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Bizet: Carmen, WD 31

Herbert von Karajan

Classical - Released January 1, 1964 | Sony Classical

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Bizet: Carmen, WD 31 (Live)

Wiener Philharmonic Orchestra

Opera - Released October 12, 2018 | Orfeo

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Thalberg: Piano Works

Francesco Nicolosi

Classical - Released May 14, 2021 | Naxos

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Rossini : The Barber of Seville (Highlights)

The Chamber Orchestra of Europe

Opera Extracts - Released January 1, 1972 | Deutsche Grammophon (DG)

Barber of Seville (The) (Highlights)

Franco de Grandis

Classical - Released July 24, 1997 | Naxos

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Opera Extracts : La Wally, Tosca, La Traviata...

Maria Callas

Pop - Released January 1, 2007 | Jade

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Stagioni d'amore: Madrigali by Marini, Rovetta & Valentini

BernVocal

Classical - Released October 8, 2021 | Passacaille

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From the budding blossoms of first love and the heat of passion, to when feelings subside and fade away, “the seasons of love” are the overarching theme of this programme of madrigali concertati by three notable members of the Venetian school: Biagio Marini, Giovanni Rovetta and Giovanni Valentini. The madrigals on this recording exemplify the new musical aesthetic of affetti and the seasons of nature are mirrored by the stages of love experienced by the lyrical hero. The ever-changing vocal and instrumental forces of up to six singers and seven instrumentalists lend colourful variety to the recording as it progresses from primavera, estate, autunno and inverno through the seasons of love.
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Musica Nuda - Live à FIP

Musica Nuda

Vocal Jazz - Released January 1, 2006 | Bonsaï Music

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Atys

Christophe Rousset

Opera - Released January 5, 2024 | Château de Versailles Spectacles

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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
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Rossini: Il barbiere di Siviglia

Teresa Berganza

Opera - Released January 1, 1972 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
This is a Barbiere "di qualità, di qualità": in fact, of very great quality indeed, from Deutsche Grammophon. Recorded in London in the summer of 1971, it is one of the first meetings of Claudio Abbado and the London Symphony Orchestra. It is also the first of Alberto Zedda's philological editions of Rossini's works, whose scores have been covered over by inherited errors for over a century. Getting rid of the additions which have, quite wrongly, become traditional, means restoring certain interruptions and the fine instrumentation of the period; and above all, singing and playing without exaggerations, thanks to an innate sense for the theatre. It's a spot of spring cleaning which has restored the youth of the 24-year-old composer's masterpiece. Bravo, signor barbiere, ma bravo! It is a dream record, with singers who are well-versed in the repertoire. Everyone is right where they need to be, from Teresa Berganza's wiley and cheeky Rosina, to the refined and hard-working Figaro played by Hermann Prey, via Luigi Alva's frivolous Count and the utterly ridiculous Basilio played by the outrageous Paolo Montarsolo. We're amused by their antics, as we admire the well-oiled and unstoppable machine of Rossini's theatre, under the unceasingly inventive and thrilling baton of Claudio Abbado. © François Hudry/Qobuz
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Pancrace Royer: Surprising Royer, Orchestral Suites

Les Talens Lyriques

Symphonic Music - Released May 5, 2023 | Aparté

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Beyond the neglect of French Baroque music in general, it is a bit hard to understand why composer Pancrace Royer was almost completely unknown until Christophe Rousset came along to champion him, first in harpsichord music and now, with these suites of music drawn from operas, in orchestral music. In the 18th century, Royer was quite well known and admired among others by Rameau, whose music he helped along considerably. Royer certainly inhabited Rameau's stylistic world, but from the evidence here, his music is distinctive and merits the adjective "surprising" that Rousset has attached to it. It is colorful, given to unexpected turns of harmony, and vivid in its evocation of the exotic scenes of French opera. Sample the "Air pour les turcs" ("Air for the Turks") from Zaïde, reine de Grenade, with its crackling percussion. Royer challenged his orchestra with virtuoso ensemble writing in the likes of the "Premier et second tambourins" from Almasis, and Rousset and Les Talens Lyriques step up with precise, vigorous readings that one imagines would have made the composer overjoyed. The inclusion of two alternate versions for movements from Zaïde is also unusual and gives insight into the compositional thinking of the day. Essential for specialists and enthusiasts interested in the French Baroque, this album is a lot of fun for anyone, with only overdone church sound detracting from the overall effect. © James Manheim /TiVo
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Elisabeth Jacquet de la Guerre: Céphale et Procris

