Calogero Les Feux D'artifice

Following on the international success of their recording of Lully's Bellerophon, Christophe Rousset and his ensemble Les Talens Lyriques present Hercule mourant (Hercules Dying) - an undiscovered operatic treasure by Antoine Dauvergne. When Francoeur and Rebel took over as directors of the Academie Royale de Musique (the Paris Opéra) in 1757, they decided to promote some of the new generation of composers. Among them was Dauvergne, who appears to have enjoyed great favor at that time. Premiered in 1762, Hercule mourant was a success, receiving eighteen performances.

György Vashegyi and his Orfeo Orchestra and Purcell Choir offer up a recording of Boismortier’s Les Voyages de l’Amour of which this 1736 opéra-ballet has been in sore need, a score long and unjustly neglected. For this latest dramatic extravaganza on Glossa, Chantal Santon-Jeffery takes on the title role of lovesick Cupid, and the soprano is joined by two further widely experienced stars of the French Baroque opera revival in Katherine Watson (as the god of love’s sidekick and factotum Zéphire) and Judith van Wanroij as the shepherdess Daphné, smartly resistant to the god’s charms (until the end of the fourth act).

Un chemin vers le réconfort et la paix intérieure.
Grâce à son expérience de thérapeute, Ghislain Rubio de Teran a identifié 6 feux psychologiques qui attisent nos souffrances au quotidien : le manque d'estime de soi ; des relations aux autres difficiles ; le manque de confiance en soi ; la non-réalisation de soi ; la nature de notre relation à la mort et notre représentation de la souffrance. …

Le Règlement International pour Prévenir les Abordages en Mer définit un système de marques et de feux qui permet d’identifier des navires ou de signaler des situations particulières en mer. Ces marques et feux doivent être connus de tous les plaisanciers afin d’assurer la sécurité de chacun en mer. Ce mémo très pratique fait un tour complet de cette signalisation. Il aborde : les marques de jour, les feux des navires, les privilèges. Un indispensable !

André Cardinal Destouches (1672-1749) was educated by the Jesuits and had a career as a Musketeer before resigning to study music with André Campra. His first ‘hit’ was the pastoral Issé in 1697, which was written for the court but immediately taken up by the Opéra in Paris. He rose to prominent positions in both contexts and Sémiramis was first performed in 1718. Influenced by the Italophile Campra, Destouches abandoned the traditional five-part string scoring of Lully and his followers and created a work that was perhaps too serious for its time: only now are we in a position to recognise his work as an important step along the road from the aesthetic of Lully to that of Rameau.