Holy crap! I love Les Miserables and have always loved the original French concept album but this unofficial recording is one of the rarest available! It offers us an opportunity to go back in time and experience even deeper than what the official French concept album release offered us. On technical terms, the album had to be shortened in 1980 from the original because it was made to fit vinyl playback times (33 1/2 RPM, 23 minutes per side; 2 discs about 92 min). Luckily we have people who have good hearts to allow this rare recording to be shared online for everyone's enjoyment and reference. Thank you so much!
Juste un petit thumb up pour Rose Lauren’s qui nous a quitté hier... elle restera à jamais la toute première Fantine de l’histoire de la comédie musicale avec cette voix si particulière... RIP
J avais 8 ans quand mes parents nous ont emmenées ma soeur ainée et moi voir cette inoubliable comédie musicale. Une découverte incroyable... je n ai pas oublié toutes ces chansons et musiques. Merci Monsieur Hossein
@@leftoverspagehhti481 je suis d’accord mais je ne recherche pas à revivre la même histoire. Je préfère une histoire différente mais de belles musique lorsqu’il s’agit d’une comédie musicale
Qué maravilla este audio. Me transporta a mi infancia en los '80 en Chile y me invade el recuerdo de mi papá 😢, quién era un amante del idioma francés. Junto a mis hermanos escuchábamos "Los Miserables" en disco vinilo y mi padre nos traducía. Merci beaucoup Papá...Je t'aime!!
Le plus beau spectacle que j'ai vu de toute ma vie. Je n'avais que 14 ans mais je me souviens avoir été transportée dans une autre dimension. Du grand spectacle magistralement mis en scène par Robert Hossein qui a permis à Rose Laurens de commencer une belle carrière. En 1980, le casting variait apparemment pour les rôles secondaires parce que sur scène lorsque j'y suis allée, Richard Dewitte jouait le rôle de Marius, Michel Sardou celui d'Enjolras, Adamo celui de Combeferre et Michel Delpech celui de Feuilly. Ce sont d'ailleurs ces 4 là qu'on retrouve sur le CD et le 33 tours. En tout cas, cet après-midi j'ai encore pleuré à la mort d'Eponine et de Gavroche. Tout simplement merci pour cette vidéo qui n'est pas d'une qualité excellente mais qui rappelle tant de souvenirs et d'émotions. The most beautiful show I have seen in my whole life. I was only 14 but I remember being transported to another dimension. A great show masterfully staged by Robert Hossein which allowed Rose Laurens to start a great career. In 1980, the cast apparently varied for the secondary roles because on stage when I went there, Richard Dewitte played the role of Marius, Michel Sardou that of Enjolras, Adamo that of Combeferre and Michel Delpech that of Feuilly. These 4 are also found on the CD and the 33 rpm. In any case, this afternoon I cried again at the death of Eponine and Gavroche. Simply thank you for this video which is not of excellent quality but which recalls so many memories and emotions.
@@the.official.vision.company Physiquement. Non, pas trop. Ce sont les chansons et la mise en scène que j'ai surtout en mémoire. Sauf Maurice Barrier (Jean Valjean) et Rose Laurens (Fantine) que je revois sur scène. Rose Laurens qui vend ses cheveux, Maurice Barrier et sa voix si grave et une présence scénique qui éclipsait tout. Quel spectacle !
Having been learning french, I can say this original production is far more poetic than what came after in the "Le Miz" we know today. In fact it's quite refreshing.
@@chazofalsa Meaning that there is less exposition in the lyrics. Most of the songs are stand alone instead of trying to move the plot forward. I can only surmise this because people of France are so familiar with the storyline that they would know exactly what's going on at any point.
@@JoeyArmstrong2800 precisely; for the French, Les Misérables and Hugo are national treasures so this version is presenting poetic familiar tableaus from the novel, which was brilliant for a French audience. Cameron Mackintosh and the RSC knew that the English lyrics needed to strongly convey lhe plot, or else it would likely not be appreciated by an international audience. I'm glad they did as although different, both versions are amazing.
Jean Valjean - "Il dort. Quoique le sort fût pour lui bien étrange, Il vivait. Il mourut quand il n’eut plus son ange. La chose simplement d’elle-même arriva, Comme la nuit se fait lorsque le jour s’en va." ~ Les Misérables, Book 9: Supreme Shadow, Supreme Dawn; Chapter VI: The Grass Covers and the Rain Effaces by Victor Hugo.
Merci Jerome que j’ai si bien connu à l’âge de quatre ans! À l’époque de Monte-Cristo. Oui il faut rendre hommage plus souvent au merveilleux chanteur qu’était Gilles Bulhmann.... si tu veux me contacter, Jérôme j’en serais très heureux! www.gerardlecaillon.com
@@GramounGG A mon avis non, car je ne l'ai entendu que sur le vinyl, si vous avez le titre n'hésitez pas à le poster le et je pourrai vous dire si c'est lui qui chante
@@jeromebuhlmann719 j'ai compris qu'il y avait la ersion disque et la version scène. pouriez-vous me dire s'l y a la version scène de "charles Gautier" version scène et dites-moi quel âge avait votre père en 2006
Je me rappele en 1999 dans Hotel Club les Colombes a Hammamet en Tunisie d'avoir participer dans une comédie musicale de les misérables j'avais 14 a l'époque , le réalisateur il s'appellait Marc , c'était une superbe d'expérience !!!!! 😍😍😍
I really love the concept version of les mis since as much as i love the musical it feels like it's become more disneyfined over the years and i honestly hope to see a production that captures the more dark somber tone of the novel.
Wow thank you for this! There are certain things about this production I wish had carried over to the current version(s.)Maybe someday they'll be restored but until then I'm happy to have this.
I find it very interesting that the French Concept and this official recording begin with “At The End of the Day” instead of the prologues. Maybe that’s why they’re called the prologues, because they were added onto the original concept as the backstory of Jean Valjean that was needed haha. I enjoy both versions so much!
Alain Boublil said that in France there was absolutely no need to tell Valjean's backstory, since the novel was so well known there (he thought it would be "insulting").
Fascinating. I just love those strings 4:11-4:20 . It is so interesting listening to both the differences and the similarities from how it all began to what we now know.
J'ai grandi avec la version anglaise internationale. Aujourd'hui, en regardant pour la première fois cette version française originale, je trouve que celle-ci, malgré ses défauts, est plus riche, a plus de poigne. Mais peut-être faut-il être français pour l'apprécier ainsi... I grew up with the international english version. Today, watching for the first time this french original version, i find it richer and more powerful, despite it's few weaknesses. But maybe you have to be french to appreciate it thus...
Et bien, à l'inverse, j'ai eu l'occasion d'entendre la version anglaise, dont j'ignorais totalement l'existence je dois dire, bien après avoir vu la version française montée au début des années 90, au théâtre MOGADOR - théâtre somptueux. Un souvenir incroyable et indélébile de tout : la mise en scène de 91, je crois que c'était 91 ou 93, incroyablement mobile, j'ai même des souvenirs des lumières tellement elles apportaient une part importante à la mise en scène, je n'ai jamais oublié la partition extraordinaire, le niveau ambitieux de tout : les interprètes, les décors... l'interprète d'Eponine... m'a tiré de vrais larmes, comme seul le théâtre ou l'opéra peut le faire, elle était extraordinaire. Oui je comprends ce que vous voulez dire, en français, ça "nous" parle, j'ai toujours ressenti physiquement la version française, là ou la version chantée en anglais est jolie, la version chantée en français parle à nos entrailles. J'envie tout ceux qui verront Les Misérables pour la première fois ! :D Pour ma part, j'ai su juste après l'avoir en France en français que cette comédie musicale était jouée de façon quasi permanente à Londres et à Broadway.
