His brilliant Treatise on Harmony (1722) is a work which
offered what many historians of music theory and composition regard as the most
powerful and persuasive presentations of the harmonic and contrapuntal ideas
which dominate the analysis of music to this day. This treatise, plus
Rameau’s impressive organ and harpsichord works, would be quite enough to
have guaranteed his preeminence among eighteenth-century French musicians.
There was, however, even more to Rameau than this: Rameau the opera composer,
the orchestrator, the dramatist, the creator of impressive and unforgettable
musical vistas and choral tableaus which had direct and telling
influences on the great composers of the latter century, particularly Gluck and
Mozart. It is in these wonderful operas that we see why Rameau was so popular
in the court of Louis XV, and why the leading philosophical and literary
figures of the day admired his talent and worked on his libretti.
The beautiful selection of works provided in this recording allows the
modern listener to view and enjoy the spectacle of five of Rameau’s most
popular operatic creations in historically accurate performances, most of them
under the baton of William Christie, one of the most remarkable figures in the
history of modern baroque performance practice. Such a set of recordings will
be of special use to any professor or teacher of courses in baroque opera,
dance, or stagecraft, and for any student of opera history. Along with this, as
a special treat, the set includes a performance of In Convertendo, a
Grand Motet from the composer’s youth, as a part of an informative
documentary on the composer. The operas selected (those directed by Christie
include Les Indes Galantes, Les BorÈades, Les
Paladins; Zoroastre and Castor et Pollux are directed by
Christie’s long-time associate, Christophe Rousset) include three of the most
popular in the repertoire (i.e., Les Indes Galantes, Castor et
Pollux, and Les BorÈades). Of this group, Les Indes Galantes was
undeniably the favorite work of the composer in his day — it was wildly
popular as an operatic tour de force set in a series of different
exotic locales, and featuring the gamut of musical effects and fanciful plot
lines which even today remain charming and highly entertaining. The work
received special mention in the very first barrage of the most famous pamphlet
war of the century, the Querelle des Bouffons, when in 1752 Baron
d’Holbach mocked those “good citizens” who “could not hear the
overtures to Les Indes galantes and Les Talents lyriques
without shuddering.”
Christie’s production of Les Indes galantes helps us understand
why the work was so popular. Les Arts Florissants Orchestra and Chorus, and the
sets and costumes of Marina Draghici in the staging by Andrei Serban, make a
powerful impression. This work, best described as an opera-ballet due
to the extensive use of dance, is made up of four large sections and a
prologue, with each of the four sections representing a different non-European
culture (i.e., The Turks, The Incas, The Persians, and by far the liveliest
group — The American Savages). Throughout the production the vocal and
instrumental quality of the performances is very high. After the obligatory
prologue of the gods, the first entrÈe presents the world of the Turks, with a
special focus on the humanity of Osman (sung competently by Nicolas Cavallier)
who assists in reunited lovers lost at sea. Anna Maria Panzarella shines in
this scene as the heroic Emilie. Nathan Berg is outstanding as Huascar in the
second entrÈe, as is the wonderful ceremonial quality of the scenes of the
Incas, which can be viewed as forerunners to similar marvelous ceremonial
passages in Gluck and Mozart (e.g., Orfeo ed Euridice,
Idomeneo, The Magic Flute). Special praise should be given to
the wonderful volcanic eruption scene which concludes this portion of the
opera, which contains is a delightful and exciting example of Rameau’s keen
sense of orchestral drama. The third section of the opera, Les Fleurs —
fÍte persane, allows us to experience the wonderful voice of Richard
Croft, who is excellent in the role of Tacmas, and the highly enjoyable
choreograpy of Blanca Li, whose dancers excel in the famous Ballet des
fleurs, rising out of pots like blooming flowers. Christie and his team
reserve their best work for the finale of the opera, Les Sauvages.
Patricia Petibon provides us with a most memorable Zima, whose on-stage
gyrations and coquettish demeanor is perfectly suited for her role as the
sought-after Indian princess. Christie’s contribution to this last scene is
palpable, as the orchestral accompaniment literally pulsates, creating an
unforgettable impression. It is Petebon who says later, in the documentary
attached to the production (“Swinging Rameau”) that “an American has
rediscovered our repertoire!”
The remaining works in the Opus Arte set, while not quite equaling the
production of Les Indes Galantes in musical impact, are all of
interest to the connoisseur. Christie and Les Arts Florissants
versions of Les Paladins and Les BorÈades (a work not staged
in the composer’s lifetime due to its Masonic themes) are solid and musically
convincing, and their production of the wonderful motet In Convertendo is
highly effective and memorable. Michael Levine’s sets and costume designs for
Les BorÈades are eye-catching imitations of Dior, but it is the
performance of Barbara Bonney as Alphise and Paul Agnew as Abaris which is the
most powerful aspect of the recording. The least attractive work in the set is
easily Les Paladins, which features quirky but amateurish choreography, sets,
and stage direction by JosÈ Montalvo and Dominque Hervieu.
Rousset’s version of Castor et Pollux (featuring Les Talens
Lyriques and the Chorus of the Netherlands Opera) is impressive, and the roles
of the tragic brothers (Finnur Bjarnason as Castor and Henk Neven as Pollux)
are beautifully sung. Patrick Kinmonth’s sets and costumes are minimalistic
but effective. Rousset’s direction of Zoroastre — another
Masonic-themed work — is also a treat, featuring the Drottningholm Theatre
Orchestra and Chorus as well as Les Talens Lyriques. This disc includes a
fascinating documentary which provides wonderful back-stage views of the famous
Drottningholm theatre. Anders Dahlin, who sings the title role, is masterful in
his interpretation, which is both lyric and agile as the occasion demands.
Donald R. Boomgaarden
Dean, College of Music and Fine Arts
Loyola University New Orleans
image=http://www.operatoday.com/OA1052BD.png
image_description=Rameau Operas
product=yes
product_title=Rameau Operas
product_by=Les Boreades; Castor et Pollux; Motette “In Convertendo”; Les Indes Galantes; Les Paladins; Zoroastre
product_id=Opus Arte OA1052BD [11 DVDs]
price=$68.49
product_url=http://www.arkivmusic.com/classical/album.jsp?album_id=557714&album_group=2
Review of Opus Arte Production of Jean-Philippe Rameau Operas Le BorÈades,
Castor et Pollux, Les Indes galantes, Les Paladins, Zoarastre, and the Grand
Motet In Convertendo
OPUS ARTE OA1052B D (11 DVD Set)