Les Arts Florissants

A dark, pessimistic work, Belshazzar casts an uncompromising gaze on the fate of empires and those who govern them. In 2013, William Christie and Les Arts Florissants recorded a noble and majestic account of this formidable oratorio.

A dark, pessimistic work, Belshazzar casts an uncompromising gaze on the fate of empires and those who govern them. In 2013, William Christie and Les Arts Florissants recorded a noble and majestic account of this formidable oratorio.

Following the acclaim which met their double-album set devoted to the first two books of Gesualdo’s madrigals (2020 Gramophone Award), Paul Agnew and Les Arts Florissants now focus on the composer’s Ferrara period. ‘

In the late 1980s, William Christie and Les Arts Florissants recorded a galvanising version of the masterpiece of early English opera: Purcell’s Dido and Aeneas. This seminal interpretation is now available again, for the first time in digital.

With the series "A Life in Music", Paul Agnew and Les Arts Florissants invite you to trace the artistic career of Johann Sebastian Bach through his creative periods and places of residence. In the first stage, we discover a young master who continues the tradition of sacred concertos in northern Germany, but already reveals an extremely personal and imaginative style.

In the late 1980s, William Christie and Les Arts Florissants recorded a galvanising version of the masterpiece of early English opera: Purcell’s Dido and Aeneas. This seminal interpretation is now available again, for the first time in digital.

A puzzling paradox: although Vivaldi devoted over 30 years to composing for the Ospedale della Pietà in Venice, no complete musical setting of any liturgy by him has come down to us.

For the second volume in this series devoted to each new stage in Bach's life, Paul Agnew and Les Arts Florissants show us how the composer appropriated the usages of the church cantata to his own ends.

For the second volume in this series devoted to each new stage in Bach's life, Paul Agnew and Les Arts Florissants show us how the composer appropriated the usages of the church cantata to his own ends.