Jean Philippe Rameau: Hippolyte Et Aricie (Suite)

1. Hippolyte et Aricie, tragédie lyrique Ouverture [Prologue]
   Composed by Jean-Philippe Rameau
   Performed by Petite Bande
   Conducted by Sigiswald Kuijken
   
   
2. Hippolyte et Aricie, tragédie lyrique Entrée Des Habitants De La Forêt
   Composed by Jean-Philippe Rameau
   Performed by Petite Bande
   Conducted by Sigiswald Kuijken
   
   
3. Hippolyte et Aricie, tragédie lyrique Air En Rondeau Pour Les Amours [
   Composed by Jean-Philippe Rameau
   Performed by Petite Bande
   Conducted by Sigiswald Kuijken
   
   
4. Hippolyte et Aricie, tragédie lyrique Govottes I Et II [Prologue]
   Composed by Jean-Philippe Rameau
   Performed by Petite Bande
   Conducted by Sigiswald Kuijken
   
   
5. Hippolyte et Aricie, tragédie lyrique Menuets I Et II [Prologue]
   Composed by Jean-Philippe Rameau
   Performed by Petite Bande
   Conducted by Sigiswald Kuijken
   
   
6. Hippolyte et Aricie, tragédie lyrique Gavottes Vives I Et II [Prologue
   Composed by Jean-Philippe Rameau
   Performed by Petite Bande
   Conducted by Sigiswald Kuijken
   
   
7. Hippolyte et Aricie, tragédie lyrique Marche [Prologue]
   Composed by Jean-Philippe Rameau
   Performed by Petite Bande
   Conducted by Sigiswald Kuijken
   
   
8. Hippolyte et Aricie, tragédie lyrique Marche Des Prêtresses De Diane [
   Composed by Jean-Philippe Rameau
   Performed by Petite Bande
   Conducted by Sigiswald Kuijken
   
   
9. Hippolyte et Aricie, tragédie lyrique Premier Air [Act 1]
   Composed by Jean-Philippe Rameau
   Performed by Petite Bande
   Conducted by Sigiswald Kuijken
   
   
10. Hippolyte et Aricie, tragédie lyrique Second Air [Act 1]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
11. Hippolyte et Aricie, tragédie lyrique Tonnerre [Act 1]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
12. Hippolyte et Aricie, tragédie lyrique Premier Air Des Furies [Act 2]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
13. Hippolyte et Aricie, tragédie lyrique Deuxième Air Des Furies [Act 2]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
14. Hippolyte et Aricie, tragédie lyrique Troisème Air Des Furies [Act 2]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
15. Hippolyte et Aricie, tragédie lyrique Ritournelle [Act 3]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
16. Hippolyte et Aricie, tragédie lyrique Marche Des Tréseniens Et Des Mat
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
17. Hippolyte et Aricie, tragédie lyrique Air Gai [Act 3]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
18. Hippolyte et Aricie, tragédie lyrique Menuet [Act 3]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
19. Hippolyte et Aricie, tragédie lyrique Tambourins I, II Et III [Act 3]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
20. Hippolyte et Aricie, tragédie lyrique 1st Rigaudon En Tambourin Et 2nd
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
21. Hippolyte et Aricie, tragédie lyrique Rondeau [Act 4]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
22. Hippolyte et Aricie, tragédie lyrique Menuets I Et II [Act 4]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
23. Hippolyte et Aricie, tragédie lyrique Symphonie [Act 5]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
24. Hippolyte et Aricie, tragédie lyrique Vol Des Zéphyrs [Act 5]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
25. Hippolyte et Aricie, tragédie lyrique Marche [Act 5]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
26. Hippolyte et Aricie, tragédie lyrique Chaconne [Act 5]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    
27. Hippolyte et Aricie, tragédie lyrique Gavottes I Et II [Act 5]
    Composed by Jean-Philippe Rameau
    Performed by Petite Bande
    Conducted by Sigiswald Kuijken
    
    

Jean Philippe Rameau: Hippolyte Et Aricie (Suite),Jean-Philippe Rameau,Sigiswald Kuijken,La Petite Bande,RCA,Classical,French Baroque Opera,Opera

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Average customer rating: Outstanding and different Rameau Love it! Fantastic! Rameau, Minkowski: an intelligent concert! A beautiful bit of late Baroque Color

Rameau: Une Symphonie Imaginaire Manufacturer: Archiv Produktion ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music Sextets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Rameau | Rameau, Jean Philippe | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Ballets & Dances | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Similar Items: Rameau: Orchestral Suites (vol. 1) Vivaldi: Bajazet [Includes Bonus DVD] Rameau: Ballet Suites Biber: Missa Christi resurgentis Jean-Baptiste Lully: L'Orchestre du Roi Soleil ASIN: B000935TV8 Release Date: 2005-06-14

Tracks:

1. Ouverture
2. Scene Funebre
3. Air Tendre
4. Tambourins I & II
5. Air Tendre Pour Les Muses
6. Contredanse
7. Air Gracieux
8. Gavottes I & II
9. Orage
10. Prelude
11. La Poule
12. Musette
13. Ritournelle
14. Riguadons I & II
15. Danse Des Sauvages
16. Entre De Polymnie
17. Chaconne

Customer Reviews:

Outstanding and different Rameau.......2007-07-31

I am not sure if Minkowski put more his strong personality on it, it sounds with colorful voice around and looks so individually. However, it doesn't mean I don't like it. By contraries, it's so beautiful for me to forget any doubt its original. I must pick up to describe, the *Les Boréades (Abaris), tragédie en musique*, its tempo is slower than other version, but so romantic to attract me to listen again and again. Besides, Minkowski shows strong rhythm expression, to listeners enjoy a good experience of Rameau. I put it into the one of my best collection.

Love it!.......2006-11-10

Love it, love it, love it. Have not stopped playing it since it arrived and haven't gotten sick of it yet either. I bought it because I heard just one track briefly on the radio - bit of a gamble but it paid off. Great to drive to! Love the fast violin playing and the french horns. Rameau was one cool dude. Can't wait to share it with my dad. Am even wondering if I could wire the garage for sound so we can listen to Rameau while working there over Christmas! (Sorry this is not a high brow, classical music critic kind of review with lots of technical observations - I'm just a passionate classical music lover speaking from the heart).

Fantastic!.......2006-07-15

Great,I heard this piece on ABC Classic fm yesterday,the 14th of July....Amazon is a day late.Thank you to the programmer,they often use the savage dance as a theme.I must have this CD the thumping tympani and the tambourine really brightens up my day.I didn't even know there was a fugal bassoon movement!
The true french baroque is far better than any thing Handel could wright or borrow.Vivre Rameau!Beautifully played by all,the tempo and ornamentation's are perfect in all parts.Vivre Les Musciens du Louvre!Vivre Motorola for having a camera on their phones so I don't have to remember how to spell in french.
I do not work for any party mentioned.

Rameau, Minkowski: an intelligent concert!.......2006-04-14

Minkowki dedicated this album to his father, Dr. Alexandre Minkowski. The symphony imaginaire recorded live, is for him a personal intimate selection. This is intelligent, sensitive and extremely well played music by Rameau.
I stumbled upon this recording after being impressed by the last Bartoli recording with Les Musiciens du Louvre. Happy me!
The SACD is worth it.

A beautiful bit of late Baroque Color.......2005-09-12

I plan to give copies of this CD to my friends whose musical taste froze 35 years ago and who think of Baroque music as just so much "sewing machine music". Rameau was an imaginative instrumental colorist, and these dance pieces, taken from several of his operas and ballets, show him at his best in that regard.
While the conceit of calling this a "symphony" may seem strange, the pieces are arranged to form a nice sequence and, most importantly, are engagingly played by this early music ensemble. The interpretation is lively and the playing stylish. The sonics are detailed without being analytical.
I would recommend this to anyone as an introduction to the joys of French Baroque, but would encourage a follow-up purchase of one of the full operas.

