Lully Phaéton Christophe Rousset
- Jean-Baptiste Lully (1632-1687): Prologue
- 2Cherchons la paix dans cet asile01:48
- 3Ritournelle - Dans cette paisible retraite02:28
- 4Menuet - Dans ces lieux tout rit sans cesse01:29
- 5Prélude - Que les mortels se réjouissent02:28
- 6Un héros qui mérite la gloire immortelle02:30
- 7Suivons ce héros, suivez-nous00:50
- 8Jeux innocents, rassemblez-vous00:59
- 9Air pour les suivants de Saturne01:14
- 10Bourée - Plaisirs venez sans crainte01:49
- 11On a vu ce héros terrible dans la guerre02:18
- Acte I
- 13Heureuse une âme indifférente02:25
- 14Je ne vous croyais pas dans un lieu solitaire06:21
- 15Vous passez sans me voir05:09
- 16Vous paraissez chagrin, mon fils05:17
- 17Heureux qui peut voir du rivage04:08
- 18Vous, avec qui le sang me lie00:50
- 19Air - Que Protée nous partage, rondeau04:08
- 20C'est un secret qu'il faut qu'on vous arrache02:17
- 21Le sort de Phaéton se découvre à mes yeux, Entracte03:21
- Acte II
- 22Protée en a trop dit, je frémis du danger04:15
- 23Ritournelle Il me fuit l'inconstant ! Il m'ôte tout espoir04:19
- 24Ritournelle - Que l'incertitude est un rigoureux tourment03:22
- 25Quel malheur06:36
- 26Prélude - Rois, qui pour souverain devez me reconnaître03:14
- 28Petit air pour les mêmes00:25
- Acte III
- 29Ritournelle - Ah ! Phaéton est-il possible06:18
- 30Suivez-la, ma présence irrite ses douleurs01:44
- 31Songez-vous qu'Isis est ma mère04:30
- 34O vous, pour qui l'amour des plus beaux noeuds de son monde03:27
- 35Vous qui servez Isis, avez-vous la faiblesse00:54
- 36Entrée des Furies01:01
- 37Le Ciel trouble votre bonheur02:49
- 38Prélude - Ce dieu semble approuvez le serment que je fais01:20
- Acte IV
- 39Ritournelle - Sans le dieu qui nous éclaire06:43
- 40Premier air01:54
- 41Second air - Dans ce palais03:43
- 42Approchez Phaéton, que rien ne vous étonne02:26
- 43C'est toi que j'en atteste05:05
- 44Allez répandre la lumière, Entracte02:22
- Acte V
- 45Assemblez-vous, habitants de ces lieux01:29
- 46Dieu qui vous déclarez mon père01:44
- 47O rigoureux martyre04:43
- 48Que l'on chante, que tout réponde01:29
- 49Bourée pour les Egyptiens, Premier air01:31
- 50Second air - Ce beau jour me permet qu'à l'aurore02:46
- 51Changez ces doux concerts en des plaintes funèbres01:08
- 52Dieux ! Quel feu vient partout s'étendre!00:39
- 53C'est à votre secours que j'implore01:34
- 54O dieu qui lancez le tonnerre00:49
- 55Au bien de l'univers ta perte est nésessaire01:58
Info for Lully Phaéton
Founded in 1991 by Christophe Rousset, Les Talens Lyriques are now internationally recognised for their excellence in the Baroque repertoire and their latest recordings in the genre, for Aparté, have earned them international acclaim. After the huge success of 'Bellérophon', they now present Lully's 'Phaéton', recorded at the Salle Pleyel in Paris in October 2012. The critics commented on the admirable clarity and precision of the performance, the perfection of the choruses, sung with veracity by the Namur Chamber Choir, and an ideal cast. 'Phaéton' was the eighth tragédie lyrique to emerge from the successful collaboration between Jean-Baptiste Lully and his faithful librettist, Philippe Quinault, and it is one of their most remarkable creations. First performed in 1683, it proved so popular that it was referred to as the opéra du peuple . As Christophe Rousset puts it, 'Its airs were whistled at Versailles and on the bridges of Paris.' In keeping with the tastes of the time, the work is laden with allegory. Phaéton describes a young man s temerity in wishing to drive the chariot of the sun god, his father, and his subsequent downfall. It presents a moral lesson and also served the image of the king: Jupiter brings to an end the chaos that prevails in the world, just as Louis XIV brought peace to Europe, while promising his people a Golden Age.
Louis XIV commissioned the Italian composer Jean-Baptiste Lully to establish French Opera as a foundation of artistic excellence at the Palace of Versailles. As the symbol and seat of a triumphant monarchy, Versailles was as much a political phenomenon as an artistic one. In a society where the outward show of the king was closely linked to the image of a God, all the arts were harnessed to project the glory of Louis XIV’s reign.
Amadis is one of Lully’s later operas, composed in 1683 and premiered the following year. The subject was chosen by Louis XIV himself, with a libretto by Philippe Quinault based on the popular medieval tale of Amadis de Gaula by Garci Rodríguez de Montalvo. It is the first Lully-Quinault opera to have a subject based on chivalric romance instead of on classical mythology.
