Equipe de Obra Ed. 81, Marco de 2015

De nos jours, chaque minute est comptée. Et dans le tourbillon du quotidien, il n’est pas toujours facile de trouver le temps, l’énergie ou la motivation pour concocter de bons repas, surtout quand on revient à la maison, épuisé de sa journée passée au boulot. …

The successor to Music in Europe at the time of the Renaissance, this second volume in our History of Early Music is devoted to the music of the first part of the Baroque period in Italy, from the Florentine Camerata and the first operas to the heirs of Monteverdi; it was at that time that the freedom of structure characteristic of the beginning of the 17th century began to give way to the first traces of formalism. This period covers almost an entire century, beginning with the performances of La Pellegrina mounted in Florence in 1589 and ending with the final operas of Francesco Cavalli in the early 1670s. The sacred and the profane mingled and met during this period, which also saw the birth of accompanied monody, opera and oratorio, virtuoso performance and the sonata; it is precisely this same mix that we see in the Nativity by Caravaggio that appears on the cover of this set. The musical expression of this Baroque aesthetic is the subject of Jérome Lejeune’s accompanying dissertation.

Siempre que puedo lo voy a ver», escribía hace unos meses Marco Mezquida en su página de Facebook sobre Bill McHenry. «Es muy inspirador y creo que tiene un sonido fuera de lo común, un lirismo y una inventiva sofisticada, siempre sincera y profunda. Es un poeta de verdad que, sin fuegos artificiales, ha desarrollado un discurso inventivo, inteligente y humorístico conectado con un conocimiento profundo de lo que toca.» Talento en erupción de la escena jazzística de Barcelona (debutó en el festival hace años durante un homenaje a Tete Montoliu).

This is, by operatic standards of fidelity, a very faithful musical treatment of Edmond Rostand's classic drama about the swashbuckling poet and swordsman with the big nose. The music is competent but not spectacular; that quality is found in the libretto. The title role is expertly filled by Roberto Alagna, who not only has the best tenor voice in France but also turns out to be an accomplished actor in a demanding role. He is well-supported by a cast that clearly loves the story, its various characters and its often brilliant dialogue.

Massenet was not only the composer of Manon and Werther. In the shadow of his stage works slumber many mélodies decked out in subtle and delicate orchestrations, which we are delighted to revive here. These previously unrecorded works have been entrusted to a team of first-rate artists, most of them fervent champions of French poetry and its musical settings.

Created from the legendary Deutsche Grammophon Catalogue, The History of Classical Music in 24 Hours is a collection that can spark a life-long interest in classical music. Thematically arranged on 24 discs, The History weaves its way from Medieval Music to Minimalism, with many stops along the way: The Renaissance, Baroque (vocal and instrumental), the great Concertos, the Rise of the Virtuoso, a three disc focus on opera and more.

Created from the legendary Deutsche Grammophon Catalogue, The History of Classical Music in 24 Hours is a collection that can spark a life-long interest in classical music. Thematically arranged on 24 discs, The History weaves its way from Medieval Music to Minimalism, with many stops along the way: The Renaissance, Baroque (vocal and instrumental), the great Concertos, the Rise of the Virtuoso, a three disc focus on opera and more.

Het is een niet helemaal nieuw, maar wel mooi idee: een cd wijden aan een enkel liedje. In de renaissance konden populaire liedjes veel effect hebben, omdat ze graag als bouwmateriaal voor grotere vocale werken werden gebruikt. Bij deze cd gaat het om een driestemmig chanson, Malheur me bat, “Ongeluk treft mij”. Helaas is dit chanson tekstloos: buiten deze drie titelwoorden wordt in geen enkele bron de rest van de tekst gegeven!