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Ravel, Britten, Fafhamps et al.: Il est quelqu'un sur terre / Carrère, Krüger, Walnier
From Corsican songs to "Madame rêve," from Greek songs to "La Belle abandonnée," in this carte blanche artist self-portrait, the mezzo-soprano Albane Carrère displays her voice in all its colors, its potential, its daring. These songs born of “someone on earth”, songs of which the origin is most often unknown and anonymous, have been gradually collected by us for this album, being chosen for the quality of their settings, fashioned by those composers who are most like goldsmiths, the better to reveal the universal beauty. There are also some recent French and Belgian chansons, closer to us and thus less anonymous, yet always in the vein of traditional song, in which the voice, interwoven with the cello, follows the poetic play of Jean-Luc Fafchamps.
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Ravel, Britten, Fafhamps et al.: Il est quelqu'un sur terre / Carrère, Krüger, Walnier
From Corsican songs to "Madame rêve," from Greek songs to "La Belle abandonnée," in this carte blanche artist self-portrait, the mezzo-soprano Albane Carrère displays her voice in all its colors, its potential, its daring. These songs born of “someone on earth”, songs of which the origin is most often unknown and anonymous, have been gradually collected by us for this album, being chosen for the quality of their settings, fashioned by those composers who are most like goldsmiths, the better to reveal the universal beauty. There are also some recent French and Belgian chansons, closer to us and thus less anonymous, yet always in the vein of traditional song, in which the voice, interwoven with the cello, follows the poetic play of Jean-Luc Fafchamps.
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From Corsican songs to "Madame rêve," from Greek songs to "La Belle abandonnée," in this carte blanche artist self-portrait, the mezzo-soprano Albane Carrère displays her voice in all its colors, its potential, its daring. These songs born of “someone on earth”, songs of which the origin is most often unknown and anonymous, have been gradually collected by us for this album, being chosen for the quality of their settings, fashioned by those composers who are most like goldsmiths, the better to reveal the universal beauty. There are also some recent French and Belgian chansons, closer to us and thus less anonymous, yet always in the vein of traditional song, in which the voice, interwoven with the cello, follows the poetic play of Jean-Luc Fafchamps.
