Ballet en un acte et 5 scenes
1. Scene 1
2. Scene 2          play
3. Scene 3
4. Scene 4
5. Scene 5

René Schirrer (Anacréon)
Les Arts Florissants
William Christie – director

The Baroque period produced a number of very great composers, and although many of them were highly versatile, producing masterpieces in a variety of media, there were also areas of unquestioned specialization. Bach wrote cantatas, Handel did operas and oratorios, Scarlatti was the great composer for the keyboard, Vivaldi mastered the concerto, and Rameau was the great ballet composer of his day. Most of his dance music was inserted into operas or other theatrical works, and it's perfectly possible to extract it in the form of orchestral suites, as is the case here. Performances are expert, and the music itself is prime Baroque. --David Hurwitz

Anacréon is an opera by the French composer Jean-Philippe Rameau, first performed at the Opéra, Paris, on 31 May 1757 as part of a revised version of the opéra-ballet Les surprises de l'Amour. It takes the form of a one-act acte de ballet and has a libretto by Pierre-Joseph-Justin Bernard. Rameau had written another opera with the same title in 1754. The earlier work has a libretto by Louis de Cahusac and a completely different plot. Both are linked by the figure of the ancient Greek lyric poet Anacreon. The second Anacréon was composed to be the third entrée of a revised version of Rameau's opéra-ballet Les surprises de l'Amour. The work had originally been staged in 1748 and when it came to be revived in 1757 the allegorical prologue, referring to the Treaty of Aix-la-Chapelle, was no longer relevant. This meant that the work now only contained two entrées so another act had to be written of roughly the same length as the prologue. The revised Les surprises de l'Amour was a great success. Anacréon was also performed as a separate work in 1769 and 1771, after Rameau's death.

William Christie was a pioneer in the performance of French baroque music, and this 1981 recording shows how even very early on, he had just the right touch. The orchestra is brilliant, and special kudos to the flutes who have some great moments that set a distinctive mood. The solo voices all excel, and the whole group make a delightful sound.

Anacréon - (acte de ballet) – jednoaktowa opera-balet z roku 1757 , później wykorzystana także jako III entrée opery-baletu Les Surprises de l’Amour(Niespodzianki miłości). Typowa dla francuskiej tradycji operowej i dla twórczości Jeana-Philippe’a Rameau opera – balet skomponowana dla opery w Paryżu na sezon roku.

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Disc 1:
1. Rameau: Dardanus - Overture	Les Musiciens du Louvre	4:12
2. Rameau: Dardanus / Prologue - "Régnez, Plaisirs, régnez"	Mireille Delunsch	1:44
3. Rameau: Dardanus / Prologue - Air pour les Plaisirs (Gai et gracieux)	Les Musiciens du Louvre	1:10	
4. Rameau: Dardanus / Prologue - "Je veux que sous mes lois" / "Plaisirs, enchaînez-les"	Mireille Delunsch	2:23	
5. Rameau: Dardanus / Prologue - Air pour les Plaisirs (Très vif)	Les Musiciens du Louvre	1:10
6. Rameau: Dardanus / Prologue - "Quel calme!"	Mireille Delunsch	0:58
7. Rameau: Dardanus / Prologue - "Brisez vos fers"	Mireille Delunsch	1:01	
8. Rameau: Dardanus / Prologue - "Nos mains forgent les traits"	Chorus Of Les Musiciens Du Louvre	1:23
9. Rameau: Dardanus / Prologue - "C'en est trop"	Mireille Delunsch	0:43	
10. Rameau: Dardanus / Prologue - "Troubles cruels"	Mireille Delunsch	1:11
11. Rameau: Dardanus / Prologue - "Quand l'aquilon fougueux"	Mireille Delunsch	2:31
12. Rameau: Dardanus / Prologue - Marche pour les différentes nations (Gai) / "Par tes bienfaits, signale ta puissance"	Chorus Of Les Musiciens Du Louvre	3:10	
13. Rameau: Dardanus / Prologue - Air gracieux (Sans lenteur) / "L'Amour, le seul Amour"	Magdalena Kozená	1:58	
14. Rameau: Dardanus / Prologue - Menuet tendre en rondeau	Les Musiciens du Louvre	1:22
15. Rameau: Dardanus / Prologue - Premier Tambourin / Deuxième Tambourin	Les Musiciens du Louvre	1:41	
16. Rameau: Dardanus / Prologue - "Pour célébrer ce jour heureux"	Françoise Masset	0:57
17. Rameau: Dardanus / Prologue - Reprise de l'Ouverture	Les Musiciens du Louvre	2:00
18. Rameau: Dardanus / Act 1 - "Cesse, cruel Amour"	Veronique Gens	3:54	
19. Rameau: Dardanus / Act 1 - "Ma fille, enfin le ciel seconde mon courroux"	Russell Smythe	0:46
20. Rameau: Dardanus / Act 1 - "Princesse, après l'espoir"	Veronique Gens	1:04	
21. Rameau: Dardanus / Act 1 - "Par des noeuds solennels" / "Mânes plaintifs, tristes victimes"	Russell Smythe	3:35
22. Rameau: Dardanus / Act 1 - "Par des jeux éclatants"	Chorus Of Les Musiciens Du Louvre	1:34
23. Rameau: Dardanus / Act 1 - Entrée pour les Guerriers (Majestueux)	Les Musiciens du Louvre	1:52	
24. Rameau: Dardanus / Act 1 - Air (Vif) / "Allez, jeune guerrier"	Magdalena Kozená	2:35
25. Rameau: Dardanus / Act 1 - Premier Rigaudon	Les Musiciens du Louvre	1:06	
26. Rameau: Dardanus / Act 1 - Deuxième Rigaudon / "Guerriers, suivez l'Amour"	Les Musiciens du Louvre	1:41	
27. Rameau: Dardanus / Act 1 - "Mars, Bellone, guidez nos/leurs coups" / "Guerriers, je remplirai bientôt votre espérance" / "Mars, Bellone, guidez nos/leurs coups"	Russell Smythe	1:35	
28. Rameau: Dardanus / Act 1 - "Je cède au trouble affreux"	Veronique Gens	0:56	
29. Rameau: Dardanus / Act 2 - "Tout l'avenir est présent à mes yeux"	Jean-Philippe Courtis	2:10
30. Rameau: Dardanus / Act 2 - "On vient ... c'est Dardanus"	John Mark Ainsley	5:09
31. Rameau: Dardanus / Act 2 - "Entendez ma voix souveraine" / "Hâtons-nous; commencons nos terribles mystères"	Jean-Philippe Courtis	2:54	
32. Rameau: Dardanus / Act 2 - Air (Grave)	Les Musiciens du Louvre	1:23
33. Rameau: Dardanus / Act 2 - "Suspends ta brillante carrière"	Jean-Philippe Courtis	1:02	
34. Rameau: Dardanus / Act 2 - Air (Vif)	Les Musiciens du Louvre	1:25
35. Rameau: Dardanus / Act 2 - "Nos cris ont pénétré jusqu'au sombre séjour"	Jean-Philippe Courtis	1:36	
36. Rameau: Dardanus / Act 2 - "C'en est fait"	Jean-Philippe Courtis	0:49	
37. Rameau: Dardanus / Act 2 - "Obéis aux lois des enfers"	Chorus Of Les Musiciens Du Louvre	2:16
38. Rameau: Dardanus / Act 2 - "Je la vois"	John Mark Ainsley	1:17	
39. Rameau: Dardanus / Act 2 - "Par l'effort de votre art terrible"	Veronique Gens	1:41
40. Rameau: Dardanus / Act 2 - "D'un penchant si fatal"	Veronique Gens	1:11	
41. Rameau: Dardanus / Act 2 - "Dieux! qu'exigez-vous de mon zèle?"	John Mark Ainsley	2:36
42. Rameau: Dardanus / Act 2 - "Elle fuit! ... Mais j'ai vu sa tendresse"	John Mark Ainsley	1:09
43. Rameau: Dardanus / Act 2 - Entracte: Bruit de guerre	Les Musiciens du Louvre	1:45

