sábado, 24 de febrero de 2018

Ensemble Correspondances / Sébastien Daucé MARC-ANTOINE CHARPENTIER La Descente d’Orphée aux Enfers

Marc-Antoine Charpentier (1643-1704) dedicated himself principally to composing sacred music for a pious duchess and a Jesuit chapel. Those works often smolder with inner embers, making him the musical equivalent of the French Caravaggist painter Georges de la Tour. His only full-scale opera was a flop (“too learned,” said the critics), but he also composed several short operas for the duchess’s entertainments. The most intriguing, La Descente d’Orphée aux Enfers (The Descent of Orpheus into Hell), has been recorded several times before, but never as convincingly as in this luminous performance by Ensemble Correspondances (directed from the organ by Sébastien Daucé), in which historical scholarship deepens engaged musical instincts.
Top-drawer early-music chamber singers lead the cast, including the American light tenor Robert Getchell, affecting as grief-stricken Orphée, and the French bass Nicolas Brooymans, as malleable Pluton. The choral and instrumental work is exemplary, everywhere subtle in phrasing and fluid in embellishment; the nymphs and shepherds lamenting Eurydice’s death prove heartrending in the restrained articulation of their dissonances. This emotionally wrenching piece ends enigmatically, with Orpheus recovering Eurydice but just setting out on his journey with her back to the land of the living — a trip we know will be bumpy — while the Shades dance a ghostly goodbye. (

No hay comentarios:

Publicar un comentario