Sophie Térol et Michel Glasko


Funny, mischievous, original, a little loony, Sophie Térol embodies it all.  Comparisons aside, this tiny little woman, when it’s all said and done, is simply herself, her universe overflowing with imagination.  She describes life’s big problems and small catastrophes with a scathing and poetic style that bewitches us both by its impishness and its whimsy.
Sophie Bonnel

The Artists

Sophie Térol
The extraordinary UFO of France’s nouvelle chanson, Sophie Térol is a tiny little woman, sweet and energetic, the rightful heiress to Marie-Paule Belle, Barbara, as well as to Bobby Lapointe.  But it is only bits she borrows from these her angels, for in her repertory as in her style, Sophie Terol takes after no one.

And yet her songs spontaneously sound familiar to us.  Almost as though, even before we hear and discover them, we know them already.  Depicting the small dramas of life and love, her songs are an irresistible gallery of mini-portraits.  Using neither pretence nor artifice, Sophie adapts herself instantly to her texts and characters, a true singer-chameleon with an elusive face.

Husky or light, caustic or lyrical, her voice stabs the listener who is surprised, ravished, moved, touched, overwhelmed, and wholly unable to leave this fascinating universe unscathed.

Michel Glasko
His first instrument is the very demanding cello before converting whole-heartedly to the accordion.  This new adventure takes him to the best cabarets of Paris where he accompanies a good number of singers.  From 1999 to 2001, for more than 700 performances, Michel Glasko plays the accordion – and his body – in the Muriel Hermine aquatic show Crescend’O.  These diverse worlds – from classical to tango, from pop music and rock ‘n roll to Erik Satie – make him one exceptional accordion player.

Press coverage

First of all, Sophie Térol enjoys wordplay.  She begins with the Père Lachaise cemetery, or how to want to laugh in mortifying circumstances.  Finely balancing her sense of humor, Térol woos and sings at torrential speed about Uncle Paulie’s problems.  More than in her preceding show, she here adds tender and serious moments that occasionally make us ache.  At that moment, the tone of this young woman’s voice is that of a sensuous song of the night.  It is impeccable.
Le Monde, Sylvain Siclier

She is being noticed as one of today’s most striking personalities, capable of both delicious and zany outrageousness as unspeakably sad meditations on love and very literary introspections as very lively sketches on emotional reality. We’re left with smiles because she knows how to make us laugh – a slant rarely taken in la chanson française.
Le Figaro, Bertrand Dicale

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