Die TOTE STADT 250 YEARS of RAMEAU LE Corsaire
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250 YEARS OF RAMEAU A COMPREHENSIVE COLLECTION OF THE COMPOSER’S WORK INTERNATIONAL Poorhouse Newsletter No32 February - March 2014 LE DiE CORSAiRE TOTE STADT lgm 2 A COMPREHENSIVE COLLECTION OF 250 YEARS OF RAMEAU THE COMPOSER’S WORK revenge on the composer for having expressed he was attempting to reduce harmony to a Jean-Philippe Rameau died his opinion on Rousseau’s own compositions. natural and inevitable principle and to elicit the 250 years ago, in 1764. He was In those pre-revolutionary times people were secret of music from the harmonic series. His a contemporary of Bach and receptive to all that seemed simple; they theoretical works are still of great importance preferred to see normal human beings on for the study of harmony as well as for today’s Handel and every bit as great stage rather than Gods or nobility. It was for equally tempered twelve-tone systems. “No as these two. this reason that the Italian Buffo-art was so composer”, says conductor John Eliot Gardiner, From his early years as organist a successful. He replied to these charges with his “was able to use the orchestra in such a few Grands Motets survive of which In third and final creative period which began in virtuoso manner as Rameau”. Convertendo is arguably the most accomplished, 1760. Les Paladins was a comédie-ballet that It was also Rameau and not Webern who anticipating the operatic works Rameau was adapted important elements of the Italian style. invented the first Klangfarbenmelodie. Diderot to compose later. In 1722 he settled in Paris Les Paladins parodied itself, it mingled transformed him into a literary monument in where his second and third collection of Pièces accepted musical forms and also brought an his satirical novel Le neveu de Rameau. de clavecin appeared. With his earlier Traité androgynous character onto the stage in the Today we begin to rediscover Rameau’s de l’harmonie réduite à ses principes naturelles person of the fairy Manto. music with its wealth of melody and harmony, he had already profiled himself as a scientist, Rameau’s final opera Les Boréades was a faster pace than Handel and astonishingly close but for any musician who wished to count for tragédie-lyrique that many consider to be his to our sensitivities. The Rameau renaissance is anything in Paris, Rameau had to have success best opera. It was in rehearsal when Rameau in full swing with seven of his operas, already with an opera. He made his debut at the died aged almost 81. Its performance was recorded for television. Académie Royale with Hippolyte et Aricie in cancelled; it was totally forgotten and only 1733. rediscovered in our time. The opera was a success although it divided We must ask ourselves why Rameau’s HIPPOLYTE ET ARiCiE the audience into traditionalist supporters of works with the exception of Les Indes Galantes Tragedy lyrique in five acts with a prologue Lully and admirers of the more modern style were forgotten so quickly and so completely, (1733) of Rameau. It caused the famous composer though we should also remember that both Tragedy lyrique in five acts with prologue Campra to say: “In this opera there is enough Bach and Handel suffered similar fates. Bach with the libretto by Pellegrin based on music for ten operas.” was returned to the repertory thanks to Euripides and Racine, but with a happy ending. Two years later, in 1735, Rameau premiered Mendelssohn’s initiatives in 1829, whilst Handel The figure of Theseus is upgraded his most successful Opéra-ballet Les Indes held his place in the repertory thanks to his enough “for Rameau to make him the most Galantes which received an unprecedented Messiah, but a major rediscovery of his operas monumental figure in all his theatre”. This 200 per-formances during his lifetime. Some would not take place until the 1980s. Rameau opera also contains the famous second trio of 20 more stage works were to follow including was succeeded in Paris by Gluck, the French the Fates which turns into a vivid tone painting at least eight masterpieces which put Rameau Revolution was to erupt shortly afterwards of the horrors in stock for Theseus. among the greatest opera composers of all and would dramatically alter the expression time. of all the arts. But even Gluck fell almost into “… a glorious Baroque confection!