Petibon

Antonio Caldara was a mainstay at the Hapsburg court of Charles VI, and this large-scale oratorio (almost 80 minutes long) to a text by the renowned Metastasio was premiered at the royal chapel in 1730. It's a series of recitatives, arias, and intermittent choral interjections telling the story of the Passion and meditating on it. The overall mood is devotional, but the attractive music occasionally startles, as in the trombone accompaniment to the soprano aria "Dovunque il guardo." The attractive soloists wrap their voices around sonorous verbal felicities, and Fabio Biondi's fine early-music band plays with verve, making this a welcome exploration of a substantial work by an important contemporary of Vivaldi.

This "fête Baroque" occurred in December 2011 at the Théâtre des Champs Elysées in Paris, marking the tenth anniversary of the ensemble Le Concert d'Astrée under founder and conductor Emmanuelle Haïm. The concert was a benefit for a French cancer research facility, and it attracted a galaxy of guest stars. Le Concert d'Astrée is one of the very best Baroque vocal ensembles, and this release never descends to a low common denominator. Haïm's trademark expressive phrasing is everywhere in evidence, but the biggest attraction is the selection of singers, with several figures from the mainstream showing up alongside established Baroque specialists.

This the work was first given in Vienna during Holy Week, 1729, the first of many collaborations between Caldara and Metastasio. Mention of the great librettist provides a prompt that my original review failed to stress the outstanding qualities of the text. Divided into two halves, the first part of the oratorio relates the story of the crucifixion as witnessed through the eyes of Mary Magdalene, John, and Joseph of Arimathea, who respond to the eager questioning of the remorseful Peter. The second part consists of philosophical commentary on the meaning of the crucifixion. Particularly in Part I, Metastasio draws on vivid imagery to convey the full horror of the event. Here, for example, is John describing the nailing to the cross: "… and some hardened, loutish men, sweating as they worked, bathed his face with their foul perspiration."

"Described as an Opera-Ballet in four Acts, Les Indes Galantes was Rameau's biggest stage success in his own lifetime, and one can understand why from this spectacular production, staged at the Paris Opéra in 2004. The director, Andrei Serban, presents the piece with the sort of lavish effects and movement that would have delighted 18th-century audiences…Outstanding among the soloists are Nathan Berg as Huascar…Anna Maria Panzarella as Emilie and Paul Agnew as Valere, with Joao Fernandez memorably in drag as Bellone. The final curtain brings an exuberant encore after the credits, with Christie hilariously joining in the dance.

There’s an embarrassment of riches where Couperin’s Read more are concerned. My current favorite is Christie/Les Arts Florissants (Erato 017067), with Patricia Petibon and Sophie Daneman the latter exquisite in her tightly focused but sweet tone and immaculate ornamentation. Equally good in its way, with a slightly richer tone though a trifle too expressively restrained for my tastes, is Christopher Hogwood with Emma Kirkby and Judith Nelson (L’oiseau Lyre 430283).

This 20cd box set dedicated to the 200th anniversary of the music of versailles. The box set is beautifully packaged with complete english translations featuring distinguished baroque artists such as les arts florissant's with william christie, les musiciens du louvre with marc minkowski, les talens lyriques with christophe rousset, paul agnew, bernarda fink, veronique gens, patricia petibon and many more.