Dieu ne Sert Plus à Rien

Édith Piaf is almost universally regarded as France's greatest popular singer. Still revered as an icon decades after her death, "The Sparrow" served as a touchstone for virtually every chansonnier, male or female, who followed her. Her greatest strength wasn't so much her technique, or the purity of her voice, but the raw, passionate power of her singing. (Given her extraordinarily petite size, audiences marveled all the more at the force of her vocals.) Her style epitomized that of the classic French chanson: highly emotional, even melodramatic, with a wide, rapid vibrato that wrung every last drop of sentiment from a lyric. She preferred melancholy, mournful material, singing about heartache, tragedy, poverty, and the harsh reality of life on the streets; much of it was based to some degree on her real-life experiences, written specifically for her by an ever-shifting cast of songwriters.

With Isbé, a pastorale héroïque by Jean-Joseph Cassanéa de Mondonville, György Vashegyi has revived another overlooked dramatic work from the French Baroque – much as he did with Rameau’s Les Fêtes de Polymnie – for another release on the Glossa label. In his native Budapest, Vashegyi has been developing his interpretations of Baroque music with his Orfeo Orchestra and Purcell Choir for nearly three decades now, and for this recording he has assembled a magnificent team of vocal soloists, well-versed in the idiom of eighteenth- century French opera: Thomas Dolié assumes the important role of Adamas, the Chief Druid, who is besotted by Isbé, and yet is also provided with modern Enlightenment thinking (the opera was premièred in 1742).

The second volume of the Complete Harpsichord Works includes the unpublished harpsichord works of Jacques Champion de Chambonnières from manuscript sources. Performed by Karen Flint on the 1635 and 1627 Ioannes Ruckers harpsichords.

Édith Piaf is almost universally regarded as France's greatest popular singer. Still revered as an icon decades after her death, "The Sparrow" served as a touchstone for virtually every chansonnier, male or female, who followed her. Her greatest strength wasn't so much her technique, or the purity of her voice, but the raw, passionate power of her singing.

Quand donc est né le Diable? Et où? Car l'Ennemi suprême de Dieu que nous connaissons n'a pas existe de tout temps, ni en tout lieu. Ni les Hindous, ni les Chinois, ni les Égyptiens, ni les Grecs, ni les Romains, ni bien d'autres encore, tous pourtant religieux, n'ont conçu de Grand Ennemi infernal.
On le croit défini par la Bible. Il n'en est rien car, dans le premier livre de l'Ancien Testament qui fait mention de lui, le Livre de job, il est représente, bien après la Création, siégeant dans le Conseil céleste, auprès des anges, et s'entretenant avec Dieu en termes amicaux. …