Reinoud Van Mechelen

Classical - Released February 9, 2024 | Château de Versailles Spectacles

Hi-Res Booklet Distinctions Diapason d'or
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Mon amant de Saint-Jean

Le Poème Harmonique

Classical - Released August 25, 2023 | Alpha Classics

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This release showed up on classical best-seller charts in the late summer of 2023, perhaps because it represented a genuinely original experiment. Mezzo-soprano Stéphanie d'Oustrac, the small ensemble Le Poème Harmonique, and conductor and theorbist suggest... well, what, exactly? That there is an affinity between French popular song and French and Italian music of the 17th century? Not quite, although there were intriguing connections between popular song, outlined in the booklet, and the very earliest stages of the historical performance movement at the end of the 19th century and the beginning of the 20th. The program is organized into three sections, "Jeunesse," "Les vieux airs," and "Les amours passées," but the 20th century songs and the 17th century pieces mostly don't overlap within these groups; "Les amours passées" are all popular songs. The program makes quite a lurch between an excerpt from Cavalli's L'Egisto and Paul Marinier's D'elle à lui, and the lurch would have been even greater if the popular songs hadn't been chosen to exclude any hints of African-American-influenced song. Léon Fossey's Les canards tyroliens, a kind of yodeling song about ducks, simply doesn't inhabit the same universe as Monteverdi's Lamento d'Arianna. Perhaps it would be best to say, as the publicity does, that there are "echoes" between the two traditions, and d'Oustrac plainly has enthusiasm for both repertories; her personality is largely enough to carry the listener through. There is definitely a need for programming and performance that mixes classical and popular material, which have never been as far apart as they have been made out to be. This release may not be a definitive solution, but it is an intriguing and listenable attempt. © James Manheim /TiVo
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Psyché

Christophe Rousset

Classical - Released January 13, 2023 | Château de Versailles Spectacles

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Écho & Narcisse

Hervé Niquet

Classical - Released August 25, 2023 | Château de Versailles Spectacles

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Gloire Immortelle !

Hervé Niquet

Classical - Released November 17, 2023 | Château de Versailles Spectacles

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Bizet: Carmen, WD 31

Adriana Maliponte

Classical - Released April 1, 1973 | Deutsche Grammophon (DG)

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Jean-Baptiste Lully : Amadis

Christophe Rousset

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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Antonio Salieri : Les Horaces

Christophe Rousset

Full Operas - Released August 31, 2018 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
Ever since Peter Shaffer's play Amadeus and the subsequent film by Milos Forman, the operas of Mozart's rival Antonio Salieri have enjoyed a revival: historians determined that not only did Salieri not poison Mozart, he admired him, and Mozart at least respected the older Italian. Indeed, Les Horaces (1786) represents several accomplishments that were not on Mozart's résumé: it is a full-scale French opera, and its recitatives are orchestrally accompanied and contribute elegantly to the action. Berlioz, always an astute critic, numbered himself among the admirers of Salieri's French operas of the 1780s; this one was not as successful as the others, but that could have been due to any number of factors. The plot deals with a woman, Camille, whose romantic life is caught between factions in a war in early Roman times, and Rousset's live reading here benefits from a strong soprano lead, Dutch singer and French Baroque specialist Judith van Wanroij. Other singers likewise step up, but the real credit goes to Rousset, who gets the strengths of Salieri's score: the grand intermèdes, and the exciting finale of Act 1, where the joining-together of action and music is in Mozart's league even if the tunes are not. Also praiseworthy is the engineering work of the curiously named Little Tribeca team, who obtain the best possible sound from none other than Versailles. Highly recommended to those who have dismissed Salieri: this is a sympathetic and enthusiastic performance of his music. © TiVo
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Puccini: Tosca by Leontyne Price

Leontyne Price

Opera - Released November 8, 2022 | Alexandre Bak - Classical Music Reference Recording

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