Berlioz, Manon Galy and Jorge Gonzalez Buajasan, BC Camplight, Ed Sheeran, Barcella, Anamaz & Riverdog, Crimi

• Hector Berlioz
  Romeo and Juliet, H. 79. Cleopatra, H. 36
  With Joyce nato, Cyrille Dubois, Christopher Maltman, Gulbenkian Choir, Choir of the Opéra national du Rhin, Strasbourg Philharmonic Orchestra, John Nelson (conductor).

This new album happily completes the Berlioz cycle continued by John Nelson. After The summer nights And Harold in Italyrecently published, “Dramatic Symphony” Romeo and Juliet and the “lyrical stage” Cleopatra demonstrate to what extent the iconoclast Berlioz always freed himself from genres, mixing without distinction opera, cantata and symphonic music. Led by the rigorous and pionate baton of the American maestro, the Strasbourg Philharmonic Orchestra deploys a palette of infinite richness, while the choirs deliver a stunning performance, as precise in diction as expressive in nuance. The vocal stage is prestigious. The agile and chiseled tenor of Cyrille Dubois, elegantly stamped, deploys surges of irresistible freshness while Christopher Maltman plays a powerful and authoritative Baritone Brother Laurent, would not be a little wide vibrato. But the master et of the recording is Joyce nato, whose expressiveness, finesse, prosodic talent and extraordinary plasticity of timbre work wonders. Whether in Juliet, tenderly in love, evanescent and pure, or in Cleopatra, dark and sensual lover. Dramatic accents, incandescent highs, intensity even in the approach of death: the American mezzo moves, captivates and upsets. Marie Aude Roux

• Manon Galy and Jorge González Buajasan
  Parisian nights
  Works by Claude Debussy, Maurice Ravel, Francis Poulenc and Darius Milhaud by Manon Galy (violin) and Jorge Gonzalez Buajasan (piano).

THE Parisian nights under the sign of this album have nothing of the “Paris by night” offered to tourists. For most of the program, it would be quite the opposite. The two pieces by Claude Debussy (a transcription and an original work, a principle repeated for each composer) which open the disc are far from bringing the senses to the party. The melody Beautiful evening nevertheless benefits from a quivering restitution and the Violin Sonata (testamentary score), of an extremely nuanced interpretation. Difficult, then, not to brood listening to the famous Pavane for a deceased Infanta, by Maurice Ravel, but it is still a Sonatawrongly qualified as “posthumous” while it dates from the student period, which allows the duo to shine in excellence: Manon Galy, sensitive violinist, and Jorge Gonzalez Buajasan, magical pianist. A Presto of juggler and a Sonata with crazy postures earned Francis Poulenc the role of charming “titis” before Darius Milhaud, with a Brazileira cabaret and a Cinema-fantasy by too much solicitation, does not suggest that the nocturnal trip finally ends on the side of Pigalle. Pierre Gervasoni

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