Average customer rating: Kindly Diana and Bitter Tisiphone Rameau served well by William Christie and Les Arts Florissants Novice in French Baroque wonderful beyond belief This is the one to have

Rameau - Hippolyte et Aricie / Padmore, Panzarella, Hunt, Naouri, E. James, Petibon, Mechaly, Delunsch, Les Arts Florissants, Christie Jean-Philippe Rameau , William Christie , Mark Padmore , Lorraine Hunt , Les Arts Florissants , Laurent Naouri , Anna Maria Panzarella , Nathan Berg , Paul Agnew , Patricia Petibon , Mireille Delunsch , Katalin Károlyi , Yann Beuron , François Piolino , Christopher Josey , Matthieu Lécroart , Gaëlle Mechaly , Eirian James , Bertrand Bontoux , and David Le Monnier Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD All Works by Rameau | Rameau, Jean Philippe | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Christie, William | ( C ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Charpentier - Medee / Hunt, Padmore, Deletre, Zanetti, Salzmann, Les Arts Florissants, Christie Rameau - Dardanus / Ainsley, Gens, Naouri, Delunsch, Courtis, Kozena, Les Musiciens du Louvre, Minkowski Peter Lieberson: Neruda Songs Songs by Mahler, Handel & Peter Lieberson Purcell: Dido and Aeneas; Music for "The Gordian Knot Unty'd" ASIN: B000005E4S Release Date: 1997-03-18

Tracks:

1. Hippolyte Et Aricie: Prologue: Ouverture - Jean-Philippe Rameau
2. Hippolyte Et Aricie: Prologue: Scene 1 - Accourez, habitants des bois - Jean-Philippe Rameau
3. Hippolyte Et Aricie: Prologue: Scene 1 - Entree des habitants de la foret - Jean-Philippe Rameau
4. Hippolyte Et Aricie: Prologue: Scene 1 - Sur ces bords fortunes je fais regner la paix - Jean-Philippe Rameau
5. Hippolyte Et Aricie: Prologue: Scene 2 - Au doux penchant qui les entraine - Jean-Philippe Rameau
6. Hippolyte Et Aricie: Prologue: Scene 3 - Descente de Jupiter - Jean-Philippe Rameau
7. Hippolyte Et Aricie: Prologue: Scene 4 - Nymphes, aux lois du sort il faut que j'obeisse - Jean-Philippe Rameau
8. Hippolyte Et Aricie: Prologue: Scene 5 - Peuples, Diane, enfin, vous livre a ma puissance - Jean-Philippe Rameau
9. Hippolyte Et Aricie: Prologue: Scene 5 - Plaisirs, doux vainqueurs - Jean-Philippe Rameau
10. Hippolyte Et Aricie: Prologue: Scene 5 - A l'amour rendez les armes - La tranquille indifference - Jean-Philippe Rameau
11. Hippolyte Et Aricie: Prologue: Scene 5 - Par de nouveaux plaisirs - Jean-Philippe Rameau
12. Hippolyte Et Aricie: Acte I: Scene 1 - Temple sacre - Jean-Philippe Rameau
13. Hippolyte Et Aricie: Acte I: Scene 2 - Princesse, quels apprets me frappent dans ce temple? - Jean-Philippe Rameau
14. Hippolyte Et Aricie: Acte I: Scene 3 - Dans ce paisible sejour - Jean-Philippe Rameau
15. Hippolyte Et Aricie: Acte I: Scene 3 - Dieu d'Amour, pour nos asiles - Jean-Philippe Rameau
16. Hippolyte Et Aricie: Acte I: Scene 3 - Rendons un eternel hommage - Jean-Philippe Rameau
17. Hippolyte Et Aricie: Acte I: Scene 4 - Princesse, ce grand jour - Jean-Philippe Rameau
18. Hippolyte Et Aricie: Acte I: Scene 4 - Dieux vengeurs - Jean-Philippe Rameau
19. Hippolyte Et Aricie: Acte I: Scene 5 - Ne vous alarmez pas d'un projet temeraire - Jean-Philippe Rameau
20. Hippolyte Et Aricie: Acte I: Scene 6 - Quoi! la terre et la ciel contre moi sont armes! - Jean-Philippe Rameau
21. Hippolyte Et Aricie: Acte I: Scene 7 - O malheur! - Jean-Philippe Rameau
22. Hippolyte Et Aricie: Acte I: Scene 8 - Mes yeux commencent d'entrevoir - Jean-Philippe Rameau

Tracks:

1. Hippolyte Et Aricie: Acte II: Scene 1 - Lasse-moi respirer - J. Rameau
2. Hippolyte Et Aricie: Acte II: Scene 2 - Inexorable Roi - J. Rameau
3. Hippolyte Et Aricie: Acte II: Scene 3 - Qu'a servir mon courroux - J. Rameau
4. Hippolyte Et Aricie: Acte II: Scene 3 - Pluton commande - J. Rameau
5. Hippolyte Et Aricie: Acte II: Scene 4 - Dieux! que d'nfortunes gemissent dans ces lieux - J. Rameau
6. Hippolyte Et Aricie: Acte II: Scene 4 - Du Destin le vouloir supreme - J. Rameau
7. Hippolyte Et Aricie: Acte II: Scene 4 - Ah! qu'on daigne du moins - J. Rameau
8. Hippolyte Et Aricie: Acte II: Scene 4 - Non, Neptune aurait beau t'entendre - J. Rameau
9. Hippolyte Et Aricie: Acte II: Scene 5 - Neptune vous demande grace - J. Rameau
10. Hippolyte Et Aricie: Acte II: Scene 5 - Vous, qui de l'avenir percez la nuit profonde - J. Rameau
11. Hippolyte Et Aricie: Acte III: Scene 1 - Cruelle mere des amours - J. Rameau
12. Hippolyte Et Aricie: Acte III: Scene 2 - Eh bien! - J. Rameau
13. Hippolyte Et Aricie: Acte III: Scene 3 - Reine, sans l'ordre expres - J. Rameau
14. Hippolyte Et Aricie: Acte III: Scene 3 - Ma fureur va tout entreprendre - J. Rameau
15. Hippolyte Et Aricie: Acte III: Scene 4 - Que vois-je? - J. Rameau
16. Hippolyte Et Aricie: Acte III: Scene 5 - Sur qui doit tomber ma colere? - J. Rameau
17. Hippolyte Et Aricie: Acte III: Scene 6 - Quoi! tout me fuit, tout m'abandonne! - J. Rameau
18. Hippolyte Et Aricie: Acte III: Scene 7 - De mon heureux retour - J. Rameau
19. Hippolyte Et Aricie: Acte III: Scene 8 - Que ce rivage retentisse - J. Rameau
20. Hippolyte Et Aricie: Acte III: Scene 8 - Premier et Deuxieme Air des Matelots - J. Rameau
21. Hippolyte Et Aricie: Acte III: Scene 8 - Premier et Deuxieme Rigaudon 'L'Amour, comme Neptune' - J. Rameau
22. Hippolyte Et Aricie: Acte III: Scene 9 - Quels biens! - J. Rameau

Tracks:

