We'll admit: this Reine de Chypre by Fromental Halévy is probably not the unfairly-overlooked work of commanding genius for which the lyrical world has been waiting for fifty years… But it would still be a shame to miss it, especially when performed by such a line-up, with Véronique Gens, Cyrille Dubois and Etienne Dupuis at the top of the bill. And after all, the score is full of vocal marvels and very original ensembles; but it is rather in the orchestration – which is not much more adventurous than that of any other piece of Italian bel canto of the era – that Halévy has taken it easy. The melodic richness was pointed out in an article in the Revue et gazette musicale in April 1842: "In the Reine de Chypre, Halévy's new style is on display with more dash, and more success. I have had occasion to point out the preconditions, as I see them, of the production of a good opera, by pointing out the obstacles which stand in the way of meeting these conditions fully and in good time, whether by the poet or the composer. When these conditions are met, it is an event of great importance for the world of art. Now, in the present case, circumstances have conspired in the performance of a work which, as even the most exacting critic must admit, possesses all the qualities which constitute a good opera. (…) The composer has put all the enchantment of his art into the duet that breathes the sentiments that enrapture them. The dark cloth on which these two charming figures are drawn shows through even in those songs which are so sparkling and alive with happiness, like a sinister cloud, and lends them a particular character of melancholy intrigue. There is no equal, in nobility or in grace, of the magnificent melody of the final part of this duet." The article continues in this vein. The byline? One Richard Wagner… © SM/Qobuz

An absolute delight, the first full-length album from singer-songwriter supergroup boygenius truly plays to its members' individual and collective strengths. (Credits extend to Autolux's Carla Azar on drums and Jay Som's Melina Duterte on bass.) Each is allowed to shine equally, taking lead on their own songs—but also bring out surprising, shining qualities in the others. "True Blue" sounds like a track from one of Lucy Dacus' solo records, filled out with pure harmonies and grand, low-key drama. Dacus is brilliant at pinpointing fine, evocative details—bandmate Phoebe Bridgers says of her, "Lucy's a noticer"—and there's no shortage in this tale of real, messy friendship that thrills and bruises: "When you moved to Chicago/ You were spinning out … When you called me from the train/ Water freezing in your eyes/ You were happy and I wasn't surprised." Julien Baker's vibrant "$20," likewise, delivers her trademark nervous edge, but the trio take it to unexpected places: First, Bridgers and Dacus thread a gossamer string of ethereal sweetness through Baker's earthiness; later, the three sing over each other in a glorious round robin of conversation until Bridgers, desperate to get her message across, shreds her throat raw yelling out "Can you give me $20?!" They trade lines on "Not Strong Enough," playing around with Cure guitars (acknowledged in Baker's verse: "Drag racing through the canyon/ Singing 'Boys Don't Cry'") and interpolating Sheryl Crow ("Not strong enough to be your man/ I tried, I can't"). That one builds to an excellent '80s anthemic bridge, with the three chanting "Always an angel, never a god." "Cool About It" summons a Simon & Garfunkel-style folk melody and layers on 2023 cleverness with thoughts like, "I took your medication to know what it's like/ Now I have to act like I can't read your mind." "Satanist" delights in off-kilter and herky-jerky chords à la early Weezer, before sliding sideways into a woozy dreamscape. Even a tossed-off lark like "Without You Without Them"—with sweet, a capella Andrews Sisters harmonies—charms. Bridgers' "Emily I'm Sorry" is particularly moody and moving, while stoic "We're in Love" is a stark portrait of Dacus and a guitar for nearly eight tear-jerking minutes before the others float in for support. Perhaps the most revealing is "Leonard Cohen," so intimate you can hear fingers sliding on strings. It's a true story about the trio's friendship and a time Bridgers was so excited to play an Iron and Wine song for her bandmates that she lost track of her surroundings. "On the on-ramp you said/ 'If you love me you will listen to this song'/ And I could tell you were serious/ So I didn't tell you you were driving the wrong way on the interstate/ Until the song was done," Dacus sings, before showing off their grateful love for each other: "Never thought you'd happen to me." © Shelly Ridenour/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