LP G I'm just listening to it for the first time in French🇫🇷 I'm Spanish. I love your language, it's so pretty 🎶🎵❤ Definitely sounds better in French. Wow! 😃
No necessarily. I don't speak French fluently (though I took 3 years in high school) but I've always loved the original French concept album. This rare recording goes even deeper than what was officially available and it offers us an opportunity to hear how the show existed before it became what it is today. I'm surprised that this recording even exists! :)
Chien Pénible regarde la version 1980 c’est la meilleure les flons flons les paillettes c’est indignes de Victor Hugo de plus ils ne sont pas fichu de respecter les vraies paroles!!!
It’s super interesting to hear the French musical theater vocal style…it’s more classically influenced than us Anglophones, but simultaneously uses less “vocal techniques” or stunts than we do. They put emotional delivery and characterization front and center and I love how conversational this sounds. Et dieu merci that they opted for head voice over high belting; I wish and hope for the day when is Americans realize how much better and less distracting it is to do that. Merci merci merci dear poster ❤️ ❤️ ❤️
Geez, in La Nuit when Fantine sighs after talking through the deal with the lady about her hair... Wow. I felt the pure despair. The Fantine in my production is absolutely wonderful, and I hope she includes the little sigh because it means so much. Also, I find it so weird that Cosette ends Heart Full of Love on a lower note. As Cosette in my production, I have to sing at least four high C's at the very least. Also, Eponine's scream scared me so bad lol.
Jean Vallée is perfect as Javert, I can only half make out the lyrics (my high school French is super rusty), but his voice and performance of "Noir ou Blanc" perfectly captures Hugo's depiction of the character as a dogmatic misanthrope.
Funny you should say that because he made a song about Javert called "Javert t'es amoureux" after his time in the musical. Wish he was more well-known, his performance is indeed great.
This is amazing! I was lucky enough to see the original show in September 1980 in Paris, and have listened to first an audio tape I bought at the performance (long since worn out), and then the CD of the "original concept album" ever since. How did you get this audio, and is there video anywhere?
Hardcore fans of Les Mis will know that the production we know today (based on the original London production in 1985) was sourced from the original Paris production in 1980. Though there was an official recording made available (known as the "Original French Concept"), it was obvious that the recording had a lot of material missing. Anyway, today's French version of Les Mis can be interpreted as a hybrid between the London and original French concept album (e.g. some lyrics from the original still exist yet many have been re-written according to the English lyrics). Anyway, what makes this official recording amazing is that it's the actual 1980 Paris production in most of its entirety! Simply a rare treat!
My god don't we all wish there was a video of the original Paris production. But to have a recording is already so rare! I'm curious how this recording was discovered.
Ah, thank you for this! I have been wondering what was missing in the concept album. And the answer is 'too much'. And wow, did they really make Valjean successfully escape the first time?
ALOT! :D In fact, I'm actually doing my own rewrite of the Les Miserables libretto, with this recording, the 2007 Anime "Shojo Cossette", and the book of course as my inspiration and resource. In this case, you can say I'm trying to make the show like the novel more, Like when John Ciard (Who also participated in the writing of the Libretto we know now) made his own libretto for Leonard Bernstien's "Candide" by weaving the songs and score into the original plot of Voltaire's original novel. My main goal will be not only to include character's omitted from the show like Marius's grandfather, Monsiuer Mabuef, Fachevlant, and Gavroche's brothers, as well as other necessary elements from the plot, but also to emphasize on the personality and actions of the characters, like Marius developing his own self being, Cossette trying to build a life and happiness for herself, their initial bond (Which may require some rewriting in their dialogue), etc. Basically, I'm trying to flesh out the plot of the novel, and emphasise on the theological ideas portrayed in the novel. (I might even cut ACT 1 before we make it to Paris, and rewrite who sings which lines in "One Day More" so as to preview what's to come in ACT 2. This will help make a development in Cossette's change as she becomes an adult, rather than her just appearing as an adult halfway in ACT 1.) Speaking of this recording, I always thought a stoic character like Valjean should have a more bass-baritone like voice, and I think the actor in this really nails Valjean's vocal character in the book. I found that there's actually a play adaptation written by Victor Hugo's son, Charles Hugo, as well! : www.amazon.com/Mis%C3%A9rables-Play-Two-Acts/dp/1434457532 At this point, I've said MORE than enough, but what do you think? :)
@@benjaminsolliday7645 Hardly much progress I must admit, especially with other things I need to focus on now as a college student whose starting to look for a job/paid internship. Furthermore, even if I manage to complete a scene, I would then have to study up on how to properly make a viewable link for everyone(and hopefully one that doesn't need a code for access and the like), so I'm afraid I won't be able to share anything for a while. Although, in terms of musical rewrite projects Hugo related, I have made CONSIDERABLE more progress on my rewrite of the Disney stage adaptation of Hunchback, but even with that I'd face the same listed issues.
I’m so intrigued by the choice to end sur la barricade with the tune of castle on a cloud (or the mon prince song here). I don’t know why they would? to insinuate that their dreams of revolution are a mere fantasy at this point? or maybe it’s just a stylistic choice
i'm guessing it's the fantasy thing, yeah. i actually wish they'd kept something a little more like that in the later version; it would give a lot more resonance to the castle on a cloud motif which i always find pretty insipid. here it sounds so haunting.
maybe an emphasis on childhood? The boys at the barricade were just that. Boys. Cosette was a little girl dreaming of a better life, and that’s what Les Amis were doing except they didn’t get their happy ending
I always wondered why Claude Michel and Alain Boubli never considered doing a film version of the show when it was in Paris still. They had a film director as the director of the show. Robert Houbien (might've misspelled the name) later made a film in 1982 based on the novel.
1) Sadly the French musical theater scene wasn’t/isn’t big enough for it to be produced. This is an expensive show to put on live but even more so on film; sooo many set changes and specialized costumes and HMU and cast members. Considering how small the demand for musicals is in France there wouldn’t be great prospects of ROI, which is really truly the main thing producers care about ~at the end of the day~ 2) Les misérables is a HUGE emblem of French culture, to my knowledge everyone who grew up there know the story inside and out. I really don’t think there’s a parallel in American culture, especially since we constantly remake things or recycle IP. French musical theater ppl understand what this rendition is, but it could very easily backfire-especially since the French are pretty traditional and tend to place culture and/or politics front and center of conversations. So it could not only be a financial disaster but an epically ridiculed flop which could be career ending (or close to it). As much as I prefer this version, I get why they sold it to the English to translate and let Americans make the movie. I’m pretty sure it’d be impossible for a French film version to be as fleshed out, succe$$ful, and well-received. Triste parce que cette version cru et direct me plait plus que le megamusical des Anglophones
Firmin de Noblans Ha, yes! What's the deal with that rabbit anyways? Like, what's he supposed to be? But then again this game has a playable robotic Valjean, so I probably shouldn't think too hard about it.
