It was inevitable that the abundant discography of Les Lunaisiens would one day turn it's attention to the Complainte des rues, a 'lament' that tells the dark and tragic story of the wretched nobodies of society who can only protest their misery and hunger! 'Merd' v'là l'hiver!': these are the grim opening words of Les Soliloques du pauvre by the poet Jehan Rictus (1867-1933), a work which Arnaud Marzorati has made the focus of a programme whose repertory deals with homeless people, the working poor, prostitutes and abandoned children. For nothing was worse for street singers than the approach of wintry weather; already constantly chased away, they would have to sing their songs in taverns or seedy cafés, where they were not always welcome... These somber tableaux constitute an essential part of the heritage of French chanson. But such laments become truly memorable thanks to the power of their performers; the greatest female artistes reigned supreme, each in her own era, by distilling misery, rage and love - Damia, Fréhel, and of course Édith Piaf. Stéphanie d'Oustrac, an incomparable interpreter of Bizet's Carmen, takes on as to the manner born this new role as an insolent woman of the people.
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It was inevitable that the abundant discography of Les Lunaisiens would one day turn it's attention to the Complainte des rues, a 'lament' that tells the dark and tragic story of the wretched nobodies of society who can only protest their misery and hunger! 'Merd' v'là l'hiver!': these are the grim opening words of Les Soliloques du pauvre by the poet Jehan Rictus (1867-1933), a work which Arnaud Marzorati has made the focus of a programme whose repertory deals with homeless people, the working poor, prostitutes and abandoned children. For nothing was worse for street singers than the approach of wintry weather; already constantly chased away, they would have to sing their songs in taverns or seedy cafés, where they were not always welcome... These somber tableaux constitute an essential part of the heritage of French chanson. But such laments become truly memorable thanks to the power of their performers; the greatest female artistes reigned supreme, each in her own era, by distilling misery, rage and love - Damia, Fréhel, and of course Édith Piaf. Stéphanie d'Oustrac, an incomparable interpreter of Bizet's Carmen, takes on as to the manner born this new role as an insolent woman of the people.
