WHY SHOUT SO LOUD?

My enjoyment of Bonne Amourette was spoiled by whoever from the audience was singing along near the camera mic. And I found Rene's performance on Li Jorn and De Aspis too theatrical by far, drawing (unintentionally, I am sure of that) attention to himself rather than the piece he was performing. But that's my personal view, others may feel different.

Rene is credited with the revival of the hurdy-gurdy, but I would not call him a master of it; others have surpassed him. Which is OK by Rene, I am sure, as it is not technical mastery he was ever after, but avande-garde performance and composition.