Disc 2:
1. Rameau: Dardanus / Act 3 - Prélude (Sans lenteur) / "Ô jour affreux!"	Veronique Gens	3:39
3. Rameau: Dardanus / Act 3 - "Princesse, enfin la paix va combler mon attente"	Laurent Naouri	3:17
3. Rameau: Dardanus / Act 3 - "Que l'on chante, que l'on s'empresse" / "Entendez ces chants d'allégresse" / "Que l'on chante, que l'on s'empresse"	Laurent Naouri	2:06
4. Rameau: Dardanus / Act 3 - Air en rondeau (Gai) / "Paix favorable, paix adorable"	Françoise Masset	3:34
5. Rameau: Dardanus / Act 3 - Premier Menuet / Deuxième Menuet en rondeau / "Volez, Plaisirs, volez"	Magdalena Kozená	2:51
6. Rameau: Dardanus / Act 3 - Premier Tambourin / Deuxième Tambourin	Les Musiciens du Louvre	1:55
7. Rameau: Dardanus / Act 3 - "Cessez vos jeux"	Russell Smythe	2:46
8. Rameau: Dardanus / Act 3 - "Allez, et remportez une illustre victoire"	Chorus Of Les Musiciens Du Louvre	1:41
9. Rameau: Dardanus / Act 4 - "Lieux funestes"	John Mark Ainsley	6:19	
10. Rameau: Dardanus / Act 4 - Ritournelle (Gracieusement et un peu gai)	Les Musiciens du Louvre	1:13
11. Rameau: Dardanus / Act 4 - "Malgré le dieu des mers"	Mireille Delunsch	0:27	
12. Rameau: Dardanus / Act 4 - "Venez, Songes flatteurs"	Mireille Delunsch	1:00	
13. Rameau: Dardanus / Act 4 - Sommeil (Rondeau tendre)	Les Musiciens du Louvre	3:24
14. Rameau: Dardanus / Act 4 - "Par un sommeil agréable"	Magdalena Kozená	3:32
15. Rameau: Dardanus / Act 4 - Air (Très vif)	Les Musiciens du Louvre	0:42	
16. Rameau: Dardanus / Act 4 - "Un monstre furieux désole ce rivage"	Magdalena Kozená	0:51
17. Rameau: Dardanus / Act 4 - "Ah! que votre sort est charmant"	Jean-François Lombard	1:49
18. Rameau: Dardanus / Act 4 - Calme des sens (Air tendre)	Les Musiciens du Louvre	1:39
19. Rameau: Dardanus / Act 4 - Gavotte vive	Les Musiciens du Louvre	0:28
20. Rameau: Dardanus / Act 4 - Air de triomphe (Vivement) / "Il est temps de courir aux armes"	Magdalena Kozená	2:33	
21. Rameau: Dardanus / Act 4 - "Où suis-je!"	John Mark Ainsley	0:37	$0.99	 Buy MP3 
listen	22. Rameau: Dardanus / Act 4 - "Hâtons-nous; courons à la gloire"	John Mark Ainsley	1:58
23. Rameau: Dardanus / Act 4 - "Voici les tristes lieux"	Laurent Naouri	0:42
24. Rameau: Dardanus / Act 4 - "Monstre affreux, monstre redoutable"	Laurent Naouri	3:07	
25. Rameau: Dardanus / Act 4 - "Quel bruit! quelle tempête horrible!" / "Mon rival va périr" / "Le monstre est abattu"	John Mark Ainsley	2:20	
26. Rameau: Dardanus / Act 4 - "Quel est donc le héros qui conserve mes jours?"	John Mark Ainsley	1:26	
27. Rameau: Dardanus / Act 5 - Ritournelle et Choeur des Phrygiens: "Anténor est victorieux"	Russell Smythe	1:38	
28. Rameau: Dardanus / Act 5 - "N'en doute point; c'est Dardanus lui-même"	John Mark Ainsley	2:55	
29. Rameau: Dardanus / Act 5 - "Mais un nouvel éclat embellit l'univers"	Russell Smythe	1:55
30. Rameau: Dardanus / Act 5 - "Teucer, bannissez pour jamais la vengeance et la haine"	Mireille Delunsch	0:48	
31. Rameau: Dardanus / Act 5 - Duo: "Des biens que Vénus nous dispense"	Veronique Gens	2:13
32. Rameau: Dardanus / Act 5 - Air pour les Plaisirs (Gai) / Choeur des Amours: "Nous quittins des Plaisirs la demeure chérie"	Chorus Of Les Musiciens Du Louvre	2:24
33. Rameau: Dardanus / Act 5 - Gavotte (Gracieusement) / Air: "C'est la constance"	Françoise Masset	1:05	
34. Rameau: Dardanus / Act 5 - Ariette: "Pour la fête où l'on vous appelle"	Mireille Delunsch	1:19
35. Rameau: Dardanus / Act 5 - Gigue (Vivement)	Les Musiciens du Louvre	1:04	
36. Rameau: Dardanus / Act 5 - Chaconne	Les Musiciens du Louvre	5:26	

Venus - Mireille Delunsch 
Teucer - Rusell Smythe 
Iphise - Véronique Gens 
Dardanus - John Mark Ainsley
Ismenor - Jean-Philippe Courtis 
Une Bergere - Magdalena Kozená 
L'Amour - Françoise Masset 
Antenor - Laurent Naouri
Les Musiciens Du Louvre
Mark Minkowski - conductor

Rameau composed Dardanus in 1739 at the height of the war between the Lullistes and the Ramistes. The opera was almost universally trashed but still managed to run up 26 performances, due mostly to a thousand avid Ramistes who attended all of them. The opera was revived in 1744 and it was turned into something far more down-to-earth, textually speaking–in other words, much of the supernatural hoo-ha was eliminated. It also was severely cut, since the musicians at the premiere had complained about the sheer quantity of the music, and a couple of small scenes were added. The performance presented here is essentially the 1739 version, with two 1744 scenes added: a quite marvelous prison scene for Dardanus at the start of the fourth act, and a brief orchestral interlude earlier on. The plot–convoluted with sea monsters and changing identities–remains a mess, but the music is glorious, and as the musicians were quick to point out, there’s plenty of it. Highlights–at least a few that overwhelm–are the ferocious call to arms “Mars Bellone…” in Act 1; the scene in which Dardanus declares his love for Iphise at the close of Act 2; Iphise’s grief-stricken aria at the start of Act 3; Anténor’s facing down the sea monster in Act 4; and the ravishing duet for the lovers in the final act. In the person of John Mark Ainsley we have the ideal Dardanus. The high-lying music doesn’t phase him and he still sounds virile; he’s positively towering in his tragic prison scene. Véronique Gens’ Iphise is no less superb–she goes through the opera with some very mixed feelings, and her torment is palpable. As Anténor, Laurent Naouri is manly and noble; Jean-Philippe Courtis’ Magician is spooky and potent; Venus, in the person of Mireille Delunsch is truly divine; and Russell Smythe is all dignity as King Teucer, Iphise’s father. There is no praise high enough for Marc Minkowski and his Louvre musiciens–their spirit, understanding, and accuracy in the face of this challenge is extraordinary. This set easily replaces Raymond Leppard’s 1980 recording of the work, which, although it featured the lovely Iphise of Frederica von Stade, eliminated the prologue entirely and otherwise used the 1744 version with a hodgepodge of instruments. This new recording also benefits from sonics that are as outstanding as the performance. This is an invaluable addition to the Rameau discography. ---Robert Levine, classicstoday.com

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CD 1

01. Ouverture 03:38
02. Prologue Scène 1: "Profonds abîmes du Ténare" Alain Buet 02:58
03. Prologue Scène 1: "Notre gloire est de détruire" Alain Buet 01:13
04. Prologue Scène 1: "Hâtez-vous, vengez mon outrage" Alain Buet 00:40
05. Prologue Scène 2: Air pour les démons et les héros 01:58
06. Prologue Scène 2: "Arrêtez, monstres furieux" Mathias Vidal, Alain Buet 02:36
07. Prologue Scène 3: "Ce monstre toujours terrible" 00:55
08. Prologue Scène 3: "Vous, entre sa caverne horrible" Mathias Vidal 02:25
09. Prologue Scène 3: "Air pour les héros" 01:38
10. Prologue Scène 3: "Nous calmons les alarmes" 02:00
11. Entracte: Reprise de l'ouverture 01:16
12. Acte I Scène 1: "Muses, filles du ciel, la paix règne en vos fêtes" Judith van Wanroij 04:25
13. Acte I Scène 1: "Les muses quelques fois calment un cœur sensible" Judith van Wanroij, Chantal Santon-Jeffery 01:50
14. Acte I Scène 1: "Déesses de ces lieux, appui de l'innocence" Judith van Wanroij 00:58
15. Acte I Scène 1: Musette en rondeau pour l'entrée des bergers et bergères 01:32
16. Acte I Scène 2: "Venez, tendres bergers, vous qui plaignez mes larmes" Judith van Wanroij 00:45
17. Acte I Scène 2: "Oserons-nous chanter sur nos faibles musettes" 01:12
18. Acte I Scène 2: "Nous fuyons devant ces héros" Katia Velletaz, Judith van Wanroij 00:59
19. Acte I Scène 2: Premier air pour les bergers et bergères 01:40
20. Acte I Scène 2: Deuxième air pour les bergers et bergères 01:56
21. Acte I Scène 2: Premier et deuxième menuet en musette pour les bergers et bergères 01:41
22. Acte I Scène 2: Premier et deuxième gavottes pour les bergers et bergères 01:44
23. Acte I Scène 2: "La guerre sanglante" 02:44
24. Acte I Scène 3: "Où suis-je ? Qu'ai-je vu ? Non, je ne puis le croire" Alain Buet 01:20
25. Acte I Scène 3: "On n'imite point les dieux" Katia Velletaz 02:59
26. Acte I Scène 3: "Un roi, s'il veut être heureux" Katia Velletaz 02:18
27. Acte I Scène 3: "Plus j'écoute leurs chants, plus je deviens sensible" Alain Buet, Judith van Wanroij 03:44
28. Acte I Scène 4: "Allez, donnez tous deux au monde" 01:39
29. Entracte: Mouvement de gavotte lente 02:25

