Christie Peruso

Poised at the convergence of 18th-century French and Italian schools, Leclair and Senaillé were the French Paganinis of their day. Technically challenging yet full of poetry, rhythmically varied and always dance-like, their sonatas find two fervent advocates in Théotime Langlois de Swarte and William Christie. Transcending generational differences, the “venerated elder statesman of early music” (Opera News) and the youthful violin prodigy join forces to help us rediscover these still unjustly neglected pages.

Christie was a relatively unknown band from England that had the hit song "Yellow River" in 1970. No relation to the '60s American pop idol Lou Christie, this band managed to release one obscure album in North America on the Epic label in the same year. This collection represents the reissue of that album in its entirety along with detailed liner notes about the band.

Commissioned by the Comte d’Ogny for the Le Concert de la Loge Olympique, the ‘Paris’ Symphonies form a key milestone in Haydn’s output.

Handel’s Theodora, a tale of Christian martyrdom in 4th century Antioch, is a dramatic oratorio rather than an opera, but it achieved a new currency in 1996, when William Christie conducted a staging at Glyndebourne Festival Opera; this led to an audio recording, released by Erato in 2003 and described by Gramophone as “a magnificent and deeply satisfying performance”. Christie, who lives in France, was the natural choice to conduct Theodora’s first Parisian staging – at the Théâtre des Champs-Elysées in Autumn 2015. Le Monde spoke of William Christie’s conducting in glowing terms; it achieved “great mystic depth” through “phrasing that was both firm and subtle, pure but warm in tone, empathetically following each inflection of anger, pain or ecstasy. The sonic fabric was rich and dense, the attack precise.”

“Christie's love-affair with Hippolyte informs every note of this mesmerising performance, transporting the listener from enchanting pastoral scenes to ominous, Stygian shores.” BBC Music Magazine

A brand-new label from one of the world's finest early music ensembles makes an auspicious debut with this stunning new recording of Handel's oratorio Belshazzar. Les Arts Florissants, led by the great William Christie, have launched their new label with the goal of expanding the ensemble's connection to the listening public on a scale far beyond the concert hall. Belshazzar was first performed in 1745, and was frequently revised. Christie has chosen what he considers to be the most successful of the various versions of Belshazzar, resulting in the restoration of the piece in all its splendor. The libretto's subject, which focuses on the decline of a once glorious society and the ephemeral nature of Empire, is especially relevant today. This deluxe set also includes a bonus essay by Jean Echenoz entitled In Babylon, printed separately on special paper and included alongside the regular booklet. This specially commissioned work draws the reader deep into the ancient, majestic city, the seat of power of Belshazzar the King.

Pygmalion is, perhaps, Rameau's most consistently alluring ac/c de ballet whose overture, at least, was greatly admired in the composer's lifetime. There have been three earlier commercial recordings of which only the most recent, on Deutsche Harmonia Mundi, is currently available. Pygmalion was Rameau's second ac/c de ballet and it contains affecting and vigorous music in the composer's richest vein. The action takes place in Pygmalion's studio. Captivated by the appearance of the statue he has just completed, Pygmalion, legendary King of Cyprus, falls in love with it.

Ulisse was one of the first operas to be written for the public stage, not for royalty. Monteverdi was in his seventies when he wrote it, yet it is a work of intense and youthful passion, as well as wisdom. At nearly three hours (in this version, anyway), it demands a lot from its audience, and seeing it at home via DVD is a great way to make its acquaintance.
This production dates from 2000; this particular live performance was recorded in the fairly intimate Théâtre de Jeu de Palme in 2002. The production is simple but eloquent.