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Несколько архивных статей
автор Maisy Ср Янв 13, 2010 11:39 am
BRUNO PELLETIER
The New Voice of Québec
07/12/1998 - Over the past few months a powerful new voice from Québec has been making itself heard on the French music scene. Indeed, audiences who have been thronging to Luc Plamondon and Richard Cocciante's new musical "Notre-Dame de Paris" (at the Palais des Congrès in Paris) can talk about little else it appears. Below we reveal the identity of Québec's rising new mystery star:
Bruno Pelletier, who was born in the tiny Québec town of Charlesbourg on 7 August 1962, is a completely self-taught singer and musician. Young Bruno revealed his singing and songwriting talents at an early age and soon went on to perform with a number of local Anglophone bands, before branching out and setting up his own Francophone group, Pëll. Pëll built up a firm following of fans on Québec's thriving music scene and soon became something of a regular fixture in local bars and clubs. Indeed, Pëll went on to establish an excellent reputation for themselves, but Bruno Pelletier (future winner of the Félix award for Best Male Singer of '98) would still have to wait a few years before he was officially 'discovered'!
Pelletier's career would take off after he was spotted by the famous Québecois songwriter and composer Luc Plamondon (a man responsible for launching the career of many a young unknown). Pelletier would go on to earn precious experience, performing at festivals, singing contests and in adverts, then setting off on a series of solo and collective tours. Plamondon was extremely impressed by Pelletier's voice and in 1992 he offered the young singer one of the lead roles in "La Légende de Jimmy" (a new musical he had written with the French songwriter and composer Michel Berger).
Meanwhile, Pelletier had been busy in the studio, putting the final touches to his début solo album (entitled simply "Bruno Pelletier"). The album went on to receive a number of extremely favourable reviews from the critics, but Pelletier decided to stop touring and promoting his new album in 1994, when he was offered another lead role in Plamondon and Berger's famous rock opera "Starmania". This proved to be a good career choice - Pelletier went on to bring the house down in "Starmania", giving a masterly performance in the highly demanding role of Johnny Rockfort.
After making his name in "Starmania", Pelletier returned to the studio to record his second album, "Défaire l'amour". The album went on to score a huge hit with the public and the critics alike. Indeed, Bruno Pelletier soon found himself catapulted to star status as one of the leading figures on the Québecois music scene. Pelletier not only brought the house down at festivals in his homeland, he also went on to become a brilliant ambassador for Québec, performing at all the major music festivals in France, including the famous "Francofolies" in La Rochelle. Meanwhile, after Pelletier's brilliant performance in Plamondon's musicals, offers of acting work had started flooding in and the multi-talented singer soon went on to launch a successful acting career, starring in the popular television series "Omerta II" (in which he played a small-time mafioso from Montreal).
Recently, Pelletier returned to the studio to begin work on his third album, entitled "Miserere". This album found Québec's new singing star exploring a more classical vein, particularly on the title track, which helped rocket the album to the top of the charts within a few weeks of its release. In spite of a rather mediocre reaction from the media - who considered that "Miserere" was altogether too classical for their liking - the album has proved a huge hit with the public, selling over 125,000 copies to date! And deservedly so, "Miserere" combines extremely sophisticated melodies, haunting lyrics and - of course! - Pelletier's astounding voice.
Over the past nine years Pelletier has remained in close contact with Luc Plamondon - the man who launched his career. Indeed, after releasing each of his albums, he has returned to the stage to star in Plamondon's successive musicals. Audiences in Paris recently discovered 'the new voice of Québec' when Pelletier brought the house down at the Palais des Congrès in September, playing the part of Gringoire in Luc Plamondon and Richard Cocciante's new musical "Notre Dame de Paris". The musical, adapted from Victor Hugo's famous novel "The Hunchback of Notre Dame", has proved a huge box-office hit and it now looks set to launch Bruno Pelletier's career in Europe. The album version of "Notre Dame de Paris" has already sold well over 1 million copies, largely thanks to the single "Le temps de Cathédrales" recorded by Bruno Pelletier himself.
The indefatigable Monsieur Pelletier is planning to return to Québec to embark upon another extensive tour in May '99 - unless the phenomenal success of "Notre Dame de Paris" keeps him away from his homeland for a few more seasons that is!
Pascal Evans
(Translation - Julie Street)
http://www.rfi.fr/musiqueen/articles/060/article_6875.asp
The New Voice of Québec
07/12/1998 - Over the past few months a powerful new voice from Québec has been making itself heard on the French music scene. Indeed, audiences who have been thronging to Luc Plamondon and Richard Cocciante's new musical "Notre-Dame de Paris" (at the Palais des Congrès in Paris) can talk about little else it appears. Below we reveal the identity of Québec's rising new mystery star:
Bruno Pelletier, who was born in the tiny Québec town of Charlesbourg on 7 August 1962, is a completely self-taught singer and musician. Young Bruno revealed his singing and songwriting talents at an early age and soon went on to perform with a number of local Anglophone bands, before branching out and setting up his own Francophone group, Pëll. Pëll built up a firm following of fans on Québec's thriving music scene and soon became something of a regular fixture in local bars and clubs. Indeed, Pëll went on to establish an excellent reputation for themselves, but Bruno Pelletier (future winner of the Félix award for Best Male Singer of '98) would still have to wait a few years before he was officially 'discovered'!
Pelletier's career would take off after he was spotted by the famous Québecois songwriter and composer Luc Plamondon (a man responsible for launching the career of many a young unknown). Pelletier would go on to earn precious experience, performing at festivals, singing contests and in adverts, then setting off on a series of solo and collective tours. Plamondon was extremely impressed by Pelletier's voice and in 1992 he offered the young singer one of the lead roles in "La Légende de Jimmy" (a new musical he had written with the French songwriter and composer Michel Berger).
Meanwhile, Pelletier had been busy in the studio, putting the final touches to his début solo album (entitled simply "Bruno Pelletier"). The album went on to receive a number of extremely favourable reviews from the critics, but Pelletier decided to stop touring and promoting his new album in 1994, when he was offered another lead role in Plamondon and Berger's famous rock opera "Starmania". This proved to be a good career choice - Pelletier went on to bring the house down in "Starmania", giving a masterly performance in the highly demanding role of Johnny Rockfort.
After making his name in "Starmania", Pelletier returned to the studio to record his second album, "Défaire l'amour". The album went on to score a huge hit with the public and the critics alike. Indeed, Bruno Pelletier soon found himself catapulted to star status as one of the leading figures on the Québecois music scene. Pelletier not only brought the house down at festivals in his homeland, he also went on to become a brilliant ambassador for Québec, performing at all the major music festivals in France, including the famous "Francofolies" in La Rochelle. Meanwhile, after Pelletier's brilliant performance in Plamondon's musicals, offers of acting work had started flooding in and the multi-talented singer soon went on to launch a successful acting career, starring in the popular television series "Omerta II" (in which he played a small-time mafioso from Montreal).
Recently, Pelletier returned to the studio to begin work on his third album, entitled "Miserere". This album found Québec's new singing star exploring a more classical vein, particularly on the title track, which helped rocket the album to the top of the charts within a few weeks of its release. In spite of a rather mediocre reaction from the media - who considered that "Miserere" was altogether too classical for their liking - the album has proved a huge hit with the public, selling over 125,000 copies to date! And deservedly so, "Miserere" combines extremely sophisticated melodies, haunting lyrics and - of course! - Pelletier's astounding voice.
Over the past nine years Pelletier has remained in close contact with Luc Plamondon - the man who launched his career. Indeed, after releasing each of his albums, he has returned to the stage to star in Plamondon's successive musicals. Audiences in Paris recently discovered 'the new voice of Québec' when Pelletier brought the house down at the Palais des Congrès in September, playing the part of Gringoire in Luc Plamondon and Richard Cocciante's new musical "Notre Dame de Paris". The musical, adapted from Victor Hugo's famous novel "The Hunchback of Notre Dame", has proved a huge box-office hit and it now looks set to launch Bruno Pelletier's career in Europe. The album version of "Notre Dame de Paris" has already sold well over 1 million copies, largely thanks to the single "Le temps de Cathédrales" recorded by Bruno Pelletier himself.
The indefatigable Monsieur Pelletier is planning to return to Québec to embark upon another extensive tour in May '99 - unless the phenomenal success of "Notre Dame de Paris" keeps him away from his homeland for a few more seasons that is!
Pascal Evans
(Translation - Julie Street)
http://www.rfi.fr/musiqueen/articles/060/article_6875.asp
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Re: Несколько архивных статей
автор Maisy Ср Янв 13, 2010 11:42 am
Notre-Dame de Paris
The Making of Bruno Pelletier, Hélène Segara, Patrick Fiori and Garou
Paris
25/12/2000 - Over the past couple of years Notre-Dame de Paris has proved to be the most successful stage musical in the French-speaking world. Luc Plamondon and Richard Cocciante, the songwriting team behind the show, managed to carry off the challenge of reworking Victor Hugo's classic for the 21st century, pulling in massive audiences worldwide. Meanwhile, the singers who played the principal roles in Notre-Dame de Paris have gone on to launch solo careers on the back of the show's success.
Notre-Dame de Paris made its official debut at Midem, the international media fair, in 1998 - which seems highly appropriate when you consider that the media has played such a key role in Notre-Dame de Paris's success. The cast who performed at Midem opened the show in Paris at the Palais des Congrès a few months later. And from that moment on the French media went wild, inviting the show's songwriter and composer and practically all the main players to promote Notre-Dame de Paris non-stop on radio and TV.
The musical might not have made the same explosive impact on the French public if Plamondon and Cocciante had not assembled such a strong cast. But the pair chose their Esmeralda and Quasimodo wisely, not to mention the singers who carried off the other main roles. French and Quebecois singers, major stars and complete unknowns, shared the stage together night after night, playing to capacity audiences. And before Quasimodo rang his final bell, several cast members had gone on to launch major solo careers.
Quebec: two points!
The chart success story began with Le temps des cathédrales, the first single released from the studio album of Notre-Dame de Paris. Recorded by Bruno Pelletier, a singer who had already achieved star status back home in Quebec, Le temps des cathédrales went rocketing up the French charts within weeks of its release. The success was largely due to Pelletier's impressive vocal performance. The Quebecois singer hit high notes no-one had ever dreamt possible in the male register and brought the same charisma to the role of Gringoire (Esmeralda's husband) in the studio as he had on stage. But this was hardly surprising given that Pelletier already had solid stage musical experience behind him. In 1992 he starred in the Michel Berger/Luc Plamondon production La légende de Jimmy, then went on to triumph in the Quebecois version of legendary French rock opera Starmania.
While bringing the house down in Notre-Dame de Paris, Pelletier kept a close eye on his solo career. And in August '99 - while continuing his nightly performance as Gringoire - he put out his fourth solo album D'autres rives (recorded between studios in Paris et Montreal). As Pelletier continued to pace beneath the walls of Notre-Dame on stage in Paris, his career continued at mega-star pace back home. Pelletier had already won enough 'Felix' awards to decorate his house from top to bottom, and in 2000 his compatriots honoured him once more, voting him Quebec's Singer of the Year (just as they had in 1997 and 1999). Meanwhile, Pelletier also carried off a second award for Best Pop/Rock Album of the Year.
Following the chart success of Le Temps des cathédrales, French radio and television were crying out for a second hit from the show. And this soon came in the form of Belle, a collective effort from Daniel Lavoie, Patrick Fiori and Garou. While Lavoie and Fiori were already major stars, 25-year-old Garou had been a complete unknown before landing the role of Quasimodo. Bringing powerful, husky vocals and a magnetic stage presence to the role of the world's most famous hunchback, Garou brought the house down night after night in Notre-Dame de Paris.
Garou's only stage experience prior to the role of Quasimodo had been performing with a blues band on Quebec's bar and club scene - no matter, after a few nights swinging from Notre-Dame's bells, Garou was transformed into a major star. What's more, Garou's stage charisma, his mighty vocals - not to mention his sparkling eyes - soon brought him to the attention of Celine Dion herself. The international diva even invited Garou to perform at her special Millennium show on December 31st 1999 and the pair went on to record a duet together, entitled Sous le vent.
Needless to say, the song features on Garou's debut solo album, Seul (released in November of this year) alongside tracks from a host of other famous songwriters and composers including Luc Plamondon, Romano Musumara, Richard Cocciante, Didier Barbelivien and Franck Langolff. But despite this all-star line-up, Garou's first solo effort is sadly lacking in creativity. The album may be impeccably produced and well put together, but the songs are strangely lacking in soul and emotion. This does not appear to have bothered Garou's new fans, however - they rushed out to buy the album in their thousands and ten days after its release Seul went gold, selling over 100,000 copies!
While Garou was riding high in the French album charts with Seul, his co-star Patrick Fiori was bringing the house down with a series of concerts at the Olympia in Paris. Swapping the coat of armour he wore on stage as Phoebus in Notre-Dame de Paris, Fiori slipped into a swanky suit and tie and set off on a major French tour to promote his own solo album Chrysalide. The Corsican-born singer's face was already familiar to French music fans who remembered him representing France at the Eurovision Song Contest in 1993 with Mama Corsica.
Fortunately, Fiori's musical tastes appear to have matured since Eurovision and the set he performed on his new tour shone with beautifully crafted songs and professionalism. Fiori seemed at pains to put his Eurovision past behind him, pointing out in what appeared to be an interminable series of interviews that he had spent hours in rehearsal with his musicians perfecting a finely-tuned "symbiosis" between his voice and their instruments. In the same interviews, Fiori vented the anger and frustration he had felt during Notre-Dame de Paris at having to perform with backing from a pre-recorded soundtrack!
Like fellow members of the cast from Notre-Dame de Paris, Fiori benefited from the huge media success of the musical, however. Given his charm and 'leading man' good looks, he had no trouble conquering the female market. And his much-publicised relationship with singer Lara Fabian (from whom he is now separated) only added to his appeal in showbiz magazines!
Meanwhile, another of Fiori's NDP co-stars, Helene Segara, has also gone on to rocket to fame after her stint as the beautiful Esmeralda. Ms. Segara had actually launched a solo career prior to joining the show, shooting up the French singles charts in 1996 with her hit Je vous aime adieu. Managed by Dalida's brother, Orlando, the young singer from the French Riviera, is now the proud owner of a best-selling album, Au nom d'une femme (released in 1999 this has sold over 1 million copies to date!) and a new hit single, Il y a trop de gens qui t'aiment.
Preceding her friend Patrick Fiori at the Olympia, Helene brought the house down at the legendary music venue in October, playing to capacity audiences four nights running. France's new diva is currently on tour until next spring (and will be returning to perform in Paris at the Palais des Sports on January 26th 2001).
Let's hope Helene Segara's new-found success will help her digest her final days with Notre Dame de Paris - for the show ended on a rather sour note for both Helene and Patrick Fiori. When the best-selling musical was adapted into English and taken to London's West End, French members of the cast were not invited to climb aboard the Eurostar. But their Quebecois colleagues - Bruno Pelletier, Garou, Luck Mervil and Daniel Lavoie - were. Apparently, the Quebecois members of the cast were considered more proficient when it came to mastering the English language!
No matter, Patrick Fiori and Helene Segara certainly benefited from the huge media hype surrounding Notre-Dame de Paris and, like their Quebecois colleagues, used the publicity to full effect when pursuing their solo careers. The phenomenal success of Notre-Dame de Paris has not only provided a springboard for a host of solo careers - the show has also opened the way for a new breed of French musicals hoping to attract the same audiences world-wide. So keep your eyes peeled for forthcoming productions of Dix commandements and Romeo et Juliette, which we will be previewing in Le Petit Journal later this week.
Garou Seul Sony 2000
Patrick Fiori Chrysalide Epic 2000
Helene Segara Au nom d'une femme Orlando/East West 2000
Valérie Passelègue
http://www.rfi.fr/musiqueen/articles/060/article_6579.asp
The Making of Bruno Pelletier, Hélène Segara, Patrick Fiori and Garou
Paris
25/12/2000 - Over the past couple of years Notre-Dame de Paris has proved to be the most successful stage musical in the French-speaking world. Luc Plamondon and Richard Cocciante, the songwriting team behind the show, managed to carry off the challenge of reworking Victor Hugo's classic for the 21st century, pulling in massive audiences worldwide. Meanwhile, the singers who played the principal roles in Notre-Dame de Paris have gone on to launch solo careers on the back of the show's success.
Notre-Dame de Paris made its official debut at Midem, the international media fair, in 1998 - which seems highly appropriate when you consider that the media has played such a key role in Notre-Dame de Paris's success. The cast who performed at Midem opened the show in Paris at the Palais des Congrès a few months later. And from that moment on the French media went wild, inviting the show's songwriter and composer and practically all the main players to promote Notre-Dame de Paris non-stop on radio and TV.
The musical might not have made the same explosive impact on the French public if Plamondon and Cocciante had not assembled such a strong cast. But the pair chose their Esmeralda and Quasimodo wisely, not to mention the singers who carried off the other main roles. French and Quebecois singers, major stars and complete unknowns, shared the stage together night after night, playing to capacity audiences. And before Quasimodo rang his final bell, several cast members had gone on to launch major solo careers.
Quebec: two points!
