Marie Flore Intimes

How to read Ronsard today? Simply aloud or in singing it, like back then. Because, for Ronsard, nothing is more obvious than to unite music and poetry: “I also want you to encourage you to pronounce your verses loudly in your room, when you do them, or sooner sing them, whatever voice can have. » Ronsard, Abbrégé de l’Art poétique françois, 1565 As soon as the collection of Loves was published, it was fashionable for a composer to set these poems to music. To quote the most famous: Goudimel, Certon, and of course Janequin. But long after death of the poet, many composers have continued to do so: Bizet, Saint-Saëns, Ravel, Poulenc… It is because Ronsard’s texts have no no age; Pick the roses of life today is a principle immortal. Julien Joubert reads poetry every day, aloud and even the most often while singing. It was therefore only natural that he lean on the work by Ronsard.

The Japanese harpsichordist and harpist, Marie Nishiyama, began studying piano at age 3 In 1992 she graduated from the piano department of Tokyo Music University with piano soloist diploma, and in 1994 also received her master's degree in harpsichord there. She studied under Yoshio Watanabe (harpsichord) and Yoshiko Ueda (organ).

Pour les connaisseurs, Georges Onslow, né en 1784, est l'un des rares compositeurs pré-romantiques français à s'être consacré à la musique de chambre. Berlioz rendra hommage à Onslow: "Vous savez que depuis la mort de Beethoven, il tient le sceptre de la musique instrumentale" ainsi que Schumann: "On s'est habitué une fois pour toutes à la manière des trois grands maîtres allemands: Haydn, Mozart, Beethoven, et en toute justice, on a admis parmi eux, Onslow". Intercalé entre les deux sonates de Onslow nous retrouvons le nocturne de Duport.

Zwei Monate vor seiner Hochzeit mit Clara Wieck komponierte Robert Schumann den Liederzyklus Frauenliebe- und -Leben, basierend auf Gedichten von Adelbert von Chamisso. Womöglich sah er sich durch die Ereignisse in seinem Leben dazu inspiriert. Die Lieder beschreiben den "Liebes-Lebenslauf" einer Frau aus ihrem eigenen Blickwinkel, von einer allerersten Begegnung als Jugendliche über die Heirat und Ehe zum Tod ihres Geliebten bis hin zum Überdauern der Liebe über den Tod hinaus. Diese Reihe vermittelt einen Blick ins Innere des Komponisten und damit oft gemischte Gefühle: Freude, die von Sorgen durchmischt wird, selbst über der Ausgelassenheit der Hochzeit hängt etwas Tragisches. Marie-Nicole Lemieux wird mit ihrer Ausdrucksstärke diesem Gefühlsspektrum voll und ganz gerecht.

The young Swiss soprano Marie Lys was pleasantly surprised to discover that many of the roles she has sung in George Frideric Handel’s works in recent years were written for the spectacularly virtuoso soprano Anna Maria Strada, Handel’s prima donna in the London of the 1730s. Accompanied by the Abchordis Ensemble and Andrea Buccarella, the group’s conductor and harpsichordist, Marie Lys decided to dedicate her first solo CD on Glossa to “La Stradina”, with an in-depth study of Anna Maria’s life on stage and the extraordinary vocal skills her roles demanded.

Known as the ‘First Lady of the organ’, Marie-Claire Alain was a strikingly mature, creative and intuitive artist. Spanning four centuries of music, from Baroque masterpieces by the likes of Couperin and Grigny, through cornerstones of the French organ repertoire by Widor, Vierne and Messiaen, to two discs of works by her brother Jehan, this collection is testament to her vast and impressively wide-ranging recording legacy.

Popular throughout the 1960s and '70s, Marie Laforêt is a French pop singer who garnered fame initially as a film actress during the early to mid-'60s. Born Maïténa Doumenach to parents of Armenian heritage on October 5, 1939, in Soulac-sur-Mer, Aquitaine, France, she made her film debut in 1960 in the René Clément drama Plein Soleil, a big-screen adaptation of the Patricia Highsmith novel The Talented Mr. Ripley. Plein Soleil not only launched the acting career of Laforêt; it also made a cinema star of actor Alain Delon. In the wake of her showbiz breakthrough, Laforêt was offered one role after another, notably beginning with Saint Tropez Blues (1961) and La Fille aux Yeux d'Or (1961).

Leclair's single opera Scylla et Glaucus may lack the sheer audacity of his teacher Rameau, but it's enormously likeable…the performers respond…stylishly to Leclair's charming if slightly predictable sound-world…and the conducting preserves a neat balance between drama and ornament…It is clear that Gardiner favours intervention over chilly authenticity; whether or not you agree with all his decisions, the clarity of the image he presents is often provocative and always bracing.