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Amongst several contemporaries of Scarlatti who devoted themselves to the solo cantata, one of the most prolific is the influential globetrotter Giovanni Bononcini, who wrote up to 283. During the first quarter of the 18th century Bononcini’s cantatas represent the principal trend of this genre. In these works, a fluent and effective technique is combined with a real gift for the composition of melodies. These lamenti are the central element of Bononcini’s dramatic works. His genius is perfectly adapted to tender and pathetic emotions. His melodies, rich and sweet, are written in a very personal style. Another important aspect of his music is the magnificent use of the text. In 1789 already, Charles Burney calls Bononcini “the most prolific cantatas composer” and claims that Bononcini’s recitatives are universally perceived as the best of their time, with the perfect genius of the Italian language.



The ensemble L'YRIADE has set itself the task of uncovering a new repertoire, one far removed from grandiose baroque opera productions, with the aim of exploring works of a more intimate nature and spirit, where the relationship between text and music reflects the link between performers and public. Rhetoric is thus used for musical and expressive ends, with the voices serving as instruments, and the instruments as voices. Each member of L'Yriade comes to the group from a different origin, and brings the wealth of their own personality and curiosity with them. They have agreed to pursue a dream of a new listening, which would lead to an aesthetic search about the effect of sonority and pronunciation on musical expression. Above all, L'Yriade delights in joining their audiences in those moments of beauty when hearing and music become one, and silence immortalises their communion.

Léonor de Recondo, Birgit Goris, violins
Elisa Joglar, cello
Isabelle Sauveur, harpsichord
André Henrich, theorbo


Nicole van Bruggen Following his studies at both the University and Conservatorium of Lille, CYRIL AUVITY made his professional debut under William Christie at the Festival d'Aix-en-Provence in 2000, as Telemaco in Monterverdi's Il Ritorno d'Ulisse in patria. He specialised in early music and has worked with many well-known conductors and musical directors in the field, such as Christopher Hogwood, Marc Minkowski, Gabriel Garrido, and Antonio Florio. He has participated in performances of Lully's Persée, and Purcell's Fairy Queen under the direction of Christophe Rousset, and as Actéon in Charpentier's opera of the same name under Emmanuelle Haïm. He furthered his work with William Christie and Les Arts Florissants in Charpentier's David et Jonathas, Lully's Atys, and the Monteverdi trilogy at the Madrid opera. He appeared in the title-role of Rameau's Pygmalion with Hervé Niquet, and Destouches' Callirhoé in Montpellier, and performed with Ottavio Dantone, Jordi Savall and Emmanuel Krivine, among others. L'Yriade and Cyril Auvity performed Purcell's Dido and Aeneas at the Montpellier opera in a staging by Jean-Paul Scarpitta. It was also with Scarpitta that he made his debut as Don Ottavio in Mozart's Don Giovanni, as well as Tamino in The Magic Flute. Cyril Auvity has further appeared in three productions of Lully operas: Thésée, Amadis (in the title role) and Bellérophon (also in the title role). He has made recordings for various labels, including Erato, Naïve, EMI/Virgin and Zig-Zag Territoires, for whom he released a first CD, Orphée, with L'Yriade.