Pouvoir

1. Sa Majeste

2. Faute Ya Visa

3. Virus

4. Manuele Samuele

5. Simon

6. Si Je Savais Ca

7. Double Zero

8. Waini Mobunda

9. Volume II

10. Nakombo

Customer Reviews:

The beauty and grace of French Baroque Opera.......2007-04-29

I hadn't heard of Carolyn Sampson before I bought this CD, and since there aren't any sample tracks for this CD, I was sort of going out on a limb when I bought this CD...but I wanted a Rameau aria CD badly, so I decided just to go ahead and buy it. One of the best buys I ever made. Carolyn Sampson's voice is not the typical colorless, vibratoless, dull voice that you sometimes get with a baroque recital. Instead her voice has radiance, resplendence, and resonance. She has a quick, fluttery, but even vibrato, which is ideal for these arias. But she doesn't use her vibrato on every tone...for example, sometimes she will hit and sustain and crescendo on a note in her upper register without using any vibrato at all and it is one of the most beautiful sounds I've ever heard come out of the human throat. She has a very agile voice, which every singer who attempts any kind of baroque singing should have. Her runs are clean and precise. Her voice is "french" sounding, but it isn't weak or limp...it has a considerable amount of power, and she wields it with an enviable amount of professionalism. The music, of course, is sheer beauty and elegance. I'll take any one of Rameau's simple, lovely melodies over the heavy, dramatic "screamo" arias of Wagner or Verdi. The CD's sound quality is crystal clear. The Ex Cathedra Chorus and Orchestra deliver Rameau's music beautifully and effortlessly. This disc deserves to be played only in your finest stereo.

P.S. Track 17 was recently featured in the 2006 movie "Marie Antoinette"...It's one of my personal fav's :-)

A beautiful addition to any baroque music-lover's collection.......2007-03-03

The lovely voice of Carolyn Sampson is well suited to the truly gorgeous music of Rameau, of which a nice selection is included on this CD. The music itself poses no difficulty for Ms Sampson, and she negotiates the elegant lines and tuplet-endowed sections, along with the intrinsic embellishments of the arias, with ease.

There are many beautiful things in the CD, and for the sheer loveliness of the voice, what a pleasure it is to hear.

As the previous reviewer mentioned, there is a bit of cross-over between this and the delicious "Airs baroque français" by Patricia Petibon - and that is an album I strongly recommend in addition to this. I do personally prefer Petibon's recording, although this CD by Ms Sampson is also charming.

There are a number of reasons for that. Firstly, Petibon is French, and she sings (of course) in perfect French. Ms Sampson's French does not sound entirely French (however, most listeners won't be worried by this). Secondly, Patricia Petibon's understanding of the language also enables her to paint the words and music to convey meaning to an extent that is not equalled by Carolyn Sampson. Again, this won't matter a great deal to most listeners who will primarily be ravished by the lovely sounds of Carolyn Sampson's singing. Thirdly, it's true that there are quite a few purely instrumental pieces on this recording. Not that I particularly object... I love both Rameau's vocal music and his instrumental music, but in general when one purchases a vocal recital album, that's what one wants - a vocal recital.

The differences between the two singers' approach is exemplified mostly in the arias which are sung by each - that is, Rameau's "Soleil, fois de ces lieux !" and "Formons les plus brillants concerts... Aux langeurs d'Apollon". There is more "coeur" in Petibon's singing, but Ms Sampson offers her own attractions in her singing, of course. It's the lovely clarity of her voice that will appeal - it's a light and well-focused soprano timbre with considerable agility and a beautiful evenness throughout the range.

I enjoyed this album very much, and Carolyn Sampson's fresh and shining voice is extremely attractive to listen to. I have listened with pleasure to almost everything this very gifted singer has recorded, and she is certainly a singer whose recordings are worth collecting.

Recommended.

Good, but I would have cut back on the instrumental movements.......2006-09-18

I like this CD a lot and I have listened to it many times since I bought it. Carolyn Sampson has a fine soprano voice and a great vocal technique. I have enjoyed her singing for some time and her contributions to the King's Consort recordings of cantatas by Kuhnau, Zelenka, Knüpfer and Schelle were highlights for me.

I have few complaints about this disc, but I would have liked a few more vocal works and slightly less instrumental movements from the operas. However, as a "walk through" Jean-Philippe Rameau's operas, this CD is first class. There are so many Handelians around these days, endlessly singing the praises of the "Beloved Saxon", it is easy to forget that Rameau was easily as great as Handel in most areas and he certainly was a much more imaginative and skilled composer of orchestral music than his British-based peer. Whenever Handel had more instruments at his disposal, what did he do? He had the extra instruments play in unison with existing musical lines.
I digress.

I also have Patricia Petibon's incredible "Virtuoso French Baroque Opera Arias" CD, which is, in my opinion, utterly beyond any serious criticism. I was eager to compare Ms Sampson's interpretations with Mademoiselle Petibon's slightly older recording. Carolyn Sampson does well, however, in "Aux langueurs d'Apollon", it is clear to me that she just can't touch Patricia Petibon in realm of imagination, characterisation, wit and style. Sampson's La Folie seems to be polite and charming - as opposed to Petibon's La Folie, who really is quite mad.

Sampson does use more vibrato than Petibon, who uses virtually none. Listeners who aren't attracted to HIP interpretations of Baroque music will probably thus favour Sampson's interpretations over Petibon's.

Carolyn Sampson's interpretations of the slower and less extrovert arias are very good indeed. Her "Soleil, fuis de ces lieux" is very attractive and not inferior to Petibon's in any way. I just wish someone had brought the great aria "Triste apprêts, pâles flambeaux" from Castor et Pollux to her attention. Ms Sampson would have done something very nice with that great Baroque aria.

I love this CD and it makes for some great listening. Needless to say, the experience of Patricia Petibon in French Baroque opera gives her a considerable edge, but Sampson's is a highly worthy recording.

A Beautiful Introduction to Rameau's Operas.......2006-04-25

I had the pleasure of hearing high tenor Jean-Pierre Fouchard and the Opera LaFayette perform a recital of Rameau's operatic music during a snowy February afternoon concert at the University of Maryland. I wanted to hear more Rameau opera and found this excellent CD with a program similar to the one I heard live, but for a soprano voice. This CD on Hyperion, "Love Songs from the Operas" features soprano Carolyn Sampson and Jeffry Skidmore conducting the choir and orchestra of Ex Cathedra, an English early music ensemble, similar to the Opera LaFayette of my own home town, that performs in period style on period instruments. The CD is a wonderful way to get to know Rameau.

