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Cantatas (sacred) - Released April 17, 2012 | Zig-Zag Territoires

Hi-Res Booklet Distinctions 3F de Télérama - Exceptional sound - Hi-Res Audio - Sélectionné par Ecoutez Voir

Sacred Oratorios - Released August 31, 2018 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
There is no shortage of parallels to be drawn between Caldara and Vivaldi: both Venetians, both boasting an impressive body of work running to several hundred pieces of all genres, both died in Vienna (in the same street and in the same penury!), although Caldara had written more operas and oratorios than the Red Priest. And here is one of these very 32 known oratorios, Maddalena ai piedi di Christo written in Venice around 1698; it is "oratorio volgare", that is, recited in Italian, rather than Latin. Originally written as an accompaniment to spiritual exercises, the oratorio came to replace profane operas when the theatres were closed, especially from November to Lent. It took on the guise of opera, and used many of its techniques: naves and altars were (re)decorated and mechanisms and costumes were employed. In reality, it was nothing but an opera with a religious theme... The words and the plot of Maddalena ai piedi di Christo are perfectly suited to these months of penitence. It is a drama of the moral breakdown that tortures the sinner who has to choose between worldly and heavenly love, between living a life of luxury and truly promising herself to Christ. The Le Banquet Céleste ensemble, led by Damien Guillon (who also sings the alto part of Divine Love), takes to this rare piece with fervour. © SM/Qobuz

Cantatas (sacred) - Released March 8, 2019 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason
Following his recording of J. S. Bach’s solo cantatas for alto BWV 35 and 170 (issued in 2009), countertenor Damien Guillon has continued his work of research and interpretation, devoting a second album to the Cantata BWV 169 for alto solo and to the famous BWV 82 Ich habe genug ; though better known in its 1727 version for bass, from 1735 onwards it was also performed by an alto voice. To complement this cantata programme, organist Maude Gratton performs Bach’s Prelude and Fugue BWV 543, as well as the chorales Allein Gott in der Höh sei Ehr, BWV 662, BWV 663 & BWV 664. © Alpha Classics

Sacred Vocal Music - Released February 26, 2016 | Glossa

Hi-Res Booklet Distinctions 4 étoiles de Classica

Secular Vocal Music - Released January 19, 2018 | Glossa

Hi-Res Booklet Distinctions 5 de Diapason
With Affetti amorosi Damien Guillon directs a dazzling selection of vocal works from Girolamo Frescobaldi, drawn from the Ferrara composer’s two books of Arie musicali. These arias date from 1615-1630, by which time Frescobaldi, now resident in Rome, had become a “cult” composer, and permitted great expressive freedom in the performance of his music. Purposefully offering a recording full of contrasts and singing of human and divine love, countertenor Guillon is admirably matched by the other vocal talents in Le Banquet Céleste: soprano Céline Scheen, tenor Thomas Hobbs and bass Benoît Arnould. This new Glossa recording includes two of Frescobaldi’s enduring and moving spiritual sonnets, Maddalena alla croce and Ohimè che fur as well as one of the nascent Baroque’s favoured vocal forms, the lettera amorosa, in Vanne, o carta amorosa. The singers are joined by lute, harp, cello and harpsichord from Guillon’s ensemble. In his wideranging and thought-provoking essay Pierre-Élie Mamou points out vivid characteristics of this early Baroque music – including “the play of opposites that greatly moves our souls” – notably the polarities between anxiety and pleasure, and time which passes and time which remains.© Glossa

Mélodies (England) - Released February 17, 2011 | Alpha