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Chief conductor of Les Siècles symphony orchestra, François-Xavier Roth has been revisiting French music from the beginning of the 20th century for several years now, taking care to honour both the original instruments and to find melodies that favour even greater clarity of timbre and attack. After his incredible recordings of Debussy, Ravel and Stravinsky’s first work (special mention to the superb complete version of L’Oiseau de feu), everyone naturally expected the conductor to perform Pelléas et Mélisande, the opera he conducted at the very beginning of his career which is particularly close to his heart.This new version of Debussy’s masterpiece was recorded on the 20th and 21st of March 2021 at the Opéra de Lille. As one might expect, the orchestra, which is present throughout the score (it conveys emotion and feeling in the style of Wagner and Mussorgsky) is given pride of place by François-Xavier Roth, who transforms this strange opera into some sort of secular oratorio.As for the singers, it’s a real treat to hear French voices in the two main roles. Vannina Santoni’s portrayal of Mélisande is refreshing, and she makes the character less naïve than previous interpretations have done. She asserts herself in the forest scene at the beginning of the piece and later, in the final scene, she confidently declares to Pelléas "I only lie to your brother!". Pelléas is personified by a tenor voice and not by a light baritone as intended by Debussy (in fact, he sounds much like Eric Tappy in Armin Jordan’s beautiful version of Erato). Thanks to Julien Behr’s stellar performance, the character comes across as fragile and overwhelmed by his ill-fated destiny. Alexandre Duhamel’s touching portrayal of Golaud reveals a gritty character who is undeniably relatable, despite being consumed by an ardent jealousy that ultimately causes him to murder his younger brother and, indirectly, Mélisande. Jean Teitgen is a less dogmatic Arkel than usual. Literally and figuratively blind, it’s as though he has no understanding of what’s happening within the castle and is unable to escape the confines of his own, outdated idealism. Marie-Ange Todorovitch does a good job playing the difficult and often overlooked role of Geneviève, whose appearances, though infrequent, are pivotal.Finally, it should be noted that François-Xavier Roth uses the definitive and complete version of the opera, which includes the few bars that fell victim to censorship in 1902. As such, viewers can rediscover the confronting dialogue between Golaud and his son Yniold, whom he uses to spy on Mélisande when she’s in her bedroom. “What about the bed? Are they close to the bed?” asks Golaud in the height of his jealousy. Thanks to its poetic dimension and fantastic cast, this new version easily rivals those by Désormière, Inghelbrecht, Ansermet, Armin Jordan, Karajan and Abbado. © François Hudry/Qobuz

The gentle French pop/rock of Zazie was hitting its stride on Zen, one of her best releases. From the moody, alternative rock splash of "Fou de Toi" to the funky synth pop of "Point C'Est Toi" to the low-key balladry of "La La La," this album is a solid mix of Cure-esque flourishes and European pop music. "Larsen" is a groovy mid-tempo pop song that brings to mind Sarah McLachlan, while the title track is a bouncing ballad with a solid hip-hop beat and a sensual performance from Zazie. This is a wonderful introduction to her brand of French pop, which has a European twist that keeps it from becoming too syrupy. The language barrier is not a big deal; it isn't always what she says but the way she says it. Adventurous pop fans should give this a listen -- it is a unique blend of alternative rock and French pop.© Bradley Torreano /TiVo

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EMI's U.K. collection of Edith Piaf, titled Éternelle, is quite a nice set that includes many of Piaf's numerous hits, such as "La Vie en Rose" and "La Goualante du Pauvre Jean." Overall, Éternelle is comparable to the U.S. mainstay on Capitol Records, The Voice of the Sparrow: The Very Best of Edith Piaf, but with only seven of the 18 songs overlapping.© Gregory McIntosh /TiVo

Where has Terry Callier been all of our lives? Outside of the lucky few collectors fortunate enough to possess copies of his 1968 debut The New Folk Sound of Terry Callier and the series of brilliant records he cut for the Cadet label during the mid-1970s, the Chicago singer/songwriter has otherwise slipped through the cracks of contemporary music; his resurrection has been a long time in coming, and Timepeace is indeed well worth the wait. Long ago tagged with the label "folk-jazz," Callier's music eludes easy description; cosmic and spiritual, it also bears the influence of gospel and soul, yet synthesizes its disparate elements in unprecedented and breathtaking ways. Sparked by Callier's spiralling guitar leads, highlights like "Lazarus Man" and "Java Sparrow" seem to tap a higher consciousness, his yearning vocals channeling unfathomable power; the stark opener "Ride Suite Ride" matches the grace of Curtis Mayfield with the poignancy of Nick Drake, while "Coyote Moon" captures an ethereal yet pastoral beauty best likened to extraterrestrial country music. It's wonderful to have Callier back again -- we need him now more than ever.© Jason Ankeny /TiVo