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Classical - Released October 2, 2020 | Glossa

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György Vashegyi and his Orfeo Orchestra and Purcell Choir offer up a recording of Boismortier’s Les Voyages de l’Amour of which this 1736 opéra-ballet has been in sore need, a score long and unjustly neglected. For this latest dramatic extravaganza on Glossa, Chantal Santon-Jeffery takes on the title role of lovesick Cupid, and the soprano is joined by two further widely experienced stars of the French Baroque opera revival in Katherine Watson (as the god of love’s sidekick and factotum Zéphire) and Judith van Wanroij as the shepherdess Daphné, smartly resistant to the god’s charms (until the end of the fourth act). By 1736, Joseph Bodin de Boismortier had become well-known in Parisian musical circles for his entertaining instrumental and vocal music and in his booklet essay Benoît Dratwicki (of the Centre de Musique Baroque de Versailles) explains how this fashionable composer came to have his first production for the Paris Opéra cast into the shadows, how the roles for Cupid and Zéphire may have originally been written for two prominent dessus of the time but were replaced by male singers for the première and how this new recorded edition aims to provide a performance as the composer would have wanted it. Katia Velletaz, Éléonore Pancrazi and Thomas Dolié also contribute to this lively entertainment, with this release also containing two differing versions of the second act about the arrow-firing god of love’s travels through village, city and court in search of true love for himself. © Glossa
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Chamber Music - Released May 26, 2017 | Ricercar

Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
Joseph Bodin de Boismortier didn't exactly begin his career as a musician: in 1713 he was a receiver for the Royal Tobacco Office for soldiers in Roussillon. But, feeling drawn to music, he took a chance and sent a Parisian publisher several sheets of music. This proved to be a great success, which saw Boismortier leave Perpignan for Paris, where he would set up in 1723 as a composer and virtuoso. After that, he never ceased to produce and produce: to the extent that he was able to live from his music, without the need for aristocratic patronage. His first compositions, which were almost exclusively duets for transverse flute, show the deep attachment which he would always have to this instrument, which the French were said to play "with an unparalleled subtlety", according to a chronicler of their time. Averaging a rate of four collections a year from 1724 to 1747, he would eventually write 102 numbered works, within which he would combine, in all possible musical forms (solos, duets, trios, quartets, sonatas, suites and concertos), all the timbres which were then in vogue in the salons of the capital. Violins, flutes, cellos, violas de gamba, bassoons, oboes, accordions, hurdy gurdies, and harpsichords vied for his attentions, to the joy of enlightened music-lovers and their salons. It is clear that the years 1732 to 1736 marked the height of the artist's powers in relation to instrumental music (he would later turn to ballet, opera, cantata, motet, etc.). In this period a large number of collections were published, which included the trios recorded here, almost all inspired by the Italian Sonata da chiesa: slow-quick-slow-quick. The Petit Trianon, with Amandine Solano on violin, Olivier Riehl on flute, Cyril Poulet on cello, Xavier Marquis on bassoon and Paolo Corsi on harpsichord has interpreted these devilishly charming works, with an infectious cheer. © SM/Qobuz
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Opera - Released June 26, 2020 | Glossa

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Classical - Released August 30, 2019 | Groupe Analekta, Inc

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Classical - Released May 1, 2001 | Naxos

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Classical - Released December 31, 1996 | Naxos

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Classical - Released September 25, 2020 | Brilliant Classics

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Classical - Released January 1, 2017 | Brilliant Classics

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Classical - Released August 5, 2016 | Resonus Classics

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Classical - Released September 27, 2019 | Brilliant Classics

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Classical - Released May 19, 2000 | Naxos

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Classical - Released January 1, 2001 | Naxos

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Classical - Released March 18, 2018 | Tactus Records

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Classical - Released January 1, 2005 | Accent

Distinctions 4 étoiles du Monde de la Musique - 9 de Classica-Répertoire
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Classical - Released December 4, 2015 | Musica Ficta

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Classical - Released October 26, 2018 | Brilliant Classics

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Classical - Released December 2, 2005 | MSR Classics

The booklet notes for this selection of sonatas by Joseph Bodin de Boismortier lay stress on this French Baroque composer's reconciliation of French and Italian elements -- something that most of his contemporaries accomplished in one way or another. A glance at the movement titles, which mix and match Italian tempo designations with the names of French dances, suffices to suggest the general outlines of the music. The real appeal of these sonatas for two bassoons and continuo (also published as suitable for cellos or violas da gamba) is their unusual mixture of charm and extreme concision. The majority of the individual movements are under two minutes long, and none is much more than three. They are like perfectly honed, perfectly graceful comic utterances in a Molière play, and the best lines come when the contrabassoon makes one of its periodic appearances. The continuo accompaniment switches off between harpsichord, organ, and theorbo, sometimes dropping out to create bassoon (or bassoon-contrabassoon) duets. Presumably the absence of the continuo is indicated in Boismortier's score, but the rather unhelpful notes don't address the issue. They do, however, devote considerable space to a composer who is not represented on this disc at all. The musicians at the center of the action, bassoonists Mathieu Lussier and Nadina Mackie Jackson and contrabassoonist Fraser Jackson, are ideal for this music: agile, light, and lyrical. You may think you don't particularly like the sound of one bassoon, let alone two of them, but try these slight slices of French elegance and you may change your mind about the instrument. © TiVo