Les Tit' Nassels Les Gens Qui Marchent Seuls

Analyse en 10 chapitres comment fonctionnent et grandissent les idées. En prenant des exemples dans tous les domaines de l'activité humaine (la religion, la philosophie, le marketing, la publicité, l'économie ou la politique), l'auteur analyse les qualités nécessaires d'une idée et donne les conditions pour réussir sa diffusion. …

Découvrez les véritables valeurs du marketing de réseau avec le bestseller du New York Times L'école des affaires : pour les gens qui aiment aider les gens ! …

Khalil Honert dirige la maison funéraire et crématorium Honert à Calgary, en Alberta. De l'extérieur, il ressemble à n'importe quelle autre maison; traditionnel avec des tons sourds, accueillant mais peu susceptible d'attirer des vagabonds oisifs. Un espace triste destiné à faciliter le passage de la vie. En théorie. La vérité, cependant, est que c’est une façade. C'est une façade pour une entreprise beaucoup plus néfaste; vendant les corps des clients, il prétend reposer. …

Jean-Philippe Rameau (1683-1764) left two very different versions of his tragédie en musique Zoroastre: the first, in 1749, suffered from cabals and the work was withdrawn from the repertory. Rameau gave it a thoroughgoing revision in 1756. At this time, he was at the height of his powers. Melody, harmony, orchestration and choral writing no longer held any secrets for him. Zoroastre brought still further innovation. For the first time, he dispensed with a prologue, and turned the overture into a philosophical ‘programme’, the struggle between day and night, between good and evil. The 1749 version is entirely governed by avant-garde ideas; Zoroastre resembles Tamino in Die Zauberflöte, but two generations earlier. This disconcerted some of the audience: Zoroastre was a moral, social and philosophical opera.

Following on the international success of their recording of Lully's Bellerophon, Christophe Rousset and his ensemble Les Talens Lyriques present Hercule mourant (Hercules Dying) - an undiscovered operatic treasure by Antoine Dauvergne. When Francoeur and Rebel took over as directors of the Academie Royale de Musique (the Paris Opéra) in 1757, they decided to promote some of the new generation of composers. Among them was Dauvergne, who appears to have enjoyed great favor at that time. Premiered in 1762, Hercule mourant was a success, receiving eighteen performances.

Petits Motets were generally sung in the Royal Chapel during the Mass between a Grand Motet and the Domine salvum fac Regem. The most extended piece here is a Miserere for solo voice by the King's surintendant de la musique, Lalande. In fact the nine solo verses are sung in alternation with plainchant which would have been intoned by nuns. William Christie, who directs this intimate sequence, divides the solo spoils of this expressive piece between three of his sopranos, Veronique Gens, Sandrine Piau and Arlette Steyer. It would be hard to assemble three more persuasive sopranos than these to execute the music. Their almost faultless intonation, fresh-sounding voices and careful expression are both musically delightful and contextually apposite. Comparisons between the three are, perhaps invidious but Steyer sounds the least assured, technically and stylistically, among them.