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MORA VOCIS
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Songstresses

Mora Vocis began as a host of male and female singers; then they were five; then they were seven. The male voices later departed to leave a select group of songstresses. Today’s line-up of remarkable ladies comes from all over the world and continues to take audiences’ breath away.

Historic buildings set into vibration

With their whirls of sound, the singers interact with the acoustic characteristics of each venue, drawing the attention of the public to parts of the edifice they often no longer even notice. Each venue, whether it be of historic interest or purely unconventional, becomes an integral part of the journey.


Dancing verse

The musicians of Mora Vocis, singing by heart and with flowing movement, captivate each form of architectural heritage. A dash of humour and an unexpected flight of fancy provide the finishing touches to each production.


Resonating gestures

Circus artists, actors or dancer-choreographers join forces with Mora Vocis to put the human body in the limelight and, through the melodic line of a silent clown or a tightrope walker’s dream, further the sense of motion imparted by the singers.


A company of connoisseurs

The common goal of performing music from the Middle Ages and the present day unites the singers, who express an essential and deep-felt communal spirit, enhanced by their respective specialised training in musical and other/alternate/parallel fields.


From the neum to polyphony

Somewhat like builder journeymen, the singers are inspired as much by the physical medium as the beauty of the medieval manuscripts. Rather than attempting to produce a historical reconstruction, Mora Vocis simply shares its passion for these musical treasures, from virtuosic neumæ to the complex polyphony of Ars subtilior.


From contemporary music to the Middle Ages

Which comes first?

Many a contemporary composer and music maker has been won over by medieval thinking. A poem, canticle or melody from the Middle Ages serves as inspiration for compositions that fit the voices of Mora Vocis like a glove. The singers enjoy interpreting these new scores with the same uncompromising approach they adopt for the early repertoire.


To sum up

Mora Vocis can take on multifarious forms for different concert programmes but always demonstrates the same enthusiasm, whether it be during rehearsals, concerts or over a good meal!

THE ENSEMBLE
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Els Janssens-Vanmunster
voice, artistic direction
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Caroline Marçot
voice, composition
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Hélène Richer
voice
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Céline  Boucard
voice
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Anne  Delafosse
voice
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Kelly  Landerkin
voice
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Annie Paris
voice
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Clotilde Cantau
voice
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Floriane Hasler
voice
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Emilie Nicot
voice
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Baptiste Romain
medieval fiddle, renaissance violin, bagpipes
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Angélique Mauillon
early harps
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Amanda Righetti
chinese pole
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Laura De Nercy
dance-choreography
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Gisèle Clément
music history, musicology
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They sang and played in Mora Vocis
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Caroline Marçot
voice, composition

Caroline Marçot graduates at the Conservatoire National Supérieur of Paris-France in analysis, Renaissance counterpoint, harmony, written expression of the 20th Century and aesthetics, after studies in the Ecole Nationale de Musique et de Danse of Orsay (Vallée de Chevreuse), the Conservatoire National de Région of Paris and the Musicology Department of the Sorbonne University and a training in the Radio-France Maîtrise, and Le Jeune Choeur de Paris.

Caroline Marçot regularly performs as an extra with the Maîtrise of Notre Dame de Paris (dir. Lionel Sow), the chamber choir Mélismes (dir. Gildas Pungier), Le Concert d'Astrée (dir. Emmanuelle Haïm), and with Les Éléments (dir. Joël Suhubiette). She also sings and records as a soloist in various chambers groups as the trio Viva Lux, she created in 1998 (Renaissance), or Mora Vocis that she joined in 2003 (Propos Exquis - Studio SM, abeille musique ; L’Amante - Mandala, Harmonia Mundi, 2005 ; Sources - Mora Vocis, 2008 ; DVD Motet - Mora Vocis, 2010).

In 2000, Caroline Marçot turns to composition. She begins with a first piece for Geoffroy Jourdain/Les Cris de Paris (Capitolo Novo, Nocturne, l’Empreinte Digitale) and immediately created for others : Rachid Safir,/Les Jeunes Solistes ( Villa Médicis, July 2000), Geoffroy Jourdain/Vivete Felici (La Nuit de la Voix, Théâtre du Châtelet, May 2001), Toni Ramon/Maîtrise de Radio-France (May 2002 in Paris), Roland Hayrabédian, Orchestre des Jeunes de la Méditerranée (July 2002, «Cent noms de l’Amour», Actes Sud, Naïve), Laurence Equilbey and Geoffroy Jourdain/Le Jeune Choeur de Paris (January 2001 and 2003), Daniel Reuss/Cappella Amsterdam (May 2004, Cité de la Musique, Paris), Roland Hayrabédian/Musicatreize (March 2005, Radio France)... Prizewinner of the Natexis Banques Populaires Foundation, She is now working on a cycle of madrigals for Rachid Safir/Les Solistes XXI and is preparing the publication of her works with the JOBERT-LEMOINE Editions.

After having directed the Maîtrise de Saint-Christophe de Javel chorus Cæcilia for several years, Caroline Marçot creates in 2010 the Ensemble l’Echelle, that she co-directs with Charles Barbier.

BIOGRAPHY
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