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​She was Marguerite Louise Couperin (1676–1728), cousin of François Couperin, the famous harpsichordist and organist of Louis XIV. Accepted at Versailles as a soprano voice in 1702, she is described by Titon du Tillet as “one of the most celebrated musicians of her time,” singing with “great lightness of voice and a marvelous taste.”​

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For this woman who was among the very first to sing from the tribune of the Royal Chapel, Couperin composed some of his most delicate and daring pages: music shaped for a rare purity, an airy yet grounded presence — emancipated from the continuo, entrusted to the violins, often accompanied by a flute — light and profound at once.​

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It was this precious duality that one day became self-evident: Marguerite Louise would be our name, our muse, our horizon. She inspires our musical gesture like a figure of avant-garde, a breath of freshness and grace, but also a form of inner spirituality that transcends centuries.

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We have no surviving portrait of her from the period. And so Marguerite Louise is reborn today in the faces of contemporary women — free, independent, creative women who make the baroque stage resonate with the same ardor she once carried in her own time.

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Through them, through their presence and their momentum, Marguerite Louise continues to exist, as a symbol of emancipation and freedom.