Jean-Phillipe Rameau (1687 -- 1764) began composing operas at the age of 50. (Together with his near-contemporary, Domenico Scarlatti, Rameau shows there is hope yet for us late-bloomers)
With their emotional passion, harmonic daring, and unmistakable rhythms, Rameau initiated a new age in French opera. A figure of the Enlightenment in music, Rameau went far towards initiating the classical style of Gluck and Mozart. French opera during Rameau's time was largely a mixture of dramatic stage material and musical interludes known as divertissiments. Thus, his musical accomplishment can legitimately be approached by a selection from his various operas, as offered on this CD and in the live performance I mentioned above.

Sampson and Skidmore offer selections from seven Rameau operas, including his first opera Hipolyte et Acis of 1733, and including as well Les Indes galantes, Les Paladin, Plate, Zoroastre, Dardanus, and Pygmalion. Many of the works include collections of musical interludes from the divertissiments, while others are solo selections. There is a great variety of music on the recording, including a surprising amount of comedy material and, in Platee, Rameau's satire of the florid, melismatic style of Italian opera. Much of appeal of Rameau's music results from the interplay between simple melodic lyricism and the variety of his orchestration, particularly for winds. Flute, oboe, bassoon, and percussion are all well in evidence here. I particularly enjoyed some of the slower more serious ariettes, including "Soleil fuis du ces lieux" from Plate and "Regne Amour" from Zoroastre. Several of the selections show the origins of French baroque music in the dance and feature lively orchestral introductions followed by solos. There are two fine examples in the opening divertissiment from Les Indes Gallantes. Strongly structured and rhythmic orchestral interludes are offered in "Tambourin" from Dardanus and in the minuet and rondo from "Les Indes Gallantes." And the choir is featured in selections from Plate. But Ms Sampson's clear, passionate, and idiomatic soprano remains the chief attraction of this CD.

In his study, "French Baroque Music", James Anthony observed (p. 129) that "In terms of musical statement, there is no question but that [Rameau] is the greatest composer of the French eighteenth century; there is also no question that, among all the first line composers of that century of giants, he is the one least appreciated today." For those who lack the good fortune I had in hearing a live recital of Rameau, this CD provides an introduction to the beauty and power of his operatic music.

I am pleased that this CD has already attracted the attention of two excellent and thoughtful reviewers.

Robin Friedman

Excellent introduction to Rameau.......2006-01-09

I just want to add a few comments on this disc, which has already been very well reviewed: I've enjoyed some of Rameau's keyboard music, but can't say I've been thoroughly captured by his operas. This disc proved to be an excellent exploration of Rameau's vocal music, and I highly recommend it. Carolyn Sampson has a light, fresh voice with great appeal. The selections include pieces from several of the lesser-known operas that are real gems, along with more well-known items (within the Rameau orbit, which is arguably underappreciated). The accompaniment, by Jeffrey Skidmore and Ex Cathedra, is superb--delicate when required, or bustling along, but never intrusive, and lacking that "Original Instruments" edginess that some of us find irritating at times. The sound is typical Hyperion--first rate, if slightly recessed.

If you have any interest in this repertoire, but haven't found the right place to dive in, this ought to do the job.

"C'est ca la vie, c'est ca l'amour": French Operetta Arias

Average customer rating:

Enchanté, Mlle Graham!
excellent singing, not so great programming
A CD full of scrumptious French chocolates!
REYNALDO AND SOME LIGHT STUFF
C'est magnifique!!

"C'est ca la vie, c'est ca l'amour": French Operetta Arias
Reynaldo Hahn , Andre Messager , Susan Graham , Yves Abel , and City of Birmingham Symphony
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Poèmes de l'Amour
Susan Graham - Mozart & Gluck Arias ~ Il tenero momento
Artist Portrait: Susan Graham

ASIN: B00005UW0Z
Release Date: 2002-04-02

Tracks:

"C'est ca la vie, c'est ca l'amour" (Moises Simons, from Toi c'est moi, 1934)
"J'ai deux amants" (Andre Messager, from L'Amour masque, 1923)
"Yes" (Maurice Yvain, from Yes, 1928)
"Si vous saviez" (Arthur Honegger, from Les Aventures du roi Pausole, 1930)
"O mon bel inconnu" (Reynaldo Hahn, from O mon bel inconnu, 1933)
"Je ne vois rien..Lorsque je n'etais qu'une enfant" (Andre Messager, from Fortunio, 1907)
"Les hommes sont biens tous les memes" (Andre Messager, from Coups de roulis, 1928)
"Air de la Lettre" (Reynaldo Hahn, from Brummell, 1931)
"L'amour est un oiseau rebelle" (Andre Messager, from Passionnement, 1926)
"Vois-tu, je m'en veux" (Andre Messager, from Les P'tites Michu, 1897)
"Etre adore" (Reynaldo Hahn, from Mozart, 1925)
"Je regrette mon Pressigny" (Andre Messager, from la Petite Fonctionnaire, 1921)
"Amour, amour, quel est donc ton pouvoir" (Andre Messager, from Les Dragons de l"Imperatrice, 1905)
"Mon reve" (Andre Messager, from L'Amour masque, 1923)
"C'est tres vilain d'etre infidele" (Reynaldo Hahn, from O mon bel inconnu, 1933)
"C'est pas Paris, c'est sa banlieue" (Reynaldo Hahn, from Ciboulette, 1923)
"Vagabonde" (Moises Simons, from Toi c'est moi, 1934)

Amazon.com

This record presents the esteemed opera singer and French music specialist Susan Graham in a new light. French operetta began with Jacques Offenbach (creator of The Tales of Hoffmann) in the 1850s; his ability to blend sweet lovely melodies with bitter political satire made him and the form famous, and composers all over the world have emulated him ever since, including those represented on this disc. Most of them, though popular during their lifetime, are hardly known today. The most familiar are Arthur Honegger and Reynaldo Hahn, though not primarily as operetta composers; the latter contributes some of the loveliest music.

The arias on this program are thoroughly appealing and very different, ranging from frothy creampuffs to almost operatic dramas, from ingenuous simplicity to ironic sophistication. As one might expect, the texts, all written from a woman's point of view, focus on the relationships between men and women in all their infinite, subtle variety. Susan Graham uses her very beautiful voice and captivating charm to bring out the teasing humor, the intimacy, passion, joy, and regret in words and music. One song is a trio, but since no other singers are mentioned, one assumes that she covers all three parts! The first song is the only one in which the singing is artificial and exaggerated, as if Graham were feeling her way into the style. The orchestra is very good, but some of the arrangements are overloaded. --Edith Eisler

Customer Reviews:

Enchanté, Mlle Graham!.......2004-11-13

Though it's fair to say that the stunning title track reaches a creative standard unmatched by any of the later items (no wonder it comes first), this is still refreshing stuff, which will bring out the slumbering Maurice Chevalier in us all. Anyone who can hear it without wanting to grab the nearest straw hat and proclaim "Zank 'eaven for leedle girrrrrlz" is a tougher man than I am, Gunga Din.

