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2 albums gesorteerd op Date: from newest to oldest en gefilterd op Opera, Jean-Philippe Rameau, György Vashegyi, 24 bits / 48 kHz - Stereo en € 10,00 tot € 20,00
HI-RES€ 29,99
CD€ 19,99

Opera - Verschenen op 5 februari 2021 | Glossa

Hi-Res Booklet
The complete edition of 1744's Dardanus by Rameau did not come out on record until the present release (almost three hours of music) was made in Budapest. Closely linked to the Centre de Musique Baroque de Versailles, György Vashegyi presented the work alongside some unpublished pages, including the poignant "Amour, cruel auteur du feu qui me dévore" which opens Act III, a sumptuous lament sung by the baritone Tassis Christoyannis. Recorded in the vast ship of the Béla Bartók Concert Hall in Budapest, this concert production suffers from acoustics that blur the work. This probably somewhat erases the precision of a splendid ensemble, made up of soloists, the particularly inspired Purcell Choir and the Orfeo Orchestra. The latter is an ensemble of ancient instruments founded in 1991 in Budapest by György Vashegyi in the wake of the first full performance of Monteverdi's Orfeo in Hungary. This new version of Dardanus is full of dynamic and expressive contrasts. It presents the music to the world for the first time, thanks to a new edition overseen by musicologist Denis Herlin which reveals dozens of unknown pages. Let's salute the performances by the soprano Chantal Santon Jeffery as an ideal Venus, the tenor Cyrille Dubois as Dardanus and the baritone Thomas Dolié as Ismenor. © François Hudry/Qobuz
HI-RES€ 22,49
CD€ 14,99

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