"Voici ce que l'on appelle une petite merveille."
"This is what we call a little wonder."
Paru le 20 Novembre 2020
Released the 20th of November 2020
"FLEURS" - French Melodies (Wiener, Satie, Honegger, Boulanger, Buxeuil, Milhaud) Aparté LABEL - 2020
"L’élégance de style, la distinction du chant de Melody Louledjian apportent une senteur particulière. Soulignons au passage son éclectisme en rappelant l’extraordinaire palette de ses engagements. Aucune démonstration virtuose, le naturel, la simplicité, servis par une voix colorée, expressive, comme par une profonde intelligence des textes.
L’esprit, la joie, la lumière sont bien présents, et nos interprètes savent les traduire mieux que quiconque."
"The elegance of style, the distinction of Melody Louledjian's singing bring a particular scent. Let us underline in passing his eclecticism by recalling the extraordinary palette of his commitments. No virtuoso demonstration, naturalness, simplicity, served by a colorful voice, expressive, as through a deep understanding of the texts. The spirit, the joy, the light are very present, and our interpreters know how to translate them better than anyone. "
"La soprano Melody Louledjian distille son pistil vocal et déploie en corolles sa voix avec la richesse seyant à ce bouquet : plus ample et lyrique ou plus serrée et articulée, plus jazzy, piquante ou alanguie, toujours à l'envi et suivant les univers très divers et complémentaires du recueil.
Autant d'intentions vocales, offertes avec candeur et esprit, une articulation volontiers douce et diaphane de la voix comme du piano n'ôtant pas l'appui vocal ni digital : musical en somme."
"The soprano Melody Louledjian distills her vocal pistil and deploys her voice in corollas with the richness befitting this bouquet: fuller and lyrical or more tight and articulate, more jazzy, spicy or languid, always at will and according to the very various and complementary to the collection. So many vocal intentions, offered with candor and wit, a willingly soft and diaphanous articulation of the voice like the piano not removing the vocal or digital support: musical in short. "
"On ne peut être qu’absolument charmé par l’interprétation de Mélody Louledjian. Dans un tempo globalement plus lent, elle caractérise finement chacune de ces fleurs, tant dans la poésie que l’humour . Cette soprano – qui pratique aussi bien l’opéra de répertoire, l’opérette que la musique contemporaine – déploye un timbre à la fois pur et coloré ; elle est de plus fort bien accompagnée par Antoine Palloc au piano.
Un disque enchanteur."
"One can only be absolutely charmed by Mélody Louledjian's interpretation. In an overall slower tempo, she finely characterizes each of these flowers, both in poetry and humor. This soprano - who practices as well the repertory opera, the operetta that contemporary music - deploys a timbre both pure and colorful; it is moreover very well accompanied by Antoine Palloc on the piano. An enchanting record. "
"Un programme original, cohérent et remarquablement interprété."
"An original, coherent and remarkably interpreted program."
"Melody Louledjian, efficacement secondée par Antoine Palloc, sait varier sans jamais surjouer sa voix claire formée au baroque autant qu’au contemporain et même à la chanson (sous le nom de Melody Lou), ces fleurs n’ont aucun mal à nous faire oublier une fin d’automne confinée."
"Melody Louledjian, effectively accompagnied by Antoine Palloc, knows how to vary without ever overplaying her clear voice formed in baroque as much as in contemporary and even in song (under the name of Melody Lou), these flowers have no trouble making us forget a end of autumn under quarantine. "
"Melody Louledjian y varie le mode d’interprétation, alternant le ton le plus « opératique » ou le quasi-parlé, parfois avec des effets évoquant le jazz ou la variété, sans jamais que cela soit le moins du monde déplacé.
Elégamment servies, par une voix fraîche et par une interprète qui, sans rien négliger de l’humour de ces compositions, ne cherche à aucun moment à appuyer le trait, ce qui est une immense qualité.
Ces Fleurs sont admirablement servies par la voix et non moins dignement soutenues par le piano d’Antoine Palloc."
"Melody Louledjian varies the mode of interpretation there, alternating between the more" operatic "and the almost spoken, sometimes with effects reminiscent of jazz or variety, without ever being the least bit out of place. Elegantly served, by a fresh voice and by a performer who, without neglecting any of the humor of these compositions, at no time seeks to support the line, which is an immense quality. These Fleurs are admirably served by the voice and no less worthily supported by the piano of Antoine Palloc. "
"Voici ce que l'on appelle une petite merveille.