Hi! It's not a top hat but a shako (military hat, I own one in real life as I am a Napoleonic reenactor). It's a garde-chiourme or "prison guard" like one would find in the prison of Toulon, namely the uniform that Javert has certainly worn as a prison guard. The full picture: p0.storage.canalblog.com/04/67/978697/90714096_o.jpg
Honestly, as a non French speaker, I’m really curious if there exists a transcription or, even better, a translation for the parts of the show not in the concept album, just to see what has been changed lyrically on its transition to the West End/Broadway
W.B.S. There are several on various forums and blogs - people have collaboratively transcribed it and then translated it too. If you google “la misère, comme une fille publique, dans la rue...” you’ll find it - that is a line from the Marius and Éponine duet after Donnez, Donnez.
Thomas Thornton There are quite a few blogs with transcriptions and some have translations too. Google Translate is shit for French at best and hopeless for the argot spoken in Les Misérables tbh. You need a native Francophone to help. This thread at Musicals.net gives lyrics for many scenes that are not the same as the concept album (which has lyrics in the booklet in the CD/album case/sleeve and they are widely available online and easy to find) - so you can easily piece it together even if you can’t find a full transcript: musicals.net/forums/viewtopic.php?f=50&t=77265&sid=97f394ee7891380447fafda17abb4a2f This blog also has many transcriptions: geelaw.blog/entries/lesmiz1980-paroles-9/
Cela reste ma comédie musicale préférée, bien que jamais vue sur scène avec des professionnels. J'ai découvert le monde des comédies musicales avec mon collège St Joseph à Wattrelos, si dynamique et emmené largement par le prof de sports Claude Bouquillon, avec les projets fous d'en monter une chaque fin d'année scolaire, d'abord en play-back puis en direct : 1980 : Le Big Bazar (Michel Fugain) 1981 : Mayflower (Eric Charden) avec un bateau de 33m de large en décor ! 1982 : Hair (en anglais) 1983 : La Révolution Française Opéra-rock (Claude-Michel Schoenberg). 1er gros morceau, digne d'un show professionnel, 6 scènes différentes, ça venait de partout dans la salle, une immersion totale au sein même du spectacle, juste assis sur son siège. 9 représentations. Dingue. ... 1986 : Terrain vague (une création des profs avec interprétation de reprises diverses en direct avec chorale). Un cran au dessus. Spectacle sélectionné parmi tous les projets pédagogiques des écoles catho de France, et joué à Paris au Pavillon Balthar. ... 1989 : D'une Révolution à l'autre (nouvelle création partant de La Révolution Opéra Rock à Les Misérables pour la révolution industrielle, en passant par Napoléon Bonaparte (Serge Lama). Une méga création de la trame, des textes intermédiaires, de la mise en scène, tout en direct, avec musiciens et chorale, 400 élèves sur scène et quelques profs autant investis, 6 scènes différentes dans la salle polyvalente Roger Salengro. 11 représentations sur 5 jours. Niveau pro avec juste des amateurs ! Que de souvenirs nostalgiques, que d'articles dans les journaux, La Voix Du Nord et Nord Éclair, La Croix notamment. Les Misérables était en projet. Mon frère Damien était à la technique du groupe Évasion (créé par des anciens élèves au soutien de tous les spectacles de l'école, dont kermesse). Il bénéficiait des enregistrements sur cassettes en avant première en début d'année. Je me délectais à les écouter, les apprenais sans difficulté par coeur). Je rêvais d'être moi aussi sur scène un jour, mais n'osais pas, trop timide pour me lancer comme mes camarades de classe. Alors j'en prenais pleins les yeux en juin, en visualisant le rendu sur scène de ce que j'entendais. J'écoute encore aujourd'hui ces comédies musicales sur mon lecteur de K7 audio ! Je rêvais d'aller voir un jour une comédie musicale à Paris, ou même à Brodway (Les Misérables, Cats, le Fantôme de l'Opéra...) mais mon ex-mari désintéressé n'a jamais validé, ni cherché à me faire un peu plaisir. Aujourd'hui, je suis libérée enfin de son emprise mais ai tout perdu à tous points, ne sais même plus entreprendre quelque projet, juste pour moi enfin, trop cassée et détruite. Merci, Merci, pour ce post qui me donne des frissons. J'avais la version audio classique de 1980 reprise sur CD, mais n'avais jamais entendu certaines parties. Et toutes ces paroles et ambiance, qui remontent à l'époque de Victor Hugo, tellement bien retranscrite en 1980 et 1982 par Claude Michel Schoenberg et Alain boublil, et qui raisonnent tant pour moi aujourd'hui en 2022. Notamment : "J'avais rêvé d'une autre vie, mais la vie a tué mes rêves, à peine commencée elle finit...". Avec Starmania, toutes les paroles retracent ma vie déchue par les autres, les mauvaises rencontres bien déguisées en personnes trop bien pour être honnêtes, jouant de ma bienveillance et crédulité. Thank you, Thank you so much for this soundtrack. Despite the lack of video, the few photos all along the musicals allow our minds to imagine what could have been this show in 1980. So lucky you are those who saw this show in 1980, when I was 10. Technicity helps also to go back to our souvenirs or to feel what we missed in time. Merci à RUclips et à sa communauté ! C'est bien aussi pour ça la technique !
Enjolras: A la volonte du peuple, Et a la sante du progres, Remplis ton coeur d'un vin rebelle Et a demain, l'ami fidele! Si ton coeur bat aussi fort, Que le tambour dans le lointain, C'est que l'espoir existe encore Pour le genre humain. Combeferre: Nous ferons un barricade, Le symbol d'un ere qui commence, Nous partons en croisade Au coeur de la terre sainte de France, Courfeyrac: Nous sommes désormais Les guerriers d'une armée qui s'avance. Tous: A la volonte du peuple, Et a la sante du progres, Remplis ton coeur d'un vin rebelle Et a demain, l'ami fidele! Si ton coeur bat aussi fort, Que le tambour dans le lointain, C'est que l'espoir existe encore Pour le genre humain. Feuilly: A la volonte du peuple Je fais don de ma volonte. S'il faut mourir pour elle, Moi, je veux etre le premier Le premier nom grave sur La marbre monument d'espoir. Tous: A la volonte du peuple, Et a la sante du progres, Remplis ton coeur d'un vin rebelle Et a demain, l'ami fidele! Si ton coeur bat aussi fort, Que le tambour dans le lointain, C'est que l'espoir existe encore Pour le genre humain. Reprise: A la volonte du peuple, Dont on n'étouffe jamais la voix, Et dont le chant renaît toujours Et dont le chant renaît déjà, Nous voulons que la lumiere Déchire le masque de la nuit, Pour illuminer notre terre Et changer la vie. Il viendra le jour glorieux Ou dans sa marche vers l'idéal L'homme ira faire le progrès du mal Au bien, du faux au vrai. Un rêve peut mourir Mais on n'enterre jamais l'avenir! Joignez-vous a la croisade De ceux qui croient au genre humain? Pour un seul barricade qui tombe, Cent autres se leveront demain! A la volonte du peuple, Un tambour chante dans le lointain Qui vient annoncer le grand jour Et c'est pour demain! Joignez-vous a la croisade De ceux qui croient au genre humain? Pour un seul barricade qui tombe, Cent autres se leveront demain! A la volonte du peuple, Un tambour chante dans le lointain Qui vient annoncer le grand jour Et c'est pour demain! Ah! C'est pour demain!
