Cette compilation de Francis Cabrel intitulée L'Essentiel 1977-2017 rassemble les meilleures chansons qui sont parues entre 1977 et 2017. Elle est sortie afin de célébrer les 40 ans de carrière de Francis Cabrel, vingt ans après la précédente compilation Cabrel 77-87, dix ans après L'Essentiel 1977-2007, dont les deux cds sont d'ailleurs repris.
In November 1772, as the 16-year-old Mozart was preparing to astonish the Milanese with his third operatic work for the Teatro Regio Ducal, his older contemporary, Tommaso Traetta (1727–79) from the Puglia region of Italy, was presenting the premiere of his second opera for the court of Catherine the Great in St Petersburg. Today, the former’s Lucio Silla is probably better known than the latter’s Antigona. But which is the finer work? On the basis of this outstanding new recorded version, I would say that Traetta’s tragedia per musica in three acts far outclasses Mozart’s opera seria for its consistent musical inspiration and sheer theatrical know-how. If Traetta’s music were at all familiar to opera-lovers today, that would not be so surprising because this contemporary and disciple of Gluck was, by 1772, an experienced composer for the theatre, already in the prime of a life that was to end, prematurely, only seven years later. His career had taken him from the conservatory in Naples to that city’s famous San Carlo, where his first commission in 1751 was Il Farnace. From there he travelled throughout Europe.
This three-disc set comes nicely packaged with a 48-page booklet. It provides an interesting introduction to the art, although it is heavily weighted toward the ultra-modern style. Indeed, some of the material isn't considered flamenco at all by its performers. The first CD focuses on individual singers, and includes a great soleá by La Niña de los Pelnes, a blazing bulerías by Terremoto, and tangos by Jose Menese and El Indio Gitano. But beyond that nod to tradition, the emphasis is on New Flamenco. There's a soleá by Camarón and a fandango by Duquende, who follows Camarón's approach. The remaining eight cuts – by Lole y Manuel, Susi, Diego Carrasco, and others – are hot off the press, figuratively or literally.