1. Hippolyte Et Aricie: Acte IV: Scene 1 - Ah! faut-il, en ce jour, perdre tout ce que j'aime! - J. Rameau
2. Hippolyte Et Aricie: Acte IV: Scene 2 - C'en est donc fait - J. Rameau
3. Hippolyte Et Aricie: Acte IV: Scene 2 - Nous allons nous jurer une immortelle foi - J. Rameau
4. Hippolyte Et Aricie: Acte IV: Scene 3 - Faisons partout voler nos traits - J. Rameau
5. Hippolyte Et Aricie: Acte IV: Scene 3 - Premier Air des Chasseurs et Chasseresses 'Amants, quelle est votre faiblesse' - J. Rameau
6. Hippolyte Et Aricie: Acte IV: Scene 3 - Deuxieme Air des Chasseurs 'A la chasse' - J. Rameau
7. Hippolyte Et Aricie: Acte IV: Scene 3 - Premier et Deuxieme Menuets - J. Rameau
8. Hippolyte Et Aricie: Acte IV: Scene 3 - Bruit de la Mer et Vents 'Quel bruit! quels vents!' - J. Rameau
9. Hippolyte Et Aricie: Acte IV: Scene 4 - Quelle plainte en ces lieux m'appelle? - J. Rameau
10. Hippolyte Et Aricie: Acte V: Scene 1 - Grands dieux! de quels remords je me sens dechire - J. Rameau
11. Hippolyte Et Aricie: Acte V: Scene 2 - Arrete! - J. Rameau
12. Hippolyte Et Aricie: Acte V: Scene 2 - Je ne te verrais plus - J. Rameau
13. Hippolyte Et Aricie: Acte V: Scene 3 - Ou suis-je? - J. Rameau
14. Hippolyte Et Aricie: Acte V: Scene 4 - Descendez, brillante immortelle - J. Rameau
15. Hippolyte Et Aricie: Acte V: Scene 5 - Peuples toujours soumis - J. Rameau
16. Hippolyte Et Aricie: Acte V: Scene 6 - O trop heureux bergers! - J. Rameau
17. Hippolyte Et Aricie: Acte V: Scene 7 - Ou suis-je transporte? - J. Rameau
18. Hippolyte Et Aricie: Acte V: Scene Finale - Chantons sur la musette - J. Rameau
19. Hippolyte Et Aricie: Acte V: Scene Finale - Bergens, vous allez voir combien je suis fidele - Que tout applaudisse - J. Rameau
20. Hippolyte Et Aricie: Acte V: Scene Finale - Chanconne - J. Rameau
21. Hippolyte Et Aricie: Acte V: Scene Finale - Rossignols amoureux - J. Rameau
22. Hippolyte Et Aricie: Acte V: Scene Finale - Premiere et Deuxieme Gavottes - J. Rameau
23. Hippolyte Et Aricie: Acte V: Scene Finale - Deesse, mon bonheur passe mon esperance - Que tout soit heureux - J. Rameau

Customer Reviews:

Kindly Diana and Bitter Tisiphone.......2006-09-24

An interesting way to compare these mythological operas is to notice how personally involved certain gods and goddesses become. First place goes to Cybele of Lully's Atys. She enters a love triangle with mortals and loses out. Second place belongs to Diana of the present opera. The heroine Aricie has taken refuge at Diana's temple and confesses to the goddess that she cannot become a full-fledged priestess because her love for Hippolyte keeps her from taking the necessary vow of chastity. The chief evil party in the plot is Hippolyte's stepmother Phaedra, who falls in "love" with her stepson and offends Diana when she threatens to burn down her temple in order to persecute her rival Aricie. Diana descends like Cybele and becomes both an enemy to Phaedra and a warm ally to the two lovers by declaring that she thinks as highly of faithful married love as she does of celibacy.

Aside from this rather Christianized Diana, a particularly colorful part of the opera occurs when Hippolyte's father Theseus-- one of the three great heroes of Greece together with Hercules and Perseus-- descends into the underworld to rescue a friend. The hero encounters both the Fury Tisiphone and Hades-Pluto, god of the underworld. Both these sinister beings delivers their lines in a state of graceless, contemptuous anger. Tisiphone adds a sneering cynicism well rendered by the tenor Francois Piolino. The Fury reminds me of a fellow who has recently appeared on television cable news blaming us Christians (persons who believe that Jesus is a living man) for alienating the atheist ruling class of Europe. I find Theseus' handling of Tisiphone altogether too humble. We should improve on the opera and debate Tisiphone in more candid terms. While I challenge the Fury to offer his proofs that Jesus is a dead man, others willing to undertake the task can take up other aspects of the debate. Lessons in rhetoric can be learned from opera.

Rameau served well by William Christie and Les Arts Florissants .......2005-06-29

For audiences who languish through the long hours in small opera houses around the world for productions of the works by Jean-Philippe Rameau ten this recording of HIPPOLYTE ET ARICIE is sure to delight. William Christie and his orchestra and chorus who go by the collective name of Les Arts Florissants do wonders with works of this sort (the audiences who have witnessed his wondrous reading of The Messiah can attest to this) and this recording is one of his loveliest.

The playing and singing of the ensemble is light and air-borne and Christie has assembled a splendid cast who breathe life into this rather redundant mythological tale. Tenor Mark Padmore and mezzo-soprano Lorraine Hunt (now Lorraine Hunt Lieberson) are especially outstanding but there really isn't an insecure voice in this cast. The singing is in the style of Rameau's period - graceful, fluid, well embellished, and artsy! In every way this performance is a period piece and as such it is probably as fine as a performance of the opera as we're likely to hear.

For lovers of baroque music this elegant and wistfully executed performance of Rameau, France's greatest baroque composer, is a must. Highly recommended. Grady Harp, June 05

Novice in French Baroque.......2004-01-29

I cannot claim to know much about opera or French baroque opera in particular but I have purchased a number of recordings in the past few months and all I can say is the music is stupendous.

I am not a lover of 19th century opera so it was a joy to find productions where the instruments are so clear the singing so lacking is fake emotion and ponderousness.

I want to thank all the great men and women who are bringing this music back to light and I feel lucky that I live now in the age of CDs and can simply slip a magnificent work into my player when I desire and sample another world

wonderful beyond belief.......2001-07-12

This opera by Rameau really demands that you suspend your 19th century assumptions both about opera and about musical style, and simply allow yourself to be drawn in to the rituals of this earlier style. Once you do, Rameau's skill at turning the formalized style of his era to drama, to create a dramatic effect in the recitiv and accompanato, will creep into your consciousness and draw you in to the gorgeous and rarified world.

Bill Christie isn't the only show in town for this type of music, but he's a hard act to beat.

This is the one to have.......1999-11-26

As you know, there are two historically informed recordings of Hippolyte: the Minkowski and the Christie. There is also an older recording (not a period performance) with Janet Baker and John Shirley-Quirk, but that one's been out of print for years. I also have a CD in which the great Placido Domingo bellows Ah! Faut-il, but I will spare you my complaints about how "inauthentic" it sounds. For a genuinely authentic Hippolyte, listen to this recording. As far as the role of Hippolyte goes, it is difficult to choose between the Minkowski and the Christie. I'm a big fan of both Jean-Paul Fouchecourt's and Mark Padmore's, although, having listened to them in numerous other recordings, I must say that as Hippolyte neither turns in the performance of his career. However, both are splendid stage actors (speaking from a firsthand experience), so if you notice an occasional vocal flaw in the relatively disembodied atmosphere of a studio recording, I guarantee you, you wouldn't notice it if you were watching these singers live. Tenors aside, I prefer the Christie. He chooses the first, the original, version of Hippolyte, while Minkowski opts for the second remake. The difference is the most evident in the stunning second act - the descent of Tesee into the underworld. Les Arts Florissants as an ensemble, headed by a haute-contre Tisiphone, are much more expressive in this scene, than the Minkowski group. Christie really knows how to make these underworld scenes unfogettable: witness his skill in the invocation of evil spirits in Medee or his poignant rendition of Charpentier's La Descente d'Orphee aux Enfers. Laurent Naouri as Tesee is incomparable in Puisque Pluton, aided by Christie's imaginative split-second pauses in the flow of the aria. Then there is Lorraine Hunt. The divine Lorraine Hunt, whose luscious and tart voice is so conducive to the expression of love and anquish that permeate both Rameau's Hippolyte and Charpentier's Medee (another of her signature roles). Minkowski's Phedre is great in all respects, but Lorraine Hunt is in the league of her own. Christie's Hippolyte won Gramophone Best Early Opera Award in 1997 and the Cannes Classical Award in 1998. Minkowski's Hippolyte was also recognized: it won a Gramophone award nomination. You owe it to yourself to buy one of these recordings - or both!