CD 2

01. Acte II Scène 1: Entrée des suivants de Bacchus 00:50
02. Acte II Scène 1: "Accourez, Bacchus vous l'ordonne" Katia Velletaz 01:22
03. Acte II Scène 1: Loure pour l'entrée des faunes 01:49
04. Acte II Scène 2: "La brillante Érigone avec Bacchus s'avance" Katia Velletaz 01:11
05. Acte II Scène 2: Air pour les suivants de Bacchus 01:40
06. Acte II Scène 2: "Érigone, objet plein de charmes" Mathias Vidal 03:41
07. Acte II Scène 2: "Que le thyrse règne toujours" Mathias Vidal 02:43
08. Acte II Scène 2: "Un désordre inconnu de mon âme s'empare" Mathias Vidal, Chantal Santon-Jeffery 03:50
09. Acte II Scène 3: "Téméraire, arrête" Alain Buet 05:43
10. Acte II Scène 3: Forlane pour les suivants de Bacchus 01:39
11. Acte II Scène 3: Air pour les suivants de Bacchus 01:25
12. Entracte: Reprise de la forlane pour les suivants de Bacchus 01:47
13. Acte III Scène 1: "Reviens, divin Trajan, vainqueur doux et terrible" Judith van Wanroij 03:16
14. Acte III Scène 1: "Dans ce climat barbare, au sein de l'Arménie" Katia Velletaz, Judith van Wanroij 02:20
15. Acte III Scène 2: "Enfin, je vous revois, le charme de ma vie" Mathias Vidal, Judith van Wanroij 06:04
16. Acte III Scène 4: "Fier Dieu des alarmes" 01:50
17. Acte III Scène 4: Air pour les prêtres de Mars et les prêtresses de Vénus 00:52
18. Acte III Scène 4: "Dieux puissants, protégez votre vivante image" Judith van Wanroij 01:03
19. Acte III Scène 4: Première et deuxième gavottes pour les prêtres de Mars et les prêtresses de Vénu 01:55
20. Acte III Scène 4: "Charmant héros, qui pourra croire" 01:06
21. Acte III Scène 4: "Rois, qui redoutez ma vengeance" Mathias Vidal 00:50
22. Acte III Scène 5: "Ô grandeur ! Ô clémence !" Renaud Tripathi, Serge Goubioud, Benoît Giaux, Philippe Favette, Benoît Porcherot 01:33
23. Acte III Scène 5: Descente de la gloire  00:12
24. Acte III Scène 6: "Tu vois ta récompense" Chantal Santon-Jeffery 03:10
25. Acte III Scène dernière: "Chantons dans ce jour solennel" 01:43
26. Acte III Scène dernière: Chaconne pour les romains et romaines 06:24
27. Acte III Scène dernière: Air pour les romains et romaines 01:31
28.LActe III Scène dernière: "Ces oiseaux, par leur doux ramage" Mathias Vidal 05:56

Judith van Wanroij - Lydie, Plautine, (soprano) 
 Katia Velletaz,  une Bergère - une Bacchante, Junie, (soprano)
 Chantal Santon-Jeffery  - Arsine, Erigone, la Gloire, (soprano)
 Mathias Vidal -  Apollon, Bacchus, Trajan, (tenor )
 Alain Buet - L’Envie, Bélus, le Grand-Prêtre de la Gloire, (bass)

Choeur de Chambre de Namur et l' Orchestre Les Agrémens
Guy van Wass – conductor

Le Temple de la gloire was commissioned by the duc de Richelieu to celebrate Louis XV’s return to Versailles after a famous (and rare) victory at Fontenoy, in the War of the Austrian Succession. Voltaire provided the libretto, and the piece, described variously as an opéra-ballet or ballet héroïque, was set to music by Jean-Philippe Rameau. There were two performances at court in late November and early December 1745, followed by further performances in Paris, and a short-lived revival of a revised version in 1746: since then, the piece has all but vanished.

Russell Goulbourne’s critical edition of Le Temple de la gloire in the Œuvres complètes de Voltaire (vol. 28A, 2006) gets to grips for the first time with the complicated history of Voltaire’s libretto. But it is hard to fully appreciate any libretto without the music which brings it to life. Voltaire’s libretto was frequently printed in his lifetime, but Rameau’s music remained unpublished until 1909, when Saint-Saëns brought out the 1746 version of the score; the music of the 1745 version, long thought lost, has only recently turned up in the university library at Berkeley.

A French musicologist, Julien Dubruque, has just produced the first critical edition of the score (Opera omnia Rameau, vol. IV.12), its appearance in 2014 timed to coincide with the celebrations of the 250th anniversary of the composer’s death. Much of this music has never been heard since the eighteenth century, and on 14 October 2014 a concert performance of Le Temple de la gloire was given in the beautiful eighteenth-century Opéra Royal at Versailles, with Guy Van Waas conducting his orchestra, Les Agrémens, and the Chœur de chambre de Namur. To those of us who had only heard the old LP recording made by Jean-Claude Malgoire (CBS, 1982), this concert was an amazing revelation.

Of course Le Temple de la gloire was only ever an occasional piece, but perhaps on that account we have underestimated it. The work was patently an attempt to relive the glory days of the celebrations at the court of Louis XIV. But if Louis XV was clearly uncomfortable in the shoes of the Sun King, Rameau and Voltaire, on the evidence of this concert, could certainly fill the shoes of Lully and Quinault. The re-emergence of Rameau’s glorious music – and a recording of the concert is to be released – should encourage us to return to Voltaire’s libretto and reassess his achievement as a writer for the Court. --- Nicholas Cronk, voltairefoundation.wordpress.com

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1. Prologue
2. 1re entrée : le Turc généreux
3. 2e entrée : les Incas du Pérou
4. 3e entrée : les Fleurs, fête persane
5. 4e entrée : les Sauvages


Claron McFadden - Hébé, Zima
Sandrine Piau - Zaüre
Isabelle Poulenard - L'Amour, Phani
Noémi Rime - Fatime
Miriam Ruggeri - Émilie
Howard Crook - Valère, Damon
Jean-Paul Fouchécourt - Don Carlos, Tacmas
Jérôme Corréas - Bellone, Ali
Bernard Delétre - Hauascar, Don Alvar
Nicolas Revenq - Osman, Adario

Les Arts Florissants
William Christie

Les Indes Galantes (The Gallant Indians) was Rameau's second theatrical work. Termed an opéra-ballet, it was essentially a dance spectacle with sung elements. (The form was descended from the earlier ballet a entrées of the French court.) There was more than one kind of opéra-ballet; the more dramatic works were termed ballets heroïques, and Les Indes Galantes was one of these. It was first given on August 23, 1735, to reviews that both praised and condemned it. Much of the music was quite adventuresome and elicited strong reactions from the Parisian public. The libretto was by Louis Fuzelier, a writer of comedies and a well-known author. The Prologue has a theme taken from mythology, and concerns the universality of Love. Each section or entrée is set in an exotic locale and contains a story of an amorous nature.

The exotic locations, while typical of the genre, here point vaguely toward Enlightenment-oriented human universals. Nevertheless, there is plenty of pure spectacle. Le Turc Genereux (The Generous Turk) contains a descriptive storm scene, a chorus of sailors, and a ballet by African slaves. The storm music is quite effective, and makes use of Vivaldi-like tremolos and scalar patterns, as well as dramatic key changes.

