Shortly after the death of Yves Saint Laurent (1936-2008), his lover Pierre Bergé talks to the camera about their life together, moving chronologically from their meeting when 21-year-old Saint Laurent became creative director at Christian Dior upon the founder's death, through twice-annual unveilings of new collections, life in Marrakesh, Saint Laurent's depression and drug use, sobriety, and retirement. The boxing and auctioning of their vast collection of art brings the story to a close. Archival photos and news footage as well as interviews with a few friends give texture to Bergé's account.
Along with Wit's Naxos recording, this is one of the best versions of Messiaen's phantasmagoric Turangalîla-Symphonie available, and it's very different: swifter, more obviously virtuosic in concept, perhaps a touch less warm in consequence, and engineered with greater “in your face” immediacy. The playing of the Concertgebouw, always a wonderful Messiaen orchestra, is stunning throughout. Chailly revels in the music's weirdness. The Ondes Martinot, for example, is particularly well captured. It's interesting how earlier performances tended to minimize its presence, perhaps for fear that is would sound silly, which of course it does, redeemed by the composer's utter seriousness and obliviousness to anything that smacks of humor. In any case, it's not all noise and bluster. The Garden of Love's Sleep is gorgeous, hypnotic, but happily still flowing, while the three Turangalîla rhythmic studies have remarkable clarity. Jean-Yves Thibaudet plays the solo piano part magnificently, really as well as anyone else ever has.
Daniel Haas formerly playing bass for Ange teams up with Yves Hasselmann (from Traveling) to offer us a great album. On this album Hasselmann's keyboards create an impressionistic and suggestive music, with an atmosphere in turn serene, nostalgic and dreamlike which is sometimes evocative of Catharsis or Fuhrs and Frohling.
This France-based singer became a popular actor and singer, master interpreter of his homeland's compositions. Yves Montand was an enormously popular singer in France, his adopted country, from the 1940s until his death. He also gave concerts around the world, but he was better-known internationally as an actor. Although outside France he is viewed largely as a film star, Montand occupies an important position as a post-war French popular singer. Largely because of the language barrier, his appeal as a singer was restricted largely to his own country, but there it was gigantic and continued without diminution throughout his life.
Le fou de l'île met en scène un étranger venu de « la ville de fer », comme son auteur, pour s'installer dans l'île où il s'emploie à transformer les insulaires en leur recommandant de rechercher « la chose qui vole », c'est-à-dire l'amour. …
Les Contes du Singe Fou (roughly translated, Tales of the Mad Monkey) is a progressive rock album by Clearlight, released in 1976 on Isadora Records in France. Returning again to France, Clearlight turned to conceptual space rock with science fiction lyrics. (The lyrics do not have anything to do with a mad monkey, however.) Les Contes du Singe Fou is the only Clearlight album in which vocals and lyrics play a significant role. In reverse of the previous album, the title is in French, but all lyrics are in English. This is not apparent from the cover, which contains no song titles on the outside. English Lyrics with French translations are printed on the cover's gatefold. Musically, the album contains psychedelic, new age, and jazz fusion elements.