Mikie Bal

Récemment passés de la gêne à l’opulence, M. et Mme Kampf décident de donner un bal. Leur fille Antoinette, qui vient d’avoir quatorze ans, rêverait d’y assister. Mais Mme Kampf, peu soucieuse de présenter à ses admirateurs une fille déjà si grande, oppose un refus formel. Antoinette ne préméditera pas sa vengeance : elle l’accomplira d’un geste, dans un état second…

Slonovski Bal breathes a wind native to the central European Balkans. A perfumed wind blended with the centennial epic of the Gypsies and a unique mix of European, Slavish, Turkish and Mediterranean cultures. For the past ten years, Slonovski Bal have been setting the stage on fire, surprising with the singularity and authenticity of his music. Burning with the energy of a everchanging tradition, each member brings their unique musical background in order to create a decisively modern sound.

Londres, 2019. Marie Jansen, agent d'Europol, enquête sur l'assassinat d'un milliardaire serbe sur le corps duquel a été inscrite une phrase en italien qu'elle parvient à déchiffrer car elle a grandi en Corse. Son enquête la mène jusqu'au repaire d'un parrain de la mafia. En 1993, Ange Biasani revient en Corse pour aider son petit frère qui prépare le cambriolage de trois yachts de milliardaires. …

The pairing of Francis Poulenc and Reynaldo Hahn on this album may seem contrived merely because of biographical parallels between the two men, for their musical approaches and styles are quite different, if not at odds. Poulenc's neo-Classical, self-conscious parodies in the Sinfonietta and the dry, sarcastic wit of the Aubade are a world away from Hahn's pretty, even precious, Romanticism, which is unabashedly on display in La bal de Béatrice d'Este. However, the discerning listener may find in Poulenc streaks of Hahn's pensiveness and languor, which his comic antics never completely conceal; there is in Hahn a buoyant, diatonic tunefulness that is readily found in Poulenc. (Interestingly, some of Poulenc's adaptations of Renaissance music bear a remarkable similarity to Hahn's antique pastiches in this ballet.) Furthermore, their fondness for unusual chamber combinations is striking, and the transition from the Aubade to La bal de Béatrice d'Este is not at all jarring because they both share the charm and ambience of the salon orchestra.