The chart success story began with Le temps des cathédrales, the first single released from the studio album of Notre-Dame de Paris. Recorded by Bruno Pelletier, a singer who had already achieved star status back home in Quebec, Le temps des cathédrales went rocketing up the French charts within weeks of its release. The success was largely due to Pelletier's impressive vocal performance. The Quebecois singer hit high notes no-one had ever dreamt possible in the male register and brought the same charisma to the role of Gringoire (Esmeralda's husband) in the studio as he had on stage. But this was hardly surprising given that Pelletier already had solid stage musical experience behind him. In 1992 he starred in the Michel Berger/Luc Plamondon production La légende de Jimmy, then went on to triumph in the Quebecois version of legendary French rock opera Starmania.
While bringing the house down in Notre-Dame de Paris, Pelletier kept a close eye on his solo career. And in August '99 - while continuing his nightly performance as Gringoire - he put out his fourth solo album D'autres rives (recorded between studios in Paris et Montreal). As Pelletier continued to pace beneath the walls of Notre-Dame on stage in Paris, his career continued at mega-star pace back home. Pelletier had already won enough 'Felix' awards to decorate his house from top to bottom, and in 2000 his compatriots honoured him once more, voting him Quebec's Singer of the Year (just as they had in 1997 and 1999). Meanwhile, Pelletier also carried off a second award for Best Pop/Rock Album of the Year.
Following the chart success of Le Temps des cathédrales, French radio and television were crying out for a second hit from the show. And this soon came in the form of Belle, a collective effort from Daniel Lavoie, Patrick Fiori and Garou. While Lavoie and Fiori were already major stars, 25-year-old Garou had been a complete unknown before landing the role of Quasimodo. Bringing powerful, husky vocals and a magnetic stage presence to the role of the world's most famous hunchback, Garou brought the house down night after night in Notre-Dame de Paris.
Garou's only stage experience prior to the role of Quasimodo had been performing with a blues band on Quebec's bar and club scene - no matter, after a few nights swinging from Notre-Dame's bells, Garou was transformed into a major star. What's more, Garou's stage charisma, his mighty vocals - not to mention his sparkling eyes - soon brought him to the attention of Celine Dion herself. The international diva even invited Garou to perform at her special Millennium show on December 31st 1999 and the pair went on to record a duet together, entitled Sous le vent.
Needless to say, the song features on Garou's debut solo album, Seul (released in November of this year) alongside tracks from a host of other famous songwriters and composers including Luc Plamondon, Romano Musumara, Richard Cocciante, Didier Barbelivien and Franck Langolff. But despite this all-star line-up, Garou's first solo effort is sadly lacking in creativity. The album may be impeccably produced and well put together, but the songs are strangely lacking in soul and emotion. This does not appear to have bothered Garou's new fans, however - they rushed out to buy the album in their thousands and ten days after its release Seul went gold, selling over 100,000 copies!
While Garou was riding high in the French album charts with Seul, his co-star Patrick Fiori was bringing the house down with a series of concerts at the Olympia in Paris. Swapping the coat of armour he wore on stage as Phoebus in Notre-Dame de Paris, Fiori slipped into a swanky suit and tie and set off on a major French tour to promote his own solo album Chrysalide. The Corsican-born singer's face was already familiar to French music fans who remembered him representing France at the Eurovision Song Contest in 1993 with Mama Corsica.
Fortunately, Fiori's musical tastes appear to have matured since Eurovision and the set he performed on his new tour shone with beautifully crafted songs and professionalism. Fiori seemed at pains to put his Eurovision past behind him, pointing out in what appeared to be an interminable series of interviews that he had spent hours in rehearsal with his musicians perfecting a finely-tuned "symbiosis" between his voice and their instruments. In the same interviews, Fiori vented the anger and frustration he had felt during Notre-Dame de Paris at having to perform with backing from a pre-recorded soundtrack!
Like fellow members of the cast from Notre-Dame de Paris, Fiori benefited from the huge media success of the musical, however. Given his charm and 'leading man' good looks, he had no trouble conquering the female market. And his much-publicised relationship with singer Lara Fabian (from whom he is now separated) only added to his appeal in showbiz magazines!
Meanwhile, another of Fiori's NDP co-stars, Helene Segara, has also gone on to rocket to fame after her stint as the beautiful Esmeralda. Ms. Segara had actually launched a solo career prior to joining the show, shooting up the French singles charts in 1996 with her hit Je vous aime adieu. Managed by Dalida's brother, Orlando, the young singer from the French Riviera, is now the proud owner of a best-selling album, Au nom d'une femme (released in 1999 this has sold over 1 million copies to date!) and a new hit single, Il y a trop de gens qui t'aiment.
Preceding her friend Patrick Fiori at the Olympia, Helene brought the house down at the legendary music venue in October, playing to capacity audiences four nights running. France's new diva is currently on tour until next spring (and will be returning to perform in Paris at the Palais des Sports on January 26th 2001).
Let's hope Helene Segara's new-found success will help her digest her final days with Notre Dame de Paris - for the show ended on a rather sour note for both Helene and Patrick Fiori. When the best-selling musical was adapted into English and taken to London's West End, French members of the cast were not invited to climb aboard the Eurostar. But their Quebecois colleagues - Bruno Pelletier, Garou, Luck Mervil and Daniel Lavoie - were. Apparently, the Quebecois members of the cast were considered more proficient when it came to mastering the English language!
No matter, Patrick Fiori and Helene Segara certainly benefited from the huge media hype surrounding Notre-Dame de Paris and, like their Quebecois colleagues, used the publicity to full effect when pursuing their solo careers. The phenomenal success of Notre-Dame de Paris has not only provided a springboard for a host of solo careers - the show has also opened the way for a new breed of French musicals hoping to attract the same audiences world-wide. So keep your eyes peeled for forthcoming productions of Dix commandements and Romeo et Juliette, which we will be previewing in Le Petit Journal later this week.
Garou Seul Sony 2000
Patrick Fiori Chrysalide Epic 2000
Helene Segara Au nom d'une femme Orlando/East West 2000
Valérie Passelègue
30/11/2005 -
Richard Cocciante goes solo
01/02/2000 -
Notre-Dame goes bilingual
30/06/1999 -
Notre-Dame de Paris in Quebec
- Official fanclub of Richard Cocciante
http://www.rfi.fr/musiqueen/articles/060/article_6579.asp
Maisy- Admin
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Re: Несколько архивных статей
автор Sapphira Ср Янв 13, 2010 5:53 pm
ваууууууууу!!!!!!!!!!!! Мейси СПАСИБО!!!!!!!!!!!! 
Дорогие переводчики, не дайте умереть от любопытства...
Дорогие переводчики, не дайте умереть от любопытства...
Sapphira- Возраст : 47
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Re: Несколько архивных статей
автор Maisy Вс Янв 17, 2010 2:15 pm
The latest blockbuster musical to come out of France isn't by the team of Boublil and Schonberg ( Les Miz , Miss Saigon ), but by Luc Plamondon ( Starmania ) and Richard Cocciante. The blockbuster is none other than Notre Dame de Paris and it happens to be the 3rd or 4th musical incarnation of Victor Hugo's The Hunchback of Notre Dame to appear in as many years. This version, as far as I know, adheres to the book more than any other adaptation.
The other famous musicalization by Disney, which hit the silver screen in 1996, opened as a stage production in Berlin last year (which produced a superb cast album), and is targeting a Spring 2001 opening on Broadway, took many liberties with the story and with good reason. It was an animated musical aimed at entertaining children. The odd thing about Disney's version is that it contained Broadway caliber music and was probably enjoyed more by adults than children. It was very theatrical and I knew the minute I heard it that it should be on Broadway - I wish I could say the same for Notre Dame de Paris .
In an unusual move, the producers of Notre Dame de Paris decided to film the show with its original leads and release it on DVD (available now) and videotape (soon to be released) while it is still running in France and other cities around the world.
Since DVDs have many options on them, one being subtitles, I figured I would take a chance and buy the DVD. Since the lyrics are in French, I would be able to follow the story while having the English subtitles turned on. Well, after one viewing, I was hooked. What I found was a very entertaining pop-rock musical that loosely told the tale of Quasimodo, the bell-ringer of Notre Dame.
Trying to judge Luc Plamondon's lyrics from the subtitles is not an easy thing to do - they aren't always a direct translation. But one can figure out enough to tell that there is just too much repetition here and many lines are repeated ad nauseum. Luckily Richard Cocciante has provided a lovely and lush pop-rock score that makes one forgive the repetition, at least for this reviewer. Mr. Cocciante's score has a European sound and probably will not go over big with audiences here though it seems to have found a loyal following. I have a feeling most theater fans will not like this show. (For proof of that just check out the production currently playing in Las Vegas. I hear they are struggling to find an audience). In view of the fact that this is not a traditional musical theater score it was not staged as such. The actors use head- mikes, and the show is staged more like a concert with very little set pieces - sort of Rent meets Cirque du Soleil . Unfortunately, one rarely gets the feeling they are anywhere near Notre Dame. Only when we see shadows of large windows on the stage do we get that feeling; there are no sets to suggest otherwise.
There is a lot of unusual choreography going on here featuring acrobatics and break dancing. I can't figure out why this is, but for some reason the show works as a whole. While Notre Dame de Paris may not be to everyone's taste, no one can deny that it was filmed beautifully. One improvement could have been to tone down the actors make up. I can understand why is it so severe since they are playing in a large house but it should have been modified for video.
Most of the enjoyment of this show comes from its leading actors. I was very impressed with 4 of the 7 leads – Bruno Pelletier (Gringoire), Daniel Lavoie (Frollo), Patrick Fiori (Phoebus) and Garou (Quasimodo). Three of the four possess strong pop-rock tenor voices that could rival any of Broadway's best tenors and the fourth, Garou, has a gruff-sounding baritone (think Joe Cocker) that is absolutely perfect for Quasi. I have heard many differing opinions about his voice from outright bad to marvelous. I found his voice to be terrific and I can't wait to hear his solo CD, due in April. The other three men are established recording artists and their experience shows. They all blew me away on first listen.
Unfortunately, I was not so impressed with the female leads and that's a shame. It makes the show a little unbalanced. Esmeralda as played by Helene Segara is a major disappointment. While she may be beautiful and a fine actress, she is simply not a musical theater performer - she cannot project or belt. This is a surprise since she is a seasoned performer who has released 2 solo CDs. She has a sweet voice and is at her best on the ballad Ave Maria Paien . Julie Zenatti, who plays Fleur de Lys, is another story. She plays Fleur, at least on video, as if she were the hunchback. For some odd reason she spends most of her time on stage with her shoulders up and her head thrust forward. She is young (17) so she is forgiven and might actually grow into a fine performer. I had no real problem with her voice. In fact, she has a stronger voice than Miss Segara. The last lead, Luck Mervil, who plays Clopin, the King of the Thieves, was satisfactory but didn't impress me much.
If one wants to experience Notre Dame de Paris for the first time, I recommend watching this video, which costs no more than the 2 CD live set of the show. Not only that, you get a gorgeous hard cover booklet containing all the French lyrics and pictures from the show (the 2 CD box set has a small version of this booklet). The cast is exactly the same on both the 2 CD set and the video.
Since Notre Dame de Paris is set to conquer the world, an English-language recording was inevitable. This recording was made prior to its premiere in London's West End (May 2000). As a preview of this upcoming production, they have decided to use the West End cast for this CD. Four of the original French leads have been retained (3 of my favorites) – Daniel Lavoie, Bruno Pelletier, and Garou along with Luck Mervil. They are joined by Steve Balsamo, Tina Arena, Natasha St. Pierre and Celine Dion as a guest singing one of the shows hit songs, “Live” (the best version on record yet). But, once again we have uneven casting. Tina Arena is perfectly awful as Esmeralda. She might be more of a belter than Miss Segara but I found her voice to be flat and lacking character. She is no actress. Maybe she will grow into the part – one can only hope – but if one is to judge her performance from this CD, then she is the wrong choice for the role. Natasha St. Pierre, on the other hand, is a true find. Her voice simply took my breath away. It's a shame she isn't playing Esmeralda. She is better than any of the actresses who have sung either Esmeralda or Fleur de Lys on CD. Steve Balsamo first burst on the musical theater scene playing Jesus in the recent West End revival of Jesus Christ Superstar . He was spectacular on that recording and does well in the role of Phoebus, though I was not as impressed this time around. I suppose that is because I thoroughly enjoyed Patrick Fiori in that role to begin with. As for the rest of them, they all sound just as good singing in English as they do in French.
Will Jennings is responsible for the English translation and he has done an uneven job. Sometimes his lyrics are imaginative and beautiful as in “Live,” “The Bohemienne Song,” “The Bells,” “The Birds They Put in Cages,” “My Heart If You Will Swear,” and “Belle” (the show's hit tune). Other times he uses direct translations and they don't always work as in “God You Made the World All Wrong” ( “I'm so ugly, he's so fine” – puh-lease!!) or “Your Love Will Kill Me” (in which he repeats the title line 25 times), but that problem I blame mostly on Luc Plamondon.
This CD is a good introduction to the show if you do not have a DVD player. But if you do I recommend getting the DVD - the music sounds much better sung in French.
That's all for this column. 'Til next time, happy listening (and watching)!
Also, check our new list of Upcoming Releases .
Cheers,
Joseph Molnar
http://www.talkinbroadway.com/search/show.pl?url=http://www.talkinbroadway.com/sound/mar2300.html&words=found
The other famous musicalization by Disney, which hit the silver screen in 1996, opened as a stage production in Berlin last year (which produced a superb cast album), and is targeting a Spring 2001 opening on Broadway, took many liberties with the story and with good reason. It was an animated musical aimed at entertaining children. The odd thing about Disney's version is that it contained Broadway caliber music and was probably enjoyed more by adults than children. It was very theatrical and I knew the minute I heard it that it should be on Broadway - I wish I could say the same for Notre Dame de Paris .
In an unusual move, the producers of Notre Dame de Paris decided to film the show with its original leads and release it on DVD (available now) and videotape (soon to be released) while it is still running in France and other cities around the world. Since DVDs have many options on them, one being subtitles, I figured I would take a chance and buy the DVD. Since the lyrics are in French, I would be able to follow the story while having the English subtitles turned on. Well, after one viewing, I was hooked. What I found was a very entertaining pop-rock musical that loosely told the tale of Quasimodo, the bell-ringer of Notre Dame.
Trying to judge Luc Plamondon's lyrics from the subtitles is not an easy thing to do - they aren't always a direct translation. But one can figure out enough to tell that there is just too much repetition here and many lines are repeated ad nauseum. Luckily Richard Cocciante has provided a lovely and lush pop-rock score that makes one forgive the repetition, at least for this reviewer. Mr. Cocciante's score has a European sound and probably will not go over big with audiences here though it seems to have found a loyal following. I have a feeling most theater fans will not like this show. (For proof of that just check out the production currently playing in Las Vegas. I hear they are struggling to find an audience). In view of the fact that this is not a traditional musical theater score it was not staged as such. The actors use head- mikes, and the show is staged more like a concert with very little set pieces - sort of Rent meets Cirque du Soleil . Unfortunately, one rarely gets the feeling they are anywhere near Notre Dame. Only when we see shadows of large windows on the stage do we get that feeling; there are no sets to suggest otherwise.
There is a lot of unusual choreography going on here featuring acrobatics and break dancing. I can't figure out why this is, but for some reason the show works as a whole. While Notre Dame de Paris may not be to everyone's taste, no one can deny that it was filmed beautifully. One improvement could have been to tone down the actors make up. I can understand why is it so severe since they are playing in a large house but it should have been modified for video.
Most of the enjoyment of this show comes from its leading actors. I was very impressed with 4 of the 7 leads – Bruno Pelletier (Gringoire), Daniel Lavoie (Frollo), Patrick Fiori (Phoebus) and Garou (Quasimodo). Three of the four possess strong pop-rock tenor voices that could rival any of Broadway's best tenors and the fourth, Garou, has a gruff-sounding baritone (think Joe Cocker) that is absolutely perfect for Quasi. I have heard many differing opinions about his voice from outright bad to marvelous. I found his voice to be terrific and I can't wait to hear his solo CD, due in April. The other three men are established recording artists and their experience shows. They all blew me away on first listen.
Unfortunately, I was not so impressed with the female leads and that's a shame. It makes the show a little unbalanced. Esmeralda as played by Helene Segara is a major disappointment. While she may be beautiful and a fine actress, she is simply not a musical theater performer - she cannot project or belt. This is a surprise since she is a seasoned performer who has released 2 solo CDs. She has a sweet voice and is at her best on the ballad Ave Maria Paien . Julie Zenatti, who plays Fleur de Lys, is another story. She plays Fleur, at least on video, as if she were the hunchback. For some odd reason she spends most of her time on stage with her shoulders up and her head thrust forward. She is young (17) so she is forgiven and might actually grow into a fine performer. I had no real problem with her voice. In fact, she has a stronger voice than Miss Segara. The last lead, Luck Mervil, who plays Clopin, the King of the Thieves, was satisfactory but didn't impress me much.
If one wants to experience Notre Dame de Paris for the first time, I recommend watching this video, which costs no more than the 2 CD live set of the show. Not only that, you get a gorgeous hard cover booklet containing all the French lyrics and pictures from the show (the 2 CD box set has a small version of this booklet). The cast is exactly the same on both the 2 CD set and the video.
