Fanny Clamagirand, violin
Fanny Clamagirand, born in 1984, studied the violin with L. Kolos before joining, at 16, J.J. Kantorow’s Postgraduate course in the Conservatoire de Paris. She obtained her Artist Diploma under I. Rashkovsky at the Royal College of Music, London. Then she was coached by P. Vernikov in the Vienna Konservatotium. She is currently supported by Anne Sophie Mutter.
Considered to be one of the greatest violinists of her generation, Fanny has made her mark on the
most prestigious international venues and festivals and performs with numerous renowned orchestras.
Fanny won numerous prizes and awards, particularly First Prizes at the Monte-Carlo Violin Masters (2007) and Fritz Kreisler (2005, Vienna).
In 2012 she performed outstanding debuts with the Wiener Philharmoniker at the Lucerne and Enescu Festivals and with the London Philharmonic Orchestra under Fabien Gabel performing Mendelssohn Concerto.
Fanny did also remarked debuts with Orchestre National de France/Alain Altinoglu and Orchestre
Philharmonique de Strasbourg/John Axelrod in Saint-Saëns 3rd Concerto.
2015/16/17 seasons include return with Orchestre National de France in a creation by Edith Canat de Chizy, and debuts with Orchestre Phiharmonique de Monte Carlo in Sibelius concerto and with Orchestre National de Lorraine in Mendelssohn concerto. She is the guest of the Saarländisches Staatsorchester as well as the Münchner Symphoniker. She performs in recital in Salle Gaveau in Paris, and at the Societa dei Concerti di Milano.
These last years, Fanny returned to Orchestre National de France performing Sarasate and Saint-Saëns, and performed Berg Concerto “A la mémoire d’un ange” with the Mamö Symphony Orchestra, Sibelius and Beethoven concertos with Orchestre National de Lorraine, Saint-Saëns concerto n°3 with Orchestre de Saint- Etienne, debuted in Barber Concerto with Orchestre National de Montpellier, and performed Beethoven Concerto with the Wiener Kammerphilharmonie etc.
She performed Peteris Vasks “Distant light” at the Festival de Besançon with Orchestre d’Auvergne.
Fanny takes part to the Anne-Sophie Mutter’s foundation and tours on this occasion around the world in all the most prestigious halls and festivals. She recently performed on tour a movement of Bach Double Concerto with Mrs. Mutter.
Fanny already had the opportunity to perform with such orchestras as Wiener Philharmoniker, London
Philharmonic Orchestra, Orchestre National de France, Wiener Symphoniker, Orchestre Philharmonique de Monte Carlo, Malmö Symphony Orchestra, Orchestre National du Capitole Toulouse and Tugan Sokiev, Weimar Symphony Orchestra, Royal Chamber Orchestra of Wallonie, Orchestre Philharmonique de Radio France, Orchestre Philharmonique de Monte-Carlo, Jerusalem Symphony Orchestra, Teatro La Fenice Orchestra, Wiener Kammerorchester etc.
She performs in such hand festivals as Théâtre des Champs-Elysées, Konzerthaus Vienna, Royal Festival Hall and Wigmore Hall in London, Mecklenburg-Vorpommern Festival, Festival de Saint-Denis, Festival International de Colmar, Festival de la Chaise-Dieu, Festival de Radio France et Montpellier, Festival de Menton, Haydn Festspiele et « Kammermusikfest Lockenhaus » in Austria, Académie de Verbier in Switzerland and she performs in such halls as Académia Santa Cecilia, Victoria Hall, Geneva, Chicago Cultural Center, Palais Garnier in Monaco and, in Paris, Auditorium du Louvre.
Her first CD, Six Solo Sonatas by Ysaÿe (Nascor; 2007) was highly acclaimed by the press.
The CD Three Saint-Saëns violin Concertos with the Sinfonia Finlandia Jyväskylä and Patrick Gallois (Naxos)
was released beginning of 2011, and received the CHOC by the French magazine Classica.
Fanny plays on a Matteo Goffriller violin made in Venice in 1700.

Orquesta Joven de Extremadura
For the biography of Orquesta Joven de Extremadura, please refer to the concert of Sunday, March 12

Gianluca Marcianò, conductor
For the biography of Gianluca Marcianò, please refer to the concert of Wednesday, February 15

Charles-Camille Saint-Saëns (1835 –1921)
Overture of Andromaque
A virtuoso pianist, Camille Saint-Saëns excelled in Mozart and was praised for the purity and grace of his playing. Similarly French characteristics of his conservative musical style – neat proportions, clarity, polished expression, elegant line – reside in his best compositions, the classically orientated sonatas (especially the first each for violin and cello), chamber music (Piano Quartet Op. 41), symphonies (No. 3, the Organ Symphony, 1886) and concertos (No. 4 for piano, No. 3 for violin). He also wrote ‘exotic’, descriptive or dramatic works, including four symphonic poems, in a style influenced by F. Liszt, using thematic transformation, and 13 operas, of which only Samson et Dalila (1877), with its sound structures, clear declamation and strongly appealing scenes, has held the stage. Le carnaval des animaux (1886) is a witty frolic; he forbade performances in his lifetime, ‘Le cygne’ apart. From the mid-1890’s he adopted a more austere style, emphasizing the classical aspect of his aesthetic, which, perhaps more than the music itself, influenced Gabriel Fauré and Ravel.

Violin Concerto No 3
The Violin Concerto No. 3, composed in 1880, was dedicated to the violinist Pablo de Sarasate, who premiered it the same year. It is one of Saint-Saëns’ most elegant works, a display of virtuosity without the excessive showmanship that dogged so many late-nineteenth-century violin concertos.

Georges Bizet (1838-1875)
Djamileh Egyptian Dance
In 1871 when Bizet was stalled on other projects for the stage, Camille du Locle, director of the Opéra-Comique suggested a piece to him written some years earlier by Louis Gallet based on Namouna. After some hesitation, Bizet composed the work during the late summer of 1871 but the premiere production was delayed due to trouble in finding suitable singers.
The original production formed part of a trio of new short works at the Opéra-Comique that spring: Paladilhe’s Le Passant in April, then Djamileh, and La princesse jaune (also an orientalist work) by Saint-Saëns in June. Bizet had wanted Galli-Marié (the first Carmen) or Marguerite Priola to create the title role – both were singing in the Paladilhe piece, but was obliged to take instead the inadequate Prelly.
On June 17, Bizet wrote to a friend that, despite the lack of success of his new piece, he at least felt that he had found his path as a composer.

Carmen Suites No.1 and No.2
Most opera goers are very familiar with Bizet’s Carmen. It also has all the ingredients that make for truly great musical theatre. It is so sad that within three months of its premiere in Paris in 1875 Bizet died in his mid-thirties without ever realizing the enormous success his opera would have. Not only that, but there was its powerful influence on the later so-called verismo, or realist, operas of Puccini and his contemporaries.