Arts-Scène Diffusion

Les Kapsber'girls

EARLY MUSIC

Photo Olivier Féraud
Photo Olivier Féraud
© H. Caldaguès
Photo Olivier Féraud
Photo P. Morales

Garance Boizot (version longue) Viola da gamba

 

Born in Paris, into a family of musicians, Garance Boizot began playing the viola da gamba and the cello at the age of 7.

The practice of these two instruments immediately gave her the opportunity to discover a wide variety of instrumental formations such as the orchestra, the string quartet or the consort of viols. This variety of projects allows her to develop a real attraction for collective practices as well as a pronounced taste for his role as a bowed bass within a continuo.

In 2014, after obtaining her musical diploma in viola da gamba at the Regional Conservatory  in Paris, she left France for the Netherlands. She then joined the Royal Conservatory of The Hague where she completed a Bachelor's degree in the class of Mieneke Van de Velden and Philippe Pierlot. It was during these years abroad that the evidence of her love for early music and dissonances developed as well as a new passion for cycling and old Gouda... In 2017, she returned to France to complete her studies in viola da gamba with a Master's degree at the National Conservatory in Lyon in the class of Marianne Muller.

Simultaneously with her career as a gamba player, she decided to permanently trade her cello endpin for gut strings. A new adventure begins, accompanied by Hager Hanana then Elena Andreyev: the practice of the baroque cello.

In 2019, Garance became a permanent member of the ensemble Les Kapsber'girls, specializing in 17th and 18th century vocal music. In October 2022, the group's second album "You said Brunettes" was released by Alpha, warmly welcomed by the public and critics.
Also in 2019, she co-founded the Ensemble Belombre with Louise Bouedo, whose first program revolves around transcriptions of Jacques Duphly's Harpsichord Pieces for two bass viols.
On a more punctual basis, she also joins various French and European baroque ensembles such as Les Musiciens de St Julien, Ratas del Viejo Mundo, Gli Angeli Genève, Concerto Soave, the Orchester du Palais Royal, Pygmalion, le Poème Harmonique and Capriccio. Stravagante.

In parallel with this musical career, Garance has a passion bordering on addiction to lined notebooks and does not exclude the possibility of retraining and opening a stationery-card shop by the sea.
While waiting for this day, it is with joy that she joins these various projects which lead her to perform in major festivals in France and in the rest of Europe (Netherlands, Belgium, Latvia, Portugal, …) confirming his desire to travel, to share the stage with international musicians, and thus allowing him to take part in cultural mixtures of great musical and human richness.

 

May 2023

NEWS

A la luz del dia - The Kapsber'girls: focus program

In this final instalment of the trilogy devoted to popular repertoires revived throughout Europe at the beginning of the 17th…

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In this final instalment of the trilogy devoted to popular repertoires revived throughout Europe at the beginning of the 17th century, Les Kapsber'girls take us on a journey to the end of the Spanish Golden Age, focusing on one of the most important genres of the period: the Tonos Humanos.

In contrast to the Tonos Divinos, the term Tonos Humanos covers the vernacular strophic songs appropriated by Spanish composers of the period, such as the Villanelles in Italy and the Brunettes in France.

In this programme, with the shimmering colours of a Spain still ablaze, the quartet pays tribute to the key composers who shaped the Iberian musical repertoire: Juan Arañés (...-1649), José Marin (1619-1699), Mateo Romero (1575-1647) and others.

With their characteristic taste for sonic textures, Les Kapsber'girls invite two additional instruments to join them: the harp and percussion, offering themselves the opportunity to enrich their palette of colours. Instrumental music was not forgotten by composers such as Gaspar Sanz (ca 1640-1710) and Diego Fernandez De Huete (1635-1713), who drew inspiration from fashionable songs and dances, leaving in their wake a wealth of tunes for guitar and harp, two emblematic instruments of Spanish Baroque music.

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TEASER

Photo H. Caldaguès


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