Fabienne Raoul

Plangliedli, Lanzigliedli, Herbstliedli, Heiwehliedli: dialect texts and cozy sounds in the art song? This is more than a beautiful dream. The singer Sybille Diethelm and the pianist Fabienne Romer present precious, imaginative, poetic and humorous settings of poems by the dialect poet Meinrad Lienert (1865-1933). And with him it's a bit like with Mozart: you like his poems if you only hear them once without knowing exactly why. And if you deal with them more extensively, it can happen that you almost "git" with joy because they are so charming and eloquent and so full of fine details.

Fabienne Ambühl combines a profound jazz mindset with romantic power of imagination to an unmistakable personal style. She loves Johannes Brahms and has listened to the early Brad Mehldau just as much as to Alan Pasqua. She calls the airy-fairy concept-pop musician Efterklang one of her favorites, just as much as various singer/songwriters. The pieces on "Glitterwoods" also reflect her back and forth between the alpine homeland and European metropolises.

Fabienne Shine (ex Shakin' Street) is back! This new album was recorded with many guests, including: Freddie Katz, JP Thunderbolt Patterson (Dictators) Mike Winter (Shakin'Street), Ross Friedman (Dictators, Manowar), Albert Bouchard (Blue Oyster Cult), Joe Bouchard ( (Blue Oyster Cult), Mar Todani, Norbert Krief (Trust), Aurélien Ouzoulias (Mörglbl), .. Like the proverbial Phoenix, Fabienne Shine rises to show the world she is back and still knows how to "SHAKE IT"!

We owe this very first recording of that score to the collaboration of the Norwegian Music Festival Barokkfest and the Centre de musique baroque de Versailles. Premiered just a few months before the French Revolution, and fallen into oblivion since, Raoul Barbe-bleue is an unclassifiable "opéra comique", whose musical and dramatic implications are such remarkable that it even inspired Offenbach.Marvelous and medieval universe meet in this drama based on Perrault’s tale that announces, both through its writing and its inherent horror, the upcoming musical romanticism. Indeed, far from being an archetype of the genre, Raoul Barbe-bleue depicts a cruel gentry from a quite political point of view, that it even dares to mock by mingling tragical register and comic effects, from travesty to the figure of the scapegoat valet. The mysterious atmosphere that emerges from the drama (and that recalls eventually Weber’s singspiel) stems mostly from a musical writing that widely supports the suspense and that cannot be compared to the naïve and simple early works of the composer. Indeed, Grétry’s musical refinement and elegance serve the dramatic strength of his work, and evokes Mozart’s Requiem introit.

We owe this very first recording of that score to the collaboration of the Norwegian Music Festival Barokkfest and the Centre de musique baroque de Versailles. Premiered just a few months before the French Revolution, and fallen into oblivion since, Raoul Barbe-bleue is an unclassifiable "opéra comique", whose musical and dramatic implications are such remarkable that it even inspired Offenbach.