Devienne was a professor of flute at the Conservatory of Music of Paris and bassoonist in the orchestra of the grand opera theatre of Paris in 1796. In these pieces Devienne demonstrates his mastery of gallant conversation with an admirably light touch. In these works it is the bassoon and the violin that shape the musical events. Laurent Lefèvre won the Premier Grand Prix at the Concours International d'Exécution musicale of Geneva. He is the first bassoon soloist in the orchestra of the Opéra national de Paris. He has made solo appearances in many orchestras and festivals in Germany, Swizterland, Argentina and Belgium.
Septembre 1960, Let’s Make Love, le dernier film de George Cukor, plus pudiquement rebaptisé Le Milliardaire pour le marché français, sort sur les écrans américains.
Marilyn Monroe et Yves Montand y tiennent la vedette. Mais plus que le film lui-même, ce qui tient le public en haleine, c’est l’histoire d’amour entre les deux acteurs. …
C’est à une réflexion radicalement nouvelle et profondément originale sur les liens qu’entretiennent les origines de la vie, l’émergence de l’esprit et la construction de la culture qu’Antonio Damasio nous convie dans ce livre, qui fera date.
Conjuguant, dans une démarche pionnière, les acquis des sciences de la vie et l’apport des sciences humaines, Antonio Damasio montre que le vivant porte en lui une force irrépressible, l’homéostasie, qui œuvre à la continuation de la vie et en régule toutes les manifestations, qu’elles soient biologiques, psychologiques et même sociales. …
Sir John Eliot Gardiner conducts the Monteverdi Choir, Choeur du Théâtre du Châtelet and Orchestre Revolutionnaire et Romantique in a landmark recording of Berlioz's towering opera. A tragic tale of love and fate, war and peace and the intertwined destinies of two cities, the opera is based on Virgil's imperial vision of the founding myth of Rome. The American tenor Gregory Kunde as Aeneas and the Italian soprano Anna Caterina Antonacci lead an international cast in this stunning production.
When one approaches the music of the eighteenth century that was performed at the Spanish court of the Palacio de la Zarzuela (which in shortened from then gave the whole “zarzuela” genre its name), whether by composers born in Spain or by foreigners who had settled there, the first impression is one of surprise. For here we find ourselves confronted with magnificent music that follows Italianate models, like all works of the period, yet contributes original elements specific to the country that gave it birth: above all the theatrical style, the inclusion of characteristic rhythms, and the richness of the texts, taken from great writers of the time.
Recorded from 1977 to 1978 and re-released in 2003, this CD box consists of 12 CDs. It contains the complete harpsichord music by the French master of early piano music. This box is a storehouse of valuables.
Couperin's piano music was of course written with the harpsichord in mind; so was Bach's piano music, simply because there was no pianoforte yet…
Noëlle Spieth (Solstice, record 1990-2003): the inescapable reference, with recordings that have matured over 13 years, thanks to a courageous independent label. Under the agile fingers of Noëlle Spieth, an incessant kaleidoscope of multicolored images unfolds, as the artist approaches Couperin as a painter. Never the enigmatic titles of each piece will have borne their names as well, real sketches on the spot, affectionate or ironic, without ever malice. The key word of Noëlle Spieth is movement and contrast. Alternately capable of brushing teeming storms, of approaching movements in the luthed style with emotion and modesty, the harpsichordist moves and surprises each note.
Entre la demande en mariage de Samson et sa démission de la police, la vie de Delilah prend un nouveau tournant qui l'effraie quelque peu. De son côté, Samson voit son enthousiasme freiné par la frilosité de sa fiancée. Leur complicité est mise à l'épreuve lorsque l'un de leurs amis est accusé d'un meurtre commis à Fellside Court. …