Since Notre Dame de Paris is set to conquer the world, an English-language recording was inevitable. This recording was made prior to its premiere in London's West End (May 2000). As a preview of this upcoming production, they have decided to use the West End cast for this CD. Four of the original French leads have been retained (3 of my favorites) – Daniel Lavoie, Bruno Pelletier, and Garou along with Luck Mervil. They are joined by Steve Balsamo, Tina Arena, Natasha St. Pierre and Celine Dion as a guest singing one of the shows hit songs, “Live” (the best version on record yet). But, once again we have uneven casting. Tina Arena is perfectly awful as Esmeralda. She might be more of a belter than Miss Segara but I found her voice to be flat and lacking character. She is no actress. Maybe she will grow into the part – one can only hope – but if one is to judge her performance from this CD, then she is the wrong choice for the role. Natasha St. Pierre, on the other hand, is a true find. Her voice simply took my breath away. It's a shame she isn't playing Esmeralda. She is better than any of the actresses who have sung either Esmeralda or Fleur de Lys on CD. Steve Balsamo first burst on the musical theater scene playing Jesus in the recent West End revival of Jesus Christ Superstar . He was spectacular on that recording and does well in the role of Phoebus, though I was not as impressed this time around. I suppose that is because I thoroughly enjoyed Patrick Fiori in that role to begin with. As for the rest of them, they all sound just as good singing in English as they do in French. Will Jennings is responsible for the English translation and he has done an uneven job. Sometimes his lyrics are imaginative and beautiful as in “Live,” “The Bohemienne Song,” “The Bells,” “The Birds They Put in Cages,” “My Heart If You Will Swear,” and “Belle” (the show's hit tune). Other times he uses direct translations and they don't always work as in “God You Made the World All Wrong” ( “I'm so ugly, he's so fine” – puh-lease!!) or “Your Love Will Kill Me” (in which he repeats the title line 25 times), but that problem I blame mostly on Luc Plamondon.
This CD is a good introduction to the show if you do not have a DVD player. But if you do I recommend getting the DVD - the music sounds much better sung in French.
That's all for this column. 'Til next time, happy listening (and watching)!
Also, check our new list of Upcoming Releases .
Cheers,
Joseph Molnar
http://www.talkinbroadway.com/search/show.pl?url=http://www.talkinbroadway.com/sound/mar2300.html&words=found
Maisy- Admin
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Re: Несколько архивных статей
автор Maisy Вс Янв 17, 2010 2:24 pm
Merci, Sapphira!
http://news.google.com/newspapers?id=dtEtAAAAIBAJ&sjid=1kgDAAAAIBAJ&pg=2302,6444179&dq=bruno+pelletier&hl=en
Последний раз редактировалось: Maisy (Пн Янв 18, 2010 6:59 am), всего редактировалось 1 раз(а)
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Re: Несколько архивных статей
автор Maisy Вс Янв 17, 2010 2:27 pm
Notre Dame de Paris
at the Dominion Theatre
Review by Darren Dalglish
25th May 2000
This French musical, which has taken Europe and Canada by storm, has now made its way across the channel. The music is by Italian composer Richard Cocciante, and lyrics are by Luc Plamondon, with new English translation by Will Jennings (Oscar-winner for 'My Heart Will Go On' from the film "Titanic".) The show first opened in Paris in September 1998 and has played to full houses. It also had a sell-out run on a four-month tour of Canada. The album of the show was at No 1 for 17 weeks in the French charts. The show confidently comes to the West End with high expectations and I too was expecting something special, but sadly, 'as a production', it does not live up to its pre marketing hype.
The musical is based on Victor Hugo's classic novel in which a hunchback called Quasimodo, who dwells in the bell tower of Notre-Dame Cathedral in Paris, falls in love with a gypsy girl named Esmeralda. However, she is also lusted after by the priest 'Frollo' who manipulates events to gain her love. To complicate matters Esmeralda is in love with 'Phoebus', who is engaged to Fleur-de-Lys.
Unfortunately, this is an awful production, which is such a shame because the music is superb!! The show is a hit and miss affair with only drops of quality seeping out. The choreography does not compliment the story at all. In fact, I cannot see how break-dancing and acrobats could possibly help to convey the story. Yes, there are some good spectacles, but frankly they do nothing to enhance the story line, or to give you a feeling for the plot. The men crawling up and down the wall at the back of the stage only served to distract me as I was worried that they may slip and fall as they did not appear to have any harnessing protecting them. In the second act when the priest was singing, there were three big stone blocks following him that were so precise that I became more interested in following the stones than becoming emotionally involved in the song!! The show lacks dramatisation and passion, effectively killing any hope of feeling compassion for any of the characters. The characters were wafer thin and more like cardboard cut outs, then flesh and blood characters questioning the purpose of their life, the quality of their faith and the worth of their love.
This rock musical is sung through, but the sound quality is so poor is was sometimes hard to make out what was being said, and not using a live orchestra certainly added to the amateurish sound of the show. Although this is a very poor production, the music is excellent. So good in fact I went out the next day and bought the CD!! I particularly liked "The Age Of The Cathedrals", and "Dance My Esmeralda".
It is very hard to judge the acting ability of the cast as essentially there was not much acting to do!! The cast came on stage sang a song and then left. I have to say the show was more of a 'Rock Concert', than a 'Rock Musical'.
The musical has seven principle stars and seven alternate principals. This could be a problem if you book to see the show because you are a fan of one of the cast. I was particularly looking forward to seeing Steve Balsamo again after his breathtaking performance in "Jesus Christ Superstar" at the Lyceum theatre a year or so ago. So I was disappointed that his part was played by an alternative principle on this evening. So be warned, try and find out which of the principles will be playing on the night you book your tickets.
I found the singing performances reasonably sound, although there were some shaky renditions!! Australian recording star Tina Arena, who plays 'Esmeralda' has a fine voice, but I liked Natasha St-Pierre's, who plays 'Fleur - De - Lys', far better. Garou as 'Quasimodo', has a very distinct voice that you will either love or hate. Daniel Lavoie as 'Frollo' and Bruno Pelletier as 'Gringoire' both perform adequately, and Dean Collinson, who was standing in for Steve Balsamo, also performs satisfactory as 'Phoebus'. However, I cannot say that any of them were outstanding.
The show has received a critical battering from the popular press…. JOHN PETERS for THE SUNDAY TIMES says, "This is one of the most stupefying awful musicals I have seen in two decades." He goes on to say, "Why do we have such high-octane foreign garbage when, as the other fellow once said, we have plenty of low-octane British garbage of our own." NICK CURTIS for THE EVENING STANDARD says, "The French have a word that describes this witless Gallic musical, but it's too rude to use here. Suffice to say that this is a complete crock, monsieur. Writer Luc Plamondon and composer Richard Cocciante have taken one of the world's best-known stories and turned it into a nonsensical, through-sung procession of Europop ditties, re-upholstered with buttock-clenchingly clumsy English lyrics by Will Jennings." THE INDEPENDENT called it "A load of old bells" THE EXPRESS called it "All bats and no belfry". " CHARLES SPENCER for THE DAILY TELEGRAPH liked the music, but not the production saying, "The one thing that can be said in favour of the piece is that Richard Cocciante's score is a winner, at least for those, like me, with lowbrow musical tastes. The more fastidious will probably think the music naff and too loud, but I found the soaring power pop and tortured masochistic ballads stirring. Unfortunately almost everything else about the show is a complete flop." MICHAEL BILLINGTON for the GUARDIAN says, "In Gilles Maheu's antiseptic production we seem to have a rock concert in frocks spiced up with displays of muscular aerobics from performers purporting to be asylum-seeking refugees. The story sinks under the relentless barrage of Richard Cocciante's music, which has a seamless Gallic monotony. And Luc Plamondon's lyrics, rendered into something passing for English by Will Jennings, are often impenetrable - or raise a derisory titter." THE STAGE headlined, "Story sinks in musical mire." JANE EDWARDES for TIME OUT says, "The show is a disaster." BENEDICT NIGHTINGALE for THE TIMES was not too harsh saying, "There are occasional imaginative production touches: huge bells with writhing, upside-down humans for clappers, for instance. But if the show's creators aspire to mount a telling attack on an unjust, hypocritical, brutal society they have some way to go. Another Les Mis this isn't." However THE DAILY MAIL gave a favourable review saying Tina Arena was "superb" and saying "I really respect, and maybe love, this show."
"Notre-Dame De Paris" had the potential to be a great musical. It has great music that is sadly let down by a production that looks and feel cheap and amateurish. Is it worth seeing? Yes it is, but only for the music. Of course you could just buy the CD, particularly as the CD costs half the price of the theatre ticket!!! However even through I found the performance poor, the audience seemed to love it and applauded loudly at the end.
(Darren Dalglish)
Next review by Tom Keatinge
tomkeatinge@hotmail.com
March 2001
Victor Hugo’s Notre Dame de Paris has been reproduced in many forms, from silent flick to cartoon interpretation, and whilst I have witnessed only a small selection of these creations, I feel confident in making the assertion that Luc Plamondon (book and lyrics) and Richard Cocciante (music) have delivered the most turgid and dire reconstitution yet. How on earth has two and a half hours of unmemorable tuneless blaring become the worldwide phenomenon that it has? (To be fair, the punters at the Dominion’s Saturday matinée were, in part, on their feet at the curtain call.) Modern musicals are often accused of being “set whistlers”, with dramatic staging and sets being seemingly more important than a decent score – this production did not even enjoy that saving grace, although the lighting and use of gauze was at times impressive. Furthermore, when it opened, the show was castigated for using a pre-recorded sound track (backing vocals included, it would appear). To reduce a West End show to little more than an upscale Saturday night karaoke at the pub ‘round the corner (with several performances on a par with what one would expect down the local) seems disappointing to say the least, and hopefully does not represent the beginning of a cost-saving trend. Special mention must, I suppose, therefore go to the sound operator at the back of the stalls, who appeared to be orchestrating the entire show with a mouse.
Having not seen Notre Dame de Paris, when it first opened in May last year, I thought the advent of Dannii Minogue, playing the part of Esmeralda, would make a good excuse for a visit. The story of Notre Dame de Paris is well known; bell-ringing hunchback falls in love with gypsy beauty Esmeralda who, until her hour of direst need, ignores his love in favour of others. Minogue’s initial entrance was greeted by a ripple of applause – frankly she should have quit whilst she was ahead, for she proceeded to belt and shriek her way tunelessly through virtually every number. Despite my disappointment with the production, some of the singing was indeed excellent, in particular Gringoire (John Partridge) the poet who acts as observer to and commentator on the action as it unfolds. But whether strong or weak, the singing was undermined by a lack of imagination in Plamondon and Cocciante’s score. The music and lyrics of most numbers were extraordinarily repetitive and unsophisticated, and were blasted at the audience as if this were a rock concert.
The collection of dead bodies on stage at the end of the show said it all – only wonder was that there were none in the audience.
Tom Keatinge
tomkeatinge@hotmail.com
Tom Keatinge Web site
Next Review by Jim Sutherland
Email: Jimandsim@aol.com
27th May 00
With more hype than any other show in the history of West End Theatre, the English translation of the French hit Notre Dame de Paris finally opened at the Dominion Theatre on May 23 2000. I was fortunate enough to get a ticket for the first Saturday evening performance and on arrival at the Theatre was thrilled to learn that the original cast (without any alternates) would be performing. With a sense of expectation I took my seat and the show began.
Adapted from the novel by Victor Hugo, this sung-through musical-cum-rock opera is based on the tragic story of the hunchback Quasimodo's unrequited love for the beautiful gypsy girl Esmeralda. The real tragedy, however, is that this show ever made it accross the channel in the first place. Although there are some good songs (opening number Age of the Cathedrals sticks in my mind), these are completely ruined by the distorted backing tape, which sounded little better than computer music. Added to that, the fact that a lot of the lyrics did not make sense and others could not be understood, the story was extremely difficult, if not impossible, to follow.
The real reason this musical is so bad however, is that there is next to no acting during the whole show. The singers make there entrances (usually from the otherwise redundant orchestra pit) sing there songs and exit in the same fashion. On the whole, the singing was good - if nothing special. I was particularly impressed with Bruno Pelletier as Gringoire, who produced the most enjoyable part of the show by singing the encore acapella for about 30 seconds before the backing track boomed in and ruined it. The cast is completed by a bunch of hyperactive dancers and acrobats who, although very professional, made me wonder what on earth they were supposed to be doing there, as I could find no link between them and the wafer thin plot. Another major faux-pas was the costuming. Apart from the fact Steve Balsamo (playing soldier Phoebus) looked like he'd arrived late for the show and had gone on stage in his normal clothes, all the singers had to contend with pop concert style radio mikes, making them look stupid as well as making it impossible to kiss (not bad for a love story).
In conclusion, Notre Dame de Paris is a perfect example of an awful show which should have been so good. Hugo's story has masses of potential to be a great musical, however this version fails to deliver on practically every count. I notice from Darren's review that most theatre critics are as unimpressed as I was, however one review he didn't mention was Bill Haggerty's comment in the NEWS OF THE WORLD, which summed it up perfectly for me. " Les Miserables it's not - Miserable it definitely is"
(Jim Sutherland)
Next Review by Jonathan Richards
Email: Jonathan@sevin.co.uk
May 00
A year or so ago, a relative of mine bought me the complete recording of this French/Canadian show based on the novel 'The Hunchback of Notre Dame' by Victor Hugo. The recording was a fine one with very good songs, quality lyrics (in French) and generally good performances (even from gravelly sounding mononamed Garou).
Therefore, when I heard that this musical was coming to London with English lyrics by Will Jennings (of 'Titanic' fame), I hastened to buy a ticket. Tonight I witnessed what has taken France and the US by storm and I can tell you that though it does not live up to its harsh British reviews, it is hard to see what made foreign audiences go bazurk with.
Unfortunately, a couple of understudies were present, most notably Australian Tina Arena (who I am told is very good) was replaced by Hazel Fernandes as Esmeralda and Garou being replaced by Ian Pirie as Quasimodo. I can only pray that the reader of this does not see the latter of the two on stage since he really was very unpleasant to see and hear. But I will not speak too much of these people since you are more likely to see someone else.
A good deal of the beauty of this show has been lost in the French to English translation by Jennings, with the lyrics being reduced to banal rhyming couplets, and somehow, English lyrics don't quite work with the 'caviar of music' - it has an aquired taste. It is not totally bad and comes out clearly and well (since it is prerecorded). The musical has been marketed as 'a musical spectacular' and indeed that is what it is - it has music, and it is spectacular (in fact very much so).
Combined, Christian Ratz's set, Alain Lortie's lighting and Fred Sathal's slightky fruit salady costumes the show looks very atmospheric and stunning and is ingeniously complemented by Martino Muller's clever and inventive choreography. The direction is a bit lazy, but the musical looks very good.
One of my main criticisms would be that the show is just a stream of songs completely unlinked and it lacks dramatic anything, and it is something it could do with. Some of the performances are not so good, but much of the singing is very good, particularly from Bruno Pelletier as Gringoire.
I don't really know what else to say about this show - it left me wondering whether I liked it or not, but it most certainly wasn't bad (considering the West End was graced with the presence of 'Tess' not that long ago). Why not see it and decide for yourself...
(Jonathan Richards)
Next Review by Robert O'Keefe
Email: robert.o'keefe@virgin.net
29th May 00
Well I must admit I was somewhat doubtful what with all the complaints about the sound and the alternate / understudy situation. But, i was in for a treat.
Brief Synopsis: "ESMERALDA" Hazel Fernandes is part of a group of refugees led by CLOPIN Luck Mervil when she dances she is seen by PHOEBUS Steve Balsamo, FROLLO Daniel Lavoie and QUASIMODO Ian Pirie, all of whom fall instantly in love with her, and here in lies the problems FROLLO is a Priest, PHOEBUS is to marry FLEUR-DE-LYS Natasha St-Pierre, and QUASIMODO is a deformed Hunchback.
Here I should point out that the performers names listed above are the cast I saw on Monday the 29th May this year. Mind you to find out these names I had to ring the Theatre who gave me the number of the stage door who gave me the number of the Production Company. As, has been mentioned on the FORUM for this page there is no way of knowing who you saw at the Theatre no signs, planned performances or announcements.
I don't think people need much more of a synopsis than is above, suffice to say it's a love story.
To the Performances and the show itself, well I saw the alternate ESMERELDA & QUASIMODO but pretty much all the other principal players, and I must say I wasn't disappointed. As I posted to the Forum I wasn't over impressed by Tina Arenas' performance on the "Tonight at the Palladium" show. But to be fair before saying she isn't any good I'd need to see her in the show. And to answer a post on the Board her weight does have nothing to do with it, what I said was [ personal preference, based on very limited experience ] I thought that Hazel Fernandes was the prettiest, and as you need to believe that all these men could instantly fall for this "vision" that would make it easier for me. Although I must say her [ Tina Arena ] picture in the programme could make me seriously start hedging my bets :o)
"Age of the Cathedrals", " Torn Apart", "Belle is the only word", " The Birds they put in cages", " I'm a Priest" and " Dance my Esmerelda" stood out for me as songs. With " Age of the Cathedrals" being my favourite having heard the original French and now the English versions I think it is one of the best songs in a musical of any of the shows I've seen.
The staging of this show is spectacular, words can't do it justice it has to be seen. Stand out sections for me include: "The Age of Cathedrals" - I've never seen a better use for a climbing wall, the performers on it instil me with awe, as I get a nose bleed in high heels, and no I don't wear them...... that often :o). And " Dance my Esmerelda" - Which I could not have imagined staged better, and when you think your imagination isn't bound by practicalities like " How much will it cost? " and " is it possible??" That is the best compliment I can give it.
