The 6th Masterclass with Orchestra by Talents & Violon’celles to the Rhythm of The Four Seasons
- Communication T&V
- 6 days ago
- 3 min read
Rediscovering Antonio Vivaldi's The Four Seasons with the celebrated Italian Maestro Giuliano Carmignola: this was the program for the 6th masterclass with orchestra by Talents & Violon’celles, hosted on December 2, 2025, in the legendary Salle Cortot in Paris. The four soloists, the young instrumentalists of the Ensemble Premières Scènes, and the audience experienced a memorable moment, uplifted by the Maestro’s generosity, musical expertise, and humanity.
For the 6th time, the annual masterclass by Talents & Violon’celles allowed some of the most promising young instrumentalists of their generation to benefit from an essential soloist-with-orchestra experience—made possible by the faithful patronage of Anne and Foucauld de Tinguy.
This edition was remarkable for two reasons. The orchestra was not, as usual, a known professional ensemble, but the Ensemble Premières Scènes, newly created by Talents & Violon’celles, giving its first concert. This was an incredible baptism by fire for these talented young string players, all beneficiaries of the Talents & Violon'celles instrument fund. The choice of work, Vivaldi's four famous concertos, was also noteworthy. Raphaël Pidoux, Vice-President and Artistic Director of Talents & Violon’celles, explains:
"The Four Seasons is the pearl of the Venetian Baroque repertoire. Vivaldi’s writing overflows with invention; it is truly perfect, an authentic masterpiece. For the violinists, being able to play it with the correct style and indications is unique and highly valuable."
While reflecting on the organisation of this masterclass, Raphaël asked one of the brilliant violinists supported by T&V in the halls of the CNSMDP:
"What is your favourite version of The Four Seasons?"
"Giuliano Carmignola's, without hesitation."
"Well, we will invite him."
And this immense musician, a great connoisseur of Antonio Vivaldi's concertos, described as "a prince among baroque violinists" by Gramophone magazine, answered the call of Talents & Violon’celles. He did not hide his delight in leading a masterclass focused on a work so dear to him, as it has accompanied him throughout his career. He cherished the encounter with the young artists, whom he saluted on stage as the "next virtuosos of France."
The afternoon working session brought together four violin soloists, one for each concerto: Nathalie Darst-Xia for "Spring," Thomas Briant for "Summer," Arthur Decaris for "Autumn," and Sora Lavorgna, a twelve-year-old prodigy, for "Winter." The concert that followed allowed the large audience to rediscover the work in its written refinement, its incredible expressiveness, and its almost organic dimension. The rehearsal continued on stage, with Giuliano Carmignola being inexhaustible and tireless, flying from one music stand to another. Both the young instrumentalists and the audience were completely captivated.
It was a great moment of transmission focused on expression and musicality—so warm and inspiring! For all the musicians, this was a rare experience, typical of the opportunities organised by Talents & Violon’celles, which multiplies initiatives to facilitate their entry into professional life and help them perform.
"While I was playing in a very strict, correct manner, he really encouraged me to approach Vivaldi with much more freedom, with much more colour, much more sound, much more dynamism."
Nathalie Darst-Xia
"Giuliano Carmignola managed to make the orchestra sound fuller by working on the well-defined role of each instrument. I had the impression that we were anchored to the ground, that there was something earthly in the interpretation."
Thomas Briant
"What I remember is the energy he gives, and not being afraid to make choices that are even more assertive, even more provocative. Taking liberties with very well-known works to find one’s own interpretation."
Arthur Decaris
"In the concert, I loved when we started working again on stage after I played. He said that in Baroque music, we shouldn't use a lot of vibrato—I will remember that."
Sora Lavorgna
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