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Parce qu'on vient de loin

Corneille

French Music - Released February 10, 2003 | W LAB

His first release since leaving R&B trio O.N.E. in 2001, Parce Qu'on Vient de Loin is the highly personal debut album from French-language vocalist Corneille. Based on his tragic real-life experiences of the 1994 genocide in his native Rwanda, which saw his family killed and led to him fleeing to Germany, its 14 self-produced tracks include the singles "Seul au Monde," "Avec Classe," "Ensemble," "Reves de Star," and the title track. A bonus edition featuring previously unreleased songs, acoustic remixes, and video clips was also later released.© Jon O'Brien /TiVo
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Live

Corneille

French Music - Released July 23, 2004 | W LAB

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Tous des frères

Les petits Chanteurs d'Asnières

Pop - Released November 26, 2022 | Pcaif

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Parce qu'on vient de loin

Tsew The Kid

Hip-Hop/Rap - Released February 9, 2021 | Panenka Music

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Parce qu 'on vient de loin

Rodrigo de Oliveira

World - Released July 1, 2020 | 2 La passion Prod

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Atys

Christophe Rousset

Opera - Released January 5, 2024 | Château de Versailles Spectacles

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Backed by the Sun King despite a lukewarm audience reception at first, Lully's Atys (1676) went on to become one of the composer's most successful operas, with revivals at French court theaters as late as 1753. In modern times, however, it is a considerably rarer item due to the massive forces and time required. Christophe Rousset was in the pit as harpsichordist when conductor William Christie gave the first modern revival of the work in the late '80s. That experience marks this 2024 release, which made classical best-seller lists at the beginning of that year. That is not common for a hefty five-act Baroque opera, but even a bit of sampling will confirm why it happened: Rousset, from the keyboard, brings tremendous energy to the opera. He pushes the tempo in the numerous dances and entrance numbers, and the musicians of Les Talens Lyriques and the singers of the Choeur du Chambre de Namur, all of whom have worked closely with Rousset in the past, keep right up. The singers in the solo roles are all fine; haut-contre Reinoud Van Mechelen in the title role and Ambroisine Bré as the goddess Cybèle, who sets the tragic plot in motion, are standouts. The sound from the increasingly engineering-expert Château de Versailles label is exceptionally clear in complex textures, and the sensuous cover art (representing, it is true, not the Roman mythological figure of Atys but Hippomène and Atalante) is a bonus. In the end, this is Rousset's Atys, and that is a very good thing.© James Manheim /TiVo
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En noires et blanches (Parce que - La Collection)

Louis Chedid

French Music - Released March 11, 2022 | [PIAS] Le Label

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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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Apothéoses. Monsieur Couperin

Amandine Beyer

Chamber Music - Released September 8, 2014 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica

Obsidienne

Anaïs Delva

French Music - Released May 10, 2019 | Universal Music Distribution Deal

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Différences

Michel Berger

French Music - Released December 1, 1985 | Warner (France)

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La Bohème

Charles Aznavour

French Music - Released March 1, 1966 | Capitol Records

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Bulle et Bob préparent Noël

Natalie Tual

Children - Released November 19, 2013 | Didier Jeunesse

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Massenet: Werther (Diapason n°607)

Georges Thill

Symphonic Music - Released January 1, 1958 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Lully: Alceste ou le triomphe d'Alcide

Jean-Claude Malgoire

Opera - Released January 1, 1994 | naïve classique

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Charpentier: Actéon, Orphée descendant aux enfers & La pierre philosophale

Boston Early Music Festival Chamber Ensemble

Classical - Released September 20, 2010 | CPO

Marc-Antoine Charpentier was neglected for centuries after his death, but by the late 20th century increased frequency of performances and recordings revealed him as one of the geniuses of the Baroque. He had a distinctive, individual voice and a gift for subtle emotional expression capable of evoking the most profound grief, as well as a loopy humor rarely associated with music of his era. Musical directors Paul O'Dette and Stephen Stubbs lead the vocal and chamber ensembles of the Boston Early Music Festival in characteristically expert performances of Charpentier's 40-minute pastoral opera Actéon, the brief cantata Orphée descendant aux enfers, and incidental music for the play La Pierre Philisophale. The musically polished performances shimmer with life and dramatic urgency. The cast of young soloists sings Charpentier's graceful, yearning melodies with naturalness and a sure grasp of the middle Baroque French style. Their ornamentation sounds entirely spontaneous, as expressions of emotion rather than merely the fulfillment of a formulaic stylistic requirement. The singers are so consistently first-rate, singing with sweet tone, flawless intonation, and technical mastery, that it seems almost unfair to single any out for special commendation over the others. Tenors Aaron Sheehan and Jason McStoots and soprano Teresa Wakim shine in the most prominent roles. The sound of CPO's 2009 recording is clean, clear, and nicely present. This is an album that should interest any fans of Baroque vocal music. © TiVo

Tintin: Aventures lunaires

Maurice Sarfati

Educational - Released June 15, 2009 | Paroles Radio France - Ina

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