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This album is one of the cornerstones of French hip-hop music. Its release was a major act for IAM as they finally found a sound to match the quality of their lyrics, as well as for French hip-hop, confirming the fact that rap has a lot of followers in the Hexagon. Like their peers from the suburbs of Paris, NTM, IAM went to New York to instigate the production of this album, seeking for the essence of the sound one can only find in the Big Apple (their previous album was also cut in N.Y.). They teamed with Prince Charles Alexander, the mixer and engineer who worked a lot for Bad Boy Records. They even got close to the Wu-Tang realm through Sunz of Man members on "La Saga." The sound has definitely changed from the previous albums: at first putting themselves in the Egyptian tradition (look at their names), they now have found the musical depth they deserve as ones of the few best lyricists of France. Definitely influenced by the Wu-Tang soundscapes, the opening track is the story of the battle between their school, from the silver mic, against the wooden mic school, in a Bushido style. Too bad that non-French speaking listeners won't get the lyrics; they cannot appreciate the quintessence of IAM's style. However, most of the album sticks to the traditional approach of storytelling, as it covers the city life in its darkness: little brothers that want to grow too fast and be the new caïd ("Petit Frère"), money hungry women who have sex without giving their names, the difficulties to have a similar chance and destiny than a boy growing up in the well-off (about equality of chances) and much more. Not many subjects of relief here, we only breathe thanks to the banging instrumentals and phrasing of the MCs. IAM takes the time to raise questions we don't want to hear, and stories we don't want to remember. This album is just hip-hop as its best: quality of the production with skilled lyricists in top form. This would just be one of you first "must-have" purchase if you plan to approach French rap music.© Vincent Latz /TiVo

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The idea is interesting on the face of it: the Duke of Ferrara, at his court in the late 16th century, maintained a "concerto segreto," secret concerts of three singers who also accompanied themselves on instruments. The three singers of La Néréide have performed a program based on this repertory, reproducing the original circumstances as far as possible. It is perhaps a trifle less effective on a recording, where they employ other instrumentalists for accompaniment, but this almost unknown repertory holds plenty of interest in itself. The music on the album is mostly by the melodiously named Luzzasco Luzzaschi, the Duke's court composer, with other works by his contemporary Luca Marenzio and the slightly later Claudio Monteverdi and Francesca Caccini (who makes the cut because her opera La liberazione di Ruggiero dall'isola di Alcina, the first opera by a woman, contains an excerpt calls "Le tre sirene"). This was progressive music for the time, including some of the sharp dissonances better known in the writing of Carlo Gesualdo and also the emerging texture in which melody was accompanied by a continuo. Thus, La Néréide captures the swirl of influences out of which early opera emerged, framing them in a vivid scene that will be unfamiliar, like the music in general, to most listeners. The three women have a strong sense of ensemble, and the engineering from the small Notre-Dame-des-Centeilles chapel suggests the music's original surroundings. A really interesting release for those fascinated by the late Renaissance. © James Manheim /TiVo

Casual buyers and browsers should note that the vocal works on this album, accompanied by orchestra, are not the original works of Debussy. They were made in 2012 by composer Robin Holloway at the request of the San Francisco Symphony Orchestra. They were performed at that time by Renée Fleming but have not been recorded until now. The settings are unorthodox and never boring, and they will probably strike different listeners in different ways. Holloway reorders the songs, believing that they were not intended as a sequenced set (probably debatable), inserts some of the composer's Verlaine settings in the new ordering, adds transitions between most of them, and tacks on a high-powered epilogue of his own. The end result, perhaps, is Debussy for the 21st century, amped up and intense, with hidden psychological themes and ideas wrung out and brought to the fore by the orchestration. There will be little disagreement, however, about two of the main attractions: soprano Vannina Santoni is a talented newcomer from whom one wants to hear more, and Mikko Franck, heard at the end in La Mer, is an excellent Debussy conductor; his rendition of this well-trodden work is full of detail and entirely absorbing. Santoni has a big voice that stands up to these orchestrations, and Alpha's sound from the Radio France auditorium keeps everything in balance. Nothing if not an intriguing Debussy release. © James Manheim /TiVo