Translation: Enjolras: For the will of the people, And for the health of the progress, Fill up your heart with rebel wine, And till tomorrow, faithful friend! If the beating of your heart Is as strong as the beating drums, It means that hope still does exist For the average man. Combeferre: We now build the barricade, The symbol of a new era which dawns, We leave on a crusade, To the heart of the land of France. Courfeyrac: We are henceforth the soldiers Of an army that will advance! All: For the will of the people, And for the health of the progress, Fill up your heart with rebel wine, And till tomorrow, faithful friend! If the beating of your heart Is as strong as the beating drums, It means that hope still does exist For the average man. Feuilly: For the will of the people, I am ready to give my will as well. If some must die for it, Then I want to be the first, Whose name shall be written Upon the monument of hope! All: For the will of the people, And for the health of the progress, Fill up your heart with rebel wine, And till tomorrow, faithful friend! If the beating of your heart Is as strong as the beating drums, It means that hope still does exist For the average man. Reprise: For the will of the people, None can extinguish our voice, And so the song will ring out forever As it had so long before, We wish that our light will Penetrate the mask of night, To illuminate our land And to change our lives. The glorious day will come, When on its way to the ideal, Mankind will progress from evil to good And from falsehoods to truth, A dream may yet die, But hope lives on forever! Will you join in our crusade, Of those with hopes for humanity? For every fallen barricade, One hundred more will rise again, For the will of the people, We hear the sound of distant drums, Announcing the future that they bring When tomorrow comes! Will you join in our crusade, Of those with hopes for humanity? For every fallen barricade, One hundred more will rise again, For the will of the people, We hear the sound of distant drums, Announcing the future that they bring When tomorrow comes! Ah! Tomorrow comes!
il est sorti a l epoque en 33 tours que j ai de l époque , mais je sais qu a l époque a paris ils vendaient la vhs !! a la sortie et j aimerais bien la retrouvée
Something I just don't understand in this version (At least it doesn't make sense to me) it's in Gavroche's death scene. I mean, how come can Javert be still alive in that sequence? Or could it happen after Javert's Suicide and not before? I really need some context here.
@@msb4838 Well, in both, the movie and the musical’s modern version Gavroche dies before Javert does. But in this first version it looks like Gavroche dies after Javert commits suicide, but it’s too weird because in Gavroche’s death scene we can hear Javert talking to him for a moment.
okay so i love it!! also, maybe sbd here could help me - i struggle with finding french versions of popular musicals (that werent originally written in french) and it makes me sad bc i really wanted to practice the language by listening to some shows that i already know. and im able to find songs from almost any musical in my native language, even though its much less "popular" then french. i would really looooove to listen to some songs that i know (so that i would understand what they're about) while learning new vocab. do u maybe have some links? anything that was on brodway will do actually :')
In the original version, Eponine song was not ”on my own” (with other lyrics, it was ”La misère” sung by Fantine, here the second song) but ”l'un vers l'autre ”. This song has been erased from the show in later versions and replaced by on my own (which was given to Eponine).
@@JoeyArmstrong2800 you're maybe right, I can't choose, I love both. But they picked up On My Own because it was a stronger theme for the musical on stage, a showstopper.
@@emmanuelfani5385 Maybe after hearing "On My Own" for the 800th million time it starts to get on my nerves. l'un vers l'autre is simple with a hauntingly beautiful melody much more fitting for Eponine's character but I guess Act II needed a show stopper.
Voici un reportage de l'époque avant la première en coulisses avec 3 extraits du spectacle, et les interviews de Robert Hossein, Alain Boublil et Claude-Michel Schönberg : ruclips.net/video/H-7SeXDhacg/видео.html
Holy crap! I love Les Miserables and have always loved the original French concept album but this unofficial recording is one of the rarest available! It offers us an opportunity to go back in time and experience even deeper than what the official French concept album release offered us. On technical terms, the album had to be shortened in 1980 from the original because it was made to fit vinyl playback times (33 1/2 RPM, 23 minutes per side; 2 discs about 92 min). Luckily we have people who have good hearts to allow this rare recording to be shared online for everyone's enjoyment and reference. Thank you so much!
They is a footage from that show. Some others have posted the link: ruclips.net/video/H-7SeXDhacg/видео.html.
is it the same cast as in the concept album?
@@joshuanesbit Not all of them. Fantine Valjean and Thénardiers are the same. Marius Javert Enjolras Eponine and Gavroche are different
@@ep6927 thanks for clarifying :)
Le spectacle de Robert HOSSEIN de 1980 était fabuleux dommage qu’il ne reste pas d’avantage de vidéo 😞
god i love seeing how les mis was slowly transformed throughput the years
Juste un petit thumb up pour Rose Lauren’s qui nous a quitté hier... elle restera à jamais la toute première Fantine de l’histoire de la comédie musicale avec cette voix si particulière... RIP
Non la 1 ere était Marianne Mills
and Marie-France Dufour, who was Eponine.
I’m trying to learn French and I know only a few words that they are singing but it still sounds majestic and beautiful.
J avais 8 ans quand mes parents nous ont emmenées ma soeur ainée et moi voir cette inoubliable comédie musicale. Une découverte incroyable... je n ai pas oublié toutes ces chansons et musiques. Merci Monsieur Hossein
La meilleure version qu’il soit!!! Je n’aime pas le changement de paroles de la version de 1991. 1980 et Robert HOSSEIN la meilleure année.
Ah nan je trouve que la version de 1991 est beaucoup plus puissante
Moi aussi! Ouais ce version est la meilleure.
@@marclecur6827 mais la version 1991 c'est différent que le livre. Ce version est plus précise. (Désolé pour mon français mauvais)
@@leftoverspagehhti481 je suis d’accord mais je ne recherche pas à revivre la même histoire. Je préfère une histoire différente mais de belles musique lorsqu’il s’agit d’une comédie musicale
Totalement d accord avec la version 80
Qué maravilla este audio. Me transporta a mi infancia en los '80 en Chile y me invade el recuerdo de mi papá 😢, quién era un amante del idioma francés. Junto a mis hermanos escuchábamos "Los Miserables" en disco vinilo y mi padre nos traducía. Merci beaucoup Papá...Je t'aime!!
Le plus beau spectacle que j'ai vu de toute ma vie. Je n'avais que 14 ans mais je me souviens avoir été transportée dans une autre dimension. Du grand spectacle magistralement mis en scène par Robert Hossein qui a permis à Rose Laurens de commencer une belle carrière. En 1980, le casting variait apparemment pour les rôles secondaires parce que sur scène lorsque j'y suis allée, Richard Dewitte jouait le rôle de Marius, Michel Sardou celui d'Enjolras, Adamo celui de Combeferre et Michel Delpech celui de Feuilly. Ce sont d'ailleurs ces 4 là qu'on retrouve sur le CD et le 33 tours. En tout cas, cet après-midi j'ai encore pleuré à la mort d'Eponine et de Gavroche. Tout simplement merci pour cette vidéo qui n'est pas d'une qualité excellente mais qui rappelle tant de souvenirs et d'émotions.