Refreshing stuff, but seldom flippant. Other than the X-rated Honegger song (who'd have thought sober-sided Artur H had a bawdy streak in him?) and the subtler but still eyebrow-raising Maurice Yvain number "Yes", the prevailing atmosphere is often surprisingly operatic. Surprising at any rate to me, since I can't recall hearing most of this material before. Reynaldo Hahn sometimes does a rather good Richard Strauss impersonation, as in "O mon bel inconnu", which suggests a Gallic version of ROSENKAVALIER's final trio.

Presumably Miss Graham sings all the vocal parts of this piece in a multi-tracking arrangement, but it would be nice to have been told in the booklet note whether this was the case. The short playing time deplored by Joy Fleisig is also a nuisance, since one wants even more of the same. Miss Fleisig rightly censured, in addition, the white-print-on-purple-background design which some graphic-design-school genius decided to employ for the lyrics' translations. So no fifth star for this review. The release remains a pretty enchanting (not to say enchanté) production, even if a native French singer would have cultivated - as native French singers will - an edgier, more acidic timbre than Miss Graham's warm, sonorous, very slightly cloudy tone. Altogether a splendid supplement to heftier and more austere listening.

excellent singing, not so great programming.......2002-10-02

A delightful album by Graham, who has apparently been cast as a French expert...but I wish there had been a few more uptempo numbers on here, so many of them are slow that it almost detracts from the sparkle of her singing. Great performances and sound, though.

A CD full of scrumptious French chocolates!.......2002-09-03

When one thinks of 'French operetta', the composer that most often springs to mind is Jacques Offenbach. However, the generations of operetta composers that came after him also produced some wonderful music. Unfortunately, although these works were very popular in their time, they are virtually forgotten today. Apart from Andre Messager, the best known names on this anthology, Reynaldo Hahn and Arthur Honneger, are better known for other types of work, and most of the other composers are unknowns. Susan Graham, perhaps the finest American mezzo-soprano of our time, is to be commended for bringing these sweets out into the open once again.

Graham is a singer very much in the mold of Frederica von Stade - like von Stade, she is best known for trouser roles such as Octavian and Cherubino, but she has done some wonderful work in French music, especially as a recitalist. Her voice is firm and lustrous with an easy, sopranoish top, her phrasing is exquisite, and her French is excellent. By turns Graham is funny, ironic, sensual, wistful, charming, and heroic.

Most of the music on this CD was written between 1920 and 1935, although one selection here is from as early as 1897. The music actually has greater similarity to 'modern' musical comedy than to traditional operetta. Of course, the primary theme of these works is the travails of women in love - either they struggle with their (often illicit) passions - in one case attempting to invoke Joan of Arc! - or muse on the perfidy of men. My favorite song on the disc is the title track, a delightful samba take on 'Carmen' (from Cuban-born Moises Simons' 'Toi c'est moi') with a verse that sounds quite a bit like the 'Habanera' - only in this version, Carmen murders Escamillo! It actually occurred to me while listening to this disc that Graham might make an excellent Bizet Carmen on records or in a small theater. By the way, the 'Carmen' connection shows up again in a song entitled - you guessed it - 'L'amour est un oiseau rebelle'!

Other tracks which I love are `Yes', wherein a French woman goes to England knowing only that word and gets her self married - and more, and `O mon bel inconnu', where three women get letters from the same man (their husband, father, and employer respectively) through the lonelyhearts column. Thanks to the miracle (?) of multi-tracking, Graham gets to sing all three roles, and her `voices' blend together gorgeously. And in the final track, 'Vagabonde' (also from 'Toi c'est moi') is a delightfully whirling 'impatient, quivering, impulsive' plea from a woman who wants to find a man willing to marry before her 'orange-flower' wilts (wink, wink).

Despite the light tone of most of this music, there are several moments of high drama. `Lorsque je n'etais que enfant' is an aria from Messager's `Fortunio' where the heroine, berating herself for toying with her boyfriend, reminisces of her purer and more innocent childhood. Graham is back in her usual trouser-role territory for the heroic `Etre adore' from Hahn's `Mozart', where the composer effuses over Paris and willingly sacrifices his soul to be adored by its people. There is also sweet nostalgia and regret, such as in 'Je regrette mon Pressigny', 'Vois-tu, je m'en veux' and 'C'est pas Paris, c'est sa banlieu'.

Actually, the only track that I don't like is 'Si vous saviez' from Honneger's 'Les Aventures du Roi Pausole', which ironically enough is Graham's favorite. The aria, where the wife of a polygamous potentate begs her husband to sleep with her more than once a year, is meant to be sensuous but just drags. I suspect this his Honneger's fault, not Graham's.

The French-Canadian Yves Abel is an ideal conductor for this repertory. He has a strong affinity not only for French opera but also for comedy and light music in general; the latter two qualities were very evident at a Metropolitan Opera `Il Barbiere de Siviglia' this year. I also remember a fine performance of `La Grande-Duchesse de Gerolstein' he conducted with his company L'Opera Francais de New York and Stephanie Blythe. Under his baton the City of Birmingham Symphony Orchestra plays just like a French ensemble.

The documentation has full texts and translation of all the material and a fine essay on the works and the composers by Patrick O'Connor. Unfortunately, there is no biographical information for either Graham or Abel. Also, some people might have problems reading the white type on purple background for the translations (the type for the essay is the normal white-on-black), although I did not. As usual, my complaint about many modern CDs, especially those produced by Erato, applies here - there is less than an hour of music on a medium that can hold almost 80 minutes. I think it is unlikely that Graham and Abel couldn't find more good music in this vein, or even that they ran out of recording time. And speaking of Erato, I think it is a crime that that parent company Warner Classics dismissed not only Graham but many other fine operatic artists like Jose Cura, Daniel Barenboim, and Barbara Frittoli. At least the man now in charge of Warner regrets Graham's dismissal and is negotiating a new contract with her.

I am glad that so many star singers today are championing French rarities - not only Graham but also Roberto Alagna and Vesselina Kasarova, among others. I would recommend this not only to lovers of opera and operetta but also to fans of more 'popular' French music like Edith Piaf's and Jacques Brel's, or even to admirers of the American musical. It doesn't matter by which road you come to it - this material is delightful and the presentation is flawless. Most importantly, it is clear that everybody involved with the making of this disc had a great time, and anyone who listens to it will as well.

