Aurélienne Brauner and Lorène de Ratuld, Jules Menet, Joshua Redman, Explosions in the Sky, Yussef Dayes

  • Aurélienne Brauner – Lorène de Ratuld

On the edge of the dream

Selection of short pieces by various composers by Aurélienne Brauner (cello) and Lorène de Ratuld (piano).

Cover of the album “Au bord du rêve”, by Aurélienne Brauner and Lorène de Ratuld.

By bringing together twenty-three miniatures on the theme of dreamlike escape, including ten lullabies and half a dozen reveries, Aurélienne Brauner and Lorène de Ratuld were not afraid of creating monotony. And they did well. Their record can be listened to with renewed pleasure. First, because each piece benefits from an inspired interpretation. Then, because the scores reflect very different aesthetics, like a very “Piazzolla” creation by François Popineau. Finally, because each musician has a wide range of expressions: Lorène de Ratuld with a piano which plays Lilliputian music boxes as well as XXL carousels, Aurélienne Brauner with a cello which sings like a fairy tale voice . Furthermore, the merit of such a course is to place everyone in the same boat. It then appears that, in the register of entertainment, Debussy is no more original than Louis Aubert, that Fernand de La Tombelle is no less lyrical than Gabriel Fauré, and that Armas Järnefelt (very popular in Finland) is well worth Franz Liszt (whose famous Liebestraum open the album). Pierre Gervasoni

1 CD Paraty.


With Amina Edris, Kate Aldrich, Jean-François Borras, Jean-Sébastien Bou, Julie Robard-Gendre, Marianne Croux, Judith van Wanroij, Yoann Dubruque, Philippe Estèphe, Bavarian Radio Choir, Munich Radio Orchestra, Laurent Campellone (direction).

Book-disc “Ariane”, by Jules Menet, by Palazzetto Bru Zane.

This world premiere recording of the eighteenth of the twenty-five operas composed by Jules Menet occupies number 37 of the collection of record books dedicated by the Palazzetto Bru Zane to French opera. But, beyond the figures, it brings to the public’s attention the beauty and accomplishment of a demanding work in which the composer, while having learned the lessons of Gluck and received those of Wagner, finds a personal path. This is the path defended by Laurent Campellone, whose direction, with exemplary dramaturgical flexibility, restores the score to its native splendor. A splendor that requires a seasoned orchestra and choirs, but also foolproof soloists. Exemplary, the ideally modulated Thésée by Jean-François Borras or the Pirithoüs sovereign by Jean-Sébastien Bou, while the Arianne by Amina Edris displays the charms of a voluptuous voice. If Kate Aldrich’s Phèdre lacks a little nobility, Julie Robard-Gendre’s Perséphone is that of a great tragedian, while the supporting roles (Marianne Croux, Judith van Wanroij, Yoann Dubruque, Philippe Estèphe) are impeccable. A success which makes the absence of the title from the opera house repertoire all the more regrettable. Marie-Aude Roux

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