The Air de cour, born in the Middle Ages and refined in the 17th century by Boesset and Guédron, expresses romantic yearning through monodic or polyphonic forms, often ornamented. It gradually evolves into the more introspective Air sérieux, while remaining a subtle art of seduction and emotional expression.

At the same time, Father François Berthod transforms these secular airs into Airs spirituels for nuns, replacing worldly love with faith, while preserving the musical elegance of the originals.

This practice reflects the ongoing tension between secular and sacred music throughout the 17th century. While the Motet flourishes in the liturgical splendor of the Royal Chapel with composers like Lully, Lalande, or Lalouette, other places such as Saint-Cyr—founded by Louis XIV and Madame de Maintenon—offer noble young girls a religious education in which music plays a central role. Clérambault, Nivers’ successor, composes refined motets there, such as his Miserere, blending virtuosity with spiritual fervor.

Our program imagines the fate of a young boarder at Saint-Cyr, torn between heart and reason, between the worldly songs she gathered in her family and the spiritual constraints of the convent school. When Berthod adapts secular airs for pious purposes, she sings them—resigned. But in her heart, the original words still echo.

Through this musical journey between passion and faith, La Néréide explores the story of one young girl—and beyond her, the story of all women: torn, complex, powerful.

To sing is to exist—so these ancient voices become voices of today.

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avec la participation de

Emmanuel Arakélian: organ
Salomé Gasselin: bass viol

Miguel Henry: theorbo