The latest in Hervé Niquet's 'reinvigorations' of French operatic music
from the Baroque and beyond for Glossa is Rameau’s 1747 'Les Fêtes de
l’Hymen et de l’Amour'. A ballet heroïque in a prologue and three
entrées, the whole work was designed to comprise a complete theatrical
spectacle. Music for dancing – as befits a ballet – is given a prominent
role and Rameau is able to create especially expressive symphonies and
to give the choruses – even a double-chorus – an integral role in the
action. Added to this are supernatural effects, and plots for the
entrées which explored the then uncommon world of Egyptian mythology
(including a musical depiction of the flooding of the River Nile). In
his vocal music Rameau deftly switches between Italianate style and the
French mode, current in the mid-18th century, allowing the distinguished
team of vocal soloists to demonstrate their accomplished talents.
Overseen by the Centre de musique baroque de Versailles, and with
booklet notes from Thomas Soury, this new recording is an important addition to the Rameau catalogue – the more so in the 250th anniversary
year of the composer’s death. It brings to life one of Rameau’s finer,
if underrated, compositions, and a dramatic work written on the cusp of
important reforms in opera. (Presto Classical)
Jean-Philippe Rameau originally conceived Les Fêtes de l'Hymen et de l'Amour as a ballet héroïque on the subject of the Egyptian gods. Pragmatically, he later adapted it to celebrate the royal marriage of Louis, Dauphin of France to Maria Josepha of Saxony. This 2014 Glossa release marks the 250th anniversary of Rameau's death, though the music is far from gloomy. Le Concert Spirituel, under the direction of Hervé Niquet, performs the ballet in delightful Baroque style, with rhythmic precision, scintillating ornamentation, and fresh sonorities, and the re-creation of Rameau's score has all the elegance and panache one would expect of a courtly entertainment. The vocal writing is quite florid and fanciful, but the French cast is a joy to hear, even though the mythological libretto is quite stilted and almost nonsensical by modern standards. Recorded in Versailles, the sound is extraordinarily clear, vibrant, and detailed, so audiophiles are in for a treat, even though the format is standard CD. Highly recommended for fans of Baroque theater works. (Blair Sanderson)
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