Use a socket №22 and an open-end wrench №18
Use a socket №21
For more infomation >> Isabelle Giordano se confie sur la mort de Philippe Vecchi- [Nouvelles 24h] - Duration: 1:41. 
(piano music)
♫ Leila Leila
♫ Dieu puissant le voila
♫ Pres d'elle me voila
♫ Par cet e troit sentier
♫ Qui borde un sombre abîme
♫ Comment es-tu venu
♫ Un Dieu guidait mes pas
♫ Un tendre espoir m'anime
♫ Rien non rien ne m'a retenu
♫ Que viens-tu faire ici
♫ Fuis la mort te menace
♫ Apaise ton effroi pardonne
♫ J'ai jure
♫ Je ne dois pas te voir
♫ Ah fais-moi grace.
♫ Le mort est sur tes pas
♫ Ne me repousse pas
♫ Ah va-t'en
♫ Ah le jour est loin encore
♫ Nul ne peut nous surprendre
♫ Ah Le ila
♫ souris a mon espoir
♫ Non se parons-nous
♫ Ah pourquoi repousser
♫ Il en est temps encore
♫ Un ami qui t'implore
♫ Ah va-t'en
♫ Leila Leila
♫ Ah la mort est sur tes pas.
♫ Ah par pitie eloigne-toi
(piano music)
♫ Ton coeur n'a pas compris le mien
♫ Au sein de la nuit parfumee
♫ Quand j'ecoutais l'ame charmee
♫ Les accents de ta voix aimee
♫ Ton coeur n'a pas compris le mien
♫ Ainsi que toi je me souviens
♫ Au sein de la nuit parfumee
♫ Mon ame alors libre et charmee
♫ A l'amour n'etait pas fermee
♫ Ainsi que toi je me souviens
♫ J'avais promis d'eviter ta presence
♫ Et de me taire a tout jamais
♫ Mais de l'amour helas
♫ O fatale puissance
♫ Pouvais-je fuir
♫ Les beaux yeux que j'aimais
♫ Malgre la nuit
♫ malgre ton long silence
♫ Mon coeur charme
♫ avait lu dans ton coeur
♫ Je t'attendais
♫ j'esperais ta presence
♫ Ta douce voix
♫ m'apportait le bonheur
♫ Ta douce voix
♫ m'apportait le bonheur
♫ Ist-il vrai que dis-tu
♫ Doux aveu
♫ o bonheur
♫ Oui
♫ Ton coeur n'a pas compris le mien
♫ Au sein de la nuit parfumee
♫ Ah ainsi que toi je me souviens
♫ Ainsi que toi je me souviens
♫ Ainsi que toi
♫ je me souviens
♫ Ainsi que toi je me souviens
(audience applauds)
(audience laughs)
- Do you want to rehearse the last bar
for the next 20 minutes?
Okay, this is very touching.
And I think you get what's so extraordinary
about this music.
A few.
I mean, all the considerations,
the technical considerations, the vocal considerations,
the language, diction, articulation issues,
and also the musical issues,
they are all connected, obviously.
So let me take it.
Maybe the first thing in the first part of the duet.
So (speaks French) and all of this.
You start at a very exciting tempo.
And then as you go, you slow down.
And you slow down.
And then.
Anything you can do slower, I will do slower.
And so,
we finish a little in the mud.
Which is a pity.
You should start with something that's more realistic.
That you all agree on.
That your voices agree on.
And still keep the energy.
This is always.
In order to give sometimes the impression of very hectic,
very agitated, and so on, you don't necessarily need to
speak very fast.
So here, in that case, you need to find a reasonable,
energized tempo to work.
And you are definitely not having the same concept of tempo,
even when you sing together.
Which is a problem.
And it's okay when you have only 10 fingers.
But what singers forget is that,
yes, you have 79 people in the pit.
And each of them, they already have an idea
of what the tempo should be.
So if you are disagreeing about it, the conductor
is going to have to be in the middle,
and that's how you get Diet Coke performances.
Where, you know.
With very few bubbles and everything looks and sounds
the same.
So if you give to the musicians around
the feeling that you click on the same tempo,
your chances of getting what you want and for it to work
together are much higher.
So you need to conceptualize that,
and you need to understand what's the best tempo for you.
And actually, a good conductor is going.
Most probably to understand this.
There is no right or wrong tempo.
The right tempo is the tempo that is going to sound.
The one that works with the language in these acoustics,
in that moment, and a good conductor
is going to really.
I mean, you can do the Habanera.
Boom ba-rum-ba-bom.
Or you go boom ba-rum-ba-bom.
It's right, both of it.
