该二重奏组合由一对双胞胎（Nadia演奏长笛，Annie演奏吉他）在1998年组成。她们在魁北克音乐学院学习音乐，以优异的成绩获得了学士学位证书。 在获得蒙特利尔大学硕士学位以后，Nadia与知名音乐家Patrick Gallois, Geneviève Amar 和 Emmanuel Pahud合作，演艺技术得到了很大的提高。
加拿大Similia Duo因其精致典雅的音乐制作而出名，曾获得很多奖项。这两位音乐家演绎的Nota del Sol於2004年获得由魁北克唱片工业协会颁发的年度最佳乐器专辑奖。她们的CD Fantasia於2006年获得有号称加拿大格莱美奖的魁北克音乐奖的最佳古典唱片奖。
她们满怀激情地演奏长笛和吉他，用其无与伦比的 音乐天赋詮释著音乐，有时还根据她们自己的安排加入新的音乐元素。在演奏古典风格的曲目时加入了生动的演绎，该组合享受著不断发现新音乐地平线的乐趣。不 管是演奏拉美音乐还是当代作曲家的作品，她们都努力向音乐爱好者展示著优美旋律和真正激情的魅力。
Nadia 作为一名优秀的独奏家，受邀为维也纳室内乐团和蒙特利尔交响乐团演奏，以世界青年乐团成员的身份赴北美，欧洲和亚洲演出。那时她有机会与世界著名的独奏家 安妮•索菲－穆特（Anne-Sophie Mutter）和詹姆斯.海涅斯（James Ehnes）以及指挥家库特•马祖尔（Kurt Masur）, 约阿夫•塔勒米（Yoav Talmi）弗兰兹－保罗•戴克尔（Franz-Paul Decker）同台合作. Nadia接受了魁北克文化艺术委员会及FCAR 资金的赞助. 她还获得了"总督学术奖章" ，奖励她作为大学生的杰出表现。
Annie 在拉瓦尔大学完成了Music Interpretation (guitar)硕士学位的学习。当时她的导师是Alvaro Pierri, 他也受到了魁北克文化艺术委员会的资助。Annie 跟随知名音乐大师Abel Carlevaro,Roberto Aussel和Hubert Käppel继续深造，同时师从Patrick Gallois，提高了她作为室内音乐家的技巧和能力。2001年，她在蒙特利尔交响乐团首次担任独奏，由André Moisan指挥。
她们被邀请参加世界各地的各种电臺和电视节目，并因Société Radio-Canada 和加拿大广播电臺的广播而更加出名。
她们的激情使得她们能够与世界各地的音乐爱好者一起分享对音乐的喜爱。她们在2005年日本爱知博览会上进行了表演；她们在2005年申请加拿大世界博览会 上的代表与1200名者申请者激烈竞争，最终脱颖而出，成为2005年世界博览会上的加拿大代表；她们与其他著名艺术家Corneille, Alanis Morissette, Jorane 和 Coral Egan等等分享了这份荣耀。 从 2005年开始, 她们巡演遍及了世界各地，包括：美国、波黑、中国、中国香港、中国臺湾、越南、新加坡、印度和加拿大等地。
在Analekta唱片厂牌上，她们推出了长笛和吉他二重奏的三张专辑：Cantabile, Nota Del Sol and Fantasia ，演奏古典和当代作曲家的作品。她们第四张专辑Dolce Vita将於2007年三月推出。
Composer: François Borne, Erik Marchelie, Albert Franz Doppler, Michael Conway Baker, Paul Agricola Génin
Performer: Nadia Labrie, Annie Labrie
Orchestra/Ensemble: Duo Similia
The instrumental fantasy on a popular theme is probably almost as old as music itself. In the 19th century, this type of fantasy was a staple in the repertoire of soloists, who would compose these made-to-measure show pieces to display their talents in the best light.
One surefire way to attract audiences was to program fantasies on themes from famous operas, which is just how Similia presents this delightful program of arrangements for flute and guitar.
In the second half of the 19th century, transverse flute making in France reached a level of excellence unrivaled in Europe, building on the revolutionary work of German flautist and flute maker Theobald Boehm. In 1847, Boehm literally transformed the instrument, abandoning the traditional conical-bore wooden flute so popular in the Baroque, and creating the cylindrical metal flute equipped with keys that bears his name and which we know today. The Boehm flute allowed greater accuracy and fluidity in virtuosic passages, but it was French makers who perfected its complex and sophisticated system of keys. Not only did French flautists quickly adopt the new instrument—which was at the time a novel prototype regarded with suspicion by many—they also composed a significant repertoire of pieces to highlight the new instrument's extraordinary capabilities.
