She was born in Avignon, Vaucluse, France, the oldest daughter of a poor family of fourteen children. She began singing as a small child, appearing in public at the age of four, singing in her church. As a young girl she worked in a factory, where she saved her money to pay for singing lessons.
Discovered by Johnny Stark, manager of France's biggest star at the time, Johnny Hallyday, she was tutored by orchestra leader Paul Mauriat and song writer André Pascal who wrote "Mon crédo", "Viens dans ma rue", "La première étoile" and many other hits for her . After her television performance in 1965 and debut run at the Paris Olympia, she was immediately hailed as the next Édith Piaf, such was her haunting voice.
Singles such as "Mon Credo" and "C'est Ton Nom" made her a huge star in France and all over Europe while making her a big success in North America and Mexico. Her French cover of Engelbert Humperdinck's "The Last Waltz" generated much publicity in Great Britain and with hit after hit, she soon toured Canada and the United States where she appeared on the Ed Sullivan Show and the Danny Kaye Show. In Las Vegas, she sang with Dean Martin and Frank Sinatra to great applause.
Still much in demand, she continues to perform regularly. She travels frequently, appearing at such venues as New York City's Carnegie Hall, Sport Palace in Montreal, Universal Amphitheatre in Los Angeles and Ice Palace of St. Petersburg. She has sold about 150 million copies of her albums in her 40 year career, recorded about 1200 songs in 9 languages, and was the first western singer in history who gave concerts in China. Over the years she sang duets with such luminaries as Charles Aznavour, Barry Manilow, Paul Anka, Plácido Domingo, Julio Iglesias, Tom Jones and others.
Songs such as "Acropolis adieu," "Ne me quitte pas," and "Santa Maria de la mer," are considered classics. Her French version of Roy Orbison's ballad, "Blue Bayou", is regarded by many as one of the best covers of that popular song.
In 1989, President François Mitterrand invited Mireille Mathieu to sing a tribute to General de Gaulle. She gave a series of concerts at the Palais des Congrès in Paris in December 1990. Three years later, she released an album devoted to her all-time idol, Édith Piaf.
In January 1996, "Vous lui direz…" was released. Maxime le Forestier wrote one of the titles, "A la moitié de la distance". She did not choose to perform live in France to promote the album, preferring rather to go to Los Angeles USA, where she triumphed on November 14th with her vibrant tribute to another of her idols, Judy Garland. The performance was a tremendous success she was dressed by Provence couturier, Christian Lacroix and looked stunning for the performance. [1]
In 2002, she released her 37th French album De tes mains. Mathieu celebrated the 40th anniversary of her career at the Paris Olympia, in November 2005, after releasing her 38th French album, which reached number 14 on the charts in France (it remained in the top 100 for several months).
Jezebel
Mireille Mathieu Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ce démon qui brûlait mon cœur
Cet ange qui séchait mes pleurs
C'était toi, Jezebel, c'était toi
Ces larmes transpercées de joie
Jezebel, c'était toi, Jezebel, c'était toi
Mais l'amour s'est anéanti
Écrasant, piétinant, emportant mon cœur
Jezebel, mais pour toi
Je ferais le tour de la terre
J'irais jusqu'au fond des enfers
Où es-tu, Jezebel, où es-tu?
Les souvenirs que l'on croit fanés
Sont des êtres vivants
Avec des yeux de morts vibrants encore de passé
Mais mon cœur est crevé d'obsession.
Il bat en répétant
Tout au fond de moi-même
Ce mot que j'aime
Ton nom
Jezebel, Jezebel
Mais l'amour s'est anéanti
Tout s'est écroulé sur ma vie
Écrasant, piétinant, emportant mon cœur
Jezebel, mais pour toi
Je ferais le tour de la terre
J'irais jusqu'au fond des enfers
En criant sans répit
Jour et nuit
Jezebel, Jezebel
Jezebel
The lyrics of Mireille Mathieu's song "Jezebel" explore the complex emotions of a person who has been deeply hurt and betrayed by someone they loved. The song opens with the line "Jezebel, Jezebel / This demon that burned my heart / This angel that dried my tears / It was you, Jezebel, it was you." Here, the singer is addressing the person who caused them pain, referring to them as both a demon and an angel, reflecting the mixed emotions they feel towards this individual.
The chorus of the song repeats the name "Jezebel" several times and conveys the idea that even though the singer has been hurt, they still feel a strong connection to this person. They say that they would go to the ends of the earth and even to the depths of hell for them. The verses and chorus together create a portrait of a person unable to move past the pain that their love for Jezebel has caused them, even while recognizing that the relationship is likely over.
