According to Berlioz, Spontini was – after Gluck – the greatest genius of French music to pave the way for the Romantic era. And it may well be that the little-known Olympie, premiered in 1819 and subsequently revived in 1826 under the modified title Olimpie, had a greater influence than we have hitherto imagined on the massive upheaval that was to set French opera on the path of the modern ‘grand opéra’. From start to finish, this finely polished score, with its astonishing orchestration, is full of spectacular effects that clearly look forward to Les Troyens of Berlioz.
For the staging of Odipe à Colone Antonio Sacchini could count on the support of Marie Antoinette Queen of France, who wanted to inaugurate, with this opera, the new theatre of Versailles on 4th January 1786. Due to inadequate machinery and some poor performances, however, success was not what had been expected. To console Sacchini of the near-failure, the Queen promised him to have Odipe repeated under better circumstances in the autumn, at Fontainebleau with the company of the Opéra, but the terrible events of the necklace affair made her too vulnerable to impose her choice. Already gravely ill, the composer took the news very badly: he died a few days later, in the night of October 8th, 1786. The première of Odipe à Colone took place on 1st February 1787 at Paris’s Opéra, in front of a full house. It was a triumph. Odipe à Colone kept reaping exceptional success up until 1844, reaching almost 600 performances and enthusing renowned composers such as Piccini and Berlioz.
Tommaso Traetta (1727 - 1779) wrote approximately forty operas in the serious and comic veins though his adaptations of the lyric tragedies were most significant. Traetta studied with Nicola Porpora and Francesco Durante and was influenced by Rameau, Rousseau, Metastasio, Jommelli and Gluck as well as several librettists concurrent at the time. He served as the director of the Ospedaletto in Venice and later became the master of music at the Russian court in St. Petersburg. Before returning to Venice he also spent some time in London. Among his operas were "Ippolito ed Aricia," "Ifigenia in Tauride," "Antigone," "Sonfonisba," and "Armida." Critically Traetta's operas were often scored for too many principle characters. Most of the operas, if not all, were based on classical literature and scored for larger orchestras than had heretofore been conventional. The operas which Traetta composed were both serious and comic.
Véronique Gens is one of the most acclaimed French soprano. ü She has recorded in 2005, 2008 and 2011 three recitals of operatic arias for soprano from the French tragic operas of the late 17th, 18th and 19th centuries from Lully to Saint-Saëns. Véronique Gens embodies the tragic heroines of the Antiquity such as Dido, Circe, Medea or Cassandra… ü Véronique Gens is accompanied by renowned French director Christophe Rousset and his ensemble les Talens Lyriques. ü These three recitals are the most successful she has recorded, with Les Nuits d’été by Berlioz. Véronique Gens has recently received again very good critics (such as the Gramophone Editor's choice) for her latest recital, Visions, released on Alpha Classics