Melody Louledjian, soprano, chantent une série d'airs aux fleurs dédiés. Le pianiste qui l'accompagne se nomme Antoine Palloc. Ils ont tous deux du talent, de l'inspiration, le sens de la ligne claire."
"Here is what we call a little wonder. Melody Louledjian, soprano, sing a series of dedicated flower arias. The accompanying pianist is called Antoine Palloc. They both have talent, inspiration, a sense of the clear line. "
"Melody Louledjian choisit les moyens expressifs requis, mettant à leur service un art soigneusement cultivé, un timbre attachant et une souplesse remarquable de l’émission. Fréquentant régulièrement le répertoire français dans lequel sa voix fait florès, l’artiste fait montre d’une diction exemplaire dont use adroitement l’esprit taquin qu’elle y invite.
Un programme pertinent jouit d’innombrables charmes que l’auditeur visite avec avantage."
"Melody Louledjian chooses the expressive means required, placing at their service a carefully cultivated art, an endearing tone and a remarkable flexibility of the program. Regularly attending the French repertoire in which her voice is flourishing, the artist shows a exemplary diction which skilfully uses the teasing spirit that it invites. A relevant program has countless charms which the listener visits with advantage. "
"Un enregistrement magnifique réunissant trois éléments parfaits: la voix, le piano et le programme."
"A magnificent recording bringing together three perfect elements: voice, piano and program."
"Melody Louledjian, magnifique artiste de la scène lyrique, révèle côté jardin une facette inattendue et enchanteresse de son talent: pétillante, candide, joueuse, enjôleuse, sensuelle, malicieuse, elle prête à ces chansons l’épanouissement de sa voix de printemps, radieuse et fraîche, dans une diction parfaite, avec un naturel désarmant et un goût incomparable.
Ces mélodies pleines de verve et hautes en couleurs, admirablement interprétées par les deux artistes.
Melody Loudedjian et Antoine Palloc possèdent cet art et nous en disent long sur le langage des fleurs: avec quel sourire et quel plaisir nous initient-ils à leurs fragrances musicales, leurs symboles, et leur palpitante grâce! "
"Melody Louledjian, magnificent artist of the lyric scene, reveals on the garden side an unexpected and enchanting facet of her talent: sparkling, candid, playful, flirtatious, sensual, mischievous, she lends to these songs the blossoming of her springtime voice, radiant and fresh, in perfect diction, with disarming naturalness and incomparable taste. These melodies full of verve and colorful, admirably interpreted by the two artists. Melody Loudedjian and Antoine Palloc have this art and tell us a lot about the language of flowers: with what smile and what pleasure do they introduce us to their musical fragrances, their symbols, and their thrilling grace! "
"Outre l’excellence remarquable de la prononciation, il faut également saluer l’interprétation de Melody Louledjian qui offre une palette d’énergies et de tons différents selon le texte chanté. Elle laisse ainsi entendre une voix lyrique et envolée, puis douce et claire comme la rosée matinale, un peu chanteuse parisienne, joueuse et appuyée;, etc. On entend même, par-ci, par-là, quelques accents légèrement jazzy quand cela s’y prête. Quel que soit le chant, il est ici assumé et maîtrisé.
La poésie n’est jamais oubliée, et l’on suit ainsi Melody Louledjian avec un réel plaisir dans ce jardin aux mille fleurs, où les senteurs s’exhalent et surprennent à chaque piste, pour finir sur un champ de roses sublimement porté et mis en avant par la voix de la chanteuse."
"In addition to the remarkable excellence of the pronunciation, we must also salute the interpretation of Melody Louledjian which offers a palette of different energies and tones depending on the text sung. She thus lets hear a lyrical and soaring voice, then soft and clear. like the morning dew, a bit of a Parisian singer, playful and supportive ;, etc. We even hear, here and there, some slightly jazzy accents when it is appropriate. Whatever the song, it is assumed here. and mastered. Poetry is never forgotten, and we follow Melody Louledjian with real pleasure in this garden of a thousand flowers, where the scents are exhaled and surprise at each track, to finish on a field of roses sublimely worn and worn. forward by the singer's voice. "
A Floral Bouquet by Alain Duault
A lovely, tall flower of a singer whose parents named her 'Melody' in homage to Serge Gainsbourg *, and whose fruity voice is the result of springtime; and a boy with a corolla smile, whose fingers are petals running over the keyboard- garden: Melody Louledjian and Antoine Palloc could not help but meet and lure us into this colourful park where they are the elves.