REYNALDO AND SOME LIGHT STUFF.......2002-08-02

SUSAN GRAHAM had me an addict of her voice with her marvelous songs of REYNALDO HAHN,a treasure that i cherish.This FRENCH OPERETTA ARIAS is still a good cd,but lighter and fluffier.Not surprizingly, i consider the HAHN arias the highlight of this record.It seems to me that SUSAN has real affinities with the composer of CIBOULETTE and O MON BEL INCONNU.O MON BEL INCONNU and ETRE ADORÉ are wonderfully sung and are worth the price of the cd.I did not completely enjoy the first 4 numbers,although i should say that they are correctly done.Maybe i simply can't accept the fact that SUSAN can sing humourous stuff.Well that's my problem isn't it?I have the original version of J'AI DEUX AMANTS sung by YVONNE PRINTEMPS and the comparaison gives advantage to SUSAN.

C'est magnifique!!.......2002-06-29

Graham has never been better in this disc of delightful French operetta arias. A must for fans of the artist. And I dare you to get that opening track out of your head!!

Boulez: Orchestral Works & Chamber Music

Average customer rating:

documentary value
Not just a curiosity...

Boulez: Orchestral Works & Chamber Music
Pierre Boulez , Swf So , Rosbaud , Loriod , and Ens Domaine
Manufacturer: Col Legno
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B00004WK67
Release Date: 2000-08-29

Customer Reviews:

documentary value.......2006-06-17

Book Two of "structures" is the reason to get this, Loriod and Pierre are remarkable together(They had toured with this repertoire for two pianos)and Loriod simply plays the hell out of this music, understands the young Pierre as no other and in some respects are good together although you can hear the date of the recording, the timbre is not as brilliant as if you had experienced this live. Book 2 is more a one-dimensional work,although loosely conceived compared to the deterministic strict serial Book One. Book Two has more texture to survey,not so concerned with how the pitches move and become transformed at every moment; lots of high filigree passages,continusouly running;i.e. thousand note cascades as the piano solo repertoire was to exploit as Finnissy, Sciarrino, Ferneyhoug, the complexity; the two pianos sound muffled, not too resonant. Book One was more straighforward, more transparent moments, more 12 tone faithful, Book 2 is overdetermined, lots of details in the scoring,to free up the interpretation with elliptical passages, indeterminate,something Boulez had learned from the Mallarme works and the Third Sonata. Pierre certainly had a deep affinity for the piano, anything he wrote was "touched" inspired with a resonant power combined simultaneously with a deep poetry,or suggestive of something else even the "surreal" crops up to the surface at times.Although it is difficult to argue along those lines in this highly abstract piece. But Book 2 has unrelenting moments,impenetrable really and you sense the post-electronic thinking of flipping a switch to turn on some autonomous dimension, there is hardly moments where for example the music "breathes" with slowing, diminutions of tempi, of durational lengths and you really cannot sort out the divisions where one pianist stops and the other continues. Loriod plays fairly impassioned, with a strong trumpet like tone,resonant whereas Boulez pulls back from the sound.

The other works, all of them simply have a documentary value. The:Polyphonic X: Boulez largely abandoned and recalled this work not satisfied with the results, and the instrumental writing is nowhere as interesting as the earlier "Livre for String Quartet" (later done for string orchestra)and the young Pierre simply did not have the same affinity or experience for writing for instruments as he later in life learned from conducting. A text tends to help his sensibility, his creativity to open the imagination; then things can happen as the Mallarme work and those settings after Rene Char. Boulez openly admits this in conversations which is why he succeeds much of the time, for he knows full well when he doesn't, something young and old composers can learn(or refuse to learn). As the "Poesie pour pouvoir" the electronics is largely uninteresting,it is mixed with the orchestra like a "milk-shake"; perhaps it was the cutting edge when prepared, but if you heard Stockhausen from the same period, or some years later it has far more sophistication,concept, depth and brilliance than this.The merger of both timbres(orchestra and electronics) simply doesn't work on a recording.But this is a genre Boulez certainly did not give up as his latter "repons" so powerfully does.
You need to experience this music, this CD live. The dedication to Furstenburg was I suspect commissioned, and again has documentary value with the Domaine Musicale the group that made history playing the entire repertoire of the Fifties avant-garde. The work has a nice transparent premise/ concept to it, all is clear

Not just a curiosity..........2000-09-13

The items on this disc are all recorded from their world premieres during the 50s and early 60s. Most have only rarely been heard since. "Polyphonie X" and "Poésie pour pouvoir," in fact, were quickly withdrawn from Boulez' catalog. As such, this disc should be of immediate import to die-hard Boulez fans simply for its historical value.

But there is more to this recording than just that. There is, after all, music to be heard (lest we forget). "Polyphonie X" (1950-51) is the earliest of the works presented here. It represents Boulez' so-called "total serialism" at its most extreme, yet, in its quieter moments--if only there were more--it presages the lucidity of his subsequent music. The performance is clearly inadequate, and the recorded sound boxed-in, but what virtues the piece does have are able--if only just barely--to shine through. An important note: col legno has segmented "Polyphonie X" into three separate tracks, and the editors have unfortunately cut from the original tape--highly inappropriate for a live performance--to do so.

"Poésie pour pouvoir" (1958) was Boulez' earliest foray into working electronics into a concert setting. The tape part is interwoven with the orchestra. At first, they alternate; later on, they overlap (or, at least, try to). Despite the vintage 50s material on the tape, it comes off as more reserved in its resrvoir of sound than similar works by some of Boulez' contemporaries. What really impresses me, however, is the utterly *gorgeous* orchestral writing, akin to that in "Pli selon pli" but livelier and freer in form. If only the recorded sound weren't so limited in its ability to pick up on the detail. A revision for Ircam technology would be very much appreciated; this music simply cannot afford to waste away in this (so far) one and only performance.

"Tombeau" (1959) should already be familiar to Boulez fans. To them I point out that this is the original version, which consists roughly of the first four minutes and last three minutes of the version in "Pli selon pli." To the newbie--who, nevertheless, probably shouldn't be starting out with this recording--I point out that "Tombeau" is a slowly-building crescendo, one of the most beautiful works (IMO) in the entire orchestral repertory (which I hope it will soon join). The performance and recorded sound are much better than those for the prior works.

"Structures II" (1956-61) is perhaps the most-often heard of the works on this disc. The pianists--here Yvonne Loriod and Boulez himself--provide a vituosic display of impressionistic colors running up and down the two keyboards. In a unique twist, the aleatoric second chapter is presented in two alternate treatments.

