Implore

This is the masterwork, Gluck's last important opera, which convinced the teenage medical student Berlioz, when he first heard it in 1821, that he had to be a composer. He worshipped Gluck and took his side in the phoney "Gluck vs.Piccini War". He set himself the task of sitting in the Conservatoire library to copy out the entire score in order to absorb its lessons. Its directness and drama influenced his artistic style his whole life through, as evinced by key points in "Les Troyens".

Following the success of 1999's thrilling Armide, Marc Minkowski and his excellent cast fully convey the power and drama of Gluck's masterpiece. They pull you into the story (based on a play by Euripides) through the emotional truth of their interpretation. The opening quiet strings create an air of mystery dispelled by a ferocious storm magnificently conveyed by these early-music specialists. Within a few phrases of Iphigénie's opening lament, Delunsch creates a believable, sympathetic character.

I have a personal criterion for judging sopranos in modern recordings of any role that Maria Callas excelled in: If you can beat Callas, you are gold. And despite her achievements in bel canto roles (most of which I find uninteresting, either dramatically or as music), I still think that Callas’s greatest gift to the world of opera, particularly opera in Italy, was to point out to the entire country and the world how much more there was in roles like Elvira in I Vespri Siciliani, Cheribini’s Medea, Iphigénie in this opera, and yes, even Lady Macbeth than had been previously thought.

Jean-Philippe Rameau (1683-1764) left two very different versions of his tragédie en musique Zoroastre: the first, in 1749, suffered from cabals and the work was withdrawn from the repertory. Rameau gave it a thoroughgoing revision in 1756. At this time, he was at the height of his powers. Melody, harmony, orchestration and choral writing no longer held any secrets for him. Zoroastre brought still further innovation. For the first time, he dispensed with a prologue, and turned the overture into a philosophical ‘programme’, the struggle between day and night, between good and evil. The 1749 version is entirely governed by avant-garde ideas; Zoroastre resembles Tamino in Die Zauberflöte, but two generations earlier. This disconcerted some of the audience: Zoroastre was a moral, social and philosophical opera.

The second volume of the Complete Harpsichord Works includes the unpublished harpsichord works of Jacques Champion de Chambonnières from manuscript sources. Performed by Karen Flint on the 1635 and 1627 Ioannes Ruckers harpsichords.

Véronique Gens is one of the most acclaimed French soprano. ü She has recorded in 2005, 2008 and 2011 three recitals of operatic arias for soprano from the French tragic operas of the late 17th, 18th and 19th centuries from Lully to Saint-Saëns. Véronique Gens embodies the tragic heroines of the Antiquity such as Dido, Circe, Medea or Cassandra… ü Véronique Gens is accompanied by renowned French director Christophe Rousset and his ensemble les Talens Lyriques. ü These three recitals are the most successful she has recorded, with Les Nuits d’été by Berlioz. Véronique Gens has recently received again very good critics (such as the Gramophone Editor's choice) for her latest recital, Visions, released on Alpha Classics