Le Doules

Le Carnaval du Parnasse, Mondonville's heroic ballet, was a dazzling triumph at its premiere in 1749, eclipsing Rameau'sZoroastre, which premiered the same year. Dedicated to the Marquise de Pompadour, muse of the arts and the omnipotent favourite of the King, this whimsical carnival is nothing short of a deliciousmarivaudage: on Mount Parnassus, Apollo and his Muses indulge in feasts of the senses and entertainments of the heart…Mondonville displays prodigious virtuosity throughout, depicting unheard-of orchestral colours and imagining unbridled dances and vast ceremonial choruses comparable to those in his great motets. Alexis Kossenko and his ensemble Les Ambassadeurs ~ La Grande Ecurie, joined by the eminent vocal power of the Choeur de Chambre de Namur, have made an exceptional rediscovery of this masterful reincarnation of the splendours of the Court of Louis XV, then at its apogee.

Armide, premiered in 1686, was the last joint work of Lully and the poet Philippe Quinault. It immediately became a pillar of the Opéra's repertory, which it finally left only in 1766, when it was removed to make room for a new wave of composers, Philidor, Grétry, Gossec and soon Gluck.

Libretto enclosed. Il Conte di Almaviva: Dietrich Fischer-Dieskau, Tatiana Troyanos as Cherubino, and others. Karl Bohm, Conductor. This is The Originals (Original-Image Bit-Processing, Added presence and brilliance, greater spatial definition) by Deutsche Grammophon.

Le Retour des Dieux sur la Terre and Le Caprice d'Erato are part of the tradition inherited from Louis XIV of occasional pieces that served to illustrate major events at Court: Composed four years apart, the first to celebrate the wedding of Louis XV and Marie Leszczynska in 1725 and the second for the birth of their first son in 1729, these two divertissements are veritable little concert operas in which splendid grand narratives, triumphal overtures, surprising dances, solemn choruses and grandiose finales follow one another.Alexis Kossenko invites us here to savour the delights of these musical evenings, which gradually spread to all the salons of the 18th century, and where everything seems to invite us to celebrate!

Le Retour des dieux sur la terre and Le Caprice d’Érato are part of the tradition inherited from Louis XIV of occasional pieces that served to illustrate major events at Court: composed four years apart, the first to celebrate the wedding of Louis XV and Marie Lescznyska in 1725 and the second for the birth of their first son in1729, these two divertissememts are veritable little concert operas in which splendid grand narratives, triumphal overtures, surprising dances, solemn choruses and grandiose finales follow one another. Alexis Kossenko invites us here to savour the delights of these musical evenings, which gradually spread to all the salons of the 18th century, and where everything seems to invite us to celebrate!

Recorded live in concert at Festival d’Aix-en-Provence in 2023, this album sees the London Symphony Orchestra and conductor Sir Mark Elder join forces with Lyon Opera Chorus, Maîtrise des Bouches-du-Rhône, the Mediterranean Youth Orchestra, and an incredible cast of soloists to bring to life Meyerbeer’s visionary historical drama, Le prophète.
The opera is based on a true story. In the 1500s, a charismatic innkeeper was converted to Anabaptism by itinerant preachers. After becoming a preacher himself, he came to Münster and established a tyrannical rule, renaming it Jerusalem and proclaiming himself king, before later being killed.

Recorded live in concert at Festival d’Aix-en-Provence in 2023, this album sees the London Symphony Orchestra and conductor Sir Mark Elder join forces with Lyon Opera Chorus, Maîtrise des Bouches-du-Rhône, the Mediterranean Youth Orchestra, and an incredible cast of soloists to bring to life Meyerbeer’s visionary historical drama, Le prophète.

The last great tragédie en musique or “musical tragedy” of the reign of Louis XIV, Alcyone (Alcione, as the title appears in the 1706 edition) is an all-round spectacle poised between the 17th and 18th centuries. From the 17th century it takes its mythological source, its prologue in praise of the king, its high literary quality and its vocation for spectacle, combining choreography and changes of scenery.

Variations funèbres, valses folles ou mélancoliques, danses hongroises où claquent des accents tziganes : c’est un florilège de l’esthétique brahmsienne qui vient conclure en beauté l’intégrale de la musique de chambre du compositeur chez B Records. Théo Fouchenneret et Éric Le Sage donnent toutes ses couleurs et ses contrastes au répertoire trop souvent mésestimé du piano à quatre mains.

Released 90 years after he was born and 30 years after his death, Inégrale / Le Temps Ne Fait Rien À L'Affaire is a comprehensive 19-disc collection that contains everything any hardened George Brassens fan could possibly want. Featuring a colossal 330 remastered tracks, the unique box set includes 14 original studio albums, a compilation of live performances, and two discs' worth of previously unpublished rarities and demos alongside posthumous material recorded with the help of Jean Bertola.