Rameau Hippolye et Aricie Suite
View record and artist detailsRecord and Artist Details
Composer or Director: Jean-Philippe Rameau
Label: Editio Classica
Magazine Review Date: 7/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
ADD
Catalogue Number: GK77009
Tracks:
| Composition | Artist Credit |
|---|---|
| Hippolyte et Aricie |
Jean-Philippe Rameau, Composer
Jean-Philippe Rameau, Composer |
Composer or Director: Jean-Philippe Rameau
Label: Editio Classica
Magazine Review Date: 7/1990
Media Format: CD or Download
Media Runtime: 47
Mastering:
ADD
Catalogue Number: GD77143
Tracks:
| Composition | Artist Credit |
|---|---|
| Pigmalion |
Jean-Philippe Rameau, Composer
(La) Petite Bande Gustav Leonhardt, Conductor Jean-Philippe Rameau, Composer |
Composer or Director: Jean-Philippe Rameau
Label: Editio Classica
Magazine Review Date: 7/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
ADD
Catalogue Number: GK77143
Tracks:
| Composition | Artist Credit |
|---|---|
| Pigmalion |
Jean-Philippe Rameau, Composer
(La) Petite Bande Gustav Leonhardt, Conductor Jean-Philippe Rameau, Composer |
Composer or Director: Jean-Philippe Rameau
Label: Editio Classica
Magazine Review Date: 7/1990
Media Format: CD or Download
Media Runtime: 52
Mastering:
ADD
Catalogue Number: GD77009
Tracks:
| Composition | Artist Credit |
|---|---|
| Hippolyte et Aricie |
Jean-Philippe Rameau, Composer
Jean-Philippe Rameau, Composer |
Author: Nicholas Anderson
These two discs are amongst the most invigorating excursions into Rameau's music currently available in the UK. Hippolyte et Aricie, the composer's earliest tragedie-lyrique, was first performed in 1733 by which time he was 50 years old. Thereafter it was twice revived during Rameau's lifetime, in 1742 and in 1757. For each of these revivals Rameau adjusted the score, partly no doubt to accommodate changing taste. Sigiswald Kuijken has made up a suite of orchestral pieces, mainly dances, both from the original score and the revisions giving us over 50 minutes of music. Hippolyte is as rich as any of Rameau's operas in the quantity, variety and inspirational level of its 'simphonies', but while we may justifiably regret not being able to hear them in the context to which they are often closely associated, the present solution is infinitely preferable to not being able to hear them at all: and no single production of the opera could allow for all this music, anyway. The performances are first rate and listeners may well find themselves irresistibly drawn to almost every piece. Of outstanding vitality and charm, perhaps, are the ''Tambourins'' of the 1757 version which enthusiasts with long memories will recall in a recital of Rameau's music directed by Nadia Boulanger (Brunswick—nla). Where is all that precious material, by the way? It is high time that someone seized the initiative to reissue it.
Pygmalion dates from 1748 when Rameau's creative energy was at its peak. It is an acte de ballet consisting of a continuous plot confined within a single act. The score contains music that is at times vigorous and at others tenderly affecting. The action takes place in Pygmalion's studio; captivated by the appearance of the statue he has just created, Pygmalion becomes oblivious to the love shown towards him by the very human Cephise. ''Cet objet t'occupe sans cesse'', she remarks, bitterly, to which he somewhat vacuously replies ''Et vous voyez l'objet de cet enchantement''. Then, as you probably recall, the statue comes to life and falls for Pygmalion. In Rameau's score, Love's triumph is celebrated in the final scene with a virtuosoariette, an air and a high-spirited ''Rondeau Contredanse''.
Pygmalion is a beautifully balanced and well-constructed work and, in this stylish and sympathetic performance, many of its subtleties are revealed. John Elwes is convincing and lyrical in the title-role though occasionally the exceptional demands of thehaute-contre tessitura almost get the better of him. The Dutch soprano, Mieke van der Sluis as Cephise makes considerable appeal; her voice is warm in timbre and she has a firm grasp of style. As on the other disc included in this review, the playing of La Petite Bande, this time under the direction of Gustav Leonhardt, is lively in spirit and tidy in ensemble; occasional rough patches hardly spoiled my considerable enjoyment of the performance. What is rather weak, however, is the choir, but since it is allotted only two sections in the ballet that need not trouble us too much. Nevertheless, the words ''L'Amour triomphe, annoncez sa victoire!'' sound lame indeed beside so much else that is colourful and vivacious. Recorded sound is clear and effective. Both discs are warmly commended.'
Pygmalion dates from 1748 when Rameau's creative energy was at its peak. It is an acte de ballet consisting of a continuous plot confined within a single act. The score contains music that is at times vigorous and at others tenderly affecting. The action takes place in Pygmalion's studio; captivated by the appearance of the statue he has just created, Pygmalion becomes oblivious to the love shown towards him by the very human Cephise. ''Cet objet t'occupe sans cesse'', she remarks, bitterly, to which he somewhat vacuously replies ''Et vous voyez l'objet de cet enchantement''. Then, as you probably recall, the statue comes to life and falls for Pygmalion. In Rameau's score, Love's triumph is celebrated in the final scene with a virtuoso
Pygmalion is a beautifully balanced and well-constructed work and, in this stylish and sympathetic performance, many of its subtleties are revealed. John Elwes is convincing and lyrical in the title-role though occasionally the exceptional demands of the
Rameau Hippolye et Aricie Suite
Rameau Pygmalion
Rameau Pygmalion
Rameau Hippolye et Aricie Suite
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