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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
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Opera - Verschenen op 6 april 2018 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Created in 1749 to commemorate the Treaty of Aix-la-Chapelle signed between George II and Louis XV of France to end the War of the Austrian Succession, Rameau’s pastorale héroïque Naïs consecrates the triumph of virtuosity on the stage of the Académie Royale de Musique, while in England, Handel wrote his famous Music for the Royal Fireworks for the same occasion. Weary of sombre tragedies and their dark and oppressive passions, audiences received lighter works more enthusiastically – ballets and pastorales – for which soprano Marie Fel and tenor Pierre Jélyotte were applauded for their prodigious vocal performances. With Naïs, Rameau produces some of his most impressive pages, among which the overture and descriptive prologue, tracing the epic fight between the Titans and the heavenly court for the rule of Olympus. Chivalrous exchanges, athlete evolutions, prophecies, pastoral celebrations, naval battles and underwater nuptials punctuate the work and support the blooming of tender feelings that unite Naïs and Neptune. This co-production between the Centre de Musique Baroque de Versailles (CMBV − Centre of Baroque Music Versailles) and the Müpa Budapest Early Music Festival confirms the position of György Vashegyi in the field of baroque music, and French music in particular. Following the success of Rameau’s Les Fêtes de Polymnie (The Festivals of Polyhymnia) in 2015, and the revelation that was Mondonville’s Isbé, the Hungarian conductor is at it again with excellent singers and his two ensembles, the Budapest Orfeo Orchestra and the Purcell Chorus, which he founded in Budapest at the end of his studies at The Franz Liszt Academy of Music, completed by master classes from the likes of Sir John Eliot Gardiner and Helmut Rilling. This French-Hungarian production focusing on Rameau will be extended with the upcoming release of Les Indes Galantes (The Amorous Indies). © François Hudry/Qobuz