Evento

FRANCOISE ATLAN - Intimate evening of Andalusian and Sephardi songs

FRANCOISE ATLAN - Intimate evening of Andalusian and Sephardi songs.

Thursday August 24th at 9pm at

The Center for Jewish History
15 w 16th St
New York NY 100111

Invited by international major scenes such as the Carnegie Hall in New York, the International Festival of Mexico, the La Monnaie Theater of Brussels, the Sacred Music Festival of Fes, the South of Arles and the Opera Festival, Françoise Atlan has signed many successful collaborations with great musicians and ensembles, and recorded several critically acclaimed recordings - Diapason d Or, Choc du Monde de la Musique, FFFF Télérama, Grand Prix de lAcadémie Charles Cros among others.

An artist with a double culture, endowed with a vocal expression, a style and a unique technique, her Judeo-Berber roots naturally led her to become passionate about the Mediterranean vocal heritage, in particular the Judaeo-Spanish and Judeo-Arab traditions, while pursuing her career as a lyric singer.

After winning her piano and chamber music prizes, she was Laureate of the Prix Villa Medicis Hors Les Murs for the collection of the musical and poetic tradition of the city of Fez in Morocco, "Best World Music Artist 2007"; She regularly gives masters class of singing in Geneva, Montreal, Aix En Provence, Brussels or Basel.

THE NEW YORK TIMES (by John Pareles) Ms. Atlan's songs -in Arabic, Hebrew, Spanish and the Sephardic language Ladino - followed the diaspora of Jews expelled from Andalusia in the 15th century. They were about earthly and divine love, alluding to the mystical Jewish Kabbalah tradition. Ms. Atlan sang them with refined passion connecting the limpid elegance of Renaissance song with the elaborate ornaments of Middle Eastern music.

THE NEW YORK TIMES, (by Allan Kozzin) Ms. Atlan's vocal style was a matter of combinations. Instead of following current theories that medieval vocal production may have been earthier than modern singing, and perhaps a bit reedy, Ms. Atlan produced the lustrous, velvety soprano tone that todays audiences admire. In a way, she offered the best of both worlds: complete fluidity in the musics exotically winding, intricately melismatic lines, along with an entirely contemporary suppleness in both phrasing and dynamics.