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The Italian composer Gioachino Rossini is best known for his operas. Many of their overtures and arias were catchy tunes at the time and have remained so to this day. Although it is Rossini’s comic operas that are primarily performed today, more than half of his stage works are in fact based on serious themes. One veritable rarity is the stage work "Sigismondo", which premiered in 1814 at the famous Teatro La Fenice in Venice but was only ever rarely performed afterwards.

Douces nuit: Berceuses de Noël is a 2008 CD released by Fisher-Price. Arranged by Daniel May & Carolyn Perteete, this is entirely in French. It is a French edition of Silent Night: Christmas Vocal Lullabies.

Ivan Repušic, who made his debut as principal conductor of the Münchner Rundfunkorchester in theautumn of 2017 with Giuseppe Verdi’s “Luisa Miller”, now presents a lesser-known masterpiece by the famous Italian opera composer. The concert performance of Verdi's early stage work “I due Foscari” was recorded on November 25, 2018 at the Munich Prinzregententheater.

Entitled Les Chansons Sous L’occupation, this brilliant Arkadia Chanson collection of classics and period pieces, sung by France’s greatest stars of the WWII era, brings together the best and most representative of the songs sung by the French to uplift their spirits during the dark days of World War II. First among these melodies is Maurice Chevalier’s rendition of the somewhat sardonic Ca sent si bon la France, which pays tribute to some of the country’s less obvious charms. Though Chevalier himself was accused (and acquitted) of collaborating with the Nazis, his dexterous performance reminded fellow citizens what it meant to be French. In a similar vein, Charles Trenet’s La romance de Paris allowed his audience to remember the good days and left them optimistic those days would soon return. Bel Ami, sung here by the incomparable Corsican balladeer Tino Rossi, was another popular wartime tune. Named for a novel by Guy de Maupassant, it is infused with the spirit of the beloved French countryside.

The Heinzen-Mead Duo's second album on solo musica celebrates the song repertoire of women composers from Romanticism to our current days with twenty-four songs by twenty-four women composers. The Swiss soprano Franziska Heinzen and British-Polish-German pianist Benjamin Mead set out to research the work of women composers for Clara Schumann's bicentenary in 2019 – and discovered a valuable treasure of relatively unknown music. Beginning with a life journey through refreshing spring feelings, the album goes on to describe painful hours of loneliness and uncertainty as well as anxious premonitions of death and dark fears. Five examples of self-confident female characters, whose experiences are concluded with wiser, reflections on life, as seen retrospectively

Marcus Gad est un artiste que l'on commence à bien connaître du côté de La Grosse Radio Reggae et nous prenons plaisir à écouter chacun de ses nouveaux projets.

Après avoir sorti il y a quelques semaines l’album « Chante l’Amour (Et la haine) » dans lequel se trouvent 11 titres qu’il a présentés sur scène en 2015 aux Trois Baudets (suite à la demande Alice Vivier de créer un spectacle de reprises d’artistes époque « Canetti », il avait sélectionné et réorchestré avec son groupe une douzaine de chansons (de Gainsbourg, Barbara, Brigitte Fontaine, Ferré…)), et en attendant la sortie de son nouvel album « L’odyssée » à la rentrée, Bensé vient de sortir l’EP numérique « Après le printemps » avec 6 titres inédits de son dernier album.

Douces nuit: Berceuses de Noël is a 2008 CD released by Fisher-Price. Arranged by Daniel May & Carolyn Perteete, this is entirely in French. It is a French edition of Silent Night: Christmas Vocal Lullabies.

György Vashegyi’s new recording of Rameau’s Dardanus superbly demonstrates the Dijon-born composer’s genius, but also the mastery which Vashegyi – with his Orfeo Orchestra and Purcell Choir – has acquired in the music of the Late French Baroque. In conjunction with the preparation of a fresh edition for the Rameau Opera Omnia of the May 1744 version of Dardanus (under the aegis of the Centre de Musique Baroque de Versailles), Vashegyi conducts from a score prepared by the composer (and his librettist Leclerc de La Bruère) following the work’s rejection by Paris Opéra audiences in 1739, with the intention of reinforcing the “tragédie”’s dramatic action.