The most beautiful show I have seen in my whole life. I was only 14 but I remember being transported to another dimension. A great show masterfully staged by Robert Hossein which allowed Rose Laurens to start a great career. In 1980, the cast apparently varied for the secondary roles because on stage when I went there, Richard Dewitte played the role of Marius, Michel Sardou that of Enjolras, Adamo that of Combeferre and Michel Delpech that of Feuilly. These 4 are also found on the CD and the 33 rpm. In any case, this afternoon I cried again at the death of Eponine and Gavroche. Simply thank you for this video which is not of excellent quality but which recalls so many memories and emotions.
Vous souvenez-vous vaguement de quoi il ressemblait ou le souvenir s'est-il estompé ?
@@the.official.vision.company Physiquement. Non, pas trop. Ce sont les chansons et la mise en scène que j'ai surtout en mémoire. Sauf Maurice Barrier (Jean Valjean) et Rose Laurens (Fantine) que je revois sur scène. Rose Laurens qui vend ses cheveux, Maurice Barrier et sa voix si grave et une présence scénique qui éclipsait tout. Quel spectacle !
Having been learning french, I can say this original production is far more poetic than what came after in the "Le Miz" we know today. In fact it's quite refreshing.
Really? I'm interested!! Tell me more!
@@chazofalsa Meaning that there is less exposition in the lyrics. Most of the songs are stand alone instead of trying to move the plot forward. I can only surmise this because people of France are so familiar with the storyline that they would know exactly what's going on at any point.
Yeah, there was something in this that I just like better than the other versions. The songs about love and happiness just felt more, true I guess
@@JoeyArmstrong2800 precisely; for the French, Les Misérables and Hugo are national treasures so this version is presenting poetic familiar tableaus from the novel, which was brilliant for a French audience. Cameron Mackintosh and the RSC knew that the English lyrics needed to strongly convey lhe plot, or else it would likely not be appreciated by an international audience. I'm glad they did as although different, both versions are amazing.
@@Greg_Romford This version just has more atmosphere and the singing is more raw and organic with less slickness; more like the novel I guess.
enjolras sounds clinically depressed i need to give him a hug
Jean Valjean - "Il dort. Quoique le sort fût pour lui bien étrange,
Il vivait. Il mourut quand il n’eut plus son ange.
La chose simplement d’elle-même arriva,
Comme la nuit se fait lorsque le jour s’en va." ~ Les Misérables, Book 9: Supreme Shadow, Supreme Dawn; Chapter VI: The Grass Covers and the Rain Effaces by Victor Hugo.
Rose Laurens was the best Fantine. You can hear the character's struggles throughout her performance. Especially in the original concept cast album.
colliric She was amazing. RIP Mme Laurens.
Agree, amazing Artist and Singer. 🌹
Yes!!! The best Fantine!!
Toujours émouvant d'entendre mon père chanter (Marius/Gilles Buhlmann) Merci !
Merci Jerome que j’ai si bien connu à l’âge de quatre ans! À l’époque de Monte-Cristo. Oui il faut rendre hommage plus souvent au merveilleux chanteur qu’était Gilles Bulhmann.... si tu veux me contacter, Jérôme j’en serais très heureux! www.gerardlecaillon.com
je voudrais savoir si votre père était dans la version cd parce ce n'est pas tout à fait la même orchestration et le son est faible parfois
@@gerardlecaillon2474 Bonjour Gérard :)
@@GramounGG A mon avis non, car je ne l'ai entendu que sur le vinyl, si vous avez le titre n'hésitez pas à le poster le et je pourrai vous dire si c'est lui qui chante
@@jeromebuhlmann719 j'ai compris qu'il y avait la ersion disque et la version scène. pouriez-vous me dire s'l y a la version scène de "charles Gautier" version scène et dites-moi quel âge avait votre père en 2006
Je me rappele en 1999 dans Hotel Club les Colombes a Hammamet en Tunisie d'avoir participer dans une comédie musicale de les misérables j'avais 14 a l'époque , le réalisateur il s'appellait Marc , c'était une superbe d'expérience !!!!! 😍😍😍
Quel bijou, thanks for posting. With the unforgettable voice of Rose Laurens, for me the first and best incarnation of Fantine.
Magic. Pure magic. ❤❤xx
I really love the concept version of les mis since as much as i love the musical it feels like it's become more disneyfined over the years and i honestly hope to see a production that captures the more dark somber tone of the novel.
Wow thank you for this! There are certain things about this production I wish had carried over to the current version(s.)Maybe someday they'll be restored but until then I'm happy to have this.
I love the song melody eponine sings instead of on my own, it’s so beautiful
Merci beaucoup! J'ai trouvé quelques fragments il y a quelques annés, mais cela, c'est formidable !
What an absolute treat to find this here. You are an absolute star for posting. Thanks so much!
I find it very interesting that the French Concept and this official recording begin with “At The End of the Day” instead of the prologues. Maybe that’s why they’re called the prologues, because they were added onto the original concept as the backstory of Jean Valjean that was needed haha. I enjoy both versions so much!
Alain Boublil said that in France there was absolutely no need to tell Valjean's backstory, since the novel was so well known there (he thought it would be "insulting").
Un grand merci pour cette version complète. Je ne connaissais que celle du Cd. J'ai découvert des morceaux merveilleux.
Fascinating. I just love those strings 4:11-4:20 . It is so interesting listening to both the differences and the similarities from how it all began to what we now know.
C'est incroyable de découvrir ce trésor ici. Mille mercis, c'est magnifique.
J'ai grandi avec la version anglaise internationale. Aujourd'hui, en regardant pour la première fois cette version française originale, je trouve que celle-ci, malgré ses défauts, est plus riche, a plus de poigne. Mais peut-être faut-il être français pour l'apprécier ainsi...
I grew up with the international english version. Today, watching for the first time this french original version, i find it richer and more powerful, despite it's few weaknesses. But maybe you have to be french to appreciate it thus...
Et bien, à l'inverse, j'ai eu l'occasion d'entendre la version anglaise, dont j'ignorais totalement l'existence je dois dire, bien après avoir vu la version française montée au début des années 90, au théâtre MOGADOR - théâtre somptueux. Un souvenir incroyable et indélébile de tout : la mise en scène de 91, je crois que c'était 91 ou 93, incroyablement mobile, j'ai même des souvenirs des lumières tellement elles apportaient une part importante à la mise en scène, je n'ai jamais oublié la partition extraordinaire, le niveau ambitieux de tout : les interprètes, les décors... l'interprète d'Eponine... m'a tiré de vrais larmes, comme seul le théâtre ou l'opéra peut le faire, elle était extraordinaire. Oui je comprends ce que vous voulez dire, en français, ça "nous" parle, j'ai toujours ressenti physiquement la version française, là ou la version chantée en anglais est jolie, la version chantée en français parle à nos entrailles. J'envie tout ceux qui verront Les Misérables pour la première fois ! :D
Pour ma part, j'ai su juste après l'avoir en France en français que cette comédie musicale était jouée de façon quasi permanente à Londres et à Broadway.
LP G I'm just listening to it for the first time in French🇫🇷 I'm Spanish. I love your language, it's so pretty 🎶🎵❤ Definitely sounds better in French. Wow! 😃
No necessarily. I don't speak French fluently (though I took 3 years in high school) but I've always loved the original French concept album. This rare recording goes even deeper than what was officially available and it offers us an opportunity to hear how the show existed before it became what it is today. I'm surprised that this recording even exists! :)
Chien Pénible regarde la version 1980 c’est la meilleure les flons flons les paillettes c’est indignes de Victor Hugo de plus ils ne sont pas fichu de respecter les vraies paroles!!!
