Marc le François

Un livre coup de poing sur la collusion et les arrangements entre "résistants", collaborateurs, FFI, miliciens et truands dans le Paris de la Libération. …

In addition to German and early Italian sacred music, Michel Corboz was very involved in exploring the Grand Siècle, and in particular the music of Marc-Antoine Charpentier. The re-creation in Lyon of David & Jonathas, a groundbreaking musical form between lyric tragedy and oratorio, with very few recitatives, was one of the main stage events of 1981. Almost three centuries had passed since the premiere and the work was completely forgotten, though being considered nowadays as one of Charpentier’s masterpieces. This recording, made just after the live performances, was the first to reveal the beauty of this work, thanks to Corboz’ conducting of a period instrument orchestra and an amazing cast of vocal soloists: Colette Alliot-Lugaz, Paul Esswood, Philippe Huttenlocher, René Jacobs, François Le Roux…

La gamme is Marais’s instrumental chamber version of an opera, based on an ascending harmonic scale and employing a succession of tempi, ensemble textures and forms, linked together by skilfully wrought transitions.

The myth of Orpheus–the divine musician who went to Hades to rescue his bride Eurydice from the dead and whose song actually persuaded Pluto to release her–has been irresistible to operatic composers from Monteverdi to Offenbach. One of the happiest rediscoveries of the Baroque revival is this lovely one-act chamber opera by Marc-Antoine Charpentier, which combines the gentle lilt typical of French Baroque music with the beautiful melodies and delicious suspensions in which Charpentier excelled. Charpentier diverged from the myth in one important respect: he omitted the tragic ending in which Orpheus loses Eurydice a second time, instead allowing the couple to live happily ever after.

In addition to German and early Italian sacred music, Michel Corboz was very involved in exploring the Grand Siècle, and in particular the music of Marc-Antoine Charpentier. The re-creation in Lyon of David & Jonathas, a groundbreaking musical form between lyric tragedy and oratorio, with very few recitatives, was one of the main stage events of 1981. Almost three centuries had passed since the premiere and the work was completely forgotten, though being considered nowadays as one of Charpentier’s masterpieces. This recording, made just after the live performances, was the first to reveal the beauty of this work, thanks to Corboz’ conducting of a period instrument orchestra and an amazing cast of vocal soloists: Colette Alliot-Lugaz, Paul Esswood, Philippe Huttenlocher, René Jacobs, François Le Roux…

La Lingua profetica del Taumaturgo di Paola, San Francesco est un oratorio inédit de Giacomo Antonio Perti (1661-1756). Il a été redécouvert en 2014 par Francesco Lora, un musicologue bolonais, spécialiste de ce compositeur. Cet ouvrage, commandé par le mécène de Perti, Ferdinand de Médicis met en scène trois personnages de la cour de France du 15e siècle : Charles VIII, son épouse Anne de Bretagne et Louise de Savoie.

Having dazzled us with her coloratura ability in arias by Mozart, Gluck, and her fellow Czech, Myslivecek, this luscious young mezzo-soprano now offers us a generous program of French arias–15 of them, widely varied in tone, weight, dramatic intent, and style–and conquers and convinces in them all. Beginning again in coloratura territory, an aria from Auber's rare Le domino noir catches our attention with the heroine's opening words, "Je suis sauvée enfin!" ("I am safe at last!"), in which she paints the picture of our out-of-breath heroine immediately.

Ce programme est l’évocation d’une bibliothèque imaginaire, celle de Jean-Baptiste Matho, célèbre chanteur de la Chapelle royale sous le règne de Louis XIV. Un testament musical au tournant du XVIIIe siècle, dans l’univers si particulier du petit motet pour taille (ténor), convoquant tour à tour Charpentier, Campra, Bouteiller, Suffret et bien sûr Brossard, qui nous interpelle par ce magnifique exorde : ‘Silentium. Dormi in hortis dilecta mea. Silence. Dors dans les jardins, mon amour.’"

Charpentier's Te Deum written in the bright key of D major features a four-part choir and eight soloists. It displays the composer's total command of religious music combined with a gift for melodic writing. Brilliant and majestic, yet profound, this Te Deum (Charpentier wrote four Te deums) was probably composed to celebrate the victory at Steinkerque in August 1692 during the wars against the countries of the League of Augsburg. [The struggle would eventually be in vain; and Strasburg, and the Palatine succession lost to France].

Le Poème Harmonique, one of the most important early music ensembles in France, is celebrating its 20th anniversary this year. For this occasion ALPHA CLASSICS has compiled twenty CDs from the catalogue in an attractively designed box. Award-winning recordings can be heard, some of them with an unusual repertoire from the Renaissance and Baroque periods. For loyal fans and those who want to become fans!