Charpentier David

Lully may have had a monopoly on the performance of actual opera in France, but David et Jonathas is effectively a sacred opera composed for performance at Jesuit colleges. The work is comprised mostly of arias and choruses; what recitative there is is unusually dramatic–especially in Saul's confrontation with David and his visit to the Witch of Endor to summon the ghost of Samuel. (Dominique Visse as the Witch deserves special mention for a convincing performance in a role that could easily descend into camp.) William Christie's choir and orchestra perform with all the expertise you'd expect; Monique Zanetti makes a rather feminine Jonathan but sings beautifully. In the role of David, the sensitive and heroic countertenor voice of Gérard Lesne is extraordinary.

In addition to German and early Italian sacred music, Michel Corboz was very involved in exploring the Grand Siècle, and in particular the music of Marc-Antoine Charpentier. The re-creation in Lyon of David & Jonathas, a groundbreaking musical form between lyric tragedy and oratorio, with very few recitatives, was one of the main stage events of 1981. Almost three centuries had passed since the premiere and the work was completely forgotten, though being considered nowadays as one of Charpentier’s masterpieces. This recording, made just after the live performances, was the first to reveal the beauty of this work, thanks to Corboz’ conducting of a period instrument orchestra and an amazing cast of vocal soloists: Colette Alliot-Lugaz, Paul Esswood, Philippe Huttenlocher, René Jacobs, François Le Roux…

In addition to German and early Italian sacred music, Michel Corboz was very involved in exploring the Grand Siècle, and in particular the music of Marc-Antoine Charpentier. The re-creation in Lyon of David & Jonathas, a groundbreaking musical form between lyric tragedy and oratorio, with very few recitatives, was one of the main stage events of 1981. Almost three centuries had passed since the premiere and the work was completely forgotten, though being considered nowadays as one of Charpentier’s masterpieces. This recording, made just after the live performances, was the first to reveal the beauty of this work, thanks to Corboz’ conducting of a period instrument orchestra and an amazing cast of vocal soloists: Colette Alliot-Lugaz, Paul Esswood, Philippe Huttenlocher, René Jacobs, François Le Roux…

Pinchgut Opera, based in Sydney and founded in 2002, specializes in Baroque and Classical opera, featuring works such as Semele, The Fairy Queen, Idomeneo, and Orfeo. One of its more obscure repertoire choices is Marc-Antoine Charpentier's 1688 David & Jonathan. It's a work that's rarely performed or recorded, so this fine performance is revelatory.

Marc-Antoine Charpentier was the most distinguished French religious composer of his era, whose output includes Masses, motets,psalms and oratorios, many of them extended works rich in texture, color and harmony, and contrapuntally resourceful. Melodically, Charpentier derived a distinctive style, imposing French embellishments and phrase structure on a basically Italian idiom. His 30 or so theater pieces reveal wit and facility. Unfortunately, he remains known for only two works, both of which are on this disc.

David Bates leads La Nuova Musica in 'Sacrifices', a programme of intensely dramatic oratorios from the mid Baroque. Three poignant tales of denail and sacrifice: St Peter's denial of Christ; Abraham's [narrowly averted] sacrifice of his son Isaac; and the Old Testament story of Jepthe, the hero commander who, before leading the Israelites into battle against the Ammonites, vows to God that if he is victorious, he will sacrifice the first living thing he meets upon his return.

Marc-Antoine Charpentier is the only composer of the age of Louis XIV to have distinguished himself so remarkably in the genre of the ‘sacred history’: he wrote more than thirty such works, all composed after his residence in Italy.
Sébastien Daucé and the Ensemble Correspondances have carefully extracted from this outstanding corpus a number of gems that reflect both his experience in Rome (probably studying with Carissimi, the master of the oratorio) and the humanist concerns of an entire period.