- Veronique Gens – Sandrine Piau
rivals
Works by Pierre-Alexandre Monsigny, Jean-Frédéric Edelmann, Johann Christian Bach, Christoph Willibald Gluck, Louis-Luc Loiseau de Persuis, André Grétry, Luigi Cherubini, Antonio Sacchini and Nicolas Dalayrac by Véronique Gens and Sandrine Piau (sopranos), Le Concert de la Loge, Julien Chauvin (direction).
One was named Saint-Huberty, the other Dugazon, and they burned the boards of the Parisian lyrical theaters at the end of the 18th century.e century. This program pays homage to them by entrusting a few excerpts from their vast repertoire to two singers called upon to compete, solo or in duo, over a dozen finely arranged numbers. The duality is in order in the succession of these pages which feature a “battle” in which the majestic Véronique Gens is on an equal footing with the impetuous Sandrine Piau. However, the singers are not the only ones to compete. Going after the famous Monsigny (one of the pioneers of comic opera) for the almost unknown Edelmann, or before Gluck (the opera reformer) for the “Bach of London” (Jean-Chrétien), n t is not without risk, but all the composers get off with honors thanks to the dramatic commitment of Julien Chauvin and his Concert de la Loge. In particular, André Grétry with a Aucassin and Nicolette of which the other title information – « or the manners of the good old days » – could have
prolong the sign of these seductive rivals. Pierre Gervasoni
1 CD Alpha Classics/Outhere Music.
- Wolfgang Amadeus Mozart
Piano Concertos No. 12 K.414 and No. 14 K.449. Rondo for piano and orchestra K.382
Sélim Mazari (piano), Mannheim Chamber Orchestra, Paul Meyer (conductor).
The young Sélim Mazari immediately imposed himself in the discography with a first album Beethoven (whose difficult Variations « Eroïca ») unanimously hailed. The second, dedicated this time to Mozart, follows the same path. Delicately though passionately accompanied by the Mannheim Chamber Orchestra under the baton of Paul Meyer (wonderful clarinetist who also went on to conduct), the pianist imposes balanced playing, knitted between brilliance and expressiveness. But it is above all this flexibility and this freedom in the acoustic conduct of the polyphony which impresses, giving the feeling of improvisation, of a music which flows from upstream to downstream without anything ever suspending its course. The quintessence of Mozart’s music. Marie Aude Roux
1 CD Mirare.
- The Gil Evans Orchestra
Live at Fabrik, Hamburg 1986
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