Passion Cris de Paris

Few twentieth-century creators have been as inventive as Berio in their relationship with popular and ancestral traditions – drawing material as he did from the hits by The Beatles and the soundscapes of urban streets and markets. Here Geoffroy Jourdain paints the portrait of an explorer with a passion for the human voice. Truculent and volcanic in Sequenza III (performed with panache by French mezzo-soprano Lucile Richardot), lyrical and caressing in E si fussi pisci, solemn and spellbinding in Cries of London.

Few twentieth-century creators have been as inventive as Berio in their relationship with popular and ancestral traditions – drawing material as he did from the hits by The Beatles and the soundscapes of urban streets and markets. Here Geoffroy Jourdain paints the portrait of an explorer with a passion for the human voice. Truculent and volcanic in Sequenza III (performed with panache by French mezzo-soprano Lucile Richardot), lyrical and caressing in E si fussi pisci, solemn and spellbinding in Cries of London.

Few twentieth-century creators have been as inventive as Berio in their relationship with popular and ancestral traditions – drawing material as he did from the hits by The Beatles and the soundscapes of urban streets and markets. Here Geoffroy Jourdain paints the portrait of an explorer with a passion for the human voice. Truculent and volcanic in Sequenza III (performed with panache by French mezzo-soprano Lucile Richardot), lyrical and caressing in E si fussi pisci, solemn and spellbinding in Cries of London.

This four disc set from Erato opens with Gluck’s three act lyric tragedy Iphigénie en Aulide, his first original ‘French’ opera for the fashionable Paris Opéra. In 1773 Gluck had been persuaded that he could establish himself at the Paris Opéra (also known as L’Opéra) by François du Roullet, an attaché at the French Embassy in Vienna. Baille du Roullet provided Gluck with the libretto for Iphigénie en Aulide, based on the tragedy of Racine and founded on the play of Euripides. Initially the Director of L’Opéra hesitated in accepting Gluck’s score. Fortunately he had a influential ally in Marie-Antoinette, the Queen of France, to whom he had taught singing and harpsichord. The first staging of Iphigénie en Aulide was at the Paris Opéra in 1774.