This set brings together two albums of modern music for solo cello played by Emmanuelle Bertrand. The first disc, Bertrand's début release on harmonia mundi, features works by Dutilleux, Crumb, Henze, Ligeti and Bacri. The second, released under the title Le violoncelle parle (the Cello Speaks), includes Suites for Solo Cello by Britten and Cassado and Kodaly's Sonata for Solo Cello. In Bertrand's hands, the cello truly 'speaks' and takes us beyond geographical boundaries and straight to the heart of the language of cultural inspiration.
Emmanuelle Haïm has established herself as one of the world’s leading performers, conductors and interpreters of Baroque repertoire, not only with Le Concert d’Astrée, the ensemble she founded in 2000, but with several of the world’s greatest orchestras. Known for her fresh and expressive approach to Baroque music, she has garnered critical acclaim and several international awards with her own ensemble, including Victoires de la Musique Classique, ECHOs, Gramophone Awards, and Grammy nominations.
Handel wrote the secular oratorio Il trionfo del Tempo e del Disinganno (The triumph of Time and of Enlightenment) to the text of one of his patrons, Cardinal Benedetto Pamphili, in Rome in 1707. The libretto, which doesn't stand up to close logical scrutiny, centers on Beauty, who must choose between self-indulgent Pleasure and the austerity of allegiance to Time and Enlightenment. Needless to say, any patron entering the theater for the performance, having noted the title on the playbill, would have no doubt about the outcome of the struggle, so dramatic suspense cannot have been one of the inducements for an eighteenth century audience. The rewards, however, are real, most notably Handel's remarkably fertile inventiveness and musical ingenuity, which justified sitting through a two-and-a-half-hour performance that was guaranteed to be a dramatic non-starter. Handel keeps recitatives to a minimum, and the oratorio is rich in musical substance and variety.
À partir de 15 cas cliniques, Emmanuelle Piquet, psychopraticienne spécialiste des adolescents, nous montre comment gérer les principales situations de souffrance avec nos ados. Avec une posture hyperpragmatique issue de l'École de Palo Alto : apaiser la relation plutôt que vouloir (en vain) apaiser l’adolescent. Et cela fonctionne. Une autre façon d'être en relation avec eux, à la fois plus souple, plus harmonieuse et bien plus constructive. Simple, intelligent, efficace. …
Such stalwarts as Christopher Hogwood, Marc Minkowski, John Eliot Gardiner, and Nicholas McGegan tackled Handel's early oratorio La Resurrezione before Emmanuelle Haïm, but hers may well be the most passionate performance of the once-rare work yet recorded. Part of the reason is Haïm's own fiery nature. Nothing here is merely filler: every aria, recitative, and interlude is played for maximum musical and emotional value. Part of her success is due to Haïm's choice of soloists. While some listeners might wish soprano Camilla Tilling brought more strength to her part, she and the other four soloists bring plenty of intensity to their singing.
A very succesful and delightful transcription of Grieg's lyric pieces (originaly for piano) by Bertrand and Amoyel, and very well played by them. It's a joyful surprise for me to discover this disc.