classical music:

	• Rameau - Hippolyte et Aricie / Padmore, Panzarella, Hunt, Naouri, E. James, Petibon, Mechaly, Delunsch, Les ... Jean-Philippe Rameau, William Christie, ... Erato / Warner Music, 1997 average customer review:based on 7 reviews view larger image
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highly recommended

Bill Christie isn't the only show in town for this type of music, but he's a hard act to beat.


Rameau served well by William Christie and Les Arts Florissants

For audiences who languish through the long hours in small opera houses around the world for productions of the works by Jean-Philippe Rameau ten this recording of HIPPOLYTE ET ARICIE is sure to delight. William Christie and his orchestra and chorus who go by the collective name of Les Arts Florissants do wonders with works of this sort (the audiences who have witnessed his wondrous reading of The Messiah can attest to this) and this recording is one of his loveliest.

The playing and singing of the ensemble is light and air-borne and Christie has assembled a splendid cast who breathe life into this rather redundant mythological tale. Tenor Mark Padmore and mezzo-soprano Lorraine Hunt (now Lorraine Hunt Lieberson) are especially outstanding but there really isn't an insecure voice in this cast. The singing is in the style of Rameau's period - graceful, fluid, well embellished, and artsy! In every way this performance is a period piece and as such it is probably as fine as a performance of the opera as we're likely to hear.

For lovers of baroque music this elegant and wistfully executed performance of Rameau, France's greatest baroque composer, is a must. Highly recommended. Grady Harp, June 05

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Kindly Diana and Bitter Tisiphone

An interesting way to compare these mythological operas is to notice how personally involved certain gods and goddesses become. First place goes to Cybele of Lully's Atys. She enters a love triangle with mortals and loses out. Second place belongs to Diana of the present opera. The heroine Aricie has taken refuge at Diana's temple and confesses to the goddess that she cannot become a full-fledged priestess because her love for Hippolyte keeps her from taking the necessary vow of chastity. The chief evil party in the plot is Hippolyte's stepmother Phaedra, who falls in "love" with her stepson and offends Diana when she threatens to burn down her temple in order to persecute her rival Aricie. Diana descends like Cybele and becomes both an enemy to Phaedra and a warm ally to the two lovers by declaring that she thinks as highly of faithful married love as she does of celibacy.

Aside from this rather Christianized Diana, a particularly colorful part of the opera occurs when Hippolyte's father Theseus-- one of the three great heroes of Greece together with Hercules and Perseus-- descends into the underworld to rescue a friend. The hero encounters both the Fury Tisiphone and Hades-Pluto, god of the underworld. Both these sinister beings delivers their lines in a state of graceless, contemptuous anger. Tisiphone adds a sneering cynicism well rendered by the tenor Francois Piolino. The Fury reminds me of a fellow who has recently appeared on television cable news blaming us Christians (persons who believe that Jesus is a living man) for alienating the atheist ruling class of Europe. I find Theseus' handling of Tisiphone altogether too humble. We should improve on the opera and debate Tisiphone in more candid terms. While I challenge the Fury to offer his proofs that Jesus is a dead man, others willing to undertake the task can take up other aspects of the debate. Lessons in rhetoric can be learned from opera.

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This is the one to have

As you know, there are two historically informed recordings of Hippolyte: the Minkowski and the Christie. There is also an older recording (not a period performance) with Janet Baker and John Shirley-Quirk, but that one's been out of print for years. I also have a CD in which the great Placido Domingo bellows Ah! Faut-il, but I will spare you my complaints about how "inauthentic" it sounds. For a genuinely authentic Hippolyte, listen to this recording. As far as the role of Hippolyte goes, it is difficult to choose between the Minkowski and the Christie. I'm a big fan of both Jean-Paul Fouchecourt's and Mark Padmore's, although, having listened to them in numerous other recordings, I must say that as Hippolyte neither turns in the performance of his career. However, both are splendid stage actors (speaking from a firsthand experience), so if you notice an occasional vocal flaw in the relatively disembodied atmosphere of a studio recording, I guarantee you, you wouldn't notice it if you were watching these singers live. Tenors aside, I prefer the Christie. He chooses the first, the original, version of Hippolyte, while Minkowski opts for the second remake. The difference is the most evident in the stunning second act - the descent of Tesee into the underworld. Les Arts Florissants as an ensemble, headed by a haute-contre Tisiphone, are much more expressive in this scene, than the Minkowski group. Christie really knows how to make these underworld scenes unfogettable: witness his skill in the invocation of evil spirits in Medee or his poignant rendition of Charpentier's La Descente d'Orphee aux Enfers. Laurent Naouri as Tesee is incomparable in Puisque Pluton, aided by Christie's imaginative split-second pauses in the flow of the aria. Then there is Lorraine Hunt. The divine Lorraine Hunt, whose luscious and tart voice is so conducive to the expression of love and anquish that permeate both Rameau's Hippolyte and Charpentier's Medee (another of her signature roles). Minkowski's Phedre is great in all respects, but Lorraine Hunt is in the league of her own. Christie's Hippolyte won Gramophone Best Early Opera Award in 1997 and the Cannes Classical Award in 1998. Minkowski's Hippolyte was also recognized: it won a Gramophone award nomination. You owe it to yourself to buy one of these recordings - or both!

