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The French Mademoiselle
Jacqueline Taïeb
French Music - Released October 28, 2002 | Anthology's
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Poulenc: La voix humaine
Véronique Gens
Classical - Released January 13, 2023 | Alpha Classics
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Francis Poulenc's La Voix Humaine ("The Human Voice") is a one-woman opera, less than an hour long, about a woman on the phone with her boyfriend as they break up. Set to a text by Jean Cocteau, it puts the woman through strong mood swings. (Country music fans may wish to compare it to As Soon as I Hang Up the Phone, although there, the boyfriend is present to deliver the final blow.) Soprano Véronique Gens is best known for music from the 17th century up to Mozart, but it is easy to believe the claim in the publicity materials for this release that she had always wanted to record this work; its direct, conversational quality, interspersed with occasional freakouts, fits her manner beautifully. It might seem that those freakouts require a bit more intensity than Gens gives them here, but that is not really in the Cocteau spirit and certainly not in the Poulenc spirit. Gens receives sensitive support from the Orchestre National de Lille under Alexandre Bloch, who also ring down the curtain with a lithe performance of the joyous Sinfonietta. There are other strong performances of Poulenc's little opera, which ought to be much more frequently heard and would be ideal for university voice programs, but this one is instantly appealing and quite memorable, and it is no surprise that it made classical best-seller charts in early 2023.
© James Manheim /TiVo
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Play It Like Jacqueline: The Lolita Chic Edit & Remix Album
Jacqueline Taïeb
Electronic - Released February 8, 2022 | Anthology's
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Late Night Tales: Trentemøller
Trentemøller
Electronic - Released May 30, 2011 | Late Night Tales
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Late Night Tales: Trentemøller
Trentemøller
Electronic - Released May 30, 2011 | Late Night Tales
Les heures persanes
Ralph Van Raat
Classical - Released April 5, 2011 | Naxos
Booklet
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Charles Koechlin may not be a well-known composer, but anyone who enjoys the music of Olivier Messiaen should get to know Koechlin. Les heures persanes, one of his better known works, is a suite of character pieces written between 1916 and 1919. Throughout the pieces are hints of what Messiaen would write later in his piano works, such as the Visions de l'Amen and the Vingt Régards sur l'Enfant-Jésus. Les heures depicts scenes of Persia -- although more landscapes than life studies -- with titles similar to those of Debussy's preludes, (e.g., "Clair de lune sur les terrasses" and "Les collines au choucher du soleil"). The harmonies are more advanced than Debussy, and in places, for example in No. 4 "Matin frais, dans la haute vallée," sound exactly like Messiaen. Nos. 14 and 16 have a brilliant intensity similar to Messiaen. No. 6, "A travers les rues" is more backward looking with lush, flowing lines evocative of Fauré's (one of Koechlin's teachers) writing, but with freer harmonies. Here, van Raat allows it to breathe almost like a jazz improvisation. Van Raat treats all the music very organically, adding nuanced color without it seeming at all like work. It streams very easily through his fingers, letting the slower movements become meditative to an extent, again creating a link to Messiaen, specifically his spirituality. Van Raat naturally tempers the music; the more active sections are never painfully intense, nor do the slower ones tend to inertia. This performance of Les heures would definitely suit as an introduction to Koechlin or as a bridge between Debussy or Fauré and Messiaen for anyone looking to expand the scenery of their musical countryside. © TiVo
Charles Koechlin may not be a well-known composer, but anyone who enjoys the music of Olivier Messiaen should get to know Koechlin. Les heures persanes, one of his better known works, is a suite of character pieces written between 1916 and 1919. Throughout the pieces are hints of what Messiaen would write later in his piano works, such as the Visions de l'Amen and the Vingt Régards sur l'Enfant-Jésus. Les heures depicts scenes of Persia -- although more landscapes than life studies -- with titles similar to those of Debussy's preludes, (e.g., "Clair de lune sur les terrasses" and "Les collines au choucher du soleil"). The harmonies are more advanced than Debussy, and in places, for example in No. 4 "Matin frais, dans la haute vallée," sound exactly like Messiaen. Nos. 14 and 16 have a brilliant intensity similar to Messiaen. No. 6, "A travers les rues" is more backward looking with lush, flowing lines evocative of Fauré's (one of Koechlin's teachers) writing, but with freer harmonies. Here, van Raat allows it to breathe almost like a jazz improvisation. Van Raat treats all the music very organically, adding nuanced color without it seeming at all like work. It streams very easily through his fingers, letting the slower movements become meditative to an extent, again creating a link to Messiaen, specifically his spirituality. Van Raat naturally tempers the music; the more active sections are never painfully intense, nor do the slower ones tend to inertia. This performance of Les heures would definitely suit as an introduction to Koechlin or as a bridge between Debussy or Fauré and Messiaen for anyone looking to expand the scenery of their musical countryside. © TiVo
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7 heures du matin / Bienvenue au Pays
Jacqueline Taïeb
Pop - Released May 15, 1967 | Anthology's
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Dupont: Les heures dolantes La maison dans les dunes
Stéphane Lemelin
Classical - Released June 2, 2011 | ATMA Classique
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