Average customer rating: Great listenning experience Racine, Rameau et Minkowski : le chef d'oeuvre The Baroque opera you must have - if you're serious about Baroque opera!

Rameau - Hippolyte et Aricie / Fouchécourt, Gens, Fink, Feighan, Smythe, Naouri, Massis, Les Musiciens du Louvre, Minkowski Jean-Paul Fouchécourt , Jean-Philippe Rameau , Marc Minkowski , Véronique Gens , Bernarda Fink , Thérèse Feighan , Annick Massis , Laurent Naouri , Russell Smythe , Jean-Louis Meunier , Jacques Loiseleur des Longchamps , Jérôme Varnier , Sagittarius Vocal Ensemble , and Les Musiciens du Louvre Manufacturer: Archiv Produktion ProductGroup: Music Binding: Audio CD All Works by Rameau | Rameau, Jean Philippe | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Classical | Box Sets | Stores | Music Similar Items: Rameau - Dardanus / Ainsley, Gens, Naouri, Delunsch, Courtis, Kozena, Les Musiciens du Louvre, Minkowski Rameau - Zoroastre / Padmore · Berg · Mechaly · Panzarella · Lecroart · Bazola · Bonnet · Revidat · Les Arts Florissants · Christie Lully - Acis & Galatee / Fouchecourt, Gens, Naouri, Crook, Delunsch, Felix, Masset, Les Musiciens du Louvre, Minkowski Rameau: Castor & Pollux Rameau - Platée / Ragon, Smith, de Mey, Les Musiciens du Louvre, Minkowski ASIN: B0000057EU Release Date: 1995-09-19

Tracks:

1. Ouverture
2. Prologue - Scene 1: Shour Des Nymphes: Accourez, Habitants Des Bois! (Choeur)
3. Prologue - Scene 1: Entree Des Habitants De La Foret
4. Prologue - Scene 1: Air Et Choeur: (Sur Ces Bords Fortunes Je Fais Regner La Paix)
5. Prologue - Scene 1: Air Et Choeur: (Vous Etes Dans Ces Memes Lieux)
6. Prologue - Scene 1: Air Et Choeur: Quels Doux Concerts Se Font Entendre? (Diane, Choeur)
7. Prologue - Scene 2: Au Doux Penchant Qui Les Entraine (L'Amour, Diane)
8. Prologue - Scene 2: Duo: Non, Je Ne Souffrirai Pas (L'Amour, Diane)
9. Prologue - Scene 2: Invocation: Arvitre Souverain Du Ciel Et De La Terre (Diane)
10. Prologue - Scene 3: Descente De Jupiter: Diane, J'etais Pret A Defendre Tes Droits (Jupiter, Diane, L'Amour)
11. Prologue - Scene 4: Nymphes, Aux Lois Du Sort il Faut Que J'obeisse (Diane)
12. Prologue - Scene 5: Peuples, Diane Enfin Vous Livre A Ma Puissance
13. Prologue - Scene 5: Air En Rondeau Pour Les Amours - Plaisirs, Doux Vainqueurs (Un Suivant De L'Amour)
14. Prologue - Scene 5: Premiere Gavotte - A L'Amour Rendex Les Armes
15. Prologue - Scene 5: Deuxieme Gavotte - La Tranquille Indifference N'a Que D'ennuyeux Plaisirs
16. Prologue - Scene 5: Premier Menuet - Deuxieme Menuet - Premeir Menuet
17. Prologue - Scene 5: Par De Nouveaux Plaisits Couronnons Ce Grand Jour!
18. Prologue - Scene 5: Marche
19. Prologue - Scene 5: Entr' acte: Reprise De L'Ouverture
20. Act One - Scene 1: Prelude - Temple Sacre, Sejour Tranquille
21. Act One - Scene 2: (Princesse, Quels Apprets Me Frappent Dans Ce Temple)
22. Act One - Scene 2: Hippolyte Amoureux M'occumpera Sans Cesse
23. Act One - Scene 2: Je Vous Affranchirai D'une Loi Si Cruelle!
24. Act One - Scene 2: Duo: Tu Regnes Sur Nox Coeurs
25. Act One - Scene 3: Marche
26. Act One - Scene 3: Choeur Des Pretresses: Dans Ce Paisible Sejour
27. Act One - Scene 3: Premier Air - Dieu D'amour, Pour Nos Asiles
28. Act One - Scene 3: Deuxieme Air - Rendons Un Eternel Hommage
29. Act One - Scene 4: Princesses, Ce Grand Jour Par Des Noeuds Eternels
30. Act One - Scene 4: Non, Non, Un Coeur Force N'est Pas Digne Desdieux
31. Act One - Scene 4: Du Moins Par D'injustes Regueurs
32. Prelude - Choeur: Dieux Vengeurs, Lancez Le Tonnerre!
33. Act One - Scene 4: Tonnerre - Nos Cris Sont Montes Jusqu'aux Cieux
34. Act One - Scene 5: Ne Vous Alarmex Pasd'un Projet Temeraire
35. Act One - Scene 6: Prelude - Quio! La Terre Et Le Ciel Contre Moi Sont Armes!
36. Act One - Scene 7: O Mahjeur! O Funeste Sort!
37. Act One - Scene 8: (C'en Est Assez) - Prelude - Mes Yeux Commencent D'entrevoir

Tracks:

1. Act II - Scene 1: Ritournelle
2. Act II - Scene 1: 'Laisse-moi Respirer, Implacable Furie!'
3. Act II - Scene 1: 'Dieux, N'est-ce Pas Assez Des Maux Que J'ai Soufferts?'
4. Act II - Scene 1: Duo: 'Contente-toi D'une Victime!'
5. Act II - Scene 2: Prelude - 'Inecorable Roi De L'Empire Infernal'
6. Act II - Scene 2: 'Sous Les Drapeaux De Mars'
7. Act II - Scene 2: 'Mais Cette Gloire, Enfin, Fallait-it La Ternir?'
8. Act II - Scene 2: Air Mesure: 'Poure Prix D'un Project Temeraire'
9. Act II - Scene 2: 'Eh Bien! Je Remets Ma Victime'
10. Act II - Scene 3: Air Et Choeur: 'Qu'a Servir Mon Courroux Tout L'Enfer Se Prepare!' - 'Que L'Averne, Que Le Tenare'
11. Act II - Scene 3: Premier Air Infernal
12. Act II - Scene 3: Deuxieme Air
13. Act II - Scene 3: Choeur: 'Pluton Commande, Vengeons Notre Roi!'
14. Act II - Scene 4: 'Dieux, Que D'infortunes Gemissent Dans Ces Lieux!'
15. Act II - Scene 4: 'La Mort, La Seule Mort A Droit De Vous Unir'
16. Act II - Scene 4: Premier Trio Des Parques: 'Du Destin Le Vouloir Supreme'
17. Act II - Scene 4: 'Ah! Qu'on Daigne Du Moins'
18. Act II - Scene 4: Choeur: 'Non, Neptune Aurait Beau T'entendre'
19. Act II - Scene 5: Prelude - 'Neptune Vous Demande Grace Pour Un Fils Trop Audacieux'
20. Act II - Scene 5: Air: 'Jupiter Trient Les Cisux Sous Son Obeissance'
21. Act II - Scene 5: 'C'en Est Fait, Je Me Rends'
22. Act II - Scene 5: Deuxieme Trio Des Parques: 'Quelle Soudaine Horreur Ton Destin Nous Inspire!'
23. Act III - Scene 1: Prelude - 'Crucelle Mere Des Amours'
24. Act III - Scene 2: 'Eh Bien! Viendra-t-il En Ces Lieux'
25. Act III - Scene 3: 'Reine, Sans L'ordre Expres Qui Dans Ces Lieux M'appelle'
26. Act III - Scene 3: Duo: 'Ma Fureur Va Tout Entreprendre
27. Act III - Scene 3: 'Terribles Enemis Des Perfides Humains'
28. Act III - Scene 3: 'Ah! Cesse, Par Tes Voeux, D'allumer Le Tonnerre!'
29. Act III - Scene 4: 'Que Vois-je? Que Affreux Spectacle!'
30. Act III - Scene 2: 'Sur Qui Doit Tomber Ma Colere?'
31. Act III - Scene 6: 'Quoi? Tout Me Fuit, Tout M'abandonne'
32. Act III - Scene 7: 'De Mon Heureux Retour, Au Dieu Des Vastes Mers'
33. Act III - Scene 8: Marche
34. Act III - Scene 8: Choeur: 'Que Ce Rivage Retenisse'
35. Act III - Scene 8: Premier Air Des Matelots
36. Act III - Scene 8: Deuxieme Air De Matelots
37. Act III - Scene 8: Premier Rigaudon En Tambourin, Deuxieme Rigaudon - 'L'amour Comme Neptune Invite A S'embarquer', Premier Rigaudon
38. Act III - Scene 8: 'Pour L'auteur De Mes Jours J'aime A Voir Votre Zele'
39. Act III - Scene 9: 'Quels Biens! Je Fremis Quand J'y Pense'
40. Act III - Scene 9: Fremissement Des Flots - 'Mais De Courroux L'onde S'agite'

