[10] That same year, Caré and Robert participated with Perceval in performances of "Bela Domna, chants of women from the 12th and 13th centuries"[11] at the Chapel of Notre-Dame-des-Ardilliers in Saumur, where she took care of the singing, gemshorn, and percussion.

[14] In 2004, Katia Caré released a solo album, accompanied only by Gisela Bellsola, featuring works centered around the general theme of "abandonment in the songs of women, trobairitz from the Occitan region or trouvères from the langue d'oïl".

[19] The musicologist Édith Weber described some of her research and findings for the album "Carmina Carolingiana" by Ligeriana:[20] Concerned with authenticity, Katia Caré consulted Christophe Tellart, who provided the Ensemble with valuable linguistic advice for the pronunciation of Carolingian Latin according to Germanic customs.

Her Ensemble Ligeriana successfully recreates these formidable carmina carolingiana, whose interpretation benefited from the excellent acoustics of the Royal Abbey of Fontevraud, with resonant effects.

The performers stand out for their vocal homogeneity and accuracy, their timbres, and the balance between voices and instruments; they deserve credit for creating a beautiful Defense and Illustration of the repertoire in use during the 'Carolingian Renaissance.'