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Opera - Released September 12, 2006 | Warner Classics International

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Classical - Released January 1, 1995 | Archiv Produktion

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Classical - Released March 8, 1993 | harmonia mundi

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Classical - Released July 20, 2011 | Delta Music Entertainment

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Opera - Released October 14, 1991 | harmonia mundi

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Opera - Released July 1, 2012 | Warner Classics International

Distinctions 4 étoiles Classica
It is tempting to say William Christie and Les Arts Florissants perform Rameau's opera Zoroastre the exact way the composer imagined it. Indeed, there are many riches in this performance: impeccable singing, a magnificent chorus, and an orchestra that perfectly captures the opulent beauties and complexities of French Baroque. A late work, Zoroastre may lack the consistent brilliance of Rameau's masterpiece Castor et Pollux, but this composition's daring formal conception, which presages the fluidity of late nineteenth century opera, richly compensates any perceived absence of structural balance. The story, centering on Zoroastre's struggle to save his beloved Amelite from the evil Abramanr, contains Masonic references. Was Rameau a Mason? Scholars cannot answer that question. True, Zoroastre is about the struggle between good and evil symbolized, respectively, by light and darkness, but what fascinates the listener is not the Masonic story, but Rameau's unique ability to represent archetypal dichotomies in purely musical terms by relying on musical symbolism. Thus, in Act IV, Rameau's musical representation of sinister forces directly appeals to the listener's intuition. Indeed, the sheer variety of dark tones, along with astonishing outbursts of sheer dramatic power, bespeak Rameau's expressive genius, which reveals the unfathomable essence of evil in ways that language cannot emulate. Rameau's descriptions of elevated spiritual states, symbolized by light, are even more astonishing as demonstrated by "O lumiere vive et pure," sung by Zoroastre and the chorus in Act III. Here, as well as in the "Tout se ranime," Zorastre's duet with Amelite, the musicians reach the pinnacle of their art: with faultless phrasing, breathtaking expressive intensity, and impeccable dramatic presence, the vocal soloists capture the essence of Rameau's music. The superb orchestra plays with the compellingly primal immediacy of a living voice. © TiVo
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Opera - Released February 5, 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
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Classical - Released March 8, 2015 | Solstice

Hi-Res Booklet
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Classical - Released January 1, 2000 | Archiv Produktion

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Full Operas - Released April 27, 2015 | harmonia mundi

Hi-Res Booklet Distinctions 4F de Télérama
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Classical - Released January 1, 1991 | Decca Music Group Ltd.

Distinctions The Qobuz Ideal Discography
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Opera - Released January 1, 1998 | naïve classique

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Classical - Released January 1, 2011 | Archiv Produktion

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Chamber Music - Released February 23, 2015 | Mirare

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - Exceptional Sound Recording
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Full Operas - Released April 5, 2019 | Glossa

Hi-Res Booklet Distinctions 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 - Released October 28, 2013 | Warner Classics International

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique - 4 étoiles Classica - Hi-Res Audio
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Opera - Released April 6, 2018 | Glossa

Hi-Res Booklet Distinctions 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
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Ballets - Released January 27, 2015 | Glossa

Hi-Res Booklet Distinctions Diapason d'or
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Opera - Released October 28, 2013 | Warner Classics International

Distinctions Diapason d'or
The operas of Jean-Philippe Rameau, vast spectacles, may be lost to history in their original forms. Sure, some of them have been produced in the modern era, but no company could muster the combination of singers, instrumentalists, choreography, and costume and scene design that would have accompanied the originals. The closest might be this release by French soprano Sabine Devieilhe, which is a thrill from start to finish. The album simply has it all. Devieilhe's voice is a knockout, and a deceptive one at that: it comes in as a flutelike thing in the mid-range but then scores with an agile top that seems absolutely undaunted by acrobatic vocal writing. The work of the historical-instrument orchestra Les Ambassadeurs under Alexis Kossenko is technically superb and dramatically sharp; they convey the feeling of playing for real theatergoers. The music covers selections from some operas with hugely ambitious themes, and there are three world-premiere recordings. Sample the storm aria from Les Indes Galantes (The Gallant Indians), track 17, with its wind machine and its colorful vocal canvas, for a taste of an immensely satisfying recital by a new face on the scene who makes you wonder just how far she'll eventually go. © TiVo
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Classical - Released October 7, 2014 | Glossa

Hi-Res Booklet Distinctions Choc de Classica
Jean-Philippe Rameau originally conceived Les Fêtes de l'Hymen et de l'Amour as a ballet héroïque on the subject of the Egyptian gods. Pragmatically, he later adapted it to celebrate the royal marriage of Louis, Dauphin of France to Maria Josepha of Saxony. This 2014 Glossa release marks the 250th anniversary of Rameau's death, though the music is far from gloomy. Le Concert Spirituel, under the direction of Hervé Niquet, performs the ballet in delightful Baroque style, with rhythmic precision, scintillating ornamentation, and fresh sonorities, and the re-creation of Rameau's score has all the elegance and panache one would expect of a courtly entertainment. The vocal writing is quite florid and fanciful, but the French cast is a joy to hear, even though the mythological libretto is quite stilted and almost nonsensical by modern standards. Recorded in Versailles, the sound is extraordinarily clear, vibrant, and detailed, so audiophiles are in for a treat, even though the format is standard CD. Highly recommended for fans of Baroque theater works. © TiVo