The Incas' Festival of the Sun is depicted in the second entrée in a grand spectacle full of choruses, symphonies, and airs. There is a long scene in which the sun is invoked by the priest Huascar, and the chorus "Brillant Soleil" (Brilliant Sun) is its climax. Although this scene was praised by Voltaire, many found it too new and unusual. The earthquake that follows is described in the orchestra by tremolos, rushing scales, and dissonant harmony, and was considered too difficult to perform. An unusual trio for Phani, Don Carlos, and Huascar is another highlight of this entrée; Huascar's voice argues in counterpoint with the two lovers, right before he is vanquished by the eruption of a volcano. The music of this entrée is very dissonant, emotionally sustained, and quite modern.

Les Indes Galantes contained only the first two entrées and the Prologue at its premiere. Afterwards, Rameau added Les Fleurs, which offers emotional release after so much drama. The dominant element in this entrée is the dance; there is no drama, only serene music. The final Les Sauvages (The Savages) was added at a much later date. Set in a North American forest, with Native American characters, after an initial amorous story, the main body of the entrée is built around the Ceremony of the Pipe of Peace. Much of the music for the ceremony was taken from harpsichord music Rameau had published in 1730, and the entree ends with a chaconne written for the opera Samson. ---Rita Laurance, Rovi

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CD I

Prologue
01 Ouverture 3:36
02 Choeur : « Attaquons les cieux... » 0:58
03 Récit et choeur : « Le ciel frémit, la terre tremble... » (Jupiter, choeur) 0:21
04 Choeur : « Attaquons les cieux... » 2:05
05 Récit : « Ah ! Sans des flots de sang... » (Jupiter) 0:14
06 Choeur : « Lancez, lancez la foudre... » 2:34
07 Récit : « Arrêtez, monstres, arrêtez... » (Pluton) 0:23
08 Ensemble : « Triomphe, ô Jupiter !... » (Neptune, Pluton, choeur) 0:37
09 Récit : « Non, je n’abuse point d’une heureuse victoire... » (Jupiter) 2:00
10 Air : « Je vole, où m’appelle ton choix... » (Neptune) 1:35
11 Récit : « Au fond des gouffres éternels... » (Jupiter) 0:34
12 Récit : « Il faut qu’un pouvoir rigoureux... » (Pluton) 1:42
13 Récit : « C’est sur nos soins divers... » (Jupiter) 1:24
14 Choeur : « Heureux vainqueur, le ciel, la terre et l’onde... » 1:12
15 Entrée pour les Dieux et les Peuples de la terre 1:27
16 Sarabande pour les Dieux et Déesses, et les Peuples de la terre 1:26
17 Air : « Ah ! Que la paix nous promet de douceurs... » (Flore) 1:38
18 Gavotte pour les Zéphyrs et les Nymphes 0:57
19 Air : « Brillez de mille attraits nouveaux... » (Flore) 2:47
20 Premier et deuxième Rigaudon pour les Nymphes et les Zéphyrs 1:59
21 Récit : « Dans une heureuse intelligence... » (Jupiter) 0:34
22 Choeur : « Heureux vainqueur, le ciel, la terre et l’onde... » & Entracte 2:24

Acte premier
23 Récit : « Que ces paisibles bords... » (Neptune, Protée) 1:01
24 Récit : « Palémon, l’Amour est vengé... » (Neptune, Palémon) 0:17
25 Air : « Je ne suis plus ce dieu volage... » (Neptune) 1:30
26 Récit : « Sans amour empressé de plaire... » (Palémon, Neptune) 1:20
27 Récit : « Accourez à ma voix, volez jeux enchanteurs... » (Naïs, Neptune, Palémon) 0:26
28 Air : « Accourez à ma voix, volez jeux enchanteurs... » (Naïs) 1:53
29 Récit : « Peut-on l’entendre, et ne la pas aimer ?... » (Neptune, Palémon) 2:40
30 Air : « Tendres oiseaux éveillez-vous... » (Naïs) 3:56
31 Récit : « Avant que le soleil sorte du sein des eaux... » (Télénus, Naïs) 2:51
32 Annonce et récit : « On vient. De vos fureurs calmez la violence... (Naïs, Télénus) 0:30
33 Entrée pour les Peuples de Corinthe, de l’isthme et de Grèce 0:58
34 Récit : « Que ce jour consacré par la reconnaissance... » (Astérion) 0:42
35 Récit : « Peuples d’un dieu puissant méritez les bienfaits... » (Naïs) 0:29
36 Trio et choeur : « Chantons le dieu des eaux... » (Naïs, Astérion, Télénus, choeur) 2:24
37 Entrée des Lutteurs 0:09
38 Chaconne pour les Lutteurs, Course et Air de Triomphe 7:00
39 Trio et choeur : « Chantons Naïs... » (Naïs, Astérion, Télénus, choeur) 1:09
40 Récit : « C’est lui-même... » (Naïs) 0:32
41 Arioso : « Tout cède au charme de vos yeux... » (Neptune) 1:26
42 Récit : « Ô ! Contrainte cruelle !... » (Télénus, Neptune, Naïs) 0:30
43 Air des Divinités de la mer 0:48
44 Premier et deuxième Menuet pour les Divinités de la mer 2:08
45 Air : « Au dieu des mers, voulez-vous plaire ?... » (Neptune) 2:18
46 Récit : « Quoi ! Vous souffrez qu’un téméraire... » (Télénus, Naïs, Neptune) 0:17
47 Air pour les Divinités de la mer 1:01
48 Premier et deuxième Tambourin pour les Divinités de la mer 1:37
49 Choeur : « Règne, triomphe dieu des mers... » 1:55

CD II

Acte deuxième
01 Récit : « Ah ! Ne me suivez point... » (Naïs, Neptune) 1:02
02 Récit accompagné : « Du plus sombre avenir le voile ténébreux... » (Neptune) 0:50
03 Récit : « Le destin se réserve un don si précieux... » (Naïs, Neptune) 3:33
04 Récit : « Dois-je le croire ?... » (Naïs) 0:36
05 Air : « Ces rapides traits de flamme... » (Naïs) 2:27
06 Récit : « Ma jalouse tendresse a du vous alarmer... » (Télénus, Naïs) 3:06
07 Récit : « Elle rit du trait qui me blesse... » (Télénus) 0:14
08 Air : « Cessez soupçons jaloux, cessez de m’alarmer... » (Télénus) 1:30
09 Air : « Les ennuis de l’incertitude... » (Astérion) 1:22
10 Air : « Un doux espoir flatte mon âme... » (Télénus) 0:26
11 Air : « Tendres bergers, troupe heureuse et chérie... » (Astérion) 1:35
12 Musette pour les Bergers 1:20
13 Air et choeur : « Ô Tirésie ! écoutez-nous... » (Astérion, choeur) 2:41
14 Air et choeur : « La voix des plaisirs m’appelle... » (Tirésie, choeur) 2:01
15 Première et deuxième Gavotte pour les Bergers 1:41
16 Récit accompagné : « D’un voile épais... » (Tirésie) 2:20
17 Sarabande pour les Bergers 1:28
18 Air : « Au Berger que j’adore... » (Une Bergère) 1:48
19 Récit : « Non, non, vous jouissez du bonheur le plus doux... » (Une Bergère, Tirésie) 0:14
20 Musette 1:13
21 Air : « Je ne sais quel ennui me presse... » (Une jeune Bergère) 1:22
22 Récit : « Ne craignez point d’entendre... » (Une jeune Bergère, Tirésie) 0:47
23 Gavotte en rondeau 0:57
24 Premier et deuxième air 2:30
25 Air : « Nous portons les plus rudes chaînes... » (Astérion) 0:31
26 Réveil des oiseaux et récit accompagné : « Tout semble s’animer... » (Tirésie) 2:00
27 Choeur et récit : « Quel oracle ! Ô Neptune !... » (Astérion, Télénus, choeur) 0:22
28 Ensemble : « Aux armes, vengeons-nous !... » (Astérion, Télénus, choeur) 0:57

