The exciting and vigorous talents of Sébastien d Hérin and Les Nouveaux Caractères announce their debut on Glossa with a major and appropriately unexpected release of a glaring Rameau operatic omission on record: 'Les Surprises de l Amour' (Cupid s Surprises). This opéra-ballet, consisting here of three separate entrées, first performed in 1748 and submitted to later revisions, comes from the period of Jean-Philippe Rameau s rich maturity when he had finally become a court composer.
This superb recording of the compositions of Lully for the court of Louis XIV is almost perfect in delivery; evoking the sophistication, wit, grandeur, humor that would be required to entertain the most demanding of monarchs amidst the most sophisticated court in Europe. The character of Lully is fascinating. Lully was an Italian actor, dancer and musician who becomes the central creative force in music theatre in the court of the Sun King. However it is the flawless music that is contained in this recording that should be heard. With use of period instruments William Christie and Les Arts Florissants paint a range of compositions from various operas and periods in Lully's career in the court of the Sun King.
Micky is going on a Jolly Up! They went there to cycle - but decided to have a laugh instead…There are two kinds of men in this world – those that use maps and Micky Flanagan. Join Micky and bricky Noel on a detour through France quite unlike any other you’ve seen before.: Unicycling Clowns, cat-phobic jesters, a chicken that looks like Boris Johnson, gypsies, cross-dressing, nudism and cosmic wine – it’s all here –- in a hilarious bromance that see’s Micky take on his greatest challenge yet…the French!
Is it fair to say that most born Frenchmen have considered themselves exceedingly fortunate in their nativity? Moi? I didn't enjoy such luck. Neither did Jean-Baptiste Lully, the favorite of Louis XIV and thus the tyrant of French music for thirty-four years. Lully was born in Florence in 1632, but carried to France as a youthful Ganymede; he entered the service of the Sun King in 1653 as a dancer, and he rose to a position of monopoly influence in Louis XIV's court despite his flagrant debauchery and libertine sexuality. Just as Louis declared, that 'he was the State,' Lully could well have said "French Music, it's me!"
La mythologie individuelle surgit au 20e siècle en même temps que le culte du moi. En hybridant récit de soi et photographie, lindividu moderne met en scène lhistoire de son identité. Le terme apparaît dabord dans le monde de lart lorsque Harald Szeemann désigne sous ce nom les uvres de Christian Boltanski et Jean Le Gac. Mais les photo-récits autobio¬gra¬phiques ont marqué tout limaginaire du 20e siècle, de Nadja dAndré Breton aux aventures de Sophie Calle, en passant par le consacré album de famille. …
Issued before the release of Chrominance Decoder, April March's first large-scale U.S. album, Lessons of April March collects tracks March recorded with Bertrand Burgulat (three of which appear on Chrominance Decoder), as well as cuts from her Sympathy for the Record Industry releases (Los Cincos, Chick Habit and Paris in April). As such, the record has a pasted-together feel, largely due to the sheer number of collaborators March has worked with – but at points, it's a lovely showcase for her re-creations of 1960s French pop and yè-yè music. Case in point: the track "Chick Habit," which adapts English lyrics from Serge Gainsbourg's "Laisser Tomber les Filles," originally sung by France Gall. March's more modern tracks are a hit or miss affair here – those which later appeared on Chrominance Decoder are slick, unique and thoroughly worthwhile, but some of the earlier work collected on the album (and the closing track "Jesus and I Love You," from the Orgazmo soundtrack) seem like tacked-on throwaways.