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The main attraction of the orchestra Les Siècles and its conductor François-Xavier Roth is its use of period instruments from around 1900, the time period in which the group specializes. One could hardly ask for a better demonstration record (as audiophiles used to call them) than this take on Maurice Ravel's L'Heure espagnole, an edgy, rather tawdry but undeniably funny little opera about the extramarital escapades of a clockmaker's wife, complete with excellent satirical characterizations of her two lovers. The opera receives a pitch-perfect performance here from a quintet of younger singers, who deliver the kind of dry, close-to-spoken singing Ravel wanted. Even better, though, is the orchestral sound, where the opera's large contingent of winds, brass, and percussion displays the sound of Les Siècles at its most vivid. The score calls for trios of oboes, clarinets, and bassoons, and these all have a tangier sound than modern instruments provide. The program ends with Boléro, and this, too, stands out from among the hundreds or thousands of other recordings on the market. Ravel had very fixed ideas about how he wanted the work to sound, and he wrangled with Arturo Toscanini, who conducted the premiere in New York, about it: it should be played absolutely straight, with no variation in tempo and little expression. Notwithstanding the connotations that became attached to the work later on, he viewed it as an abstract work, and that is exactly what it becomes in Roth's bracing reading. Listeners who have been wanting to sample Roth's work with this orchestra are enthusiastically encouraged to try this release, which made classical best-seller charts in the summer of 2023.© James Manheim /TiVo

Gilbert Bécaud was one of the most dynamic performers on the French cabaret scene, known as "Monsieur 100,000 Volts" for his passionate and charismatic performing style, and he played to rapt audiences from his commercial breakthrough in 1955 up to his final public appearances in 2000. Bécaud was also an accomplished songwriter, whose 1961 hit "Et Maintenant" became an international sensation in its English-language version, "What Now, My Love." "Et Maintenant" is one of 20 songs by Bécaud featured on this collection, devoted to recordings of his finest songs. 20 Chansons d'Or also includes the tunes "La Pianiste de Varsovie," "L'important C'est la Rose," "C'est en Septembre," "Mes Mains," and more.© Mark Deming /TiVo

After her triumph with the album "Offenbach Colorature", Jodie Devos has chosen to follow in the footsteps of one of her compatriots, the Belgian coloratura soprano Marie Cabel (1827 -1885), who at the age of twenty-six scored a phenomenal success in Adolphe Adam’s opéra-comique Le Bijou perdu, which she premiered in Paris. She then took on a more dramatic role in Halévy’s Jaguarita l’Indienne, whose great Invocation with chorus ("À moi ma cohorte!") again hit the bullseye in a run of 124 performances over just a few months. Cabel enjoyed one hit after another, in Auber’s Manon Lescaut and La Part du diable, Meyerbeer’s L’Étoile du Nord and Le Pardon de Ploërmel, Victor Massé’s Galathée, and Le Songe d’une nuit d’été by Ambroise Thomas, who in 1866 gave her the biggest role of her career: Philine in Mignon, based on Goethe. In partnership with the musicologists of the Palazzetto Bru Zane, who have resurrected and edited all these unjustly forgotten rarities, and Pierre Bleuse conducting the Brussels Philharmonic and the Flemish Radio Choir, Jodie Devos pays tribute to this star of the nineteenth century, whose audacity and sense of mischief she undoubtedly shares! © Alpha Classics

Recordings of Offenbach's 1868 operetta La Périchole, here performed in an 1873 revision, have been rather uncommon. True, it doesn't contain any of the big Offenbach hits, and its Peruvian setting, with a variety of Spanish dances and chinoiserie standing in for whatever music might have been heard in colonial Peru, seems increasingly preposterous as time goes on. However, verisimilitude has never been a requirement in operetta, and this story of the titular street singer (who was an actual historical individual) pursued by a sleazy colonial administrator hits a lot of the bases. Anglophone listeners will note that Arthur Sullivan surely knew this music inside and out, and replicated the combination of limpid songs for the heroine and quite a few sharp narrative choruses. This production, recorded live in 2018 at the Festival Radio France Occitanie in Montpellier, is nothing fancy, but that is its charm. La Périchole is nicely sung by a mezzo-soprano with the delightful name of Aude Extrémo, who resists the temptation to ham it up (sample her drunk scene, "Ah, quel diner je viens de faire") and inhabits the role well. The large cast is consistent, and conductor Marc Minkowski and Les Musiciens du Louvre, far from their Baroque origins, keep things moving in a lively way. One gets the sense that Offenbach would have been fully satisfied, and the recording is a must for any operetta fan.© TiVo

