Following Olimpie (7/19), this is Bru Zane’s second recording of an opera by Spontini. La Vestale reached the stage of the Paris Opéra on December 15, 1807, largely due to the intervention of the composer’s patron, the empress Josephine. It was Spontini’s first great success; and, according to Grove, 100 performances were given at the Opéra over the next 10 years. Julia and the Souverain Pontife (the Pontifex Maximus) were sung by Caroline Branchu and Henri-Étienne Dérivis, both of whom went on to appear in Spontini’s Fernand Cortez and Olimpie as well as Cherubini’s Les Abencérages (1/23).

The action opens in the Roman Forum. Licinius, the general who has repelled an invasion by the Gauls, is to receive the victor’s crown from Julia, the Vestal Virgin in charge of the sacred fire. The two had fallen in love years before but, while Licinius was seeking glory on campaign, Julia was forced to become a Vestal. At dead of night, in the Temple of Vesta, they are about to plight their troth at the altar before fleeing. Suddenly the fire goes out; Licinius escapes, but Julia, confessing her love to the Pontiff, is condemned to death. In the Field of Execration, Julia is about to be entombed when Licinius bursts in, offering himself as the sacrifice. There is a flash of lightning, and the sacred fire is rekindled. The Pontiff recognises that the goddess Vesta has forgiven the outrage. Julia is released from her vows and the lovers are united.

Spontini cloaks this simple story – to be echoed in later operas, Bellini’s Norma being but one example – with music of remarkable power. One’s attention is seized from the outset, the Overture’s solemn introduction leading to a nervy Allegro with Beethovenian sforzandos. What follows is a sequence of airs, accompanied recitatives, ensembles, hymns and processions, ending – this being a French opera – with a danse générale. In some instances, such as the duet between Licinius and the Pontiff, dramatic impetus is maintained by the music moving on without a break. The orchestration is wonderfully rich, and Les Talens Lyriques are terrific. Delicate woodwind, a splendid rasp to the trombones, and the horns – four of them – whoop away in fanfares. A special mention for Jeroen Billiet, who tops and tails the first air in Julia’s great Act 2 scena with a solo containing a hair-raising number of stopped notes: think of the ‘Quoniam’ in Bach’s B minor Mass played on a natural horn and you will get the idea.

Marina Rebeka is magnificent as Julia. As recorded, she can sound shrill – her slow-fast air in Act 1 being an example – but that is nothing compared to her wholehearted commitment to the drama. The first air in the scena already mentioned is followed by a Gluckian accompanied recitative, grippingly delivered; this leads in turn to ‘Impitoyables dieux’, a C minor outburst that recalls – fortuitously, I imagine – Elettra’s hysterical exit in Mozart’s Idomeneo. Licinius begins the opera with an apostrophe to Night: Stanislas de Barbeyrac sounds too beefy for the situation, not helped by a rather forward recording; such prominence is more suitable when he addresses the crowd in the Forum. His gentle air, ‘Les dieux prendront pitié’, and the rapturous, breathless duet with Julia find him – Rebeka, too – on top form.

The relationship between Licinius and Cinna calls to mind the friendship between Orestes and Pylades in Gluck’s Iphigénie en Tauride. Tassis Christoyannis is eloquent in ‘Dans le sein d’un ami fidèle’, the lines lovingly phrased. Aude Extrémo and Nicolas Courjal, both deep-toned, are fearsome as the Chief Vestal and the Pontiff. The 36-strong Flemish Radio Choir sing fervently in the large ensembles, and the Vestals’ hymns, Morning and Evening, are done with great tenderness. Christophe Rousset’s direction deserves the highest praise. Apart from a misattributed line on page 120 of the libretto, the presentation is well up to Bru Zane’s usual standard. Do not miss this riveting performance.