Après avoir passé 23 ans chez les Témoins de Jéhovah, l'auteur nous livre un témoignage bouleversant, cruel de vérité et de réalisme, sur son quotidien au sein de cette communauté. Pourquoi devient-on Témoin de Jéhovah Qui sont-ils exactement Comment agissent-ils Avec Michèle Bastin, nous entrons dans cet univers inconnu et terrifiant fait de préceptes et d'interdits. …
Pierre Boulez has been an exclusive artist with Deutsche Grammophon for over 20 years; his recording legacy with the label is immense. DG celebrate his 90th birthday with a 44-CD box set of his complete DG 20th century music recordings – an aspect of his work that lies at the heart of his achievement. ”The aim of music is not to express feelings but to express music. It is not a vessel into which the composer distills his soul drop by drop, but a labyrinth with no beginning and no end, full of new paths to discover, where mystery remains eternal.” – Pierre Boulez
Josephine Arthur is a West London-based Jazz singer. She started in musical theatre twelve years ago and fell in love with all the old tunes from the 1950's. Her main influences are Ella Fitzgerald, Sarah Vaughan and Nina Simone, and she is continually inspired by modern singers. Her voice is warm and sweet and has been described as "like bathing in chocolate". She sings a mixture of jazz and modern standards, with swing, latin and funk rhythms. Jo performs regularly as part of a duo or with a trio.
Excellent value box containing all of Berg's major works. The best performance is maybe Abbado's of Wozzeck. This is a live recording and sounds like it;very exciting orchestral playing that sometimes almost drowns out the voices . I dont think this is a problem as it kind of fits with opera's theme of helpless people up against forces they cant control etc. The Boulez recording of Lulu is also very good but here the lack of libretto in the package is a bit annoying as the opera has a very elaborate plot and the synopsis provided isnt really detailed enough to follow what's going on.
Violent Silence (2003). Swedish act Violent Silence was formed back in 1999 in Uppsala and the first line-up included Bruno Edling on vocals, Hannes Ljunghall on keyboards, Phillip Bastin on bass and Johan Hedman on drums. So no guitars at all for Violent Silence, as the band moved on to the recordings of their self-titled debut for Record Heaven, eventually released in 2003. Very modern-sounding and fresh approach, which is quite satisfying, walking on the lines between Heavy Prog, Fusion and Electronic/Experimental Rock. One would expect the arrangements to be led by the keyboards of Ljunghall, but this is partly true. Bassist Phillip Bastin offers series of pounding, groovy and also complicated, heavy bass lines, really high in the mix and his performance is really convincing. The keyboards of course remain the leading instrument. The album is filled with electronic loops, jazzy passages and light pianos, which give a very Fusion-like feeling to the work…
After Faust (1859) and Roméo et Juliette (1867) the most popular score of Gounod's Mireille (1864), although its international diffusion is somewhat hampered by his argument quite parochial, based on the poem Provencal Frédéric Mistral .
A broadcast performance before an unobtrusive audience, this production had already enjoyed a respectable life on LPs before being reissued on CDs in 1989 as the Silver Revolution penetrated the vaults (Le Chant du Monde LDC 278879/80, Fanfare 13:1). Taken on its own, it’s a grand account—ringing voices, spirited choral work, unflagging élan—making a persuasive case for a work which remains inexplicably fringe repertoire despite abundant melody (including Breton folk song), dramatic acuity fraught with startling rhythmic novelty, and a vividly compelling story looming from the demesne of the legendary and fabulous (the same which inspired Debussy’s La cathédrale engloutie)….