Tracks:

I1 Quand On Arrestera La Course Coustumiere
I2 Qui Ne S'esbahira, Levant En Haut Les Yeux
I3 Plustost On Pourra Faire
II1 Le Feu, L'air, L'eau, La Terre, Ont Toujours Changement
II2 Y A Il Rien Si Fort, Si Rude Et Indomtable
II3 Le Beau Du Monde S'eface
III1 Comme De L'aigle En L'air L'aisle Vite Et Hautaine
III2 L'eau Va Vite En S'ecoulant
III3 Vous Fleuves Et Ruisseaux, Et Vous Claires Fontaines
IV1 C'est Un Grand Mal Que L'extreme Avarice
IV2 Qu'as-Tu Pauvre Amoureux, Dont L'ame Demy Morte
IV3 C'est Un Arbre Que Le Monde
V1 Mon Ame, Ou Son Les Grands Discours
V2 Quand Le Jour, Fils Du Soleil
V3 Le Rocher Orgueilleux
VI1 Quand La Face Noire Des Cieux
VI2 Mondain Qui Vis Et Meurs Au Monde Perissable
VI3 As-tu Mis En Oubliance
VII1 Quel Monstre Voy-je La Qui Tant De Testes Porte
VII2 Areste, Atens, O Mondain, Ou Cours-tu?
VII3 Plustot Les Yeux Du Firmament
VIII1 L'ambitieux Vent Toujours En Haut Tendre
VIII2 J'ay De L'avare Et De L'ambitieux
VIII3 Pauvre Ver Travaille, Tracasse
IX1 Quand La Terre Au Printemps Prend Sa Verde Couleur
IX2 L'Este Ralumant Ses Feux
IX3 La Glace Est Luysante Et Belle
X1 Lors Que La Feuille Va Mourant
X2 Vois-tu L'hyver Accroupi, Herisse
X3 Celuy Qui Pense Pouvoir
XI1 Le Mondain Se Nourrit Toujours
XI2 Quelle Est Ceste Beaute Que Je Voy Tant Extreme
XI3 C'est Folie Et Vanite
XII1 Ambition, Volupte, Avarice
XII2 Orfevre Taille Moy Une Boule Bien Ronde
XII3 Ce Mond' Est Un Pelerinage

Pathways of Baroque Music - Secular Vocal Music

Average customer rating:

A wonderfully complete overview of Baroque secular music!

Pathways of Baroque Music - Secular Vocal Music

Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Renaissance (c.1450-1600) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B0000007HY
Release Date: 1997-12-09

Tracks:

I. The Renaissance Of The Solo Madrigal: Anchor Che Col Partire - The Hilliard Ens/Paul Hillier
I. The Renaissance Of The Solo Madrigal: Allala, Pia Calia - Ens Clement Janequin/Dominique Visse
I. The Renaissance Of The Solo Madrigal: So Ben Mi Ch'a Ben Tempo - Rene Jacobs/Konrad Junghanel
I. The Renaissance Of The Solo Madrigal: Amarilli, Mia Bella - Rene Jacobs/Konrad Junghanel
I. The Renaissance Of The Solo Madrigal: Vezzosi Augelli - Concerto Vocale/Rene Jacobs
I. The Renaissance Of The Solo Madrigal: Crudele Acerba - Concerto Vocale/Rene Jacobs
I. The Renaissance Of The Solo Madrigal: Merce Grido Piangendo - Les Arts Florissants/William Christie
I. The Renaissance Of The Solo Madrigal: Occhi Del Pianto Mio - Helena Afonso/Christina Miatello/Marinella Pennichi/Sergio Vartolo
I. The Renaissance Of The Solo Madrigal: T'amo Mia Vita - Helena Afonso/Christina Miatello/Marinella Pennichi/Sergio Vartolo
I. The Renaissance Of The Solo Madrigal: Quella Vermiglia Rosa - Judith Nelson/Konrad Junghanel
II. Monteverdi And The 'Seconda Prattica': Luci Serene A Chaire - Concerto Vocale/Rene Jacobs
II. Monteverdi And The 'Seconda Prattica': T'amo Mia Vita - Concerto Vocale/Rene Jacobs
II. Monteverdi And The 'Seconda Prattica': O Come Sei Gentile - Claire Brua/Sandrine Piau
II. Monteverdi And The 'Seconda Prattica': Il Combattimento Di Tancredi E Clorinda - Francoise Semellaz/Adrian Brand/Nicolas Rivenq
II. Monteverdi And The 'Seconda Prattica': Zefiro Torna - Helga Muller-Molinari/Rene Jacobs
II. Monteverdi And The 'Seconda Prattica': Italian Madrigals: O Dolcezze Amarissimi D'amore - Concerto Vocale/Rene Jacobs
III. The Madrigal To The Secular Cantata: Cant: Amanti, Lo Vi Disfido - Judith Nelson/Jaap Ter Linden/William Christie/Konrad Junghanel
III. The Madrigal To The Secular Cantata: Cant: Il Mio Core E Un Mar Di Pianti - Agnes Mellon/Rene Jacobs/Ageet Zweistra/Yvon Reperant/Konrad Junghanel

Tracks:

I. The Madrigal Opera, Or The Commedia Dell'arte In Music: L'amfiparnaso, Commedia Harmonica... - Ens Clement Janequin/Dominique Visse
I. The Madrigal Opera, Or The Commedia Dell'arte In Music: L'amfiparnaso, Commedia Harmonica... - Ens Clement Janequin/Dominique Visse
I. The Madrigal Opera, Or The Commedia Dell'arte In Music: L'amfiparnaso, Commedia Harmonica... - Ens Clement Janequin/Dominique Visse
II. The First Masterpieces: Orfeo: Toccata - Concerto Vocale/Rene Jacobs
II. The First Masterpieces: Orfeo: Prologo: Dal Mio Permesso Amato - Efrat Ben-Nun
II. The First Masterpieces: Orfeo: Act 1: Vieni, Imeneo - Concerto Vocale/Rene Jacobs
II. The First Masterpieces: Orfeo: Act 2: Ah Casi Acerbo! (Pastori Orfeo) - Jennifer Larmore
II. The First Masterpieces: Orfeo: Act 2: In Un Fiorito Prato (Pastori) - Jennifer Larmore
II. The First Masterpieces: Orfeo: Act 3: Possnte Spirto - Laurence Dale
II. The First Masterpieces: Orfeo: Act 3: Ritornello (Arpa) - Concerto Vocale/Rene Jacobs
II. The First Masterpieces: Lamento D'Arianna: Il Ritorno D'Ulisse In Patria - Helga Muller-Molinari
II. The First Masterpieces: Il Ritorno D'Ulisse In Patria: Sinf - Bernarda Fink/Dominique Visse/Mark Tucker/David Thomas
II. The First Masterpieces: Il Ritorno D'Ulisse In Patria: Act 4, Scene 3: Ecco L'arco D'Ulisse - Bernarda Fink/Dominique Visse/Mark Tucker/David Thomas
II. The First Masterpieces: L'Incoronazione Di Poppea: Act 2, Scene 3: Amici, E Giunta L'ora - Michael Schopper/Dominique Visse/Gerd Turk/Andreas Lebada/Danielle Borst/Guillemette Laurens
II. The First Masterpieces: L'Incoronazione Di Poppea: Pur Ti Mio - Michael Schopper/Dominique Visse/Gerd Turk/Andreas Lebada/Danielle Borst/Guillemette Laurens
III. Monteverdi's Successors: Orfeo: Lagrime, Dove Sete - Agnes Mellon
III. Monteverdi's Successors: Giasone: Act 1, Scene XIV: Medea's Magic Room - Gloria Banditeli/Michael Schopper/Dominique Visse/Guy De Mey/Bernard Deletre/Harry Van Der Kamp
III. Monteverdi's Successors: La Calisto: Act 1: Sinf - Concerto Vocale/Rene Jacobs
III. Monteverdi's Successors: La Calisto: Act 1: Piante Ombroso - Mario Bayo
III. Monteverdi's Successors: La Calisto: Act 1: Va Pur, Va' Pur, Va'seco - Mario Bayo/Marcello Lippi/Simon Keenlyside
III. Monteverdi's Successors: La Calisto: Act 1: The Ballet Of Bears - Mario Bayo/Marcello Lippi/Simon Keenlyside/Conc Voc/Rene Jacobs

