Arts-Scène Diffusion

Les Kapsber'girls

MUSIQUE ANCIENNE

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

Garance Boizot (version longue) Viole de gambe

 

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

ACTUALITÉ

A la luz del dia - Les Kapsber'girls: focus programme

Dans ce dernier volet de la trilogie consacrée aux répertoires d’origines populaires remis au goût du jour dans l’Europe entière…

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Dans ce dernier volet de la trilogie consacrée aux répertoires d’origines populaires remis au goût du jour dans l’Europe entière au début du XVIIe siècle, Les Kapsber’girls proposent une plongée dans la fin du siècle d’Or espagnol en se penchant sur un des genres les plus importants de cette période : les Tonos Humanos.

En opposition au Tonos Divinos, le terme Tonos Humanos regroupe les chansons strophiques vernaculaires que se sont appropriés les compositeurs espagnols de l’époque, à l’instar des Villanelles en Italie et des Brunettes en France.
Ainsi, le quatuor met à l’honneur, dans ce programme aux couleurs chatoyantes d’une Espagne encore incandescente, les compositeurs-phares qui ont façonné le répertoire musical ibérique : Juan Arañés (…-1649), José Marin (1619-1699), Mateo Romero (1575-1647).

Avec le goût pour les textures sonores qui les caractérise, Les Kapsber’girls invitent deux instruments supplémentaires à se joindre à elles : la harpe et la percussion, s’offrant ainsi l’occasion d’enrichir leur palette de couleurs ! La musique instrumentale n’est d’ailleurs pas en reste chez les compositeurs – on retiendra notamment  parmi les plus célèbres Gaspar Sanz (ca 1640 -1710) et Diego Fernandez De Huete (1635-1713)  - qui s’inspirent alors des chansons à la mode ou des danses en vogue pour laisser dans leur sillage quantités d’airs pour guitare et harpe, deux instruments emblématiques de la musique baroque espagnole !

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Photo H. Caldaguès


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