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I am not a lover of 19th century opera so it was a joy to find productions where the instruments are so clear the singing so lacking is fake emotion and ponderousness.

I want to thank all the great men and women who are bringing this music back to light and I feel lucky that I live now in the age of CDs and can simply slip a magnificent work into my player when I desire and sample another world

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Tracks
Hippolyte et Aricie, trag?die lyrique: Prologue. Ouverture | Hippolyte et Aricie, trag?die lyrique: Prologue. Scene 1.: 'Accourez, Habitants Des Bois' | Hippolyte et Aricie, trag?die lyrique: Prologue. Scene 1.: Entr?e Des Habitants De La For?t | Hippolyte et Aricie, trag?die lyrique: Prologue. Scene 1.: 'Sur Ces Bonds Fortun?s Je Fais R?gner La Paix' | Hippolyte et Aricie, trag?die lyrique: Prologue. Scene 2.: 'Au Doux Penchant Qui Les Entra?ne' | Hippolyte et Aricie, trag?die lyrique: Prologue. Scene 3.: 'Diane, J'?tais Pr?t ? D?fendre Tes Droits' | Hippolyte et Aricie, trag?die lyrique: Prologue. Scene 4.: 'Nymphes, Aux Lois Du Sort Il Faut Que J'Ob?isse' | Hippolyte et Aricie, trag?die lyrique: Prologue. Scene 5.: 'Peuples, Diane, Enfin, Vous Livre ? Ma Puissance' | Hippolyte et Aricie, trag?die lyrique: Prologue. Scene 5.: 'Plaisirs, Doux Vainquers' | Hippolyte et Aricie, trag?die lyrique: Prologue. Scene 5.: 'A L'Amour Rendez Les Armes'/ 'La Tranquille Indiff?rence' | Hippolyte et Aricie, trag?die lyrique: Prologue. Scene 5.: 'Par De Nouveaux Plaisirs' | Hippolyte et Aricie, trag?die lyrique: Act 1. Scene 1.: 'Temple Sacr?' | Hippolyte et Aricie, trag?die lyrique: Act 1. Scene 2.: 'Princesse, Quels Appr?ts Me Frappent Dans Ce Temple?' | Hippolyte et Aricie, trag?die lyrique: Act 1. Scene 3.: 'Dans Ce Paisible S?jour' | Hippolyte et Aricie, trag?die lyrique: Act 1. Scene 3.: 'Dieu D'Amour, Pour Nos Asiles' | Hippolyte et Aricie, trag?die lyrique: Act 1. Scene 3.: 'Rendons Un ?ternel Hommage: | Hippolyte et Aricie, trag?die lyrique: Act 1. Scene 4.: 'Princesse, Ce Grand Jour' | Hippolyte et Aricie, trag?die lyrique: Act 1. Scene 4.: 'Dieux Vengeurs' | Hippolyte et Aricie, trag?die lyrique: Act 1. Scene 5.: 'Ne Vous Alarmez Pas D'Un Projet T?m?raire' | Hippolyte et Aricie, trag?die lyrique: Act 1. Scene 6.: 'Quoi! La Terre Et Le Ciel Contre Moi Sont Arm?s!' | Hippolyte et Aricie, trag?die lyrique: Act 1. Scene 7.: '? Malheur!' | Hippolyte et Aricie, trag?die lyrique: Act 1. Scene 8.: 'Mes Yeux Commencent D'Entrevoir' | Hippolyte et Aricie, trag?die lyrique: Act 2. Scene 1.: 'Laisse-Moi Respirer' | Hippolyte et Aricie, trag?die lyrique: Act 2. Scene 2.: 'Inexorable Roi' | Hippolyte et Aricie, trag?die lyrique: Act 2. Scene 3.: 'Qu'? Servir Mon Courroux' | Hippolyte et Aricie, trag?die lyrique: Act 2. Scene 3.: 'Pluton Commande' | Hippolyte et Aricie, trag?die lyrique: Act 2. Scene 4.: 'Dieux! Que D'Infortun?s G?missent Dans Ces Lieux!' | Hippolyte et Aricie, trag?die lyrique: Act 2. Scene 4.: 'Du Destin Le Vouloir Supr?me' | Hippolyte et Aricie, trag?die lyrique: Act 2. Scene 4.: 'Ah! Qu'on Daigne Du Moins' | Hippolyte et Aricie, trag?die lyrique: Act 2. Scene 4.: 'Non, Neptune Aurait Beau T'Entendre' | Hippolyte et Aricie, trag?die lyrique: Act 2. Scene 5.: 'Non, Neptune Vous Demande Gr?ce' | Hippolyte et Aricie, trag?die lyrique: Act 2. Scene 5.: 'Vous, Qui De L'Avenir Percez La Nuit Profonde' | Hippolyte et Aricie, trag?die lyrique: Act 3. Scene 1.: 'Cruelle M?re Des Amours' | Hippolyte et Aricie, trag?die lyrique: Act 3. Scene 2.: 'Eh Bien!' | Hippolyte et Aricie, trag?die lyrique: Act 3. Scene 3.: 