Acte troisième
29 Air : « La jeune nymphe que j’adore... » (Neptune) 4:36
30 Récit : « Ô Ciel ! D’où naît ce trouble extrême ?... » (Neptune, Naïs) 3:12
31 Ensemble : « Allumez-vous rapides feux... » (Naïs, Neptune, Astérion, Protée, Palémon,
Télénus, choeur) 0:48
32 Récit : « Les flots les ont punis... » (Neptune, Naïs) 2:47
33 Récit accompagné : « Un oracle fatal... » (Naïs) 0:24
34 Récit : « Ciel ! Vous craignez Neptune, et ce dieu vous adore... » (Neptune, Naïs) 1:22
35 Écroulement de la terre 0:30
36 Choeur : « Coulez ondes, mêlez votre murmure... » 3:11
37 Duo : « Que je vous aime !... » (Naïs, Neptune) 1:24
38 Air et choeur : « Une divinité nouvelle... » (Neptune, choeur) 1:01
39 Air pour les Divinités de la mer 1:37
40 Air : « Ne quittez plus l’Amour, Plaisirs, lancez ses traits... » (Naïs) 2:21
41 Gavotte pour les Divinités de la mer 0:38
42 Récit : « Tous les plaisirs s’offraient à mes voeux... » (Neptune) 0:55
43 Premier et deuxième Menuet pour les Divinités de la mer 1:32
44 Premier et deuxième Tambourin pour les Divinités de la mer 1:14
45 Air : « Cessez de ravager la terre... » (Neptune) 2:39
46 Contredanse en rondeau pour les Divinités de la mer 0:59

Chantal Santon-Jeffery – Naïs
Reinoud Van Mechelen – Neptune
Florian Sempey – Jupiter, Tirésie
Thomas Dolié – Pluton, Télénus
Manuel Nuñez-Camelino – Astérion
Daniela Skorka – Flore, une Bergère
Philippe-Nicolas Martin – Palémon
Márton Komáromi – Protée

Purcell Choir
Orfeo Orchestra
György Vashegyi - conductor

György Vashegyi’s love affair with French Baroque repertoire continues with Rameau’s Naïs from 1749 in a Glossa release complete with a characteristically appealing design.

Subtitled “Opéra pour la paix” (its prologue, at least, commemorates the 1748 Treaty of Aix-la-Chapelle), Naïs features demanding and extended leading roles for soprano Chantal Santon-Jeffery (Naïs) and high tenor Reinoud Van Mechelen (Neptune), ably assisted by Florian Sempey and Thomas Dolié, in an everyday eighteenth-century tale of a lovesick god in disguise, a misinterpreted prophecy and an alternative version of the Olympic Games (the score demands much from the chorus and Vashegyi’s refined Purcell Choir is up to the mark). Turn to Pascal Denécheau’s booklet essay for more about the opera and its context.

Rameau was a master orchestrator, no more so than in this pastorale heroïque, stuffed full of ballets figurés, airs, minuets, rigaudons and tambourins, and with his Orfeo Orchestra – led by the peerless Simon Standage – Vashegyi harnesses the music’s graphic and dramatic energy, complete with giants toppling off mountains, tidal waves swamping jilted lovers, underwater palaces, bucolic scenes (which include that characteristic French Baroque instrument, the musette – here played by Patrick Blanc), and even a chaconne for wrestlers… ---glossamusic.com

"Opera for Peace” was the subtitle given by Jean-Philippe Rameau to his three-act opera in reference to the Treaty of Aachen ending the War of the Austrian Succession. Premièred in 1749 and almost immediately forgotten, it was rediscovered in 1980 but has still been performed only rarely since. In the daringly avant-garde, compelling prologue, the Gods - Jupiter, representing Louis XV, and Neptune, who embodies the British King George II - reach an agreement. The mythological story revolving around the famous water nymph of the title, famed for her beauty and wonderful voice, takes place during the Isthmian Games - held in the year before and the year after the Olympic Games in the cycle of the Olympiad - where Neptune disguises himself in an attempt to win the heart of Naïs. In accordance with the setting, the composer set wrestling, boxing and athletics to music in the ballet interludes, but there is also birdsong, regal pomp and a spectacular sea battle, before Neptune's underwater palace is suddenly transformed. ---m.mupa.hu

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Vol. 1

La Naissance D'Osiris (Suite For Orchestra)
1 	Overture 	6:08
2 	Musette 	1:19
3 	Première Et Deuxième Gavotte 	2:31
4 	Rondeau Gracieux 	1:23
5 	Air De Musette 	1:36
6 	Premier Et Deuxième Tambourin 	2:35
7 	Air Graxieux 	2:17
8 	Musette Tendre 	1:45
9 	Marche Gaye 	1:00
10 	Première Et Deuxième Gavotte 	2:37
11 	Air Majesteux Et Gracieux 	2:31
12 	Air Vif 	2:08
13 	Contredanse 	1:56

Abaris Ou Les Boréades (Suite For Dances)
14 	Overture 	3:02
15 	Menuet 	1:22
16 	Allegro 	2:03
17 	Entrée 	3:18
18 	Rondeau Vif 	1:42
19 	Contredanse En Rondau 	2:07
20 	Premier Et Deuxième Rigaudon 	2:33
21 	Gavotte Pour Les Fleures Et Les Zéphirs 	3:39
22 	Première Et Deuxième Contredanse 	1:56


Vol. 2

Anacréon (Suite For Orchestra)
1 	Ritournelle 	2:02
2 	Premier Et Deuxième Air Vif 	3:41
3 	Air Gai 	2:51
4 	Premier Et Deuxième Tambourin 	2:36
5 	Première Et Deuxième Gavotte 	2:31
6 	Pantomime Très Gaye 	3:41
7 	Bacchanales 	2:22
8 	Contredanse 	2:27

Daphnis Et Eglé (Suite For Orchestra)
9 	Ouverture 	6:00
10 	Sarabande Très Tendre 	2:24
11 	Première Et Deuxième Gavotte En Rondeau 	2:29
12 	Premier Et Deuxième Passepied 	3:41
13 	Entrée Des Jeux Et Des Plaisirs 	2:18
14 	Gigue 	1:21
15 	Gavotte Vive En Rondeau 	1:53
16 	Musette 	1:19
17 	Premier Menuet En Rondeau; Deuxième Menuet 	4:03
18 	Premier Et Deuxième Tambourin 	2:16
19 	Contredanse Très Vive 	1:31

Capella Savaria
Mary Térey-Smith – conductor

New York Times (Publisher) (4/7/00, p.E6) - "...this Hungarian period-instrument group produces a rounded timbre, closer to that of modern instruments. In addition...Terey-Smith also favors relaxed tempos, but this preference exacts no cost in vibrancy or...sheer rambunctiousness..." ---arkivmusic.com

Baroque opera in France was very different from the Italian "opera seria" form that prevailed elsewhere in Europe at the same time. While the Italian tradition preferred a succession of detachable arias that provided a showcase for star singers, French opera consisted of an equal measure of song and dance, with the vocal parts integrated into a much more continuous musical structure. Rameau's ballet music is the finest of the period--it has a really physical quality of movement, and the most interesting and pronounced rhythmic definition. All of which is a complicated way of saying that it really sets your toes tapping. Check it out; with excellent performances and a budget price, you've nothing to lose. ---David Hurwitz, Editorial Reviews

The Baroque period produced a number of very great composers, and although many of them were highly versatile, producing masterpieces in a variety of media, there were also areas of unquestioned specialization. Bach wrote cantatas, Handel did operas and oratorios, Scarlatti was the great composer for the keyboard, Vivaldi mastered the concerto, and Rameau was the great ballet composer of his day. Most of his dance music was inserted into operas or other theatrical works, and it's perfectly possible to extract it in the form of orchestral suites, as is the case here. Performances are expert, and the music itself is prime Baroque. --- David Hurwitz, Editorial Reviews, amazon.com

