Les Demoiselles Ont eu 25 Ans + Les Demoiselles de Rochefort (1992) [re Up]

Philippe Pascot recense et explique les raisons pour lesquels les citoyens ont perdu espoir.
Après les avantages illicites (Délits d'élus, Du Goudron et des Plumes) et les privilèges légaux mais immoraux (Pilleurs d'Etat, Allez presque tous vous faire…) dont bénéficient nos élus, Philippe Pascot s'attaque aux lobbies et aux entreprises qui achètent, manipulent ou abusent des politiques. …

En 1977, Zhida prépare son mariage à la Gallifère, la ferme de ses beaux-parents. Obligé de quitter le Cambodge à 8 ans avec son petit frère pour vivre en pension à Romilly, il se remémore sa vie depuis l'enfance et les événements qui l'ont amené à rencontrer Gabrielle, sa future femme. …

A Casablanca, Nabile et Lamia forment un couple solide depuis plus de dix ans. Ils se sont connus à Paris, ont fait construire une maison et ont trois enfants. Jusqu'au jour où elle s'éprend de Daniel, un sulfureux collectionneur de femmes. Alternant les points de vue des deux protagonistes, ce roman explore la puissance du premier amour, les impasses du mariage et les ambivalences du désir. …

Pygmalion is, perhaps, Rameau's most consistently alluring ac/c de ballet whose overture, at least, was greatly admired in the composer's lifetime. There have been three earlier commercial recordings of which only the most recent, on Deutsche Harmonia Mundi, is currently available. Pygmalion was Rameau's second ac/c de ballet and it contains affecting and vigorous music in the composer's richest vein. The action takes place in Pygmalion's studio. Captivated by the appearance of the statue he has just completed, Pygmalion, legendary King of Cyprus, falls in love with it.

Qui sont les Russes ? Derrière les préjugés et les idées reçues, que savons-nous réellement des habitants de cet immense pays, puissance incontournable qui s’étire de l’Europe à l’Alaska ?
Dans cet essai, court et dynamique, l’historien et grand spécialiste du monde russe, Marc Ferro, nous fait rencontrer les Russes de 1917 à nos jours. 70 ans de totalitarisme ont profondément façonné et pétri, souvent dans la violence, un peuple devenu « homo sovieticus »…

‘Perhaps the best of all my works’, said Gluck of his Armide. But this, the fifth of his seven ‘reform operas’, has never quite captured the public interest as have Orfeo, Alceste, the two Iphigenies and even Paride ed Elena. Unlike those works it is based not on classical mythology but on Tasso’s crusade epic, Gerusalemme liberata. No doubt Gluck turned to this libretto, originally written by Quinault, to challenge Parisian taste by inviting comparison with the much-loved Lully setting. Its plot is thinnish, concerned only with the love of the pagan sorceress Armide, princess of Damascus, for the Christian knight and hero Renaud, and his enchantment and finally his disenchantment and his abandonment of her; the secondary characters have no real life.

Phaeton was first produced not at the Palais-Royal Theatre in Paris but modestly at Versailles in January 1683. In the spring of that year it transferred to the Palais-Royal and was well enough thought of to enjoy revivals at regular intervals into the early 1740s. Indeed, rather as Atys became known as the ''King's opera'' and Isis as the musicians', Phaeton acquired its sobriquet, ''the opera of the people''. Among the many attractive airs ''Helas! Une chaine si belle'' (Act 5) was apparently a favourite duet of Parisian audiences, while ''Que mon sort serait doux'' (Act 2), another duet, was highly rated by Lully himself. In 1688 Phaeton was chosen to inaugurate the new Royal Academy of Music at Lyon where, as Jerome de la Gorce remarks in his excellent introduction, it was so successful ''that people came to see it from forty leagues around''. The present recording is a co-production between Erato and Radio France, set up to mark the occasion of the opening of the new Opera House at Lyon.