Le Roi Est Mort, Vive Le Roi! was the third album released as part of Michael Cretu's Enigma project. It's style built on and extended the first two releases, offering a well-crafted album with mysterious sounds, original ideas, and philosophical lyrics. The title is French and translates to "The King Is Dead, Long Live The King", foreshadowing some of the texts contained within. The most recognized song from this release was Beyond The Invisible, though Michael Cretu has stated that his favorite track on the album is actually Morphing Thru Time.
Ernest Chausson’s death in 1899 in a bicycle accident robbed French music of a major talent. Almost his entire orchestral output fits on this extremely fine CD. Yan Pascal Tortelier’s performance of the richly romantic Symphony is the best since Munch’s Boston Symphony recording. Like Munch, Tortelier knows how to keep the music moving along–he’s only an insignificant two minutes slower than Munch for the whole work–without overindulging the more luscious moments, which in Chausson’s opulent setting really do take care of themselves. Even better, rather than some overplayed encore piece by another composer, the symphony is coupled with two very attractive, rarely heard tone poems and two charming orchestral excerpts from the composer’s incidental music to Shakespeare’s The Tempest. The orchestra plays with conviction, Chandos’ sonics are gorgeous, and if you don’t buy this disc, you’re missing out on some marvelous stuff.
Qui est le Roi du monde ? Avec sa verve coutumière, René Guénon, grand occultiste, nous fait découvrir des trésors d'ésotérisme en s'intéressant à la Grèce, Rome, la Bible, l'Islam ou encore Jésus. Il démontre qu'il existe sur Terre des lieux de pouvoirs, des lieux occultes qui sont des images d'un centre du monde – à la fois géographique et spirituel – dans lequel opère un être mystérieux dont la nature est connue depuis la nuit des temps. …
It is easy to understand why Chausson’s Concert is not as regular a feature of concert programmes as, say, Franck’s Violin Sonata. After all, a work for piano, violin and string quartet must surely have an instrumental imbalance. How can Chausson occupy all three violin parts for nearly forty minutes? In short, he does not. Nor does he try. Much of the Concert is essentially a sonata for violin and piano with an accompanying, though essential, string quartet. Chausson’s refusal to involve the quartet at every juncture merely to justify the players’ fees results in a signally well-balanced late Romantic work. When the quartet does feature on an equal footing, the effect is all the more telling. The fingerprints of Franck can be detected readily throughout the Concert, but in this and the Piano Quartet, Chausson’s individuality overcomes his teacher’s influence. Indeed, there are premonitions of Debussy, Ravel and even Shostakovich. Tangibly the product of live performances, these accounts traverse the gamut of emotions, bristling with energy, lyricism and conviction, and ensuring that this disc will never gather much dust.
Louis XIV: the King is dead, long live the King.On 1st September 1715, King Louis XIV breathed his last, at Versailles, the extraordinary monument he dedicated to his glory and influence of France. Stéphane Bern takes you to Versailles on 1st September 1715. In his room at the center of the palace, the old king Louis XIV was dying. He is 77 years old and has had one of the longest reigns in history.