The bridge of the song brings in an interesting metaphor, likening memories to "living beings." The singer acknowledges that memories of Jezebel are still very much alive within them, and that their heart is consumed with obsession, with their name repeating over and over.
Overall, "Jezebel" is a powerful exploration of love, betrayal, and the all-consuming emotions that can come with heartbreak.
Line by Line Meaning
Jezebel, Jezebel
The name Jezebel is repeated, presumably calling out to the person or entity represented by the name.
Ce démon qui brûlait mon cœur
Referring to Jezebel as a demon that ignited the singer's heart, suggesting intense passion or infatuation.
Cet ange qui séchait mes pleurs
Following with a conflicting metaphor, calling Jezebel an angel that dried the singer's tears, suggesting some kind of nurturing or comforting presence.
C'était toi, Jezebel, c'était toi
Reiterating that this person or entity named Jezebel is responsible for these strong emotions and experiences in the artist's life.
Ces larmes transpercées de joie
Describing tears of joy, suggesting that the emotions associated with Jezebel are intense but ultimately positive.
Mais l'amour s'est anéanti
But love has been destroyed, indicating that something has changed in the relationship between the singer and Jezebel.
Tout s'est écroulé sur ma vie
Everything has collapsed in my life, suggesting that whatever relationship the singer had with Jezebel was a crucial part of their life and identity.
Écrasant, piétinant, emportant mon cœur
Emphasizing the destructive force that has affected the artist's heart, using vivid verbs like crushing, trampling, and carrying away.
Jezebel, mais pour toi
Jezebel, but for you, indicating that despite the destruction and pain caused by their relationship, the artist still has feelings for Jezebel.
Je ferais le tour de la terre
I would travel around the earth, expressing the lengths the artist would go to for Jezebel's sake.
J'irais jusqu'au fond des enfers
I would go to the depths of hell, continuing to emphasize the extreme measures the singer would take.
Où es-tu, Jezebel, où es-tu?
Where are you, Jezebel, where are you? Pleading for the whereabouts of Jezebel suggests that the artist's feelings are unresolved and searching.
Les souvenirs que l'on croit fanés
The memories that we think have faded, acknowledging the persistence of memories and emotions associated with Jezebel.
Sont des êtres vivants
Are living beings, giving the memories a sense of agency and power over the singer's life.
Avec des yeux de morts vibrants encore de passé
With vibrant dead eyes still filled with the past, creating a vivid and eerie image of memories that refuse to die.
Mais mon cœur est crevé d'obsession.
But my heart is bursting with obsession, implying that the artist's emotions for Jezebel are all-consuming and unhealthy.
Il bat en répétant
It beats, repeating, suggesting that the artist's obsession has taken over not just their emotions, but their physical body as well.
Tout au fond de moi-même
Deep down inside me, illustrating the depth and intensity of the singer's feelings.
Ce mot que j'aime
This word that I love, hinting that the singer is not just obsessing over Jezebel, but specifically the name or the idea of her.
Ton nom
Your name, bringing the song back to the repeated call for Jezebel and the impact she has had on the artist's life.
En criant sans répit
By shouting without respite, emphasizing the intensity and desperation of the artist's emotions.
Jour et nuit
Day and night, emphasizing that these feelings are constant and unrelenting.
Jezebel, Jezebel, Jezebel
Calling out to Jezebel one last time, perhaps to finally resolve these feelings or to just acknowledge their impact on the singer's life.
Lyrics © Warner Chappell Music, Inc.
Written by: Wayne Shanklin
Lyrics Licensed & Provided by LyricFind
MeMo35andmyelfe
Wow - I LOVE Mireille - What a voice, what a woman !!!!!! I only knew and love this song by Frankie Laine - and now THIS - wow wow wow!!!!! THANK YOU Mireille and NosSouvenirs !!!!!
Isaiah Johnston
Exceptional voice, gorgeous lady!!!!
José Gonçalo de Jesus
MRELLE, FABULOSA, ESSA PALAVRA DIZ TUDO DELA
Fortunato Campagni
Carla Honi jesebek
Myriemah Bethy
Splendide reprise de l'irremplaçable et inoubliable Edith Piaf. Merci Mireille.
bhaggen
My parents used to play a similar style of this in the 60s; I remember very little French but this version really ROCKS! Gotta find the CD
Lorem Souza Carvalho
inigualável em tudo voz classe beleza
Cristina Lopo
Unica, insurmontable, sublime, bravo Mireille !!!
Dany Fouquet
Superbe! Elle apporte un côté mystérieux à cette chanson qui est intemporelle
se alain
La musique a été plus soignée qu'avec Edith