Jéliote, haute-contre de Rameau

Reinoud Van Mechelen and A Nocte Temporis

Lançado em 03/09/21 por Alpha Classics
Artistas principais: Reinoud Van Mechelen A Nocte Temporis - Reinoud Van Mechelen
Género: Melodias

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Idioma disponível: inglês

The haute-contre voice has these days faded from general musicological discussion to such a degree that it doesn’t even get an entry in the big-name music dictionary sitting on this particular critic’s shelf. Yet in the French Baroque and Classical period, from Lully and Rameau to Gluck, this high tenor voice – sitting in the alto range, but unlike the countertenor voice appearing to have been achieved largely without employing falsetto – was the one for which many of the leading heroic and amatory roles were penned, and could perhaps be seen as an important stepping stone towards the tenor voice eventually pinching the lead roles being from countertenors. All of which makes tenor Reinoud Van Mechelen’s “Haute-Contre Trilogy” a fascinating addition to the catalogue.

This second volume of the trilogy (following a first devoted to Louis Gaulard Dumesny, for whom Lully created many of his main roles) sees him and his ensemble turn their attentions to Rameau’s favourite singer, Pierre de Jéliote (1713-1797), who made his sung stage debut in 1733 at the Concert Spirituel, before retiring from singing in 1765 to instead join the King’s Orchestra as a violinist and guitarist. Repertoire-wise, there’s all sorts to enjoy. Inevitably, Rameau’s operas feature strongly, with offerings from Les Boréades, Castor et Pollux, Hippolyte et Aricie, Les Fêtes d’Hébé and Platée.

However we’ve very much been given the full 360-degree tour of de Jéliote’s landscape, with Dauvergne, Colin de Blamont, Mondonville, Rebel and Francoeur also on the bill. Van Mechelen himself is clear-toned and agile, bringing gentle poetry to the clearly amatory airs; and while it’s a light voice, it’s not without its power when he chooses, and you’ll by turns hear it all across Rebel’s multi-faceted Muses, je viens encor. That particular air equally showcases the sensitive, crisply light and fleet-footed support from A Nocte Temporis, with some especially enjoyable woodwind playing, across both their tutti and chamber-textured moments; and indeed the icing on the programming cake overall are the solo ensemble moments punctuating the album at regular intervals – not least the overture to Rameau’s Hippolyte et Aricie with which it begins. © Charlotte Gardner/Qobuz

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Jéliote, haute-contre de Rameau

Reinoud Van Mechelen

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Hippolyte et Aricie (Jean-Philippe Rameau)

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