je Suis le Genre de Fille

At the dawn of a new century when André Campra was busy writing his Carnaval de Venise (1699), was the composer aware that he would be passing onto the Académie Royale de Musique a fabulous and legendary work that would remain without successors? And whilst the court of the ageing Louis XIV was endeavouring to conserve the spirit of the Grand Siècle at Versailles, Paris was already humming with the new ideas of the Age of Enlightenment.

Marais's Alcione is the last great 'tragedy' in music from the reign of Louis XIV. It is a total spectacle at the crossroads of the 17th and 18th centuries, from which it takes the mythological source, it's praise of the sovereign's glory and the literary requirement to combine choreography and stage movements. Jordi Savall rediscovered this work and brought it back to life for the first stage production in Paris since 1771.

Pour rendre hommage à la grande actrice dont le nom est indissociable de la Chanson, ce coffret réunit pour la 1ère fois les 29 chansons que Serge Rezvani alias Bassiak a écrites pour Jeanne Moreau dans la foulée du Tourbillon de la vie. Jacques Canetti les a enregistrées en 1963, puis en 1966, avec comme orchestrateurs deux grands noms du jazz : Ward Swingle et Elek Bacsik.

« Petite sour, non, je ne suis pas moqueur… je t'ai répondu franchement, mais pourquoi dis-tu que je me moque de toi ? C'est vrai que je ne connaissais pas cette fille, comment tu l'appelles ? Britney, c'est ça, Britney Spears. Elle vit à Londres comme moi dis-tu, oh tu sais la ville est grande et chacun y a sa place, les chanteuses comme les sourds-muets. Je ne la connais pas, je n'ai pas le temps d'aller aux concerts ici, ni d'aller nulle part me distraire, pas de ciné, pas de loisirs, le boulot, le boulot, le boulot… un nègre à Londres ne connaît que cela, bosser, bosser, bosser…

This four disc set from Erato opens with Gluck’s three act lyric tragedy Iphigénie en Aulide, his first original ‘French’ opera for the fashionable Paris Opéra. In 1773 Gluck had been persuaded that he could establish himself at the Paris Opéra (also known as L’Opéra) by François du Roullet, an attaché at the French Embassy in Vienna. Baille du Roullet provided Gluck with the libretto for Iphigénie en Aulide, based on the tragedy of Racine and founded on the play of Euripides. Initially the Director of L’Opéra hesitated in accepting Gluck’s score. Fortunately he had a influential ally in Marie-Antoinette, the Queen of France, to whom he had taught singing and harpsichord. The first staging of Iphigénie en Aulide was at the Paris Opéra in 1774.

The encompassing review of Chanson .The names and some form of flow what follow time and evolution of Frenchmanship in chanson.