La Baule Les Pins 1990

Ayant eu le grand plaisir de rencontrer M.Abe Kenichi, je ne peux que rendre hommage au livre de son père Maître Abe Kurakichi, « Les Pins en Bonsaï ». Ce livre décrit une multitude de techniques sur la formation des pins, en particulier le Pentaphylla, tout en conservant une approche très naturelle des différents styles abordés. C’est pour moi un « must-have » pour les amateurs de Pins. Un peu à la manière de Kyôsuke Gun, Mr.Abe vient appuyer ses explications par de nombreux schémas clairs et précis. On y trouve tout ce qu’il faut savoir sur …

John Eliot Gardiner has proved himself a doughty champion of the later French Baroque, cultivating credible performing methods and unearthing undeservedly neglected repertoire. … "Les Boreades" recorded in 1982. Viewed by many as one of the greatest of Rameau's operas, the score is both dramatically effective and a riot of orchestral colour. Gardiner conducts with a real feeling for the way in which instrumental timbre underpins the drama, while in a strong cast Philip Langridge is both stylish and superbly theatrical as Abaris.

It is very interesting, but also quite a shock, to play the contents of this disc in the wrong order. What a born Franckian Ashkenazy is, one thinks, listening to his account of Les Djinns and admiring both the boldness of outline and colour in the orchestral sections and the long-breathed nobility of phrasing that he brings to the piano theme that calms the music's turbulence. And the impression is redoubled by his voluptuous reading of Psyche (of its four orchestral movements, that is; the choral ones are as usual omitted, though Decca puzzlingly print Franck's synopsis of them in the accompanying booklet). What a fine control of sustained, arching line and of slowly built crescendo and, in the fourth movement, what a shrewd understanding of how much sensuality underlays Franck's image of pater seraphicus!

It is good that there is a recording of Honegger's charming Christmas cantata with French-speaking soloists that does full justice to the work. It was the last completed work for baritone, choir and organ in 1953. In fact, it certainly deserves greater fame outside France. The recording was made in Lisbon and was later remastered by Cascavelle. We hear very beautiful, and in the case of the Danse des morts from 1938/40 (for speaker, soprano, baritone, choir and orchestra), even very concise renditions.

It is good that there is a recording of Honegger's charming Christmas cantata with French-speaking soloists that does full justice to the work. It was the last completed work for baritone, choir and organ in 1953. In fact, it certainly deserves greater fame outside France. The recording was made in Lisbon and was later remastered by Cascavelle. We hear very beautiful, and in the case of the Danse des morts from 1938/40 (for speaker, soprano, baritone, choir and orchestra), even very concise renditions.

La Clemenza di Tito can be rather bloodless, but in this instance an elegant, vocally impeccable cast makes up for much of the lack of drama in John Pritchard’s conducting. Werner Hollweg’s pingy tenor cuts through the orchestra brilliantly, and he uses his voice very well. Teresa Cahill and Anne Howells are an attractive-sounding pair as the young lovers, and Robert Lloyd is typically strong as Publio. The honors here go to Yvonne Minton’s anguished, beautifully accurate Sesto, capturing an often under-valued mezzo in one of her best roles. Janet Baker is Vitella, bringing fire and passion to her melodramatic utterances and immaculate singing to a very challenging role. The sound is excellent.

La Clemenza di Tito can be rather bloodless, but in this instance an elegant, vocally impeccable cast makes up for much of the lack of drama in John Pritchard’s conducting. Werner Hollweg’s pingy tenor cuts through the orchestra brilliantly, and he uses his voice very well. Teresa Cahill and Anne Howells are an attractive-sounding pair as the young lovers, and Robert Lloyd is typically strong as Publio. The honors here go to Yvonne Minton’s anguished, beautifully accurate Sesto, capturing an often under-valued mezzo in one of her best roles. Janet Baker is Vitella, bringing fire and passion to her melodramatic utterances and immaculate singing to a very challenging role. The sound is excellent.

It is good that there is a recording of Honegger's charming Christmas cantata with French-speaking soloists that does full justice to the work. It was the last completed work for baritone, choir and organ in 1953. In fact, it certainly deserves greater fame outside France. The recording was made in Lisbon and was later remastered by Cascavelle. We hear very beautiful, and in the case of the Danse des morts from 1938/40 (for speaker, soprano, baritone, choir and orchestra), even very concise renditions.

L'histoire passionnante et incroyablement intéressante des Indiens d'Amérique du Nord, depuis l'arrivée des premiers hommes blancs jusqu'à nos jours.