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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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Volledige opera's - Verschenen op 14 september 2018 | Bru Zane

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
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Volledige opera's - Verschenen op 14 september 2018 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 9 februari 2018 | Cypres

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica
Nineteen musicians in the pit, three on stage; resolutely tonal music in a straight line of succession running from Stravinsky, Prokofiev, Martinů, Weill; French lyrics more declaimed than sung - by, happily, Francophone singer-actors led by Stéphane Degout, Vincent Le Texier, Yann Beuron and Chloé Briot: this is the framework that Philippe Boesmans chose for his latest opera Pinocchio, recorded live at La Monnaie in Brussels. The script is the work of Joël Pommerat, and it aims for an hour and fifteen of the quasi-melodrama based on the style which was in vogue in the 19th century in which to showcase the baffling musical richness of Collodi's work: and with immense success, it must be said. Pommerat is not necessarily looking to write a purely lyrical Pinocchio, but rather to develop an opera within an opera, using Brecht's favoured method of defamiliarisation, a sort of play-within-a-play, where "real" events alternate with narrative description of what's happening or about to happen. This is, without a shadow of a doubt, a major work for the contemporary scene, a worthy 21st-century successor to the Magic Flute and its fantasy world, immersive, and full of illusions, prisms and invitations to new readings: in short, a masterpiece. And it can hardly come as a surprise that the subject hasn't drawn the attention of more composers since it first appeared in 1881, as only cinema and television have really taken it seriously (and Disneyesque animations, heaping on the sugar), with the exception of Jonathan Dove's unique 2007 work, The Adventures of Pinocchio © SM/Qobuz
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Volledige opera's - Verschenen op 1 september 2017 | Glossa

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
No opera from Handel is as enigmatic as Silla. This fourth London opera was composed in 1713; and that’s as far as our knowledge goes! The written music scores are incomplete and we have no information about any contemporary performance. The first Handel experts tried to find an explanation and agreed upon the theory that Silla was written for a private show in the household of the Count of Burlington, who was at the time the composer’s patron. Then, in 1969, the discovery of a glossary from June 1713 established a possible date of the first performance. The inclusion of an extravagant work dedicated to the Duke d’Aumont, a recently appointed French ambassador, suggests the possibility of a show organized by or for the Duke. That could explain not only the absence of an English translation in the glossary, which is unique about Handel’s London operas, but also the relative brevity of the work.However, some problems remain unresolved. D’Aumont was a leading figure in the London life, and it seems rather unlikely that such an initiative would be ignored by the London press or forgotten by D’Aumont in his own writings. Was Silla played in 1713? As of yet, we can’t say for sure. There are further questions regarding the opera itself, in particular the choice of subject. This is indeed one of the rare historical operas from Handel concerned with Lucius Cornelius Silla’s end of life related by Plutarch; having seized Rome, this consul-come-tyran had his adversaries killed before retiring in a way as sudden as it was incredible in his country house to focus on his hobbies. It’s hard to imagine that this thread could fit an opera probably thought as a commemorative piece of an event of some sort: experts have been struggling to find answers and some have tried to discover an allegorical context. Apart from the theme, the quality and the meaning of the book have also been vehemently criticized. It’s significantly based on Italian cantatas from the composer’s youth and it’s interesting to notice that, as far as the style is concerned, the music goes back to a certain extent to his previous historical opera, Agrippina.Although the absurdities from its book make it an unlikely candidate to find a place in the great operatic repertoire, Silla contains enough musical beauties. Let’s also remember that Handel was holding his work in enough regard to recycle a considerable part of it into his next opera, Amadigi di Gaula. © SM/Qobuz
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Volledige opera's - Verschenen op 12 mei 2017 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles de Classica
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Volledige opera's - Verschenen op 10 februari 2017 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen Choc de Classica - Choc Classica de l'année
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Volledige opera's - Verschenen op 28 oktober 2016 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Volledige opera's - Verschenen op 2 september 2016 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica
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Volledige opera's - Verschenen op 17 juni 2016 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Volledige opera's - Verschenen op 2 juni 2015 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 27 april 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Volledige opera's - Verschenen op 22 oktober 2012 | Aparté

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica - Hi-Res Audio
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Volledige opera's - Verschenen op 11 september 2012 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio

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