Speakers
- Benoît Dratwicki, researcher and artistic director (CMBV - CESR)
- Julien Dubruque, researcher and editorial manager (CMBV - CESR)
- Thomas Leconte, researcher and editorial manager (CMBV - CESR)
- Graham Sadler, researcher
- Loris Barrucand, harpsichordist
- Élisabeth Geiger, harpsichordist
- Valentin Bajou, cellist
- Hilary Metzger, cellist
- Martin Bauer, violist
- Claire Gautrot, violist
- Mathieu Lusson, violist
- Manuel de Grange, vocal coach (theorbo) (CMBV)
Following the study days organised in 2026, the Centre de musique baroque de Versailles is holding two further days combining theoretical reflection with practical experimentation to deepen our understanding of continuo practices in 17th and 18th centuries French opera and to open up new perspectives for performance.
These two study and experimentation days aim to extend the analysis of contemporary sources — first and foremost the collection of individual performing parts preserved in the Library of the Paris Opera — in order to reassess current approaches to continuo practice in 17th and 18th centuries French opera: ensemble size, instrumentation, layout, playing techniques, realisation, and the relationship between the continuo, the orchestra and the singers.
Scholarly papers, discussions between musicologists and performers, and hands-on practical sessions using copies of surviving period scores will shape the programme of these two days.
This scholarly event forms part of the long-term research on historical performance practice undertaken at the Centre de musique baroque de Versailles, the results of which have been brought to life in a number of landmark artistic productions.
