Lyric Tragedy: A French Baroque Opera Recital скачать в хорошем качестве

Lyric Tragedy: A French Baroque Opera Recital

In order to view exclusive films with NO ADVERTS and HELP Altea Media restore in UHD resolution new productions, please join and subscribe :    / @alteamedia   View our subscription program introduction film:    • Altea Media subscription  introduction   PROLOGUE - CHAOS Jean-Féry Rebel (1666-1747): Chaos François Rebel (1701-1775) and François Francoeur (1698-1787): Air "Fureur Amour" (Scanderberg) André-Cardinal Destouches (1672-1749): Sarabande - Air - Minuets (The Elements) Antoine Dauvergne (1713-1797): Earthquake (Polyxène) ACT 1 - WATER François Rebel and François Francoeur: Air for Elementary Spirits (Scanderberg) Jean-Baptiste Stuck (1680-1755): Air "C'en est donc fait" (Polydore) Jean-Philippe Rameau (1683-1764): Tender Air (Fêtes d’Hébé) André-Cardinal Destouches: March, trio and air of the elemental spirits (Issé) Jean-Baptiste Lully (1632-1687): Air “Finally he is in my power” (Armide) André-Cardinal Destouches: Air for the Nereids - Air for the divinities (The Elements) ACT 2 - THE AIR André-Cardinal Destouches: Air for the hours (The Elements) Air for the hours and the zephyrs (The Elements) Passepied (The Elements) André Campra (1660-1744): Air “My eyes close forever” (The Carnival of Venice) Antoine Dauvergne: March (Hercule Mourant) André-Cardinal Destouches: Sleep and Sarabande (Issé) Jean-Philippe Rameau: Minuet and Tambourines (Surprises of love) ACT 3 - FIRE Jean-Philippe Rameau: Prelude (Platée)(Arrangement: Yves Rechsteiner) Jean-Marie Leclair (1697-1764): Air “Black divinities” (Scylla and Glaucus) Jean-Philippe Rameau: Storm (Platée) - Entrance of Polymnia (Les Boréades) ACT 4 - EARTH André-Cardinal Destouches: Musette and Passepied - Air for Pan - Rigaudons (Issé) Pancrace Royer (1703-1755): Air “God of faithful lovers” (Zaïde) François Rebel and François Francoeur: Musette Jean-Philippe Rameau: Air “Cruel mother of loves” (Hippolyte and Aricie) Marin Marais (1656-1728): Chaconne François Rebel and François Francoeur: Tambourines Véronique Gens soprano Ensemble Les Surprises : Anaëlle Blanc Verdin, Lika Laloum, Gabriel Grosbard, Gabriel Ferry, Adrien Carré, violins Myriam Mahnane, Joël Oechslin, Tiphaine Coquempot, violas Sandra Latour, Matthieu Bertaud, flutes Xavier Miquel, Nathalie Petibon, oboes Lucile Tessier, Amélie Boulas, bassoons Julien Hainsworth, Marjolaine Cambon, cellos Juliette Guignard, viola da gamba Étienne Galletier, theorbo & guitar Marie-Amélie Clément, double bass Clément Geoffroy, harpsichord Isabelle Cornelis, percussion Louis-Noël Bestion de Camboulas, conductor Les Surprises and Véronique Gens paint a rich and vast panorama of French Baroque Opera or lyrical tragedy - from the 17th and 18th centuries. The lively ensemble Les Surprises, under the intelligent direction of Louis-Noël Bestion de Camboulas, presents to the audience of the Ambronay Festival a lyrical tragedy highlighting French Baroque music and the soprano Véronique Gens. In the middle of the 17th century, Italian opera spread throughout Europe. All of Europe? No: the diehard French only wanted to follow their own fashion, for which a truly national operatic genre was needed. The "first French opera" is a work by the organist Robert Cambert (1627-1677), on a libretto by the entrepreneur Pierre Perrin, Pomone, created in 1671. The all-powerful Jean-Baptiste Lully (1632-1787) bought the privilege of the Académie d'Opéra the following year, granting it a monopoly on a new genre: lyrical tragedy. He was thus able to create works perfectly conceived according to the tastes of the royal court and in the service of the image of his protector, the "greatest of heroes", the Sun King. Inspired by the declamation of classical theatre, Lully paid particular attention to the music which must serve the text and its true meaning, very different from the Italian cantabile. The form of the lyrical tragedy endured until the genius of Jean-Philippe Rameau (1683-1764) succeeded in modernizing it and participated in the development of the opera ballet, with its often allegorical or sometimes lighter and pastoral subjects.