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L'Amour n'a jamais tort (Hi-Res)

Salvatore Adamo

French Music - Released February 5, 2016 | Universal Music Division Label Panthéon

Hi-Res Booklet
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Le corps de mon ennemi (Bande originale du film)

Francis Lai

Film Soundtracks - Released September 3, 1976 | Playtime

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Verdi: Don Carlos

Orchestra del Teatro della Scala di Milano

Classical - Released January 1, 2013 | Deutsche Grammophon (DG)

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Ensemble, le live

Kendji Girac

French Music - Released March 17, 2017 | Universal Music Division Island Def Jam

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Molière, le spectacle musical

Molière l'opéra urbain

French Music - Released February 16, 2024 | Play Two

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Live 98

Pascal Obispo

French Music - Released May 4, 1998 | Po Productions

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Les années 80 qu'on adore

50 Tubes Du Top, Années 80, Hits français

Pop - Released December 14, 2018 | Hit mania Productions

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Clairières dans le ciel (Les musiciens et la Grande Guerre, Vol. 13)

Duo Contraste

Classical - Released October 26, 2015 | HORTUS

Hi-Res Booklet
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Ravel: L'Heure espagnole - Bolero

François-Xavier Roth

Opera - Released June 16, 2023 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica
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
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Zappa In New York

Frank Zappa

Rock - Released October 29, 1977 | Frank Zappa Catalog

Hi-Res Booklet
Zappa in New York was recorded in December 1976 at the Palladium and originally intended for release in 1977. It was held up due to arguments between Frank Zappa and his then-record label, Warner Bros. When the two-LP set finally appeared in March 1978, Warner had deleted "Punky's Whips," a song about drummer Terry Bozzio's attraction to Punky Meadows of Angel. The Zappa band, which includes bassist Patrick O'Hearn, percussionist Ruth Underwood, and keyboard player Eddie Jobson, along with a horn section including the two Brecker brothers, was one of the bandleader's most accomplished, which it had to be to play songs like "Black Page," even in the "easy" version presented here. Zappa also was at the height of his comic stagecraft, notably on songs like "Titties & Beer," which is essentially a comedy routine between Zappa and Bozzio, and "The Illinois Enema Bandit," which features TV announcer Don Pardo.© William Ruhlmann /TiVo
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Desprez: Tant vous aime

Doulce Mémoire - Denis Raisin Dadre

Classical - Released May 6, 2022 | Ricercar

Hi-Res Booklet
Josquin Desprez, princeps musicorum, the prince of musicians, as his contemporaries called him, is best known today for his sacred works, the masses and motets, which have been widely performed and recorded. Surprisingly, his chansons have received little attention from performers, except for the pieces for five and six voices, printed after his death by the Antwerp publisher Tilman Susato in his seventh book of 1545. Doulce Mémoire has chosen to focus on the chansons for three and four voices, which are probably the earliest in the Hainault master’s output; with their diversity of language and themes (sometimes folk-derived), these songs constitute a varied programme that is at once serious and bawdy, a testament to the unequalled art of Josquin Desprez. © Ricercar
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Des roses & des orties

Francis Cabrel

French Music - Released March 31, 2008 | Columbia

Hi-Res
A popular singer/songwriter in France for the past three decades, Francis Cabrel is also a bit of a pastoral recluse, preferring to spend his days with his family in his hometown village of Astaffort, rather than in the media spotlight of Paris. Unsurprisingly, his studio output has become less than prolific in recent years, with intervals of four or five years between records. His artistry and popularity, however, have not suffered in the least, as evident in 2008's Des Roses et Des Orties. The new songs offer few surprises for either Cabrel fans or detractors, other than a keener emphasis on social issues. This is also reflective of a general trend in France, where events such as the 2007 election of Sarkozy, or the heated debate on immigration, brought politics back to the forefront, both in the media and in everyday life. Cabrel, a father of two who recently adopted a Vietnamese child, is particularly sensitive to the plight of immigrant children, as well as to the ever widening gap between the richer and poorer regions of the planet, the subject of "African Tour," "Mademoiselle L'aventure," and "Les Cardinaux en Costume," among others. Furthermore, Cabrel criticizes institutionalized religion in "La Chêne Liège" and artists and songwriters like himself ("Des Gens Formidables") for feigning sympathy for the poor but doing very little about it. Most of the songs set Cabrel's soft spoken voice against his acoustic guitar, reinforced by bluesy electric guitar pickings, or stately piano accompaniment. A few tracks add a discreet ethnic flavor for variety, such as the tasteful flamenco guitar in the opening "La Robe et L'échelle." The inclusion of three covers, by Bob Dylan, Creedence Clearwater Revival, and J.J. Cale, translated and sung in French by Cabrel, seems less fortunate as these songs feel somewhat out of place in the more somber context of this record. A typically well-crafted Cabrel album, Des Roses et Des Orties reached the top of the French charts upon its release.© Mariano Prunes /TiVo

