la Mesisas

After his Neapolitan training Gaspare Spontini settled in Paris for a few years, where he was nominated “compositeur particulier de la chambre” of Empress Josephine, Napoleon’s wife. It was indeed Napoleon who, in 1808, commissioned him the opera, Fernand Cortez, ou La conquete du Mexique, of which he attended the 28th November 1809 premiere. The strongly idealized figure of Cortez, presented as a brave, wise and merciful general, predestined to victory, was to be an image of Napoleon. His fight against Spanish “obscurantism” was Cortez’s fight against the cruelty, superstition and dark power intrigues of the Aztec sacerdotal class. Cortez frees the Mexicans from their “evil god”, and only the High Priest refuses his clemency. Like in a piece a sauvetage, at the last moment Montezuma’s niece, Amazily, who had offered her life in exchange of that of her beloved Cortez’s brother Alvar, is rescued. The Mexican chief Telasco promotes the cessation of hostilities: the marriage between Cortez and Amazily sanctions the peace between two peoples.

Estudio Completo de los Fundamentos, Principios y Leyes de la Sabiduría de la Kabalá desde sus Fuentes Hebreas.

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Jules Verne was the inspiration for Offenbach’s opéra-féerie, premiered in 1875. The Parisian craze for this type of musical extravaganza stemmed from its impressive stage effects: for Le Voyage dans la Lune, two ballets and some twenty sets took the audience from the Earth to the Moon, successively recreating the Paris Observatory, a working blast furnace and the crater of an erupting volcano. The piece is studded with zany characters and imaginary places: a lunar landscape, a glass palace, mother-of-pearl galleries, etc. The producers even borrowed a dromedary and an ostrich from the zoo at the Jardin d’Acclimatation! To accompany this theatrical display, Offenbach composed a series of colourful, picturesque hit numbers, wittily and energetically performed here by a team of enthusiastic soloists.The Chœur et Orchestre National Montpellier Occitanie are placed under the subtle and precise direction of Pierre Dumoussaud.

Jules Verne was the inspiration for Offenbach’s opéra-féerie, premiered in 1875. The Parisian craze for this type of musical extravaganza stemmed from its impressive stage effects: for Le Voyage dans la Lune, two ballets and some twenty sets took the audience from the Earth to the Moon, successively recreating the Paris Observatory, a working blast furnace and the crater of an erupting volcano. The piece is studded with zany characters and imaginary places: a lunar landscape, a glass palace, mother-of-pearl galleries, etc. The producers even borrowed a dromedary and an ostrich from the zoo at the Jardin d’Acclimatation! To accompany this theatrical display, Offenbach composed a series of colourful, picturesque hit numbers, wittily and energetically performed here by a team of enthusiastic soloists.The Chœur et Orchestre National Montpellier Occitanie are placed under the subtle and precise direction of Pierre Dumoussaud.

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Following an initial reconstruction on disc in 2015, the Ballet Royal de la Nuit enjoyed a triumphal modern premiere at the Théâtre de Caen in November 2017. That staged version, presented in this outstanding box set, at last includes the entire musical score (twenty-seven additional dances). The meticulous reconstitution of Sébastien Daucé, the incomparable poetry of Francesca Lattuada, an oneiric universe featuring more than 120 costumes designed by Olivier Charpentier, all contribute to an incredible enchantment further enhanced by the exploits of virtuoso jugglers and circus artists. In this ballet, a masterly achievement from every point of view, the spell remains unbroken from first note to last.