'Reine, Sans L'Ordre Expr?s' | Hippolyte et Aricie, trag?die lyrique: Act 3. Scene 3.: 'Ma Fureur Va Tout Entreprendre' | Hippolyte et Aricie, trag?die lyrique: Act 3. Scene 4.: 'Que Vois-Je?' | Hippolyte et Aricie, trag?die lyrique: Act 3. Scene 5.: 'Sur Qui Doit Tomber Ma Col?re?' | Hippolyte et Aricie, trag?die lyrique: Act 3. Scene 7.: 'De Mon Heureux Retour' | Hippolyte et Aricie, trag?die lyrique: Act 3. Scene 8.: 'Que Ce Rivage Retentisse' | Hippolyte et Aricie, trag?die lyrique: Act 3. Scene 8.: Premier Et Deuxi?me Air Des Matelots | Hippolyte et Aricie, trag?die lyrique: Act 3. Scene 8.: 'L'Amour, Comme Neptune' | Hippolyte et Aricie, trag?die lyrique: Act 3. Scene 9.: 'Quels Biens!' | Hippolyte et Aricie, trag?die lyrique: Act 4. Scene 1.: 'Ah!, Faut-il, En Ce Jour, Perdre Tout Ce Que J'aime!' | Hippolyte et Aricie, trag?die lyrique: Act 4. Scene 2.: 'C'en Est Donc Fait' | Hippolyte et Aricie, trag?die lyrique: Act 4. Scene 2.: 'Nous Allons Nous Jurer Une Immortelle Foi' | Hippolyte et Aricie, trag?die lyrique: Act 4. Scene 3.: 'Faisons Partout Voler Nos Traits' | Hippolyte et Aricie, trag?die lyrique: Act 4. Scene 3.: 'Amants, Quelle Est Votre Faiblesse' | Hippolyte et Aricie, trag?die lyrique: Act 4. Scene 3.: 'A La Chasse' | Hippolyte et Aricie, trag?die lyrique: Act 4. Scene 3.: Premier Et Deuxi?me Menuets | Hippolyte et Aricie, trag?die lyrique: Act 4. Scene 3.: 'Quel Bruit! Quels Vents!' | Hippolyte et Aricie, trag?die lyrique: Act 4. Scene 4.: 'Quelle Plainte En Ces Lieux M'Appelle?' | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene 1.: 'Grands Dieux! De Quels Remords Je me Sens D?chir?' | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene 2.: 'Arr?te! ' | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene 2.: 'Je Ne Te Verrais Plus' | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene 3.: 'O? Suis-Je?' | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene 4.: 'Descendez, Brillante Immortelle' | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene 6.: 'O Trop Heureux Bergers!' | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene 7.: 'O? Suis-Je Transport??' | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene Finale.: 'Chantons Sur La Musette' | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene Finale.: 'Bergers, Vous Allez Voir Combien Je Suis Fid?le'/ 'Que Tout Applaudisse | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene Finale.: Chaconne | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene Finale.: 'Rossignols Amoureux' | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene Finale.: Premi?re Et Deuxi?me Gavottes | Hippolyte et Aricie, trag?die lyrique: Act 5. Scene Finale.: 'D?esse, Mon Bonheur Passe Mon Esp?rance'/ 'Que Tout Soit Heureux'

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florissants

	Monteverdi - Il Ritorno d'Ulisse in Patria / William Christie, Les ... Danielle de Niese - Handel Arias Charpentier - Médée / Hunt, Padmore, Deletre, Zanetti, Salzmann, Les ... Monteverdi - Vespro della Beata Vergine / Marin-Degor, Wieczorek, ... Purcell - King Arthur / Gens, McFadden, Piau, S. Waters, J. Best, ...

panzarella

	Massenet - Manon / Gheorghiu, Alagna, Patriarco, van Dam, Ragon, ... Handel - Arcadian Duets / Dessay, Gens, Petibon, Claycomb, Lascarro, ... Rameau: Castor Et Pollux / De Nederlandse Opera Rameau - Zoroastre / Padmore · Berg · Mechaly · Panzarella · Lecroart ... Rameau - Zoroastre

hippolyte

	Rameau - Overtures / Christophe Rousset, Les talens lyriques Berlioz - Les Troyens / Graham, Antonacci, Kunde, Tezier, Naouri, ... RCA Red Seal Century: The Vocalists Alma Gluck Rameau - Une Symphonie imaginaire