Christophe Rousset is one of the finest and most exciting harpsichordists, and as a conductor is a leader in the late 20th century revival of French Baroque music. After studying piano as a boy, he became deeply interested in the harpsichord at the age of 13. He studied with Huguette Dreyfus at the Schola Cantorum in Paris and, from 1980 to 1983, with Bob van Asperen at the Royal Conservatory of the Hague. He won a special certificate of distinction at the Schola Cantorum and, in 1983, the first prize at the International Harpsichord Competition in Bruges. He began a professional career, in which he rose quickly in the ranks of the world's harpsichordists. He soon appeared at some of the most prestigious early music festivals, including those of Aix-en-Provence, Saintes, Veaune, Utrecht, La Roque d'Anthéron, and Les Printemps des Arts de Nantes. He recorded for the Decca record label and its early music imprint L'Oiseau-Lyre. His recording of the Piéces de clavecin of Rameau won the 1992 Gramophone Award for Best Baroque Non-Vocal Release and the Belgian Cecilia Prize. During this time as a specialist in Baroque harpsichord, he often performed the harpsichord continuo parts in ensemble music. For the most part in the Baroque era, ensembles were led by the harpsichordist. Thus it was natural that Rousset's harpsichord appearances with such established authentic instrument ensembles as La Petite Bande, Musica Antique de Cologne, the Academy of Ancient Music, Il Seminario Musicale, and Les Arts Florisants led him to an interest in leading a Baroque ensemble. In 1991, he founded such a group, which he named Les Talens Lyrics. This title is taken from a 1739 collection of compositions by Jean-Philippe Rameau. The group was primarily interested in reviving French Baroque music, but it also intended to explore the connections between the distinct national styles of France and the other major European nations of the Baroque era (including England). In particular, Rousset and Les Talens explore the vital interchange of music that took place between France and the Kingdom of Naples. The group is flexible in size. It may include as little as five singers and players for a performance of court vocal works, or up to 40 for opera and oratorio. An important introduction of Les Talens came in 1993 at the Festival de Beaune, when theyh performed Scipione by Handel. The same year they presented L'incoronazione di Poppea of Monteverdi at the Amsterdam Opera. They have also played ballets and operas of Cimarosa, Berutti, de Mondonville. They have recorded Henry du Mont's Motets en dialogue, Jean-Marie Leclair's trios, Handel's Scipione and Richard the First, Jommelli's Armida Abbandonata, ouvertures of Rameau, and the soundtrack for the movie Farinelli, whose subject was one of the leading castrato singers of the Baroque. The Farinelli soundtrack had extraordinary sales for an early music classical release, selling well over 600,000 copies worldwide. Les Talens Lyriques plans to track the Neapolitan-Parisian connection up to the time of the emergence of Rossini. In 2000, Rousset moved a step toward that by conducting Mozart's Mitridate at the Opéra National de Lyon. In 2004 he was honored by the French government as Officier des Arts et Lettres, and “Chevalier dans l’Ordre National du Mérite.”
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Classical - Released November 5, 2013 | Aparté
Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Exceptional Sound Productions - Hi-Res Audio
Chamber Music - Released March 6, 2012 | Ambronay
Hi-Res Booklet Distinctions Pianiste Maestro - Choc de Classica - Hi-Res Audio
This recording by fine French harpsichordist Christophe Rousset exposes some music from beyond the famous names of the French Baroque. The central attraction is a pair of suites and three characteristic pieces by Louis Marchand, an organist at Versailles who is famous in musical history for having supposedly ducked an organ duel with J.S. Bach. His two suites recorded here were composed in 1702 and 1706, and thus are almost contemporary with the early Rameau Suite in A minor (1706), from his first book of keyboard suites. All the suites consist of a rhythmically free, quasi-improvised prelude followed by a series of stylized dances; three short character pieces by Marchand are also included as a sort of entr'acte. Nevertheless, the music by Marchand and that by Rameau make diametrically different impressions stylistically, and Rousset plays these differences to the hilt. The pieces by Marchand reside low on the keyboard; they have gravity and soberness and they look back to the golden age of the 17th century French courts. The Rameau suite, early though it is, offers a perfect specimen of his style: it is muscular and harmonically inventive, often proceeding in dense bricks of chords. The result is a program that brings French Baroque keyboard music alive, aided by a mighty instrument: a 1716 Donzélague two-manual harpsichord with an extended bottom range. Highly recommended for Baroque keyboard fans.
Classical - Released September 1, 2017 | Aparté
Hi-Res Booklet Distinctions Gramophone Record of the Month - Choc de Classica
Christophe Rousset and the Talens Lyriques bring us to the stage of the Royal Academy of Music where Pygmalion, an act of ballet by Jean-Philippe Rameau inspired by an episode of Ovid’s Metamorphoses, was created in 1748. Love, showing empathy for Pygmalion’s despair of loving a statue, invigorates the sculpted woman who immediately falls in love with her creator. Very suggestive, the music of this tender and mischievous ballet deploys the grace of 18th century dances. Like Ovid’s Love, Christophe Rousset instils life in this score, one of Rameau’s greatest successes in his day, and offers us, thanks to his sense of drama and his impeccable leadership, a new and essential reading of this ballet. © Aparté
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