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Disc 1:
Track 01: Ouverture
Track 02: Prologue; Scène 1 - “Éveillez-vous, troupe immortelle” (Oromazès)
Track 03: Prologue; Scène 1 - “Éveillez-vous, quittez pour jamais le repos” (Chœur des Génies, Oromazès)
Track 04: Prologue; Scène 2 - “La naissante Aurore” (Petit chœur des Sylphides, Chœur des Génies)
Track 05: Prologue; Scène 2 - “Les torrents s’ouvrent un passage” (Oromazès)
Track 06: Prologue; Scène 2 - “Chantez oiseaux, chantez votre aimable ramage” (Une Sylphide)
Track 07: Prologue; Scène 2 - “Terre, séjour délicieux” (Chœur des Génies, des Sylphes et Sylphides, Oromazès)
Track 08: Prologue; Scène 3 - “Connaissez le dieu du bonheur” (Amour)
Track 09: Prologue; Scène 3 - Entrée en sarabande pour les Jeux et les Plaisirs
Track 10: Prologue; Scène 3 - Première et deuxième gavottes pour les Jeux Plaisirs
Track 11: Prologue; Scène 3 - “Que l’Amour seul soit votre maоtre” (Amour)
Track 12: Prologue; Scène 3 - Premier et deuxième menuets pour les Jeux et les Plaisirs
Track 13: Prologue, Scène 3 - “Aimez, jouissez sans cesse” (Chœur des Génies des Sylphes et Sylphides, Amour)
Track 14: Prologue - Entracte
Track 15: Acte I; Scène 1 - “Génie égal aux dieux” (Cindor, Zaïs)
Track 16: Acte I; Scène 2 - “Aimable Zélidie, un solennel oracle” (Zaïs, Zélidie)
Track 17: Acte I;, Scène 2 - “Ce que je vois m’offre sans cesse” (Zélidie, Zaïs)
Track 18: Acte I; Scène 3 - Entrée pour les Bergers et les Bergères
Track 19: Acte I; Scène 3 - “Accourons tous, que tout s’empresse” (Chœur des Bergers et Bergères, Zélidie)
Track 20: Acte I; Scène 3 - Entrée pour les Pвtres
Track 21: Acte I; Scène 4 - “Unissez vos chants et vos vœux” (La grande Prкtresse, Chœur des Prкtresses, Bergers et Bergères)
Track 22: Acte I; Scène 4 - Ballet figuré. Air pour les Bergers et les Bergères
Track 23: Acte I; Scène 4 - “Dieu, souverain des dieux que l’Univers encense” (La grande Prкtresse)
Track 24: Acte I; Scène 4 - Musette pour les Bergers et les Bergères
Track 25: Acte I; Scène 4 - Première et deuxième gavottes pour les Bergers et les Bergères
Track 26: Acte I; Scène 4 - “Tous les biens qu’offre la fortune” (Zélidie, La grande Prкtresse)
Track 27: Acte I; Scène 4 - “Ces sons harmonieux m’annoncent sa présence” (La grande Prкtresse, Zélidie, Chœur des Bergers)
Track 28: Acte I; Scène 5 - “Ma puissance prépare а l’empire amoureux” (Amour)

Disc 2:
Track 01: Acte II; Scène 1 - Prelude, “Charme des cœurs ambitieux” (Zaïs)
Track 02: Acte II; Scène 2 - “Zélidie est tendre et fidèle” (Cindor, Zaïs)
Track 03: Acte II; Scène 2 - “D’un pouvoir enchanteur flatte son espérance” (Zaïs)
Track 04: Acte II; Scène 3 - “Symphonie, “Venez aimable Zélidie” (Cindor)
Track 05: Acte II; Scène 3 - “De ce séjour brillent ornements insensibles” (Cindor)
Track 06: Acte II; Scène 4 - Entrée noble pour les Statues animèes
Track 07: Acte II; Scène 4 - “C’est l’Amour qui veille” (Une Sylphide, Chœur des génies élémentaires et des Empires, Sylphes et Sylphides)
Track 08: Acte II; Scène 4 - Ballet figuré. Première et deuxième gavottes pour les Statues
Track 09: Acte II; Scène 4 - “Un amant doit tout se promettre” (Une Sylphide), Première gavotte (reprise)
Track 10: Acte II; Scène 4 - “Tout ce que le soleil éclaire” (Cindor)
Track 11: Acte II; Scène 4 - “Aquilons rompez votre chaоne” (Cindor, Chœur des Génies élémentaires et des Empires, Sylphes et Sylphides)
Track 12: Acte II; Scène 4 - Tonnerre, “Ciel! quels éclats quelle terreur soudaine!” (Zélidie)
Track 13: Acte II; Scène 4 - “Zéphyrs, calmez la terre et l’onde” (Cindor, Chœur des Génies élémentaires et des Empires, Sylphes et Sylphides)
Track 14: Acte II; Scène 4 - Premier air pour les Statues - mouvement de chaconne
Track 15: Acte II; Scène 4 - “Pour le mortels les plus heureux” (Cindor)
Track 16: Acte II; Scène 4 - Gigue pour les Statues
Track 17: Acte II; Scène 4 - “Pour les mortels plus heureux” (Cindor, Chœur des Génies élémentaires et des Empires, Sylphes et Sylphides)
Track 18: Acte II; Scène 5 - “C’est а la suprкme grandeur” (Cindor, Zélidie)
Track 19: Acte II; Scène 6 - “Ô Ciel! croirai-je ses discours” (Zélidie)
Track 20: Acte II; Scène 7 - “Ciel! est-ce vous? En croirai-je mes yeux” (Zélidie)
Track 21: Acte II - Entracte. Première gavotte pour les Statues
Track 22: Acte III; Scène 1 - “Vous кtes obéi… par des alarmes vaines” (Cindor, Zaïs)
Track 23: Acte III; Scène 1 - “Qu’attendez-vous? Soyez heureux” (Cindor, Zaïs)
Track 24: Acte III; Scène 1 - “Naissez par mes enchantements” (Zaïs)
Track 25: Acte III; Scène 1 - Symphonie, “Un charme va guider la beauté qui m’engage” (Zaïs)
Track 26: Acte III; Scène 2 - “Coulez mes pleurs, l’ingrat que j’aime” (Zélidie)
Track 27: Acte III; Scène 3 - “Célébrons la victoire” (Zélidie, Chœur des Sylphes et Sylphides)
Track 28: Acte III; Scène 4 - Entrée pour les Sylphes et Sylphides
Track 29: Acte III; Scène 4 - “Que Zaïs est heureux” (Petit chœur des Sylphes et Sylphides, Zélidie)
Track 30: Acte III; Scène 4 - Ballet figuré. Air en rondeau pour les Sylphes et les Sylphides
Track 31: Acte III; Scène 4 - “Aimons, jouissons de la vie” (Chœur des Sylphes et Sylphides, une Sylphide)
Track 32: Acte III; Scène 4 - “Dans nos feux prenons pour modèle” (Un Sylphe)
Track 33: Acte III; Scène 4 - Premier et deuxième passepieds pour les Sylphes et les Sylphides
Track 34: Acte III; Scène 4 - Premier et deuxième tambourins pour les Sylphes et les Sylphides
Track 35: Acte III; Scène 4 - “Ces concerts odieux aigrissent mes douleurs” (Zélidie)
Track 36: Acte III; Scène 5 - “Qu’aux lois de Zélidie ici tout obéisse” (Zaïs); Scène 6 - 
“C’est Cindor… quel nouveau supplice!” (Zélidie); Scène 7 - “Amour, elle triomphe, et ses vœux sont remplis” (Zaïs)

Disc 3:
Track 01: Acte IV - Entrée noble pour les Sylphes et les Sylphides
Track 02: Acte IV; Scène 1 - “Qu’entends-je? Quoi, cette cour immortelle?” (Zélidie, Zaïs)
Track 03: Acte IV; Scène 2 - Tonnerre, “Ma chère Zélidie” (Zélidie, Zaïs)
Track 04: Acte IV; Scène 2 - “Quel bruit trouble le silence” (Zaïs, Zélidie)
Track 05: Acte IV; Scène 3 - “Ô Ciel Oromazès, le souverain génie!” (Zaïs, Oromazès)
Track 06: Acte IV; Scène 3 - “De nos concerts les airs retentissent!” (Chœur des Génies élémentaires)
Track 07: Acte IV; Scène 3 - “Déserts, disparaissez” (Oromazès)
Track 08: Acte IV; Scène 3 - Entrée pour les Peuples élémentaires
Track 09: Acte IV; Scène 3 - Air pour les Peuples élémentaires
Track 10: Acte IV; Scène 4 - “Témoins de mes feux” (Zaïs, Zélidie)
Track 11: Acte IV; Scène 4 - Premier air en rondeau pour les Bergers et deuxième air pour les Sylphes et les Sylphides
Track 12: Acte IV; Scène 4 - Musette en rondeau pour les Bergers et les Bergères
Track 13: Acte IV; Scène 4 - “Pour les cœurs tendres et constants” (Zélidie)
Track 14: Acte IV; Scène 4 - Premier et deuxième rigaudons
Track 15: Acte IV; Scène 4 - “Règne Amour, lance tes traits” (Zaïs)
Track 16: Acte IV; Scène 4 - Contredanse en rondeau

Zaïs – Julian Prégardien
Zélidie – Sandrine Piau
Oromazès – Aimery Lefèvre
Cindor – Benoît Arnould
Sylphide/High Priestess of Love – Amel Brahim-Djelloul
Amour – Hasnaa Bennani
Sylphe – Zachary Wilder
Choeur de Chambre de Namur
Les Talens Lyrique
Conductor - Christophe Rousset

rec. Opéra Royal du Château de Versailles, 16-18 November 2014

Rameau wrote Zaïs in 1748 for the court of Louis XV. It was part of the highly fashionable genre of "la féerie", set in the enchanted world of Middle Eastern myth. Zaïs, King of the Sylphs (and thus immortal), loves the shepherdess Zélidie. The opera concerns a number of trials and tests they both must undergo in order for their love to prosper. The trials, together with the elemental themes of bringing order out of chaos, link the opera to the symbolism of Freemasonry, decades before Mozart got round to it in The Magic Flute, and also to several other key ideas of the European Enlightenment which France was spearheading at the time. So while the plot is pretty conventional, it's intellectually interesting and, more importantly, the music is among Rameau's best.

