It was at the Haute École de Musique de Genève (where he studied with Nathalie Stutzmann) that countertenor Jonas Descotte founded Les Argonautes, an ensemble specialising in Baroque music. Although Descotte structures the core of the interpretations, he aims to give his musicians maximum musical freedom in their search for meaningful detail.The name of his ensemble wasn’t chosen at random. It pays homage to the Argos—celebrated as the first ship to sail the seas—and refers to his own family's six-year epic voyage around the Atlantic on a catamaran. The story behind the Argonauts seems to be a perfect metaphor for the philosophy of the ensemble and its leader's own experience: strong-willed heroes with their own individual achievements, whose resources are channelled and are themselves guided by Jonas.Jonas Descotte and his Argonauts have crossed the Channel, at least symbolically, for this very lively version of Dido and Aeneas, which is considered to be the first opera, or semi-opera, composed in England. Recorded in Geneva at the Temple de Chêne-Bougeries in 2021, Purcell's masterpiece condenses the full range of human emotion into less than an hour, employing multiple forms and combining comedy with tragedy. Jonas Descottes has constructed his programme judiciously and follows this short opera with extracts from Circe, where the evocation of hell provides an excellent epilogue to the tragedy of the lovers of Carthage. © François Hudry/Qobuz

The musical world owes a debt of gratitude to French conductor Christophe Rousset not only for the vital, exquisite performances he delivers with the ensembles Les Talens Lyriques and Choeur de Chambre de Namur, but for his work in bringing to light neglected masterpieces of Baroque opera. Lully's Bellérophon, premiered in 1679, was a huge success in its time, with an initial run of nine months. Part of its popularity was doubtless due to the parallels that could be drawn between its plot and certain recent exploits of Louis XV, but even the earliest critics recognized the score's uniqueness and exceptional quality within Lully's oeuvre, so it's perhaps surprising that it has never been recorded before. The distinctiveness of the music was likely a result at least in part of the fact that Lully's preferred librettist Philippe Quinault was out of favor at the court of Louis XV at the time, so the composer turned to Thomas Corneille for the libretto, and Corneille's literary and dramatic styles were so different from Quinault's that Lully was nudged out of his comfort zone and had to develop new solutions to questions of structure and the marrying of music to text. It is the first opera for which Lully composed fully accompanied recitatives, and that alone gives it a textural richness that surpasses his earlier works. The composer also allows soloists to sing together, something that was still a rarity in Baroque opera. There are several duets and larger ensembles; the love duet, "Que tout parle à l'envie de notre amour extreme!," is a ravishing expression of passion and happiness, as rhapsodic as anything in 19th century Italian opera. The level of musical inventiveness throughout is exceptional even for Lully; the expressiveness of the recitatives, the charm of the instrumental interludes, the originality of the choruses, and the limpid loveliness of the airs make this an opera that demands attention. Rousset and his forces give an outstanding performance that's exuberantly spirited, musically polished, rhythmically springy, and charged with dramatic urgency. The soloists are consistently of the highest order. Cyril Auvity brings a large, virile, passionate tenor to the title role and Céline Scheen is warmly lyrical as his lover Philonoë. Ingrid Perruche is fiercely powerful as the villain, Stéenobée, and Jean Teitgen is a secure, authoritative Apollo. Soloists, chorus, and orchestra are fluent in the subtle inflections of French middle Baroque ornamentation. The sound of the live recording is very fine, with a clean, immediate, realistic ambience. This is a release that fans of Baroque opera will not want to miss. Highly recommended. © TiVo

In the program notes for this recording of Dido and Aeneas, conductor Leonardo García Alarcón makes a persuasive scholarly and analytical case for his many unconventional performance choices, but listeners should be forewarned that this is not a version of the opera for the faint of heart or for committed traditionalists. Most noticeably, this performance, which features the Geneva-based ensembles La Nouvelle Ménestrandie and Cappella Mediterranea, makes Dido and Aeneas seem like a very big opera, something on the order of Il Trovatore in its wrenching intensity, if not in its length. Alarcón's augmentation of the orchestra with oboes and bassoons doubling the strings in some places, as he argues Purcell would have done, is partly accountable for its enlarged sense of scale. Equally significant is the ferocity with which both the singers and players tear into their parts and the extremity of some of the characterizations. Dido and the Sorceress, for instance, express their anguish and hatred, respectively, by bending pitches to a degree rarely heard in "classical" music settings, and the Witches sing in creaky, crone-like character voices. It should be remembered that "baroque" was originally a term of derision meaning something misshapen or distorted, the equivalent of wagging the finger and saying, "you've gone too far this time!" That may be exactly the reaction of some listeners, but whether you're appalled or beguiled, this is a Dido and Aeneas that's likely to keep you on the edge of your seat with suspense. Few performances of the opera have so clearly delineated its arch-shaped trajectory; it opens with Dido lamenting the possibility of Aeneas' inconstancy and ends with her lamenting its actuality, and in this recording just about everything that transpires between the laments happens at a fever pitch of musical and dramatic tension. The fact that Alarcón is able to create and sustain the performance's intensity is a testimony not only to his vision and skill but to the willingness of the musicians to throw themselves so wholeheartedly into the venture. Every role, even the smallest, demonstrates the singers' investment in their parts. They all sing beautifully and powerfully, and manage to convey a verismo-like theatricality while operating (more or less) within the bounds of accepted Baroque performance practice. Aeneas can easily come across as a cipher, but Alejandro Meerapfel gives him substance, someone about whom the Queen of Carthage could believably get worked up. Countertenor Fabián Schofrin is a weird, sinister Sorceress. As Belinda, Yeree Suh sings with exceptional warmth, clarity, and sweetness. Solenn' Lavanant Linke's soprano is sumptuous and creamy, and she makes a regal but womanly Dido. The orchestra plays with aching expressivity and the continuo realizations are marvelously inventive. The recording is vividly present and is miked at a high level for a classical album, which also contributes to its unusually large sense of scale. Highly recommended.© TiVo