Altogether an excellent show. Don't listen to the critics, go and see it yourself and then make up your mind. I was undecided after hearing all the contrasting views but I can honestly say it was worth the trip on it's own and I will be back..... if the critics don't manage to close it first.
(Robert O'Keefe)
http://www.londontheatre.co.uk/londontheatre/reviews/notredame00.htm
at the Dominion Theatre
Review by Darren Dalglish
25th May 2000
This French musical, which has taken Europe and Canada by storm, has now made its way across the channel. The music is by Italian composer Richard Cocciante, and lyrics are by Luc Plamondon, with new English translation by Will Jennings (Oscar-winner for 'My Heart Will Go On' from the film "Titanic".) The show first opened in Paris in September 1998 and has played to full houses. It also had a sell-out run on a four-month tour of Canada. The album of the show was at No 1 for 17 weeks in the French charts. The show confidently comes to the West End with high expectations and I too was expecting something special, but sadly, 'as a production', it does not live up to its pre marketing hype.
The musical is based on Victor Hugo's classic novel in which a hunchback called Quasimodo, who dwells in the bell tower of Notre-Dame Cathedral in Paris, falls in love with a gypsy girl named Esmeralda. However, she is also lusted after by the priest 'Frollo' who manipulates events to gain her love. To complicate matters Esmeralda is in love with 'Phoebus', who is engaged to Fleur-de-Lys.
Unfortunately, this is an awful production, which is such a shame because the music is superb!! The show is a hit and miss affair with only drops of quality seeping out. The choreography does not compliment the story at all. In fact, I cannot see how break-dancing and acrobats could possibly help to convey the story. Yes, there are some good spectacles, but frankly they do nothing to enhance the story line, or to give you a feeling for the plot. The men crawling up and down the wall at the back of the stage only served to distract me as I was worried that they may slip and fall as they did not appear to have any harnessing protecting them. In the second act when the priest was singing, there were three big stone blocks following him that were so precise that I became more interested in following the stones than becoming emotionally involved in the song!! The show lacks dramatisation and passion, effectively killing any hope of feeling compassion for any of the characters. The characters were wafer thin and more like cardboard cut outs, then flesh and blood characters questioning the purpose of their life, the quality of their faith and the worth of their love.
This rock musical is sung through, but the sound quality is so poor is was sometimes hard to make out what was being said, and not using a live orchestra certainly added to the amateurish sound of the show. Although this is a very poor production, the music is excellent. So good in fact I went out the next day and bought the CD!! I particularly liked "The Age Of The Cathedrals", and "Dance My Esmeralda".
It is very hard to judge the acting ability of the cast as essentially there was not much acting to do!! The cast came on stage sang a song and then left. I have to say the show was more of a 'Rock Concert', than a 'Rock Musical'.
The musical has seven principle stars and seven alternate principals. This could be a problem if you book to see the show because you are a fan of one of the cast. I was particularly looking forward to seeing Steve Balsamo again after his breathtaking performance in "Jesus Christ Superstar" at the Lyceum theatre a year or so ago. So I was disappointed that his part was played by an alternative principle on this evening. So be warned, try and find out which of the principles will be playing on the night you book your tickets.
I found the singing performances reasonably sound, although there were some shaky renditions!! Australian recording star Tina Arena, who plays 'Esmeralda' has a fine voice, but I liked Natasha St-Pierre's, who plays 'Fleur - De - Lys', far better. Garou as 'Quasimodo', has a very distinct voice that you will either love or hate. Daniel Lavoie as 'Frollo' and Bruno Pelletier as 'Gringoire' both perform adequately, and Dean Collinson, who was standing in for Steve Balsamo, also performs satisfactory as 'Phoebus'. However, I cannot say that any of them were outstanding.
The show has received a critical battering from the popular press…. JOHN PETERS for THE SUNDAY TIMES says, "This is one of the most stupefying awful musicals I have seen in two decades." He goes on to say, "Why do we have such high-octane foreign garbage when, as the other fellow once said, we have plenty of low-octane British garbage of our own." NICK CURTIS for THE EVENING STANDARD says, "The French have a word that describes this witless Gallic musical, but it's too rude to use here. Suffice to say that this is a complete crock, monsieur. Writer Luc Plamondon and composer Richard Cocciante have taken one of the world's best-known stories and turned it into a nonsensical, through-sung procession of Europop ditties, re-upholstered with buttock-clenchingly clumsy English lyrics by Will Jennings." THE INDEPENDENT called it "A load of old bells" THE EXPRESS called it "All bats and no belfry". " CHARLES SPENCER for THE DAILY TELEGRAPH liked the music, but not the production saying, "The one thing that can be said in favour of the piece is that Richard Cocciante's score is a winner, at least for those, like me, with lowbrow musical tastes. The more fastidious will probably think the music naff and too loud, but I found the soaring power pop and tortured masochistic ballads stirring. Unfortunately almost everything else about the show is a complete flop." MICHAEL BILLINGTON for the GUARDIAN says, "In Gilles Maheu's antiseptic production we seem to have a rock concert in frocks spiced up with displays of muscular aerobics from performers purporting to be asylum-seeking refugees. The story sinks under the relentless barrage of Richard Cocciante's music, which has a seamless Gallic monotony. And Luc Plamondon's lyrics, rendered into something passing for English by Will Jennings, are often impenetrable - or raise a derisory titter." THE STAGE headlined, "Story sinks in musical mire." JANE EDWARDES for TIME OUT says, "The show is a disaster." BENEDICT NIGHTINGALE for THE TIMES was not too harsh saying, "There are occasional imaginative production touches: huge bells with writhing, upside-down humans for clappers, for instance. But if the show's creators aspire to mount a telling attack on an unjust, hypocritical, brutal society they have some way to go. Another Les Mis this isn't." However THE DAILY MAIL gave a favourable review saying Tina Arena was "superb" and saying "I really respect, and maybe love, this show."
"Notre-Dame De Paris" had the potential to be a great musical. It has great music that is sadly let down by a production that looks and feel cheap and amateurish. Is it worth seeing? Yes it is, but only for the music. Of course you could just buy the CD, particularly as the CD costs half the price of the theatre ticket!!! However even through I found the performance poor, the audience seemed to love it and applauded loudly at the end.
(Darren Dalglish)
Next review by Tom Keatinge
tomkeatinge@hotmail.com
March 2001
Victor Hugo’s Notre Dame de Paris has been reproduced in many forms, from silent flick to cartoon interpretation, and whilst I have witnessed only a small selection of these creations, I feel confident in making the assertion that Luc Plamondon (book and lyrics) and Richard Cocciante (music) have delivered the most turgid and dire reconstitution yet. How on earth has two and a half hours of unmemorable tuneless blaring become the worldwide phenomenon that it has? (To be fair, the punters at the Dominion’s Saturday matinée were, in part, on their feet at the curtain call.) Modern musicals are often accused of being “set whistlers”, with dramatic staging and sets being seemingly more important than a decent score – this production did not even enjoy that saving grace, although the lighting and use of gauze was at times impressive. Furthermore, when it opened, the show was castigated for using a pre-recorded sound track (backing vocals included, it would appear). To reduce a West End show to little more than an upscale Saturday night karaoke at the pub ‘round the corner (with several performances on a par with what one would expect down the local) seems disappointing to say the least, and hopefully does not represent the beginning of a cost-saving trend. Special mention must, I suppose, therefore go to the sound operator at the back of the stalls, who appeared to be orchestrating the entire show with a mouse.
Having not seen Notre Dame de Paris, when it first opened in May last year, I thought the advent of Dannii Minogue, playing the part of Esmeralda, would make a good excuse for a visit. The story of Notre Dame de Paris is well known; bell-ringing hunchback falls in love with gypsy beauty Esmeralda who, until her hour of direst need, ignores his love in favour of others. Minogue’s initial entrance was greeted by a ripple of applause – frankly she should have quit whilst she was ahead, for she proceeded to belt and shriek her way tunelessly through virtually every number. Despite my disappointment with the production, some of the singing was indeed excellent, in particular Gringoire (John Partridge) the poet who acts as observer to and commentator on the action as it unfolds. But whether strong or weak, the singing was undermined by a lack of imagination in Plamondon and Cocciante’s score. The music and lyrics of most numbers were extraordinarily repetitive and unsophisticated, and were blasted at the audience as if this were a rock concert.
The collection of dead bodies on stage at the end of the show said it all – only wonder was that there were none in the audience.
Tom Keatinge
tomkeatinge@hotmail.com
Tom Keatinge Web site
Next Review by Jim Sutherland
Email: Jimandsim@aol.com
27th May 00
With more hype than any other show in the history of West End Theatre, the English translation of the French hit Notre Dame de Paris finally opened at the Dominion Theatre on May 23 2000. I was fortunate enough to get a ticket for the first Saturday evening performance and on arrival at the Theatre was thrilled to learn that the original cast (without any alternates) would be performing. With a sense of expectation I took my seat and the show began.
Adapted from the novel by Victor Hugo, this sung-through musical-cum-rock opera is based on the tragic story of the hunchback Quasimodo's unrequited love for the beautiful gypsy girl Esmeralda. The real tragedy, however, is that this show ever made it accross the channel in the first place. Although there are some good songs (opening number Age of the Cathedrals sticks in my mind), these are completely ruined by the distorted backing tape, which sounded little better than computer music. Added to that, the fact that a lot of the lyrics did not make sense and others could not be understood, the story was extremely difficult, if not impossible, to follow.
The real reason this musical is so bad however, is that there is next to no acting during the whole show. The singers make there entrances (usually from the otherwise redundant orchestra pit) sing there songs and exit in the same fashion. On the whole, the singing was good - if nothing special. I was particularly impressed with Bruno Pelletier as Gringoire, who produced the most enjoyable part of the show by singing the encore acapella for about 30 seconds before the backing track boomed in and ruined it. The cast is completed by a bunch of hyperactive dancers and acrobats who, although very professional, made me wonder what on earth they were supposed to be doing there, as I could find no link between them and the wafer thin plot. Another major faux-pas was the costuming. Apart from the fact Steve Balsamo (playing soldier Phoebus) looked like he'd arrived late for the show and had gone on stage in his normal clothes, all the singers had to contend with pop concert style radio mikes, making them look stupid as well as making it impossible to kiss (not bad for a love story).
In conclusion, Notre Dame de Paris is a perfect example of an awful show which should have been so good. Hugo's story has masses of potential to be a great musical, however this version fails to deliver on practically every count. I notice from Darren's review that most theatre critics are as unimpressed as I was, however one review he didn't mention was Bill Haggerty's comment in the NEWS OF THE WORLD, which summed it up perfectly for me. " Les Miserables it's not - Miserable it definitely is"
(Jim Sutherland)
Next Review by Jonathan Richards
Email: Jonathan@sevin.co.uk
May 00
A year or so ago, a relative of mine bought me the complete recording of this French/Canadian show based on the novel 'The Hunchback of Notre Dame' by Victor Hugo. The recording was a fine one with very good songs, quality lyrics (in French) and generally good performances (even from gravelly sounding mononamed Garou).
Therefore, when I heard that this musical was coming to London with English lyrics by Will Jennings (of 'Titanic' fame), I hastened to buy a ticket. Tonight I witnessed what has taken France and the US by storm and I can tell you that though it does not live up to its harsh British reviews, it is hard to see what made foreign audiences go bazurk with.
Unfortunately, a couple of understudies were present, most notably Australian Tina Arena (who I am told is very good) was replaced by Hazel Fernandes as Esmeralda and Garou being replaced by Ian Pirie as Quasimodo. I can only pray that the reader of this does not see the latter of the two on stage since he really was very unpleasant to see and hear. But I will not speak too much of these people since you are more likely to see someone else.
A good deal of the beauty of this show has been lost in the French to English translation by Jennings, with the lyrics being reduced to banal rhyming couplets, and somehow, English lyrics don't quite work with the 'caviar of music' - it has an aquired taste. It is not totally bad and comes out clearly and well (since it is prerecorded). The musical has been marketed as 'a musical spectacular' and indeed that is what it is - it has music, and it is spectacular (in fact very much so).
Combined, Christian Ratz's set, Alain Lortie's lighting and Fred Sathal's slightky fruit salady costumes the show looks very atmospheric and stunning and is ingeniously complemented by Martino Muller's clever and inventive choreography. The direction is a bit lazy, but the musical looks very good.
One of my main criticisms would be that the show is just a stream of songs completely unlinked and it lacks dramatic anything, and it is something it could do with. Some of the performances are not so good, but much of the singing is very good, particularly from Bruno Pelletier as Gringoire.
I don't really know what else to say about this show - it left me wondering whether I liked it or not, but it most certainly wasn't bad (considering the West End was graced with the presence of 'Tess' not that long ago). Why not see it and decide for yourself...
(Jonathan Richards)
Next Review by Robert O'Keefe
Email: robert.o'keefe@virgin.net
29th May 00
Well I must admit I was somewhat doubtful what with all the complaints about the sound and the alternate / understudy situation. But, i was in for a treat.
Brief Synopsis: "ESMERALDA" Hazel Fernandes is part of a group of refugees led by CLOPIN Luck Mervil when she dances she is seen by PHOEBUS Steve Balsamo, FROLLO Daniel Lavoie and QUASIMODO Ian Pirie, all of whom fall instantly in love with her, and here in lies the problems FROLLO is a Priest, PHOEBUS is to marry FLEUR-DE-LYS Natasha St-Pierre, and QUASIMODO is a deformed Hunchback.
Here I should point out that the performers names listed above are the cast I saw on Monday the 29th May this year. Mind you to find out these names I had to ring the Theatre who gave me the number of the stage door who gave me the number of the Production Company. As, has been mentioned on the FORUM for this page there is no way of knowing who you saw at the Theatre no signs, planned performances or announcements.
I don't think people need much more of a synopsis than is above, suffice to say it's a love story.
To the Performances and the show itself, well I saw the alternate ESMERELDA & QUASIMODO but pretty much all the other principal players, and I must say I wasn't disappointed. As I posted to the Forum I wasn't over impressed by Tina Arenas' performance on the "Tonight at the Palladium" show. But to be fair before saying she isn't any good I'd need to see her in the show. And to answer a post on the Board her weight does have nothing to do with it, what I said was [ personal preference, based on very limited experience ] I thought that Hazel Fernandes was the prettiest, and as you need to believe that all these men could instantly fall for this "vision" that would make it easier for me. Although I must say her [ Tina Arena ] picture in the programme could make me seriously start hedging my bets :o)
"Age of the Cathedrals", " Torn Apart", "Belle is the only word", " The Birds they put in cages", " I'm a Priest" and " Dance my Esmerelda" stood out for me as songs. With " Age of the Cathedrals" being my favourite having heard the original French and now the English versions I think it is one of the best songs in a musical of any of the shows I've seen.
The staging of this show is spectacular, words can't do it justice it has to be seen. Stand out sections for me include: "The Age of Cathedrals" - I've never seen a better use for a climbing wall, the performers on it instil me with awe, as I get a nose bleed in high heels, and no I don't wear them...... that often :o). And " Dance my Esmerelda" - Which I could not have imagined staged better, and when you think your imagination isn't bound by practicalities like " How much will it cost? " and " is it possible??" That is the best compliment I can give it.
Altogether an excellent show. Don't listen to the critics, go and see it yourself and then make up your mind. I was undecided after hearing all the contrasting views but I can honestly say it was worth the trip on it's own and I will be back..... if the critics don't manage to close it first.
(Robert O'Keefe)
http://www.londontheatre.co.uk/londontheatre/reviews/notredame00.htm
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Re: Несколько архивных статей
автор Maisy Вс Янв 17, 2010 2:29 pm
Bruno Pelletier
Section MUSIQUE
Profitons du lancement du plus récent album de Bruno Pelletier pour rappeler que le beau brun a un site Internet.
C'est le lieu officiel et autorisé pour obtenir toute l'information désirée sur le chanteur. On y retrouve sa biographie, sa discographie, sa vidéographie et, évidemment, des photos. Ses fans pourront y découvrir son tout dernier disque, D'autres rives, et même écouter Pelletier en parler en téléchargeant un extrait en RealVideo. Sans vouloir énerver les petites filles, soulignons qu'un concours permet en ce moment de courir la chance de remporter un exemplaire autographié du nouvel album. À la fin des mois de septembre, octobre et novembre 1999, Bruno choisira 10 questions parmi celles reçues au cours du mois et y répondra personnellement. Les auteurs des questions auxquelles Bruno répondra se verront attribuer un cd signé. Par ailleurs, chaque mois, 10 albums de celui qui est Bruno le jour et Gringoire le soir peuvent être gagnés.
Texte rédigé par: Sophie Bernard
Publié dans BRANCHEZ-VOUS! le 26 août 1999.
http://www.branchez-vous.com/nouveaux_sites/99-08/03-276502.html
Section MUSIQUE
Profitons du lancement du plus récent album de Bruno Pelletier pour rappeler que le beau brun a un site Internet.
C'est le lieu officiel et autorisé pour obtenir toute l'information désirée sur le chanteur. On y retrouve sa biographie, sa discographie, sa vidéographie et, évidemment, des photos. Ses fans pourront y découvrir son tout dernier disque, D'autres rives, et même écouter Pelletier en parler en téléchargeant un extrait en RealVideo. Sans vouloir énerver les petites filles, soulignons qu'un concours permet en ce moment de courir la chance de remporter un exemplaire autographié du nouvel album. À la fin des mois de septembre, octobre et novembre 1999, Bruno choisira 10 questions parmi celles reçues au cours du mois et y répondra personnellement. Les auteurs des questions auxquelles Bruno répondra se verront attribuer un cd signé. Par ailleurs, chaque mois, 10 albums de celui qui est Bruno le jour et Gringoire le soir peuvent être gagnés.
