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Carried off by an intestinal perforation at the age of 33 in Puteaux, at the gates of Paris, this son of Catania is still greatly appreciated in his native city, where this new studio recording of Il pirata, Vincenzo Bellini's first major opera, first performed at La Scala in Milan in 1827, was made. With this work, the young Sicilian author distanced himself from the Rossinian style then in vogue by giving free rein to his incomparable melodic verve.Chopin's unbounded admiration for Bellini is well known, and the melodic contours of his music ripple through the works of the Polish composer, who was not an admirer of too many other people. The Pirate is full of superb melodies, such as Imogene's aria 'Lo sognai ferito' in the first act, Gualtiero's cantilena 'Pietosa al padre' and the last scene of the work, whose instrumental introduction presages Norma's famous 'Casta diva'.Recorded in the summer of 2020 at the Teatro Sangiorgi in Catania, a recently restored old Liberty style theatre, this new version, vigorously conducted by Fabrizio Maria Carminati at the head of the Orchestra e Coro del Teatro Massimo Bellini in Catania, is distinguished by its absolute completeness, with all the repeats, original cadenzas and variations written by the singers, and with its rarely performed Finale.Latvian soprano Marina Rebeka reigns supreme over this recording released by Prima Classic, her own label. Alongside this immense bel canto, Javier Camarena was needed to overcome the extraordinary difficulties of a score that is not sparing of those vocal effects and top notes that can enchant an entire hall. A bel canto specialising in the works of Rossini, Bellini and Donizetti, the Mexican tenor triumphs on the great stages of the world, especially at the Metropolitan Opera in New York, where he is one of the very few singers to be recalled to the stage. © François Hudry/Qobuz

This new recording of Jean-Marie Leclair's only opera was made in Warsaw in 2021. Stefan Plewniak made the decision to record the first edition of the work – the one which contains the maximum amount of Leclair's original music.Already renowned for his instrumental music throughout Europe, Jean-Marie Leclair tried his hand at opera late in life, following in the footsteps of the great Jean-Philippe Rameau. His first attempt was a masterpiece. A great violinist himself, Leclair showed great skill in handling timbres and composing challenging lead violin parts. The vocals are equally well-conceived, with both the solo and choral compositions featuring skilful counterpoint.The main characters are portrayed by Mathias Vidal, Chiara Skerath and Florie Valiquette, whilst the Polish ensemble Il Giardino d'Amore (founded in 2012 by Stefan Plewniak) takes care of the instrumental parts. This meticulous recording brings Leclair's opera back to life, compensating for the lack of success it was met with when it was first released in 1746. Although Rameau's operas undeniably serve as a basis for Leclair's only attempt at stagecraft, this is more than a mere replica. His opera is full of adventurous harmonics, dances, and interludes. Its relative lack of success probably stems from its tragic ending (optimism was all the rage at the time) and the fact that the genre had fallen out of favour. Forgotten for more than two centuries, its resurrection is due in no small part to Sir John Eliot Gardiner, who presented it in concert in London and then on stage at the Opéra de Lyon (the composer's birthplace) in 1986. © 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

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

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