The only true Purcell opera – the others considered to be semi-operas, a format closer to musical theatre – Dido & Aeneas is a masterpiece that offers such musical density that the piece was destined to radically influence the tastes of English society, which quickly embraced the arrival of entirely sung operas. The work was created in London in 1896, in a version that was surely more complete than the one that we possess today, according to the libretto by Nahum Tate which mentions a prologue of music that has since been lost. Taking on the myth of The Aeneid, the opera is a loose adaptation of Book IV of the work by Virgil. The British ensemble La Nuova Musica – whose recording of Couperin’s “Tenebrae Readings for Holy Wednesday” on harmonia mundi we so admired in 2016 – offers us a luminous and balanced version of the work, accompanied by a cast of top-notch soloists, Fleur Barron and Matthew Brook being first in line. A record released by PentaTone, this sneak preview is presented exclusively by Qobuz for download until September 21, 2023. © Pierre Lamy/Qobuz

Backed by the Sun King despite a lukewarm audience reception at first, Lully's Atys (1676) went on to become one of the composer's most successful operas, with revivals at French court theaters as late as 1753. In modern times, however, it is a considerably rarer item due to the massive forces and time required. Christophe Rousset was in the pit as harpsichordist when conductor William Christie gave the first modern revival of the work in the late '80s. That experience marks this 2024 release, which made classical best-seller lists at the beginning of that year. That is not common for a hefty five-act Baroque opera, but even a bit of sampling will confirm why it happened: Rousset, from the keyboard, brings tremendous energy to the opera. He pushes the tempo in the numerous dances and entrance numbers, and the musicians of Les Talens Lyriques and the singers of the Choeur du Chambre de Namur, all of whom have worked closely with Rousset in the past, keep right up. The singers in the solo roles are all fine; haut-contre Reinoud Van Mechelen in the title role and Ambroisine Bré as the goddess Cybèle, who sets the tragic plot in motion, are standouts. The sound from the increasingly engineering-expert Château de Versailles label is exceptionally clear in complex textures, and the sensuous cover art (representing, it is true, not the Roman mythological figure of Atys but Hippomène and Atalante) is a bonus. In the end, this is Rousset's Atys, and that is a very good thing.© James Manheim /TiVo

Violist Lionel Tertis and cellist Pablo Casals were both born on December 29, 1876. They were friends, and both did much to popularize and attract repertory to their respective instruments. It was a good day to be born, for both lived into their late nineties. Tertis is a familiar-enough figure among string players and aficionados of the early 20th century British scene, but he deserved the tribute that violist Timothy Ridout (who has already recorded Tertis' transcription of the Walton Cello Concerto for viola) offers here. Tertis is not well represented on recordings, so it is not really clear to what degree Ridout replicates his style. (Certainly, it does to some degree; Tertis' influence on British viola teaching was and remains deep.) Yet the program represents his activities in an engaging way. Although Arnold Bax wrote a good deal of music for Tertis, there is nothing by him here; perhaps another album is on the way, but there is a good deal of music that is not widely available elsewhere, certainly not in one place. There are attractive miniatures by Tertis himself, a variety of transcriptions he made of well-known pieces, and a genuine oddity, an obbligato part for the first movement of Beethoven's "Moonlight" Sonata. There are three more substantial works, the Viola Sonata No. 1 in C minor, Op. 18 by York Bowen; the viola version of Vaughan Williams' Six Studies in English Folk Song; and the Viola Sonata of Rebecca Clarke. The last two were not written for Tertis, but Clarke was a fine violist herself, and nothing seems out of place. The Clarke work, skillfully exploiting the viola's lower reaches, is especially nicely done. A must for violists, this is of interest to any lover of 20th century English music, and it made classical best-seller charts in early 2024.© James Manheim /TiVo