Texte rédigé par: Sophie Bernard
Publié dans BRANCHEZ-VOUS! le 26 août 1999.
http://www.branchez-vous.com/nouveaux_sites/99-08/03-276502.html
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Re: Несколько архивных статей
автор Maisy Пн Янв 18, 2010 4:37 am
Notre Dame Opens at Dominion
Date: 23 May 2000
The latest big-budget musical arrives in the West End - via France, Belgium, Switzerland and Canada - tonight. Notre Dame de Paris opens at the Dominion Theatre, where it's been previewing since 15 May.
Based on Victor Hugo's novel 'The Hunchback of Notre Dame', Notre Dame de Paris has music written by Richard Cocciante and lyrics by Luc Plamondon, with English lyrics by Will Jennings (who won as Oscar for the 'My Heart Will Go On' theme from the film Titanic.)
The London cast is headed by Australian singer Tina Arena, making her West End debut as Esmerelda, with Daniel Lavoie as Frollo, Garou as Quasimodo, Steve Balsamo (Jesus Christ Superstar) as Phoebus, Luck Mervil as Clopin, Bruno Pelletier as Gringoire and Natasha St-Pierre as Fleur-de-Lys. They are joined in the cast by Hazel Fernandez, Fred Johanson, Ian Pirie, Dean Collinson, Carl Abraham Ellis, Alexis James and Kate Pinnell amongst others.
The musical first opened in Paris in September 1998 and went on to sell-out tours of France, Belgium, Switzerland and Canada. Millions of copies of the original cast studio album have been sold in Europe and Canada. Columbia has also released an album, sung in English by the stars of the London production. The English album includes Celine Dion as a guest star singing 'Live for the One I Love'.
Notre Dame de Paris is directed by Gilles Maheu, with choreography by Martino Muller and set design by Christian Ratz. In London, the show is produced by Michael White.
Discuss this story with other theatregoers
http://www.whatsonstage.com/news/theatre/london/E060006972/Notre+Dame+Opens+at+Dominion.html
Date: 23 May 2000
The latest big-budget musical arrives in the West End - via France, Belgium, Switzerland and Canada - tonight. Notre Dame de Paris opens at the Dominion Theatre, where it's been previewing since 15 May.
Based on Victor Hugo's novel 'The Hunchback of Notre Dame', Notre Dame de Paris has music written by Richard Cocciante and lyrics by Luc Plamondon, with English lyrics by Will Jennings (who won as Oscar for the 'My Heart Will Go On' theme from the film Titanic.)
The London cast is headed by Australian singer Tina Arena, making her West End debut as Esmerelda, with Daniel Lavoie as Frollo, Garou as Quasimodo, Steve Balsamo (Jesus Christ Superstar) as Phoebus, Luck Mervil as Clopin, Bruno Pelletier as Gringoire and Natasha St-Pierre as Fleur-de-Lys. They are joined in the cast by Hazel Fernandez, Fred Johanson, Ian Pirie, Dean Collinson, Carl Abraham Ellis, Alexis James and Kate Pinnell amongst others.
The musical first opened in Paris in September 1998 and went on to sell-out tours of France, Belgium, Switzerland and Canada. Millions of copies of the original cast studio album have been sold in Europe and Canada. Columbia has also released an album, sung in English by the stars of the London production. The English album includes Celine Dion as a guest star singing 'Live for the One I Love'.
Notre Dame de Paris is directed by Gilles Maheu, with choreography by Martino Muller and set design by Christian Ratz. In London, the show is produced by Michael White.
Discuss this story with other theatregoers
http://www.whatsonstage.com/news/theatre/london/E060006972/Notre+Dame+Opens+at+Dominion.html
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Re: Несколько архивных статей
автор Maisy Пн Янв 18, 2010 5:52 am
Notre-Dame goes bilingual
The Hit French Musical en anglais!
Paris
01/02/2000 - It looks like the hit French musical Notre-Dame de Paris is about to spawn a few best-selling offspring. After clocking up audience records of 2 million to date, the triumphant NDDP team recently travelled down to MIDEM (the international record fair in Cannes) to present an English version of the famous French musical. In fact, an American adaptation of Notre Dame de Paris has been playing in Las Vegas since January and a British version of the show is due to open in London's West End on May 23rd. Given the phenomenal success of the French album of the show - which has sold a staggering 3.5 million copies to date! - everyone is now waiting to see whether the English album of NDDP (due for imminent release on Sony/Pomme Music) can live up to the original?
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A young Australian singer by the name of Tina Arena has been chosen to lead the international cast of Notre Dame de Paris. Drafted in to replace the French Esmerelda, Hélène Ségara, Tina is already familiar with "The Hunchback of Notre Dame", her mother having read her Victor Hugo's French classic when she was a child. Rehearsing to take over the role of the bohemian dancer who entrances Phœbus, Quasimodo and Frollo, Tina is confident of following in the French Esmerelda's footsteps. "I've never taken acting lessons in my life," she says, "but Esmerelda is actually quite like me in some respects!" .
Tina, who is currently aiming high with her new single Aller plus haut, finally accepted the role of Esmerelda after much gentle persuasion from the show's lyricist Luc Plamondon, despite the fact that she has a burgeoning solo career on her hands. Asked whether taking time off to tour with a musical could be potentially risky for her own career, Tina gives a disarming shrug of her shoulders and declares "Well, that's life!" However, Ms. Arena's career looks to be in no danger of taking a dive right now. Following in the footsteps of Hélène Ségara, who scooped the award for Best New French Singer of the Year at the recent NRJ Music Awards, Ms. Arena walked off with the award for Best New International Singer!
As for Richard Cocciante and Luc Plamondon, the composer and songwriter behind Notre Dame de Paris, they too are enjoying the phenomenal success generated by their 'baby'. Facing a press room packed to the rafters with international journalists brandishing microphones and film cameras, Franco-Italian star Cocciante (who up until now was enjoying luxury retirement in Miami!) explained the concept behind the Anglo-Saxon adaptation of the musical. "The English version of the show started off in Las Vegas so we could prepare the singers one by one. The musical part of the show is profoundly European, so that needed a few adaptations because the Anglo-Saxon approach to music is very different." With this new Anglo-Saxon version under his belt, what next? Perhaps Cocciante and Plamondon are now planning to adapt their show for German or Spanish audiences, or who knows... perhaps NDDP will even end up touring Japan?
When the "Notre Dame" team appeared at MIDEM they performed ten of the sixteen songs on the album without the aid of costumes or stage choreography, focusing attention on their (admittedly superb) vocals. The English adaptation of Cocciante and Plamondon's musical has certainly not been left to chance, the pair enlisting the help of Will Jennings - aka author of the "Titanic" soundtrack and Céline Dion's smash hit My Heart Will Go On! As for the cast of the show, many of the original Canadian stars - being completely bilingual - have retained their roles so fans will find Garou, Daniel Lavoie, Bruno Pelletier and Luck Mervil back on stage singing in English. The four male leads are joined by a new Phœbus played by English singer Steve Balsamo (famous for his performance as Jesus in "Jesus Christ Superstar" in London last season).
Apart from that, changes to the successful "Notre Dame" formula have been kept to a minimum. Thus like its French counterpart, the English album of the musical will be brought out well in advance of the stage show. (In fact, the English NDDP album is due for release on February 21st, three months before "Notre Dame de Paris" hits the London stage). Cocciante and Plamondon also insisted that the singers who feature on the album play the same roles on stage. This has caused a few upsets. For example, Patrick Fiori (the French Phœbus) was keen on recording the English album, but refused to commit himself to the show long term - and thus ended up being replaced on both. However, Cocciante claims Fiori was dropped from the English version of "Notre Dame de Paris" because his English was not up to scratch!
Meanwhile, rumours continue to circulate that Quebecois diva Céline Dion is interested in playing Esmerelda when "Notre Dame" hits Broadway. For the moment, these are just rumours and neither Cocciante or Plamondon are saying anything. But Ms. Dion has proved herself more than capable of belting the hits out in English!
The phenomenal success of Notre Dame de Paris has also sparked a new craze for French musicals and at least half a dozen shows are currently in preparation. So watch out for Gérard Presgurvic's "Roméo et Juliette" (due to hit the stage in 2001), Pascal Obispo's Dix Commandements (September 2000) and les Mille et une vies d'Ali Baba (also set to première in September 2000). However, with this overload of French musicals about to hit the stage, not all of them can hope to imitate the phenomenal success of Notre Dame. As Charles Talar, NDDP's beaming producer, points out "With all those musicals out there, there's bound to be a few corpses!" .
We met Luck Mervil - aka Clopin - as night fell on the beach at The Carlton and asked him six questions about his role in Notre Dame de Paris. For the benefit of visitors to the RFI Musique website, Luck began by recapping his career to date:
L.M. : When you live in a place like Quebec you need to see people you can identify with in the media and on TV. When you live in Montreal, you know, you soon notice you're not the same colour as everyone else! When I was growing up in Quebec there was no-one who looked like me. And, like a lot of other young people, I was searching for a black hero, someone I could identify with and inevitably we ended up looking to America. There were lots of black heroes over there - Magic Johnson, Bill Cosby, Michael Jackson etc. I was able to identify myself with them on a linguistic level too. My parents ended up moving to the States and I lived there for four years. Having said that, however, it is possible to live in Montreal and speak both French and English.
P.H. : You weren't actually too keen on accepting the role of Clopin to begin with, were you?
Yes, that's true. The way I saw it, musicals have never really worked in French-speaking countries. They're just not part of the collective psyche. I mean, there's only ever been one real hit musical in 20 years - Starmania - which isn't exactly a track record!
And then I have a pretty busy life, you know. I have my own group, Rudeluck. I also work as a TV presenter in Quebec and I'm always singing and playing. In Quebec you're encouraged to have several different careers, you have to be an all-round entertainer. And because of this I think it's easier for us to get involved with musicals than it is for French singers. In France, it's the opposite, people are encouraged to specialise in just one thing.
It's true that I turned down a role in Notre Dame de Paris when Luc first approached me. But when I performed at the special Plamondon evening at 'Les Francofolies' in Montreal, I got up on stage and sang "Besoin d'amour" with a gospel choir. And then Luc came to see me and said "What do you think about the idea of a black singer playing the role of Clopin, the leader of the sans-papiers (immigrants without identity papers). That would make the story really topical, don't you think?" Around that period racism, social exclusion and the 'sans-papiers' were very much in the French news. Three months later Luc got back to me and presented me with eight songs, saying he'd written the role of Clopin specially for me.
Did accepting the role mean putting your own solo career on hold?
Before I even started performing in Notre-Dame de Paris, negotiations were underway with my record company to bring my fourth album, Rudeluck, out in France on the Mercury/Universal label. I didn't set out to use "Notre-Dame" to launch my own career, it just so happened that the musical helped me advance my career in France. The show became a phenomenal success over here. But, together with my French Canadian colleague Garou, we'd always make sure that when we were invited to perform on TV we didn't just do songs from the musical, we'd perform our own material as well.
I'm not worried about getting stuck in the role for the rest of my life and never being able to shake off my past as Clopin. I believe my own personality will end up coming through in the end. And then, just look at Balavoine, he survived beyond his role in Starmania. Don't get me wrong, though, I'm not ashamed of the character I play in Notre Dame - quite the opposite, in fact. Clopin is actually quite a lot like me and that's one of the reasons I couldn't turn the role down.
Do you think that it's more difficult to pursue several different careers in France?
Despite the fact that you had a revolution in France, I feel that the culture in this country suffers from an overload of hierarchy. I mean, isn't it a ridiculous situation when an understudy can never go on to play a lead role, but always has to remain an understudy?
People have always told me that there are no amazing up-and-coming singers in France. And that is just so wrong! I found that out for myself when I played at the Opus Café for a few months and invited local musicians to come and perform with my group. And believe me, I heard voices there that were a thousand times better than anything you ever hear on TV! The music scene should really be opened up to new talent. But the problem in France is that everything's too compartmentalised. I just hope that young up-and-coming singers will have the chance to get their voices heard in musicals.
Do you have a personal preference for the French or the English version of Notre Dame?
Well, obviously, I feel more comfortable in the French version of the show. I've played the role hundreds of times in French - I've never been sick and there were only a few occasions when an understudy had to step in and replace me. But I have every confidence in the English adaptation of the show. Luc Plamondon spent a lot of time working on the English version with Will Jennings and Jennings himself is familiar with Victor Hugo's work. The main difference in the English version of Notre Dame is that all the metaphors had to be adapted for Anglo-Saxon audiences.
What difference has the show made in your own life?
Well, I'm much better off financially, but then again I come from a Third World country. I was born in Port-au-Prince, in Haiti, where people are ready to jump on the first boat going anywhere, they're so eager to get away! What's more, I come from a very big family so I'll never be rich because I have to share all my earnings. I'm not destined to be rich in this life - but that's absolutely fine with me!
Pascale Hamon
Translation : Julie Street
http://www.rfi.fr/anglais/musique/articles/060/article_6700.asp
The Hit French Musical en anglais!
Paris
01/02/2000 - It looks like the hit French musical Notre-Dame de Paris is about to spawn a few best-selling offspring. After clocking up audience records of 2 million to date, the triumphant NDDP team recently travelled down to MIDEM (the international record fair in Cannes) to present an English version of the famous French musical. In fact, an American adaptation of Notre Dame de Paris has been playing in Las Vegas since January and a British version of the show is due to open in London's West End on May 23rd. Given the phenomenal success of the French album of the show - which has sold a staggering 3.5 million copies to date! - everyone is now waiting to see whether the English album of NDDP (due for imminent release on Sony/Pomme Music) can live up to the original?
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A young Australian singer by the name of Tina Arena has been chosen to lead the international cast of Notre Dame de Paris. Drafted in to replace the French Esmerelda, Hélène Ségara, Tina is already familiar with "The Hunchback of Notre Dame", her mother having read her Victor Hugo's French classic when she was a child. Rehearsing to take over the role of the bohemian dancer who entrances Phœbus, Quasimodo and Frollo, Tina is confident of following in the French Esmerelda's footsteps. "I've never taken acting lessons in my life," she says, "but Esmerelda is actually quite like me in some respects!" .
Tina, who is currently aiming high with her new single Aller plus haut, finally accepted the role of Esmerelda after much gentle persuasion from the show's lyricist Luc Plamondon, despite the fact that she has a burgeoning solo career on her hands. Asked whether taking time off to tour with a musical could be potentially risky for her own career, Tina gives a disarming shrug of her shoulders and declares "Well, that's life!" However, Ms. Arena's career looks to be in no danger of taking a dive right now. Following in the footsteps of Hélène Ségara, who scooped the award for Best New French Singer of the Year at the recent NRJ Music Awards, Ms. Arena walked off with the award for Best New International Singer!
As for Richard Cocciante and Luc Plamondon, the composer and songwriter behind Notre Dame de Paris, they too are enjoying the phenomenal success generated by their 'baby'. Facing a press room packed to the rafters with international journalists brandishing microphones and film cameras, Franco-Italian star Cocciante (who up until now was enjoying luxury retirement in Miami!) explained the concept behind the Anglo-Saxon adaptation of the musical. "The English version of the show started off in Las Vegas so we could prepare the singers one by one. The musical part of the show is profoundly European, so that needed a few adaptations because the Anglo-Saxon approach to music is very different." With this new Anglo-Saxon version under his belt, what next? Perhaps Cocciante and Plamondon are now planning to adapt their show for German or Spanish audiences, or who knows... perhaps NDDP will even end up touring Japan?
When the "Notre Dame" team appeared at MIDEM they performed ten of the sixteen songs on the album without the aid of costumes or stage choreography, focusing attention on their (admittedly superb) vocals. The English adaptation of Cocciante and Plamondon's musical has certainly not been left to chance, the pair enlisting the help of Will Jennings - aka author of the "Titanic" soundtrack and Céline Dion's smash hit My Heart Will Go On! As for the cast of the show, many of the original Canadian stars - being completely bilingual - have retained their roles so fans will find Garou, Daniel Lavoie, Bruno Pelletier and Luck Mervil back on stage singing in English. The four male leads are joined by a new Phœbus played by English singer Steve Balsamo (famous for his performance as Jesus in "Jesus Christ Superstar" in London last season).
Apart from that, changes to the successful "Notre Dame" formula have been kept to a minimum. Thus like its French counterpart, the English album of the musical will be brought out well in advance of the stage show. (In fact, the English NDDP album is due for release on February 21st, three months before "Notre Dame de Paris" hits the London stage). Cocciante and Plamondon also insisted that the singers who feature on the album play the same roles on stage. This has caused a few upsets. For example, Patrick Fiori (the French Phœbus) was keen on recording the English album, but refused to commit himself to the show long term - and thus ended up being replaced on both. However, Cocciante claims Fiori was dropped from the English version of "Notre Dame de Paris" because his English was not up to scratch!
Meanwhile, rumours continue to circulate that Quebecois diva Céline Dion is interested in playing Esmerelda when "Notre Dame" hits Broadway. For the moment, these are just rumours and neither Cocciante or Plamondon are saying anything. But Ms. Dion has proved herself more than capable of belting the hits out in English!
