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Klassiek - Verschenen op 27 maart 2020 | NoMadMusic

Hi-Res Booklet Onderscheidingen 5 de Diapason - 3F de Télérama - 5 étoiles de Classica
“Jardin féérique”, the Métaboles’ second album with NoMadMusic, is a true ode to nature. Infinite source of inspiration, it becomes an enchanted forest with Ravel, is the symbolical reflection of the soul’s tremors with Saint-Saëns, while Britten, in his Hymn to Saint Cecilia – patron of musicians – pays homage to the muse walking through a shady garden. Britten’s Flower Songs create a unique cycle like a musical herbarium… The figurative music of Murray Schafer (Miniwanka) – engaged composer and ecology-lover – develops the concept of a musical landscape: a fascinating conjunction of vocal gestures, percussion, onomatopeia, evocation of rituals which reveal the metaphysical dimension of the link between Nature and Mankind. © Nomadmusic
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Klassiek - Verschenen op 23 augustus 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 3F de Télérama
We asked for this as much as we cautiously anticipated its arrival… Anxious to ensure the return of the pianist, Sony Classical – goodbye Deutsch Grammophon – rolled out the red carpet for Ivo Pogorelich. Recorded in Schloss Elmau and the Raiding Concert Hall (Beethoven in the former and Rachmaninoff in the latter) this new album delivers a wide sound of measured reverberation and embraces Pogorelich’s rough playing style as well as some of his more tender nuances. Like an iron hand in a velvet glove. Ivo Pogorelich is not playing around. For Rachmaninoff, he has chosen the second Sonata in B flat minor, op. 36 in its original, full-length version in which numerous sections disorientate the listener as they lose themselves on a hallucinogenic journey with the musician. Pogorelich progressively eases us in and wins us over by beginning with two, rarely recorded but known, Beethoven works: his sonatas no.22 in F major, op.54 and no.24 en F sharp major, op.78. The chosen listing is intelligent (with two major figures), ambitious (with its demanding score), and generous (for reasons mentioned above). It would seem we’re in familiar territory, yet nothing is less certain when Pogorelich seems to literally grab the scores by their reigns and breathe into them a sense of puissant heroism. Nevertheless, Pogorelich remains an expressive musician, scrutinising the texts with as much malice as severity despite some slower tempos. It’s as if the listing is backlit by his own personal vision for the works. © Elsa Siffert/Qobuz
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Toneelmuziek - Verschenen op 10 augustus 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason - 3F de Télérama - Gramophone Editor's Choice
Composed by Stravinsky in 1933 in the wake of the French oratorio fashion whose figureheads are Milhaud (Les Choéphores) and Honegger (Le Roi David, Jeanne d’Arc au bûcher), and his own Oedipus Rex, Perséphone sanctifies the French period of the Russian composer, after he left Switzerland and before he settled definitely in the United States. Ordered by Ida Rubinstein, to whom music history already owed Debussy’s Martyre de Saint-Sébastien and Ravel’s Boléro, this melodrama, profane in its story and hybrid regarding its musical form, glorifies spring -without it being a new “Consecration” in its language) on a text by André Gide, thus prolonging the emotion created by the novel Si le grain ne meurt. The three acts of the work (Perséphone enlevée, Perséphone aux enfers, Perséphone renaissante) are close to human nature and psyche with an empathy reinforced by Stravinsky’s music. Conceived for a tenor (Eumolpe), a narrator, a mixed chorus, a chidren’s chorus and an orchestra, this work, so original in the production of its author, has however never found its audience. People long blamed Stravinsky for wringing the neck of the prosody of Gide’s text without understanding that it was however one of its more sensitive works, possessed with a melodic verve, a clear lyricism and a warmth for which he wasn’t known for. Under Esa-Pekka Salonen’s inspired and aerial baton, Perséphone finds here a second youth which might finally allow it to impose itself to a new generation of music lovers. This “strange profane mass” (as described by Marcel Marnat) is probably one of the most touching works of a composer that is always looking for new springs. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 11 mei 2018 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen 5 de Diapason - 3F de Télérama - Gramophone Editor's Choice - Choc de Classica
We'll admit: this Reine de Chypre by Fromental Halévy is probably not the unfairly-overlooked work of commanding genius for which the lyrical world has been waiting for fifty years… But it would still be a shame to miss it, especially when performed by such a line-up, with Véronique Gens, Cyrille Dubois and Etienne Dupuis at the top of the bill. And after all, the score is full of vocal marvels and very original ensembles; but it is rather in the orchestration – which is not much more adventurous than that of any other piece of Italian bel canto of the era – that Halévy has taken it easy. The melodic richness was pointed out in an article in the Revue et gazette musicale in April 1842: "In the Reine de Chypre, Halévy's new style is on display with more dash, and more success. I have had occasion to point out the preconditions, as I see them, of the production of a good opera, by pointing out the obstacles which stand in the way of meeting these conditions fully and in good time, whether by the poet or the composer. When these conditions are met, it is an event of great importance for the world of art. Now, in the present case, circumstances have conspired in the performance of a work which, as even the most exacting critic must admit, possesses all the qualities which constitute a good opera. (…) The composer has put all the enchantment of his art into the duet that breathes the sentiments that enrapture them. The dark cloth on which these two charming figures are drawn shows through even in those songs which are so sparkling and alive with happiness, like a sinister cloud, and lends them a particular character of melancholy intrigue. There is no equal, in nobility or in grace, of the magnificent melody of the final part of this duet." The article continues in this vein. The byline? One Richard Wagner… © SM/Qobuz
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Jazz - Verschenen op 4 mei 2018 | NoMadMusic