The story centres around the titular hero Amadis - a knight who is desperate to regain the love of his beloved Oriane, who thinks he has been unfaithful to her. Meanwhile, the evil pair of Arcalaüs and his sister, the enchantress Arcabonne, want to destroy Amadis in revenge for him killing their brother. They entrap Oriane, as well as Amadis’ friend Florestan, and reel him in. But as Arcabonne gazes upon Amadis, she realises he is the unknown man whom she has secretly loved since he once saved her from certain death.
Since creating the soundtrack to the film Farinelli, “musical archaeologist” Rousset has continued his historical exploration of forgotten masterpieces from the French court of Louis XIV at the Palace of Versailles, championing works of Lully, Rameau and Charpentier. His trail-blazing re-discovery of lesser-known music by Salieri, Cimarosa, Martin y Soler, Pergolesi and Benda has encouraged a reassessment of the roles of Handel and Mozart’s contemporaries. It has also earned him the title of “music’s greatest mischief-maker” by the Guardian.
Amadis follows Rousset’s highly successful revivals of Lully’s operas Phaëton, Persée, Roland and Bellérophon - the latter receiving its world premiere concert performance in the 2010 Beaune festival and in the original Opera Royal in the Palace of Versailles the same year.
As demonstrated in his acclaimed concert performances and recordings of Roland, Persée and Bellérophon, Christophe Rousset has a special affinity with Lully and has done much to revive interest in and appreciation of this influential composer. With Les Talens Lyriques, Rousset has performed concerts in Versailles of some of the music composed specially for the court, which accompanied Louis XIV’s daily routine.
“Christophe Rousset drew a performance of incandescent drama in Lully’s Phaéton. Les Talens Lyriques played throughout with flawless idiomatic ease and beguiling rhytmic lift; this is their music and they know it.”
Cyril Auvity (Amadis)
Judith Van Wanroij (Oriane)
Edwin Crossley-Mercer (Arcalaüs)
Hasnaa Bennani (Corisande)
Bénédicte Tauran (Urgande)
Ingrid Perruche (Arcabonne)
Benoît Arnould (Florestan)
Les Talens Lyriques
Choeur de chambre de Namur
Christophe Rousset, conductor, director
the founder of the Les Talens Lyriques and an internationally renowned harpsichordist, is a musician and an orchestral conductor inspired by a passion for opera and the rediscovery of the European musical heritage.
After harpsichord studies at La Schola Cantorum in Paris with Huguette Dreyfus, followed by the Conservatoire Royal in The Hague with Bob van Asperen (winning, at the age of 22, the prestigious First Prize in the 7th Bruges Harpsichord Competition), and followed in turn by the creation of his own ensemble, Les Talens Lyriques, in 1991, Christophe Rousset has a perfect grasp of the richness and diversity of the Baroque, Classical and Preromantic repertoires.
After initially attracting attention for his extraordinary talent as a harpsichordist, he soon made his mark as a conductor, with invitations from around the world to perform with his ensemble (Opéra de Paris, De Nederlandse Opera, Théâtre des Champs-Élysées, Salle Pleyel, Opéra de Lausanne, Teatro Real, Theater an der Wien, Opéra Royal de Versailles, Théâtre Royal de la Monnaie, Barbican Centre, Carnegie Hall, Concertgebouw Amsterdam, the Aix-en-Provence and Beaune Festivals, to name but a few venues).
Alongside this, he has continued to pursue an active career as harpsichordist and chamber musician, performing and recording on the most beautiful period instruments. His complete performances of the works for harpsichord of F. Couperin, Rameau, d’Anglebert and Forqueray and various recordings of pieces by J. S. Bach (Partitas, Variations Goldberg, Concertos for harpsichord, English Suites, French Suites, Klavierbüchlein) are considered landmarks. His most recent recording of another musical monument by the German Cantor, the 2nd book of the Well-tempered Clavier (Aparté) – a recording made in the Château of Versailles on a Joannes Ruckers harpsichord (1628) – has been awarded a number of honours, including a “Choc” from Classica magazine and CD of the week from Britain’s Radio 3. The instruments of the Paris Museum of Music have also been entrusted to him for the recording of three CDs of music by Royer, Rameau and Froberger.
Teaching is also an aspect with major importance for Christophe Rousset, who conducts and organises master classes and academies for young people (Accademia Musicale Chigiana in Siena, CNSMDs Paris, Académie d’Ambronay, Orchestre Français des Jeunes Baroques, Jeune Orchestre Atlantique, Junge Deutsche Philharmonie, the Britten-Pears Orchestra) and he devotes himself with great energy, alongside the musicians of Les Talens Lyriques, to introducing young secondary school pupils in Paris and the surrounding region to the world of music.
Christophe also has a career as guest conductor (Liceu Barcelona, San Carlo Naples, La Scala Milan, Opéra Royal de Wallonie, Orquesta Nacional de España and the Hong Kong Philharmonic, Orchestre du Théâtre Royal de la Monnaie, among other orchestras) as well as the active pursuit of musical research, with the production of critical editions and the publication by Actes Sud of a study on Rameau in 2007.
Christophe Rousset has been awarded the French honours of Chevalier of the Légion d’honneur, Commandeur in the Ordre des Arts et des Lettres and Chevalier in the Ordre national du Mérite.
This album contains no booklet.