It is not easy to find music for a flower!
But that of fifty - and a bit more because Robert Desnos grouped some of them, either because they resemble each other (narcissus and daffodil; periwinkle and primrose), or they resonate together (dog rose, hawthorn and wisteria; marjoram and verbena; camellia and dahlia; or else lily, amaryllis, convolvulus and melissa)... It's a mission impossible! However, we remember: where there's a will there's a way... And Jean Wiéner had that willing heart: his Chantef/eurs are a perfume organ!
But let us go back to the beginning, to the 1920s, when a poet, born in 1900 and who mixed with the surrealists, wrote his first texts under the pen name of Rrose Sélavy (already 'Rrose'! Hmm...) and would, under his real name, Robert Desnos, become one of the free-est poets of th is group - too free, even, for the self proclaimed pope of the Surrealists, André Breton, who excluded him in 1929! The following year, Desnos published Corps et biens, a radiantly lyrical collection of poems. In 1933, he wrote La Complainte de Fantömas as part of a poetic and musical radio series based on the popular novels. Set to music by Kurt Weill and broadcast by Radio Paris, it enjoyed a resounding success. As a great music lover, wrote record reviews for Ce soir, the news- paper run by Aragon, and then a music chronicle in the periodical Europe. But war broke out, and Desnos joined the Résistance whilst continuing to write since it was in those years that he invented his Chantef/eurs with their sparkling words, in turn delightfully humorous ('Le bégogo, le bégonia/ Va au papa, / Va au palais...') or subtly poetic ('Ravissante angélique / La mésange a chanté, / Disant dans sa musique / La douceur de l'été...') or else nicely assonant in an invention of colourful sonorities ('La marjolaine et la verveine / La marjoveine et la verlaine / La verjolaine et la marveine...'). But war could not care less about poets: Robert Desnos was arrested in February 1944. Deportedto various camps, in April 1945 he ended up at Theresienstadt where he died from typhus as much as from exhaustion on 8 June, a few days after the camp was liberated by the Red Army.
Jean Wiéner knew Robert Desnos slightly, having met at dinners where poets, painters, and musicians gathered. They doubtless also shared evenings at Le Bæuf sur le toit, the famous cabaret where Jean Wiéner regularly played the piano... and where the lovely Yvonne George, with whom Desnos was madly in love, sang. But it was after the poet's death that Wiéner discovered his collection Chante- fables et chantefleurs: to be sung on any tune. Starting with the title, the invitation to music is patent, and these poetic miniatures are ideal for displaying a composer's musical fantasy. Each of these pieces lasts barely more than a minute - but it is precisely in a few bars that the proper characterisation must be found for the gardénia or angélique (angelica), bouton d'or (buttercup) or véronique (speedwell), myosotis (forget-me-not) and then the rose (which are 'flowers that say sumthin', which Mouloudji** would later sing...).
In 1954 the Chantefleurs were composed, it would seem without difficulty, borne by a feather lightness that is found again in this music, in turn racy, discretely humorous or charming, with something of a catalogue of velivole scents. In addition, some of these little pieces carry am using performance indications in the spirit of Satie: 'very Alsatian' for Le Bégonia, 'tempo de blues lentissimo' for La Pivoine, 'nicely exotic' for Le G/dieu/, 'very Casino de Paris' for Le Bouton d'or, 'horribly pompous' for La Tulipe, etc. Success was immediate and, in 1955, Jean Wiéner received the Grand Prix de l'Académie du Disque franqais for these pieces.
Moreover, it was at this prize ceremony that Jean Wiéner would see his friend Arthur Honegger for the last time.
The two had sha red fits of laughter at the Conservatoire where they had met, and much music, amongst others at concerts of the Groupe des Six, which Wiéner organized on a regular basis.
