Mouret Les Amours de Ragonde
View record and artist detailsRecord and Artist Details
Composer or Director: Jean-Joseph Mouret
Genre:
Opera
Label: MusiFrance
Magazine Review Date: 12/1992
Media Format: CD or Download
Media Runtime: 56
Mastering:
DDD
Catalogue Number: 2292-45823-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (Les) amours de Ragonde ou La soirée de village |
Jean-Joseph Mouret, Composer
(Les) Musiciens du Louvre Gilles Ragon, Thibault, Tenor Jean-Joseph Mouret, Composer Jean-Louis Bindi, Lucas Jean-Louis Serre, Blaise Jean-Paul Fouchécourt, Colin, Tenor Marc Minkowski, Conductor Michel Verschaeve, Ragonde Noémi Rime, Mathurine Sophie Marin-Degor, Colette, Soprano |
Author: Nicholas Anderson
Here's a rarity, a true comedie-lyrique preceding Rameau's Platee by over a quarter of a century. Jean-Joseph Mouret was one of the handful of notably gifted but, until comparatively recently, under-rated composers who bridged the period of French stage music between Lully and Rameau. During a comparatively short but successful career Mouret directed the Paris Opera orchestra, was director of the Concert Spirituel and held a court appointment as a singer. But it was in his capacity of Surintendant de la musique at the Duchess of Maine's court at Sceaux that he composed several divertissements including Le mariage de Ragonde et de Colin ou la veillee de village (1714). The Duchess was evidently quite a character who, as Ivan Alexandre remarks in an interesting essay accompanying the disc, ''though small in stature... was a highly ambitious woman with a lively temperament and an insatiable love of entertainment''. She was also an insomniac and it was this which led to the Grandes Nuits de Sceaux, entertainments which gradually developed into fetes of great splendour.
In 1742, four years after Mouret's death, the Opera staged a revised version of Le mariage de Ragonde under the title Les amours de Ragonde ou la soiree de village which remained in the repertory until 1773. Of the 1714 score there is not a trace and the present recording is largely based on the 1742 printed version with additional material drawn from a later manuscript source. Minkowski and his exuberant team have brought this delightful piece to life with vigour and humour. The libretto in three intermedes by Nericault Destouches is simple enough. Ragonde is an elderly and almost toothless widow who sets her sights on a young, handsome village lad, Colin; but Colin loves Ragonde's daughter Colette and wants to marry her, which Ragonde regards as a personal insult. In the second intermede we learn that Lucas, another village lad, also loves Colette. The four-sided intrigue is developed by a ruse in which Colette falsely promises to meet Colin secretly at night. Instead of Colette, however, Colin is confronted by villagers disguised as demons uttering death threats unless he marries Ragonde. A double wedding takes place in the third intermede: Colette and Lucas, Ragonde and Colin. Poor Colin is jealous of Lucas's happiness and miserable at his own plight. But Ragonde is merciless and threatens him with a reappearance of the nocturnal demons. That does the trick, for at once Colin replies ''mon amour pour Colette expire a vos genoux''. The little opera ends with an elaborate divertissement and a very rowdy charivaria.
I found Mouret's score diverting. His melodies are attractive and varied—not for nothing was he dubbed ''musicien des graces''—ranging from lively Italianate ariettes (''Accourez, jeunes garcons'') to more extended, affecting airs (''L'amour cherit nos paisibles boccages''). Minkowski has assembled an experienced group of singers who not only sing well but bring character to their roles. Michel Verschaeve gives a deliciously mischievous performance as the toothless Ragonde, getting the show off to an entertaining start with his lisping ''Allons, allons, mes enfans''. Jean-Paul Fouchecourt is lyrical and affecting as the hapless Colin—his performances are going from strength to strength—and Sophie Marin-Degor and Noemi Rime are both excellent. Plentifully interspersed among the vocal numbers are numerous enchanting dances in sharply contrasting measures which are tautly and effectively handled by Minkowski and his increasingly polished ensemble; the Air (track 24) and Menuet (track 29) are, perhaps, especially beguiling. Alluring though the instrumental pieces are, however, it is the eloquence of Mouret's vocal writing, and that for Colin in particular which makes the deeper impression. Unlike Platee, Ragonde gets her way and it is Colin who is ridiculed. And Mouret, like Rameau, lavishes his most affecting melodies on the character for whom we feel pity.
In summary, this is a delightful score, realized with affection, an assured sense of style and imaginative flair. Recorded sound is first-rate and the booklet, with the text in French, English and German, all that one could wish for. Strongly recommended and don't be put off by the alarmingly hideous portrait after Quentin Massys of an old crone which, with contextual, if not historical propriety, adorns both box and booklet covers.'
In 1742, four years after Mouret's death, the Opera staged a revised version of Le mariage de Ragonde under the title Les amours de Ragonde ou la soiree de village which remained in the repertory until 1773. Of the 1714 score there is not a trace and the present recording is largely based on the 1742 printed version with additional material drawn from a later manuscript source. Minkowski and his exuberant team have brought this delightful piece to life with vigour and humour. The libretto in three intermedes by Nericault Destouches is simple enough. Ragonde is an elderly and almost toothless widow who sets her sights on a young, handsome village lad, Colin; but Colin loves Ragonde's daughter Colette and wants to marry her, which Ragonde regards as a personal insult. In the second intermede we learn that Lucas, another village lad, also loves Colette. The four-sided intrigue is developed by a ruse in which Colette falsely promises to meet Colin secretly at night. Instead of Colette, however, Colin is confronted by villagers disguised as demons uttering death threats unless he marries Ragonde. A double wedding takes place in the third intermede: Colette and Lucas, Ragonde and Colin. Poor Colin is jealous of Lucas's happiness and miserable at his own plight. But Ragonde is merciless and threatens him with a reappearance of the nocturnal demons. That does the trick, for at once Colin replies ''mon amour pour Colette expire a vos genoux''. The little opera ends with an elaborate divertissement and a very rowdy charivaria.
I found Mouret's score diverting. His melodies are attractive and varied—not for nothing was he dubbed ''musicien des graces''—ranging from lively Italianate ariettes (''Accourez, jeunes garcons'') to more extended, affecting airs (''L'amour cherit nos paisibles boccages''). Minkowski has assembled an experienced group of singers who not only sing well but bring character to their roles. Michel Verschaeve gives a deliciously mischievous performance as the toothless Ragonde, getting the show off to an entertaining start with his lisping ''Allons, allons, mes enfans''. Jean-Paul Fouchecourt is lyrical and affecting as the hapless Colin—his performances are going from strength to strength—and Sophie Marin-Degor and Noemi Rime are both excellent. Plentifully interspersed among the vocal numbers are numerous enchanting dances in sharply contrasting measures which are tautly and effectively handled by Minkowski and his increasingly polished ensemble; the Air (track 24) and Menuet (track 29) are, perhaps, especially beguiling. Alluring though the instrumental pieces are, however, it is the eloquence of Mouret's vocal writing, and that for Colin in particular which makes the deeper impression. Unlike Platee, Ragonde gets her way and it is Colin who is ridiculed. And Mouret, like Rameau, lavishes his most affecting melodies on the character for whom we feel pity.
In summary, this is a delightful score, realized with affection, an assured sense of style and imaginative flair. Recorded sound is first-rate and the booklet, with the text in French, English and German, all that one could wish for. Strongly recommended and don't be put off by the alarmingly hideous portrait after Quentin Massys of an old crone which, with contextual, if not historical propriety, adorns both box and booklet covers.'
Mouret Les Amours de Ragonde
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