Tracks:

I. Elizabethan Ballads, Madrigals And Folksongs: Oyez! Has Any Found A Lad? - Alfred Deller
I. Elizabethan Ballads, Madrigals And Folksongs: We Be Soldiers Three - Alfred Deller/Desmond Dupre
I. Elizabethan Ballads, Madrigals And Folksongs: Come To Me, Grief, Forever - Emily Van Evera
I. Elizabethan Ballads, Madrigals And Folksongs: The Three Ravens - Andreas Scholl/Andreas Martin
I. Elizabethan Ballads, Madrigals And Folksongs: Barbara Allen - Andreas Scholl/Andreas Martin
I. Elizabethan Ballads, Madrigals And Folksongs: Flow My Tears - Andreas Scholl
I. Elizabethan Ballads, Madrigals And Folksongs: Go From My Window - Andreas Scholl
I. Elizabethan Ballads, Madrigals And Folksongs: Sorrow, Stay - Andreas Scholl
I. Elizabethan Ballads, Madrigals And Folksongs: Packington's Pound - The King's Noyse/David Douglass
I. Elizabethan Ballads, Madrigals And Folksongs: The Were Three Ravens - Ravencroft
I. Elizabethan Ballads, Madrigals And Folksongs: She Weepeth Sore In The Night - The Hilliard Ens
II. The 17th Century English Musical Theatre: Venus And Adonis: Ov - London Baroque/Charles Medlam
II. The 17th Century English Musical Theatre: Venus And Adonis: Act 3. Venus: Adonis, Uncall'd... - Lynne Dawson/Stephen Varcoe
II. The 17th Century English Musical Theatre: Dido & Aeneas: Act 3: Dido's Death - Guillemette Laurens
II. The 17th Century English Musical Theatre: Timon Of Athens: Hark How The Songsters - Honor Sheppard/Jean Knibbs
II. The 17th Century English Musical Theatre: King Arthur: Act 3: What Power Art Thou/Thou Doting... - Maurice Bevan/Rosemary Hardy
II. The 17th Century English Musical Theatre: King Arthur: Act 5: Fairest Isle - Honor Sheppard
II. The 17th Century English Musical Theatre: The Fair Queen: Act 2: Prld - Les Arts Florissants/William Christie
II. The 17th Century English Musical Theatre: The Fair Queen: Act 2: May The God Of Wit - Les Arts Florissants/William Christie
II. The 17th Century English Musical Theatre: The Fair Queen: Act 4. Autumn: See, See My Many... - Les Arts Florissants/William Christie
II. The 17th Century English Musical Theatre: The Fair Queen: Act 4. Winter: Next Winter Comes... - Les Arts Florissants/William Christie
III. Epilogue/'If Music Be The Food Of Love': If Music Be The Food Of Love - Alfred Deller/William Christie/Wieland Kuijken
III. Epilogue/'If Music Be The Food Of Love': Music For A While - Alfred Deller/William Christie/Wieland Kuijken

Tracks:

I. Ov: Admirons Notre Jeune Et Charmante Deesse - Les Arts Florissants/William Christie
II. The Masters Of the Tragedie Lyrique: Atys, Sleep Scene (Act 3, Scene 4): Prld: Dormans... - Gilles Ragon/Jean-Paul Fouchecourt/Bernard Deletre/Michel Laplenie
II. The Masters Of the Tragedie Lyrique: Atys, Sleep Scene (Act 3, Scene 4): Air Of The Pleasent... - Gilles Ragon/Jean-Paul Fouchecourt/Bernard Deletre/Michel Laplenie
II. The Masters Of the Tragedie Lyrique: Armide: Ov - Guillemette Laurens/Collegium Voc/Philippe Herreweghe
II. The Masters Of the Tragedie Lyrique: Armide: Act 2, Scene 4: Ah! Quelle Erreur - Guillemette Laurens/Collegium Voc/Philippe Herreweghe
II. The Masters Of the Tragedie Lyrique: Armide: Act 2, Scene 5: Enfin, Il Est En Ma Puissance - Guillemette Laurens/Collegium Voc/Philippe Herreweghe
II. The Masters Of the Tragedie Lyrique: Medee: Scene 5: Noires Filles Du Styx - Jill Feldman/Michel Laplenie/Francois Fauche
II. The Masters Of the Tragedie Lyrique: Medee: Scene 6: Venez Meler A Mes Poisons - Jill Feldman/Michel Laplenie/Francois Fauche
II. The Masters Of the Tragedie Lyrique: Medee: Scene 7: Je Vous Le Don Fatal - Jill Feldman/Michel Laplenie/Francois Fauche
II. The Masters Of the Tragedie Lyrique: Medee: Dieu Du Cocyte Et Des Royaumes Sombres - Jill Feldman/Michel Laplenie/Francois Fauche
II. The Masters Of the Tragedie Lyrique: Idomenee: Act 4, Scenes 4 & 5: O Neptune, Recoy Nos Voeux - Bernard Deletre/Monique Zanetti/Jean-Paul Fouchecourt
II. The Masters Of the Tragedie Lyrique: Idomenee: Act 5, Scene 2: Ah! Quel Bonheur De Vous Revoir - Bernard Deletre/Monique Zanetti/Jean-Paul Fouchecourt
II. The Masters Of the Tragedie Lyrique: Idomenee: Act 5, Last Scene: Quel Pouvoir M'a Conduit... - Bernard Deletre/Monique Zanetti/Jean-Paul Fouchecourt
II. The Masters Of the Tragedie Lyrique: Castor et Pollux: Act 1, Scene 1: Que Tout Gemisse - Agnes Mellon
II. The Masters Of the Tragedie Lyrique: Castor et Pollux: Act 1, Scene 3: Tristes Apprets, Pales Fl - Agnes Mellon
II. The Masters Of the Tragedie Lyrique: Castor et Pollux: Act 1, Scene 4: D'ou Partent Ces Cris Nou - Agnes Mellon
II. The Masters Of the Tragedie Lyrique: Castor et Pollux: Act 1, Scene 5: First Air For The Athlete - Agnes Mellon
III. The Comedie With Invidental Dances: La Malade Imaginaire: Entree De Ballet - Monique Zanetti/Noemi Rime/Claire Brua/Howard Crook/Jean-Francois Gardeil
III. The Comedie With Invidental Dances: La Malade Imaginaire: De Vos Flutes Bocageres - Monique Zanetti/Neomi Rime/Claire Brua/Howard Crook/Jean-Francois Gardeil
III. The Comedie With Invidental Dances: La Malade Imaginaire: Quande La Neige Fondue - Monique Zanetti/Neomi Rime/Claire Brua/Howard Crook/Jean-Francois Gardeil
III. The Comedie With Invidental Dances: Les Indes Galantes: Dans Les Abimes - Les Arts Florissants/William Christie
III. The Comedie With Invidental Dances: Les Troqueurs: Ov: Presto-Andant-Presto - Mary Saint-Palais/Sophie Marin-Degor/Nicolas Rivenq/Jean-Marc Salzmann
III. The Comedie With Invidental Dances: Les Troqueurs: Troquons, Troquons/Eh Non C'est Lui... - Mary Saint-Palais/Sophie Marin-Degor/Nicolas Rivenq/Jean-Marc Salzmann

