In just under twenty years, Cappella Mediterranea has established itself as one of the most most prominent in the interpretation of baroque and classical music. Its sound qualities, of commitment, finesse and color, are unanimously unanimous among audiences who have the opportunity to hear it and are praised everywhere by critics. Leonardo García Alarcón created this ensemble in 2005 to serve all the repertoires of the world Latin. From madrigalesque repertoire to grand spectacle opera, Cappella Mediterranea is deploys in small or larger numbers depending on the works performed. Starting from Italian or Spanish repertoires, the whole is brought, in the spirit of curiosities multiple of its director, to interpret French, Flemish or Germanic composers. If the intimate repertoire of madrigals by Claudio Monteverdi, Barbara Strozzi, Sigismondo d’India or Jacques Arcadelt, highlights lutenists, gamba players or baroque violinists, gathered around the harpsichord and organ of Leonardo García Alarcón, it is undoubtedly the discovery or rediscovery of a broader repertoire which established the international reputation of Cappella Mediterranean. Thus the re-creations of Il Diluvio Universale and Nabucco by Michelangelo Falvetti at the Festival of Ambronay, then that of El Prometeo by Antonio Draghi, La Finta Pazza by Francesco Sacrati or Il Palazzo Incantato by Luigi Rossi at the Dijon Opera (before revivals in Nancy, Geneva or the Royal Opera of Versailles) revealed to the public new or unknown works, milestones essentials of the history of opera. In this repertoire, the musicians of Cappella Mediterranea participate in the research of Leonardo García Alarcón around ideas of musical authenticity, articulation, incarnation. His attraction to all forms of theatricality led them all together to participate in astonishing Indes galantes by Rameau carried by the choreography of Bintou Dembélé and set stage by Clément Cogitore who triumphed at the Opéra Bastille in 2019, or in a rereading of Atys by Lully, choreographed and directed by Angelin Preljocaj (Geneva and Versailles 2022). These escapades towards French music should not make us forget what remains the heart of the repertoire of Cappella Mediterranea, that is to say Monteverdi, with in the first place L’Orfeo, repeated many times (and recorded with Valerio Contaldo in the title role), and L’Incoronazione di Poppea (Aix-en-Provence 2022, resumed in Versailles in January 2023), but also Francesco Cavalli: the ensemble participated in Elena (Aix-en-Provence 2013), Eliogabalo in 2016 at the Opéra de Paris, Il Giasone (Geneva 2017) and Erismena (Aix-en-Provence 2017). The sacred repertoire is another axis of the whole. Thus Vespro della Beata Vergine of Monteverdi and Bach's Mass in B minor and St. Matthew Passion left the memory of particularly intense moments, thanks in particular to the collaboration of the whole with the Namur Chamber Choir, of which Leonardo García Alarcón is the artistic director since 2010. More recently, the ensemble opened up to contemporary repertoire on the occasion of the premiere major composition by Leonardo García Alarcón: the oratorio La Passione di Gesù, work powerful and very personal, which received a fervent welcome in Ambronay and Geneva in the fall 2022, and which will be replayed this summer at the Saint-Denis Festival and at the Grand Manège de Namur. Among the major projects of 2023 are planned the creations of Il Dono della Vita Eterna, oratorio by Antonio Draghi, and La Jerusalem Délivrée, an opera by Philippe d’Orléans with the Center de Baroque music from Versailles. Cappella Mediterranea's discography includes more than 30 critically acclaimed records, recorded at Ambronay Editions, Naïve, Ricercar or Alpha Classics. In 2021, L’Orfeo was published by Monteverdi and Lamenti & Sospiri by Sigismondo d’India with Mariana Flores and Julie Roset and in 2022 La Finta Pazza de Sacrati with Mariana Flores, a world premiere. In 2023 is planned the publication of Amore Siciliano, “little Tosca” imagined from learned music and popular in Italy in the 17th and 18th centuries.