This "fête Baroque" occurred in December 2011 at the Théâtre des Champs
Elysées in Paris, marking the tenth anniversary of the ensemble Le Concert d'Astrée under founder and conductor Emmanuelle Haïm. The concert was a benefit for a French cancer research facility, and it attracted a galaxy of guest stars. Le Concert d'Astrée is one of the very best Baroque vocal ensembles, and this release never descends to a low common denominator. Haïm's
trademark expressive phrasing is everywhere in evidence, but the
biggest attraction is the selection of singers, with several figures
from the mainstream showing up alongside established Baroque
specialists. You might not think that tenor Rolando Villazón has quite the right voice for an aria from Handel's
Tamerlano, HWV 18, but he's clearly wrestling with the problem, and he
gets an appreciative roar from the Parisian crowd (who are given full
voice on the recording). Right after that comes a delicious duet from
mainstreamer Anne Sofie von Otter and countertenor Philippe Jaroussky in the Cornelia-Sesto duet from the second act of Handel's Giulio Cesare in Egitto, HWV 17, a pure feast of sensuous singing. Established Baroque vocalists like Natalie Dessay and Sara Mingardo
are on hand, as well as a few up-and-comers who seized the chance to
put their names and voices in front of a well-heeled crowd. Rather than
try to cover the entire range of Baroque opera, Haïm wisely chooses to focus on three composers: Rameau, Lully, and Handel,
whose vocal riches occupy the entire second CD. The sound picks up
unadulterated audience noise, but nothing interferes with the
spontaneity the musicians bring to the event. (James Manheim)This "fête Baroque" occurred in December 2011 at the Théâtre des Champs
Elysées in Paris, marking the tenth anniversary of the ensemble Le Concert d'Astrée under founder and conductor Emmanuelle Haïm. The concert was a benefit for a French cancer research facility, and it attracted a galaxy of guest stars. Le Concert d'Astrée is one of the very best Baroque vocal ensembles, and this release never descends to a low common denominator. Haïm's
trademark expressive phrasing is everywhere in evidence, but the
biggest attraction is the selection of singers, with several figures
from the mainstream showing up alongside established Baroque
specialists. You might not think that tenor Rolando Villazón has quite the right voice for an aria from Handel's
Tamerlano, HWV 18, but he's clearly wrestling with the problem, and he
gets an appreciative roar from the Parisian crowd (who are given full
voice on the recording). Right after that comes a delicious duet from
mainstreamer Anne Sofie von Otter and countertenor Philippe Jaroussky in the Cornelia-Sesto duet from the second act of Handel's Giulio Cesare in Egitto, HWV 17, a pure feast of sensuous singing. Established Baroque vocalists like Natalie Dessay and Sara Mingardo
are on hand, as well as a few up-and-comers who seized the chance to
put their names and voices in front of a well-heeled crowd. Rather than
try to cover the entire range of Baroque opera, Haïm wisely chooses to focus on three composers: Rameau, Lully, and Handel,
whose vocal riches occupy the entire second CD. The sound picks up
unadulterated audience noise, but nothing interferes with the
spontaneity the musicians bring to the event. (James Manheim)
Comentarios
Publicar un comentario