Tracks:

I. At The Source Of The Opera Seria: L'Incoronazione Di Dario: Ov - Ens Baroque De Nice/Gilbert Bezzina
I. At The Source Of The Opera Seria: L'Incoronazione Di Dario: Act 1, Scene 14: L'adorar Belta... - Gerard Lesne
I. At The Source Of The Opera Seria: L'Incoronazione Di Dario: Ma Chidicea Cosi - Gerard Lesne
I. At The Source Of The Opera Seria: L'Incoronazione Di Dario: - Dominique Visse
I. At The Source Of The Opera Seria: L'Incoronazione Di Dario: - Agnes Mellon/John Elwes/Isabelle Poulenard/Michel Verschaeve
I. At The Source Of The Opera Seria: L'Incoronazione Di Dario: - Agnes Mellon
II. The Italian Opera In England: Radamisto: Ombra cara Di Mia Sposa - Lorraine Hunt
II. The Italian Opera In England: Ottone, Re Di Germania: Recit: Ben A Raggion - Lorraine Hunt
II. The Italian Opera In England: Ottone, Re Di Germania: Arai: Vieni, O Figlio - Lorraine Hunt
II. The Italian Opera In England: Giulio Cesare: Ov - Concerto Koln/Rene Jacobs
II. The Italian Opera In England: Giulio Cesare: Act 1, Scene 7: Alma Del Gran Pompeo - Jennifer Larmore
II. The Italian Opera In England: Giulio Cesare: Act 1, Scene 4: Svegliatevi Nel Core - Marianne Rorholm
II. The Italian Opera In England: Giulio Cesare: Act 2, Scene 8: All Lampo Dell'Armi - Jennifer Larmore
II. The Italian Opera In England: Flavio: Act 2, Scene 1: Al tuo Cenno Reale Ubbidiente/Scene 2... - Bernarda Fink/Christina Hogman/Gianpaolo Fagotto/Jeffrey Gall
II. The Italian Opera In England: Flavio: Act 2: Fato Tiranno E Crudo - Gianpaolo Fagotto
II. The Italian Opera In England: Ariodante: Act 2: Sinf - Freiburger Barockorchester/Nicholas McGegan
II. The Italian Opera In England: Ariodante: Recitativo: Di Dalinda L'amore - Jennifer Lane/Lorraine Hunt/Rufus Muller
II. The Italian Opera In England: Ariodante: Aria: Tu Preparati A Morire - Lorraine Hunt
III. The Opera Seria In Germany: Cleopatra E Cesare: Act 1, Scene 8: Aria: Tra Le Procelle - Janet Williams
III. The Opera Seria In Germany: Cleopatra E Cesare: Act 2, Scene 20: All'armi, Al Cimento - Janet Williams/Lynne Dawson/Iris Vermillion/Robert Gambill/Jeffrey Francis/Klaus Hager

Customer Reviews:

A wonderfully complete overview of Baroque secular music!.......2002-04-22

I picked this up in a bargain bin for a song and counted my blessings! I am a Baroque music fiend, with a large collection of Harmonia Mundi discs, but up until now I hadn't purchased any HM box sets. Many of my favourite Harmonia Mundi artists are featured on the five discs: Andreas Scholl, Alfred Deller, Dominique Visse, Rene Jacobs, Bernarda Fink, and Jennifer Larmore. Each disc covers a different theme: The Madrigal (disc one), The Birth of the Opera (disc two), England in the 17th Century, featuring works by Byrd, Dowland, Blow, and Purcell (disc three), A Century of French Opera, which showcases works by Lully, Charpentier, and Rameau (disc four), and The Reign of the Opera Seria, with contributions from Vivaldi, Handel, and Graun (disc five). The only thing I would have wished for would have been more opera selections from Handel (Rodelinda or Rinaldo for example). This is an excellent, very complete overview of the rise and evolution of Baroque secular music (the liner notes are very complete and deserve an A+). Harmonia Mundi has also released two additional "Pathways of the Baroque" box sets, one of instrumental music and one of Baroque religious music. If you are a Baroque fan like myself and you have the time and money, buy all three. It is a worthy investment, and the box sets offer a wide selection of artists, styles, and composers.

