The Swedish hitmakers' first compilation prepared for the CD format, and one of the biggest-selling releases of all time.© TiVo

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

40 melodies for 40 years. Ibrahim Maalouf is celebrating another decade on earth and he’s gone all out. How else would he be able to cover all the sides to his sound? Over the course of his albums and collaborations, the Franco-Lebanese trumpeter’s world has expanded into a fascinating mosaic of jazz, pop, oriental music, French chanson and a thousand other genres. Though what makes this album so great is just how intimate it is. This 12th album stands out from his others. For the first time in his 15-year-long career, Maalouf plays in duet with his old friend – the Belgian guitarist François Delporte. The duo revisit key melodies from the trumpet player’s previous albums and soundtracks. We also find a few previously unreleased tracks. The cherry on the (birthday) cake is the long list of party guests: Sting, Matthieu Chedid, Marcus Miller, Alfredo Rodriguez, Richard Bona, Trilok Gurtu, Jon Batiste and Arturo Sandoval. As shown by his previous records, Ibrahim Maalouf is like a musical crossbreeder. Here, he lays bare his playing, his sound and his relationship to melody and improvisation. Plus, he never forgets about Delporte, whose guitar isn’t just ornamental. The brilliance of Maalouf’s playing becomes even more obvious in this minimalist setting. While in the past it has been hidden amongst heavily orchestrated, heavily arranged and heavily produced works, it sounds here almost like a confession. One that’s swathed in emotion, especially in the context of a wounded Beirut and crumbling Lebanon… With just a melody, just a trumpet and guitar, Ibrahim Maalouf floats through various landscapes and eras on what might just be one of his best recordings yet. © Marc Zisman/Qobuz

ABBA Gold: Complete Edition is a curious release -- with two discs of material, it's probably too much for casual listeners seeking only ABBA's biggest chart hits (available instead on the single-disc Gold collection), while more serious fans will have already invested in the four-disc Thank You for the Music box set, rendering this package almost totally irrelevant. There's undoubtedly great music here, of course -- the problem is just that it's unlikely to fill the needs of most consumers.© Jason Ankeny /TiVo

Just after his live performance in Houston to celebrate NASA's anniversary, Jean-Michel Jarre released Rendez-Vous, an appropriately cosmic-sounding album of glittering synth pop. It consists of the same music heard at the Houston concert and shows Jarre moving closer to conventional rock territory, though still with his distinct blueprint. The final track, "Last Rendez-Vous: Ron's Piece," was composed by Jarre for astronaut Ron McNair and was intended to be the first musical piece played and recorded in space. McNair's historic duty was cut short, however, by the Challenger shuttle disaster of January 1986.© John Bush /TiVo

After a world tour with Charlotte Adigéry—his collaborator at the label Deewee founded by Belgian duo Soulwax, with whom he released the successful album Topical Dancer in 2022—Bolis Pupul has set off to explore his Chinese roots with an album in homage to his mother who passed in 2008. Heading to Hong Kong to connect with his mother’s birthplace, he underwent a creative whirlwind that inspired the seminal Letter to Yu, composed in part from thoughts gathered from his phone amidst the Ma Tau Wai Road traffic.The letter becomes the cornerstone of a kind of synthpop 2.0 album which delves into every corner of Hong Kong including its music, with strong Asian influences coming through in Bolis Pupul's choice of sounds, all of which are enrobed in the clinical and assertive production of Soulwax’s brothers Dewaele from their home studio in Ghent. We move from the highly addictive single "Completely Half," which features recordings from the Hong Kong metro, to the electronic haunted mansion that is "Spicy Crab," to the deranged techno of "Doctor Says," to the dancefloor hit "Frogs." But beyond the genres, it's the sheer energy that Bolis Pupul injects into this debut album that really grabs us. © Smaël Bouaici/Qobuz

Without any hesitation, we had to award a Qobuzissime to L'Heure bleue, the second album by Quatuor Zahir.  Because in the classical world, the saxophone quartet is still too rare a format on both record and on stage.  Because the impressionist works of Debussy, Ravel, Poulenc, and Boulanger dazzle us, as do the creations of Fabien Waksman and Graciane Finzi. Because of the refinement and sophistication of these arrangements. Because of the impeccable sound recording—always a highlight of the Aparté label.  Because of the beauty of the title, "L'Heure Bleue," which sums up the driving idea behind this powerful record. “This ephemeral moment at the crossroads of day and night—such could be the dream setting for this new opus. An invitation to a dreamlike journey," explain the members of the quartet—Guillaume Berceau, Etienne Boussard, Florent Louman, and Joakim Cielsa. Five years after their debut, the quartet took the time to construct this recital piece by piece, with the patience of goldsmiths or those who have a taste for beauty and precision of gesture. Like a landscape with changing colors and moods—from the lively (Debussy's "Quant j'ai ouy le tabourin") and languorous (Ravel's "Pavane pour une infante défunte"), to the playfulness of the last of Boulanger's Trois Pièces—in L'Heure bleue we find the gentle reminiscence of a forgotten or fantasized era. Whether the works interpreted here are in their original form or arranged, it becomes almost impossible to distinguish between the two categories, as each track is so immediately appealing. The Zahirs interweave their sublime timbres with consummate artistry, with all the interpretations becoming essentials. © Pierre Lamy/Qobuz

