Bekar Pas du Tout

Anne Sylvestre, Agnes Bihl, Nathalie Miravette, Dorothee Daniel - Carre de Dames (2015) {Banco Music BAN3269}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 361 Mb | MP3 @320 -> 151 Mb
Full Artwork @ 300 dpi (png) -> 105 Mb | 5% repair rar
© 2015 Banco Music | BAN 3269
French Pop / French Chanson

If there is one thing that brings together Anne Sylvestre and Agnès Bihl, two singers of different generations, it is the love of the good word and the way to make it live. Supported by pianists Dorothée Daniel and Nathalie Miravette, they reinterpret here, as a duo, a few selected moments from their personal repertoire. The result is spontaneous, often very funny (les Imbéciles, Son mec à mo). But what seduces the most in this album in the form of parenthesis is the pleasure it contains and the good mood that emerges from it. What does it matter if the interpretations are not always perfect, since the result is jubilant?

Après plus de 10 ans d'existence et avant d'entrer en hibernation, Les Blaireaux, dont le premier EP s'intitule « On Aurait Du Changer De Nom » se demandent si effectivement, ils n'auraient pas du changer de nom. Pas question cependant de se retirer sans panache pour nos muscalidés : une tournée finale jusque fin 2012 net un best of exceptionnel vont accompagner leur long chemin vers leur terrier lillois.

Bertrand Betsch - Pas de bras, pas de chocolat (2004)
Chanson/French Songwriter/Acoustic Rock | MP3 | CBR 320 kbps | 50:14 | 130 MB

Avec son titre crypto-humoristique, le coeur du cet album de Bertrand Betsch balance, entre léger bonheur (Temps beau) et permanent fardeau (Le Lundi, c'est maladie, J'ai tout vu), le coupable et l'innocent, bonne foi et mauvaise volonté, beau temps et temps mort. Pas de bras, pas de chocolat se distingue du précédent album du chanteur parisien (le hanté B.B. sides) par une visible envie de joies, un désir de mélodies qui restent en tête, d'arrangements qui égaient (grâce également à son complice le guitariste Hervé Le Dorlot, ainsi que le soutien de Marcus Bell et de Jean-Daniel Glorioso).

The six trio sonatas stand out as an almost unique exception in Bach s output for the organ, essentially composed for the Lutheran liturgy in a style that is frequently much more severe and sometimes positively out of step with the tastes of his time. Here, though, all the ingredients of the style galant are present: the flexibility and singing character of the melodic lines, the purity and apparent simplicity of the three-part harmony, not forgetting the three-movement form.

Hippolyte et Aricie was Rameau's first surviving lyric tragedy and is perhaps his most durable, though you wouldn't know it from the decades we had to wait for a modern recording. Now there are two: this one, conducted by Marc Minkowski, and William Christie's version on Erato. Choosing between the two is tough. Minkowski uses a smaller and probably more authentic orchestra, and with the resulting leaner sound, the performance has more of a quicksilver quality accentuated by Minkowski's penchant for swift tempos. His cast is excellent. The central lovers in the title are beautifully sung by two truly French voices, soprano Véronique Gens and especially the light, slightly nasal tenor of Jean-Paul Fourchécourt. In the pivotal role of the jealous Phèdre, Bernarda Fink is perfectly good but not in the exalted league of Christie's Lorraine Hunt. So there's no clear front-runner, but anyone interested in French Baroque opera must have at least one.