The Spectator August 11, 2018

Campra was the most important opera composer between Lully and Rameau. The success of Europe Galante in 1697 is a tribute to this founding work of the Opera-Ballet, mixing dance and opera in the opulent divertissements. Campra takes the spectator on a voyage into the amorous nations of Europe. France moves to the rhythm of the genteel heartbeat of the shepherds and the shepherdesses, Italy refined but jealous and violent and finally the Sultan who has to soothe the criminal bitterness of the Sultana, who has been ousted by a beautiful slave. This is spicy musical banter created during the reign of Louis XIV, recovered by Les Nouveaux Caracteres directed by Sebastien d’Herin.

Berlioz wrote of Halévy’s La Reine de Chypre (1841): ‘Its success will at least equal that of La Juive. And Wagner added: ‘It is in La Reine de Chypre that Halévy’s new style has appeared with the most brilliance and success.’ So several voices – and those by no means insignificant – have declared this work, written six years after La Juive, to be its composer’s masterpiece. Premiered on 22 December 1841, Halévy’s opera offered the limelight to Rosine Stoltz in the title role: she was the only woman in the cast, for it had been found preferable to isolate her, following her incessant disputes with the other female singers in the company.