The phenomenal success of Notre Dame de Paris has also sparked a new craze for French musicals and at least half a dozen shows are currently in preparation. So watch out for Gérard Presgurvic's "Roméo et Juliette" (due to hit the stage in 2001), Pascal Obispo's Dix Commandements (September 2000) and les Mille et une vies d'Ali Baba (also set to première in September 2000). However, with this overload of French musicals about to hit the stage, not all of them can hope to imitate the phenomenal success of Notre Dame. As Charles Talar, NDDP's beaming producer, points out "With all those musicals out there, there's bound to be a few corpses!" .
We met Luck Mervil - aka Clopin - as night fell on the beach at The Carlton and asked him six questions about his role in Notre Dame de Paris. For the benefit of visitors to the RFI Musique website, Luck began by recapping his career to date: L.M. : When you live in a place like Quebec you need to see people you can identify with in the media and on TV. When you live in Montreal, you know, you soon notice you're not the same colour as everyone else! When I was growing up in Quebec there was no-one who looked like me. And, like a lot of other young people, I was searching for a black hero, someone I could identify with and inevitably we ended up looking to America. There were lots of black heroes over there - Magic Johnson, Bill Cosby, Michael Jackson etc. I was able to identify myself with them on a linguistic level too. My parents ended up moving to the States and I lived there for four years. Having said that, however, it is possible to live in Montreal and speak both French and English.
P.H. : You weren't actually too keen on accepting the role of Clopin to begin with, were you?
Yes, that's true. The way I saw it, musicals have never really worked in French-speaking countries. They're just not part of the collective psyche. I mean, there's only ever been one real hit musical in 20 years - Starmania - which isn't exactly a track record!
And then I have a pretty busy life, you know. I have my own group, Rudeluck. I also work as a TV presenter in Quebec and I'm always singing and playing. In Quebec you're encouraged to have several different careers, you have to be an all-round entertainer. And because of this I think it's easier for us to get involved with musicals than it is for French singers. In France, it's the opposite, people are encouraged to specialise in just one thing.
It's true that I turned down a role in Notre Dame de Paris when Luc first approached me. But when I performed at the special Plamondon evening at 'Les Francofolies' in Montreal, I got up on stage and sang "Besoin d'amour" with a gospel choir. And then Luc came to see me and said "What do you think about the idea of a black singer playing the role of Clopin, the leader of the sans-papiers (immigrants without identity papers). That would make the story really topical, don't you think?" Around that period racism, social exclusion and the 'sans-papiers' were very much in the French news. Three months later Luc got back to me and presented me with eight songs, saying he'd written the role of Clopin specially for me.
Did accepting the role mean putting your own solo career on hold?
Before I even started performing in Notre-Dame de Paris, negotiations were underway with my record company to bring my fourth album, Rudeluck, out in France on the Mercury/Universal label. I didn't set out to use "Notre-Dame" to launch my own career, it just so happened that the musical helped me advance my career in France. The show became a phenomenal success over here. But, together with my French Canadian colleague Garou, we'd always make sure that when we were invited to perform on TV we didn't just do songs from the musical, we'd perform our own material as well.
I'm not worried about getting stuck in the role for the rest of my life and never being able to shake off my past as Clopin. I believe my own personality will end up coming through in the end. And then, just look at Balavoine, he survived beyond his role in Starmania. Don't get me wrong, though, I'm not ashamed of the character I play in Notre Dame - quite the opposite, in fact. Clopin is actually quite a lot like me and that's one of the reasons I couldn't turn the role down.
Do you think that it's more difficult to pursue several different careers in France?
Despite the fact that you had a revolution in France, I feel that the culture in this country suffers from an overload of hierarchy. I mean, isn't it a ridiculous situation when an understudy can never go on to play a lead role, but always has to remain an understudy?
People have always told me that there are no amazing up-and-coming singers in France. And that is just so wrong! I found that out for myself when I played at the Opus Café for a few months and invited local musicians to come and perform with my group. And believe me, I heard voices there that were a thousand times better than anything you ever hear on TV! The music scene should really be opened up to new talent. But the problem in France is that everything's too compartmentalised. I just hope that young up-and-coming singers will have the chance to get their voices heard in musicals.
Do you have a personal preference for the French or the English version of Notre Dame?
Well, obviously, I feel more comfortable in the French version of the show. I've played the role hundreds of times in French - I've never been sick and there were only a few occasions when an understudy had to step in and replace me. But I have every confidence in the English adaptation of the show. Luc Plamondon spent a lot of time working on the English version with Will Jennings and Jennings himself is familiar with Victor Hugo's work. The main difference in the English version of Notre Dame is that all the metaphors had to be adapted for Anglo-Saxon audiences.
What difference has the show made in your own life?
Well, I'm much better off financially, but then again I come from a Third World country. I was born in Port-au-Prince, in Haiti, where people are ready to jump on the first boat going anywhere, they're so eager to get away! What's more, I come from a very big family so I'll never be rich because I have to share all my earnings. I'm not destined to be rich in this life - but that's absolutely fine with me!
Pascale Hamon
Translation : Julie Street
30/11/2005 -
Richard Cocciante goes solo
25/12/2000 -
Notre-Dame de Paris
30/06/1999 -
Notre-Dame de Paris in Quebec
- Offical fanclub of Richard Cocciante
- Tina Arena's website
http://www.rfi.fr/anglais/musique/articles/060/article_6700.asp
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Re: Несколько архивных статей
автор Maisy Пн Янв 18, 2010 5:54 am
CRITIQUE
« Notre-Dame de Paris » enflamme le palais des Congrès
Pierre VAVASSEUR | 25.09.1998
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Ils s´appellent Hélène Ségara, Garou, Daniel Lavoie, Bruno Pelletier, Patrick Fiori, Luck Mervil, Julie Zanetti et ce sont les nouveaux héros de Paris. Hier soir, peu avant minuit, le palais des Congrès s´est levé comme un seul homme devant la formidable prestation de ce groupe de chanteurs, entourés d´excellents danseurs et acrobates. Nul doute que la troupe va porter loin la renommée de « Notre-Dame de Paris », fabuleux spectacle de deux heures quarante-cinq, entracte compris. Il faudrait être en effet de bien mauvaise humeur, avoir bien mauvais caractère, pour ne pas reconnaître la qualité de la comédie musicale de Luc Plamondon et Richard Cocciante, adaptée de Victor Hugo, et l´énorme talent de ses interprètes. Tout est remarquable ; tout concourt à emprisonner l´attention du spectateur : la puissance et la diversité des voix (la performance de Bruno Pelletier, qui ouvre le banc, est à elle seule la promesse d´un grand moment) ; l´ingéniosité de la mise en scène et d´un décor monumental, à la fois dépouillé et extrêmement modulable (tantôt un mur de cathédrale qu´escaladent dans l´ombre des silhouettes, tantôt un terrain vague, tantôt les barreaux d´une prison...) ; l´incontestable énergie des chorégraphies qui usent de matériaux inédits (des barrières de sécurité, par exemple) ; l´argument percutant ­ et c´était pourtant risqué ­ de la transposition d´une cour des miracles en une armée de sans-papiers. Enfin, il faut ajouter à cela l´incroyable efficacité de mélodies qui ne le cèdent cependant en rien à la facilité. Baptisée hier devant la grande cour du showbiz ­ Patrick Bruel, Francis Cabrel, Serge Lama, Lara Fabian, Gilbert Bécaud, Julien Clerc, Maxime Le Forestier, et bien d´autres ­ cette cour miraculeuse a bien mérité son triomphe. PARIS, PALAIS DES CONGRES, HIER SOIR. Energique et puissante, cette comédie musicale est rythmée par des chorégraphies acrobatiques. (Photo LP/Nicole FEVRE-HOFER.)
Le ParisienCet article a été publié dans la rubrique Spectacles
http://www.leparisien.fr/loisirs-et-spectacles/notre-dame-de-paris-enflamme-le-palais-des-congres-25-09-1998-2000260597.php
« Notre-Dame de Paris » enflamme le palais des Congrès
Pierre VAVASSEUR | 25.09.1998
Partager delicio.us facebook Digg.com Wikio.fr scoopeo.com blogmarks.net Ils s´appellent Hélène Ségara, Garou, Daniel Lavoie, Bruno Pelletier, Patrick Fiori, Luck Mervil, Julie Zanetti et ce sont les nouveaux héros de Paris. Hier soir, peu avant minuit, le palais des Congrès s´est levé comme un seul homme devant la formidable prestation de ce groupe de chanteurs, entourés d´excellents danseurs et acrobates. Nul doute que la troupe va porter loin la renommée de « Notre-Dame de Paris », fabuleux spectacle de deux heures quarante-cinq, entracte compris. Il faudrait être en effet de bien mauvaise humeur, avoir bien mauvais caractère, pour ne pas reconnaître la qualité de la comédie musicale de Luc Plamondon et Richard Cocciante, adaptée de Victor Hugo, et l´énorme talent de ses interprètes. Tout est remarquable ; tout concourt à emprisonner l´attention du spectateur : la puissance et la diversité des voix (la performance de Bruno Pelletier, qui ouvre le banc, est à elle seule la promesse d´un grand moment) ; l´ingéniosité de la mise en scène et d´un décor monumental, à la fois dépouillé et extrêmement modulable (tantôt un mur de cathédrale qu´escaladent dans l´ombre des silhouettes, tantôt un terrain vague, tantôt les barreaux d´une prison...) ; l´incontestable énergie des chorégraphies qui usent de matériaux inédits (des barrières de sécurité, par exemple) ; l´argument percutant ­ et c´était pourtant risqué ­ de la transposition d´une cour des miracles en une armée de sans-papiers. Enfin, il faut ajouter à cela l´incroyable efficacité de mélodies qui ne le cèdent cependant en rien à la facilité. Baptisée hier devant la grande cour du showbiz ­ Patrick Bruel, Francis Cabrel, Serge Lama, Lara Fabian, Gilbert Bécaud, Julien Clerc, Maxime Le Forestier, et bien d´autres ­ cette cour miraculeuse a bien mérité son triomphe. PARIS, PALAIS DES CONGRES, HIER SOIR. Energique et puissante, cette comédie musicale est rythmée par des chorégraphies acrobatiques. (Photo LP/Nicole FEVRE-HOFER.)
Le ParisienCet article a été publié dans la rubrique Spectacles
http://www.leparisien.fr/loisirs-et-spectacles/notre-dame-de-paris-enflamme-le-palais-des-congres-25-09-1998-2000260597.php
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Re: Несколько архивных статей
автор Maisy Пн Янв 18, 2010 5:56 am
CRITIQUE
« Notre-Dame de Paris » enflamme le palais des Congrès
Pierre VAVASSEUR | 25.09.1998
Ils s´appellent Hélène Ségara, Garou, Daniel Lavoie, Bruno Pelletier, Patrick Fiori, Luck Mervil, Julie Zanetti et ce sont les nouveaux héros de Paris. Hier soir, peu avant minuit, le palais des Congrès s´est levé comme un seul homme devant la formidable prestation de ce groupe de chanteurs, entourés d´excellents danseurs et acrobates. Nul doute que la troupe va porter loin la renommée de « Notre-Dame de Paris », fabuleux spectacle de deux heures quarante-cinq, entracte compris. Il faudrait être en effet de bien mauvaise humeur, avoir bien mauvais caractère, pour ne pas reconnaître la qualité de la comédie musicale de Luc Plamondon et Richard Cocciante, adaptée de Victor Hugo, et l´énorme talent de ses interprètes. Tout est remarquable ; tout concourt à emprisonner l´attention du spectateur : la puissance et la diversité des voix (la performance de Bruno Pelletier, qui ouvre le banc, est à elle seule la promesse d´un grand moment) ; l´ingéniosité de la mise en scène et d´un décor monumental, à la fois dépouillé et extrêmement modulable (tantôt un mur de cathédrale qu´escaladent dans l´ombre des silhouettes, tantôt un terrain vague, tantôt les barreaux d´une prison...) ; l´incontestable énergie des chorégraphies qui usent de matériaux inédits (des barrières de sécurité, par exemple) ; l´argument percutant ­ et c´était pourtant risqué ­ de la transposition d´une cour des miracles en une armée de sans-papiers. Enfin, il faut ajouter à cela l´incroyable efficacité de mélodies qui ne le cèdent cependant en rien à la facilité. Baptisée hier devant la grande cour du showbiz ­ Patrick Bruel, Francis Cabrel, Serge Lama, Lara Fabian, Gilbert Bécaud, Julien Clerc, Maxime Le Forestier, et bien d´autres ­ cette cour miraculeuse a bien mérité son triomphe. PARIS, PALAIS DES CONGRES, HIER SOIR. Energique et puissante, cette comédie musicale est rythmée par des chorégraphies acrobatiques. (Photo LP/Nicole FEVRE-HOFER.)
Le ParisienCet article a été publié dans la rubrique Spectacles
http://www.leparisien.fr/loisirs-et-spectacles/notre-dame-de-paris-enflamme-le-palais-des-congres-25-09-1998-2000260597.php
« Notre-Dame de Paris » enflamme le palais des Congrès
Pierre VAVASSEUR | 25.09.1998
Ils s´appellent Hélène Ségara, Garou, Daniel Lavoie, Bruno Pelletier, Patrick Fiori, Luck Mervil, Julie Zanetti et ce sont les nouveaux héros de Paris. Hier soir, peu avant minuit, le palais des Congrès s´est levé comme un seul homme devant la formidable prestation de ce groupe de chanteurs, entourés d´excellents danseurs et acrobates. Nul doute que la troupe va porter loin la renommée de « Notre-Dame de Paris », fabuleux spectacle de deux heures quarante-cinq, entracte compris. Il faudrait être en effet de bien mauvaise humeur, avoir bien mauvais caractère, pour ne pas reconnaître la qualité de la comédie musicale de Luc Plamondon et Richard Cocciante, adaptée de Victor Hugo, et l´énorme talent de ses interprètes. Tout est remarquable ; tout concourt à emprisonner l´attention du spectateur : la puissance et la diversité des voix (la performance de Bruno Pelletier, qui ouvre le banc, est à elle seule la promesse d´un grand moment) ; l´ingéniosité de la mise en scène et d´un décor monumental, à la fois dépouillé et extrêmement modulable (tantôt un mur de cathédrale qu´escaladent dans l´ombre des silhouettes, tantôt un terrain vague, tantôt les barreaux d´une prison...) ; l´incontestable énergie des chorégraphies qui usent de matériaux inédits (des barrières de sécurité, par exemple) ; l´argument percutant ­ et c´était pourtant risqué ­ de la transposition d´une cour des miracles en une armée de sans-papiers. Enfin, il faut ajouter à cela l´incroyable efficacité de mélodies qui ne le cèdent cependant en rien à la facilité. Baptisée hier devant la grande cour du showbiz ­ Patrick Bruel, Francis Cabrel, Serge Lama, Lara Fabian, Gilbert Bécaud, Julien Clerc, Maxime Le Forestier, et bien d´autres ­ cette cour miraculeuse a bien mérité son triomphe. PARIS, PALAIS DES CONGRES, HIER SOIR. Energique et puissante, cette comédie musicale est rythmée par des chorégraphies acrobatiques. (Photo LP/Nicole FEVRE-HOFER.)
Le ParisienCet article a été publié dans la rubrique Spectacles
http://www.leparisien.fr/loisirs-et-spectacles/notre-dame-de-paris-enflamme-le-palais-des-congres-25-09-1998-2000260597.php
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Re: Несколько архивных статей
автор Maisy Пн Янв 18, 2010 6:02 am
27/11/2000
France Bleu - Bruno Pelletier invité du rendez-vous musical
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Ce lundi 27 novembre, le chanteur québecois Bruno Pelletier sera l'invité de France Bleu pour un rendez-vous musical diffusé sur l'ensemble du réseau.
Pendant une heure, Bruno Pelletier se montre tel qu'il est réellement et fait tomber les masques des différents personnages qu'il a joués. Bruno Pelletier est, entre autres, créateur d'une maison de production pour venir en aide aux jeunes musiciens.
Son prochain album, "Trait d'union", sortira le 15 janvier 2001 et comportera 15 chansons encore inédites en France mais qui sont déjà des succès au Québec.
Parmi les invités surprise qui entoureront Bruno Pelletier, Maurane avec qui il partage la même passion pour la musique et la fondatrice et responsable de la Fondation canadienne "Rêves d'enfants", Edith Letarte.
Cette émission sera diffusée sur l'ensemble des locales du réseau France Bleu, de 20h à 21h.
MédiasActu - RadioActu - Nov. 2000 - Reproduction interdite
http://www.radioactu.com/actualites-radio/552/france-bleu-bruno-pelletier-invite-du-rendez-vous-musical/
France Bleu - Bruno Pelletier invité du rendez-vous musical
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Envoyez cet article à un ami
Votre e-mail :
L'e-mail de votre ami :
Votre Message :
Ce lundi 27 novembre, le chanteur québecois Bruno Pelletier sera l'invité de France Bleu pour un rendez-vous musical diffusé sur l'ensemble du réseau.
Pendant une heure, Bruno Pelletier se montre tel qu'il est réellement et fait tomber les masques des différents personnages qu'il a joués. Bruno Pelletier est, entre autres, créateur d'une maison de production pour venir en aide aux jeunes musiciens.Son prochain album, "Trait d'union", sortira le 15 janvier 2001 et comportera 15 chansons encore inédites en France mais qui sont déjà des succès au Québec.Parmi les invités surprise qui entoureront Bruno Pelletier, Maurane avec qui il partage la même passion pour la musique et la fondatrice et responsable de la Fondation canadienne "Rêves d'enfants", Edith Letarte.
