Mon Sang

Double Vie est un album live du musicien, chanteur et compositeur français Alain Chamfort, enregistré au Casino de Paris en avril 1987 et sorti en mars 1988. Il contient les succès d'Alain Chamfort depuis 1979 ainsi qu'un medley de deux ses premiers tubes du début des années 1970 (Madona madona, Adieu mon bébé chanteur) et d'un titre de Claude François, C'est la même chanson.

The present release is the first recording of Meyerbeer‘s principal work, recorded on the basis of the new critical edition of the opera. This edition not only considers the musical text of the version known during the 19th century and released by the publisher Brandus, but also offers the version of the work that Meyerbeer produced for the definitive instrumentation and allowed to be rehearsed in Paris beginning in December 1848. OehmsClassics is delighted not only over the magnificent production, but also over the continuation of their collaboration with the Aalto Music Theatre in Essen. With an all-star cast including John Osborn, Marianne Cornetti, Lynette Tapia, and many more, this production is one that cannot be missed.

Offenbach’s La Périchole (1868) will never cease to delights music lovers of all persuasions. Marc Minkowski – long one of the composer’s prophets – was keen to pay tribute to him with this world premiere recording on period instruments, in the company of the young school of French singers, including the bewitching Aude Extrémo, the dashing Stanislas de Barbeyrac and the hilarious Alexandre Duhamel. Combining fashionable rhythms with the most unexpected touches of folklore, the score is a veritable flood of hit numbers. How can one not be swept away by the insolence of the Seguidilla, the frenzy of the Bolero or the furious rhythm of the Prison Trio? Never before, perhaps, had Offenbach gone so far in caricaturing political leaders – nor used drunkenness to resolve the imbroglio of inextricable sentimental relationships. And indeed, the ‘Tipsy Arietta’ is one of the composer's best-known numbers. Cheers!

A collection of 19 CD and 2 DVD, which includes all the studio albums by Bryan Adams at the moment, also 2 compilations of his best songs and 4 live albums. Additionally added 2 DVD - "Unplugged" and the bonus album "11", and two maxi-singles for the album "18 til I Die".

“The father of the symphony”; “bard of the Revolution”: these two phrases sufficed to describe Gossec from the beginning of the 19th century onwards and created a reputation for him that musicographers and music historians of the following century made almost unalterable. Gossec had, however, always been interested in the operatic stage, as can be seen from his works in the more modern genre of opéra comique as well as in the more traditional tragédie en musique. Appointed to provide music for the largest musical institutions of his time, Gossec created more than twenty theatrical works; these enjoyed varying degrees of success but nonetheless reveal a dramatic composer of the first water.

It's a real pity that most people's knowledge of Rossini begins and ends with the operas. Few people know that he actually wrote volumes of high-quality music for solo piano and chamber ensembles. No, Rossini is no Brahms or Schumann; don't expect heavy-duty Germanic introspection. What you can expect, however, is unfailing wit, humor, brilliance, humanity, and honesty written by a man who had seen and done just about everything in his long and eventful life.

The “Péchés de vieillesse” composed by Gioacchino Rossini exclusively for private use during the final years of his life in Paris (1857-68) bring together thirteen volumes of vocal, choral, and chamber music as well as more than a hundred piano pieces that he termed “semi-comic” and dedicated to “fourth-class pianists.” The wit and humor of Rossini’s piano music make it unique in the history of music. Of great virtuosity, pervaded by the ideal of Italian song, playing with influences from the opera, the salon, and the cabaret, and taking boundless delight in brilliantly wild ideas and waggish parodies, it remains a very personal bequeathal full of profound seriousness and playful irony, movingly intimate, and merciless toward the composer’s own weaknesses.

André Cardinal Destouches (1672-1749) was educated by the Jesuits and had a career as a Musketeer before resigning to study music with André Campra. His first ‘hit’ was the pastoral Issé in 1697, which was written for the court but immediately taken up by the Opéra in Paris. He rose to prominent positions in both contexts and Sémiramis was first performed in 1718. Influenced by the Italophile Campra, Destouches abandoned the traditional five-part string scoring of Lully and his followers and created a work that was perhaps too serious for its time: only now are we in a position to recognise his work as an important step along the road from the aesthetic of Lully to that of Rameau.