In addition to vocal music in Dutch, the Duarte family were also interested in the latest compositions from Italy and France. By the early 1640s, Gaspard sent to Constantijn Huygens three Italian pieces for two voices that his “two daughters sing.” Alas, he neither mentioned composer nor which of his four daughters sang the works. At the end of the decade, letters exchanged between the two men mention Italian “madrigaletten,” Francisca’s sister Leonora Duarte’s singing, and the latest airs composed by the Parisian Michel Lambert. Such commerce represents international relations par excellence, as the musical circle at the Duarte home constituted a meeting place for the latest European styles. Francisca and Leonora Duarte, then, may have served as distant models for the great Parisian virtuose singers Hilaire Dupuy and Anna Bergerotti, singers mentioned in connection to the work of Lambert. The Duarte family’s connections to Parisian music making, even if tangential, can be inferred from the shards of information gleaned from the Huygens correspondence. Michel Lambert (1610-96) was the leading musician in the 1660s, the maître de la musique de la chambre du roi who specialised in the composition of the vocal air. Louis XIV’s court singers Bergerotti and Dupuy sang these airs and embellished them in ways that displayed their enchanting skills. Jean-Baptiste Lully’s marriage to Lambert’s daughter forged a further link between the Italian mode and this quintessentially French music derived from the earlier air de cour. That Francisca Duarte was mentioned alongside Bergerotti in Huygens’s letter to Froberger and that she and her family promoted Lambert’s music in Antwerp suggests the international renown of the style, as well as the Duarte family’s musical skills and interests. Furthermore, we learn from Rasch’s work that in the 1640s and 1650s the French court musicians Anne and Joseph de La Barre, as well as Nicolas Lanier, made a point of stopping at the home of the Duarte en route for other destinations.