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Two Haydn Cello Concerto
Orchestre de l'Opéra de Toulon
LE TEMPS D’UN CONCERT, L’ORCHESTRE DE L’OPÉRA DE TOULON ASSOCIE HAYDN À MOZART, SON FILS SPIRITUEL QU’IL A SOUVENT GUIDÉ.
Soliste invitée, Julie Sévilla-Fraysse est l'une des violoncellistes les plus précieuses et l’un des talents les plus prometteurs de la jeune génération d'artistes de musique classique. Considérée comme un phénomène nouveau et rassemblant autour d'elle une grande et nouvelle communauté, elle représente comme nul autre l'excellence classique ainsi que l'élégance et la modernité à la française.
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FOR A CONCERT, THE ORCHESTRA OF THE OPERA OF TOULON ASSOCIATES HAYDN WITH MOZART, HIS SPIRITUAL SON WHOM HE OFTEN GUIDED.
As a guest soloist, Julie Sévilla-Fraysse is one of the most valuable cellists and one of the most promising talents of the young generation of classical music artists. Considered a new phenomenon and gathering around her a large and new community, she embodies like no one else classical excellence as well as French elegance and modernity.
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Movie Music
Julie Sevilla Fraysse - cello and Vincent Bidal - piano
"The enchanting sound of Julie Sevilla Fraysse's cello, along with the sensitivity of Vincent Bidal's piano, transports us through this repertoire that is as powerful as it is magnificent."
"From Ennio Morricone to Hans Zimmer, including Vladimir Cosma and of course Michel Legrand, the greatest film music themes are performed by this wonderful duo!"
new recording
new recording
In this first album released by naïve, Anja Linder naturally invites us to a Schubertiade, surrounded by cellist Julie Sévilla-Fraysse and violinist Laurent Korcia. The three friends come together for the sublime slow movement of the second Trio, well known for its use in cinema (notably Barry Lyndon by Stanley Kubrick) and adapted by Anja Linder for harp, violin, and cello, a configuration that the musician particularly cherishes and which reminds us that the harp was once a fundamental instrument in chamber music practice: until the dawn of the 19th century, its repertoire could be confused with that of the piano and harpsichord.
Before this absolute summit of Schubert's catalog, two Lieder, where the harp exactly takes over the piano part while the violin spontaneously substitutes for the voice, surround the Sonata for arpeggione arranged for cello and harp. A particularly lyrical score, which the Viennese composer wrote in November 1824 for a now disappeared instrument, a kind of guitar-cello, or "gamba" guitar, and which all cellists have adopted by transposing it, the Sonata for arpeggione finds here, in the new guise imagined by the harpist, the tone of intimate, dreamy confidence of the original configuration. A very touching musical moment, where the elegance of Anja Linder's harp playing offers an ideal counterpoint to the airy, almost tiptoeing sound of Julie Sévilla-Fraysse's cello.
Association Tournesol Artiste à l’hôpital
BRIGHTENING PATIENTS’ DAILY LIFE
Tournesol, Artistes à l’Hôpital is an association of general interest created in 1990, which offers artistic moments rich in emotion to hospitalized or isolated people.