L'album de sa vie

Daniel Balavoine

French Music - Released January 8, 2021 | Universal Music Division Barclay

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The #1's

The Supremes

Soul - Released January 1, 2003 | UTV - Motown

Surprisingly, very few artists can float a digital-age collection of number one singles without resorting to trickery involving foreign countries or obscure charts. The Beatles had little trouble (The Beatles 1) and Elvis Presley managed both a disc of number ones (Elvis: 30 #1 Hits) and one of number twos (2nd to None), but Michael Jackson bent the rules so far that calling his disc Number Ones is tantamount to consumer fraud. Additionally, a collection of number one singles may not be the best representation of an artist's career; the Elvis volume included nothing from his Sun years, and the Beatles' set skipped "Strawberry Fields Forever." The #1's, Motown's collection of chart-toppers by Diana Ross & the Supremes, fares much better. It benefits from two Supremes characteristics: as a pop group through and through, their biggest hits were often their best songs, and, with the help of the solo Diana Ross, they spent a long time on the charts (nearly 20 years separates the Supremes' debut at the top from Ross' last number one single). While Motown's separate volumes on Diana Ross and the Supremes (in the Ultimate Collection series) remain the best source for a single-disc picture of either act, The #1's works remarkably well. It includes 19 number one pop singles (13 from the group, six from the solo Ross), plus various number ones on the R&B and dance charts, and there aren't any glaring omissions. Granted, fans of early Motown can't live without the girl-group chestnuts "Buttered Popcorn" and "Your Heart Belongs to Me," while those who enjoy latter-day Ross won't find "One More Chance" or "Why Do Fools Fall in Love?" -- but of course, this collection wasn't created with them in mind. For the group who recorded more hit singles during the '60s than any other act except the Beatles, and for one of the reigning solo artists of the '70s, The #1's is a worthy tribute.© John Bush /TiVo
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Rameau : Les Indes Galantes

György Vashegyi

Full Operas - Released March 1, 2019 | Glossa

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
With Les Indes galantes by Jean-Philippe Rameau, György Vashegyi – along with his Orfeo Orchestra and Purcell Choir – makes a further dazzling addition to their Glossa series of French dramatic masterpieces from the Baroque, and in the company of a luxurious line-up of vocal soloists. The version of this “ballet heroïque” – supplied with an anti-colonial, anti-clerical manifesto by librettist Louis Fuzelier – selected by Vashegyi is the 1761 revision, a mere decade or so before the irruption onto the Parisian musical scene of the likes of Gluck and Grétry. Rameau’s score had undergone frequent adjustments and improvements since its première a quarter of a century earlier, and the performing edition for this recording, prepared for the Rameau Opera Omnia by Sylvie Bouissou (who also provides a booklet essay here), offers a vision of this work which is more theatrical, fluid and concise than hitherto. Just in themselves, the names of Chantal Santon-Jeffery, Katherine Watson, Véronique Gens, Reinoud Van Mechelen, Jean-Sébastien Bou and Thomas Dolié (sharing out the dozen solo roles) augur well for a glorious exploration of the prologue and three entrées ahead. Recently, they have also, in conjunction with the Centre de Musique Baroque de Versailles, been working on questions of tempo and how to perform Rameau’s sequences as the composer intended. Vashegyi brings a consummate understanding of Rameau’s galante style to the proceedings, following two previous Ramellian Glossa outings (Naïs and Les Fêtes de Polymnie). © Glossa
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Bastien et Bastienne · La Servante maîtresse