Clandestino, Manu Chao's first solo effort, owed its greatness to its character. It was a minimalistic, yet filled with experimentation, album. But, what's most distinctive, it was honest, direct, intimate: the personal diary of someone who had traveled a lot, not only around Latin America but through life. Unfortunately, Chao seems to lose his way a little bit in Esperanza. Apparently intended to be a continuation of what started in Clandestino, it ends being just a clone of it. The reiteration of ideas and formulas takes away from Esperanza everything that made of Clandestino a memorable piece of work. The problem with Esperanza is that Chao, instead of deepening what he proposed in his first album, seems to overfly the surface of his ideas. The consequence of this is that he transforms charm into cliché, leaving the listener with a very light flavor. Anyway, Esperanza still has a bunch of great songs ("Mr Bobby," "Mi Vida," "Trapped By Love," "Me Gustas Tú," "Bixo") and good lyrics ("Mi Vida") which amply justify its listening. Dedicated fans will find that Esperanza is not what they were expecting, yet it's really easy-going and accessible so it will end working for them as well as for casual listeners.© Alberto Moreno de la Fuente /TiVo

Everyone thinks that they know Alceste by Lully, and yet this 1674 masterpiece has almost never been recorded in its entirety. Apart from the Malgoire version from 1975 with Bruce Brewer and Felicity Palmer, which is starting to become outdated, the real treat is a second versoin by the same Malgoire twenty years later with Jean-Philippe Lafont and Colette Alliot-Lugaz... And so we can only take our hats off to the new discographical opus from Christophe Rousset's Talens Lyriques, a lively and elegant reading which allows us to rediscover everything that was so innovative about this brilliant, effervescent Florentine, who would become a typical Versaillais, a courtesan and a wheeler-dealer. King Louis XIV - 36 years old, still with all his own teeth and a victorious war leader - could only feel flattered by the piece signed by Quinault: Alcide, who covets the beautiful Alceste (who has been promised to Admetus), is none other than Hercules himself - Louis XIV seeing himself in Hercules saving the beautiful Madame de Montespan from the clutches of her husband. To be sure, in this opera, Admetus/Hercules magnanimously hands Alceste, whom he has saved from hell, to her husband, while the poor Mr Montespan would end his career and his life exiled in Gascony... Honour intact. The Sun King loved the work, to the point that he commanded that rehearsals be held at Versailles. According to Madame de Sévigné, "The King declared that if he found himself in Paris when it was performed, he would go to see it every night." That being said, if Alceste suited the tastes of the court, it didn't do so well in Paris, where Lully's enemies, jealous of the extravagant privileges that he had won (the exclusive right to "have sung any whole piece in France, wither in French verse or in other languages, without the written permission of said Sir Lully, on pain of a ten thousand livre fine, and confiscation of theatres, equipment, decorations, costumes..."), heaped plot upon plot, while the gallant Mercury sang his little couplet: Dieu !  Le bel opéra ! Rien de plus pitoyable ! Cerbère y vient japper d'un aboi lamentable !  Oh ! Quelle musique de chien ! Oh ! Quelle musique du diable ! [Lord!/Fine opera!/There's nothing so pitiable!/Cerberus is yapping, his howls lamentable!/What doggish music!/What devilish music!]. Posterity would decide otherwise, and Rousset proved it triumphantly. © SM/Qobuz

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Jean-Jacques Goldman's career as a French hitmaker is adequately detailed in this two-disc set, containing all of his singles -- both A-and-B sides -- as well as EP and live bonus cuts.© Thom Jurek /TiVo

