Emilie Simon La Marche De L'empereur

“And the violin dances Furiant, carried away by an irresistible ardour”. Beyond the intrinsic character of gypsy music, which constantly moves back and forth between melancholy and joy, dance is the obvious thread running through this album. It creates a bond through its intensity and infinite rhythmic contrasts, revealing a wide range of emotions. One dance can contain an entire life, with its laughter, its tears, its perpetual movement, its ruptures, its unpredictability in the passage from one emotional state to another…

Founded in 1906, Les Petits Chanteurs à la Croix des Bois (Little Singers of the Wooden Cross) are renowned as one of the world's most established children's choirs. Founded by Paul Berthier and Pierre Martin, two students on vacation at l'Abbeye de Tamie, the Paris-based traveling choir broke tradition with its lack of affiliation to a particular parish or cathedral. Directed by Father Fernand Maillet, they soon developed an international presence thanks to performances at the Vatican and an appearance in the 1945 film La Cage aux Rossignols, and continued to remain active throughout the 20th century, with singer/songwriter Matthieu Chédid, Les Prêtres' Charles Troesch, and Olympic rowing champion Adrien Hardy among some of their famous former members. By its centenary year, which was celebrated by a France2 show featuring duets with the likes of Tina Arena, Lara Fabian, and Nolwenn Leroy, the choir school had developed into a full-time educational institution, combining regular studies with a global touring schedule.

How to read Ronsard today? Simply aloud or in singing it, like back then. Because, for Ronsard, nothing is more obvious than to unite music and poetry: “I also want you to encourage you to pronounce your verses loudly in your room, when you do them, or sooner sing them, whatever voice can have. » Ronsard, Abbrégé de l’Art poétique françois, 1565 As soon as the collection of Loves was published, it was fashionable for a composer to set these poems to music. To quote the most famous: Goudimel, Certon, and of course Janequin. But long after death of the poet, many composers have continued to do so: Bizet, Saint-Saëns, Ravel, Poulenc… It is because Ronsard’s texts have no no age; Pick the roses of life today is a principle immortal. Julien Joubert reads poetry every day, aloud and even the most often while singing. It was therefore only natural that he lean on the work by Ronsard.

The Brahms vocal compositions (for their quality and abundance – over 400 of them) made Brahms a “worthy heir to Beethoven” in Germany, throughout Europe, and finally in France, where Ravel was the first and one of the few to admire “the beauty in his melodic ideas, their quality of expression and above all the brilliance of his orchestral language”. Schoenberg also later praised the innovation of his musical language in his Style and Idea.

Sir Simon Rattle leads the London Symphony Orchestra and a world-class line-up of soloists in a new recording of Berlioz’s unique La damnation de Faust.

Berlioz wrote of Halévy’s La Reine de Chypre (1841): ‘Its success will at least equal that of La Juive. And Wagner added: ‘It is in La Reine de Chypre that Halévy’s new style has appeared with the most brilliance and success.’ So several voices – and those by no means insignificant – have declared this work, written six years after La Juive, to be its composer’s masterpiece. Premiered on 22 December 1841, Halévy’s opera offered the limelight to Rosine Stoltz in the title role: she was the only woman in the cast, for it had been found preferable to isolate her, following her incessant disputes with the other female singers in the company.