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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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lien cellule
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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Els Janssens-Vanmunster
voice, artistic direction

Els Janssens-Vanmunster is a graduated speech therapist before she attends singing classes in the Conservatories of Liege (B), after which she specialises in early music in Toulouse (F) and in medieval music at the Scola Cantorum Basiliensis (CH).

Thanks to her flexible voice with a wide range, a rich timbre and an irreproachable pronunciation, Els Janssens-Vanmunster is at ease in both an early music and a contemporary repertoire.

Her strong presence and a constant awareness of the text in any language brings her naturally to interpretations of several beautiful stage-roles such as Speranza (in Monteverdi’s Orfeo), Anima Beata (La Rappresentazione di Anima e di Corpo, Cavalieri), Maria Magdalena (in different 13th Century liturgical plays) and three different roles in Esther, a contemporary chamber opera (Boris Yoffe, after Esther from Racine).

Els Janssens-Vanmunster performs and records with different groups of international fame such as Mora Vocis (which she leads since the end of 2010), La Fenice, Ferrara Ensemble, La Morra, Ensemble William Byrd, Les Jeunes Solistes... and regularly sings contemporary creations in immediate collaboration with the composers (Kl. Huber, P. Charvet, Boris Yoffe, Th. Pécou, J.-J. Di Tucci...). Very recently Els Janssens-Vanmunster came also back to an earlier love : Jazz, with

Arsys Bourgogne, Elise Caron and Jean-Christophe Cholet (Cholet-Känzig-Pappaux Trio)

A few of her more important solo-recordings :

• "Dame de Deuil" (selection of Margareta of Austria Songbook, 16th Century)

• "Flour de Beaulté" (selection from early 15th Century Cypriot Manuscript)

• "Opera omnia de Ciconia" (15th Century secular songs from Ciconia)

All three are with the Swiss ensemble La Morra (dir. Corina Marti and Michal Gondko)

• Neidhart, unerhörtes aus Reuental (Minnesang) with Marc Lewon and Baptiste Romain (Ensemble Leones)

• Japart and Isaac-Cds (to come out soon) with Les Flamboyants (Michaël Form)


Els Janssens-Vanmunster teaches in workshops, master classes and at the Montpellier University. She is frequently asked as a language-coach and for her artistic advise.

BIOGRAPHY
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