Hi-Res Onderscheidingen 3F de Télérama - 4 étoiles Jazzman
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Jazz - Verschenen op 19 januari 2018 | ECM

Hi-Res Booklet Onderscheidingen 3F de Télérama - Choc de Classica - 5 Sterne Fono Forum Jazz
Like every great instrument blower, John Surman has a sound you’ll recognize from the first breath. A sound which is as much fed by the culture of his British motherland (local folklore is one of the components of his music) as by the culture from other countries. The saxophonist and clarinetist has crossed paths with pianist Nelson Ayres—well-known by the fans of Brazilian jazz for his work with Airto Moreira and Milton Nascimento—during a tour in South America. And it’s in Oslo that he met the American vibraphonist Rob Waring, an expat in Scandinavia… With Invisible Threads, the three men gathered to perform a programme mostly composed of Surman’s original pieces, recorded in Oslo in July 2017, under the artistic supervision of Mr. ECM, Manfred Eicher. This program is like an ode to melodies that transcend dialects. Once again, John Surman unfolds very singular and beautiful narrations, parcels of internal joys that are almost melancholic, at the heart of which the improvisations are drunk like divine elixirs. This jazz is of course different. And as the saxophonist has been a resident at ECM for decades, he’s also one of the components of the sound of the label from Munich, now more than ever. © MD/Qobuz
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Vocale jazz - Verschenen op 24 juni 2016 | Blue Note Records

Hi-Res Onderscheidingen 3F de Télérama
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Moderne jazz - Verschenen op 27 mei 2016 | Abalone Productions

Hi-Res Booklet Onderscheidingen 3F de Télérama - Elu par Citizen Jazz - CHOC de JAZZmagazine-jazzman
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Klassiek - Verschenen op 10 mei 2016 | NoMadMusic

Hi-Res Onderscheidingen 3F de Télérama - Le Choix de France Musique
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Jazz - Verschenen op 11 december 2015 | ECM

Hi-Res Booklet Onderscheidingen 3F de Télérama
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Klassiek - Verschenen op 25 augustus 2015 | Passacaille

Booklet Onderscheidingen 3F de Télérama
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Kamermuziek - Verschenen op 23 februari 2014 | Arion

Onderscheidingen 3F de Télérama
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Franse chansons - Verschenen op 22 februari 2014 | JPB Production

Onderscheidingen 3F de Télérama
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Pop/Rock - Verschenen op 2 december 2013 | Le Chant du Monde

Onderscheidingen 3F de Télérama
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Wereldmuziek - Verschenen op 2 december 2013 | Le Chant du Monde

Onderscheidingen 3F de Télérama
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Rock - Verschenen op 1 oktober 2013 | Mute

Onderscheidingen 3F de Télérama - 4 étoiles Rock and Folk - Sélection Les Inrocks
Opnieuw opgenomen in het gezelschap van producer Nick Launay, is Grinderman 2 een meer gepolijste en geraffineerde affaire dan zijn voorganger. Sonisch bezien is het een avontuurlijker, witheet roc-'n-rollalbum. Hoogtepunten zijn het schuimende, smerige dissonante nummer “Mickey Mouse and the Goodbye Man,” het zompige en schuine bluesnummer “Kitchenette” en het donderende “Worm Tamer.” Met zijn uitgestrekte textuur, atmosferische palet, en bewust gedoseerde dynamische bombast, bevat het album een overdosis aan rock-'n-rolladrenaline, die geweekt is in komische vuigheid. Maar, het klinkt ook meer als een nieuwe, meer experimentele richting voor de band dan als een voortzetting van het debuut. © Thom Jurek /TiVo
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Franse chansons - Verschenen op 27 mei 2013 | Wagram Music - Cinq 7

Onderscheidingen 3F de Télérama
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Jazz - Verschenen op 6 mei 2013 | Jazz Village

Hi-Res Booklet Onderscheidingen 3F de Télérama - Sélection FIP - The Qobuz Ideal Discography - Le top 6 JAZZ NEWS - Qobuz Referentie - Hi-Res Audio
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Alternative en Indie - Verschenen op 15 april 2013 | 4AD

Onderscheidingen 3F de Télérama - 5/6 de Magic
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Ambient - Verschenen op 15 april 2013 | InFiné

Hi-Res Booklet Onderscheidingen 3F de Télérama - Hi-Res Audio