And so in that case, at least you
need to agree on one tempo.
I think Ton coeur n'a pas compris le mien.
This amazing, amazing melody
and this is a time where Bizet
was still trying to find himself.
So there is a lot of trying to write a little.
Thinking of the Italian style.
So I would say you have, even more than in Carmen,
where you need it, you have a sense of what the Italians
would call rubato or phrasing that is very important.
Rubato and phrasing are slightly different, actually.
Phrasing is more like give and take within the text.
The rubato is more like an organic tension and release
of the phrase that can sometimes go a little further.
In that case, we're in the middle of the two.
And there is something in the poetic material here.
You are giving everything you have.
To try to get her back. So all of a sudden,
this work of art is going into a place that is an essential
vital place.
It's of course.
It's about getting a nice opera on stage.
Getting paid for it.
And having a nice evening for everybody.
But this is a matter that is of the utmost importance.
And urgency.
And in order to get there, and write this in ways
that are stunning, Bizet is tapping himself into this
emotion, and presenting it in a way that is very true,
and very new.
We need to do justice to this.
And I think.
You tried already to do some of this.
But we can go further.
In the sense that, for me,
the phrase goes.
So this is one, let's say, I don't want to say trick.
That people forget about French music.
Is that sometimes the long value can be a little longer,
and the short values a little shorter.
Or the other way around.
But play with the non-metronomic connection between values.
So Paaa-pa-pa-pa-pa.
That's the metronomic.
But it can also be Ya-ta-ta-dee-pa-pa-pa.
And that's as true as the other one,
so it's rolling to the second beat.
It's holding a little bit and going further.
So this notion of tension and release.
That G there,
(sings in French)
it's nasty?
What's the issue with that G?
You don't like it?
- I don't want to sound like a typical tenor,
but I woke up with allergies.
And it just got harder than yesterday.
- It's fine.
That's going to happen in performance.
I think if you maybe.
You want to go through it.
It's okay.
But we need to have a precise pitch there.
And sometimes taking more time is good too.
And the good thing is that I didn't hear you had
the energy, except that G didn't totally click for me.
So let's try to see what we can do, thinking of.
First and foremost, this poetical material, which is.
I love you, I have loved you!
This is more important than anything!
And it's new and the music is expressing this in ways
that no language is ever going to express.
Someone who doesn't know what love is.
If this is well sung.
Is going to say I get it.
So you have that mission every time you sing it.
Which is tiring, but especially with allergy
but let's try to see what we do about that G
and try to connect it with this notion of phrasing
and emotions.
Okay?
So maybe just on the beginning of the six, eight.
(sings in French)
Great!
That G was perfect!
I buy it.
No, it sounded good.
The first time it did not.
But now it sounded.
You have to help him, I believe, by giving already
this notion of
te rolling wheel of time and love going around.
So you need to roll to the second beat.
And I would say, although it's not written,
but it's implied
what's written and what's not written
this is a big semiological and philosophical discussion.
But I would put a diminuendo.
At the same time you roll with it.
You put a diminuendo.
Can I conduct it?
You need to do more for the diminuendo.
So the second one is pa-ra-ra.
The stronger point is the second note.
Yes!
♫ Ton coeur n'a pas compris le mien
Great!
You see?
You have twice this G now.
It's in the box.
So don't worry about it anymore.
Ton coeur n'a pas compris le mien!
Here we're in the pickup of the engine.
Although the important word is coeur, n'a pas.
With the consonants.
There are always these schools of teachers.
Well, you know, the text, the text,
but the voice, it's all about the legato.
Yes, it's true on one level.
But if you don't have consonants, your vowels are not going
to project!
So use both!
And if you can't, that means there is a problem
in your technique.
Which probably you do not have.
So this is all connected.
One makes sense with the other.
And there is a singing.
It's about text too.
And the text is about the quality of the vowels
that you want to resonate, of course,
first and foremost.
But in order to have this, you need
the right consonants too.
Yeah.
♫ Ton coeur n'a pas compris le mien!
- Good, good.
I think n'a pas can have a little more preparation again.
And then le mien.
That's the musical section there.
And at the same time, hold that thought 'til the end.
This is a very long phrase.
You're doing great.
I think for a reason I don't understand.
Maybe it's a tempo reason.
You wrote relax here.
That's a very good idea, but you're relaxing too much.
So don't relax.
(audience laughter)
Andante non troppo, on the other hand.
Exactly this kind of oxymoron thing.
Ya-da-da.
♫ Ton coeur n'a pas compris le mien
♫ Au sein de la nuit
parfumee,
- Great, great.