Tracks:

1. Hippolyte Et Aricie: Act IV - Scene 1: Prelude - 'Ah! faut-il, en un jour, perdre tout ce que j'aime?'
2. Hippolyte Et Aricie: Act IV - Scene 2: 'C'en est donc fait, cruel, rien n'arrete vos pas'
3. Hippolyte Et Aricie: Act IV - Scene 2: Air tendre: 'Dieux! pourquoi separer deux coeurs'
4. Hippolyte Et Aricie: Act IV - Scene 2: 'Eh bien! daignez me suivre!'
5. Hippolyte Et Aricie: Act IV - Scene 2: Duo: 'Nous allons nous jurer une immortelle foi!'
6. Hippolyte Et Aricie: Act IV - Scene 2: 'Le sort vers nous ces sujets de Diane'
7. Hippolyte Et Aricie: Act IV - Scene 3: Choeur: 'Faisons partout voler nos traits!'
8. Hippolyte Et Aricie: Act IV - Scene 3: Premier Air - 'Amants, quelle est votre faiblesse!'
9. Hippolyte Et Aricie: Act IV - Scene 3: Deuixieme Air: Rondeau - 'A la chasse, armez-vous!'
10. Hippolyte Et Aricie: Act IV - Scene 3: Premier Menuet - Deuxieme Menuet en Rondeau - Premier Menuet
11. Hippolyte Et Aricie: Act IV - Scene 3: 'Quel bruit! Quels vents, o ciel!'
12. Hippolyte Et Aricie: Act IV - Scene 4: 'Quelle plainte en ces lieux m'appelle'
13. Hippolyte Et Aricie: Act V - Scene 1: 'Grands Dieux! de quels remords je me sens dechirer!'
14. Hippolyte Et Aricie: Act V - Scene 2: 'Arrete!', 'Pour un fils quelle pitie cous presse?'
15. Hippolyte Et Aricie: Act V - Scene 3: 'Ou suis-je? De mes snes j'ai recouvre l'usage'
16. Hippolyte Et Aricie: Act V - Scene 4: Choeur: 'Descendez, brillante immortelle'
17. Hippolyte Et Aricie: Act V - Scene 5: 'Peuples toujours soumis a mon obeissance'
18. Hippolyte Et Aricie: Act V - Scene 6: 'O trop heureux bergers!'
19. Hippolyte Et Aricie: Act V - Scene 7: Vol des zephirs
20. Hippolyte Et Aricie: Act V - Scene 7: 'Ou suis-je transporte?'
21. Hippolyte Et Aricie: Act V - Scene 7: Duo: 'Que mon sort est digne d'envie!'
22. Hippolyte Et Aricie: Act V - Scene 7: 'Les habitants de ces retraites'
23. Hippolyte Et Aricie: Act V - Scene 8: Marche et Choeur: 'Chantos sur la musette'
24. Hippolyte Et Aricie: Act V - Scene 8: 'Bergers, vous allez voir combien je suis fidele'
25. Hippolyte Et Aricie: Act V - Scene 8: Choeur: 'Que tout soit heureux sous les lois'
26. Hippolyte Et Aricie: Act V - Scene 8: Chaconne
27. Hippolyte Et Aricie: Act V - Scene 8: Ariette: 'Rossignols amoureux, repindez a nos voix'
28. Hippolyte Et Aricie: Act V - Scene 8: Premiere Gavotte - Deuxieme - Premiere Gavotte

Amazon.com essential recording

Hippolyte et Aricie was Rameau's first surviving lyric tragedy and is perhaps his most durable, though you wouldn't know it from the decades we had to wait for a modern recording. Now there are two: this one, conducted by Marc Minkowski, and William Christie's version on Erato. Choosing between the two is tough. Minkowski uses a smaller and probably more authentic orchestra, and with the resulting leaner sound, the performance has more of a quicksilver quality accentuated by Minkowski's penchant for swift tempos. His cast is excellent. The central lovers in the title are beautifully sung by two truly French voices, soprano Véronique Gens and especially the light, slightly nasal tenor of Jean-Paul Fourchécourt. In the pivotal role of the jealous Phèdre, Bernarda Fink is perfectly good but not in the exalted league of Christie's Lorraine Hunt. So there's no clear front-runner, but anyone interested in French Baroque opera must have at least one. --David Patrick Stearns

Customer Reviews:

Great listenning experience.......2007-01-12

This is my first trying on Ramaeu opera, and that's his first article when he was fifty years old. I must say that it's a amazing experience to me, and I am very appreciated in Rameau's colorful music, so recommande to all who want to taste French baroque opera.

Racine, Rameau et Minkowski : le chef d'oeuvre.......2006-12-14

Sous un certain angle, tout le monde est là : Véronique Gens, Jean-Paul Fouchécourt et Laurent Naouri sous la houlette de Marc Minkowski. Mais celle qui transforme l'enregistrement est la mezzo-soprano argentine Bernarda Fink qui chante Phèdre avec une conviction et une émotion qui n'ont d'égal que la beauté de son phrasé et la justesse de sa prononciation.

The Baroque opera you must have - if you're serious about Baroque opera!.......2005-11-11

I bought this recording of Hippolyte et Aricie some years ago now and it has never failed to capture my imagination with its powerful and daring music. The cast of this recording is superb, particularly Fouchécourt and Gens, and Marc Minkowski's Les Musicians du Louvre are in top form here in this live recording.

Hippolyte et Aricie contains a wealth of music, ideas, tunes and styles. André Campra said of it that there is enough music here for twenty operas by lesser composers. The actual term "Baroque" was first coined to describe this opera - so the work is THAT important.

This is a live recording, but do not be troubled by that. There is no obvious audience noise and the recording doesn't feature stage noises in any obvious way.

It is a great pity that ARCHIV didn't arrange for or bankroll the recording of all Rameau's operas by Minkowski, but the three he did record for ARCHIV are very good.

