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À l'auditorium

Benjamin Biolay

French Music - Released September 29, 2023 | Universal Music Division Romance Musique

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Marais: Ariane et Bacchus

Le Concert Spirituel

Classical - Released March 24, 2023 | Alpha Classics

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Le Manteau de Pluie (Version Remasterisée)

Jean-Louis Murat

French Music - Released December 20, 2019 | [PIAS] Le Label

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Jeu

Louise Jallu

Jazz - Released March 8, 2024 | Klarthe Records Jazz

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Bacchanale: Saint-Saëns et la Méditerranée

Orchestre Divertimento

Classical - Released March 24, 2023 | harmonia mundi

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The Orchestre Divertimento and its conductor, Zahia Ziouani, often juxtapose European repertory with music from other parts of the world. Ziouani, who is of Algerian background, has a particular interest in the music of that country. She could not have found a composer whose works were more congenial to such a project than Camille Saint-Saëns, who visited Algeria no fewer than 18 times and composed a Suite algérienne, Op. 60, that is heard here, broken up and interspersed with Arabic music. What makes Ziouani's project unique is that there are not two types of music here but three. Many of the Saint-Saëns works are preceded by improvisations in the classical Arabic idiom, on oud, qanun, a traditional viol, derbouka, and the riqq drum. These are quite a musical distance from Saint-Saëns, but Ziouani introduces contemporary Arabic songs, of a semi-popular nature, as an intermediate step. The sets are mostly in related tonalities. This is an ingenious idea that sheds light on both Saint-Saëns, on what he heard when he heard Algerian music, and on the nature of contemporary popular traditions that are rooted in the classical music of the world. The Saint-Saëns performances themselves are entirely creditable, and the album is well recorded at a couple of different locations. A unique release that makes one want to hear more from this distinctive ensemble. © James Manheim /TiVo
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Le Concert des Oiseaux. Vincent Bouchot: Le Carnaval des animaux en péril

La Rêveuse

Classical - Released February 10, 2023 | harmonia mundi

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Several famous pieces of music based on birdsong appeared in the 19th and 20th centuries; those by Saint-Saëns, Britten, and Ravel are here, although Messiaen is not. However, the affinity between music and birdsong had been explored for centuries before that, and the early music group La Rêveuse here provides some delightful examples. The always pictorial François Couperin is represented, as is Rameau, but other composers are less familiar but no less charming. Sample the works by Theodor Schwartzkopff, Michel Blavet, and especially Michel Pignolet de Montéclair (1667-1737), whose "Les Ramages" ("The Songs") names a group of birds and then illustrates their songs. Then there are historical-instrument versions of Saint-Saëns, Britten, and Ravel. One may accept this idea or not, but even in the latter case, they don't do much to dent the charm of the whole. The program ends with a work by contemporary composer Vincent Bouchot, Le Carnaval des animaux en péril, a kind of a take-off on Saint-Saëns for the Anthropocene era that also calls forth a striking variety of instruments from La Rêveuse. Another questionable idea is that, in keeping with the practices of this group, recorded birdsong is heard between some of the tracks. Whatever aspects of this release might be doubtful, it rarely fails to bring a smile. © James Manheim /TiVo
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Meyerbeer: Robert le Diable