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Franco Battiato has stated that Fleurs 2 will be the last installment of his non-sequential cover album trilogy, after 1999's Fleurs and 2001's Fleurs 3. It might as well be so, since what started as an intimate tribute is beginning to lose its charm. Many in Italy were extremely critical of Fleurs 2, deeming it a trifle unworthy of an artist of Battiato's stature -- not to mention an opportunistic commercial venture, released just in time for the holiday season. True, the Fleurs series is worlds apart from Battiato's typically demanding (if not downright hermetic) music. Once again, Battiato chooses a list of his personal favorite Italian, French, and English pop songs -- some well known, some obscure -- and sets them to delicate chamber music arrangements. The results are eminently tasteful, and hardly innovative. Still, what seems to hurt this record more for Battiato fans is the law of diminishing returns: he has been there before, and done it better. On the other hand, those unfamiliar with his previous work may find Fleurs 2 a rather exquisitely assembled collection -- with a few flagrant duds, granted, but also with several deeply moving moments. For one thing, Fleurs 2 features five stellar duets with an A-list of international vocalists: Carmen Consoli, Antony, Anne Ducros, Sepideh Raissadat, and Juri Camisasca. English-speaking audiences may be naturally curious about hearing Antony harmonize with Battiato in an Italian version of the rare B-side "Frankenstein," here renamed "Del Suo Veloce Volo" with completely changed lyrics -- and still as haunting as every Antony and the Johnsons song inevitably is. Fleurs 2's true masterpiece, however, is the opening track, "Tutto l'Universo Obbedisce All'amore," sung with Carmen Consoli. Not coincidentally, this humbly majestic love song is the only new Battiato original. There is no question that Battiato is a better composer than performer. It is precisely because of this that some of his choices seem rather inappropriate, such as the challenging standards "(Sittin' On) The Dock of the Bay" and "Bridge Over Troubled Water." Battiato's insistence on singing in English and French is particularly puzzling, when his diction can be almost embarrassing at times. When he sings in Italian, it is a completely different matter: he can be a genuinely affecting vocalist, as this album eloquently illustrates. In sum, an uneven collection that is as pleasant a listen as it is oddly unrepresentative of one of Italy's most cerebral songwriters.© Mariano Prunes /TiVo

I have had French chansons in my head for as long as I can remember: on a scratchy car radio or a cassette player, in the back seat for hours on end on the way to the Vendée or Dordogne, or softly issuing from a gramophone record in my father’s study below my bedroom, probably a compilation such as Vive La France or Jean Ferrat sings Aragon.When I started to learn the piano and got into the habit of singing along, it was obviously French chansons that I picked up by ear and sang entirely phonetically. Julien Clerc with his franglais of This Melody, and Brel with his La chanson des vieux amants. The French teachers at my secondary school put me in for the Concours de la Chanson, which I promptly (and nearly by accident) won. And all of a sudden, the path opened up for me to become a professional singer or pianist, or at any rate a musician. It led me primarily into the world of classical singing, in opera, lied and oratorio, in which I felt there was much to discover for my further development.But the chanson was never far away. Indeed, at almost each stage of my musical development it appeared to grow with me. (...)- Thomas Oliemans, voice & pianoArtistic curiosity runs in the veins of Amsterdam Sinfonietta and has resulted in numerous extraordinary projects. Under the successful title Breder Dan Klassiek [Broader Than Classical], for example, Amsterdam Sinfonietta presents classical music in combination with pop, Indian classical, rap or jazz, and has appeared with artists including Rufus Wainwright, Patrick Watson, De Dijk, Wende and Typhoon. Essential to this is the exchange of ideas and a genuine interest in each other’s repertoires and worlds.Amsterdam Sinfonietta has a strong bond with the baritone Thomas Oliemans. In recent years he has sung classical repertoire with the orchestra. Until one evening he sang from the piano Charles Trenet’s Que reste-t-il de nos amours. An idea was born: a joint project focussing on the French chanson.- Stephan Heber, artistic programmerAmsterdam Sinfonietta

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