It is a sublime piece of musical art. It transcends language. Pure joy for the soul. Je l'adore!
O.O Wow, where on earth did you get that? :D The french concept album for itself is so rare ... Thank you for uploading!
j'y étais............... grand souvenir merci
dommage de ne pas l'avoir en vidéo, j'ai assisté au spectacle en direct à l’époque c'était génial
It’s super interesting to hear the French musical theater vocal style…it’s more classically influenced than us Anglophones, but simultaneously uses less “vocal techniques” or stunts than we do. They put emotional delivery and characterization front and center and I love how conversational this sounds. Et dieu merci that they opted for head voice over high belting; I wish and hope for the day when is Americans realize how much better and less distracting it is to do that.
Merci merci merci dear poster ❤️ ❤️ ❤️
Génial extra, que de magnifiques souvenirs pour l'avoir jouer au collège, merci.
J'ai eu la chance d'assister à la 1ère de ce spectacle à Paris en 1980 génial souvenir! merci
Geez, in La Nuit when Fantine sighs after talking through the deal with the lady about her hair... Wow. I felt the pure despair. The Fantine in my production is absolutely wonderful, and I hope she includes the little sigh because it means so much. Also, I find it so weird that Cosette ends Heart Full of Love on a lower note. As Cosette in my production, I have to sing at least four high C's at the very least. Also, Eponine's scream scared me so bad lol.
Thank you. As time has gone by, the soul
has been cut off, bit, by bit.
I like this version better, but the English-version still has a place in my heart
mon disque de chevet, mon opium, mes larmes, ET j' ECOUTE EN SILENCE !
moi aussi
Jean Vallée is perfect as Javert, I can only half make out the lyrics (my high school French is super rusty), but his voice and performance of "Noir ou Blanc" perfectly captures Hugo's depiction of the character as a dogmatic misanthrope.
Funny you should say that because he made a song about Javert called "Javert t'es amoureux" after his time in the musical. Wish he was more well-known, his performance is indeed great.
Thank you so much for posting this, so much rawer and edgy than the Cameron Macintosh one, which I loathe.
Merci. C'est formidable!
This is amazing! I was lucky enough to see the original show in September 1980 in Paris, and have listened to first an audio tape I bought at the performance (long since worn out), and then the CD of the "original concept album" ever since. How did you get this audio, and is there video anywhere?
Was the original show different from the productions we see now?
Hardcore fans of Les Mis will know that the production we know today (based on the original London production in 1985) was sourced from the original Paris production in 1980. Though there was an official recording made available (known as the "Original French Concept"), it was obvious that the recording had a lot of material missing. Anyway, today's French version of Les Mis can be interpreted as a hybrid between the London and original French concept album (e.g. some lyrics from the original still exist yet many have been re-written according to the English lyrics). Anyway, what makes this official recording amazing is that it's the actual 1980 Paris production in most of its entirety! Simply a rare treat!
My god don't we all wish there was a video of the original Paris production. But to have a recording is already so rare! I'm curious how this recording was discovered.
The London version is honestly by far my favorite version. I just love “I Saw Him Once” and I love the voices of the actors.
The London version is honestly by far my favorite version. I just love “I Saw Him Once” and I love the voices of the actors.
I can only pick up a few words I can tell but this is awesome ❤️ #onlyinFrench1
Ah, thank you for this! I have been wondering what was missing in the concept album. And the answer is 'too much'. And wow, did they really make Valjean successfully escape the first time?
Yep. It seems this early version is much more faithful to the source material than later versions.
ALOT! :D
In fact, I'm actually doing my own rewrite of the Les Miserables libretto, with this recording, the 2007 Anime "Shojo Cossette", and the book of course as my inspiration and resource.
In this case, you can say I'm trying to make the show like the novel more, Like when John Ciard (Who also participated in the writing of the Libretto we know now) made his own libretto for Leonard Bernstien's "Candide" by weaving the songs and score into the original plot of Voltaire's original novel.
My main goal will be not only to include character's omitted from the show like Marius's grandfather, Monsiuer Mabuef, Fachevlant, and Gavroche's brothers, as well as other necessary elements from the plot, but also to emphasize on the personality and actions of the characters, like Marius developing his own self being, Cossette trying to build a life and happiness for herself, their initial bond (Which may require some rewriting in their dialogue), etc.
Basically, I'm trying to flesh out the plot of the novel, and emphasise on the theological ideas portrayed in the novel.
(I might even cut ACT 1 before we make it to Paris, and rewrite who sings which lines in "One Day More" so as to preview what's to come in ACT 2. This will help make a development in Cossette's change as she becomes an adult, rather than her just appearing as an adult halfway in ACT 1.)
Speaking of this recording, I always thought a stoic character like Valjean should have a more bass-baritone like voice, and I think the actor in this really nails Valjean's vocal character in the book.
I found that there's actually a play adaptation written by Victor Hugo's son, Charles Hugo, as well! : www.amazon.com/Mis%C3%A9rables-Play-Two-Acts/dp/1434457532
At this point, I've said MORE than enough, but what do you think? :)
How's your libretto rewrite coming along?
@@michaelwilliamybarra2409 how’d it go?
@@benjaminsolliday7645
Hardly much progress I must admit, especially with other things I need to focus on now as a college student whose starting to look for a job/paid internship.
Furthermore, even if I manage to complete a scene, I would then have to study up on how to properly make a viewable link for everyone(and hopefully one that doesn't need a code for access and the like), so I'm afraid I won't be able to share anything for a while.
Although, in terms of musical rewrite projects Hugo related, I have made CONSIDERABLE more progress on my rewrite of the Disney stage adaptation of Hunchback, but even with that I'd face the same listed issues.
Cette version est la meilleure de la volonté du peuple mais je n'ai que 17 ans
I’m so intrigued by the choice to end sur la barricade with the tune of castle on a cloud (or the mon prince song here). I don’t know why they would? to insinuate that their dreams of revolution are a mere fantasy at this point? or maybe it’s just a stylistic choice
i'm guessing it's the fantasy thing, yeah. i actually wish they'd kept something a little more like that in the later version; it would give a lot more resonance to the castle on a cloud motif which i always find pretty insipid. here it sounds so haunting.
maybe an emphasis on childhood? The boys at the barricade were just that. Boys. Cosette was a little girl dreaming of a better life, and that’s what Les Amis were doing except they didn’t get their happy ending
I always wondered why Claude Michel and Alain Boubli never considered doing a film version of the show when it was in Paris still. They had a film director as the director of the show. Robert Houbien (might've misspelled the name) later made a film in 1982 based on the novel.
1) Sadly the French musical theater scene wasn’t/isn’t big enough for it to be produced. This is an expensive show to put on live but even more so on film; sooo many set changes and specialized costumes and HMU and cast members. Considering how small the demand for musicals is in France there wouldn’t be great prospects of ROI, which is really truly the main thing producers care about ~at the end of the day~ 2) Les misérables is a HUGE emblem of French culture, to my knowledge everyone who grew up there know the story inside and out. I really don’t think there’s a parallel in American culture, especially since we constantly remake things or recycle IP. French musical theater ppl understand what this rendition is, but it could very easily backfire-especially since the French are pretty traditional and tend to place culture and/or politics front and center of conversations. So it could not only be a financial disaster but an epically ridiculed flop which could be career ending (or close to it).
