As an oratorio, the Vittoria Choir is naturally drawn to an « intimate » repertoire, more in keeping with the voices of its some seventy members, and has a predilection for piano-accompanied works. Broadly encompassing five centuries of music, from sacred to secular, Tallis to Decoust, the Choir’s repertoire also includes the Viennese classics (Mozart, Haydn and Beethoven), the romantics Berlioz, Saint-Saëns, Bizet, Brahms and Schubert as well as Britten, Orff, Poulenc and Duruflé.
The choice of pieces has been largely influenced by the curious and open mindset of the Choir’s artistic director.
« Choirs often find themselves locked into a very classical repertoire, » explains Michel Piquemal. « I like to explore uncharted waters –which is what we’ve done with the likes of Tomasi, Ropartz, Cras and Caillebotte – and showcase works that deserve an audience. Our task is to open our audience’s minds to new music while also respecting the preferences of our singers. »
« We have this reputation for ‘discovering’ new works, » recounts Boris Mychajliszyn, « which is something that also sets us apart from other choirs. »
The Choir’s rediscovery of the music of Martial Caillebotte over the past seven years has been a real adventure, and has already resulted in three separate recordings.
The Vittoria Choir also loves to collaborate with others, in particular, contemporary composers like Raymond Alessandrini, Olivier Calmel, Juan José Mosalini, David Alagna and Anthony Girard.
« It is important to explore the music of our time, understand the masterpieces of the past, and look to where the music of today will lead us in the future, » concludes Piquemal.