Opera rara's mission is to help people discover unknown or forgotten works: this is indeed the case with this opera, which we are listening to now for the first time in almost two centuries. When his Proscritto was premiered in January 1842, Salverio Mercadante, a contemporary and competitor of Donizetti and Bellini, was the director of the Naples opera house and at the height of his fame. He was, however, on the way to being overshadowed by the young Verdi whose first major success, Nabucco, was to take place only a few months later.The libretto, penned by the prolific Salvadore Camarano, is taken from Le Proscrit (1839), a French drama by Frédéric Soulié and Timothée Dehay and transposed into 17th century England. Malvina Douglas is about to marry Arturo Murray, a Cromwell supporter, and is being walked down the aisle by her brother, Odoardo Douglas. Her former husband, the royalist Giorgio Argyll, was banished and had been declared dead. But now he’s mysteriously reappeared... causing anguish and doubt for the poor woman. At the end of a series of particularly intense duets, it all ends very badly, Mercadante’s discovery of the French Grand Opera prompted him to modify his style; he veered towards dramatic intensity and enriched orchestration... As a result, he was accused of being a "German style impersonator"; consequently, his opera received a frosty reception and was removed from the repertoire. Nevertheless, today we are rediscovering a piece of work which seduces with its melodic inventiveness, beautiful orchestral textures, intense duets and grand concertati finales, which feature amongst the best from this period.This resurrection is being sustained by some magnificent artists; primarily Carlo Rizzi, the conductor who enthusiastically unearthed the manuscript and brought it back to life by heading up the Britten Sinfonia and the Opera Rara Chorus. The great Mexican tenor Ramon Vargas brings his exceptional bel-canto elegance to the role of Giorgio, but also a sense of melancholy and intensity which make him a great romantic. His rival, Arturo, is the Peruvian tenor Ivan Ayon-Rivas, winner of the Operalia award in 2021. The warm timbre of the mezzo-soprano Irene Roberts is ideally suited to the tortured heroine Alvina, which delights us while we savour the sumptuous bass of contralto Elizabeth DeShong. © Julia Le Brun/Qobuz

Nashville is rough on the living, but she really speaks well of the dead, says a country song, and opera is the same way. Recordings by the late Russian baritone Dmitri Hvorostovsky have soared on the charts since his untimely death. Along with the superb song album Russia Cast Adrift, this one makes a suitable memorial. Hvorostovsky was never a typical Italian opera baritone, and that was what made his performances of Rigoletto over the years so well loved; they stood apart from the crowd. This version was made in Kaunas, Lithuania (in the Philharmonic Hall -- it is not a live recording), in 2016, after the baritone's diagnosis with brain cancer. Cognoscenti may grouse that at certain junctures Hvorostovsky's voice has less power than formerly (which, at his age, would have been true even without his illness), but the essential qualities that made him a great Rigoletto are on full display here. Where Western baritones sing, Hvorostovsky growls, rasps, and snarls, and the role of the exquisitely bitter jester has rarely come alive as it does here. The rest of the cast is decidedly not as strong; soprano Nadine Sierra can't decide whether Gilda should be a wounded innocent or something more substantial, and her pitches are often less than stable. Yet this is how it should be. With a star of Hvorostovsky's magnitude, the focus should be on the star, and that is where it resides. Clean accompaniment by the Kaunas City Symphony Orchestra that effectively stays out of his way is another plus. An essential for Hvorostovsky lovers. © TiVo

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Five years after her solo debut recording, Direct Message, which programmed 20th and 21st century works for trumpet and piano, trumpet player Matilda Lloyd departs the traditional repertoire (aside from the two Arban arrangements from the Complete Conservatory Method for Trumpet). Instead of following more well-worn routes, Lloyd elects to present a program of Romantic period opera arias, mostly in arrangements for trumpet and chamber orchestra (undertaken here by the Britten Sinfonia under Rumon Gamba) by William Foster, who worked closely with Lloyd on this project. Lloyd's skill as a musician is evident throughout, though the two Arban tracks most clearly allow her abilities to shine. The arrangements throughout are good, though how much they add to the performances rather than transcriptions and transpositions is up for debate. Lloyd notes with excitement the decision to include two pieces by Pauline Viardot, and one of the highlights here is the treatment of Viardot's Havanaise. This is certainly a trumpet release aimed at a wider audience than trumpet and brass circles, and it has already found success on the retail market. Chandos delivers just the right atmosphere from the Church of St. Augustine, Kilburn, in London. The future is bright for this trumpeter, and one looks forward to where her path may take her. © Keith Finke /TiVo

Praised for his meticulous fidelity to the composer's intentions, as well as for his rich tonal palette and the warmth of his expressions, Jean-Efflam Bavouzet has won many admirers for his five albums of the complete solo piano music of Claude Debussy. These recordings were produced by Chandos between 2007 and 2009, and they have now been gathered into a handsome box set; each disc is presented with its own cardboard sleeve and the original liner notes that accompanied each release. The roster of artists who have recorded Debussy's keyboard music is a long and distinguished one, though Bavouzet is easily ranked in the upper echelons, equal in stature among such luminaries as Jean-Yves Thibaudet, Arturo Benedetti Michelangeli, Krystian Zimerman, Maurizio Pollini, Angela Hewitt, Pierre-Laurent Aimard, and Pascal Rogé. Experienced listeners will already have favorite recordings of the Préludes, Images, Estampes, and Études, as well as the perennially popular Suite bergamasque, Children's Corner, and other picturesque pieces. However, many will be won over by the consistency of Bavouzet's playing, and newcomers will find that his disciplined yet gorgeous readings are a great way to begin appreciating these charming classics. Chandos provides excellent sound that gives the piano a clear presence yet takes nothing away from Bavouzet's atmospheric colors or the radiant acoustics. Highly recommended.© TiVo