Cette émission sera diffusée sur l'ensemble des locales du réseau France Bleu, de 20h à 21h.
MédiasActu - RadioActu - Nov. 2000 - Reproduction interdite http://www.radioactu.com/actualites-radio/552/france-bleu-bruno-pelletier-invite-du-rendez-vous-musical/
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Re: Несколько архивных статей
автор Maisy Пн Янв 18, 2010 6:04 am
Bruno Pelletier à l'Olympia et Garou avec Céline Dion
le 24/10/2000 00h00 
Après avoir passé trois mois à Londres avec ses amis Garou, Luck Mervil et Daniel Lavoie pour les représentations anglaises de Notre Dame de Paris, Bruno Pelletier reprend de plus belle sa tournée intitulée D'autres rives du nom de son album.
Le chanteur québécois fera un détour par l'Europe à l'occasion de quatre dates. Il se produira en concert le 28 octobre à Genève, le 30 octobre à Lille, le premier novembre à Bruxelles et le 3 novembre à l'Olympia.
Non content de multiplier les concerts, Bruno Pelletier risque de multiplier aussi les récompenses au Québec, puisqu'il est une fois de plus, cette année, nominé à de multiples reprises pour le Gala de l'Adisq (équivalent de nos Victoires de la musique) qui aura lieu le 5 novembre. Il concourt ainsi dans les catégories suivantes : interprète masculin de l'année, album de l'année, album pop rock de l'année, spectacle de l'année pour D'autres rives, spectacle de l'année pour le dernier concert de Céline Dion à Montréal, et artiste québécois s'étant le plus illustré hors du Québec avec Notre Dame de Paris.
A noter que Bruno Pelletier et la comédie musicale de Notre Dame de Paris étaient déjà les grands gagnants de l'édition de l'année dernière.
En ce qui concerne Garou, son premier album solo arrivera enfin dans les bacs le 7 novembre. Le disque comporte un duo avec Céline Dion.
http://www.actustar.com/Actualites/6848/bruno-pelletier-olympia-et-garou-avec-cne-dion?star=garou
le 24/10/2000 00h00 Après avoir passé trois mois à Londres avec ses amis Garou, Luck Mervil et Daniel Lavoie pour les représentations anglaises de Notre Dame de Paris, Bruno Pelletier reprend de plus belle sa tournée intitulée D'autres rives du nom de son album.
Le chanteur québécois fera un détour par l'Europe à l'occasion de quatre dates. Il se produira en concert le 28 octobre à Genève, le 30 octobre à Lille, le premier novembre à Bruxelles et le 3 novembre à l'Olympia.
Non content de multiplier les concerts, Bruno Pelletier risque de multiplier aussi les récompenses au Québec, puisqu'il est une fois de plus, cette année, nominé à de multiples reprises pour le Gala de l'Adisq (équivalent de nos Victoires de la musique) qui aura lieu le 5 novembre. Il concourt ainsi dans les catégories suivantes : interprète masculin de l'année, album de l'année, album pop rock de l'année, spectacle de l'année pour D'autres rives, spectacle de l'année pour le dernier concert de Céline Dion à Montréal, et artiste québécois s'étant le plus illustré hors du Québec avec Notre Dame de Paris.
A noter que Bruno Pelletier et la comédie musicale de Notre Dame de Paris étaient déjà les grands gagnants de l'édition de l'année dernière.
En ce qui concerne Garou, son premier album solo arrivera enfin dans les bacs le 7 novembre. Le disque comporte un duo avec Céline Dion.
http://www.actustar.com/Actualites/6848/bruno-pelletier-olympia-et-garou-avec-cne-dion?star=garou
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Re: Несколько архивных статей
автор Maisy Пн Янв 18, 2010 6:10 am
Merci, Sapphira!
http://news.google.com/newspapers?id=S98wAAAAIBAJ&sjid=3d0FAAAAIBAJ&pg=2311,3218137&dq=bruno+pelletier&hl=en
Последний раз редактировалось: Maisy (Пн Янв 18, 2010 6:56 am), всего редактировалось 1 раз(а)
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Re: Несколько архивных статей
автор Maisy Пн Янв 18, 2010 6:13 am
Bruno Pelletier interprétera Gringoire à nouveau
le 18/05/2000 00h00
Il est bien difficile de supporter le rythme soutenu des représentations, lorsqu'on interprète un rôle dans une comédie musicale. Bruno Pelletier joue Gringoire depuis 2 ans dans Notre Dame de Paris. Et même s'il ne reprendra son rôle que pendant 3 mois à Londres, il jouera tout de même en alternance avec son ami, Sylvain Cossette.
Si la participation de Bruno dans Notre Dame a eu d'immenses répercutions positives sur le plan professionnel, car il a réussi à se faire apprécier du public européen, sa vie privée, en revanche, a considérablement souffert de ses incessants éloignements. C'est son épouse qui a le moins bien supporté cette situation et qui a demandé le divorce, il y a un peu plus d'un an.
Depuis, Bruno essaie de retourner régulièrement au Québec afin de voir son petit garçon, Thierry. Si Bruno a accepté d'endosser les habits de Gringoire une ultime fois, en compagnie de ses amis Garou, Daniel Lavoie et Luck Mervil, c'était à l'unique condition de pouvoir avoir son fils à ses côtés pendant son séjour en Angleterre. Cette condition a été acceptée par l'équipe et l'école de Thierry lui a même demandé d'écrire des articles sur sa vie à Londres pour le journal de son école.
Afin de ne pas être totalement accaparé par son rôle et d'être libre pour pouvoir s'occuper de son fils, Bruno incarnera Gringoire en alternance avec Sylvain Cossette qui a déjà repris ce rôle pendant 150 représentations, que ce soit en France ou au Québec. Ce sont les producteurs anglais qui ont décidé de faire appel à Sylvain pour seconder Bruno. Cela obligera Sylvain à faire de nombreux allers et retours entre Londres et Montréal où il a de multiples engagements pour sa carrière de chanteur.
http://www.actustar.com/Actualites/3831/bruno-pelletier-interprra-gringoire-ouveau?star=garou
le 18/05/2000 00h00 Il est bien difficile de supporter le rythme soutenu des représentations, lorsqu'on interprète un rôle dans une comédie musicale. Bruno Pelletier joue Gringoire depuis 2 ans dans Notre Dame de Paris. Et même s'il ne reprendra son rôle que pendant 3 mois à Londres, il jouera tout de même en alternance avec son ami, Sylvain Cossette.
Si la participation de Bruno dans Notre Dame a eu d'immenses répercutions positives sur le plan professionnel, car il a réussi à se faire apprécier du public européen, sa vie privée, en revanche, a considérablement souffert de ses incessants éloignements. C'est son épouse qui a le moins bien supporté cette situation et qui a demandé le divorce, il y a un peu plus d'un an.
Depuis, Bruno essaie de retourner régulièrement au Québec afin de voir son petit garçon, Thierry. Si Bruno a accepté d'endosser les habits de Gringoire une ultime fois, en compagnie de ses amis Garou, Daniel Lavoie et Luck Mervil, c'était à l'unique condition de pouvoir avoir son fils à ses côtés pendant son séjour en Angleterre. Cette condition a été acceptée par l'équipe et l'école de Thierry lui a même demandé d'écrire des articles sur sa vie à Londres pour le journal de son école.
Afin de ne pas être totalement accaparé par son rôle et d'être libre pour pouvoir s'occuper de son fils, Bruno incarnera Gringoire en alternance avec Sylvain Cossette qui a déjà repris ce rôle pendant 150 représentations, que ce soit en France ou au Québec. Ce sont les producteurs anglais qui ont décidé de faire appel à Sylvain pour seconder Bruno. Cela obligera Sylvain à faire de nombreux allers et retours entre Londres et Montréal où il a de multiples engagements pour sa carrière de chanteur.
http://www.actustar.com/Actualites/3831/bruno-pelletier-interprra-gringoire-ouveau?star=garou
Maisy- Admin
-
Re: Несколько архивных статей
автор Maisy Пн Янв 18, 2010 6:23 am
Un triomphe pour la 1ère de NDP à Londres
le 25/05/2000 00h00
Malgré toutes les inquiétudes bien légitimes suscitées par une soirée aussi importante, la première de Notre Dame à Londres s'est avérée être un véritable triomphe! Le public présent et Andrew Lloyd, l'auteur de Cats, ont prononcé leur jugement à la fin de la représentation de ce mardi 23 mai : la troupe a été ovationnée cinq minutes durant. C'est une preuve de réussite exceptionnelle pour un soir de première à Londres.
Et pourtant le succès n'était pas garanti et si l'aventure avait bien commencé avec les avants-premières, Luc Plamondon avouait tout de même avoir très peur le soir de la première, bien conscient de son impact sur le futur de la comédie musicale dans la capitale anglaise. Mais, les critiques ne tarissent pas d'éloges et les compliments fusent de toutes parts. La version anglaise, plus courte et avec une chorégraphie plus énergique, semble en effet, encore meilleure. Pourtant, il y a quelques semaines encore, faire mieux semblait relever de l'impossible!
La critique a jugé Daniel Lavoie, Luck Mervil, Bruno Pelletier et Natasha St Pierre(Fleur-de-Lys) excellents, tout en précisant pourtant que Tina Arena (Esmeralda) et Steve Balsamo (Phoebus) se sont montrés un peu moins bons, voulant peut-être faire preuve d'un peu trop de zèle.
Mais celui qui sort triomphant de cette soirée, c'est bel et bien Garou, dans son rôle de Quasimodo, toujours aussi impressionnant et remarquable. Il semble évident que si Notre Dame a changé sa vie, il voit une carrière fabuleuse qui s'annonce grâce à elle!
Une partie de la salle était invitée par la production dont bien évidemment Patrick Fiori et Hélène Ségara qui tenaient à être là, plus que tout au monde, afin d'encourager leurs amis. Beaucoup de personnalités québécoises et françaises se trouvaient également au rendez-vous.
Ainsi, Richard Cocciante a fait son entrée aux bras de Sophia Loren lors de la réception organisée après le spectacle. Bruno Pelletier, Garou, Luck Mervil et Daniel Lavoie sont apparus vêtus de kilts écossais et d'après leurs propos ne portaient rien en dessous pour rester fidèles à la tradition...
La fête a eu lieu non loin du Dominion Theatre,dans un parc occupé par de grandes tentes joliment décorées. La fête, à l'image de la représentation, avait des airs de triomphe.
Notre Dame de Paris va de toute évidence exceller pendant longtemps encore...
http://www.actustar.com/Actualites/4034/un-triomphe-pour-la-1-de-ndp-ondres?star=helene-segara
le 25/05/2000 00h00 Malgré toutes les inquiétudes bien légitimes suscitées par une soirée aussi importante, la première de Notre Dame à Londres s'est avérée être un véritable triomphe! Le public présent et Andrew Lloyd, l'auteur de Cats, ont prononcé leur jugement à la fin de la représentation de ce mardi 23 mai : la troupe a été ovationnée cinq minutes durant. C'est une preuve de réussite exceptionnelle pour un soir de première à Londres.
Et pourtant le succès n'était pas garanti et si l'aventure avait bien commencé avec les avants-premières, Luc Plamondon avouait tout de même avoir très peur le soir de la première, bien conscient de son impact sur le futur de la comédie musicale dans la capitale anglaise. Mais, les critiques ne tarissent pas d'éloges et les compliments fusent de toutes parts. La version anglaise, plus courte et avec une chorégraphie plus énergique, semble en effet, encore meilleure. Pourtant, il y a quelques semaines encore, faire mieux semblait relever de l'impossible!
La critique a jugé Daniel Lavoie, Luck Mervil, Bruno Pelletier et Natasha St Pierre(Fleur-de-Lys) excellents, tout en précisant pourtant que Tina Arena (Esmeralda) et Steve Balsamo (Phoebus) se sont montrés un peu moins bons, voulant peut-être faire preuve d'un peu trop de zèle.
Mais celui qui sort triomphant de cette soirée, c'est bel et bien Garou, dans son rôle de Quasimodo, toujours aussi impressionnant et remarquable. Il semble évident que si Notre Dame a changé sa vie, il voit une carrière fabuleuse qui s'annonce grâce à elle!
Une partie de la salle était invitée par la production dont bien évidemment Patrick Fiori et Hélène Ségara qui tenaient à être là, plus que tout au monde, afin d'encourager leurs amis. Beaucoup de personnalités québécoises et françaises se trouvaient également au rendez-vous.
Ainsi, Richard Cocciante a fait son entrée aux bras de Sophia Loren lors de la réception organisée après le spectacle. Bruno Pelletier, Garou, Luck Mervil et Daniel Lavoie sont apparus vêtus de kilts écossais et d'après leurs propos ne portaient rien en dessous pour rester fidèles à la tradition...
La fête a eu lieu non loin du Dominion Theatre,dans un parc occupé par de grandes tentes joliment décorées. La fête, à l'image de la représentation, avait des airs de triomphe.
Notre Dame de Paris va de toute évidence exceller pendant longtemps encore...
http://www.actustar.com/Actualites/4034/un-triomphe-pour-la-1-de-ndp-ondres?star=helene-segara
Maisy- Admin
-
Re: Несколько архивных статей
автор Maisy Пн Янв 18, 2010 3:50 pm
Bruno PelletierC'est l'heure solennelle
ARTICLE - 2 décembre 2004
Éléonore Côté
Ô nuit de paix! Bruno Pelletier sera l'invité de l'Orchestre symphonique pour deux soirées dédiées à la magie du temps des Fêtes.
Le chanteur québécois, futur Dracula, est "en mini-tournée", selon ses propres termes. Il passera donc deux jours au Saguenay-Lac-Saint-Jean (un soir à l'arrondissement Chicoutimi et un soir à Saint-Félicien) avant de se rendre au Colisée Pepsi de Québec pour terminer au Centre Bell (rien que ça!). Le spectacle qu'il trimbale cette fois, c'est celui qui avait eu un immense succès il y a trois ans à la Basilique Notre-Dame à Montréal et qui lui a valu un disque platine pour ses quelque 100 000 albums vendus: son spectacle de Noël avec l'Orchestre symphonique de Montréal. Ce spectacle fonctionne à fond depuis trois ans. "La première année, on a enregistré le disque, explique Bruno Pelletier; la deuxième année, on a refait le show pour la sortie de l'album; maintenant, pour la troisième année, je fais une mini-tournée. Ensuite, ce sera terminé pour cette formule. Il faut bien passer à autre chose! Je ne veux pas nécessairement avoir l'habitude de refaire le spectacle de Noël chaque décembre!"
Le public régional aura donc la chance d'entendre en direct, et pour la dernière fois avec ces interprètes-ci, les chansons qu'il connaît sûrement par cœur. Les Sainte Nuit, Adeste Fideles, Minuit chrétien, Ave Maria, Joyeux Noël, Les Enfants oubliés, Have Yourself a Merry Little Christmas, bref, tous les classiques de Noël réchaufferont cœurs et âmes, en plus des classiques personnels de Bruno Pelletier, comme le Miserere ou Ensemble. "Essentiellement, c'est le même spectacle que sur le disque. Mais je réserve des petites surprises de mon cru", promet le chanteur. Évidemment, il est plutôt rare qu'un chanteur parte en tournée en amenant tout un orchestre symphonique avec lui! C'est donc l'Orchestre symphonique du Saguenay-Lac-Saint-Jean qui sera derrière le chanteur les 4 et 5 décembre, et l'Orchestre symphonique de Québec lors de la représentation au Colisée Pepsi le 11 décembre. C'est Simon Leclerc, le chef-arrangeur-orchestrateur de Bruno Pelletier, qui prendra la baguette pour diriger chœur et orchestre en cette soirée. Le chanteur a-t-il du mal à suivre l'orchestre? "C'est certain que ce n'est pas comme un band! Les rythmes sont différents, plus aléatoires, ça demande une technique préparée longtemps d'avance. Mais comme ça fait quand même quelques années que je suis plongé dans le milieu classique, ça va bien", rassure-t-il.
Le 4 décembre à 20 h
À l'Auditorium Dufour
Le 5 décembre à 19 h
À l'Hôtel du Jardin de Saint-Félicien
Voir calendrier Classique
http://www.voir.ca/publishing/article.aspx?article=33808§ion=6
ARTICLE - 2 décembre 2004
Éléonore Côté  [+] agrandir |
| Le public régional aura donc la chance d'entendre en direct, et pour la dernière fois avec ces interprètes-ci, les chansons qu'il connaît sûrement par cœur. |
Le chanteur québécois, futur Dracula, est "en mini-tournée", selon ses propres termes. Il passera donc deux jours au Saguenay-Lac-Saint-Jean (un soir à l'arrondissement Chicoutimi et un soir à Saint-Félicien) avant de se rendre au Colisée Pepsi de Québec pour terminer au Centre Bell (rien que ça!). Le spectacle qu'il trimbale cette fois, c'est celui qui avait eu un immense succès il y a trois ans à la Basilique Notre-Dame à Montréal et qui lui a valu un disque platine pour ses quelque 100 000 albums vendus: son spectacle de Noël avec l'Orchestre symphonique de Montréal. Ce spectacle fonctionne à fond depuis trois ans. "La première année, on a enregistré le disque, explique Bruno Pelletier; la deuxième année, on a refait le show pour la sortie de l'album; maintenant, pour la troisième année, je fais une mini-tournée. Ensuite, ce sera terminé pour cette formule. Il faut bien passer à autre chose! Je ne veux pas nécessairement avoir l'habitude de refaire le spectacle de Noël chaque décembre!"
