Each year the magical setting of the gardens of the Castle of Versailles (one of the most visited sites in France and, indeed, Europe) are the setting for a fairy-tale fountain display. Devised during the reign of Louis XIV, this impressive spectacle set to music reflected the power and the majesty of the King himself. This year, the musical programme has been entrusted to Jordi Savall, who has selected some of the finest treasures from the Alia Vox catalogue. This is a landmark album, a unique selection performed by the leading specialists in the repertoire, those same artists who popularised this music and contributed to the success that it enjoys today.
O título foi originado da canção homônima do cantor brasileiro Djavan. Foi o primeiro disco de uma cantora brasileira a ultrapassar a marca de 1 milhão de cópias vendidas. Considerado um dos melhores discos da carreira da cantora, o disco coleciona sucessos, como "Sonho Meu", com participação da também baiana Gal Costa, "O Meu Amor", em dueto com Alcione, "Ronda", de Paulo Vanzolini, e "Explode Coração (Não Dá Mais Pra Segurar)" (autoria de Gonzaguinha), um dos maiores, ou talvez o maior sucesso da cantora.
This double album is an invitation to explore the forces of nature, so vividly depicted by the composers at the turn of the XVIIth and XVIIIth centuries. With this stunning (and first) recording of Jean-Fery Rebel’s Les Elements, Jordi Savall displays his unmatched vision of the baroque orchestral repertoire, proving that authenticity and timbral beauty aren’t mutually exclusive. New recordings of works by Locke, Vivaldi, Marais, Telemann and Rameau - a splendidly varied and expressively wide-ranging selection - is a welcome addition to the existing landmark recordings made by Savall in this repertoire.
“Happily, Byrne followed up with this equally revelatory collection of contemporary samba, this time featuring singers even more obscure to North American ears. The highly percussive samba is Brasil's national music, at times furiously rhythmic yet still capable of sustaining a rich songwriting tradition. As befits a "peoples" music (which reaches a yearly apotheosis in the wildly competitive samba schools of Carnaval), the melodies are tougher, the lyrics earthier than the romantic pop music that people usually associate with this most musical of nations. Once more we must thank David Byrne for introducing us to great singers like Clara Nunes, reigning samba queen till her untimely death in 1983, as well as the equally celebrated Beth Carvalho and Martinho Da Vila.”