Orchestre National Bordeaux Aquitaine

Classical - Released September 23, 2022 | Bru Zane

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For his last season at the helm of the Opéra de Bordeaux, Marc Minkowski—always keen to conduct forgotten works which have, in some way, marked the history of music—sets his sights on Robert le Diable, Giacomo Meyerbeer's opera which was a true social phenomenon in 19th century France. The Palazzetto Bru Zane - Centre de musique romantique française has followed suit by officially publishing this concert version, which also features some excellent vocal soloists. Admired by Balzac, Sand and Dumas, this ‘grand opéra à la française’ (great French opera) faded into obscurity after the First World War. Its creator became a sort of pariah – one met with both condescension and mockery. With its ‘seductive and haunting melodies’ (Alexandre Dratwicki), it’s nevertheless a flamboyant work that greatly inspired his contemporaries, such as Verdi, who referred to it in La Traviata. The extraordinary impact of Robert le Diable was such that it was performed a great many times on every continent. A true one-man band, Marc Minkowski has invested himself entirely in this undertaking, learning this vast score practically by heart and conducting it with his usual power and conviction. The international cast is full of surprises thanks to their deep understanding of the work and the protagonists’ fantastic pronunciation. This new release, to the credit of the Bru Zane label, revitalises our knowledge of this work that’s scarcely mentioned in specialised dictionaries. © François Hudry/Qobuz
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Salle des pas perdus

Coralie Clément

French Music - Released October 19, 2001 | Bambi Rose

Salle des Pas Perdus is a soundtrack for a film that doesn't exist, but if it did, Coralie Clément says that the movie could be Jean-Luc Godard's 1959 A Bout de Souffle. And just as in the movie, Clément's debut record deftly moves between high art and pop culture, from classical arrangements to lushly orchestrated pop to bossa nova, all the while making winks toward '60s French pop. Coralie, in fact, sounds like a young Jane Birkin, and even the cover photo on the CD -- a timeless, stunningly beautiful, and melancholy Clément shot on a Paris street through a red filter -- evokes the artwork on records of such French chanteuses as Françoise Hardy. This album is a result of a collaborative effort that recalls the Serge Gainsbourg/Jane Birkin relationship: Each of the album's tunes was written and arranged by noted composer/writer/performer Benjamin Biolay, Coralie's brother. His themes range from the illusory nature of love ("La Mer Opale," a wistful love song about the moon and the sea, Biolay's trumpet accompanying his sister's almost-whispered vocals as waves wash in the background; theatrical, maybe even kitschy, but utterly lovely), samba ("Samba de Mon Coeur Qui Bat," a swank, loungy bossa nova that echoes Astrud Gilberto), and lighthearted debauchery ("Le Jazz et le Gin"). It is somehow all cohesive, each of the songs a self-contained vignette that pieces together the larger theme of the album. Fans of '60s French pop will feel that they've unearthed a buried jewel in this record.© Kim Reick Kunoff /TiVo
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Debussy: Estampes, Pour le piano, Piano Works

Alain Planès

Classical - Released February 22, 2007 | harmonia mundi

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HOOD VOLUME.1

HOUDI

Hip-Hop/Rap - Released January 5, 2024 | LA RÊVERIE

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Rameau & Couperin: Pièces pour clavier

Clément Lefebvre

Classical - Released May 18, 2018 | Evidence (LTR)

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For his first record, the young French pianist Clément Lefebvre has selected Couperin and Rameau, whom he presents here in the very original form of an expressive journey through a single day, from morning to night. On the way, Lefebvre moves from one composer to another and playing on their suggestive titles, he underlines what unites and divides them with a subtle intelligence. Clément Lefebvre showed a keen interest in music from a young age. He started playing piano at the age of four, before discovering percussion. After studies and winning prizes in these two instruments at the Conservatoire de Lille, he decided to concentrate fully on the piano. Hortense Cartier-Bresson taught him at the Conservatoire de Boulogne-Billancourt and prepared him for the entrance competition for the Conservatoire de Paris (CNSMD). Clément Lefebvre entered the prestigious institution in 2010 and learned with Roger Muraro, Isabelle Dubuis, Claire Désert, Pierre-Laurent Aimard, and Alain Planès. He also received masterclasses from Philippe Bianconi, Xu Zhong, Michael Lewin, Christian Ivaldi, Emmanuel Strosser as well as from members of the Wanderer Trio. Clément Lefebvre won the First Prize and the Audience Prize at the 2016 James Mottram international piano competition in Manchester. A soloist, he also enjoys chamber music, whether with the Alban Berg Piano Quartet which he founded with a few friends, or as part of a duet with pianist Alexandre Leroy. © François Hudry/Qobuz
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Femmes de légende

Élisabeth Pion

Classical - Released May 26, 2023 | Les Disques ATMA Inc.

