Mireille Mathie

C’est sous le nom de son album initial que l’on trouve la compilation des œuvres quasi complètes de la « Grande sauterelle », telle qu’elle est parue au sein du coffret Actrices, réunissant en sept CD des albums ou compilations de Brigitte Bardot, Isabelle Adjani, Jane Birkin, Jeanne Moreau, Catherine Deneuve, Charlotte Gainsbourg et, donc, Mireille Darc.

This production resuscitates Gounod s original composition, largely forgotten. A triumph for Minkowski, conducting at the Opera national de Paris, it attracted more than 1 million viewers when broadcast on TV! No competition on DVD or Bluray At last, Mireille one of the most original works of the 19th century has found its rightful place at the Palais Garnier. In 1854, a young Provençal poet, Fredéric Mistral, founded a literary association with a few other people, the aim of which was to uphold and illustrate its language and culture. They called this school Félibrige, a word of mysterious origin - a blend of joy, books and freedom. In 1859, he took things one step further and gave Félibrige its battle flag and masterpiece, Miréio, a vast epic love poem. As it happened, Gounod, whose Faust was created that year, read Mireille shortly after publication and was full of enthusiasm and went to Saint-Rémy de Provence to seek out this passionate music. Due to its singularity and density, the work has had a difficult career and was revised and altered several times. In 1939, Guy Ferrant and Henri Busser, disciples of Gounod, restored the original and Mireille was finally restored from the fine midsummer's morning and its dancing to the gripping scene in the desert-like Crau region.

French chanteuse Mireille Mathieu is classically known for her illustrious French crooning during the '60s and '70s. In the early '60s, French pop vocalist Johnny Hallyday's manager Johnny Stark noticed Mathieu's enchanting vocalic beauty and later built her into her own star with the classic urchin hairdo and loud, vibrant costumes. She was quickly hailed as the next Edith Piaf and her 1965 performance run at the Paris Olympia sparked her recording relationship with Barclay Records. Singles such as "Mon Credo," "C'est Ton Nom," and "Qu'elle Est Belle" made Mathieu an international star in Europe while achieving mild success in the Americas, but her cover of Englebert Humperdinck's "The Last Waltz" was an impressive French interpretation that made her impact charts in Britain. Humperdinck returned the favor by choosing to sing Mathieu's "Les Bicyclettes de Belsize."

The cantate francaise flourished during the first half of the eighteenth century. Morin and Bernier were among the most interesting early exponents of it, Campra, Monteclair, Clerambault and Rameau among the most impressive. Indeed, it is generally recognized that the cantate francaise reached its zenith in the hands of Clerambault. He is represented on this new disc by Le Soleil, vainqueur des nuages. It appeared in none of the composer’s five published collections of chamber cantatas but was issued separately in 1721

French chanteuse Mireille Mathieu is classically known for her illustrious French crooning during the '60s and '70s. In the early '60s, French pop vocalist Johnny Hallyday's manager Johnny Stark noticed Mathieu's enchanting vocalic beauty and later built her into her own star with the classic urchin hairdo and loud, vibrant costumes. She was quickly hailed as the next Edith Piaf and her 1965 performance run at the Paris Olympia sparked her recording relationship with Barclay Records. Singles such as "Mon Credo," "C'est Ton Nom," and "Qu'elle Est Belle" made Mathieu an international star in Europe while achieving mild success in the Americas, but her cover of Englebert Humperdinck's "The Last Waltz" was an impressive French interpretation that made her impact charts in Britain.

What a charming opera this is. There are many beautiful melodies which, for Gounod, is not surprising. Mirella Freni has exactly what Mireille needs, a spinto voice with agility and charm. Only one minor blip at the beginning of the opera finds her hoarse on one note. Should have been fixed. This is a difficult role and friends of Gounod thought it was unsingable for a purely lyric voice of the first Mireille. -Amazon-