Gathered around Saint-Saëns' Danse macabre, you'll discover an unknown aspect of the French melodie of the Fin-de-siecle. Based on sometimes very intimate text by rimbaud, Baudelaire or Verhaeren, among others, these crepuscular works externalized, one century ago already, the existential malaise of the mankind facing the progress. The rare contralto tone of Sarah Laulan, laureate at prestigious Queen Elisabeth International Competition and at the Geneva International Competition, and associated artist at the Queen Elisabeth Music Chapel, serve the ambiguity of these melodies, that deploy by turns onirism, darkness, but also humor, provocation and cynicism.