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Future ex

Amani Reiva

Hip-Hop/Rap - Released May 2, 2020 | Malax

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Héraut des temps

JC Pluriel

Africa - Released June 19, 2014 | Dream Maker

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BABA

JIPY SDY

Pop - Released October 15, 2021 | papa God musique

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C' EST NOUS

JC Pluriel

Miscellaneous - Released July 4, 2023 | Dream Maker

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DIEU des dieux

JC Pluriel

Miscellaneous - Released May 3, 2023 | Dream Maker

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Bientôt je reviens

LeNeuf

Hip-Hop/Rap - Released September 15, 2023 | Nwarvill

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Mustango (Version Remasterisée)

Jean-Louis Murat

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

Hi-Res Distinctions The Qobuz Ideal Discography
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Dolores (Version Remasterisée)

Jean-Louis Murat

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

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Mon amant de Saint-Jean

Le Poème Harmonique

Classical - Released August 25, 2023 | Alpha Classics

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This release showed up on classical best-seller charts in the late summer of 2023, perhaps because it represented a genuinely original experiment. Mezzo-soprano Stéphanie d'Oustrac, the small ensemble Le Poème Harmonique, and conductor and theorbist suggest... well, what, exactly? That there is an affinity between French popular song and French and Italian music of the 17th century? Not quite, although there were intriguing connections between popular song, outlined in the booklet, and the very earliest stages of the historical performance movement at the end of the 19th century and the beginning of the 20th. The program is organized into three sections, "Jeunesse," "Les vieux airs," and "Les amours passées," but the 20th century songs and the 17th century pieces mostly don't overlap within these groups; "Les amours passées" are all popular songs. The program makes quite a lurch between an excerpt from Cavalli's L'Egisto and Paul Marinier's D'elle à lui, and the lurch would have been even greater if the popular songs hadn't been chosen to exclude any hints of African-American-influenced song. Léon Fossey's Les canards tyroliens, a kind of yodeling song about ducks, simply doesn't inhabit the same universe as Monteverdi's Lamento d'Arianna. Perhaps it would be best to say, as the publicity does, that there are "echoes" between the two traditions, and d'Oustrac plainly has enthusiasm for both repertories; her personality is largely enough to carry the listener through. There is definitely a need for programming and performance that mixes classical and popular material, which have never been as far apart as they have been made out to be. This release may not be a definitive solution, but it is an intriguing and listenable attempt. © James Manheim /TiVo

Chimène chante Piaf : L'intégrale

Chimène Badi

French Music - Released October 6, 2023 | Parlophone (France)

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Psyché

Christophe Rousset

Classical - Released January 13, 2023 | Château de Versailles Spectacles

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VOLUME II

L.E.J

Pop - Released December 16, 2022 | Lejionnaire

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La Vie en rose

Edith Piaf

French Music - Released June 2, 2014 | Jacques Canetti Productions

Distinctions The Qobuz Ideal Discography
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Lully: Acis et Galatée

Les Talens Lyriques

Opera - Released October 14, 2022 | Aparté

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Composed on 1686 as part of the festivities organised by the Duc de Vendôme in honour of the Grand Dauphin, during the latter’s visit to his estate at the Château d’Anet in September of that year, Acis et Galatée is Lully’s last complete opera. His faithful librettist Quinault having retired from writing for the stage, he collaborated this time with the poet Campistron on a work that tells the story of the love between the sea-nymph Galatea and the shepherd Acis – a love threatened by the violence of the jealous cyclops Polyphemus. This opera, an undoubted dramatic success, gives the orchestra an important part, expressively evoking, for example, the giant’s cries of anger, the terror of the chorus, and the lovers’ hasty flight in Act III. It includes some magnificent pieces, including the final Passacaille, as well as inventive treasures, such as duet for hautes-contre (high tenors) “Ah! je succombe au tourment qui m'accable”, or the burlesque march that accompanies the entry of Polyphemus and his fellow cyclopes, conveying their uncouthness. But the loveliest pieces in the score are for Galatea: “Enfin, j’ai dissipé la crainte”, for instance, or “Que ne puis-je expirer après ce coup funeste?”. Lully died in March 1687, a few months after the première, leaving Achille et Polyxène unfinished. © Aparté
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Believe

Andrea Bocelli

Classical - Released November 13, 2020 | Decca (UMO) (Classics)

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On 2020's Believe, Italian tenor Andrea Bocelli presents an uplifting and relaxing album of originals and finely curated classical works centered on the values of faith, hope, and charity. Produced with lush orchestral instrumentation by Steven Mercurio and Haydn Bendall, Believe follows Bocelli's 2018 album Sì. It also arrives on the heels of his equally inspiring Easter concert Music for Hope, A Great Performances Special recorded at Milan's historic Duomo Cathedral for PBS. Here, Bocelli offers a mix of classic favorites, including renditions of the standard "You'll Never Walk Alone," Leonard Cohen's "Hallelujah," and Giacomo Puccini's "Angele Dei." We also get the singer's version of the previously unreleased Ennio Morricone composition "Inno Sussurato," as well "Gratia Plena," Bocelli's moving contribution to the 2020 film Fatima. Believe also features several guests, including bluegrass superstar Alison Krauss, who duets with Bocelli on the spiritual hymn "Amazing Grace," and acclaimed mezzo-soprano Cecilia Bartoli, who joins him on the romantic Mauro Malavasi composition "Pianissimo." At the core of Believe is Bocelli, whose rich, lyrical singing continues to inspire on this warmly delivered album.© Matt Collar /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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Jean-Baptiste Lully : Amadis

Christophe Rousset

Opera - Released September 22, 2014 | Aparté

Hi-Res Booklet Distinctions 4F de Télérama - Diamant d'Opéra - Choc de Classica - 5 Sterne Fono Forum Klassik
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Rameau: Les Indes galantes

Les Arts Florissants

Opera - Released October 14, 1991 | harmonia mundi

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Muragostang

Jean-Louis Murat

Pop - Released January 1, 2000 | [PIAS] Le Label

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Les Paladins

Valentin Tournet

Classical - Released January 14, 2022 | Château de Versailles Spectacles

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The paladins, as video game aficionados know, were knights of Charlemagne's court, French counterparts to the Knights of the Round Table. In Rameau's opera, they are the basis for a broad medieval spoof that came down in bits and pieces from Ariosto through various hands, some of them unknown. Here, it receives a valuable new recording from rising young Baroque opera conductor Valentin Tournet and his vocal-orchestral group La Chapelle Harmonique. The opera, which Rameau called a tragédie lyrique, isn't quite in Monty Python territory, but at times, for instance, with the unmotivated entrance of a troupe of Chinese entertainers during a magical episode in the third act, things approach that. This was Rameau's last publicly performed opera, premiered when he was in his late 70s, and it was an uncharacteristic flop. Perhaps it was the overloaded nature of the whole thing, or perhaps the new stylistic breezes blowing in from Italy. It is, however, highly entertaining and loaded with good dance tunes and colorful orchestration. There are few recitatives, and those that do exist are tightly intertwined with the action and keep things moving. There are just a few recordings of this opera, and this one, with a sumptuous booklet and an appendix of material cut by Rameau, may emerge as the standard. It is beautifully recorded at the Palace of Versailles and conveys the scope an 18th century opera production would have had. Tournet has a strong cast, led by Sandrine Piau as the romantic lead Argie, in love with one of the Paladins but pursued as well by her guardian. (She moves over from the role of Argie's friend Nérine in one of the few earlier recordings of the work by conductor William Christie.) The various comic and dance elements come through vividly. This is a strong recording that will fill a lot of holes in Rameau collections. © TiVo