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Legros, haute-contre de Gluck

Reinoud Van Mechelen

Classical - Released September 22, 2023 | Alpha Classics

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Elisabeth Jacquet de la Guerre: Céphale et Procris

Reinoud Van Mechelen

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

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Rameau: Pygmalion & Les Fêtes de Polymnie

Christophe Rousset

Classical - Released September 1, 2017 | Aparté

Hi-Res Booklet Distinctions Gramophone: Recording of the Month - Choc de Classica - 5 Sterne Fono Forum Jazz
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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Gluck: Orphée et Eurydice

Les Musiciens du Louvre

Classical - Released January 1, 2004 | Archiv Produktion

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Cadmus & Hermione

Vincent Dumestre

Classical - Released May 1, 2021 | Château de Versailles Spectacles

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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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Lully: Acis et Galatée, LWV 73

Jean-François Lombard

Opera - Released October 13, 2023 | Naxos

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N'espérez plus mes yeux... Airs sérieux et à boire, Vol. 3

William Christie

Art Songs, Mélodies & Lieder - Released April 30, 2021 | harmonia mundi

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With this third volume of "Airs sérieux et à boire", the ensemble Les Arts Florissants return to this genre whose refinement had marked the French musical landscape for over a hundred years. By turns gallant, earthy, or spiritual, these vocal miniatures, prized at the French court, ushered in a ground-breaking style which opened the door to an endless variety of interpretations. "One can hardly find enough praise for the individuality of these inspired performers, for their skill to make the music animate the words ( . . . ) as they display a joyful unity of purpose. A unique event!" (Opéra Magazine). © harmonia mundi
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Der ferne Klang... Orchestral Works & Songs by Franz Schreker

Konzerthausorchester Berlin

Classical - Released March 17, 2023 | Deutsche Grammophon (DG)

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In the early '20s, Franz Schreker was one of the best-known composers in the world. His music was suppressed by the Nazis because he was Jewish, and due to the High Modernism of the postwar period, a second totalitarianism, his reputation did not recover. This was a shame, for Schreker was anything but a conservative, and it is good to see that he is finally getting his due. What he needed at this point was a high-profile recording with top soloists, and that is exactly what he gets here from Christoph Eschenbach and the Konzerthausorchester Berlin, with soprano Chen Reiss and baritone Matthias Goerne. Deutsche Grammophon's PR text refers to "Schreker's sumptuous, hyper-Romantic music," but this is not quite right. Schreker could sometimes be that, as in the Romantische Suite that closes the album, but Straussian late Romanticism was only one of his influences. In terms of using tone color as a structural element, Schreker was in every way a contemporary of Schoenberg (his close friend) and Webern. Eschenbach's generous selection of orchestral songs here provides a good way to appreciate this quality; sample Die Dunkelheit sinkt schwer wie Blei from the Fünf Gesänge, with its mysterious strumming-like sounds. The text of that song is from a German translation of the Thousand and One Nights anthology, and Reiss sounds great in the Zwei lyrische Gesänge to texts (in German) by, of all people, Walt Whitman. Schreker could be neoclassic (in the economical Kleine Suite); he could be Impressionist-tinged; he mastered a full Expressionist idiom in the opera that gives the album its title, represented here by a substantial instrumental excerpt. This double-album release conveys the breadth of Schreker's musical language, but he is never blankly eclectic. A wonderful album that will help to rewrite the 20th century canon.© James Manheim /TiVo
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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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L'Heure bleue (Boulanger, Debussy, Finzi, Poulenc, Ravel, Waksman)

Quatuor Zahir

Classical - Released March 29, 2024 | Aparté

Hi-Res Booklet Distinctions Qobuzissime
Without any hesitation, we had to award a Qobuzissime to L'Heure bleue, the second album by Quatuor Zahir.  Because in the classical world, the saxophone quartet is still too rare a format on both record and on stage.  Because the impressionist works of Debussy, Ravel, Poulenc, and Boulanger dazzle us, as do the creations of Fabien Waksman and Graciane Finzi. Because of the refinement and sophistication of these arrangements. Because of the impeccable sound recording—always a highlight of the Aparté label.  Because of the beauty of the title, "L'Heure Bleue," which sums up the driving idea behind this powerful record. “This ephemeral moment at the crossroads of day and night—such could be the dream setting for this new opus. An invitation to a dreamlike journey," explain the members of the quartet—Guillaume Berceau, Etienne Boussard, Florent Louman, and Joakim Cielsa. Five years after their debut, the quartet took the time to construct this recital piece by piece, with the patience of goldsmiths or those who have a taste for beauty and precision of gesture. Like a landscape with changing colors and moods—from the lively (Debussy's "Quant j'ai ouy le tabourin") and languorous (Ravel's "Pavane pour une infante défunte"), to the playfulness of the last of Boulanger's Trois Pièces—in L'Heure bleue we find the gentle reminiscence of a forgotten or fantasized era. Whether the works interpreted here are in their original form or arranged, it becomes almost impossible to distinguish between the two categories, as each track is so immediately appealing. The Zahirs interweave their sublime timbres with consummate artistry, with all the interpretations becoming essentials. © Pierre Lamy/Qobuz
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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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Schubert: Lieder with Orchestra

Munich Radio Orchestra

Classical - Released October 6, 2023 | BR-Klassik

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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
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Le Bourgeois Gentilhomme

