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France's Benjamin Biolay left behind his provocative Buenos Aires cycle after two acclaimed albums, Palermo Hollywood in 2016 and the platinum-certified Volver in 2017). Grand Prix is nostalgic and unquestionably autobiographical. Its title references Formula 1 racing's excitement, drama, heroes, and tragedies. "Grand Prize" artfully contrasts racing with his own life experiences and the sacrifices he's made in pursuit of art. Of course his romantic life plays a major part: Ex-wife Chiara Mastroianni makes two guest appearances, former lover Keren Ann makes another, and current girlfriend, actress Anaïs Demoustier, assists on two others. The younger Biolay loved the Smiths, Happy Mondays, New Order, and the Strokes and he pays homage to them all and more, with a small band, analog synths, complete guitar and drum takes, and live vocals in songs that caress elements of Krautrock, post-punk, Brit-and electro-pop, Euro-disco, chanson, and MPB. Single "Comment Est Ta Peine," with Demoustier, opens with a disco-phonic synth similar to Daft Punk's "Get Lucky." However, the organic drums, sharp, funky guitars, and rigid bassline are adamantly rockist. Biolay's lyrics enquire about his lover's existential pain, contrasting it egotistically and ironically with his own. Mastroianni appears on the poignant yet hooky "Visage Pâle," where Biolay claims with too much protestation that "I have less appetite than sincerity/Love has a price that I can no longer pay…." On "Comme Une Voiture Volée," guitars ring with longing and excitement (think M83!) as drums and swirling synths propel the mix up and out. His lyrics offer only longing: "My heart is like an old engine when you lift the bonnet. You're as beautiful as a stolen car.…" The chanson ballad "Vendredi 12" questions a lost lover's memories while betraying the depths of his own abjection and loneliness. The title track is introduced by a nostalgic organ and distinctly "French rock" dancefloor beat. It's an uptempo elegy for Formula 1 driver Jules Bianchi, who died from his racing injuries at age 24. For "Papillon Noir," with Demoustier, he channels New Order's dancefloor rock beautifully. Again, despite the joy in the mix, his lyrics are resigned to always being in a temporary place when it comes to love: "I am an evening visitor, I am the vestiges of the dark sun/I am the night watchman, I am the bizarre boy...who has nothing to do/I am your only alibi, your temporary libido…." Closer "Interlagos (Saudade)" touches on the 1994 death of Brazilian Formula 1 driver Ayrton Senn, then revels in Biolay's own tears, joys, and small victories; it's a dreamy lament, complete with choirs, strings, and shuffling percussion, elevated by the presence of his daughter Anna (credited as "Bambi") on backing vocals. Ultimately, Grand Prix is Biolay's finest album since 2009's La Superbe, if not his best overall, and is easily his most revealing and vulnerable. No longer the enfant terrible of modern chanson, the singer, songwriter, and producer is now one of France's most evocative -- and necessary -- artists.© Thom Jurek /TiVo

While Mozart was largely overlooked in the French capital, Antonio Salieri took on the reigns of the Académie Royale de Musique (Paris Opera), a fruitful collaboration that was completely broken up by the French Revolution. After the success of his work Les Danaïdes, composed for Paris in 1784, Salieri worked tirelessly with Beaumarchais, spurred on by the success and scandal of his Figaro, on a new project which would become Tarare. Beaumarchais moved himself shamelessly toward stardom, skillfully self-promoting and attending rehearsals so as to assure that the orchestra played pianissimo to emphasize the primacy of his verse during performances. Beaumarchais found that the music was too overwhelming to “embellish the lyrics”.Created one year after Mozart’s The Marriage of Figaro (which was relatively well-received in Vienna before triumphing in Prague), Tarare was an immense success in Paris maintaining the status of the composer’s repertoire despite the political turmoil of the time before disappearing from view around 1826, thereon ceasing to be played. Beaumarchais’ words were immediately adapted into Italian by Lorenzo Da Ponte to be performed and met with equal success in Vienna. Tarare is half lyrical tragedy, half comic opera with a hint of orientalism.After resuscitating Les Danaïdes and Les Horaces, Christophe Rousset finished off his series of recordings dedicated to Salieri’s French operas for the Parisian public. Tarare is very much of its time, that of the Lumières, and used the power of art to challenge despotism in all its forms. Thanks to Christophe Rousset’s excellent delivery and lively direction, this recording enables one to judge the merits of the composition and the chasm that separates an honest and talented musician from a solitary and impassioned one like Mozart. © François Hudry/Qobuz

This concept album follows a Compagne, the French equivalent of a Freemason, through his rite of passage, a tour of France. Dan Ar Bras guests. © Steve Winick /TiVo

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Just like leaves returning to the trees in spring, Maria Callas' albums regularly return to the catalogue to maintain fantasy and educate younger music lovers. Heralded at the time as “the greatest show in the world,” Maria Callas' only appearance at the Paris Opera was above all one of the most fashionable evenings, something which only the French capital could achieve. Callas (who had fallen out with Italy just prior for slamming the door of La Scala in Milan) and the Metropolitan Opera from New York performed the evening in France in front of an audience of celebrities from the world of music, theatre and cinema. France loved her so much but had never dreamt of inviting her prior to this.This performance on the 19th of December 1958 was officialised by the presence of the President of the Republic René Coty, and was also very well portrayed by his grandson, the writer Benoît Duteurtre, in the very interesting booklet accompanying this new republication. But beyond the futile aspect of this evening, fans of Maria Callas will be happy to rediscover this "Grande nuit de l’opéra" already published by several labels with remastered sound from the original tapes and a new look.Accompanied by an out-of-sorts Opera Orchestra under the direction of Georges Sébastian, who had auditioned the singer long before she was recognised, Maria Callas provides us with the essence of her repertoire at a time when her voice was beginning to decline. Enriched by the warmth of the Parisian audience, she sings extracts from Bellini’s “Norma” (“Casta Diva”), one of her favourite operas, and also from Verdi’s “Trouvère.” And, most importantly, the entire second act of Puccini's Tosca (with the immense Tito Gobbi in the role of the terrifying Scarpia) in which the singer displays her extraordinarily dramatic talent, which shines through even though you can only hear her.This new edition from Diggers Factory brings a new lease of life to this most precious of archives. © François Hudry/Qobuz

Alpha Blondy is well known for his messages of African unity (he hails from the Ivory Coast) and his penchant for singing in multiple languages (including French, Hebrew, and Arabic). Yet it's Blondy’s special sonic blend of traditional roots reggae and African sounds that puts him over, and this fusion is more evident than ever on Jah Victory. While many of the album’s trance-like grooves recall hardcore roots acts like Burning Spear, other tracks such as “Le Bai des Combattus” and “Cameroun” pulse with African rhythms. A reggaefied cover of Pink Floyd’s “Wish You Were Here” adds further flavor.© Anthony Tognazzini /TiVo