Font Digital

Practical explanations with valuable tips and advice on how to accomplish efficient online marketing goals

Spanish violinist Francisco Fullana returns to Orchid Classics with a recital of Spanish music for violin and piano. Described as ‘an amazing talent’ by Gustavo Dudamel, Fullana has a natural affinity with this repertoire, which includes dazzling virtuoso pieces by the great violinist-composer Pablo de Sarasate, as well as the evocative ‘Sonata Española’ by Joaquín Turina. The recital also features works by several composers from the Catalan region: Enrique Granados, Eduardo Toldrà and Joan Manén, all of whom subtly combine characteristic Catalan folk styles with harmonic influences from France.

Hervé Niquet lässt Ariane et Bacchus (1696) wieder auferstehen, wobei er zum ersten Mal die exakte Besetzung und Aufstellung des Orchesters der Pariser Oper von 1700 verwendet und uns somit eine historisch informierte Version dieser Tragédie en musique von Marin Marais liefert. Marin Marais wurde 1676 Gambenspieler an der Académie Royale de Musique, als sein Mentor Lully mit seinem Werk Atys dort einen großen Erfolg feierte.

Ever since the late 1950s bossa-nova revolution, Brazil's influence on French music has been undeniable. Pierre Barouh, Georges Moustaki, and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle.

György Vashegyi’s new recording of Rameau’s Dardanus superbly demonstrates the Dijon-born composer’s genius, but also the mastery which Vashegyi – with his Orfeo Orchestra and Purcell Choir – has acquired in the music of the Late French Baroque. In conjunction with the preparation of a fresh edition for the Rameau Opera Omnia of the May 1744 version of Dardanus (under the aegis of the Centre de Musique Baroque de Versailles), Vashegyi conducts from a score prepared by the composer (and his librettist Leclerc de La Bruère) following the work’s rejection by Paris Opéra audiences in 1739, with the intention of reinforcing the “tragédie”’s dramatic action.

Composed on 1686 as part of the festivities organised by the Duc de Vendôme in honour of the Grand Dauphin, during the latter's visit to his estate at the Château d'Anet in September of that year, Acis et Galatée is Lully's last complete opera.