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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
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Classical - Released October 16, 2012 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - Exceptional Sound Productions - Hi-Res Audio
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Full Operas - Released January 25, 2011 | Aparté

Hi-Res Booklet Distinctions 4F de Télérama - Diapason découverte - Choc de Classica - Hi-Res Audio
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Classical - Released October 16, 2012 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - Exceptional Sound Productions - Hi-Res Audio
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Classical - Released October 16, 2013 | Aparté

Hi-Res Booklet Distinctions 4F de Télérama - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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Classical - Released November 4, 2010 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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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.
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Opera - Released September 22, 2014 | Aparté

Hi-Res Booklet Distinctions 4F de Télérama - Diamant d'Opéra - Choc de Classica
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Opera - Released September 22, 2014 | Aparté

Hi-Res Booklet Distinctions 4F de Télérama - Diamant d'Opéra - Choc de Classica - 5 Sterne Fono Forum Klassik
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Chamber Music - Released June 23, 2010 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - Hi-Res Audio
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Full Operas - Released October 22, 2012 | Aparté

Hi-Res Booklet Distinctions 4 étoiles Classica - Hi-Res Audio
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Full Operas - Released October 16, 2012 | Aparté

Hi-Res Booklet Distinctions 4 étoiles Classica - Hi-Res Audio
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Full Operas - Released March 24, 2017 | Aparté

Hi-Res Booklet Distinctions 4F de Télérama - Gramophone Editor's Choice
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Cantatas (secular) - Released September 9, 2016 | Aparté

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik
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Full Operas - Released August 26, 2015 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Choc Classica de l'année
In 1745, the King of France granted Jean-Philippe Rameau the title of ‘Composer to the Court’, coupled with a healthy pension. This new period produced pieces of a much lighter character, with Rameau working alongside the librettist Louis de Cahusac, and the resulting collaborations are now counted amongst the Burgundian musician’s greatest masterpieces. Zaïs was presented on the stage of the Royal Academy of Music in 1748. This heroic ballet offers French music some of its most beautiful movements, both vocally and instrumentally. The entire work is a meditation on its famous opening chaos, and succeeds, surprisingly, through its theatrical stamp and in the audacity of the writing. The plot is, perhaps, tenuous – a lover (Zaïs) is in the throes of affection for his beloved (Zélidie), determining to cherish her – which serves as the pretext for endless entertainment, dancing, and the work’s magical character. Today, it remains surprising that a work as sumptuous as Rameau’s Zaïs is neglected in favour of the Indes Galantes or Hippolyte et Aricie. It is paradoxical, then, that in 1970 Gustav would combine the small amount of French music he truly appreciated with a reassessment of the beauties of this work. Gustav created a fascinating recording with La Petite Bande Sigiswald Kuijken (STIL), which has now become a true rarity, despite its questionable vocalists. Happily for us, Christophe Rousset, who cherishes Rameaus’s older work, has dedicated himself to it, and offers us this gorgeously captured rendition, with French singers working under the direction of his sharp and witty leadership. The opening of the Les Talens Lyriques recital is far more vivid than anything that has been achieved in over twenty years for L’Oiseau-Lyre, in which the Ouverture immediately sets the tone. Rousset completely captures the brilliance of the score, and his imagination – which here seems insatiable – liberates his singers, who are boundlessly invested in this work; complicit in a musical resurrection. An enchantment of sorts? No. A whirlwind, rather. © Qobuz