Dans une épigramme adressée à sa femme, Martial écrivait : «Je veux bien que tu sois une Lucrèce pendant le jour tout entier, mais c'est une Lais qu'il me faut la nuit.» Ce vers décrit tout le paradoxe de l'érotisme féminin dans l'Antiquité romaine. …
Tony Carreira sortira son nouvel album, Le coeur des femmes, le 10 février prochain.
Tony Carreira proposera un nouvel album, Le coeur des femmes, le 10 février 2017. Un disque contenant dix duos. Parmi les artistes présents sur ce projet, nous pourrons retrouver Lara Fabian, Liane Foly, Michel Fugain ou encore Daniel Guichard.
The first performances of Les Femmes Vengées (The Avenged Women) in 1775 restored the fortunes of Francois-André Danican Philidor, which had been wavering since the great success of Tom Jones a decade earlier. His opéra-comique, which foreshadows the plot of Mozarts Così fan tutte (Mozart had been in Paris during the first performances of Philidors work), offers delicious opportunities for mock-indignation and repartee in its arias and ensembles. This recording presents the complete music. Opera Lafayette and Ryan Browns recording of Philidors Sancho Pança [8.660274] was hailed as a witty, authentic interpretation by the American Record Guide.
Import-only five CD set from the Alt-Rock trio contains a quintet of their original non-remastered albums packaged in replica cardboard sleeves. Box set includes: "Violent Femmes" (1983); "Hallowed Ground" (1984); "The Blind Leading the Naked" (1986); "3" (1989); "Why Do Birds Sing?" (1991).
The classical works of Tan Dun typically fuse compositional elements from the East and the West, but for his soundtrack to Ang Lee's Crouching Tiger, Hidden Dragon, musical cultures aren't so much blurred as coexistent side-by-side. While the magical martial arts film doesn't boast music as stunning as its visuals, this soundtrack is still beautiful and elegant, a perfect complement to the movie's mysticism. Just don't expect epic, John Williams-inspired bombast here. On "A Wedding Interrupted," the riveting brass and string section introduction segues into soft-hued meditations; "Night Fight" boasts spiky percussion but sounds more reminiscent of Stomp than a kung-fu scene. That said, Dun's understated score–filled with Asian instrumentation, Romantic cello solos from Yo-Yo Ma, and a token theme song with vocals by Asian pop star CoCo Lee–is still a fascinating listen. Fans of Ma and Dun shouldn't pass this up.
Tan Dun's Concerto for String Orchestra and Pipa (1999) is a reworking of one of his most popular works, Ghost Opera, written for and recorded by the Kronos Quartet. In this version, the composer's characteristic polystylism – which here includes Chinese folk song, Copland-esque Big Sky music, quotations from Bach, and vocalizations by the orchestra – comes across as a jumble, without much of a strong vision holding the disparate elements together. Pipa virtuoso Wu Man, who appeared on the Kronos recording, plays the concerto with energy and delicacy. She's ably accompanied by the Moscow Soloists, led by Yuri Bashmet. The concerto is followed by Takemitsu's Nostalghia (1987) for violin and string orchestra. Its compositional assurance, clarity, subtly nuanced orchestration, and emotional directness make it all the more striking in contrast to the Tan Dun. Here Bashmet is the impassioned soloist, with Roman Balashov conducting with great sensitivity. The three brief excerpts from Takemitsu's film scores are a pleasant stylistic diversion – light, strongly differentiated character pieces.
Violent Femmes is the debut album by Violent Femmes. Mostly recorded in July 1982, the album was released by Slash Records on vinyl and on cassette in April 1983, and on CD in 1987 with two extra tracks "Ugly" and "Gimme the Car". Violent Femmes is the band's most successful album to date and went platinum eight years after its release. The album achieved what is believed to be a unique feat by going gold, four years after its release, without having yet made an appearance on Billboard's Top 200 album chart. Slant Magazine listed the album at #21 on its list of "Best Albums of the 1980s".