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Full Operas - Released April 5, 2019 | Glossa

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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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Classical - Released September 11, 2020 | Château de Versailles Spectacles

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Chamber Music - Released November 28, 2002 | Channel Classics Records

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Full Operas - Released September 3, 2015 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Choc Classica de l'année
In 1745, the King of France granted Jean-Philippe Rameau the title of ‘Composer to the Court’, coupled with a healthy pension. This new period produced pieces of a much lighter character, with Rameau working alongside the librettist Louis de Cahusac, and the resulting collaborations are now counted amongst the Burgundian musician’s greatest masterpieces. Zaïs was presented on the stage of the Royal Academy of Music in 1748. This heroic ballet offers French music some of its most beautiful movements, both vocally and instrumentally. The entire work is a meditation on its famous opening chaos, and succeeds, surprisingly, through its theatrical stamp and in the audacity of the writing. The plot is, perhaps, tenuous – a lover (Zaïs) is in the throes of affection for his beloved (Zélidie), determining to cherish her – which serves as the pretext for endless entertainment, dancing, and the work’s magical character. Today, it remains surprising that a work as sumptuous as Rameau’s Zaïs is neglected in favour of the Indes Galantes or Hippolyte et Aricie. It is paradoxical, then, that in 1970 Gustav would combine the small amount of French music he truly appreciated with a reassessment of the beauties of this work. Gustav created a fascinating recording with La Petite Bande Sigiswald Kuijken (STIL), which has now become a true rarity, despite its questionable vocalists. Happily for us, Christophe Rousset, who cherishes Rameaus’s older work, has dedicated himself to it, and offers us this gorgeously captured rendition, with French singers working under the direction of his sharp and witty leadership. The opening of the Les Talens Lyriques recital is far more vivid than anything that has been achieved in over twenty years for L’Oiseau-Lyre, in which the Ouverture immediately sets the tone. Rousset completely captures the brilliance of the score, and his imagination – which here seems insatiable – liberates his singers, who are boundlessly invested in this work; complicit in a musical resurrection. An enchantment of sorts? No. A whirlwind, rather. © Qobuz
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Classical - Released September 1, 2017 | Aparté

Hi-Res Booklet Distinctions Gramophone Record of the Month - Choc de Classica - 5 Sterne Fono Forum Jazz
Christophe Rousset and the Talens Lyriques bring us to the stage of the Royal Academy of Music where Pygmalion, an act of ballet by Jean-Philippe Rameau inspired by an episode of Ovid’s Metamorphoses, was created in 1748. Love, showing empathy for Pygmalion’s despair of loving a statue, invigorates the sculpted woman who immediately falls in love with her creator. Very suggestive, the music of this tender and mischievous ballet deploys the grace of 18th century dances. Like Ovid’s Love, Christophe Rousset instils life in this score, one of Rameau’s greatest successes in his day, and offers us, thanks to his sense of drama and his impeccable leadership, a new and essential reading of this ballet. © Aparté
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Opera - Released April 6, 2018 | Glossa

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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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Opera - Released October 28, 2013 | Warner Classics International

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Classical - Released March 27, 2020 | La Musica

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Classical - Released June 11, 1987 | Decca Music Group Ltd.

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Classical - Released January 1, 1991 | Decca Music Group Ltd.

Distinctions The Qobuz Ideal Discography
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Classical - Released December 3, 2012 | 1001 Notes

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Classical - Released April 20, 2015 | La Musica

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Full Operas - Released April 27, 2015 | harmonia mundi

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Classical - Released October 17, 2014 | Sony Classical

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Classical - Released July 15, 2016 | Sony Classical

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Classical - Released September 23, 2019 | Ligia

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Classical - Released January 1, 1997 | Decca Music Group Ltd.

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Full Operas - Released January 1, 1966 | Decca

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Classical - Released January 1, 2006 | Musikproduktion Dabringhaus und Grimm (MDG)

Rameau on a wind quintet? Including saxophone? Coming from the hyper-authentic folks at Germany's MDG label? It may sound unbelievable, but don't knock it until you hear it. There's an abstract quality in Rameau that seems to encourage this kind of thing; nobody does wind arrangements of Couperin. Holland's Calefax Reed Quintet, described as "a classical ensemble with a pop mentality," arranges pieces from Rameau's harpsichord Nouvelles Suites for an ensemble of oboe, clarinet, saxophone, bass clarinet, and bassoon, adding counterpoint where needed in order to make the music work. That covers quite a range of tones, and the range is extended even farther in the Les Boréades suite, where arranger and saxophonist tries out the unusual piccolo saxophone. The result is a marvelous variety of wind timbres that expresses the textures of Rameau's little pictorial harpsichord pieces in wholly novel ways. The group puts together Rameau's pieces into suites different from the ones the composer intended, and they proclaim themselves unconcerned if the hearer uses the program function of a listening device to construct programs of his or her own. Only La Poule, track 18, stands apart. So dip in anywhere and sample. Try not only the quick pictorial pieces but the imposing, processional ones like Entrée de Polymnie (track 22) -- the low winds lend these quite an impressive sound. This is an interpretation of Rameau's music, or a new creative entity based upon Rameau, more than a Rameau performance, and it is less homogenous than the original music in a way that alters it fundamentally. It's also almost compulsively listenable, and this is a strong candidate for offbeat release of the year. © TiVo
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Classical - Released March 8, 2015 | Solstice

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