Ensemble Contraste

Mozart gave women some of his most captivating lyrical pieces. Dorabella's contradictions, Donna Elvira's wounds, Sesto's loyalty expressed through a woman's disguised voice... and Cherubino, that androgynous teenager, fascinated by the female world around him.
Through these arias dedicated to women, Mozart reveals his tenderness for his heroines and his dramatic genius.

Program 1 (4-artists ensemble)

Cast: 
Karine Deshayes, mezzo-soprano
Arnaud Thorette, viola
Johan Farjot, piano

Sesto (La clemenza di Tito): “Parto, parto, ma tu ben mio” (with clarinet obbligato transcribed for viola) -
Cherubino (Le nozze di Figaro): “Non so più” - “Voi che sapete”
Sonata in E minor, K. 304 (arr. for viola & piano) -
Dorabella (Così fan tutte): “Smanie implacabili” - “È amore un ladroncello”
Adagio in B minor, K. 540 (piano solo)
Donna Elvira (Don Giovanni): “Mi tradì quell'alma ingrata”
Motet Exsultate, jubilate, K. 165: “Tu virginum corona” & “Alleluia”

Program 2 (4-artists ensemble)

Cast: 
Karine Deshayes, mezzo-soprano
Arnaud Thorette, viola
Johan Farjot, piano
Pierre Génisson, clarinet

Sesto (La clemenza di Tito): “Parto, parto, ma tu ben mio” (with obbligato clarinet)
Cherubino (Le nozze di Figaro): “Non so più” - “Voi che sapete”
Adagio from the Clarinet Concerto in A major, K. 622 - 7'
Dorabella (Così fan tutte): “Smanie implacabili” - “È amore un ladroncello”
Trio in E-flat major, K. 498, nicknamed “Kegelstatt” (the “skittles”)
Donna Elvira (Don Giovanni): “Mi tradì quell'alma ingrata”
Motet Exsultate, jubilate, K. 165: “Tu virginum corona” & “Alleluia”