In terms of objective phrasing, this is beautiful.
Now, what I am missing is the pleasure of saying this.
This is actually a beautiful phrase that you can hold
for a very long time now.
But there is that incredible emotion of feeling
you are in the right place, saying this.
And you are offering all your soul.
You can't offer your soul that sad.
So.
That smile you have there.
That's exactly what you need.
Let me try to be part of that story.
Although you are doing this to her.
Do this to the beautiful person
you want to talk to right there.
You know?
Darling, why don't you come here?
So you look at who you want.
Or someone else there.
But I need to feel love.
Okay?
You can look at him too, if you want.
It's up to you.
♫ Ton coeur n'a pas
♫ compris le mien
♫ Au sein de la nuit parfumee,
- Great, great.
That was very nice.
And very interesting.
pPrfumee.
I would go even more with the text.
But at the same time, I would not be too Fischer-Diskau,
which is you see, I can do, the text!
So you need to do that without showing you are doing that.
Yes, you see what I mean?
So just feel.
Parfumee.
And I need to feel that your thought process
is still going on, with the parfumee.
Which is beautiful, French, you know, disappearing E,
which is like a sword going deeper into yourself,
in order to project to her.
So this going away quality.
The softer it goes, the more intense and the deeper
it needs to be.
So I need to feel like you're not dropping
that beautiful sword.
Ya-da-da!
♫ Ton coeur n'a pas
♫ compris le mien
♫ Au sein de la nuit parfumee
♫ Quand j'ecoutais l'ame charmee
♫ Les accents de ta voix aimee
♫ Ton coeur n'a pas compris le mien
♫ Ainsi que toi je me souviens
Great, great, great.
This is beautiful.
And we can capitalize on this.
For instance, aimee.
You still need to hold it.
And I think on that beautiful A-flat, you need.
What was it?
Quand j'ecoutais l'ame charmee.
That's what you did?
What's the best vowel for you there?
You can have it blossom as much as you want.
There is one thing that is happening with both of you,
especially to you,
which is because we do the phrasing, rubato, of holding,
you don't go back.
The more you hold, the more it needs to roll back.
And your job also is to keep that engine moving there.
Maybe quand j'ecoutais l'ame charmee,
And we go on a little.
♫ Quand j'ecoutais l'ame charmee,
♫ Les accents de ta voix aimee,
♫ Ton coeur n'a pas compris le mien
♫ Ainsi que toi je me souviens
♫ Au sein de la nuit parfumee
Great, great, great
Nice, very nice
You see that A-flat.
And all of a sudden, you make more points.
You know, that's where this is all complicated,
because we are talking about artistic integrity,
and this is the most important thing there.
Just to do justice to the genius of that phrase.
And believe me, all of us together will never go to as deep
as it's possible to go.
With this.
So this is great!
This is good news, actually!
Where stupid is much smarter.
So we have a ways to go.
That's fantastic.
At the same time, there is something very simple.
You have a nice A-flat, and we want it to ring.
And all of this we can put together.
You know?
So this is not bad news, that you need
to have artistic integrity.
It's actually going to help you,
also, in the other department.
I think for us, I need to feel what's happening in your head
in the same parfumee, and nuit
all of a sudden you did a crescendo, diminuendo,
which is great, but then a big bump.
So your nuit was dark and then all of a sudden
there was something, it popped.
So that's not good.
Also, the way he finishes the first phrase,
the way you enter, it must feel like it's one organic
movement into the other.
That comes from you too.
Later in the duet, you start vaguely together.
And that goes with the way you listen to him.
That goes with the way you are.
Exactly, giving her that phrase.
Is that too much to ask you to start, right.
Ton coeur n'a pas compris le mien.
Just before you enter.
♫ Ton coeur n'a pas compris le mien.
♫ Ainsi que toi je me souviens
Okay, good.
This is nice.
I think for me, you're suffering a little too much in love.
Maybe, huh?
And then you are doing
souviens.
So there is a softness in the six, eight that we want.
You don't want to make it Italian.
Ta-ca,
souviens!
That doesn't mean it's less expressive.
It's as expressive, but the expression
is a little more controlled.
Do you understand the difference?
This is a big, I mean, probably we'll get back to that
with your friends.
Shall we do the same thing?
♫ Ton coeur n'a pas compris le mien
♫ Ainsi que toi je me souviens
♫ Au sein de la nuit parfumee,
♫ Mon ame alors libre et charmee,
♫ A l'amour n'etait pas fermee
♫ Ainsi que toi je me souviens
- Great, bravi, very nice.
Very moving.
Bravo, guys, bravo.
Nice!
(audience applauds)
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