I eagerly recommend this to all lovers of Baroque music.

Average customer rating: The beauty and grace of French Baroque Opera A beautiful addition to any baroque music-lover's collection Good, but I would have cut back on the instrumental movements A Beautiful Introduction to Rameau's Operas Excellent introduction to Rameau

Rameau: Règne Amour - Love Songs from the Operas Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD All Works by Rameau | Rameau, Jean Philippe | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Similar Items: Tragédiennes Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski ASIN: B0001ZXMNQ Release Date: 2004-06-08

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.

Average customer rating: Unexpectedly 'new' Style A great walk-through Rameau's ouvertures Cold heat A constant pleasure excellent

Rameau - Overtures / Christophe Rousset, Les talens lyriques Jean-Philippe Rameau , Les talens lyriques , and Christophe Rousset Manufacturer: Decca ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music All Works by Rameau | Rameau, Jean Philippe | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Ballets & Dances | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Rousset, Christophe | ( R ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Rameau: Une Symphonie Imaginaire Rameau: Orchestral Suites (vol. 1) Rameau - Orchestral Suites ~ Naïs · Zoroastre / Orchestra of the 18th Century · Brüggen Rameau: Six Concerts en sextuor Rameau - Orchestral Suites from Naïs & Le Temple de la Gloire / PBO · McGegan ASIN: B000004CYY Release Date: 1997-07-15

Tracks:

1. Ouvertures: Les Fetes de Polymnie
2. Ouvertures: Les Indes galantes
3. Ouvertures: Zais
4. Ouvertures: Castor et Pollux
5. Ouvertures: Nais
6. Ouvertures: Platee
7. Ouvertures: Les Talens lyriques (Les Fetes d'Hebe)
8. Ouvertures: Zoroastre
9. Ouvertures: Dardanus
10. Ouvertures: Les Paladins
11. Ouvertures: Hippolyte et Aricie
12. Ouvertures: Le Temple de la Gloire
13. Ouvertures: Pigmalion
14. Ouvertures: Les Surprises de l'Amour - Prologue (Le Retour d'Astree)
15. Ouvertures: Les Fetes de l'Hymen de l'Amour, ou Les Dieux d'Egypte
16. Ouvertures: Les Surprises de l'Amour - Acte I (L'Enlevement d'Adonis)
17. Ouvertures: Acante et Cephise, ou La Sympathie

Amazon.com essential recording

Rameau waited until he was nearly 50 before writing his first opera, but after that there was no holding him back. One of the great masters of the Baroque orchestra (if not the greatest), he wrote overtures to theater works that call on a lavish array of instruments and use them all with an extraordinary feel for color and style. Although he was the major musical theorist of his day, Rameau's works sound wholly fresh and spontaneous, with numerous surprising twists and turns of phrase where you least expect them. Christophe Rousset leads his enthusiastic band of authentic instrument players in performances that will enchant all Baroque music fans. --David Hurwitz

Customer Reviews:

Unexpectedly 'new' Style.......2007-01-20

I am not very familiar wiht Jean-Philippe Rameau's music, so when I looked at his dates, I expected something which sounded a lot like Henry Purcell. I was quite taken aback when the music I heard was nowhere near as wooden or 'mannered' as Purcell's work, almost all of which sounds like another version of the piece used as the theme to Masterpiece theatre.

The greatest surprise was saved until the end, with the Overture to 'Acante et Cephise, ou La Sympathie'. The surprising tympany accents made it sound positively 19th century, and the fluid strings supported that notion. It almost sounds as if Rameau skipped right over Mozart to Beethoven. Of course, Rameau is not nearly as delicate or sweet as Mozart, but this is still a welcome gift from the 18th century.

A great walk-through Rameau's ouvertures.......2006-09-10

Jean-Philippe Rameau was certainly a vastly greater composer of orchestral music than Handel, that's for sure!

This excellent and beguiling collection of ouvertures is nearly complete, as far as I can tell - very few of the opera ouvertures Rameau wrote are not here. The performances are first class colourful and alive. There are those delicate and expressive moments we come to expect from a French Baroque composer, movements of great energy and the occasional fiery manifestations of "Sturm und Drang", too. Rameau's earliest ouvertures, Hippolyte et Aricie and Les Indes Galantes, show us a fully formed composer at the height of his powers - those powers only seemed to increase through Rameau's operatic career and his most daring, adventurous and fresh music composed in his old age.

Unlike Handel's ouvertures, which usually features oboes, bassoon, strings and basso continuo, Jean-Philippe Rameau used an orchestra sometimes featuring: piccolo, flutes, oboes, clarinets, bassoons, horns, trumpets, timpani, percussion and string orchestra - in fact an orchestra larger and more diverse than anything normally available to Franz Joseph Haydn or W. A. Mozart.

I have listened to this album many times since I first bought it and it always a delight to return to it. It can be "dipped into" or listened to in its entirety.

I hope Christophe Rousset and his talented Les Talens Lyriques eventually records some complete opera of Rameau for CD or DVD. Rousset's Monteverdi "L'incoronazione di Poppea" DVD is excellent and possibly the best DVD recording of that work currently available.

Cold heat.......2002-09-08

The French Baroque Roccoco School of music has suffered in comparison to the most vibrant Italian competition, or Bach and Handel dexterity and brilliance, not to mention soul enhancing character of their works. That is unfortunate since some of the graduates of that French period like Rameau have a record that is far from insignificant. But Rameau wrote for a public that liked mental games, was more subdued and courtly. The fire had to be contained. But the intelligence and brilliance did not have to be contained. If you want to be convinced of this, do yourself a favor and get this record. I will warn you, you might need to listen to it a few times, to let it grow on you, but next thing you know you might be purchasing some of these great operas. Oh! And the quality of the recording is impeccable, though a little bit low for my taste.

A constant pleasure.......2000-12-14

A collection of overtures to operas written by a Baroque composer whose name is well known but whose music is lesser known may not be high on everyone's 'want' list, but I urge you to take a chance on this CD. I obtained this disc as part of a 15-free-CDs introductory offer to a mail order CD club but it has turned out to be a pleasant surprise. This is music that seems to get better the more you hear it and ruminate over it afterward. Rameau is obviously a composer of considerable ingenuity and resource. These ouvertures positively bubble with effervescence and there is a refreshing lack of sameness among them. The period instrument group Les Talens Lyrique (named after one of the ouvertures on this CD) are obviously enthusiastic about this music and their playing is a joy. There is an appealing, analogue-like warmth about the recording, too.

excellent.......2000-12-08

My favorite CD in my collection, but I lost the disc so I have to order a new copy!

Average customer rating: RAMEAU - MINKOWSKI & Les Musiciens du Louvre: sur le Ouvre posthume

Rameau: Une Symphonie imaginaire [Hybrid SACD] Manufacturer: Archiv Produktion ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music Sextets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Rameau | Rameau, Jean Philippe | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Ballets & Dances | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Similar Items: J.S. Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006 Concerto Veneziano [Hybrid SACD] Mozart: Flute Concertos; Rondo; Andante [Includes the Bis 2005 Catalog] [Hybrid SACD] The Chopin Ballades & Scherzos [Hybrid SACD] Beethoven: Symphony No. 9 [Hybrid SACD] ASIN: B00083FYQE Release Date: 2005-07-12

Customer Reviews:

RAMEAU - MINKOWSKI & Les Musiciens du Louvre: sur le Ouvre posthume.......2006-12-28

Before Rameau (1683-1764) there was instrumentation; after Rameau, there was orchestration. Then came Mozart, Beethoven, von Weber, Berlioz, Fry, Lizts, Gottschalk, Wagner, Lèfébure-Wélly, Franck, Bruckner, Mahler, and the rest is part of the world's music history.