As much as I prefer this version, I get why they sold it to the English to translate and let Americans make the movie. I’m pretty sure it’d be impossible for a French film version to be as fleshed out, succe$$ful, and well-received. Triste parce que cette version cru et direct me plait plus que le megamusical des Anglophones
Thank you very much!
By the way, I love your new profile picture. I played this game as Javert and got beaten by the rabbit plush. I am still ashamed.
Firmin de Noblans Ha, yes! What's the deal with that rabbit anyways? Like, what's he supposed to be?
But then again this game has a playable robotic Valjean, so I probably shouldn't think too hard about it.
Le Garde Chiourme speaking of pictures what is your profile picture (man in a top hat)? I like it!
Hi!
It's not a top hat but a shako (military hat, I own one in real life as I am a Napoleonic reenactor). It's a garde-chiourme or "prison guard" like one would find in the prison of Toulon, namely the uniform that Javert has certainly worn as a prison guard.
The full picture: p0.storage.canalblog.com/04/67/978697/90714096_o.jpg
Honestly, as a non French speaker, I’m really curious if there exists a transcription or, even better, a translation for the parts of the show not in the concept album, just to see what has been changed lyrically on its transition to the West End/Broadway
W.B.S. There are several on various forums and blogs - people have collaboratively transcribed it and then translated it too. If you google “la misère, comme une fille publique, dans la rue...” you’ll find it - that is a line from the Marius and Éponine duet after Donnez, Donnez.
@@TheSpinDoctor Do you have any direct links? I tried searching it but all that was relevant to come up was a strange playlist of the concept album
W.B.S. here: ruclips.net/video/PrOHxF_m_aE/видео.html
I’m actually working myself on translating some of the songs that were cut in the English version ^^ even though it has already been done before..
Thomas Thornton There are quite a few blogs with transcriptions and some have translations too. Google Translate is shit for French at best and hopeless for the argot spoken in Les Misérables tbh. You need a native Francophone to help. This thread at Musicals.net gives lyrics for many scenes that are not the same as the concept album (which has lyrics in the booklet in the CD/album case/sleeve and they are widely available online and easy to find) - so you can easily piece it together even if you can’t find a full transcript:
musicals.net/forums/viewtopic.php?f=50&t=77265&sid=97f394ee7891380447fafda17abb4a2f
This blog also has many transcriptions:
geelaw.blog/entries/lesmiz1980-paroles-9/
This is amazing, thank you so much!!!
Thank you!
Cela reste ma comédie musicale préférée, bien que jamais vue sur scène avec des professionnels. J'ai découvert le monde des comédies musicales avec mon collège St Joseph à Wattrelos, si dynamique et emmené largement par le prof de sports Claude Bouquillon, avec les projets fous d'en monter une chaque fin d'année scolaire, d'abord en play-back puis en direct :
1980 : Le Big Bazar (Michel Fugain)
1981 : Mayflower (Eric Charden) avec un bateau de 33m de large en décor !
1982 : Hair (en anglais)
1983 : La Révolution Française Opéra-rock (Claude-Michel Schoenberg). 1er gros morceau, digne d'un show professionnel, 6 scènes différentes, ça venait de partout dans la salle, une immersion totale au sein même du spectacle, juste assis sur son siège. 9 représentations. Dingue.
...
1986 : Terrain vague (une création des profs avec interprétation de reprises diverses en direct avec chorale). Un cran au dessus. Spectacle sélectionné parmi tous les projets pédagogiques des écoles catho de France, et joué à Paris au Pavillon Balthar.
...
1989 : D'une Révolution à l'autre (nouvelle création partant de La Révolution Opéra Rock à Les Misérables pour la révolution industrielle, en passant par Napoléon Bonaparte (Serge Lama). Une méga création de la trame, des textes intermédiaires, de la mise en scène, tout en direct, avec musiciens et chorale, 400 élèves sur scène et quelques profs autant investis, 6 scènes différentes dans la salle polyvalente Roger Salengro. 11 représentations sur 5 jours. Niveau pro avec juste des amateurs ! Que de souvenirs nostalgiques, que d'articles dans les journaux, La Voix Du Nord et Nord Éclair, La Croix notamment.
Les Misérables était en projet. Mon frère Damien était à la technique du groupe Évasion (créé par des anciens élèves au soutien de tous les spectacles de l'école, dont kermesse). Il bénéficiait des enregistrements sur cassettes en avant première en début d'année. Je me délectais à les écouter, les apprenais sans difficulté par coeur). Je rêvais d'être moi aussi sur scène un jour, mais n'osais pas, trop timide pour me lancer comme mes camarades de classe. Alors j'en prenais pleins les yeux en juin, en visualisant le rendu sur scène de ce que j'entendais. J'écoute encore aujourd'hui ces comédies musicales sur mon lecteur de K7 audio ! Je rêvais d'aller voir un jour une comédie musicale à Paris, ou même à Brodway (Les Misérables, Cats, le Fantôme de l'Opéra...) mais mon ex-mari désintéressé n'a jamais validé, ni cherché à me faire un peu plaisir. Aujourd'hui, je suis libérée enfin de son emprise mais ai tout perdu à tous points, ne sais même plus entreprendre quelque projet, juste pour moi enfin, trop cassée et détruite.
Merci, Merci, pour ce post qui me donne des frissons. J'avais la version audio classique de 1980 reprise sur CD, mais n'avais jamais entendu certaines parties.
Et toutes ces paroles et ambiance, qui remontent à l'époque de Victor Hugo, tellement bien retranscrite en 1980 et 1982 par Claude Michel Schoenberg et Alain boublil, et qui raisonnent tant pour moi aujourd'hui en 2022. Notamment : "J'avais rêvé d'une autre vie, mais la vie a tué mes rêves, à peine commencée elle finit...". Avec Starmania, toutes les paroles retracent ma vie déchue par les autres, les mauvaises rencontres bien déguisées en personnes trop bien pour être honnêtes, jouant de ma bienveillance et crédulité.
Thank you, Thank you so much for this soundtrack. Despite the lack of video, the few photos all along the musicals allow our minds to imagine what could have been this show in 1980. So lucky you are those who saw this show in 1980, when I was 10. Technicity helps also to go back to our souvenirs or to feel what we missed in time. Merci à RUclips et à sa communauté ! C'est bien aussi pour ça la technique !
Enjolras: A la volonte du peuple,
Et a la sante du progres,
Remplis ton coeur d'un vin rebelle
Et a demain, l'ami fidele!
Si ton coeur bat aussi fort,
Que le tambour dans le lointain,
C'est que l'espoir existe encore
Pour le genre humain.
Combeferre: Nous ferons un barricade,
Le symbol d'un ere qui commence,
Nous partons en croisade
Au coeur de la terre sainte de France,
Courfeyrac: Nous sommes désormais
Les guerriers d'une armée qui s'avance.
Tous: A la volonte du peuple,
Et a la sante du progres,
Remplis ton coeur d'un vin rebelle
Et a demain, l'ami fidele!
