À l'occasion du cinquantième anniversaire de la mort de Jean Cocteau, un portrait intime du couple légendaire et peu conventionnel qu'il forma avec Jean Marais.
Ce film raconte l'histoire d'une passion, celle qui lia Jean Cocteau, le poète pygmalion, et Jean Marais, le bel acteur caméléon.
"Je refuse de laisser prendre des clichés de ma voix; je fabrique en collaboration avec le grammophone, une voix inconnue, inédite, mordante et qui parait sortir du masque grec"…
This collection of Marais’ music was published in 1692 as “Trio Pieces for flutes, violins and dessus de viole,” the dessus being the second smallest of the viola de gamba family. (There was a pardessus de viole.) The notes here call this music “a totally different side of Marin Marais’ work,” for he composed these dance movements not for himself but for his companions, Read more à bec, which are accompanied variously by guitar or theorbo and harpsichord. I think it’s amusing to think of the king, any king, being enticed to sleep by dances, especially by such vigorous, cheerful stomps as the Bransle de village , but then there was little about France’s monarchs that wasn’t strange, and that little innocent dance is as appealing as anything here.
The first volume of Tempesta di Mare's series on Chandos, Comédie et Tragédie, offers period-style performances of orchestral music by Jean-Baptiste Lully, Jean-Féry Rebel, and Marin Marais. The orchestral suites drawn from Lully's music for Le bourgeois gentilhomme, Rebel's symphonie nouvelle Les élémens, and Marais' suite from the tragédie en musique Alcyone give a taste of theater music in the court of Louis XIV and Louis XV, and these pieces show how inventive composers were with instrumentation and their combinations of dances with dramatic scene painting. Tempesta di Mare, which is also known as the Philadelphia Baroque Orchestra, gives bright and energetic performances, and the musicians have a fine sense of the swung rhythms, distinctive tone colors, and lively ornamentation in French Baroque music. The recording is clear and well-balanced, though the percussion in Lully's March for the Turkish Ceremony (track 4) is a bit startling, and the dissonant opening of Rebel's Le Chaos (track 13) has its own shock value. Highly recommended.