This month marks the birthday of one of the greatest names French chanson has ever known; Charles, the great Charles, turned ninety on May 22, 2014. Nonante, and still all his teeth!<\/p>\n\n\n\n
That's the incredible thing about this phenomenon: he's still with us. Like Johnny Hallyday, Aznavour fascinates with his unflappable longevity, his love of life and the passion that drives him - that famous passion that is stronger than death. But unlike Johnny, his young disciple in his seventies, Charles has maintained his own line throughout his career - both situations are admirable, and it's enough to remember the positive: artistic curiosity and evolution for one, constancy and authenticity for the other.<\/p>\n\n\n\n\n\n\n\n
It was a happy coincidence that the author, composer and performer of La Boh\u00e8me<\/em> was born in Paris on May 22, 1924. In fact, his Armenian parents were waiting in France to obtain a visa for the United States. Circumstances, therefore, created an incredible career that has never been equaled. But success isn't just a matter of luck, it's above all the result of a certain talent. And there's a lot to be said for that. The lyrics of his famous I could see myself<\/em> lose their irony:<\/p>\n\n\n\n \u00abI've never been given a chance Charles Aznavour's unwavering style is awe-inspiring. From How sad Venice is<\/em>\u00a0to\u00a0Love<\/em> and the war<\/em> via Now<\/em>, The same musical poetry remains: the sublime, the bellissimo, the one that marries Vigny and Tchaikovsky, the one that prolongs Piaf's genius and ennobles Brel's verses; the one that grips the guts and the temples!<\/p>\n\n\n\n The singer's greatest merit is to have made classic French verse popular - \u00abpopular\u00bb in the sense of \u00abknown\u00bb, \u00abappreciated\u00bb, \u00abdominant\u00bb, \u00abwidespread\u00bb and not \u00abcommon\u00bb or \u00abclose to the people\u00bb, which would wrongly associate Aznavour's style with the repugnant trend towards realism, a taste for the mediocre, for the natural in all its ugliness. Aznavour's songs aspire to the extreme but harmonious opposite: classicism. However, it's a very intelligent classicism, and one with even more class, because it's interested in all human passions, in all situations found in society: a father in distress, a homosexual teenager and a toreador all find their way into the songs of this great humanist.<\/p>\n\n\n\n Twelve- or eight-syllable verses are no longer an obstacle but almost a condition for the success of Aznavour's songs.<\/p>\n\n\n\n Who could fail to be moved when listening to the masterpiece No, I haven't forgotten anything<\/em>\u00a0right from the start?<\/p>\n\n\n\n \u00abI never thought we'd meet Who could remain indifferent to the story of a father whose child has taken an overdose?<\/p>\n\n\n\n\n
Others have succeeded with few votes and a lot of money
I was too pure or too early
But one day, I'll show them that I'm talented\u00bb.\u00bb<\/p>\n<\/blockquote>\n\n\n\n\n
Chance is curious, it makes things happen
And destiny, pressed for a moment, pauses\u00bb.\u00bb<\/p>\n<\/blockquote>\n\n\n\n\n