One might react to this album with initial annoyance and ask whether it is really necessary to hear orchestrated versions of Schubert's supremely pianistic songs. It may come as a surprise, then, to find that most of these Lieder with Orchestra were arranged by great composers. They include Benjamin Britten, Jacques Offenbach, and Max Reger, who took on the job because, he said, he hated to hear a piano-accompanied song on an orchestral program. Perhaps the most surprising name to find is that of Anton Webern, but his arrangements are not the minimal, pointillistic things one might expect; he wrote these arrangements as a way of studying Schubert's music, and they are quite straightforward. Indeed, it is somewhat difficult to distinguish the arrangers simply by listening to the music; Schubert's melodic lines tend to suggest distinctive solutions. Perhaps Reger's are a bit more lush than the others, although his version of Erlkönig, D. 328, is one of the few numbers here that just doesn't work (there is no way to replicate the percussive quality of the accompaniment). As for the performances as such, Benjamin Appl is clearly an important rising baritone, and he has a wonderful natural quality in Schubert. An oddball release like this might seem an unusual choice for a singer in early career, but he contributes his own notes, and he seems to have undertaken the project out of genuine enthusiasm for the material. At the very least, he has brought some intriguing pieces out of the archives and given them highly listenable performances. The Munich Radio Orchestra, under the young Oscar Jockel, is suitably restrained and keeps out of Appl's way. This release made classical best-seller lists in the autumn of 2023.© James Manheim /TiVo

The gestation of this project lasted two years. Anna Prohaska and Julius Drake finally concentrated their research on the themes of Eve, Paradise and banishment. Some songs were obvious choices, such as Fauré’s Paradis, in which God appears to Eve and asks her to name each flower and animal, or Purcell’s Sleep, Adam, sleep with its references to Genesis. But Anna Prohaska also wished to illustrate the cliché of the woman who brought original sin into the world and her status as a tempter who leads man astray, as in Brahms’s Salamander, Wolf’s Die Bekehrte or Ravel’s Air du Feu. In Das Paradies und die Peri, Schumann conjures up the image of Syria’s rose-covered plains. Bernstein also transports us to the desert with Silhouette.. John Milton’s seventeenth-century masterpiece Paradise Lost was the inspiration for Charles Ives and Benjamin Britten, also featured in this very rich programme that constitutes an invitation to travel and reflection. © Alpha Classics

Jean-Baptiste Lully's Cadmus & Hermione of 1673 was arguably the first true French opera, telling a tragic story (Lully and his librettist Philippe Quinault called it a tragédie en lyrique), employing Italian-style recitatives, and collecting the varied music and dance forms of Louis XIV's opulent court into a coherent narrative that at once celebrated Louis (he is conflated with Cadmus of Thebes) and moved beyond the ceremonial nature of earlier French dramatic music. It's a sprawling work, with five acts, an overture, and a sizable Prologue with its own overture; highlights include a dragon that eats Africans, a monster snake, and a full complement of Greek gods and goddesses. Realization of the work has, until now, been beyond the means of early music performance groups, and this is the world premiere recording of the opera, made in 2019 and based on a 2008 performance at Versailles Palace by some of the same performers. The leader is Vincent Dumestre, conducting the Le Poème Harmonique orchestra and the vocal ensembles Aedes. The forces are large enough to capture the splendor of the music (thankfully, no one-voice-per-part techniques here), and Dumestre is alert to the huge variety of musical devices Lully brings to bear on his story; there are dances, big choruses, bagpipes, and much more. Cadmus & Hermione may be a difficult work to bring to life for modern audiences, but Dumestre keeps things moving along and probably comes as close as anyone could. Of course, anyone interested in the life of the French court in the 17th century will find this an essential acquisition that will keep giving and giving. © TiVo

Early music ensemble Ceruleo presents an album of music from restoration-era England. Featuring songs by Henry Purcell along with works by John Blow, Francesco Corbetta, and John Eccles, the album looks at the dramatic character of English Restoration music and its relationship to the theatrical tradition of the time. Providing a snapshot of the music that might have been heard in English theatres and concert halls, Ceruleo creates a performance – like the stage works of Purcell and Blow – which freely flits between deep emotion, humour and melancholy, all interspersed with instrumental dance music. © Resonus Classics

Pianist Nicholas Angelich, even more admired in Europe than in his native U.S., passed away tragically early in 2022 at the age of 51. One way to look at this Hommage is to note that it took quite a bit of research power, much of it apparently donated, to put together this massive seven-volume tribute, assembled from live performances and radio broadcasts between 1995 and 2019. That is a lot of Angelich, but fans here will find much that sheds new light on his genius. Consider the Brahms Variations and Fugue on a Theme by Haydn, Op. 24, which Angelich rarely played in concert. It receives a wonderfully controlled performance in which the tricky architecture of this work comes to the surface. Angelich was a fine virtuoso, and the Liszt Transcendental Etudes and the big Russian works generally have a layer of excitement added by the live performance. However, Angelich is equally effective in subtler pieces, thoughtful in the likes of Zemlinsky and the Bach Goldberg Variations, BWV 988, where the sequence of events feels somewhat different from in the pianist's 2011 studio recording even as the über-Romantic slow tempos are retained. His opening aria is even slower than on the studio version. The mastering of these immensely diverse sound sources from Erato is as good as such a thing can be, and physical album buyers get some fine reflections on the pianist's work. This is, in short, an effective tribute to a pianist whose life and work were brutally cut short.© James Manheim /TiVo