In the beginning, Rameau was an expert organist intensely interested with the exploration of new instrumental possibilities in music which he had already explored with organ music both as an instrumentalist and composer. He treated the organ as a great symphonic instrument rather than a polyphonic instrument. What we have here is what we call now "homophonic" music. He was not the only one to enter this form of thinking and composing; indeed there were others, but that does not take any away from his enormous accomplishments and advances in music theory.

Rameau was throughly contemporary with François Couperin Le Grand (1668-1733), Johann Sebastian Bach (1685-1750), Georg Philipp Telemann (1681-1767), Antonio Vivaldi (1678-1741), Giussepe Tartini (1692-1770), Christoph Willibald Gluck (1714-1787) and many other very well known composers of the early and mid 1700's. There is no doubt that for the most part all of the above knew in great detail about each other's whereabouts and current musical developments; assimilation of each other's theoretical and compositional ideas and forms was a widely accepted practice during that time period.

Rameau as a matter of fact did not discover anything whether in music and/or instrumental sound acoustics but formally stated sound and acoustic "combinations" which if and when executed by composer and instrumentalists added to the clarity of the whole.

As our old friend Mr. Plato (428-347 BC) remarked (I hope more than once), the foundation of anything in this universe (music included) in itself is indifferent to the existence of our universe. Indeed, indifferent to our minds and evanescent existence. Put it another way, music would exist even if musicians and/or we the listeners did not. I know this could be a debatable philosophical point for some but that's a theme for another discussion somewhere else.

With his compositions Rameau explored first at the organ and then with opera, ballet and overtures orchestral and musical methods, and acoustic forms which in the end provided other musicians/composers in general with highly idealized representations of the real world, whatever the real world of acoustics in reality can be said to be.

There is so much music (of all kinds), and composers which to this date knowingly or not, having adopted and assimilated Rameau's dictums have achieved such a mastery of acoustic "combinations" with effects of space, sonority, tone placement, antiphony, echo, silence, etc., etc, that have made this a wonderful world. One that Rameau re-discovered and which now-a-days is an integral and essential part of recognized music theory.

Rameau wrote a number of "treatises" and books on music theory; the two most important are "Traité de l'harmonie" and "Gènération harmonique." In these two studies he described or "explicated" exhaustively all known to him blends of timbres/tones, space and reverberation combinations; to this day no musician could do without them! His main point was that melody and harmony are not independent of each other. These musical combinations were known by many, but Rameau was the first to write about them and put them to practice in a formal fashion - again - as far as we know now.

I may add here that organists in general knew what Rameau knew; organistis knew very well how to score and employ acoustics and concomitant specific reverberation times and silences to obtain desired sound effects with their organ compositions. J.S. Bach was a master of this technique incidentally. It was and still is part of every good organist to "have the knowledge" and the skills to partake with organ music in such way; we also intuitively know when an organist is not for whatever reason applying these acoustic principles during a performance, generally to everybody's dislike.

We must add here that Archangelo Corelli, Giuseppe Tartini and J.S. Bach for example scored "in scordatura" for string instruments, especially for viola da gambas but also for violins. Scoring "in scordatura" basically produces the same acoustical effects and results as those organists obtained with their organs;"in scordatura" in plain musical language means "mis-tuning." Scoring in this manner was a common practice during the 1600 and 1700's because it produced acoustical effects of the desired kind, that is, natural sound effects.

Never-the-less, Rameau was apparently the first one to write and compose music following "natural" sound combinations without the need for scordatura. This is Rameau's legacy for the ages.

He was (again, probably) the first to describe, justify and explain harmonic practice in music whithin a coherent system derived from the "nature" of sounds. It had been there all the time and Rameau just "nurtured" the idea. Again, we have here another example of "nature" and "nurture." Remember Mr. Plato's dictum?

Very few composers before Rameau had conciously exposed and/or utilized that knowledge aside for the ocassional "in scordatura." We must resort here to Nikolaus Harnoncourt's "The Musical Dialogue - Thoughts on Monteverdi, Bach and Mozart" and Paul Bekker's "The Orchestra" to fully understand the inner works of this process. I highly recommend lecture of these two capital books as well as Dr. Philip Gossett's English translation of Rameau's "Traité de l'harmonie."

With this SACD Marc Minkowski and his Les Musiciens de Louvre amply succeed in the representation of Rameau's orchestral music.

Rameau never wrote a symphony as such; let's consider that for a moment. At about the same time J.S. Bach was calling some of his compositions "Symphonias", but it was not ultil his son Carl Philipp Emmanuel Bach (1714-1788) threw away the traditional polyphonic media (instrumentation) or subordinated them to the dominant idea of harmonic development that a "formal" symphonic form appeared; we call this "homophonic" music incidentally.

There were no symphonies until that time (C.P.E. Bach's time) but only "concertos" of the "grosso" kind. Concerti grossi (Italian for big concerts) were a popular form of Baroque music whereby an orchestra ensemble passed musical material between an small group of soloists (the concertino) and the full orchestra (the ripieno).

That's the main reason for the added title to this SACD: "...un symphonie imaginaire." This SACD is about symphonies; symphonies which were never formally scored by Rameau. We are asked here and now to think about this music as being an imaginary symphony...or pieces of symphonies, or opera...ballets. Indeed not an easy proposition but, just after the first few bars of the the first track we realize that Rameau had a new perspective in music; his music was all about orchestration.

Did Minkowski and his group succeed in their mission? Obviously the answer is a resounding yes! Minkowski and his musicians created these imaginary symphonies out of some orchestral music originally written for operas and ballets, and some specific overtures. These were orchestral parts composed during the last thirty years of Ramaeau's life. Previously he had only composed keyboard music mostly for organs.

Presently, the question might be as follows: where do we begin with this SACD?

The instruments: the instruments are all original period instruments
and tuned to a prevalent a'= 415 Hz (so it's stated in the notes and my chromatic tuner corroborates exactly that) and that's very different than today's a'= ~ 440 Hz. The instrument's sound in this recording is different, totally different, and the tuning of the strings bespeaks well of the mastery of this orchestra's players. Remarkable, it's all I can say!

Minkowski, the conductor. There is no doubt in my mind that he, along with Nikolaus Harnoncourt and Andrew Manze, is the dominant figure in Baroque music at the present time. You can not do better than this or these if we include the other two conductors.

The musicians. What can I say about them? That they have perfect pitch? Yes. That they play all the notes? Yes. That their string instruments had to be re-strung to a'= 415 Hz instead of playing "in scordatura"? I think so. Can they play in harmony? This is a great rendition of musical harmony at it's purest form.

I think Rameau with this music and specially it's orchestration showed to the future the shape of things to come. This was the beginning of the end of the Baroque and the start of a new era.

There are no words that could possibly describe the level of excellence which is achieved in this and the other Baroque recordings this conductor and musical group have been involved with. We do know this is the normal state of affairs with Minkowski and the musicians that subordinate to him. This is absolutely perfect.

The sound, again, Archiv has produced another SACD reference recording. It's a true 5.1 DTS recording which means the sound will be coming out of six speakers if played in an SACD player. The total surround sound is as real as one could get and much better and more realistic than the same version in just plain stereo. In my opinion the SACD is far superior than the stereo version.

I would not hesitate for a moment in recommending this SACD or any other that Minkowski and his musicians throw at us. Please hit us again and again with recordings of this caliber.

FINAL WORDS: B U Y I T - NOW.

