The 47th edition of the Ambronay Festival, titled "Latitudes baroques," took place in 2026 and featured three sessions instead of the usual four. Despite this change, the festival remained a key event for musical discoveries, drawing attention to innovative performances and historical interpretations. The festival included a variety of artistic proposals, with two major concerts programmed at the same time. One was Universo, an adaptation of Dom La Nena's last album for string quintet, performed by a Franco-Brazilian singer-violinist-author-composer in the Espace D. Bénassy. The other was Musica Regalis, a new project by the ensemble Il Caravaggio, held in the Abbey. In the Monteverdi Hall, the Duo Nysiak — consisting of mezzo Ariane Le Fournis and theorbo player Pierre-Baptiste Brioude — performed Charmantes nuits, benefiting from the accompaniment program Excubation. Le Fournis's voice was praised for its smooth, velvet-like quality, and the performance included pieces in French, Spanish, and Occitan, with the audience singing along to "Colachon, Colachon" instead of the well-known "Bambino, Bambino" by Dalida. In the Abbey, Il Caravaggio performed a spatialized concert that recreated historical performance conditions for baroque masterpieces, such as Charpentier's Mass in four choirs. The performance featured two female voices singing Couperin's Tabescere me fecit, followed by a solo Ave Maris Stella by Guilhelm Worms. The choir and conductor then emerged for an operatic interpretation of the mass, with soloists including Emmanuelle De Negri, Mathilde Ortscheidt, Paco Garcia, and Pierre Derhet. The concert continued with an Agnus Dei in the style of Christina Pluhar, followed by a Crucifixus à 8 by Antonio Lotti. After an intermission, the ensemble performed the Miserere C116 of Clérambault, ending with a Denial of Saint Peter featuring Jordan Mouaïssia and Paco Garcia. The Ministers of Pastime, part of the European EEEmerging program, performed Vivaldi and Guido's Seasons in the Abbey, focusing on the themes of Summer and Autumn. The program, conceived by cellist Guillermo Turina, reflected on global warming, suggesting that Vivaldi's Four Seasons might soon be outdated on a continent struggling with the transition from summer to autumn in 2026. The performance included Giovanni Antonio Guido's Scherzi arminici sopra le quattro stagioni dell'anno, with solo violinist Ignacio Ramal's performance noted for its plaintive, melancholic quality. Lambert Colson's interpretation of Monteverdi's Vespers of the Virgin, based on the 1610 Mantua manuscript, featured 14 instrumentalists and 10 singers. The performance was reconstructed in the manner of a vespers service, including a flight of bells, a toccata by Claudio Merulo, and a Salve Regina by Palestrina performed a cappella from the back of the nave. The concert ended with the entire ensemble facing a gradually deserted stage, leaving only the vision of the organ, creating a powerful and meditative conclusion to the performance.