Marie Flore

Noëlle Spieth (Solstice, record 1990-2003): the inescapable reference, with recordings that have matured over 13 years, thanks to a courageous independent label. Under the agile fingers of Noëlle Spieth, an incessant kaleidoscope of multicolored images unfolds, as the artist approaches Couperin as a painter. Never the enigmatic titles of each piece will have borne their names as well, real sketches on the spot, affectionate or ironic, without ever malice. The key word of Noëlle Spieth is movement and contrast. Alternately capable of brushing teeming storms, of approaching movements in the luthed style with emotion and modesty, the harpsichordist moves and surprises each note.

Following on from Callirhoé (André Cardinal Destouches), Sémélé (Marin Marais) and Proserpine (Jean-Baptiste Lully), three important tragédies lyriques rescued from oblivion by Hervé Niquet and Le Concert Spirituel, Glossa is now restoring to the catalogue and within its collection of French Baroque opera, a recording made in Metz in December 2001: Daphnis et Chloé, the work which was to add Joseph Bodin de Boismortier to the roll call of the history of music in a most determined fashion.