Average customer rating:

Jean Philippe Rameau: Hippolyte Et Aricie (Suite) Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Rameau | Rameau, Jean Philippe | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music ASIN: B000001TW2 Release Date: 1992-12-03

Average customer rating:

The Voice of Opera Manufacturer: Decca ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Britten | Britten, Sir Benjamin | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Delibes, Léo | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gershwin | Gershwin, George | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Lalo, Edouard | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Leoncavallo | Leoncavallo, Ruggiero | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Monteverdi | Monteverdi, Claudio | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mussorgsky | Mussorgsky, Modest | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rameau | Rameau, Jean Philippe | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Allen, Thomas | ( A ) | Featured Performers, A-Z | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music National Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music Pears, Sir Peter | ( P ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Compilations | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | 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 Russian | Languages | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Voice Of Mozart ASIN: B000095J8C Release Date: 2003-05-13

Tracks:

1. L'Elisir d'Amore: Una furtiva lagrima - Giuseppe Di Stefano
2. Una voce poco fa...Io sono dolcile - Teresa Berganza
3. Largo Al factotum - Thomas Allen
4. La Cenerentola: Nacqui all' affano...Non pi? mesta - Teresa Berganza
5. Semiramide: Bel raggio lusinghier - Dame Joan Sutherland
6. Die Zauberfl?te, K 620: Der H?lle Rache - Luciana Serra
7. Don Giovanni, K 527: Il mio tesoro intanto - Francisco Araiza
8. La clemenza di Tito, K 621: Parto, parto, ma tu ben mio - Anne Sofie Von Otter
9. Cos fan tutte, K 588: Soave sia il vento - Anne Sofie Von Otter
10. Orfeo ed Euridice: Che faro senza Euridice? - Derek Lee Ragin
11. L'Orfeo: Lasciate i monti - Monteverdi Choir
12. Hippolyte et Aricie: Quel biens! Je fremis quand j'y pense - John Shirley-Quirk
13. Rinaldo, HWV 7: Armida dispietata...Lascia ch'io pianga mia cruda sorte - Bernadette Greevy
14. Nabucco: Va, pensiero - Berlin Deutsche Oper Chorus
15. Norma: Casta diva - Dame Joan Sutherland

Tracks:

1. Aida: Celeste Aida - Jon Vickers
2. La forza del destino: Pace, pace, mio Dio - Rosalind Plowright
3. Boris Godunov: Ugh, it's oppressive 'Clock Scene' - Konstantin Pluzhnikov
4. Lakm?: O? va la jeune indoue? 'Bell Song' - Dame Joan Sutherland
5. Le Roi d'Ys: Vainement, ma bien-aim?e [Aubade] - Alfredo Kraus
6. Samson et Dalila, Op. 47: Mon coeur s'ouvre ? ta voix - Marilyn Horne
7. I Pagliacci: Recitar!...Vesti la giubba - Jos? Cura
8. La Boh?me: Quando m'en vo' soletta 'Musetta's Waltz' - Renata Tebaldi
9. Madama Butterfly: Un bel di vedremo - Renata Tebaldi
10. Fedora: Amor ti vieta - Luciano Pavarotti
11. Die Walkure: Ho-jo-to-ho! - Marie Collier
12. Die Meistersinger von Nurnberg: Selig wie die Sonne (Quintet) - Placido Domingo
13. Der Rosenkavalier, Op. 59: Marie Theres'...Hab' mir's gelobt - Regine Crespin
14. Porgy and Bess: Bess, you is my woman now - Roberta Alexander
15. Peter Grimes, Op 33: Now the Great Bear and Pleiades - Sir Peter Pears

Average customer rating: Wonderful

Vatel (2001 Film) Ennio Morricone , Patrick Bismuth , Kevin Greenlaw , Jean-Philippe Rameau , and George Frideric Handel Manufacturer: Virgin Records Us ProductGroup: Music Binding: Audio CD All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rameau | Rameau, Jean Philippe | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Similar Items: City of Joy Rampage Secret of the Sahara Hamlet Bugsy ASIN: B000056O21 Release Date: 2001-01-23

Tracks:

1. Theme De Vatel
2. L'Amour Suspendu
3. Ouverture Pour Vatel
4. Symphonie Avec Voix
5. Vertige
6. Theme De Vatel
7. Kaleidoscope
8. Deuxieme Symphonie
9. Fete Et Cynisme
10. Hippolyte/Aricie 'Temple Sacre'
11. Secundo Pezzo
12. L'Air D'Absalom
13. Deux Courtisanes
14. Debut De La Fete
15. Ouverture De La Cour
16. La Bourree - Arielle Dombasle
17. Les Indes Galantes
18. The Royal Fireworks

Customer Reviews:

Wonderful.......2001-10-09

Most movie soundtracks are only good for background music or a compilation of the latest pop artists. Fortunately for us, Ennio Morricone's soundtrack to Vatel is neither. Themed to the era of Louis the 14th, this beautiful album is fantastic to have playing for just about any occasion, especially when you're in dire need of relaxation. Lots of violins and cellos are used on the album, as well as what sound like period harpsichords. Definately not what your children will be requesting for Christmas, but perhaps what you may want to have playing on Christmas Eve while everyone sits in front of the fireplace. Beautiful, elegant, and brilliant, this is a CD that anyone interested in classical music should own.

Average customer rating:

Alma Gluck Manufacturer: Nimbus Records ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Godard, Benjamin | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Humperdinck, Engelbert | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rameau | Rameau, Jean Philippe | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Smetana | Smetana, Bedrich | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Lute | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Czech | Languages | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Russian | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music ASIN: B00003INIT Release Date: 2000-01-11

Tracks:

1. Louise: Depuis Le Jour
2. Jocelyn: Caches Dans Cette Asile
3. Carmen: Je Dis Que Rien Ne M'Epouvante
4. Elegie - Alma Gluck/Rosario Bourdon/Efrem Zimbalist
5. Le Timbre D'Argent: Le Bonheur Est Chose Legere
6. Hippolyte Et Aricie: Rossignols Amoureux
7. Chanson Grises, No.5: L'Heure Exquise - Alma Gluck/Josef Pasternack
8. Lo! Here The Gentle Lark - Alma Gluck/Victor Herbert/Clement Barone
9. Have You Seen But A Whyte Lillie Grow?
10. Atalanta: Care Selve
11. Theodora: Angels Ever Bright And Fair
12. Hansel Und Gretel: Susse, Liebe Susse - Alma Gluck/Louise Homer
13. War Schoner Als Der Schonste Tag - Alma Gluck/Francis J. Lapitino
14. Hubicka: Bohemian Cradle Song
15. La Boheme: Donde Lieta Usci (Addio Di Mimi)
16. La Boheme: Quando M'en Vo Soletta (Musetta's Waltz) - Alma Gluck/W.B. Rogers
17. La Sonnambula: Ah! Non Credea Mirarti
18. La Serenata - Alma Gluck/Clement Barone/Francis J. Lapitino/Howard Rattay
19. Snow Maiden: Gathering Berries
20. Snow Maiden: Song Of The Shepherd Lehl
21. Sadko: Les Diamants Chez Nous Sont Innombrables (Chanson Hindoue)
22. The Tsar's Bride: Liuba's Air

Meditation Music:

1. Johann Strauss: Eine Nacht in Venedig
2. Jules Massenet: Werther
3. La Bohème
4. Le Nozze Di Figaro
5. Lehar: Das Land des Lächelns; Giuditta
6. Leoncavallo: I Pagliacci
7. Leoncavallo: Pagliacci
8. Lully: Bourgeois gentilhomme, comédie-ballet, LWV 43 LWV43; Campra: L'Europe galante
9. Magical Operetta, Vol.2 (Instrumental Highlights)
10. Mascagni: Cavalleria Rusticana/Leoncavallo: I Pagliacci

Meditation Music

meditation music

Meditation Music

Sketchbook

Murder, Hope of Women / The Demon

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Music: Miami 2005 [Import]

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MoZella EP [EP]

Live Concerts Box [Import]

Last Waltz [Import]

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Grandes Exitos del Trovador de la Pampa

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