Also in this Groupe des Six was one of Jean Wiéner's best friends, his 'true brother' as he wrote in his Memoirs: Darius Milhaud. His Catalogue de fleurs, composed in 1920, is a cycle of seven songs on texts by Lucien Daudet, the son of the author of Letters from My Windmill, Alphonse Daudet. In a spirit quite different from those of Robert Desnos, Lucien Daudet's poems depict several of the same flowers, from the violet to the begonia by way of hyacinths, but also portraying others in this vast garden of the world, from fritillaries to the foxtail lily And although the music of Darius Milhaud is quite different from Jean Wiéner's, the same freshness emanates from it, as if Milhaud were red iscovering the perfumes of his native Provence. His great friend the conductor Paul Collaer, whom he had met in Brussels the previous year at a lecture on Cocteau, would say about this charming Catalogue that it is 'a ray of sunshine through brilliantly white clouds, the first sign of the year'
Adding to this garden of musical flowers, Melody Louledjian and Antoine Palloc have chosen a song by Erik Satie, entitled precisely Les Fleurs, on a poem written twenty years earlier by Jean-Patrice Contamine de Latour (pseudonym of the Spanish poet José Maria Vicente Ferrer Francisco de Paola Patricio Manuel Contamine). We do not know how Satie discovered this poem but we know he immediately set it to music, in 1886, when he was twenty. It is a pretty, youthful song, Symbolist in spirit and featuring a fine, somewhat dreamy, harmonic construction, a sort of album page ending on the word 'tenderness'.
To continue our stroll in this scented garden, after Darius Milhaud, we run into another member of the Groupe des Six, the aforementioned Arthur Honegger, with his Nature morte, a short piece composed in 1917, at the age of 25. On a poem by Fritz Vanderpyl, it evokes a table laden with fruits and, in the middle, a single purple flower - of which we do not even know the name.
Of the last two 'florists' contributing to this bouquet, first we have Lili Boulanger, composer and first woman to win the famous Grand Prix de Rome, to whom we owe a vast cycle of 13 songs, Clairiéres dans le ciel, on poems by Francis Jammes. This younger sister of the famous teacher Nadia Boulanger was a child prod igy who, at the age of only twenty, already seemed in full possession of her means, even though the influences of Fauré and Debussy can be detected, just like those of Schubert or Wagner, singularly he of Tristan (from which the desire leitmotif is quoted in the sixth song). It is the tenth song in this cycle, Deux Anco/ies, that Melody Louledjian and Antoine Palloc have selected, a tender allegorical evocation of these flowers that mix 'their blue hearts'.
The musicologist Jacques Chailley suggested that, in choosing this poem, Lili perhaps wanted to underscore the close bonds that united the two sisters. Be that as it may, melancholy constitutes the rich rhyme of these elegant tall flowers with their spiky petals, which inspired other writers, from Apollinaire ('L'anémone et l'ancolie ont poussé dans le jardin') to Marcel Proust, evoking Odette's thought ('He caressed her, warmed himself with her and, feeling a sort of languor, yielded to a slight quavering that tensed his neck and nostrils, a sensation new to him, whilst placing the bunch of columbine in his buttonhole').
Columbine is also sometimes called 'granny's bonnet', which expresses its subtle softness: it seems that Lili Boulanger's song, accompanied by a fluid, shimmering piano, expresses th is pensive softness well, th is slight rocking of sadness of a young woman who perhaps had the premonition of her coming death, four years later...
The other and final florist of this bouquet is René de Buxeuil (who was, in fact, born Jean-Baptiste Chevrier but took the name of his birthplace as a pseudonym). After losing his sight at the age of 11, victim of an accidental shooting, he devoted his life to music and especially to song writing along with teaching (one of his students would become a well-known singer under the name of Damia). His musicwas performed by the greats of the day, but it is the song that he wrote for the famous Berthe Sylva, one of the greatest stars of French chanson in the 1930s, L'Äme des roses, to lyrics by Suzanne Quentin, that would earn him dazzling renown: the refrain, it must be said, is full of moving charm: 'Never remove the petals of roses / For in the secret of roses / A woman's soul is enclosed / And it is she who suffers / When one hurts roses'. And the music, too, is tinged with a touching fragrance...
Voi/å, the bouquet of these light flowers is prettily wrapped: Melody Lou ledjian and Antoine Palloc offer it to us with these scents that are inhaled with the ear- as well as with the heart.
* Translator' note: L'histoire de Melody Nelson was Serge Gainsbourg's first 'concept album', released in 1971
** Marcel Mouloudji (1922-1994), French singer and composer.