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Rameau: Les Boréades [Highlights]

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music
ASIN: B000005EE9
Release Date: 1995-06-06

Spontini - Le Vestale / Huffstodt, Michaels-Moore, Kavrakos, D. Graves, Teatro alla Scala, Muti

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Spontini - Le Vestale / Huffstodt, Michaels-Moore, Kavrakos, D. Graves, Teatro alla Scala, Muti

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B000002AR4
Release Date: 1995-10-31

Tracks:

La Vestale: Ouverture
La Vestale: Act One: La nuit acheve sa carriere (Licinius)
La Vestale: Act One: Pres de ce temple auguste (Cinna, Licinius); Air: Dans le sien d'un ami Fidele (Cinne, Licinius)
La Vestale: Act One: Duo: Quand l'amitie seconde mon courage (Licinius, Cinna)
La Vestale: Act One: Hymne du matin: Fille du ciel (Choer, la Grande Vestale, Julia)
La Vestale: Act One: Pour la derniere fois (La Grande Vestale, Julia)
La Vestale: Act One: Air: L'Amour est un monstre barbare (La Grande Vestale, Julia)
La Vestale: Act One: O d'un pouvoir funeste, invincible ascendant! (Julia, choer); Air: Licinius, je vais donc te revoir (Julia, choer)
La Vestale: Final: De lauriers couvrons les chemins (Choer, Licinius)
La Vestale: Final: Sur le depot de la flamme immortelle La Grande Vestale, Licinius, Cinna, choer)
La Vestale: Final: Grands dieux! soutenez ma faiblesse (Julia, Licinius, la Grande Vestale, le Souverain Pontife, Cinna, choer, un consul)
La Vestale: Final: La paix est en ce jour le prix de vos conquetes (choer)
La Vestale: Ballet: No. 1: Allegro marziale
La Vestale: Ballet: No. 2: Presto - Allegretto spirituoso
La Vestale: Ballet: No. 3: Andante con moto - Andante un poco lento
La Vestale: Ballet: Allegro con brio
La Vestale: Ballet: No. 4: Allegro brillante - Andante cantabile
La Vestale: Ballet: Allegretto con spiritu
La Vestale: Ballet: No. 5: Allegro marziale - Andante cantabile
La Vestale: Ballet: No. 6: Allegro moderato
La Vestale: Ballet: Peuple, cessez vos jeux (Le Souverain Pontife, choer)

Tracks:

La Vestale: Act Two: Hymne du soir: Feu createur (Choer, la Grande Vestale)
La Vestale: Act Two: Air: Toi que j'implore avec affroi (Julia)
La Vestale: Act Two: Air: Impitoyables dieux! (Julia)
La Vestale: Act Two: Julia - Je l'entends (Licinius, Julia); Air: Les dieux prendront pitie (Licinius, Julia); Duo: Quel trouble... Quels transports... (Licinius, Julia)
La Vestale: Act Two: Suis moi! (Cinna, Licinius, Julia); Trio: Ah! si je te suis chere (Julia, Licinius, Cinna, choer)
La Vestale: Act Two: Il vivra ... D'un oeil ferme (Julia, choer)
La Vestale: Act Two: Les dieux demandent vengeance (Choer)
La Vestale: Act Two: O crime! o desepoir! (Le Souverain Pontife, Julia, la Grande Vestale, choer); Final: Sa bouche a pronoce l'arret (La Grande Verstale, le Souverain Pontife, choer)
La Vestale: O des infortunes deesse tutelaire! (Juilia)
La Vestale: Nommez le mortel temeraire (Le Souverain Pontife, Julia, choer)

Tracks:

La Vestale: Troisieme Acte: Qu'ai-je vu! quels apprets! (Licinius); Air: Julia va Mourir! (Licinius)
La Vestale: Troisieme Acte: Cinna, que fait l'armee? (Licinius, Cinna); Air: ce n'est pas le temps d'ecouter (Cinna, Licinius)
La Vestale: Troisieme Acte: Pontife de nos dieux! (Licinius,le Souverain Pontife); Duo: C'est a toi de trembler (Licinius, le Souverain Pontife)
La Vestale: Troisieme Acte: Differons, croyez-moi, l'instant du sacrifice (Le Souverain Pontife, le chef des aruspices)
La Vestale: Troisieme Acte: Choeur et Marche funeraire: Perisse la vestale impie (Choerm la Grande Vestale)
La Vestale: Troisieme Acte: Duo: Adieu, mes tendres soeurs (Julia, la Grande Vestale)
La Vestale: Troisieme Acte: Un peupole entier demande que j'expire (Julia); Air: Toi que je laisse sur la terre (Julia)
La Vestale: Troisieme Acte: Dieux puissants de cet empire (Le Souverain Pontife, choer); Choer de Femmes: Vesta, nous t'implorons (La Grande Vestale, choer, le Sourverain Pontife, julia)
La Vestale: Troisieme Acte: Arretez, ministres de la mort! (licinius, Julia, choer, le Souverain Pontife); Final: O terreur! o disgrace! (Choer, le Souverain Pontife, Licinius, Cinna, Julia)
La Vestale: Troisieme Acte: Chants d'allegresse (Choer, Julia); Duodu Deuxieme Acte: Sur cet autel sacre (Julia, Licinius, choer)
La Vestale: Troisieme Acte: Airs de Ballet - No. 1: Larghetto sostenuto -
La Vestale: Troisieme Acte: No. 1: Airs de Ballet - Allegretto grazioso
La Vestale: Troisieme Acte: Airs de Ballet - No. 2: Andante cantabile -
La Vestale: Troisieme Acte: No. 2: Airs de Ballet - Allegretto
La Vestale: Troisieme Acte: Airs de Ballet - No. 3: Allegro con moto

Les Lumières du Baroque: Une Encyclopédie Musicale (Box Set)

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Les Lumières du Baroque: Une Encyclopédie Musicale (Box Set)

Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music

Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music

Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B00005REQH
Release Date: 2002-02-12

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History of Baroque Music

Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music

Classical | Box Sets | Stores | Music

Opera & Vocal | Box Sets | Stores | Music
ASIN: B000028TYN
Release Date: 1999-10-12

Amazon.com

Western music is often regarded as growing out of the rich heritage of Catholic and, later, Protestant church music. Yet for all the glories of early religious chant and song, secular music ran in parallel, usually having more freedom of expression and inspiring unfettered flights of musical fancy for their own sake. A History of Baroque Music: Secular Music is a companion to an equally impressive anthology of instrumental music, the two sets together exploring the development of the baroque as music broke ever further away from the previously all-pervasive control of the Church.

Over five discs and 6-1/2 hours we explore the madrigal, the birth of the opera, and its progress to a pinnacle of refinement with Handel's Giulio Cesare and Ariodante and Vivaldi's L'Incoronazione di Dario. The talents on offer are a Who's Who of Early Music, including Les Arts Florissants, La Chapelle Royal, Alfred Deller, Emilyvan Evera, the Hilliard Ensemble, Andreas Scholl, Stephen Varcoe, and many other fine performers. Twenty-two pages of notes place everything in historical context as we go from the Italy of Gesualdo and Monteverdi through the England of Dowland and Blow and the operas of Purcell (King Arthur and The Fairy Queen) to the France of Charpentier and Lully and so end in Germany with Gruan's Cleopatra e Cesare. It is a magnificent journey, wonderfully described by this impeccably assembled anthology, which is quite simply a treasure-trove of great music. --Gary S. Dalkin

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