Le public régional aura donc la chance d'entendre en direct, et pour la dernière fois avec ces interprètes-ci, les chansons qu'il connaît sûrement par cœur. Les Sainte Nuit, Adeste Fideles, Minuit chrétien, Ave Maria, Joyeux Noël, Les Enfants oubliés, Have Yourself a Merry Little Christmas, bref, tous les classiques de Noël réchaufferont cœurs et âmes, en plus des classiques personnels de Bruno Pelletier, comme le Miserere ou Ensemble. "Essentiellement, c'est le même spectacle que sur le disque. Mais je réserve des petites surprises de mon cru", promet le chanteur. Évidemment, il est plutôt rare qu'un chanteur parte en tournée en amenant tout un orchestre symphonique avec lui! C'est donc l'Orchestre symphonique du Saguenay-Lac-Saint-Jean qui sera derrière le chanteur les 4 et 5 décembre, et l'Orchestre symphonique de Québec lors de la représentation au Colisée Pepsi le 11 décembre. C'est Simon Leclerc, le chef-arrangeur-orchestrateur de Bruno Pelletier, qui prendra la baguette pour diriger chœur et orchestre en cette soirée. Le chanteur a-t-il du mal à suivre l'orchestre? "C'est certain que ce n'est pas comme un band! Les rythmes sont différents, plus aléatoires, ça demande une technique préparée longtemps d'avance. Mais comme ça fait quand même quelques années que je suis plongé dans le milieu classique, ça va bien", rassure-t-il.
Le 4 décembre à 20 h
À l'Auditorium Dufour
Le 5 décembre à 19 h
À l'Hôtel du Jardin de Saint-Félicien
Voir calendrier Classique
http://www.voir.ca/publishing/article.aspx?article=33808§ion=6
Maisy- Admin
-
Re: Несколько архивных статей
автор ReBelle Вт Янв 19, 2010 12:36 am
Круууууто! Хорошие статьи, да еще и на английском есть! Перевожу, конечно, медленнее, чем читаю 
, но для любопытствующих...
Новый голос Квебека
В последние несколько месяцев новый сильный голос из Квебека заставил услышать себя на музыкальной сцене Франции. В самом деле, публике, которая просто толпами шла на новый мюзикл Люка Пламондона и Р. Кочианте «Нотр Дам де Пари» (во Дворце Конгрессов в Париже), есть о чем поговорить. Далее мы раскроем личность новой таинственной восходящей звезды Квебека.
Брюно Пельтье родился в крохотном городке Шарлебург в пригороде Квебека 7 августа 1962 года, он сам учился пению и музыке. Брюно проявил свой талант к пению и написанию песен в юном возрасте и вскоре начал выступать вместе с несколькими местными англофонными музыкальными коллективами, прежде чем отделился и основал собственную франкофонную группу, Pëll. Pëll приобрела верных поклонников на процветающей музыкальной сцене Квебека, и вскоре группа стала регулярно появляться в местных клубах и барах. Несомненно, Pëll создали себе великолепную репутацию, но Брюно Пельтье (будущему обладателю Феликса в номинации Лучший исполнитель 98 года) придется подождать еще несколько лет, прежде чем он станет официальным «открытием».
Карьера Пельтье стартует после того, как его заметит знаменитый поэт-песенник и композитор из Квебека Люк Пламондон (благодаря ему начали карьеру многие молодые неизвестные артисты). Пельтье начнет приобретать ценный опыт, выступая на фестивалях, участвуя в песенных конкурсах, в рекламах, а затем в серии сольных и коллективных туров. Пламондон был в крайней степени впечатлен голосом Пельтье и в 1992 году предложил молодому певцу одну из основных ролей в «Легенде о Джимми» (новый мюзикл, который он написал в соавторстве с французским поэтом и композитором Мишелем Берже).
Тем временем Пельтье был занят в студии и наносил последние штрихи на свой дебютный сольный альбом (названный просто «Bruno Pelletier»). Альбом получил определенное количество очень благосклонных отзывов от критиков, но Пельтье решил прекратить гастроли в поддержу нового альбома в 1994, когда ему предложили другую заглавную роль в знаменитой рок-опере Пламондона и Берже «Стармания». Это решение оказалось благотворным для карьеры – Пельтье имел успех в «Стармании», мастерски исполняя сложную роль Джонни Рокфора.
Сделав себе имя в «Стармании», Пельтье вернулся в студию, чтобы записать свой второй альбом «Défaire l'amour». Альбом имел большой успех, как у публики, так и у критиков. В самом деле, Брюно Пельтье ворвался в ряды звезд, став одной из ведущих фигур на музыкальной сцене Квебека. Пельтье не только с успехом выступал на фестивалях на родине, но и стал блестящим послом Квебека, принимая участие в главных музыкальных фестивалях Франции, включая знаменитый фестиваль «Франкофоли» в Ля-Рошель. В это же самое время, после блестящего исполнения Пельтье в мюзиклах Пламондона, на него обрушивается поток предложений актерского характера, и разносторонне одаренный певец вскоре начал успешную карьеру актера в популярном телевизионном сериале «Омерта 2» (в котором он сыграл небольшую роль мафиози из Монреаля).
Недавно Пельтье вернулся в студию, чтобы начать работу над третьим альбомом «Miserere». На этом альбоме новая звезда Квебека исследует более классическое направление, что особенно заметно в заглавном треке, который помог альбому взобраться на вершину чартов спустя несколько недель после его выхода. Несмотря на посредственную реакцию со стороны СМИ, которые сочли «Miserere» слишком классическим, альбом стал большим хитом среди публики, и разошелся 125 000 копий! И это заслуженно, ведь «Miserere» сочетает невероятно утонченные мелодии, западающие в память слова и – конечно же! – поразительный голос Пельтье.
На протяжении 9 последних лет Пельтье оставался в близком контакте с Люком Пламондоном – человеком, который помог ему начать карьеру. После выпуска каждого из своих альбомов, он возвращался на сцену, чтобы выступать в успешных мюзиклах Пламондона. Недавно публика открыла «новый голос Квебека», когда Пельтье вновь добился успеха во Дворце Конгрессов в сентябре, сыграв роль Гренгуара в новом мюзикле Л. Пламондона и Р. Кочианте «Нотр Дам де Пари». Мюзикл, который является адаптацией романа Виктора Гюго «Собор Парижской Богоматери», стал большим хитом по кассовым сборам и, похоже, способствовал началу карьеры Брюно Пельтье в Европе. Уже был продан один миллион альбомов с песнями из «Нотр Дам де Пари», главным образом благодаря синглу «Le temps de Cathédrales», который записал Брюно Пельтье.
Неутомимый месье Пельтье планирует вернуться в Квебек, чтобы начать другое продолжительное турне в мае 99 – если феноменальный успех «Нотр Дам де Пари» не отсрочит его возвращение на родину еще на несколько сезонов!
, но для любопытствующих... Новый голос Квебека
В последние несколько месяцев новый сильный голос из Квебека заставил услышать себя на музыкальной сцене Франции. В самом деле, публике, которая просто толпами шла на новый мюзикл Люка Пламондона и Р. Кочианте «Нотр Дам де Пари» (во Дворце Конгрессов в Париже), есть о чем поговорить. Далее мы раскроем личность новой таинственной восходящей звезды Квебека.
Брюно Пельтье родился в крохотном городке Шарлебург в пригороде Квебека 7 августа 1962 года, он сам учился пению и музыке. Брюно проявил свой талант к пению и написанию песен в юном возрасте и вскоре начал выступать вместе с несколькими местными англофонными музыкальными коллективами, прежде чем отделился и основал собственную франкофонную группу, Pëll. Pëll приобрела верных поклонников на процветающей музыкальной сцене Квебека, и вскоре группа стала регулярно появляться в местных клубах и барах. Несомненно, Pëll создали себе великолепную репутацию, но Брюно Пельтье (будущему обладателю Феликса в номинации Лучший исполнитель 98 года) придется подождать еще несколько лет, прежде чем он станет официальным «открытием».
Карьера Пельтье стартует после того, как его заметит знаменитый поэт-песенник и композитор из Квебека Люк Пламондон (благодаря ему начали карьеру многие молодые неизвестные артисты). Пельтье начнет приобретать ценный опыт, выступая на фестивалях, участвуя в песенных конкурсах, в рекламах, а затем в серии сольных и коллективных туров. Пламондон был в крайней степени впечатлен голосом Пельтье и в 1992 году предложил молодому певцу одну из основных ролей в «Легенде о Джимми» (новый мюзикл, который он написал в соавторстве с французским поэтом и композитором Мишелем Берже).
Тем временем Пельтье был занят в студии и наносил последние штрихи на свой дебютный сольный альбом (названный просто «Bruno Pelletier»). Альбом получил определенное количество очень благосклонных отзывов от критиков, но Пельтье решил прекратить гастроли в поддержу нового альбома в 1994, когда ему предложили другую заглавную роль в знаменитой рок-опере Пламондона и Берже «Стармания». Это решение оказалось благотворным для карьеры – Пельтье имел успех в «Стармании», мастерски исполняя сложную роль Джонни Рокфора.
Сделав себе имя в «Стармании», Пельтье вернулся в студию, чтобы записать свой второй альбом «Défaire l'amour». Альбом имел большой успех, как у публики, так и у критиков. В самом деле, Брюно Пельтье ворвался в ряды звезд, став одной из ведущих фигур на музыкальной сцене Квебека. Пельтье не только с успехом выступал на фестивалях на родине, но и стал блестящим послом Квебека, принимая участие в главных музыкальных фестивалях Франции, включая знаменитый фестиваль «Франкофоли» в Ля-Рошель. В это же самое время, после блестящего исполнения Пельтье в мюзиклах Пламондона, на него обрушивается поток предложений актерского характера, и разносторонне одаренный певец вскоре начал успешную карьеру актера в популярном телевизионном сериале «Омерта 2» (в котором он сыграл небольшую роль мафиози из Монреаля).
Недавно Пельтье вернулся в студию, чтобы начать работу над третьим альбомом «Miserere». На этом альбоме новая звезда Квебека исследует более классическое направление, что особенно заметно в заглавном треке, который помог альбому взобраться на вершину чартов спустя несколько недель после его выхода. Несмотря на посредственную реакцию со стороны СМИ, которые сочли «Miserere» слишком классическим, альбом стал большим хитом среди публики, и разошелся 125 000 копий! И это заслуженно, ведь «Miserere» сочетает невероятно утонченные мелодии, западающие в память слова и – конечно же! – поразительный голос Пельтье.
На протяжении 9 последних лет Пельтье оставался в близком контакте с Люком Пламондоном – человеком, который помог ему начать карьеру. После выпуска каждого из своих альбомов, он возвращался на сцену, чтобы выступать в успешных мюзиклах Пламондона. Недавно публика открыла «новый голос Квебека», когда Пельтье вновь добился успеха во Дворце Конгрессов в сентябре, сыграв роль Гренгуара в новом мюзикле Л. Пламондона и Р. Кочианте «Нотр Дам де Пари». Мюзикл, который является адаптацией романа Виктора Гюго «Собор Парижской Богоматери», стал большим хитом по кассовым сборам и, похоже, способствовал началу карьеры Брюно Пельтье в Европе. Уже был продан один миллион альбомов с песнями из «Нотр Дам де Пари», главным образом благодаря синглу «Le temps de Cathédrales», который записал Брюно Пельтье.
Неутомимый месье Пельтье планирует вернуться в Квебек, чтобы начать другое продолжительное турне в мае 99 – если феноменальный успех «Нотр Дам де Пари» не отсрочит его возвращение на родину еще на несколько сезонов!
ReBelle- Возраст : 39
Re: Несколько архивных статей
автор Irin@ Вт Янв 19, 2010 4:55 am
спасибо огромное за статьи!!!!! как же все-таки приятно читать такие ... 
Irin@- Возраст : 52
Re: Несколько архивных статей
автор Sapphira Вт Янв 19, 2010 5:15 am
Спасибо, Большое спасибо, очень здорово! Ир, ты права... всегда здорово читать о тех временах... да ещё когда эти статьи из архивов поднимают! 
А можно ещё про Ноэль перевести...очень люблю этот альбом и период тоже... хм.. вообще то я все люблю... и хочу все переводы. :http://www.kol
А можно ещё про Ноэль перевести...очень люблю этот альбом и период тоже... хм.. вообще то я все люблю... и хочу все переводы. :http://www.kol
Sapphira- Возраст : 47
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Re: Несколько архивных статей
автор ReBelle Вт Янв 19, 2010 3:08 pm
Гы-ы-ы! Эти статьи все как на подбор - одна лучше другой. Сегодня у меня ночная смена, поэтому к завтрашнему дню точно что-нибудь переведу. Кстати, статья про "Монд" порадовала 
, никогда бы не подумала, что этот альбом не стал очень успешным в коммерческом плане...
Эти статьи все как на подбор - одна лучше другой. Сегодня у меня ночная смена, поэтому к завтрашнему дню точно что-нибудь переведу. Кстати, статья про "Монд" порадовала , никогда бы не подумала, что этот альбом не стал очень успешным в коммерческом плане...
ReBelle- Возраст : 39
Re: Несколько архивных статей
автор Sapphira Вт Янв 19, 2010 4:06 pm
Да... мы тут тоже много раз удивлялись, ведь в Росси она самый популярный... Брюну надо вести к нам все что у них не продается! 
Sapphira- Возраст : 47
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Re: Несколько архивных статей
автор Sapphira Ср Янв 20, 2010 8:26 am
Оль а это считается архивной статьёй? я понятия не имею что там, но у меня точно нет этой фоты, про дракулу что-то... или у нас это есть?
BRUNO PELLETIER
Bruno Pelletier est Lion, son signe chinois est le Tigre.
Présentement la planète Uranus lui apporte des choses très spéciales, et il travaille pour être un Dracula somptueux.
Passer des Cathédrales de Notre-Dame de Paris aux ténèbres de Dracula est vraiment un tour de force hors du commun. Il en est capable, et en plus d'être un chanteur magnifique, il est un être humain extraordinaire. La comédie musicale Dracula est écrite par Roger Tabras.
J'ai eu le plaisir d'entendre deux des chansons de cet opéra et elles sont magnifiques. Inspiré d'après l'œuvre de Bram Stocker. Tout ce qui touche à ce sujet apporte des émotions qui bouleversent l'âme. C'est à suivre…
La conférence de presse sur Dracula était organisée par le Bureau de Francine Chaloux. Elle a eu lieu au Théâtre du Rideau Vert, le mardi 22 février 2005.
Louise Haley (Mme Minou)
http://www.predictions2000.com/starpelletier.htm
BRUNO PELLETIER
Bruno Pelletier est Lion, son signe chinois est le Tigre.
Présentement la planète Uranus lui apporte des choses très spéciales, et il travaille pour être un Dracula somptueux.
Passer des Cathédrales de Notre-Dame de Paris aux ténèbres de Dracula est vraiment un tour de force hors du commun. Il en est capable, et en plus d'être un chanteur magnifique, il est un être humain extraordinaire. La comédie musicale Dracula est écrite par Roger Tabras.
J'ai eu le plaisir d'entendre deux des chansons de cet opéra et elles sont magnifiques. Inspiré d'après l'œuvre de Bram Stocker. Tout ce qui touche à ce sujet apporte des émotions qui bouleversent l'âme. C'est à suivre…
La conférence de presse sur Dracula était organisée par le Bureau de Francine Chaloux. Elle a eu lieu au Théâtre du Rideau Vert, le mardi 22 février 2005.
Louise Haley (Mme Minou)
http://www.predictions2000.com/starpelletier.htm
Sapphira- Возраст : 47
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Re: Несколько архивных статей
автор Sapphira Ср Янв 20, 2010 2:04 pm
Если это не сюда я перенесу... :http://www.kol
Sapphira- Возраст : 47
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Re: Несколько архивных статей
автор Ines2101 Ср Янв 20, 2010 4:02 pm
Sapphira пишет:
Bruno Pelletier est Lion, son signe chinois est le Tigre.
Présentement la planète Uranus lui apporte des choses très spéciales, et il travaille pour être un Dracula somptueux.
в первые вижу эзотерический взгляд на работу ШефаПо Зодиаку Брюно - Лев, а по китайскому гороскопу -Тигр.
В настоящий момент он находится под особым влиянием планеты Уран и работает над перевоплощением в роскошного Дракулу.
Переход от Соборов Нотр-Дам де Пари к сумеркам Дракулы - это действительно обращение, требующее внушительной затраты сил. И он на это способен, он не только превосходный певец, но и необычайный человек.
Мюзикл Дракула написан Рожером Табра. Мне удалось насладиться двумя песнями из этой оперы - они великолепны. Оперы, вдохновленной шедевром Брэма Стокера. Сюжет волнует и переворачивает душу. Продолжение следует...
Пресс-конференция по Дракуле была организована Офисом Франсин Шалу и состоялась в Театре Ридо Вер во вторник 22 февраля 2005 года.
Луиз Алей (Мадам Мину)
Ines2101- Возраст : 33
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