SAMAN vocal quartet

PROGRAMME

Sibelius (1865-1957) Islossningen i Uleå älv, Op. 30: Nejden andas

Einojuhani Rautavaara

– « Suite » de Lorca : La canción de Jinete n°1, La luna asoma n°3

– Wenn sich die Welt auftut (1996) – Flüstern, Nr.5

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Guillaume Dufay – Ma belle Dame Souveraine

Borlet – He, tres doulz roussignol ( Codex Chantilly)

Canciaonero de Uppsala – Ay luna que reluzes

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Thierry Machuel – The Invisible Kingdom (2005)

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1. Schumann

– Der Wassermann, Op.91, n°3

– Das verlassene Mägdelein, Op. 91, n°4

– Klosterfräulein, Op. 69, n°3

– Das Bleicherin Nachtlied, Op. 91, n°5

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Béla Bartok – Vingt-sept Chœurs à deux et trois voix Sz. 103, BB 111 ;

vol.I, n°3, Jószágigézõ

vol.VII, n°1, Bánat

vol.III, n°1, Ne menj el!

vol.III, n°4, Cipósütés

Guillaume Prieur – La Rose et le Rosier (2009)

ENSEMBLE PRESENTATION

The quartet was formed in 2020 with the aim of bringing musical moments to a wide audience in a warm and accessible way, offering a diverse repertoire spanning the medieval period, the Renaissance, traditional songs, and works from the 19th, 20th, and 21st centuries. The four singers of Saman engage with the audience in a storytelling and intimate way. In Indonesia, Saman is a dance symbolizing daily life, performed during festivals to strengthen bonds between villagers. In Icelandic, Saman means « together. »

BIOGRAPHY

Perrine Devillers:

After studying Clarinet and Education, Perrine Devillers specialized in early music at the Schola Cantorum Basiliensis in Basel, Switzerland, earning a Master’s degree in Renaissance-Romantic Performance.

She performs regularly with the ensemble Correspondances (S. Daucé), the ensembles Pygmalion (R. Pichon), Vox Luminis (L. Meunier), and Profeti della Quinta (E. Rotem). With lutenist Ariel Abramovich, she performs as a duo, focusing on programs of madrigals from the Italian, Spanish, and French Renaissance.
With organist Arnaud de Pasquale, she explores the repertoire of Sicilian Baroque organs, and at the piano, the era of Mozart in Paris.
Her discography has been critically acclaimed. Interpreting virtuoso works of 17th century Italy in Le Manuscrit Carlo G – Glossa – Diapason D’or, but also late medieval music with Sollazzo Ensemble: Parle qui veut, chansons moralisantes du Moyen-âge – Linn Records – Diapason D’or of the year 2018 and Gramophone editors’ choice, En Seumeillant – Ambronay Musique – Diapason D’or and Firenze 1350: Un Jardin Médiéval florentin, awarded Diapason d’or of the year 2020 and Sélection du Monde. Organs of Sicily with Arnaud de Pasquale – Harmonia Mundi – was also awarded a Diapason d’Or, as were Monteverdi’s Vespers with the Pygmalion Ensemble – Harmonia Mundi – and the Lamentationes Hieremiae Prophetae with La Profeti della Quinta – Pan Classics, which received a Diapason d’Or in January 2024.

Marie Pouchelon:

After training at the Radio France Choir School, from which she graduated in 2001, Marie Pouchelon continued her studies at the conservatory and in the faculty of musicology, where she earned her degree. She then worked with various ensembles, such as Les Voix Mélées (V. Rouquès) and Les Cris de Paris (G. Jourdain), with whom she confirmed her passion for contemporary music.

She then turned to early music, studying with Julie Hassler and joining the Pygmalion ensemble (R. Pichon), with whom she still participates in numerous productions and recordings. Passionate about ensemble music, she enjoys participating in projects as varied in form as in repertoire.

She performs regularly with Correspondances (S. Daucé), Diabolus in musica (A. Gerber), the Notre-Dame Choir School (L. Sow), Perspectives (G. Heurard), Aedès (M. Romano), and Macadam (E. Ferchaux).

Corinne Bahuaud:

Corinne Bahuaud discovered singing within the Maîtrise de la Perverie and the Nantes Opera. Alongside her studies in Musicology at the University of Tours, where she earned a bachelor’s degree, she pursued vocal training at the Angers Regional Conservatory in the class of Yves Sotin, obtaining a Diploma of Musical Studies. She then entered an advanced studies program in the class of Alain Buet at the Alençon National School of Music. She also studied early music at the Paris Regional Conservatory in the classes of Sophie Boulin, Howard Crook, and Weiss.

As a soloist or in choirs, she performs with Pygmalion, Les Eléments, Ensemble Correspondances, the Radio France Choir, Ensemble Clement Janequin, the Namur Choir, the Aedes Vocal Ensemble, and Les Arts Florissants.
She has worked under the direction of Michel Piquemal, Joel Suhubiette, Raphael Pichon, F.X. Roth, Matthieu Romano, Daniel Gatti, Myung-Whun Chung, and Valérie Fayet, and performs regularly at festivals such as La Chaise-Dieu, Ambronnay, Les Folles Journées de Nantes, Les Flâneries Musicales de Reims, and the Saint-Denis Festival.
Equally at home in Renaissance and Baroque repertoires as in contemporary music, she participates in numerous premieres, notably with the Méliades Vocal Quartet, Les Eléments, and the Mikrokosmos Choir (Loïc Pierre). She has also premiered works by Thierry Pécou, Thierry Machuel, Nicolas Bacri, Patrick Burgan, Gavin Bryars, Pascal Zavaro…

Anne-Emmanuelle Davy:

Anne-Emmanuelle Davy studied flute (with Philippe Bernold) and opera singing (with Isabelle Germain) at the CNSMD in Lyon.

Passionate about 20th-century and contemporary repertoire (Pierrot Lunaire/Schoenberg, Three Voices/Feldman, Kafka Fragments/Kurtag, etc.), she collaborates with Le Balcon (La Femme de peine, La Métamorphose, Levinas, directed by Nieto) and the Paris Chamber Orchestra (Schoenberg, Weill). She created the role of The Maid in Ondrej Adamek’s Seven Stones at the Aix-en-Provence Festival, choreographed by Eric Oberdorff, as well as Man Time Stone Time with the Radio France Philharmonic Orchestra, conducted by Kent Nagano.

She also created the title role in Kourliandski’s Eurydice – An Experience of Darkness at the Reggio Emilia Festival, with Dominique Mercy as Orpheus, directed by Antoine Gindt. She sang the role of the Prosecutor in Diana Soh’s new work, The Carmen Case, as part of the Enoa 2023 contemporary opera creation program.
In early music, she has worked with Les Arts Florissants (W. Christie), Les Musiciens du Louvre (M. Minkowski), and Ensemble Pygmalion (R. Pichon).
Her projects combining theatre and opera have led her to work with Peter Brook in The Magic Flute, in the roles of Papagena and Pamina (Théâtre des Bouffes du Nord and international tour). with Samuel Achache and Jeanne Candel, taking over the role of Dido created by Judith Chemla in Le Crocodile Trompeur/Didon et Enée, and the role of the Messenger, in Orfeo/Je suis mort en Arcadie.