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Opera - Verschenen op 6 maart 2020 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or
In Jephté by Michel Pignolet de Montéclair, György Vashegyi directs – with style and energy – another riveting account of a neglected French Baroque opera. The work, based on the Biblical tale of a conquering general obliged, by a sacred vow, to sacrifice his own kin, became an immediate success in 1732, indeed a fixture in opera life in France, receiving over a hundred performances at the Opéra alone in the three decades following its première. Montéclair and his librettist Pellegrin were open to preparing revised versions of the opera and it is the third and conclusive edition which has been worked on by the Centre de Musique Baroque de Versailles and recorded by Vashegyi and his musicians. The central and demanding role of Iphise here is taken by Chantal Santon Jeffery, who is joined by Tassis Christoyannis as the unfortunate but successful-in-war title character, Judith van Wanroij as the bewildered but resolute mother and Thomas Dolié as the relayer of divine messages, Phinée. There is an imaginative and individual flair to Montéclair’s music, nurtured by his extensive orchestral pit experience at the Paris Opéra – and Jephté is a work of his maturity. As well as the tautness of the third edition, the fruits of all this experience are to be heard here with the Orfeo Orchestra showing its paces in zesty airs, minuets, marches and a chaconne, but also with a musettetinged pastoral celebration – this last also allows the Purcell Choir opportunities to excel; elsewhere, the choir is called on variously to represent warriors, Israelites, and companions of Iphise. © Glossa
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Opera - Verschenen op 18 oktober 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
The remarkable Hypermnestre by Charles-Hubert Gervais is the latest unremembered early 18th-century French opera to be recorded afresh for Glossa, and conducted by György Vashegyi. Gervais was a contemporary of Campra and Destouches, learning from Lully and paving the way for Rameau and, like Marais and François Couperin, open to the Italianising trends of “les goûts réunis”. A high-quality libretto from Joseph La Font tackles the story of Hypermnestra which proved so popular in the early eighteenth century. The Glossa recording contains both the original fifth act and the major revision of it from 1717 and Vashegyi drives the whole tragedy expertly to its bitter (and not-so-bitter!) end. Musically, this “tragédie lyrique” provides powerful opportunities for the trio of leading characters, here taken by Katherine Watson (Hypermnestre), Thomas Dolié (Danaüs, her father) and Mathias Vidal (Lyncée, her betrothed), but they are ably supported by Juliette Mars, Chantal Santon-Jeffery, Manuel Núñez Camelino and Philippe-Nicolas Martin. No French opera of this time would have been complete without a generous helping of choral or instrumental music and Gervais – a master of melody, harmony and orchestration – serves these up in a dazzling set of divertissements and festive set pieces full of dances (including a massive passacaille); all this performed with great stylistic awareness and vivacity by Vashegyi’s Orfeo Orchestra and Purcell Choir. © Glossa
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Volledige opera's - Verschenen op 5 april 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
With Les Indes galantes by Jean-Philippe Rameau, György Vashegyi – along with his Orfeo Orchestra and Purcell Choir – makes a further dazzling addition to their Glossa series of French dramatic masterpieces from the Baroque, and in the company of a luxurious line-up of vocal soloists. The version of this “ballet heroïque” – supplied with an anti-colonial, anti-clerical manifesto by librettist Louis Fuzelier – selected by Vashegyi is the 1761 revision, a mere decade or so before the irruption onto the Parisian musical scene of the likes of Gluck and Grétry. Rameau’s score had undergone frequent adjustments and improvements since its première a quarter of a century earlier, and the performing edition for this recording, prepared for the Rameau Opera Omnia by Sylvie Bouissou (who also provides a booklet essay here), offers a vision of this work which is more theatrical, fluid and concise than hitherto. Just in themselves, the names of Chantal Santon-Jeffery, Katherine Watson, Véronique Gens, Reinoud Van Mechelen, Jean-Sébastien Bou and Thomas Dolié (sharing out the dozen solo roles) augur well for a glorious exploration of the prologue and three entrées ahead. Recently, they have also, in conjunction with the Centre de Musique Baroque de Versailles, been working on questions of tempo and how to perform Rameau’s sequences as the composer intended. Vashegyi brings a consummate understanding of Rameau’s galante style to the proceedings, following two previous Ramellian Glossa outings (Naïs and Les Fêtes de Polymnie). © Glossa