#LetsBaRock is the new surprising, artistic project by Jakub J�zef Orlinski and Aleksander Debicz, the artists created "cover-versions" of baroque pieces, anchoring them in the 21st century. Aleksander Debicz gives an example: "In our version, Baroque pieces sound decidedly modern but retain their character, even if we've shifted some accents. For instance "Oblivion" based on "Oblivion soave" from Monteverdi's L'Incoronazione di Poppea, remains a sort of lullaby, yet in our version, it has the qualities of a trance-like, dreamlike club track." Repertoire features well-loved pieces from Purcell, Monteverdi, Vivaldi and Handel.

#LetsBaRock is the new surprising, artistic project by Jakub J�zef Orlinski and Aleksander Debicz, the artists created "cover-versions" of baroque pieces, anchoring them in the 21st century. Aleksander Debicz gives an example: "In our version, Baroque pieces sound decidedly modern but retain their character, even if we've shifted some accents. For instance "Oblivion" based on "Oblivion soave" from Monteverdi's L'Incoronazione di Poppea, remains a sort of lullaby, yet in our version, it has the qualities of a trance-like, dreamlike club track." Repertoire features well-loved pieces from Purcell, Monteverdi, Vivaldi and Handel.

Vinyl LP pressing. 2018 release. Tharaud records Beethoven for the first time! Beethoven's last three sonatas, Nos. 30, 31, 32, composed 1820-22. They are considered some of the most difficult works in the repertoire. The NY Times said "[Alexandre Tharaud] imbued the opening of Beethoven's Sonata No.31 (Op. 110) with a poetic introspection..." Arte broadcast of Alexandre performing Beethoven.

Vinyl LP pressing. 2016 release. One of opera's most outspoken and impassioned personalities, Joyce DiDonato reminds us with her album In War and Peace that music "soothes turmoil, threatens power and the status quo, and gloriously exalts the spirit". Her selection of arias demonstrates how powerfully Baroque opera explores the extremes of human nature - from the tumult of Handel's 'Scenes of Horror, Scenes of Woe' to Purcell's descent into despair, 'Dido's Lament'. Joyce's longtime partners, the spirited Italian Baroque ensemble Il Pomo d'Oro, join her on this unique journey through sublime, challenging music; through chaos transformed by the eternal search for serenity.

An album dedicated to Johann Sebastian Bach piano solo, follows Alexandre Tharaud's very original Four Hands project. The protean French pianist brings a programme concentrating on Bach on the piano - in this instance mostly in his own transcriptions such as the Lute Suite BWV 996, the Johannes-Passion BWV 245 and many others. The album also features a few Bach HITS: Sicilienne BWV 1031, the famous Bach/Gounod Ave Maria and the Adagio from the Keyboard Concerto BWV 974, after Alessandro Marcello Adagio.

New collaboration between Jakub J�zef Orlinski and Il Pomo d'Oro. Jakub's sixth project features music by early baroque composers, including Monteverdi, Caccini, Frescobaldi, Kapsberger, Saracini, Netti, and Jarzebski. Musicologist Yannis Fran�ois researched the program and uncovered some extraordinary repertoire, now recorded for the first time (10 world premiere recordings). "With that album and this very specifically selected program I want to focus on the general meaning of word "beyond". Mostly to show people that this music is beyond it's times. It is still relevant, it is still alive, vibrant, touching, engaging and entertaining." - Jakub J�zef Orlinski.

Who but Alexandre Tharaud would follow an album devoted to Beethovens formidable final three piano sonatas with a recital of compact pieces by Lully, Rameau, Franois Couperin and other composers associated with the French court in the 17th and 18th centuries I've always been attracted by French music of this period, explains Tharaud, whose wide-ranging Erato catalogue embraces Bach, Scarlatti, Haydn, Mozart, Chopin, Brahms, Rachmaninov, Satie, the music of Jazz Age Paris and the work of French singer-songwriter Barbara. I see this album as a bouquet of short pieces by different composers of that time. It is a tribute to the composers of Versailles. They were active during the reigns of Louis XIV, Louis XV and Louis XVI and the youngest of them, Claude Balbastre, died in 1799, 10 years after the outbreak of the French Revolution. A number of the pieces have not, to the best of Tharauds knowledge, previously been recorded on the modern piano he mentions the music of Balbastre, Jacques Duphly and Pancrace Royer. As he explains, Lully did not write for solo keyboard, but his orchestral Marche pour la crmonie des Turcs from Le bourgeois gentilhomme has been transcribed for piano a number of times. For this album Tharaud has made his own arrangement of the piece, aiming to capture the full richness of it's sonorities and to emphasise it's dancing nature. Some of the pieces Tharaud considered for inclusion felt immediately comfortable on the piano keyboard; others sounded cumbersome and thus unsuitable for the album. For instance, the highly ornamented writing of Jean-Henry dAnglebert (1629-1691) can be tricky on the modern instrument, which has a heavier action and sonority than a 17th century harpsichord

2018 release. For his third Erato album of harpsichord music, Jean Rondeau turns to Domenico Scarlatti and some 20 of the often-dazzling sonatas that the Neapolitan composer wrote during his years at the royal court in Madrid. Imbued with the spirit of the dance, they are works that Rondeau uses "to tell a story for the people who will listen to an album from beginning to end... An artist must consider how he tells his story, how he can stimulate the public's curiosity."

What makes Hector Berlioz such a great composer?, asks conductor John Nelson. "In one word, originality... He broke all existing traditions of orchestration, structure, harmonic language and storytelling. Even today, his music is fresh, surprising us at every turn with inexpressible beauty." Nelson now adds two more astonishingly original works by Berlioz - the 'dramatic symphony' Rom�o et Juliette and the 'lyric scene' La Mort de Cl�op�tre to his Erato discography. He continues the fruitful relationship with the Orchestre philharmonique de Strasbourg, his choice for the recordings of Les Troyens, La Damnation de Faust, Harold en Italie and Nuits d'�t�. Joyce DiDonato, his unforgettable Didon and Marguerite, returns as the suicidal Cl�op�tre and she is joined in Rom�o et Juliette by tenor Cyrille Dubois (who was Iopas in Les Troyens), baritone Christopher Maltman, and the choruses of the Lisbon-based Gulbenkian Foundation and Strasbourg's Op�ra du Rhin.

Starring Anne-Catherine Gillet, Ja�l Azzaretti, St�phane Degout.

Classical Music

Classical Music

Soprano Sabine Devieilhe's signature operatic role, Lakm�, forms the starting point for her enticing albumMirages. A collection of opera and song in French, it's theme is the exotic allure of faraway - and imagined - places and people. In addition to three numbers from Delibes' opera, it features music by Berlioz, Debussy and Stravinsky and some rarer names: Thomas, Messager, Koechlin and Delage. Devieilhe is joined by mezzo-soprano Marianne Crebassa, pianist Alexandre Tharaud and the period-instrument orchestra Les Si�cles under it's founder, Fran�ois-Xavier Roth.

Classical Music

Classical Music