While the recordings of highlights and hits from Rodgers & Hammerstein's still-popular Oklahoma! have been issued over the years, the complete, as originally orchestrated score (by Richard Rodney Bennett) had yet to be recorded. However, following a live-staged performance at the 2017 BBC Proms, conductor John Wilson took it upon himself to deliver this premiere. He sticks with the original orchestra dimensions as well, which is a good thing since the handpicked members of his Sinfonia of London are powerful enough in this smaller group. Wilson also took advantage of the quality theaters around London, bringing in soloists and a cast ensemble of veterans from stages across England. He does well in selecting a cast here; while all are more than capable singers, they are also able to deliver the vocal acting that is necessary to pull this off. Leading the cast are Nathaniel Hackmann, reprising his role as Curly from the Proms performance, and Sierra Boggess as Laurey. The vocalists and orchestra take full advantage of the space and recording setup, which allows the orchestra to play full out while not overstraining the singers. The beauty of Rodgers' music paired with Hammerstein's book is evident, even if you are unfamiliar with anything but the titular state (if even that!); the imagery of ranches and open cattle land easily comes to mind. This recording should be welcomed with open arms by those who are familiar with the musical, be it either from a stage (generally edited and with cuts) or in its film version with its edits. Oh, what a beautiful mornin', indeed.© Keith Finke /TiVo

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

Just six months after the release of her third studio album, Charli, Charli XCX found herself confined in her home in Los Angeles. The hyperactive English songwriter quickly set herself the challenge of writing an album from scratch in just six weeks and, most importantly, she made the project an interactive experience with her fans. While she was guided by industry titans such as A.G. Cook, (founder of the label PC Music) and BJ Burton (producer for Bon Iver and Miley Cyrus), everyone was invited to take part in the project. Some people sent her snippets of music while others gave their opinion on the demos she played on Instagram or the lyrics she posted on Twitter. She also organised Zoom conferences with hundreds of participants. The result is a pretty solid album by Charli XCX that remains faithful to the futuristic electronic pop sound that made her famous, with potential hit songs like the autotuned ballad Forever, the more dance-y Claws, as well as the lovely hybrid electro-pop song, I Finally Understand. And it seems like the artist may even carry on down that road: “I don’t know why I didn’t do it sooner!”. © Smaël Bouaici/Qobuz

The Montreal-born pianist Louis Lortie has emerged as one of the world's top specialists in French music of the first half of the 20th century. He is capable of great subtlety, but he does not give short shrift to the pure melodic pleasures and the popular and jazz influences that are integral to the tradition. This Poulenc album is a delight, and it might be the only one you need for Poulenc's music for piano and ensemble. The Piano Concerto of 1949 is not one of Poulenc's more famous works, but the performance here by Lortie and the BBC Philharmonic Orchestra under Edward Gardner is masterful, with intricate weaving of piano and orchestra balanced by melodic straightforwardness, including an intriguing quotation of "Way Down Upon the Swanee River" in a kind of Latinized version in the finale. The first movement seems to have a wash of piano sound, emerging seamlessly into melody. The more familiar Concerto for two pianos and orchestra receives a vigorous performance, with Hélène Mercier on the second piano extremely well-coordinated with Lortie, and there are several crystalline smaller pieces including Aubade, a neoclassic suite for piano and an ensemble of 18 instruments. Chandos' studio sound here is absolutely superb, and this is destined to be a cornerstone Poulenc release. It's a joy from start to finish.© TiVo

Composer Caroline Shaw won the Pulitzer Prize in 2016, becoming the prize's youngest-ever recipient. She has gone on to a good deal of popular success, collaborating with rapper Kanye West on a remix of his single "Say You Will" among other projects. She refers to Orange, pleasingly, as "a garden she and the Attacca Quartet are tending." She has now worked with this group on several projects. Shaw's style as a chamber composer has an attractive derivation from those of past composers, combined with a voice of her own. There are echoes of Stravinskian neoclassicism, and indeed the fine central work here, the five-movement Plan & Elevation, describes the estate in Washington D.C. where Shaw has served as resident composer, and where Stravinsky wrote a commissioned work (the Concerto in E flat, "Dumbarton Oaks") for an anniversary gift. As in some of Stravinsky's works, Shaw begins with square tonal material in a classic mold then gradually departs from it, sometimes considerably. Sample the opening Entr'acte, a substantial work despite its title. Glass is another influence; Shaw has been called post-post-minimalist, and despite the ungainliness of the term, there's no denying she represents a new stage in the minimalist tradition, one where motion can be introduced by texture, as well as harmony. There are points as well that have a percussive orientation and suggest an influence from Shaw's work in popular music and hip-hop (in addition to the West project, she has played violin on many popular recordings). New York's Attacca Quartet plays with a feeling of commitment to and familiarity with the music. Strongly recommended as an introduction to this rising composer.© TiVo