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The Passarim project refers to the bridges between French song and Brazilian music. The collective thus offers an anthology of interpretations of French songs in Brazilian rhythms and bossa nova, samba and choro classics with French versions. On the French-speaking side, the influences are those of Brazilian music transmitters such as Pierre Barouh, Henri Salvador, Georges Moustaki, Claude Nougaro, Michel Fugain to name but a few, and a few nods to Georges Brassens! For the Brazilian part, it is Antonio Carlos Jobim, Joao Gilberto, Vinicius de Moraes, Chico Buarque, Pixiguinha, Baden Powell, Villa Lobos who inspire the project. Passarim comes in several themes which are presented in concert and which are described below.

Brassens brasileiro

If Georges Brassens preferred the sun of Sète to that of Rio and its umbrella pine to the magnolias of New Orleans, he was not particularly tempted by the syncopations of Brazilian rhythms. Over time, however, artists have focused on the seemingly improbable links between bossa nova, samba, choro, and his songs which sound magnificently in different rhythmic spheres, inviting us to rediscover his texts by arousing curiosity. ears of all generations and nationalities. Interpretations of songs by “two Georges” (Brassens and Moustaki) in bossa/samba mode have been explored since 2013 by Philippe Quevauviller (vocals), Fernando de Almeida Barros (guitar, vocals, arrangements) and Wellington Barros (piano). More recently other songs have flourished in choro mode and other Brazilian rhythms, arranged by Vitor Garbelotto (seven-string guitar), Roberto de Oliveira (trombone, mandolin) and Osman Martins (cavaquinho, percussion). Recordings gave birth to the project “Brassens dans tous ses états ” which brought together a large number of guest musicians (see page of the same name). Brassens Brasileiro thus offers an anthology of Brassens songs adapted into various Brazilian rhythms.

Passerelles franco-lusophones

Among the bridges, those from French song to Brazilian music attract more and more Brazilian musicians. Passarim with its theme “Franco-Lusophone Passerelles” offers interpretations of songs by Pierre Barouh, Georges Moustaki, Michel Fugain, Claude Nougaro in Brazilian mode, as well as fados in French version, arranged in Brazilian rhythms with the seven-string guitar by Vitor Garbelotto (seven-string guitar), the mandolin of Roberto de Oliveira , the flute and vocals of Cecilia Peçanha , and the vocals of Philippe Quevauviller 

Petite histoire de la bossa nova

The Bossa Flor Collective offers a “Little history of bossa nova” which retraces, with a narration (in French or other languages), the genesis and evolution of this music, from the influence of African rhythms, fado, samba and jazz in the form of musical paintings. The little story is staged musically and narratively by Fernando de Almeida Barros  (guitar, vocals, arrangement),  Wellington Barros  (piano), Claudio Rocha (saxophone, flute),  Roberto de Oliveira  (bass),  Marcos Della Rocha (drums, percussion),  Philippe Quevauviller  and Y lva Berg on vocals and narration.


Among the multiple musical sources of  Philippe Quevauviller  (vocals), the greats of French song have a special place. Accompanied by  Nathalie Culot  (piano) and  Alexandre Latora  (guitar), he revisits as a duo (piano-voice or guitar-voice) songs from the repertoires of Véronique Sanson, Georges Moustaki, Michel Fugain, Claude Nougaro, Yves Duteil, Serge Reggiani and Didier Sustrac while wandering through their repertoires.



Musical production, edition, singer


Music director, composer, singer, guitarist



Pianist, singer, choir conductor, composer


Saxophonist, flautist


Guitarist seven strings, arranger



Author, composer, arranger,





Recorder, guitar, vocals






Guitar, trumpet, vocals

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