Artist : Les Arts Florissants
Album : Le Jardin Des Voix (By William Christie)
Genre : Other
Bitrate : 194 kbps avg
Source : CD (LP)
Playtime : 01:16:00 (110 MB)
Rls date : 2006-03-17
[Track List]
1. The Indian Queen "extr" (Arien & Duette) (H. & 13:56
D. Purcell)
2. La catena d'Adone "extr" (Auszⁿge) (Mazzocchi) 6:11
3. Arie "Un peccator pentito" (Rossi) 5:44
4. Arie "Que d'amants sΘparΘs" (Lambert) 6:57
5. Arie " Vos mΘpris chaque jour" (Lambert) 3:04
6. VΘnus et Adonis (Vorspiel & Arie) (M.A. 7:54
Charpentier)
7. Pygmalion (Arie "Fatal amour") (Rameau) 3:42
8. ╔nΘe et Duidon (Auszⁿge) (Campra) 5:06
9. Radamisto (Auszⁿge) (HΣndel) 4:06
10.Amadigi (Arie "Minacciami, no ho timor") 8:38
(HΣndel)
11.Ascanio in Alba (Arie "Al chiaror") (Mozart) 3:31
12.ZΘmire et Azor (Terzett "veillons, mes 3:56
soeurs") (GrΘtry)
13.Tom Jones (Septett "C'est vous mon pΦre") 3:15
(Philidor)
This CD is a bit misleadingly packaged on the front cover; the back makes it
clear that this is not a CD by conductor William
Christie's usual collective Les Arts Florissants, but by "L'acadΘmie des Arts
Florissants pour les jeunes chanteurs," the group's
academy for young performers. The singers featured here are the next generation
of Les Arts Florissants, selected by audition from
among a field of more than 200, and certainly the concerts from which this live
disc was drawn constituted another audition in
themselves. The disc testifies to Christie's dominant position in the world of
French Baroque dramatic music -- could any other
conductor, even with a completely different specialty, get away with issuing a
disc like this? Can you imagine the outcry if Karajan
had done so? Nevertheless, this is a generally pleasing collection of music.
Christie matched each young performer or group of
performers to music that would show them all at their best, and there's
enthusiasm to spare here. Listen to soprano Amel
Brahim-Djelloul in the playing-with-vocal-fire aria "Al chiaror di que' bei rai"
from Mozart's "Ascanio in Alba," track 11, or to the
ensemble hilarity in the Bickersons-like marital masque at the end of track 1,
attached to Purcell's "The Indian Queen." Older
performers might not have pulled that off so loosely. Too, the CD as a whole
works nicely as a survey of Christie's current
interests, with some unusual corners of the Baroque repertory showing up next to
the Rameau, Charpentier, and Handel that have long
been his specialties. You get a sample of an opera based on Tom Jones by AndrΘ
Danican Philidor, eighteenth century composer and
chess champion, for example. The disc as a whole also offers a taste of
Christie's exquisitely authentic Baroque performances
without having to plunk down multiple bills for an entire opera. All in all,
this disc is recommended for concert promoters or
anyone else interested in spotting the early-music vocal stars of tomorrow.