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Nuit Sacrée

Accentus - Laurence Equilbey

Sacred Vocal Music - Released January 4, 2010 | naïve classique

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Alexander Scriabin : Intégrale des Etudes pour piano

Andrei Korobeinikov

Solo Piano - Released October 6, 2014 | Mirare

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Harp Concertos (Ginastera/Debussy/Boieldieu)

Alberto Ginastera

Concertos - Released November 4, 2016 | Claves Records

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
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Récital - Pantin 81

Barbara

French Music - Released December 1, 1981 | Universal Music Division Mercury Records

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Reynaldo Hahn

Quatuor Tchalik

Chamber Music - Released November 13, 2020 | Alkonost Classic

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Anima

Baptiste Trotignon

Classical - Released January 14, 2022 | Alpha Classics

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An eminent ambassador of the "French Touch" in jazz and winner of many awards (Django-Reinhardt, Victoires du Jazz, Django d’Or, SACEM jazz awards), Baptiste Trotignon has been composing for symphony orchestras and classical musicians for several years. The music on this album is not "symphonic jazz", says Trotignon, "but you can hear the sounds of the Afro-American musical language, whether in the harmonies or in the very motoric rhythms that are always in motion (dances, toccatas, grooves)". There are three pieces on the programme: Anima, the most ambitious work he has written to date, not only in terms of length but also in terms of orchestration, density "and a much stronger desire to make the orchestra sing"; Hiatus et turbulences, his very first piece with orchestra; and finally L’air de rien, a lighter piece which ends with a tango, and on which he himself plays the piano and adds improvised sections. © Alpha Classics
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Hélène de Mongeroult, portrait d'une compositrice visionnaire

Marcia Hadjimarkos

Classical - Released September 20, 2023 | iMD-Seulétoile

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Variéty

Les Rita Mitsouko

Rock - Released April 16, 2007 | SIX SARL

Hi-Res Distinctions The Qobuz Ideal Discography
There is an arch pun in the title of this Rita Mitsouko release, which sees the French boho-rock duo eschewing standard French pop (or variété) in favor of a broader rock palette. Opening track "L'Ami Ennemi" immediately surprises by its delicacy. In an incongruously sweet vocal turn, Catherine Ringer sneers at an old friend over lilting acoustic guitar laced with harmonica. It is a terrific song, but one that sets a standard the rest of the album doesn't meet. Harmonica also features in "Communiqueur d'Amour," the second song, which is nearly indistinguishable from the first -- and the listener begins to wonder what became of Les Rita Mitsouko's restless innovation. The answer may be that they have lost it: tracks like the jokily named "Berceuse" (Lullaby), with its squall of electric guitar and belligerent chorus, and "Terminal Beauty," where Ringer trades overblown vocals with System of a Down's Serj Tankian, never stray from middle-of-the-road rock. Overall, this is a ragbag of decent and subpar songs with no uniformity of purpose, lacking the urgency and sheer oddity of their best work. There are a couple of highlights: "Rendez-Vous Avec Moi-Même" features tooting flute and punchy lyrics over Fred Chichin's simple pattern of guitar funk, while "Même Si" is a meltingly lovely number. But even these songs cannot rescue the album from the disappointment it provokes. This is a shame, as Ringer's voice is still one of the most wonderful in pop music, but the pizzazz of the duo appears to be missing. The problem seems to be one of locating the Frenchness in rock music at this stage: where early albums like The No Comprendo brought a Gallic cabaret melody to spiky guitar riffs, Variéty cannot marry these two aspects of the Ritas' style.© Caspar Salmon /TiVo