Rameau Zoroastre
View record and artist detailsRecord and Artist Details
Composer or Director: Jean-Philippe Rameau
Genre:
Opera
Label: Editio Classica
Magazine Review Date: 7/1990
Media Format: CD or Download
Media Runtime: 184
Mastering:
ADD
Catalogue Number: GD77144
Tracks:
| Composition | Artist Credit |
|---|---|
| Zoroastre |
Jean-Philippe Rameau, Composer
(La) Petite Bande Agnès Mellon, Céphie, Soprano François Fauché, Narbanor Ghent Collegium Vocale Gregory Reinhart, Abramane, Bass Greta de Reyghere, Amélite Jacques Bona, Oromasés; Voice from the Underworld Jean-Philippe Rameau, Composer John Elwes, Zoroastre, Tenor Michel Verschaeve, Zopire Mieke van der Sluis, Erinice, Soprano Philippe Cantor, God of Revenge, Bass Sigiswald Kuijken, Conductor |
Composer or Director: Jean-Philippe Rameau
Genre:
Opera
Label: Editio Classica
Magazine Review Date: 7/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
ADD
Catalogue Number: GK77144
Tracks:
| Composition | Artist Credit |
|---|---|
| Zoroastre |
Jean-Philippe Rameau, Composer
(La) Petite Bande Agnès Mellon, Céphie, Soprano François Fauché, Narbanor Ghent Collegium Vocale Gregory Reinhart, Abramane, Bass Greta de Reyghere, Amélite Jacques Bona, Oromasés; Voice from the Underworld Jean-Philippe Rameau, Composer John Elwes, Zoroastre, Tenor Michel Verschaeve, Zopire Mieke van der Sluis, Erinice, Soprano Philippe Cantor, God of Revenge, Bass Sigiswald Kuijken, Conductor |
Author: Nicholas Anderson
Here once more, but in a new CD format, is Zoroastre, Rameau's penultimate tragedie-lyrique. Readers who bought the earlier CD reissue when Deutsche Harmonia Mundi were distributed by EMI will not be amused to learn that a new booklet has been prepared for the BMG release; this contains the full text of the opera, legibly printed and now with an English translation. Thanks to BMG for repackaging an otherwise excellent product, making it more readily accessible to a wider listenership.
Zoroastre was first performed in Paris in 1749 and was, by and large, well received. But the librettist, Cahusac, was taken to task by some for relegating the love element in the opera to a secondary place. When it was revived in 1756 Cahusac made shifts of emphasis within the plot and it is this version as it first appeared, rather than that involving yet further small changes later in the season, which is performed here. Cahusac's libretto deals with the conflict between Good and Evil or Light and Darkness central to Zoroastrianism. Oramases, King of the Genies, represents the former and has Zoroastre as his high priest, while Abramane, high priest of the Temple of Darkness represents the latter. The chief protagonists in the drama are Zoroastre and Abramane who vie for power, glory and love; their characters are skilfully and often strikingly portrayed by Rameau whose score is richly endowed with bold dashes of colour, especially present in the many fine choruses.
I very much liked this performance when it was first issued and feel much the same about it now. John Elwes is a stylish and eloquent Zoroastre and Gregory Reinhart makes a formidable Abramane with clear diction and a resonant, commanding vocal presence. His ''Osons achever de grands crimes'' (Act 3 scene 2), with its syncopated accompaniment and characteristically effective bassoon writing, is especially noteworthy. As I have remarked in previous reviews, the three principal female roles are sung well, though I should have liked greater aural contrasts between them. Agnes Mellon as the innocent Cephie is a particularly happy piece of casting, though Mieke van der Sluis as the jealous Erinice is rather less so. Her voice is a warmly alluring one but it seems ill suited to the darker shades of this character. Greta de Reyghere brings warmth and clarity to the role of Amelite though she does not entirely succeed in conveying the danger and unpleasantness of her predicament.
La Petite Bande is on its liveliest form and Sigiswald Kuijken's direction reveals insight to and affection for Rameau's music. In spite of some reservations, then, this is a major achievement and one that should not be omitted from any serious opera or baroque enthusiast's library. Recorded sound is excellent and in the company of an informative and helpful booklet, all at a considerably reduced tariff from that of the previous EMI release, Rameau's Zoroastre should afford enduring pleasure.'
Zoroastre was first performed in Paris in 1749 and was, by and large, well received. But the librettist, Cahusac, was taken to task by some for relegating the love element in the opera to a secondary place. When it was revived in 1756 Cahusac made shifts of emphasis within the plot and it is this version as it first appeared, rather than that involving yet further small changes later in the season, which is performed here. Cahusac's libretto deals with the conflict between Good and Evil or Light and Darkness central to Zoroastrianism. Oramases, King of the Genies, represents the former and has Zoroastre as his high priest, while Abramane, high priest of the Temple of Darkness represents the latter. The chief protagonists in the drama are Zoroastre and Abramane who vie for power, glory and love; their characters are skilfully and often strikingly portrayed by Rameau whose score is richly endowed with bold dashes of colour, especially present in the many fine choruses.
I very much liked this performance when it was first issued and feel much the same about it now. John Elwes is a stylish and eloquent Zoroastre and Gregory Reinhart makes a formidable Abramane with clear diction and a resonant, commanding vocal presence. His ''Osons achever de grands crimes'' (Act 3 scene 2), with its syncopated accompaniment and characteristically effective bassoon writing, is especially noteworthy. As I have remarked in previous reviews, the three principal female roles are sung well, though I should have liked greater aural contrasts between them. Agnes Mellon as the innocent Cephie is a particularly happy piece of casting, though Mieke van der Sluis as the jealous Erinice is rather less so. Her voice is a warmly alluring one but it seems ill suited to the darker shades of this character. Greta de Reyghere brings warmth and clarity to the role of Amelite though she does not entirely succeed in conveying the danger and unpleasantness of her predicament.
La Petite Bande is on its liveliest form and Sigiswald Kuijken's direction reveals insight to and affection for Rameau's music. In spite of some reservations, then, this is a major achievement and one that should not be omitted from any serious opera or baroque enthusiast's library. Recorded sound is excellent and in the company of an informative and helpful booklet, all at a considerably reduced tariff from that of the previous EMI release, Rameau's Zoroastre should afford enduring pleasure.'
Rameau Zoroastre
Rameau Zoroastre
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