Si ton coeur bat aussi fort,
Que le tambour dans le lointain,
C'est que l'espoir existe encore
Pour le genre humain.
Feuilly: A la volonte du peuple
Je fais don de ma volonte.
S'il faut mourir pour elle,
Moi, je veux etre le premier
Le premier nom grave sur
La marbre monument d'espoir.
Tous: A la volonte du peuple,
Et a la sante du progres,
Remplis ton coeur d'un vin rebelle
Et a demain, l'ami fidele!
Si ton coeur bat aussi fort,
Que le tambour dans le lointain,
C'est que l'espoir existe encore
Pour le genre humain.
Reprise:
A la volonte du peuple,
Dont on n'étouffe jamais la voix,
Et dont le chant renaît toujours
Et dont le chant renaît déjà,
Nous voulons que la lumiere
Déchire le masque de la nuit,
Pour illuminer notre terre
Et changer la vie.
Il viendra le jour glorieux
Ou dans sa marche vers l'idéal
L'homme ira faire le progrès du mal
Au bien, du faux au vrai.
Un rêve peut mourir
Mais on n'enterre jamais l'avenir!
Joignez-vous a la croisade
De ceux qui croient au genre humain?
Pour un seul barricade qui tombe,
Cent autres se leveront demain!
A la volonte du peuple,
Un tambour chante dans le lointain
Qui vient annoncer le grand jour
Et c'est pour demain!
Joignez-vous a la croisade
De ceux qui croient au genre humain?
Pour un seul barricade qui tombe,
Cent autres se leveront demain!
A la volonte du peuple,
Un tambour chante dans le lointain
Qui vient annoncer le grand jour
Et c'est pour demain!
Ah! C'est pour demain!
Translation:
Enjolras: For the will of the people,
And for the health of the progress,
Fill up your heart with rebel wine,
And till tomorrow, faithful friend!
If the beating of your heart
Is as strong as the beating drums,
It means that hope still does exist
For the average man.
Combeferre: We now build the barricade,
The symbol of a new era which dawns,
We leave on a crusade,
To the heart of the land of France.
Courfeyrac: We are henceforth the soldiers
Of an army that will advance!
All: For the will of the people,
And for the health of the progress,
Fill up your heart with rebel wine,
And till tomorrow, faithful friend!
If the beating of your heart
Is as strong as the beating drums,
It means that hope still does exist
For the average man.
Feuilly: For the will of the people,
I am ready to give my will as well.
If some must die for it,
Then I want to be the first,
Whose name shall be written
Upon the monument of hope!
All: For the will of the people,
And for the health of the progress,
Fill up your heart with rebel wine,
And till tomorrow, faithful friend!
If the beating of your heart
Is as strong as the beating drums,
It means that hope still does exist
For the average man.
Reprise:
For the will of the people,
None can extinguish our voice,
And so the song will ring out forever
As it had so long before,
We wish that our light will
Penetrate the mask of night,
To illuminate our land
And to change our lives.
The glorious day will come,
When on its way to the ideal,
Mankind will progress from evil to good
And from falsehoods to truth,
A dream may yet die,
But hope lives on forever!
Will you join in our crusade,
Of those with hopes for humanity?
For every fallen barricade,
One hundred more will rise again,
For the will of the people,
We hear the sound of distant drums,
Announcing the future that they bring
When tomorrow comes!
Will you join in our crusade,
Of those with hopes for humanity?
For every fallen barricade,
One hundred more will rise again,
For the will of the people,
We hear the sound of distant drums,
Announcing the future that they bring
When tomorrow comes!
Ah! Tomorrow comes!
It's funny how the heist number is entirely instrumental until Éponine screams. Wish they kept that.
But then we wouldn’t get “don’t you know your own daughter!” That always makes me laugh. So random.
Amazing
The lyrics are slightly different. And on my own is sung by fantine not eponine in the original French version.
Merci
il est sorti a l epoque en 33 tours que j ai de l époque , mais je sais qu a l époque a paris ils vendaient la vhs !! a la sortie et j aimerais bien la retrouvée
How do you have this? It's remarkable. Thank you.
Perfect!
"Noir ou Blanc" certainly improved by the time they recorded the album.
@The VISION Company Thanks! I just assumed that this was edited down into the album. Appreciate the insight!
Do you have the Matrix file for this audio?
I want to remaster this audio
Old French music creeps me out for some reason...
I'm so confused, did the barricade boys die or did they just.. disappear.
They died
I know, but where's the death scene? IT kind of just jumps straight from Gavroche's death to Marius and his grandfather
Something I just don't understand in this version (At least it doesn't make sense to me) it's in Gavroche's death scene. I mean, how come can Javert be still alive in that sequence? Or could it happen after Javert's Suicide and not before? I really need some context here.
The movie (I know not faithful necessarily) but it has Gavroche dying before Javerts suicide.
@@msb4838 Well, in both, the movie and the musical’s modern version Gavroche dies before Javert does. But in this first version it looks like Gavroche dies after Javert commits suicide, but it’s too weird because in Gavroche’s death scene we can hear Javert talking to him for a moment.
okay so i love it!! also, maybe sbd here could help me - i struggle with finding french versions of popular musicals (that werent originally written in french) and it makes me sad bc i really wanted to practice the language by listening to some shows that i already know. and im able to find songs from almost any musical in my native language, even though its much less "popular" then french. i would really looooove to listen to some songs that i know (so that i would understand what they're about) while learning new vocab. do u maybe have some links? anything that was on brodway will do actually :')
What was with Valjean screaming after he dies? Did he go to Hell?
Maybe he had a stroke.
Right? Sounds like he's being murdered. A jarring end to a great production.
Il a aconit
the scream at the end is genuinely kind of funny to me, it's just so comedically out of the blue
@@JoeyArmstrong2800Javert: I survived my fall! Get wrekt, 24601
1:40:00 A Little Fall of Rain
I wish this had subtitles
man, i wouldn't want to transcribe 2 hours of musical either
2:18:07 ?
Did this production not have Eponine's On My Own? Sorry, just curious.
Kind of, instead of Éponine being the one singing it it's Fantine.
In the original version, Eponine song was not ”on my own” (with other lyrics, it was ”La misère” sung by Fantine, here the second song) but ”l'un vers l'autre ”. This song has been erased from the show in later versions and replaced by on my own (which was given to Eponine).
@@emmanuelfani5385 l'un vers l'autre is a better song in my opinion.
@@JoeyArmstrong2800 you're maybe right, I can't choose, I love both. But they picked up On My Own because it was a stronger theme for the musical on stage, a showstopper.
@@emmanuelfani5385 Maybe after hearing "On My Own" for the 800th million time it starts to get on my nerves. l'un vers l'autre is simple with a hauntingly beautiful melody much more fitting for Eponine's character but I guess Act II needed a show stopper.
where can I buy this?
x
Existe-t-il une vidéo?
Lone Wolf non hélas à part si quelques spectateurs de l’époque ont filmé.
Voici un reportage de l'époque avant la première en coulisses avec 3 extraits du spectacle, et les interviews de Robert Hossein, Alain Boublil et Claude-Michel Schönberg : ruclips.net/video/H-7SeXDhacg/видео.html
Déçue de voir que c'est pas toujours les mêmes chanteurs que sur le disque
C'est dommage que sur le disque ce ne soit pas ceux qui étaient sur scène...