He sets the bar high at the very beginning. The extraordinary Overture depicts the disentangling of Chaos in a manner much more dynamic and challenging than even Haydn. Winds trill, drums boom and strings run to depict the Four Elements pulling themselves apart from the primordial soup. It's tremendous in conception and exhilarating in the realisation, and it showcases the instrumental playing, which is one of the chief glories of this set. Yet again, Les Talens Lyrique show that they play this music as to the manner born, and Rousset's direction is a model of clarity and dynamism.

Their style and flair is one of the constants of this set. The dances, such an important part of the French Baroque, are played with great élan and an unarguable sense of forward movement. Furthermore, the frequent supernatural moments all come to life magnificently, with special effects and spot-lit instruments to allow the whole thing to feel very present. The brief appearances of the Namur Chamber Choir show that they are utterly sensitive to the style as well.

It really helps to have a French singing cast who sound as though they've grown up singing this stuff. As Zaïs himself, Julian Prégardien is marvellous, and in fact does an extremely good job of sounding quite unlike himself, inhabiting the haute-contre style with surprising success. If you were to compare his singing here with, say, his Pedrillo in René Jacobs' recent Entführung aus dem Serail (review), you wouldn't think they're the same singer. The upper register is secure without being nasal, and he has a beautiful floaty quality to his voice that carries many of his arias. Sandrine Piau sings Zélidie with predictable beauty and sensitivity. There is richness and a fully rounded quality to her voice that offsets the often ethereal quality found by Prégardien, and she plays the innocent shepherdess with just the right quantity of simplicity and naiveté. Benoît Arnould brings both sympathy and bluff assertiveness to the role of Cindor, Zaïs' companion. Aimery Lefèvre takes the role of Oromazès, King of the Genies, with authority, relishing his fruity vowel sounds magnificently. Hasnaa Bennani sings the goddess Amour with languid beauty and sensual feel for the line, and in the double role of the Sylph and the High Priestess of Love, Amel Brahim-Djelloul sounds voluptuous and rich.

The presiding genius over the whole affair is Christophe Rousset who, as in his other Baroque recordings for Aparte, including Lully’s Phaéton (review), shows that he is one of the world's leading authorities in this music. French Baroque opera might not necessarily be your cup of tea, but even sceptics must take their hat off to Rousset's scholarship, sensitivity to the style and collegiate way of working. Number after number brings great beauty and winning style, and I urge you to explore it. ---Simon Thompson, musicweb-international.com

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Disc 1
Rameau, Jean-Philippe
Bernard, Pierre-Joseph, lyricist(s)
Castor et Pollux
1.   		Overture 00:04:05
2.   		Act I Scene 1: (Cleone, Phebe) 00:05:26
3.   		Act I Scene 2: (Telaire) 00:02:51
4.   		Act I Scene 3: (Castor, Telaire, Pollux) 00:05:23
5.   		Act I Scene 4: (Choeur des Spartiates) 00:02:04
6.   		Act I Scene 4: Air tres pointe, deux menuets 00:04:48
7.   		Act I Scene 4: Ariette (Castor) 00:03:11
8.   		Act I Scene 4: Deux gavottes 00:03:39
9.   		Act I Scene 4: Deux tambourines 00:02:29
10.   		Act I Scene 5: Entr'acte (Un Spartiate, Castor, Pollux, Choeur, Combat, Telaire) 00:02:00
11.   		Act II Scene 1: (Troupe de Spartiates) 00:03:24
12.   		Act II Scene 2: Tristes apprets (Telaire) 00:05:12
13.   		Act II Scene 3: (Telaire, Phebe) 00:02:11
14.   		Act II Scene 4: March (Pollux, Choeur) 00:03:25
15.   		Act II Scene 5: (Pollux, Telaire) 00:04:47
16.   		Act II Scene 5: Air pour les athletes 00:02:52
17.   		Act II Scene 5: Air tres gai 00:02:58
18.   		Act III Scene 1: Ritournelle et Air (Pollux) 00:03:34
19.   		Act III Scene 2: (Le Grand Pretre, Pollux, Jupiter) 00:01:48
20.   		Act III Scene 3: Descente de Jupiter (Pollux, Jupiter) 00:05:56

Disc 2
Rameau, Jean-Philippe
Bernard, Pierre-Joseph, lyricist(s)
Castor et Pollux
1.   		Act III Scene 4: Entree d'Hebe (Choeur des Plaisirs Celestes) 00:02:49
2.   		Act III Scene 4: Recitative (Pollux, Choeur des Suivantes d'Hebe) 00:01:29
3.   		Act III Scene 4: (Une suivante d'Hebe) 00:02:46
4.   		Act III Scene 4: Recitative (Pollux); Air gracieux (Hebe) 00:03:13
5.   		Act III Scene 4: Gavotte 1 & 2; Recitative (Pollux) 00:03:02
6.   		Act IV Scene 1: Prelude (Phebe, Choeur des Esprits) 00:02:55
7.   		Act IV Scene 2: Descente de Mercure (Mercure, Pollux, Phebe) 00:01:51
8.   		Act IV Scene 2: (Phebe, Cleone, Pollux, Choeur et Air des Demons) 00:05:39
9.   		Act IV Scene 3: (Phebe) 00:01:11
10.   		Act IV Scene 4: (Castor) 00:04:20
11.   		Act IV Scene 4: (Choeur des Ombres Heureuses) 00:02:47
12.   		Act IV Scene 4: Menuet (Une Ombre) 00:02:01
13.   		Act IV Scene 4: Passepied 1 & 2, Choeur derriere le theatre 00:02:05
14.   		Act IV Scene 5: (Castor, Pollux); Gavottes 00:09:59
15.   		Act V Scene 1: Ritournelle (Telaire, Castor) 00:04:24
16.   		Act V Scene 2: (Telaire, Castor, Choeur) 00:01:22
17.   		Act V Scene 3: (Telaire, Castor) 00:01:58
18.   		Act V Scene 3: Tonnerre (Telaire, Castor) 00:03:12
19.   		Act V Scene 4: (Jupiter, Castor, Pollux, Telaire) 00:02:12
20.   		Act V Scene 5: (Jupiter) 00:01:13
21.   		Act V Scene 5: Chaconne 00:04:51
22.   		Act V Scene 5: Ariette gracieus (Castor, Choeur) 00:03:20 

Castor – Colin Ainsworth (tenor)
Pollux – Joshua Hopkins (baritone)
Télaïre – Monica Whicher (soprano)
Phébé – Meredith Hall (soprano)
Jupiter – Giles Tomkins (bass-baritone)
Cléone – Renée Winick (soprano)
Hébé – Meredith Hall (soprano)
Une Suivante d’Hébé - Renée Winick (soprano)
Une ombre - Renée Winick (soprano)
Le Grand Prêtre – Brian McMillan (baritone)
Mercure – Joey Niceforo
A Spartan soldier – Michael Lee (tenor)
A Spartan soldier – Matthew Zadow (baritone)
A voice – Lorelle Angelo (soprano)
Another voice – Catherine Lippitt Erickson

Opera in Concert · Aradia Ensemble
Kevin Mallon - conductor

Rameau revised his 1737 opera Castor et Pollux in 1754, at the height of the raging debate, the so-called Querelle des Bouffons, over the relative merits of French and Italian opera. Long regarded as Rameau’s crowning achievement, it won immediate popular success, not only striking a significant blow for French music over Italian music but for the supporters of Rameau who looked to him to take over Lully’s mantle as composer of the French national style. Whereas the operas of Lully had been limited to simple subjects based around romantic love, Rameau took French opera to a greater level of complexity both in subject matter and in musical style. With its wider emotional range and dissonant harmonies, Castor et Pollux is a tense drama of brotherly and romantic love that brings its own heroic rescue of Castor from the Underworld, as Pollux encounters the devils and monsters that try to bar his way. ---naxos.com

Rameau came to fame at the age of fifty, with his first opera Hippolyte et Aricie which was premiered in 1733. So at a time when his contemporary Handel was abandoning opera for oratorio, Rameau found himself, for the next twenty years, presenting around twenty more operatic productions. To the French musical establishment, those supportive of the operas of Lully, Rameau’s music was daring and unorthodox; music to move the emotions as compared to Lully’s music to move the senses. Rameau’s choice of subject matter was no less unorthodox. His second opera, Castor et Pollux, took as its subject matter the love and friendship between two brothers, rather than the more common romantic love.

