RAMEAU Le Grand Theatre de l'Amour: Opera Arias

Author: 
Richard Lawrence
934 1492. RAMEAU Le Grand Theatre de l'Amour: Opera Arias. Sabine Devieilhe

RAMEAU Le Grand Theatre de l'Amour: Opera Arias

  • (Les) Indes galantes, Forêts paisibles
  • Feuillages verts naissez
  • Pigmalion, Ouverture
  • (Les) Paladins, Est-il beau?
  • (Les) fêtes de l'Hymen et de l'Amour (Les Dieux, Contredanse
  • (Les) Indes galantes, Viens, hymen
  • Naïs, Je ne sais quel ennui me presse
  • Abaris (Les Boréades), Un horizon serein
  • Abaris (Les Boréades), Contredanse en Rondeau (Act 1, scene 4)
  • (Les) Paladins, Pour voltiger dans le bocage
  • Hippolyte et Aricie, Ritournelle (Act 3)
  • Anacréon, Tendre amour
  • Zoroastre, Ballet figure
  • (Les) Indes galantes, Scène finale des Incas
  • Zaïs, Coulez mes pleurs
  • Dardanus, Sommeil
  • (Les) Indes galantes, Vaste empire des mers
  • Zoroastre, Air tendre en rondeau
  • Castor et Pollux, Tristes apprêts, pâles flambeaux
  • (Les) fêtes d'Hébé (Les talents lyriques), Tambourin
  • Platée (Junon jalouse), Aux langueurs d'Apollon
  • (Les) Indes galantes, Chaconne
  • (Les) Indes galantes, Régnez, plaisirs et jeux

This is an anthology with a difference. It consists of soprano arias, a duet and a trio, and a few orchestral pieces, covering stage works from Hippolyte et Aricie (1733) to Les Paladins (1760). In his booklet-note, Alexis Kossenko takes a quotation from Rameau’s Traité de l’harmonie as a superscription: ‘True music is the language of the heart.’ Cupid is the director of this ‘grand théâtre’ and ‘we powerless humans [are] his actors, no, his marionettes’. Kossenko has conceived a miniature opera: his selection takes an imaginary heroine from innocence to, perhaps, ‘the incarnation of Love Triumphant’. On her journey she experiences desire, despair and a host of other emotions.

Actually, it doesn’t really work – La Folie’s parody of an Italian aria in Platée is hardly a paradigm of madness, for instance – but it makes for an entertaining sequence. One result of treating these disparate numbers as an integrated whole is that some of the pieces practically trip over one another: an air from Les Indes galantes leads straight into the overture to Pygmalion, to be abruptly followed by an air from Les Paladins and a contredanse from Les fêtes de l’Hymen et de l’Amour.

What comes across is the marvellous variety of Rameau’s invention, whether it be the maddeningly catchy ‘Air pour les Sauvages’ in Les Indes galantes or the achingly beautiful ‘Tristes apprêts’ from Castor et Pollux. Sabine Devieilhe gets everything right, with excellent support from Les Ambassadeurs. Texts are provided, but the anonymous translators don’t know their tambourins from their tambourines.

Gramophone Subscriptions

From£64/year

Gramophone Print

Gramophone Print

no Digital Edition
no Digital Archive
no Reviews Database
no Events & Offers
From£64/year
Subscribe
From£64/year

Gramophone Reviews

Gramophone Reviews

no Print Edition
no Digital Edition
no Digital Archive
no Events & Offers
From£64/year
Subscribe
From£64/year

Gramophone Digital Edition

Gramophone Digital Edition

no Print Edition
no Reviews Database
no Events & Offers
From£64/year
Subscribe

If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.

© MA Business and Leisure Ltd. 2017