“ Between 1752 and 1754 Rameau devoted oblivion, both were too much considered The Wall Street Journal the greater part of his energy to the Guerre representatives of the Ancien Régime. des Buffons. As the leading French composer A true child of the enlightenment, Rameau directed by Olivier Simonnet and representative of the French musical combined rational thinking with the greatest produced by Telmondis running time tradition he was the target of frequent attacks, sensitivity and perception. It is because of in particular from Jean-Jacques Rousseau who this that he was able to say “true music is 180’ Shot in HD with 5.1 surround disliked him intensely. This was the writer’s the language of the heart.” At the same time sound February - March 2014 Newsletter No32 3 A COMPREHENSIVE In order to give viewers more of an insight COLLECTION OF HiPPOLYTE ET ARiCiE LES iNDES GALANTES into this wonderful stage production we have THE COMPOSER’S WORK Opéra National de Paris Opéra National de Paris produced the Introductory Documentary Orchestra and Chorus of Le Concert Orchestra and Chorus of THE SWINGING RAMEAU d’Astrée Les Arts Florissants with contributions from William Christie and Musical Director Emmanuelle Haïm Musical Director William Christie the cast as well as relevant clips from the Stage Director Ivan Alexandre Stage Director Andrei Serban performance. Set Designer Antoine Fontaine Sets & Costumes Marina Draghici Costume Designer Jean-Daniel Lighting Designer Robert Wierzel directed by Reiner E. Moritz Vuillermoz Choreographer Bianca Li produced by LGM Lighting Hervé Gary Dramaturge Niky Wolcz running time 59’ Choreography Nathalie Van Parys PROLOGUE “The production, designs and choreography cast Hébé Danielle de Niese are an absolute joy … most magnificent Phèdre Sarah Connolly Bellone João Fernandes the dance of the pipe of peace: led by Aricie Anne Catherine Gillete L'Amour Valérie Gabail Patricia Petibon and Nicolas Revenq ... foot- Diane Andrea Hill Hippolyte Topi Lehtipuu tappingly memorable.” Hippolyte Topi Lehtipuu Thésée Stéphane Degout Richard Lawrence, The Gramophone Thésée Stéphane Degout 1st Act LE TURC GÉNÉREUX “… all the singers are masters of the 180’ Osman Nicolas Cavallier Rameau sound-world and of delicious Emilie Anna-Maria Panzarella vocal decoration … If it is Christie’s LES iNDES GALANTES Valère Paul Agnew ambition to convert all opera-lovers to Opéra-ballet in Four Acts and a Prologue (1735) 2nd Act LES INCAS DU PÉROU Baroque music through lively, accessible In Les Indes Galantes the theme chosen is Huascar Nathan Berg productions and sparkling, then ‘Love in Faraway Lands’ with the four countries Phani Jaël Azzaretti he succeeds without a doubt with this evoked being Turkey, Peru, Persia and America. Don Carlos François Piolino superb performance.” Each entrée or act emphasizes the particular Daniel Somerville, Opera exoticism of the country concerned and ends 3rd Act LES FLEURS, FÊTE PERSANE in a divertissement where orchestra and Tacmas Richard Croft “… you could not want a livelier or more chorus reach a crescendo. But the subjects of Ali Nathan Berg entertaining realization of Rameau’s the entrées are not necessarily light and gay: Zaïre Gaële Le Roi frivolous if endearing extravaganza than The Incas is a short intense drama in often somber tones which is undeniably the high Fatime Malin Hartelius this … Cirque du Soleil spin on French point of the work. Baroque stage conventions … great, 4th Act LES SAUVAGES exuberant fun with moments of high Adario Nicolas Rivenq directed by Thomas Grimm produced drama punctuating ... superbly sung by the Damon Christoph Strehl singers, dancers, acrobats and Christie’s Les by LGM running time 180’ Don Alvar Christophe Fel Arts Florissants period ensemble.” Shot in 16:9 Digi Beta Zima Patricia Petibon John van Rhein, Chicago Tribune WINNER OF the Midem Classical 180’ Award 2006 in the Category DVD Opera and Ballet February - March 2014 Newsletter No32 4 opera frowned upon the mixing of styles CASTOR ET POLLUX characteristic of Baroque works. Tragédie lyrique in Five Acts and a Prologue CASTOR ET POLLUX Dutch National Opera (1737) directed by Don Kent Arguably Rameau’s finest creation in the Musical Director Christophe Rousset tragédie lyrique style. The libretto is based on Stage Director Pierre Audi produced by LGM running time 151’ mythology and focuses on the unusual theme Sets & Costumes Patrick Kinmonth Shot in 16:9 Digi Beta of self-sacrificing love between Castor, who Lighting Jean Kalman is mortal, and his immortal brother, Pollux. Choreography Amir Hosseinpour WINNER OF the Classical Internet The strikingly luminous sets, depict a stylized Orchestra of Les Talens Lyriques Award in the Category DVD by version of the constellation and give this Classictoday.com production a wonderful 21st century Baroque Chorus of De Nederlandse Opera look. The dances are choreographed by Amir Chorus Master Martin Wright NOMINATED FOR the Midem Classical Hosseinpour. cast Award 2005 in the Category DVD Opera directed by Misjel Vermeiren Télaire Anna Maria Panzarella Ballet and the Choc of the Year by ‘Le Monde de la Musique’ produced by NTR, DNO Phébé Véronique Gens Cléone, Suivante d'Hébé Judith van running time 122’ Shot in HD with Wanrooy Surround Sound Castor Finnur Bjarnasson PLATÉE Opéra National de Paris Pollux Henk Neven WINNER OF Classic FM (January 2009) Musical Director Marc Minkowski Jupiter Nicholas Testé & the Gramophone DVD of the Month Stage Director Laurent Pelly Le Grand Prête Thomas Oliemans (February 2009) Sets Designer Chantel Thomas Spartiate I, Mercure Anders J.