Album selection: Célestine Galli-Marié, Julius Reubke, Matt Berninger, Turnstile, Théodora, Naïssam Jalal

• Tribute to Célestine Galli-Marié Rebelle Orchestral arias and excerpts from works by Ferdinand Poise, Ambroise Thomas, Georges Bizet, Louis Deffès, Jacques Offenbach, Victor Massé, Ernest Guiraud, Emile Paladilhe, Jules Massenet, Albert Grisar and Jules Cohen. Eva Zaïcik (mezzo-soprano), Orchestre national de Lille, Pierre Dumoussaud (conductor).

And Célestine Galli-Marié (1837-1905) created Carmen . The French mezzo-soprano, in fact, embodied, for the first time, on March 3, 1875, exactly a century and a half ago, Bizet's famous heroine on the stage of an Opéra-Comique where she had imposed, since 1862, an art that was said to be "singular" - a mixture of charm, fantasy and powerful magnetism. Paying homage to her was essential. This is what Eva Zaïcik is doing, with talent and integrity, whose album draws on the little-known repertoire of her predecessor, encouraged and supported by the musical gold prospector that is the Palazzetto Bru Zane. While the Habanera and the Séguedille from Carmen are naturally on the menu, the singer is completely convincing in roles ranging from opera to vaudeville, from comic opera to operetta and song. This is demonstrated by two magnificent excerpts from Le Mignon by Ambroise Thomas, and arias from Le Fantasio and Le Robinson Crusoe . Offenbach. But also rarities, such as the song of Colombine in La Surprise de l'amour , by Ferdinand Poise, and the gypsy song of Fior d'Aliza , by Victor Massé, an emulator of Halévy like Louis Deffès, whose performance of Les Noces de Fernande is presented. Accompanied with many contrasts and delicacy by Pierre Dumoussaud at the head of the Orchestre national de Lille, the mezzo proves that she sings as a worthy heir to an era where the lyric scene was not only a question of vocal color, but of theater and temperament. Something that Eva Zaïcik, the "rebel", certainly does not lack. Marie-Aude Roux

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