Cyrille Aimeee

From Papillon et la fleur to L’Horizon chimérique, Gabriel Fauré has created some one-hundred melodies which have transformed this French art form into the very pinnacle of musical expression.

Cyrille Dubois is unstoppable: after two albums dedicated to Liszt and the Boulanger sisters, both acclaimed by the critics, and a flamboyant complete set of Fauré songs, the tenor is back to his preferred repertoire, the French art-song. He reunites with his accomplice, pianist Tristan Raës, to bring the Bordeaux composer Louis Beydts (1895-1953) out of oblivion, most of whose pieces are recorded here for the first time.

Compositeur normand du début du XXe siècle et figure méconnue de la musique française, Gabriel Dupont fut pourtant l’un des derniers représentants du post-romantisme hexagonal, qui s’éteint avec lui à l’aube de la Grande Guerre.

Schubert's Winterreise, an absolute masterpiece of the lieder repertoire, is brought to life here by tenor Cyrille Dubois and pianist Anne Le Bozec, two performers at the height of their powers. This album, recorded under the special conditions of a harsh winter (during the Corona pandemic in 2021), brings back the painful introspection of the wanderer, all about inwardness and solitude.

Arnaud Marzorati and his singers, ‘Les Lunaisiens’, are unrivalled specialists in the popular French songs of the past centuries. Here they tackle two great monuments of 19th-century France: the writer Honoré de Balzac, and songwriter Pierre-Jean de Béranger, a poet and composer highly famed in his day for his genius in depicting society in all its social diversity, from the poorest to the very richest.

Arnaud Marzorati and his singers, 'Les Lunaisiens', are unrivalled specialists in the popular French songs of the past centuries.

Surprising as it may seem, there has never been a complete recording of Bizet’s songs.

The acclaimed vocalist Cyrille Aimée explores the Sondheim songbook for her scintillating album, 'Move On: A Sondheim Adventure'. What began as a celebration of a legendary Broadway songwriter became a work of cathartic autobiography as one song after another captured her deepest personal feelings.

New York Times music reviewer Stephen Holden described Aimée as a blend of Michael Jackson and Sarah Vaughan and wrote that the "saucy, curly-haired jazz singer [stood] with one foot in tradition and the other in electronics," and that her voice had a "tart, girlish chirp" and that her Surreal Band fused traditional and futuristic electronics with textures mixing jazz and funk. New York Times reviewer Nate Chinen wrote that she had a "sweet, girlish voice that she controls with a sniper's precision"