Michel Pignolet de Monteclair (1667–1737), a contemporary of Campra, was an important musical figure in the period between Lully and Rameau. He was one of the first to introduce the double-bass instrument to the Paris Opera around the turn of the century and was, furthermore gifted as a teacher (Francois Couperin's daughters were among his pupils) theorist and composer. His music, though comparatively small in quantity, is seldom less than interesting and sometimes as is the case with Jephte, his tragedie-lyrique of 1732, and several of his chamber cantatas, a good deal more than that.
William Christie has made a discerning selection from among Monteclair's 24 cantatas, giving us performances of two Italian cantatas and three French ones. Two of them, Pyrame et Thisbe and La mort de Didon, are particularly impressive and are extended examples of the genre. Sadly, another masterly cantata, Le retour de la paix is not included here. In these works above all the dramatic element is strong, indeed, Monteclair himself describes Pyrame et Thisbe as ''half epic half dramatic''. The composer's ability to create vivid contrasts generates plenty of interest for the listener. Swiftly changing moods, rhythms and instrumental colours abound often giving the impression more of an operatic scena than a chamber cantata. This is especially so in the French works, for the two Italian cantatas are faithful adherents to the form and are almost indistinguishable from the indigenous product; only the melodic contours and the instrumental ritornellos, perhaps, betray Gallic sensibility.
The performances are lively, stylish and affecting if occasionally lacking in finesse. The soloists are by and large a strong team and I very much enjoyed the soprano, Agnes Mellon's fine representation of La mort de Didon. Gerard Lesne presents a vivid and effectively tetchy picture of the vexations of love (Il dispetto in amor) and is strongly supported by the continuo partnership of Elisabeth Matiffa (bass viol) and Christie (harpsichord) himself. Perhaps the most exciting singing, though, is from Monique Zanetti whose impassioned account of Morte di Lucretia steals the show, I was particularly impressed by her delivery in the poignant final aria ''Assistetemi, oh Dei''. In Pyrame et Thisbe Zanetti is joined by Jean-Paul Fouchecourt and Jean-Francois Gardeil; this is a fascinating cantata with some striking features. Charon's boat crossing over the Styx is effectively coloured by undulating arpeggio figures for the bass viol and there are several instances of inventive writing for vocal ensemble. The most florid of them occurs in the closing duet for the two lovers.
Shortcomings in the performance are located mainly in the instrumental support, above all, the violins. Tuning and intonation can be weak and ensemble seldom matches the highest standards of some of Les Arts Florissants' competitors. This apart, the issue is a rewarding one and comes with full texts in French, English, and where appropriate, Italian. Recorded sound is adequate but not up to Harmonia Mundi's best.'