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Clásica - Publicado el 3 de septiembre de 2021 | Alpha Classics

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Clásica - Publicado el 20 de agosto de 2021 | PentaTone

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Sinfonías - Publicado el 13 de agosto de 2021 | CPO

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Clásica - Publicado el 25 de junio de 2021 | ARTALINNA

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Clásica - Publicado el 25 de junio de 2021 | B Records

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With a cover illustrated by Simon Bailly, which looks like something out of a Blake and Mortimer comic, this production from the Frivolités Parisiennes, under the direction of Dylan Corlay, presents Le Diable à Paris by Marcel Lattès, a pleasant operetta which was written as a cynical, biting satire on Faust. All the characters are idiots and villains, and the devil himself is ridiculed by human perfidy.Unfortunately the devil undoubtedly got the better of the series of shows planned at the Théâtre de l'Athénée in Paris in the wake of the global pandemic. For this recorded version, the long passages of dialogue which didn't make the grade have been cut out and replaced with a narrator summarising the action.Although he is now forgotten, Marcel Lattès was a French composer who died in 1943 after being arrested as a Jew by the police of his own country and languishing for several months in the transit camps of Compiègne and Drancy. Initially released thanks to Sacha Guitry's intervention with the German authorities, he was arrested a second time, deported and gassed upon his arrival in the Auschwitz extermination camp. We owe him a dozen operettas and the music for about thirty films by Pabst, Abel Gance, Maurice Tourneur and Marcel L'Herbier.His melodic and light sound, worthy of the best pages of André Messager, bursts forth in Le Diable à Paris, an operetta first performed in 1927 with Dranem and Raimu and reproduced here in a version full of verve, by a troupe of singers with perfect diction, in a resolutely contemporary and natural style that blows away any cobwebs that might be clinging to the work. © François Hudry/Qobuz
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Clásica - Publicado el 25 de junio de 2021 | RUBICON

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Clásica - Publicado el 11 de junio de 2021 | Kings College Cambridge

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Clásica - Publicado el 9 de abril de 2021 | Universal Music Australia Pty. Ltd.

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Jazz - Publicado el 12 de marzo de 2021 | NoMadMusic

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Clásica - Publicado el 8 de febrero de 2021 | Brilliant Classics

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Clásica - Publicado el 15 de enero de 2021 | Accentus Music

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Clásica - Publicado el 4 de diciembre de 2020 | Claves Records

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Clásica - Publicado el 25 de noviembre de 2020 | La discothèque idéale de Diapason

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Música de cámara - Publicado el 13 de noviembre de 2020 | Alkonost Classic

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Clásica - Publicado el 6 de noviembre de 2020 | BIS

Hi-Res Libreto Premios Diapason d'or / Arte
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Clásica - Publicado el 23 de octubre de 2020 | LSO Live

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Clásica - Publicado el 29 de septiembre de 2020 | Donemus Musicians' Voice

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Clásica - Publicado el 11 de septiembre de 2020 | Warner Classics

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Ópera - Publicado el 4 de septiembre de 2020 | Chandos

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Benjamin Britten's Peter Grimes, the grim tale of an outcast fisherman hounded by moralistic townspeople, has been called an allegory for the treatment of homosexuals; Britten himself said it was about "the struggle of the individual against the masses. The more vicious the society, the more vicious the individual." The chorus has more to do in Peter Grimes than in almost any other opera, but its instrumental "Sea Interludes," often performed separately, are equally important. Anyone who has seen Moonrise Kingdom knows the uncanny way in which Britten's music is suited to the seaside locale, and he never excelled this opera in terms of individual characterizations, so there's a great variety of forces to keep in balance. The singers, led by tenor Stuart Skelton as Grimes, embody these characterizations to the hilt, and Chandos' sound from the Grieghalle in Oslo brings the listener into the midst of the action yet is impressively clear. However, the triumph of this 2020 recording is that conductor Edward Gardner executes the balance perfectly. The seemingly classical alternation of solos and choruses are kept in sync with the simmering passions of the text, and the instrumental interludes are not breaks in the action, but parts of it. Everything seems to push forward toward the denouement. Gardner has to fuse together four different choirs, not all of them English, and they are compelling indeed. The performances were honed by semi-staged concert presentations of the opera several times before this recording was made, and it doubtless contributed to the sense of cohesion. The real success, though, is that of Gardner, his understanding of the material, and his control over the music-making. © TiVo
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Clásica - Publicado el 24 de julio de 2020 | Mode Records