Bashung made rock music which worked in the French language, succeeding where many predecessors and contemporaries were content to offer pale imitations of Anglo-Saxon artists. He often did so while employing the best musicians from the UK and the US – for instance, he worked with the Roxy Music guitarist Phil Manzanera and Wire's Colin Newman on Novice (1989), Adrian Utley of Portishead on Fantaisie Militaire (1998), and the Tom Waits collaborator Marc Ribot on Chatterton (1994), L'Imprudence (2002), and Bleu Pétrole (2008), the last of his 13 studio albums. In doing so, Bashung followed in the footsteps of Serge Gainsbourg, who often came to London and who used seasoned British artists to record Histoire de Melody Nelson (1971). Gainsbourg and Bashung teamed up for the latter's critically-acclaimed "cold wave" album, Play Blessures, in 1982.
The Pédron name could soon be equally famous in Germany, not only due to the fact that with his newest album he will join the ACT-family, but also because it is his most personal and extensive project so far. “I had been playing standards, but now I wanted to play my own music,” says Pédron, who after his debut album “Cherokee” (2000) was widely celebrated as an excellent Charlie Parker interpreter. Something that has fascinated him since his youth are the ‘fanfare’ brass bands that are extremely popular in his home country. In Northern France, in the Netherlands and in Belgium they can be found almost everywhere, as both amateur bands and professional groups.
Le témoignage de cinq années à l'école de la vie.
Une école de commerce est tout sauf une fabrique à auto-stoppeurs, l’objectif premier étant de former les chefs d’entreprise et décideurs de demain et de les préparer au marché du travail. Ludovic Hubler, Alsacien formé à l’école de commerce de Strasbourg, a choisi quant à lui de casser tous les schémas de formation établis et de procéder différemment. …
Martha Argerich’s Ravel G major was for so long a reference recording that it’s easy to forget how idiosyncratic it actually is. I wouldn’t actually blame anyone who found it too garish in its colouring, with its volatility giving diminishing returns and its rubato too predictably appassionato for a sensibility as dapper as Ravel’s. Such a person might well find exactly what they want in Steven Osborne’s account, which is masterful in its own way but essentially self-effacing.
Vincenzo Bellini’s third opera, Il pirata, marked an important step in his career. Not only was it the 27 year old’s first score for the brand leader of Italian opera houses, La Scala, Milan, it also represented his first collaboration with Felice Romani, the leading librettist of the day, who was to become his regular artistic partner. Based (via a French translation) on an English play by the Anglo-Irish Gothic writer Charles Maturin, Il pirata describes how Gualtiero (José Bros) is shipwrecked during a storm on the Sicilian coast, where his former love, Imogene, (Carmen Giannattasio) has been forced into an unwilling marriage by Ernesto, the local duke (Ludovic Tézier). Tensions build between the three until Gualtiero kills Ernesto in a duel, causing Imogene to go mad with guilt. David Parry conducts this exceptional example of early romantic opera at its most dramatically potent.