerite Louise begleitet wird, liefert eine Interpretation, in der die ganze Ausdruckskraft und Feierlichkeit dieser Messe zur Geltung kommt.

David Tricou, Countertenor
Romain Champion, Bass
Nicolas Brooymans, Bass
Choeur Marguerite Louise
Orchestre Marguerite Louise
Gaetan Jarry, Dirigent

David Tricou
Originally from Montpellier, David Tricou studied singing in the city’s Conservatory, before entering the Paris National Conservatory where he graduated with distinctions.

His haute-contre voice naturally fits the baroque repertoire: Pygmalion and Anacréon by Rameau for an international tour with William Christie, L’Egisto by Cavalli at the Opéra-Comique in Paris and in Luxembourg with Vincent Dumestre, and L’Orfeo by Rossi in Versailles, Nancy, Bordeaux and Caen conducted by Raphaël Pichon. He also sang in Castor et Pollux by Rameau in Sablé and at the Chaise-Dieu Festival, together with Vénus et Adonis by John Blow in Caen.

A very stylish Mozartian, he sang Tamino from Die Zauberflöte, Marzio from Mitridate and Ferrando from Cosí fan tutte, Bastien from Bastien und Bastienne. He also sang L'Amant Fortuné and Le Chevalier Danois from Armide by Lully, Ubaldo from Armida by Haydn, Adolphe from Adolphe et Clara by Dalayrac, David from David et Jonathas by Charpentier, Antiochus from Stratonice by Méhul and his debuts in the roles of Almaviva from Il Barbiere di Siviglia and Nemorino from L’Elisir d’Amore. He took part in a double-bill Les Deux Chasseurs / Le Peintre Amoureux by Egidio Duni conducted by Martin Wahlberg in Norway. In the contemporary field, he took part in the creation of Tales of the Pale and Silvery Moon after the Rain by Xavier Dayer.

Concert-wise, he takes part in many series with such orchestras and ensembles as Les Arts Florissants / William Christie, Le Concert Spirituel / Hervé Niquet, Le Poème Harmonique / Vincent Dumestre, Marguerite Louise / Gaétan Jarry, Les Correspondances / Sébastien Daucé, La Chapelle Harmonique / Valentin Tournet, Le Banquet Céleste / Damien Guillon, Il Gusto Barroco / Jörg Halubek... ​​

During season 2023-2024, he takes part in the World premiere of Voix d'Hébron by Cristian Carrara in Metz and Modena, he sings the title-role in Rameau’s Zoroastre in Münster and sings Osroa in Adriano in Siria by Graun in Potsdam. In the concert field he takes part in Télémaque et Calypso by Destouches with the ensemble Les Ombres, a Rameau recital with the Ensemble Orchestral d'Epinal, he takes over the program "Royal Odes" with Le Banquet Céleste and Ercole Amante by Antonia Bembo with Il Gusto Barroco, Campra Requiem with Les Arts Florissants, a Charpentier program with the ensemble Marguerite Louise, Monteverdi Selva Morale e Spirituale with Le Poème Harmonique...

Nicolas Brooymans
In the space of a few years, Nicolas Brooymans has undeniably carved out a place for himself on the music scene: the beauty and technical ease of the voice, the intensity of his singing and his obvious stage presence have earned him an ever-increasing number of engagements on prestigious stages.

His career has flourished in the music of the seventeenth and eighteenth centuries, and Nicolas Brooymans is an indispensable guest with leading specialist ensembles, with whom he performs throughout Europe. He sings very regularly with Correspondances (Sébastien Daucé), particularly in the French repertoire. He has taken part in many of the ensemble's recordings, all of which have been acclaimed by the critics (motets by Moulinié; Le Concert Royal de la Nuit; motets and elevations by Dumont; Litanies à la Vierge, Pastorales de Noël, Histoires Sacrées and Descente d'Orphée aux enfers by Charpentier, Perpetual Night).

Other collaborations have followed, confirming a growing reputation with leading ensembles: Pygmalion (Raphaël Pichon), Collegium 1704 (Vaclav Luks), Les Surprises (Louis-Noël Bestion de Camboulas), Les Arts Florissants (William Christie), I Gemelli (Emiliano Gonzalez-Toro and Mathilde Etienne), Ensemble Jupiter (Thomas Dunford), Le Banquet Céleste (Damien Guillon), etc…

Nicolas is also a keen chamber musician, working with the Ensemble Près de votre oreille (Robin Pharo) on the CD Come Sorrow, devoted to English music of the Elizabethan period.

