This production resuscitates Gounod s original composition, largely forgotten. A triumph for Minkowski, conducting at the Opera national de Paris, it attracted more than 1 million viewers when broadcast on TV! No competition on DVD or Bluray At last, Mireille one of the most original works of the 19th century has found its rightful place at the Palais Garnier. In 1854, a young Provençal poet, Fredéric Mistral, founded a literary association with a few other people, the aim of which was to uphold and illustrate its language and culture. They called this school Félibrige, a word of mysterious origin - a blend of joy, books and freedom. In 1859, he took things one step further and gave Félibrige its battle flag and masterpiece, Miréio, a vast epic love poem. As it happened, Gounod, whose Faust was created that year, read Mireille shortly after publication and was full of enthusiasm and went to Saint-Rémy de Provence to seek out this passionate music. Due to its singularity and density, the work has had a difficult career and was revised and altered several times. In 1939, Guy Ferrant and Henri Busser, disciples of Gounod, restored the original and Mireille was finally restored from the fine midsummer's morning and its dancing to the gripping scene in the desert-like Crau region.
Following the success of 1999's thrilling Armide, Marc Minkowski and his excellent cast fully convey the power and drama of Gluck's masterpiece. They pull you into the story (based on a play by Euripides) through the emotional truth of their interpretation. The opening quiet strings create an air of mystery dispelled by a ferocious storm magnificently conveyed by these early-music specialists. Within a few phrases of Iphigénie's opening lament, Delunsch creates a believable, sympathetic character.
The opera Platée by Jean Philippe Rameau is not just a comic opera but an opera in which the Gods of Olympus play a part. With his tragedies lyriques Jean Baptiste Lully had banned all comical characters from the opera, and musical comedies had become unfashionable. Thanks to works by André Campra and Jean-Joseph Mouret, however, the genre had not disappeared completely, and Rameau made his own contribution with Platée.
What a charming opera this is. There are many beautiful melodies which, for Gounod, is not surprising. Mirella Freni has exactly what Mireille needs, a spinto voice with agility and charm. Only one minor blip at the beginning of the opera finds her hoarse on one note. Should have been fixed. This is a difficult role and friends of Gounod thought it was unsingable for a purely lyric voice of the first Mireille. -Amazon-
Rameau's operas became some kind of seldom seen event in opera houses outside France; and perhaps even there, it might be argued. Not any more as it looks, as there seems to be a kind of Rameau come back in recent years that not only has prompted a few opera houses in Europe to stage some of his works, it appears to have also crossed the Atlantic if the NYC Opera's revival of this same work is a signal… By Plaza Marcelino
Under the direction of the principal conductor and artistic director of the Salzburg Mozart Week, Mark Minkowski, the Musiciens du Louvre perform on two of Mozart’s original instruments. Mozart’s Violin Concerto and his Piano Concerto in A major are played on instruments that were once in the composer’s possession. Thibault Noally plays the Violin Concerto on a violin from the workshop of Pietro Antonio Dalla Costa and “conjures up Romantic brilliance from the well maintained instrument”, then Francesco Corti brings Mozart’s fortepiano to life again, thereby spreading “collective Mozart happiness all round” (Salzburger Nachrichten).
Phaeton was first produced not at the Palais-Royal Theatre in Paris but modestly at Versailles in January 1683. In the spring of that year it transferred to the Palais-Royal and was well enough thought of to enjoy revivals at regular intervals into the early 1740s. Indeed, rather as Atys became known as the ''King's opera'' and Isis as the musicians', Phaeton acquired its sobriquet, ''the opera of the people''. Among the many attractive airs ''Helas! Une chaine si belle'' (Act 5) was apparently a favourite duet of Parisian audiences, while ''Que mon sort serait doux'' (Act 2), another duet, was highly rated by Lully himself. In 1688 Phaeton was chosen to inaugurate the new Royal Academy of Music at Lyon where, as Jerome de la Gorce remarks in his excellent introduction, it was so successful ''that people came to see it from forty leagues around''. The present recording is a co-production between Erato and Radio France, set up to mark the occasion of the opening of the new Opera House at Lyon.