Fauré's Requiem, “funeral lullaby” written for enjoyment as the composer put it, has a unique place in history. It's soft, simple and modest poetry conveys moments of gentle contemplation and moving expressiveness which are entrusted to both the choir and the two soloists. With his Ensemble Aedes and the orchestra Les Siècles, Mathieu Romano is committed to render a Requiem faithful to its first performance. We hear thus the score in its original 1893 orchestration, where the organ plays a great role, and where Latin is pronounced in the French way as it used to be. The clearest articulation of the Ensemble Aedes then perfectly fits Éluard’s Figure humaine set to music by Francis Poulenc. We have never heard these sublime poems sung with such intelligibility before! Finally, the three Songs by Debussy elegantly close the album. Here again, the quality and clarity of the voices are stunning. Artistic director and founder of Ensemble Aedes has established himself as a magician of voices in a cappella scores. And voices ideally melt with the strings of Les Siècles under his baton. A 100% French cast in a 100% French music disc for a triple rediscovery. Essential! © Aparté

The Opera Rara label and company, true to their name, resurrect forgotten operas. There is an abundance of those in the output of Jacques Offenbach, who wrote some 100 operettas and opéras bouffes, few of which are remembered today. Opera Rara made a good pick with La Princesse de Trébizonde (1869), and this release made classical best-seller charts in the autumn of 2023. Offenbach is as full of good, Arthur Sullivan-like tunes as ever, and he even discarded a number of them from the operetta's original production in Baden-Baden in the process of preparing a new version for Paris. Those discarded pieces are included here, and there could hardly be a better testimony to Offenbach's melodic fecundity. Better still is the action, taking place in a carnival sideshow and suggesting all kinds of ideas for a production set in modern times. It is gloriously preposterous even by operetta standards. A girl, Zanetta, accidentally breaks the nose off a wax figure of the Princess of Trébizonde and agrees to stand in for the figure herself. A prince (a pants role) -- who has dropped a lottery ticket into the till in lieu of paying admission -- falls in love with the "Princess." Meanwhile, the lottery ticket, with a castle as the prize, comes up a winner and overturns the relationships between rich and poor. The comic scenes thus spawned are handled with the needed high spirits by the cast and the several choruses (executed by Opera Rara's remarkable house chorus), and conductor Paul Daniel is ideal in this genre, consistently pushing the tempo just slightly in order to bring the forward momentum. This recording is based on a 2022 London production but is a "cast recording," not a live one, and it is quite clear sonically. La Princesse de Trébizonde has been recorded only twice before, once in Russian (!) and once for French radio in 1966; this sprightly performance is much needed.© James Manheim /TiVo

A major change of direction for Natalie Cole, Unforgettable found the singer abandoning the type of R&B/pop she'd been recording since 1975 in favor of jazz-influenced pre-rock pop along the lines of Nat King Cole's music. It was a surprising risk that paid off handsomely -- both commercially and artistically. Naysayers who thought that so radical a change would be commercial suicide were proven wrong when the outstanding Unforgettable sold a shocking five million units. Quite clearly, this was an album Cole was dying to make. Paying tribute to her late father on "Mona Lisa," "Nature Boy," "Route 66," and other gems that had been major hits for him in the 1940s and early '50s, the 41-year-old Cole sounds more inspired than she had in well over a decade. On the title song, overdubbing was used to make it sound as though she were singing a duet with her father -- dishonest perhaps, but certainly enjoyable. Thankfully, standards and pre-rock pop turned out to be a primary direction for Cole, who was a baby when the title song became a hit for her father in 1951.© Alex Henderson /TiVo

That it took nearly a year to record Voulez-Vous is an indicator of the creative and personal constraints in which the four members of ABBA found themselves at the end of the '70s. Their sixth album coincided with the marital split between Agnetha Fältskog and Björn Ulvaeus and the massively shifting currents in popular music, with disco, which had been on the wane, suddenly undergoing a renaissance thanks to the 1977 movie Saturday Night Fever. Thus, about half of Voulez-Vous shows the heavy influence of the Bee Gees from their megahit disco era. This is shown not just in the fact that the backing track for the title song was cut at Criteria Studios in Miami, where the Bee Gees had cut Main Course, Children of the World, and most of the rest of their disco-era music, but through the funky beat that ran through much of the material; yet the album still had a pair of soft, lyrical Europop-style ballads, "I Have a Dream" and "Chiquitita," both of which proved as popular as any of the more dance-oriented songs, and were reminders of Fältskog's and Ulvaeus' roots, in particular, in popular folk music during the mid- to late '60s. Those two songs, plus "Angeleyes," "Does Your Mother Know," and the title cut, were all Top Five singles in England, although only "Chiquitita" and "Does Your Mother Know" were Top 40 hits in America, where the album's sales peaked at a modest 500,000 or so.© Bruce Eder /TiVo