The last time I reviewed a recording of Monteverdi’s L’Orfeo was ten years ago and it included Jordi Savali with La Capella Real de Catalunya and Le Concert des Nations. Oddly enough they also figure in a recording made last year at the Opéra Comique in Paris. Pauline Bayle’s production though is very different from the very HIP Liceu version.
Jean-Joseph Cassanéa de Mondonville’s Titon et l’Aurore is another member of that rather long list of operas that were well received in their day and then totally disappeared from the rep. It’s interesting as an example of what was happening on the French opera stage between the retirement of Rameau and the revolution (it premiered in 1753) and because it played an important role in the “querelle des bouffons”.
Malmö might not seem the most obvious place to record Debussy’s Pelléas et Mélisande but in 2016 the opera there assembled a mostly French cast and two young French rising stars; Maxime Pascal as conductor and Benjamin Lazar as director. The result is interesting, rather good and very French.
The influence of the myth that Purcell’s Dido and Aeneas was written for a girls’ school seems to have had a long lasting influence on performance practice resulting in presentations that are very short and uncomplicated. In reexamining the work for the Opéra de Rouen Haute-Normandie, Vincent Dumestre of Le Poème Harmonique and stage directors Cécile Roussat and Julien Lubek come to different conclusions and, accordingly, present the work quite differently. They argue that the work was written for the court of Charles II though quite possibly never performed there owing to the death of the king and the turmoil that followed. They further argue that existing score fragments show numerous places where dance movements should be inserted and that this indicates something akin to Lully’s tragédies lyriques, especially as Lully was much in vogue in London at the time.
operaramblings 