Lucina Reine

The fifteenth volume of the Haydn2032 cycle is entitled ‘La Reine’. One might think that this nickname refers to Empress Maria Theresa of Austria, queen of numerous territories, but in fact the monarch honoured by the popular title of Symphony no.85 is her daughter, Marie Antoinette. It was said to be the favourite of ‘La Reine de France’, which is the full nickname of the work. The new volume also includes Symphony no.50, which delighted the Empress’s ears when she visited Prince Nicolaus Esterházy at his ‘Hungarian Versailles’ in 1773. Symphony no.62, which dates from 1780, the fortieth anniversary of Maria Theresa’s accession to the throne and also the last year of a life as eventful as it was glorious, rounds off this latest instalment of the complete recording of the symphonies conducted by Giovanni Antonini, here at the helm of the Basel Chamber Orchestra.

Edition critique du journal tenu quotidiennement par Marie-Caroline de Habsbourg-Lorraine, petite soeur de la reine Marie-Antoinette et reine de Naples, entre 1781 et 1785. Ecrit en français, langue de l'aristocratie européenne de l'époque, il fournit un témoignage sur la vie à la cour dans une des plus brillantes capitales d'Italie, vue par une femme. …

Berlioz wrote of Halévy’s La Reine de Chypre (1841): ‘Its success will at least equal that of La Juive. And Wagner added: ‘It is in La Reine de Chypre that Halévy’s new style has appeared with the most brilliance and success.’ So several voices – and those by no means insignificant – have declared this work, written six years after La Juive, to be its composer’s masterpiece. Premiered on 22 December 1841, Halévy’s opera offered the limelight to Rosine Stoltz in the title role: she was the only woman in the cast, for it had been found preferable to isolate her, following her incessant disputes with the other female singers in the company.