Search - Jean-Philippe Rameau, Jeffrey Skidmore, Ex Cathedra Chamber Choir and Baroque Orchestra :: Rameau: Règne Amour - Love Songs from the Operas

Sparkling Rarities

Charles Richards | Los Angeles, CA | 07/06/2004

(5 out of 5 stars)

"The concept of a collection of French baroque arias used to be completely unheard of. Although different in structure from the Italian type (usually shorter, with no da capos) they are just as charming, but rarely heard. Then in 2002, Virgin Classics released a magnificent recital by Patricia Petibon (simply called "French Baroque Arias") and broke this long silence. Now Hyperion has given us this wonderful gift of a recital, capturing in some seventy minutes' time the best tunes of the master of French baroque opera, Jean-Philippe Rameau.
Admittedly, the collection is somewhat one-side:none of Rameau's dramatic monologues are included; the recital consists mostly of the dance tunes and arriettes that are found in the selected operas' divertissements, and, thusly, not part of the main, dramatic action. But it is in these arias where Rameau shows his true genius for infectious melody, and, collected together, they make for much pleasurable listening.
Most of the first part of the programme is extracted from "Les Indes Galantes", which is a masterpiece of the sub-genre known as "Opera Ballet". The majority of the selections are derived from the divertissement from the first "entree" - "The Benevolant Turk" (an "opera ballet" generally consisted of 3-4 "entrees", each a self-contained one act opera; each "entree" had its own title, characters, and plot, but all the entrees were connected as far as theme). Along with the standard dance-tunes like the buoyant "Partez", are less stereotyped numbers such as the scene in which Emilie first encounters the stranded ship coming to shore (upon which is her long-lost lover), and the odd "air Italianne" - "Fra le Pupille", Rameau's only known Italian setting.
The recital also contains extracts from other famous Rameau operas, such as "Hyppolite et Aricie", "Dardanus" and "Zoroastre", and one startlingly beautiful number from the undervalued "Les Paladins", an opera which deserves to be represented in the catalog (Marc Minkowsky, are you listening?).
Carolyn Sampson is all shimmering delight, especially in the lighter extracts. Her voice is perfectly suited to the repertoire, and while, perhaps, not as idiomatically French as Petibon's, it is a bit more rich and sonorous. However, she does lack Petibon's sense of playfulness with the repertoire: while Folie's arias from "Platee" are beautifully sung, Sampson fails to make anything of the humour found within them, as Petibon clearly does in her recital. But, that said, it is enough that the sound is ravishing.
Jeffrey Skidmore and "Ex Cathedra" back her up well. The trilling of the flutes in Hebe's aria from "Les Indes Galantes" couldn't sound more bird-like!
All-in-all I was enchanted by this collection, and could not recommend it highly enough."

A beautiful addition to any baroque music-lover's collection

Ingrid Heyn | Melbourne, Australia | 03/02/2007

(4 out of 5 stars)

"The lovely voice of Carolyn Sampson is well suited to the truly gorgeous music of Rameau, of which a nice selection is included on this CD. The music itself poses no difficulty for Ms Sampson, and she negotiates the elegant lines and tuplet-endowed sections, along with the intrinsic embellishments of the arias, with ease.



There are many beautiful things in the CD, and for the sheer loveliness of the voice, what a pleasure it is to hear.



As the previous reviewer mentioned, there is a bit of cross-over between this and the delicious "Airs baroque français" by Patricia Petibon - and that is an album I strongly recommend in addition to this. I do personally prefer Petibon's recording, although this CD by Ms Sampson is also charming.



There are a number of reasons for that. Firstly, Petibon is French, and she sings (of course) in perfect French. Ms Sampson's French does not sound entirely French (however, most listeners won't be worried by this). Secondly, Patricia Petibon's understanding of the language also enables her to paint the words and music to convey meaning to an extent that is not equalled by Carolyn Sampson. Again, this won't matter a great deal to most listeners who will primarily be ravished by the lovely sounds of Carolyn Sampson's singing. Thirdly, it's true that there are quite a few purely instrumental pieces on this recording. Not that I particularly object... I love both Rameau's vocal music and his instrumental music, but in general when one purchases a vocal recital album, that's what one wants - a vocal recital.



The differences between the two singers' approach is exemplified mostly in the arias which are sung by each - that is, Rameau's "Soleil, fois de ces lieux !" and "Formons les plus brillants concerts... Aux langeurs d'Apollon". There is more "coeur" in Petibon's singing, but Ms Sampson offers her own attractions in her singing, of course. It's the lovely clarity of her voice that will appeal - it's a light and well-focused soprano timbre with considerable agility and a beautiful evenness throughout the range.



I enjoyed this album very much, and Carolyn Sampson's fresh and shining voice is extremely attractive to listen to. I have listened with pleasure to almost everything this very gifted singer has recorded, and she is certainly a singer whose recordings are worth collecting.



Recommended."

Excellent introduction to Rameau

E. Weed | Houston, TX | 01/09/2006

(5 out of 5 stars)

"I just want to add a few comments on this disc, which has already been very well reviewed: I've enjoyed some of Rameau's keyboard music, but can't say I've been thoroughly captured by his operas. This disc proved to be an excellent exploration of Rameau's vocal music, and I highly recommend it. Carolyn Sampson has a light, fresh voice with great appeal. The selections include pieces from several of the lesser-known operas that are real gems, along with more well-known items (within the Rameau orbit, which is arguably underappreciated). The accompaniment, by Jeffrey Skidmore and Ex Cathedra, is superb--delicate when required, or bustling along, but never intrusive, and lacking that "Original Instruments" edginess that some of us find irritating at times. The sound is typical Hyperion--first rate, if slightly recessed.



If you have any interest in this repertoire, but haven't found the right place to dive in, this ought to do the job."