Two such flautists were Paul-Agricol (or Agricole) Genin (1832–1909) and, a generation later, François Borne (1862–1929). Very little is known about them except that Genin was principal flute with the orchestras of the Théâtre Italien and the Concerts Colonne in Paris, and that Borne was a flute teacher at the Toulouse Conservatory and co-inventor of the "split E,” a device to make the Boehm flute's high E more responsive.
However, while these two flautists, who apparently wrote primarily for their instrument, remain in the shadows, their music has remained part of the flute repertoire through changing fashions and times. The reason for their popularity stems not only from their virtuosic sparkle, but also from the famous operatic themes that spring up from what are initially billed as free improvisations.
Borne uses this technique in his Fantaisie brillante on Carmen, imitating models of his countryman Genin on La Traviata, and of the German Karl Doppler, in the fantasy for two flutes on Rigoletto.
Karl Doppler (1825–1900) started his career at age nine as a child prodigy travelling Europe with his older brother Franz (1821–1883), also a flautist. The duo was renowned for the cohesion of their playing, even in the most difficult passages, but also for the fact that Karl held his flute "backwards” (i.e., to the left), giving the duo a symmetrical look on stage. Loyal to the old wooden transverse flute to the end, both Dopplers later enjoyed very successful careers as soloists, conductors and composers, dabbling in all the different genres, from chamber music to opera, to symphonic and concert works. They spent nearly 20 years together in the Hungarian capital before Karl was named Kapellmeister to the court at Stuttgart and Franz moved to Vienna to teach at the conservatory and direct the ballet of the Imperial court. Karl's Fantasy for two flutes on Rigoletto was probably composed for one of the many concerts the two adult brothers continued to give together, as was the Hungarian Pastoral Fantasy, by Franz, who may have also collaborated on the Rigoletto fantasy.
Flautists were not the only ones to write "brilliant fantasies” for their instrument. Violinists were also very much in the game, and Pablo de Sarasate (1844–1908) was probably the most celebrated violinist of his generation. Though born in Spain, Sarasate studied at the Paris Conservatory, and the French capital remained the base for his busy solo career in Europe and the Americas until his death.
He composed over fifty solo pieces for violin, with either piano or orchestral accompaniment and many with a Spanish flavour; he also wrote numerous opera fantasies. Once exception, however, is his German-titled Op. 20, Zigeunerweisen (meaning "gypsy songs”), which Similia presents here in a version for flute and guitar. Its succession of languid, nostalgic melodies opening into frenetic dance-like passages owes much to the Hungarian czardas—a "folk dance” which, in one of history's ironic twists, was adopted by the gypsies as their own, even though it was the complete fabrication of a late-18th-century ristocrat. Nevertheless, Sarasate's use of spectacular virtuosic effects gives the piece all the characteristics of a "brilliant fantasy.”
Between these brilliant 19th-century fantasies, Similia has interwoven the works of contemporary composers. Guitarist-composer, Frenchman Erik Marchelie, is partial to combining the guitar with other struments or instrumental ensembles. He has composed seven pieces for flute and guitar, including a three-movement Sonatine. The composer writes that in Gémeaux, written for Similia, "contrasting moods succeed one another, with passages that evoke calm or uneasiness giving way to bright, energetic music.” Valse, on the other hand, "is of more modest intent and, with its lightness of spirit and clear simplicity, is also more French. It speaks to the heart, rather than to reason, using plain, direct language .”
Finally, Michael Conway Baker is one of Canada's most sought after composers for cinema and television. Based in Vancouver, he has composed film scores for over 180 films and TV shows, many of them award-wining. He has also written over 125 symphonic and concert works, as well as dozens of chamber pieces. Elegy is a work originally written for flute and organ, which the composer was happy to rearrange for flute and guitar at the request of Similia.
01. Borne: Fantaisie Brillante Sur Carmen, Pour Flûte Et Piano - Borne: Fantaisie Brillante Sur Carmen, Pour Flûte Et Piano (11:36)
02. Marchelie: Gémeaux - Marchelie: Gémeaux (3:31)
03. Doppler: Rigoletto - Fantaisie Pour Deux Flûtes Et Piano op. 38 - Doppler: Rigoletto - Fantaisie Pour Deux Flûtes Et Piano op. 38 (9:11)
04. Conway Baker: Elegy, Pour Flûte Et Orgue, op. 21 - Conway Baker: Elegy, Pour Flûte Et Orgue, op. 21 (3:46)
05. Doppler: Fantaisie Pastorale Hongroise, Pour Flûte Et Piano, op. 26 - Doppler: Fantaisie Pastorale Hongroise, Pour Flûte Et Piano, op. 26 (10:55)
06. de Saraste: Zigeunerweisen, Pour Violon Et Orchestre, op. 20 no. 1 (7:58)
07. Marchelie: Valse - Marchelie: Valse (2:38)
08. Genin: Fantaisie Sur La Traviata, Pour Flûte Et Piano, op. 18 - Genin: Fantaisie Sur La