Ici on Noie Les Algériens

Dans le plus beau et le plus riche quartier d'Osnabrück, en Basse Saxe, au centre-ville, rue de la Vieille-Synagogue, il y a un espace rasé entre deux élégantes demeures, on passe devant sans les voir. Les Ruines. C'est ici. La réserve de la mémoire et de l'oubli déposée derrière des grillages. Sur le grillage à hauteur de nos yeux quatre panneaux de cuivre poli font le même récit chiffré daté du 9 novembre 1938, panneaux étincelants, tablettes d'une nuit épouvante, qui a pris sa place d'horreur dans la longue et riche chronique de la fameuse ville fondée en 780 par Karl der Große, …

Pelléas et Mélisande has taken it's place as one of opera's greatest masterpieces. Debussy deployed a unique style in this work, flexible and natural, never forcing the prosody of words and phrases. In this new historically informed interpretation, François-Xavier Roth and Les Siècles have endeavored to do justice to this music that is at once so strong and so delicate, supported by a handpicked cast of today's finest French singers.

Les Marquises is Jean-Sébastien Nouveau’s grand ensemble project, featuring artists like Matt Elliott of The Third Eye Foundation and Agathe Max among many others. A Night Full Of Collapses makes great use of this line-up, sprinkling rich and varied instrumentation throughout its noirish chamber pop. Released by Ici d’ailleurs.

Women composers had great difficulty in making their voices heard and gaining recognition during their lifetimes. Even today, they are all too rarely heard in the concert hall or the opera house. That situation obviously cries out for a change in attitude, but then come the questions: all right, let’s programme women composers, but which ones, and which of their works? In this eight-CD set featuring several hundred performers, the Palazzetto Bru Zane offers its initial answer as far as nineteenth-century France is concerned. The selections range over chamber music, orchestral works, piano pieces and songs. They highlight twenty-one female creators, from already identified personalities like Hélène de Montgeroult, Louise Farrenc, Pauline Viardot, Marie Jaëll and Mel Bonis to such completely unknown figures as Charlotte Sohy, Madeleine Jaeger, Marthe Grumbach, Jeanne Danglas, Hedwige Chrétien and Madeleine Lemariey. From now on, there will be no excuse for ignoring Romantic women composers.

The exciting and vigorous talents of Sébastien d Hérin and Les Nouveaux Caractères announce their debut on Glossa with a major and appropriately unexpected release of a glaring Rameau operatic omission on record: 'Les Surprises de l Amour' (Cupid s Surprises). This opéra-ballet, consisting here of three separate entrées, first performed in 1748 and submitted to later revisions, comes from the period of Jean-Philippe Rameau s rich maturity when he had finally become a court composer.

The ensemble Les Arts Florissants, founded and for many years headed by American-French conductor William Christie, specializes in the music of the French Baroque. That might seem a poor fit with a greatest-hits collection like this one: surely anyone interested in the French Baroque will already have heard many of the selections included on this three-disc set, celebrating the group's 40th anniversary in 2019. Actually, though, the influence of Les Arts Florissants has been so fundamental that a survey of this kind is entirely appropriate. When Christie founded the ensemble in 1979, French Baroque music was a rare find on recordings. Les Arts Florissants has changed that completely, and Christie expanded the operation with an educational aspect that will keep the momentum going. The group contributed to the growing popularity of 17th century music outside of France, and the gorgeous Monteverdi recordings here (sample Il combattimento di Tancredi e Clorinda) are the equal of any. The three discs in the package are divided into the categories of Music and Theater, Sacred Music, and Secular Music, the last covering chamber-sized groups.