The Wonders of Italian Baroque

A prestigious ensemble renowned for its refinement and precision, Les Violons du Roy regularly perform at Orford Music, leaving a lasting impression with each concert.

For this performance, Les Violons du Roy present a vibrant journey through the Italian Baroque repertoire, highlighting the richness and inventiveness of the concerto grosso. From the foundational elegance of Arcangelo Corelli to the infectious energy of Antonio Vivaldi, alongside the contrasting colors of Alessandro Scarlatti and the boldness of Giuseppe Torelli, each work reveals a subtle interplay between soloists and ensemble.

The famous Folia by Francesco Geminiani, with its expressive variations, unfolds with captivating intensity, while Vivaldi’s concerto for two violins features a virtuosic and sparkling dialogue between the bows. The program continues with the creativity of Charles Avison, inspired by Domenico Scarlatti, and concludes with the fiery virtuosity of Pietro Locatelli, a major figure of the Baroque violin.

Driven by the excellence of the musicians of Les Violons du Roy, this concert promises a moment both luminous and striking, where the spirit of Italian Baroque is expressed in all its vitality.

Repertoire

Artists

Antoine Plante
Praised for his conducting vigor and innovative programming, Antoine Plante has captivated audiences and musicians alike with his ability to bring music to life. Charles Ward of the Houston Chronicle lauded him for leading “an impressive account of the Mozart’s Requiem: authoritative, vigorous, emotionally intense, at times utterly gripping.”

As the founder of the Mercury Chamber Orchestra in Houston, Texas, Plante has played a pivotal role in the orchestra’s remarkable growth over its 24-year history.

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Les Violons du Roy
Les Violons du Roy takes its name from the celebrated court orchestra of the French kings. It was founded in 1984 by Bernard Labadie to explore the repertoire of music for chamber orchestra in performances matched as closely as possible to the period of each work’s composition. Its minimum fifteen-member complement plays modern instruments, albeit with period bows for Baroque and Classical music, and its interpretations are deeply informed by the latest research on seventeenth- and eighteenth-century performance practice. The repertoire of the nineteenth and twentieth centuries receives similar attention and figures regularly on the orchestra’s programs.

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