The later repertoire forms a very important part of his activity. Nicolas is regularly engaged as a soloist in the masterpieces of the sacred repertoire, such as Mozart's Requiem and the Great Mass in C minor, Bach's Passions, Handel's The Messiah, Haydn's The Seven Last Words of Christ and The Creation, as well as the more lyrical repertoire (Berlioz's Les Nuits d'été, Puccini's Missa di Gloria, Verdi's Requiem, Rossini's Stabat Mater). Opera is not to be outdone, with Sarastro in The Magic Flute, the Commander in Mozart's Don Giovanni and Colline in Puccini's La Bohème.

The 2022/2023 season has seen him deploy his talent in a number of exciting projects: the revival of the Aix-en-Provence production of Il Combattimento at the Théâtre de Caen; The Magic Flute at the Opéra Royal de Versailles; Rossini's La Cenerentola at the Théâtre des Champs-Élysées, the Opéra de Bordeaux and the Opéra de Rouen; Bizet's Carmen at the Opéra de Toulon; L'Incoronazione di Poppea at the Arsenal de Metz, the Victoria Hall in Geneva and the Théâtre des Champs-Élysées.

2023/2024 saw an undeniable acceleration: Carmen at the Opéra de Rouen, Mozart's Requiem with the Orchestre des Pays de la Loire, a grand tour with Monteverdi's Il Ritorno d'Ulisse alongside I Gemelli in the great European halls, from Toulouse to Madrid, via Brussels and Amsterdam, and Mozart's The Abduction from the Seraglio at the Opéra Royal de Versailles, directed by Michel Fau. Next came Lully's Armide at Drottningholm, conducted by Francesco Corti and directed by Florent Siaud.

2024/2025 will once again offer a tremendous diversity of repertoires: a revival of Mozart's The Magic Flute at the Opéra de Versailles; a major tour of Caccini's La Liberazione dall'isola d'Alcina with I Gemelli (Ambronay, Toulouse, Versailles); Monteverdi's Il Vespro della Beata Vergine with Pygmalion (Paris, Ver-sailles) and then I Gemelli (Amsterdam, Barcelona, Seville); and Schumann's Das Paradis und die Peri with Le Concert des Nations (Barcelona, Paris).

Gaétan Jarry
French conductor and organist born in 1986, he is the founder of the Marguerite Louise ensemble. After a career rewarded with numerous first prizes at the Versailles and Saint-Maur-des-Fossés conservatories (class of Frédéric Desenclos and Éric Lebrun), Gaétan Jarry perfected his skills at the Conservatoire National Supérieur de Musique de Paris, from where he graduated with a degree in organist-performer in 2010 in the class of Olivier Latry and Michel Bouvard. Organist at the Sainte-Jeanne-d’Arc church in Versailles, he became co-titular of the Grandes Orgues Historiques of the Saint-Gervais church in Paris in 2016.

From 2010 to 2017, Gaétan Jarry was also director of the choir of the Petits Chanteurs de Saint-François de Versailles, a vocation from which he continues to share the fruits of his work with various children’s choirs.

His passion for the voice and ancient repertoires led him to create the Marguerite Louise ensemble, a reference choir and orchestra on the new baroque scene. As a conductor and soloist, he performs in France and abroad and regularly collaborates with the Château de Versailles, where he is principal guest conductor of the orchestra of the Royal Opera and at the heart of which he performs at the head of Marguerite Louise.

Gaétan Jarry devotes a large part of his discography to French baroque music in which he infuses the aesthetics of Marguerite Louise into the repertoire with large choir and large orchestra, that of the Grands Motets Royaux of Lully, Lalande, Rameau, Mondonville, …

As a soloist, he released in 2019, Noëls Baroques à Versailles, recorded at the Grandes Orgues de la Chapelle Royale de Versailles, in collaboration with the Pages du Centre de musique baroque de Versailles, then in 2020 “Le Grand jeu” recital disc around the French baroque organ as well as the organ concertos of G-F Haendel (released 2021).

In 2021, he was notably at the head of the orchestra of the Royal Opera of Versailles in Mozart's The Marriage of Figaro, but also in musical theatre with the actor Michel Fau in the play George Dandin by Molière/Lully, as well as alongside the tenor Mathias Vidal in a programme of opera arias by Rameau (CD also released in 2021), a composer for whom he released the complete sacred work in 2022.

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