Gaétan Jarry

Classical - Released September 8, 2023 | Château de Versailles Spectacles

Hi-Res Booklet
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Comme un boomerang

Serge Gainsbourg

French Music - Released January 1, 2011 | Universal Music Division Mercury Records

Released to coincide with the 20th anniversary of his death in 1991, Best of Gainsbourg: Comme un Boomerang is a two-CD retrospective featuring 47 tracks plucked from the extensive back catalog of France's most notorious musical enfant terrible, Serge Gainsbourg. One of hundreds of compilations that have attempted to summarize the unashamed provocateur's 40-year recording career, this Wrasse Records release is perhaps the most comprehensive since 2006's Anthologie, taking in material from his 1958 debut album, Du Chant a la Une!... ("Le Poinconneur des Lilas") right up to his 1987 swan song, You're Under Arrest (his cover version of Edith Piaf's "Mon Legionnaire"). With a track list helpfully compiled in chronological order, Comme un Boomerang showcases his ability to effortlessly shift musical direction, from the Boris Vian-inspired traditional French chanson "La Recette de l'Amour Fou," to the bohemian jazz of "Black Trombone," to the psychedelic guitar pop of "L'Hotel Particulier," to the Sly & Robbie-produced reggae of "Aux Armes et Cetera" (his controversial interpretation of the French national anthem), and to the sultry electronica of "Sorry Angel." Alongside his signature tune, the sensual and scandalous U.K. chart-topping duet with Jane Birkin, "Je T'aime...Moi Non Plus," there are also his famous collaborations with actresses Brigitte Bardot ("Bonnie and Clyde," "Comic Strip") and Catherine Deneuve ("Dieu Fumeur de Havanes"), contributions from his series of controversial '70s concept albums, the Lolita-influenced Histoire de Melody Nelson ("Ballade de Melody Nelson") and the Nazism-based Rock Around the Bunker (the title track), and his own recording of the innuendo-laden hit he penned for Parisian yé-yé singer France Gall ("Les Sucettes"). Casual fans who might be overwhelmed by its generous track list would be better off with the more streamlined Initials S.G. (2003) or The Originals (2006), but if you want to further investigate one of pop music's most eccentric figures, Comme un Boomerang is perhaps all you'll ever need.© Jon O'Brien /TiVo

En Tête-A-Tête

M

French Music - Released November 4, 2005 | Parlophone (France)

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-M- (theatrical, idiosyncratic French Pop artist Mathieu Chédid) released this double-disc, 23-track live album (his third) in 2005. Recorded between February 2004 and June 2005, En Tête à Tête (which is also available on DVD) includes many of Chédid's best-loved tracks.© James Christopher Monger /TiVo
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Résilience

Zaho

Hip-Hop/Rap - Released July 28, 2023 | Suther Kane

Hi-Res
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Zappa In New York

Frank Zappa

Rock - Released March 3, 1978 | Frank Zappa Catalog

Booklet
Zappa in New York was recorded in December 1976 at the Palladium and originally intended for release in 1977. It was held up due to arguments between Frank Zappa and his then-record label, Warner Bros. When the two-LP set finally appeared in March 1978, Warner had deleted "Punky's Whips," a song about drummer Terry Bozzio's attraction to Punky Meadows of Angel. The Zappa band, which includes bassist Patrick O'Hearn, percussionist Ruth Underwood, and keyboard player Eddie Jobson, along with a horn section including the two Brecker brothers, was one of the bandleader's most accomplished, which it had to be to play songs like "Black Page," even in the "easy" version presented here. Zappa also was at the height of his comic stagecraft, notably on songs like "Titties & Beer," which is essentially a comedy routine between Zappa and Bozzio, and "The Illinois Enema Bandit," which features TV announcer Don Pardo.© William Ruhlmann /TiVo