Vincent Dumestre

Classical - Released January 14, 2022 | Château de Versailles Spectacles

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Marin Marais: Folies d'Espagne, La Rêveuse & Other Works

Jean-Guihen Queyras

Duets - Released January 27, 2023 | harmonia mundi

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It is hard to shake the feeling that Alexandre Tharaud and Jean-Guihen Queyras are committing a radical crime of lèse-majesté here. However, this is soon forgotten after you hear the first bars of their new album. They are understandably enthralled with Marin Marais’ fabulous music, and have thus decided to put their own spin on it by transcribing it for their own instruments: a modern piano and cello.This joyful transgression is in keeping with the interpretations from the beginning of the last century, when Fritz Kreisler and his peers were not afraid to play—or even pastiche—the music they loved without any concern for historical accuracy. These two musicians, on the other hand, are ‘historically informed’. They’ve listened to Nikolaus Harnoncourt, Jordi Savall, Ton Koopman and Hopkinson Smith whilst recreating Marin Marais’ music in their own way, adapting it to instruments that would have been unknown to him.Under their nimble fingers, ‘Les Folies d’Espagne’ becomes a frantic dance, ‘Le Badinage’ sounds like something straight out of a Watteau painting, and ‘Opération de la taille’ is almost humorous. Here, Alexandre Tharaud and Jean-Guihen Queyras share their love for subtle and refined music, speaking to listeners on a level that goes beyond that of a mere reconstruction. © François Hudry/Qobuz
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Modest Mussorgsky: Pictures at an Exhibition - Pyotr Ilyich Tchaikovsky: Grand Piano Sonata & The Seasons (excerpts)

Sviatoslav Richter

Classical - Released September 1, 2016 | Praga Digitals

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Legacy

Christian-Pierre La Marca

Classical - Released January 20, 2023 | naïve

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Christian-Pierre La Marca’s Legacy offers a stunning exploration of the connections between Italian and Viennese classicism through some of the best cello pieces composed by Porpora, Haydn and Mozart. During the 18th century, the instrument began to emerge from the orchestra, moving away from its status as an accompaniment instrument to become a solo one in its own right. Surrounded by the wonderful musicians of the Concert de la Loge directed by Julien Chauvin, La Marca is in his element here. The baroque pitch and period instruments are fertile ground for him, and he’s free to lose himself in his full-bodied and tuneful playing.The musician’s affinity for the voice is no secret, and he’s particularly interested in transcribing vocal expression onto his instrument. The cellist maintains impeccable accuracy, notably in the transcription of ‘Danse des ombres heureuses’ by Gluck, a piece that has guided him since childhood. He forms the perfect duo with tenor Philippe Jaroussky in ‘Giusto Amor, tu che m’accendi’, taken from Porpora’s Gli orti Esperidi. The entire album maps out the heartfelt ties that bind La Marca to other performers: Jaroussky, Le Concert de la Loge, and even his brother, violist Adrien La Marca, who features on this interpretation of Mozart’s Sinfonia concertante. The recording is wrapped in an indescribable warmth, and it’s evident that the performers have thoroughly enjoyed working together. When stylistic artistry meets sheer joy, you know you’re in for a treat. © Pierre Lamy/Qobuz
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A Tribute to Pauline Viardot

Marina Viotti

Opera - Released September 16, 2022 | Aparté

Hi-Res Booklet Distinctions Choc de Classica
Christophe Rousset and Les Talens Lyriques make a foray into the Romantic repertoire with this tribute to Pauline Viardot, who was not only the most influential singer of the nineteenth century, but also a pedagogue and composer, whose gifts, personality and incomparable aura made her one of the leading figures of French Romanticism. Together the mezzo-soprano Marina Viotti and Christophe Rousset retrace Pauline Viardot’s versatile career and, taking up her great roles, present a musical portrait of a unique performer, who was unanimously acclaimed by the audiences of her time. © Aparté
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Meyerbeer: Robert le Diable

Orchestre National Bordeaux Aquitaine

Classical - Released September 23, 2022 | Bru Zane

Hi-Res Booklet Distinctions Gramophone: Recording of the Month
For his last season at the helm of the Opéra de Bordeaux, Marc Minkowski—always keen to conduct forgotten works which have, in some way, marked the history of music—sets his sights on Robert le Diable, Giacomo Meyerbeer's opera which was a true social phenomenon in 19th century France. The Palazzetto Bru Zane - Centre de musique romantique française has followed suit by officially publishing this concert version, which also features some excellent vocal soloists. Admired by Balzac, Sand and Dumas, this ‘grand opéra à la française’ (great French opera) faded into obscurity after the First World War. Its creator became a sort of pariah – one met with both condescension and mockery. With its ‘seductive and haunting melodies’ (Alexandre Dratwicki), it’s nevertheless a flamboyant work that greatly inspired his contemporaries, such as Verdi, who referred to it in La Traviata. The extraordinary impact of Robert le Diable was such that it was performed a great many times on every continent. A true one-man band, Marc Minkowski has invested himself entirely in this undertaking, learning this vast score practically by heart and conducting it with his usual power and conviction. The international cast is full of surprises thanks to their deep understanding of the work and the protagonists’ fantastic pronunciation. This new release, to the credit of the Bru Zane label, revitalises our knowledge of this work that’s scarcely mentioned in specialised dictionaries. © François Hudry/Qobuz
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La Harpe Reine: Concertos for Harp at the Court of Marie-Antoinette

Xavier de Maistre

Classical - Released October 21, 2016 | harmonia mundi

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