Castor et Pollux was first performed in 1737 and had a successful run of 21 performances. It was revived in 1754 in a significantly modified form. For this revival, Rameau and his librettist (Pierre-Joseph Bernard) dropped the rather old-fashioned mythological prologue and replaced it by a new Act I. The remainder of the opera was tautened.

In the 1737 version, the brothers Castor and Pollux are both in love with the same woman, Télaïre. In this new version, Castor and Télaïre are in love, but she is betrothed to Pollux. Pollux gives her up to his brother, but Castor is killed in battle. Pollux ultimately appeals to their father Jupiter, to restore Castor. Jupiter does so, on condition that Pollux replaces him in Hades. Castor agrees to return to land of the living for just one day, to tell Télaïre that he cannot take up Pollux’s offer. Finally the Fates and Jupiter relent and the brothers are granted immortality.

For their recordings, both Nicolas Harnoncourt (on Teldec) and William Christie (on Harmonia Mundi) chose the 1737 version. So far the 1754 version has been represented in the catalogue by the intermittently available recording by Charles Farncombe on Erato and by a recording of the chamber version of this opera by Musique de Lumières on Audivis. So it is pleasing to have this additional performance of Rameau’s final thoughts on the opera, recorded by the Canadian based Aradia ensemble. That this performance is available at super-budget price on Naxos is an added advantage.

Act I opens with Phébé (Meredith Hall) lamenting to her confidant Cléoné (Reneé Winick) that Castor prefers Télaïre to her. Hall has a lovely soprano voice and the opening scene is a winningly stately number. Phébé’s rival, Télaïre is played by Monica Whicher. She also has a fine voice, but there were hints of strain in the upper registers. The part of Castor was written for a haut-contre (a high tenor part that sits somewhere between tenor and alto and requires great flexibility in the upper register), a voice type that is now more common but which is still tricky. Colin Ainsworth has a creditably bright voice with a fine flexible technique though there was just the hint of strain in the upper registers. He does not always sound completely comfortable in Castor’s more brilliant music. As his brother Pollux, Joshua Hopkins has a warm baritone voice. The chorus suffer from the rather resonant acoustic in which the opera seems to have been recorded. The resultant sound lacks focus and is rather untidy. All the singers have a good grasp of Rameau’s style, but for most of this Act, I found the recitative was taken at rather too stately a pace. I prefer a slightly swifter delivery with greater emphasis on flexibility.

With Castor’s death we progress to Act II and one of the most famous and moving scenes in the opera, where the participants lament Castor’s death. Opening with a sombre and affecting chorus it leads to Télaïre’s aria Tristes apprêts with its lovely bassoon obbligato. Unfortunately Whicher’s fine performance, with its good grasp of the music’s underlying emotions, suffers a little as the sense of line, which is so necessary in this slow music, is marred by an occasionally too intrusive vibrato.

Act III opens with Pollux alone, offering a sacrifice to Jupiter in the name of friendship. Hopkins’ is most moving here, but his ornamentation is not always ideal. When his father Jupiter (bass-baritone Giles Tomkins) appears the two baritones combine in powerful duet. Jupiter calls on the celestial pleasures to show Pollux what he will lose if he goes to Hades – cue for one of Rameau’s lovely choral dance scenes, only marred by untidy choral work. Here, and throughout the recording, the Aradia ensemble accompany in crisp, flexible manner and deliver Rameau’s myriad dance movements with a sense of infectious style.

At the entrance to Hades, in Act IV, the chorus of demons sounds a little flabby and rather less than monstrous, but Hall’s Phébé is lovely, with a good sense of style. Finally Castor reappears sounding a little over-careful (understandable, perhaps, if you’ve been whisked to Hades and back). Here, as elsewhere, I wished for a greater sense of freedom and flexibility. Finally, in Act V, Castor and Télaïre meet up again and their powerful duet is interrupted by Jupiter’s thunder, to stunning effect, until all ends happily as expected.

This recording has a fine sense of Rameau’s style and the Aradia ensemble is always a pleasure to listen to. If some of the soloists are a little less than ideal, we have probably been spoiled by the sterling work of William Christie. More problematic, is the lack of freedom and flexibility of delivery; one of the glories of Rameau’s music is the way he blends the boundaries between recitative, arioso and aria, but this requires a good suppleness of delivery. Still, all the singers have a creditable feel for this music and it is lovely to hear it being sung with voices rather bigger than those preferred by Christie and others.

At super-budget price I can have no hesitation in recommending this recording. It is a good place to start if you do not know Rameau’s fascinating operas. And if you do, it is a good way to fill in a gap. ---Robert Hugill, musicweb-international.com

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   1.  Ier Concert, RCT 7 

   - La Coulicam
   - La Livri: Rondeau Gracieux
   - Le Vézinet 

   2.  IIe Concert, RCT 8 

   - La Laborde
   - La Boucon: Air Gracieux
   - L'Agaçante
    1er and 2e Menuet 

   3.  IIIe Concert, RCT 9 

   - La La Poplinière
   - La Timide: 1er Rondeau, 2e Rondeau
   - 1er Tamourin, 2e Tambourin en Rondeau 

    4. IVe Concert, RCT 10 

   - La Pantomime
   - L'Indiscrète: Rondeau
   - La Rameau 

    5. Ve Concert, RCT 11 

    - La Forqueray: Fugue
    - La Cupis
    - La Marais

Yannick le Gaillard (harpsichord)
Daniel Cuiller (violin)
Philippe Allain-Dupré (flute)
Marianne Muller (bass viola)

The "premier concert" from Jean-Phillippe Rameau's Pièces de clavecin en concerts was first published at Paris in 1741. It is the first in a series of five suites written for solo harpsichord with optional parts for violin or flute and violoncello or viol. Rameau was a prolific composer of opera and solo harpsichord music; however, these five suites represent his only contribution to the form of chamber music.

Contrary to the typical French suite of the period, which consist of six or seven movements, Rameau's "concerts" are short, consisting of only three to five pieces per suite. Rather than being titled in accordance with the names of dance steps, the Pièces are labeled with descriptive titles that are often rather obscure in their meaning. Le Coulicam is widely interpreted as meaning The Kubla Khan, or may be an anagram for something less delicate. It alternates drooping and leaping figures over a wide compass in the accompanying instruments, while the harpsichord keeps going on a continuous stream of notes. La Livri is the best known of the three pieces in the set; it was likely dedicated to the Count of Livri and features a falling progression that, though typically French and of the period, is not unlike similar gestures heard in popular music of the 1960s. The final movement, La Vézinet, likely refers to the Vézinet Wood once located about a mile from St. Germain de Paris; its lively rhythms and joyous spirit could indicate children at play.

The immediacy and charm of this short suite have led to its status as a favored filler item for classical music radio programs in the United States. Nonetheless, the "premier concert" of Rameau's Pièces de clavecin en concerts has long been known to lovers of chamber music as a standard recital work, and before the period instrument boom of the 1980s was often played in its alternate scoring of flute, cello, and keyboard. ---Uncle Dave Lewis, allmusic.com

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First Concert 
I. La Coulicam 		2:29  
II. La Livri, rondo gracieux 		2:53
III. Le Vezinet 		2:34  
Second Concert 	 	 
I. La Laborde 		3:38  	
II. La Boucon, air gracieux 		3:06  	 
III. L'Agacante 		1:30  
IV. Menuets I et II 		4:09  
Third Concert	 
I. La Lapopliniere 		2:40
II. La Timide, Rondeux I et II 		6:03
III. Tanbourins I at II, en Rondeau 		2:47  
Fourth Concert 
I. La Pantomime, loure vivre 		3:00  
 II. L'Indescrete 		1:23  	
III. La Rameau 		3:01  	
Fifth Concert   	 	 
I. Fugue, "La Forqueray" 		2:17
II. La Cupis 		4:26
III. La Marais 		1:54  	  	

Gustav Leonhardt - harpsichord
Lars Frydén - violin
Nikolaus Harnoncourt - viola da gamba

(Vanguard, recorded 1956)

The Pièces de clavecin en concerts are a kind of link between the Italian trio sonatas and Bach’s polyphonic trios. An example of the latter would be the trio sonata which concludes the Musical Offering. Another example would be the keyboard sonatas – for harpsichord or pianoforte – with violin or ad libitum accompaniment which were developed considerably at the end of the XVIII century, especially in France. --- prestoclassical.co.uk

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