French Baroque Virtuoso Arias Import
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|1. Air de Clarine: Soleil, fuis de ces lieux (Act 1 Scène 6)|
|2. Ariette de l'Égyptienne: Amour, lance tes traits|
|3. Ariette de l'Égyptienne: L'amant que j'adore allait former de nouveaux noeuds|
|4. Entrée des Égyptiens|
|5. Ariette de l'Amour: Volez Plaisirs, célébrez ce beau jour|
|6. Air de la Folie: Formons les plus brillants ... Aux langueurs d'Apollon Daphne se refusa (Act 2 Scène 5)|
|7. Jonathas: A-t-on jamais souffert une plus rude peine? (Act 4 Scène 3)|
|8. Prélude ... Armide: Enfin, il est en ma puissance (Act 2 Scène 5)|
|9. Armide: Le perfide Renaud me fuit (Act 5 Scène)|
|10. Air de Phani: Viens, Hymen|
|11. Air de Zima: Régnez, plaisirs et jeux|
|13. Rien du Tout pour soprano, symphonie et basse continue|
This program of scenes and arias by Rameau, Charpentier, Lully, and Grandval is well designed to display Patricia Petibon's consummate vocal technique and historically informed artistry. Her florid coloratura, going up to high D- and E-flat (in the low period-instrument tuning) is clearly articulated and perfectly in tune. She can change color, nuance, and expression on a single note, and her mastery of the style is complete. She captures the seriousness as well as the humor in Rameau's two cantatas, the sorrow of Jonathan's lamentation in Charpentier's "David and Jonathan," the vacillation between reluctant attraction and furious vengeance in Lully's dramatic scene "Armide," and the rollicking fun in the final tour-de-force, Grandval's "Rien du tout"--a wicked parody of all singers and singing styles.
The voice itself takes some getting used to. In keeping with period practice, it is mostly lacking vibrato and so cool and bright as to seem shrill and strident. In the Lully, however, it becomes warmer, darker, and truly expressive. A large group of strings, winds, and percussion supports her splendidly, sometimes with only one or two instruments, sometimes with full orchestral effects that set the stage and underline mood and atmosphere. The musicians come into their own in the numerous instrumental sections, which are played with great verve, rhythmic incisiveness, character, and a wonderful sound. --Edith Eisler
Top Customer Reviews
As a fellow soprano specialising both in early music and other later classical vocal styles, I am extremely fastidious in my likes and dislikes when it comes to singers. When, therefore, I find a singer whose voice, intelligence and musicality produce ravishing quality like this, I am in alt...
In contrast to some of the comments here, I do not find Ms Petibon's voice shrill or white (except when she uses it so deliberately in order to create a particular emotional or stylistic effect). On the contrary, it is of a crystalline purity which she is able to tinge with warmer colours when necessary. I was hugely impressed by this recording, a worthy follow-up to the unbelievably beautiful recording of the Couperin Leçons de tènèbres which was sung by Petibon and Sophie Daneman.
What a sense of fun Patricia Petibon has! It's marvellous to hear baroque music performed with such stylish humour and grace, instead of the tediously uninterpreted choir-boy style which is considered by some to be the "correct" way of singing this type of aria. I listened with particular closeness to the arias from "Armide", which I had just performed myself - and was enchanted by Petibon's singing of them. Even though her voice is light in colour, she is perfectly adept at conveying vengeful hatred, despairing love, and a right royal snarling bad humour!
The accompanying instruments are taut, graceful, and beautifully recorded. The result is a treat to hear.
This CD is most highly recommended by me - and believe me, sopranos are tough critics of each other...!
The Baroque orchestra that accompanies her is new to me and they play with great verve.
What is so wonderful about this disc is that it is a genuine first - it is, as far as I know, the only disc in existence devoted the arias of Rameau, Lully, Charpentier and Grandval from a single singer. Bored with predictable collections of Opera Seria arias? Fed up with all the collections of the same Handel arias made by various sopranos, mezzos, countertenors, et cetera? Wondering what, exactly, the French were doing while the rest of Europe was worshipping castrati?
Well, look no further! You have it all here on this one marvelous CD! Here new 'French Touch' CD (on DECCA) shouldn't be missed either!
Long live Patricia Petibon!
To begin with, Petibon's voice is beautiful. As the other reviewer(s) put it, it is a cool, vibrato-less voice that might SEEM shrill, but her voice is never unpleasant. In fast or slow pieces, she is always a pleasure to listen to. Besides the sheer beauty of timbre of her voice, her musicanship is incredible: her interpretations are always appropriate, coloring the piece with humor, excitment, sex appeal (especially the Armida piece), anger, you-name-it. Technically she is very impressive, and handles the disc's runs, cascades, top-notes, etc. very well. (This disc is by no means a firweworks display though).
The orchestra plays with the same degree of musicianship, technicality and beauty. In some of the Rameaus pieces (especially the march), the instrumental textures really show off the great harmonies and voicings that Rameau is famous for; this disc is a great introduction to the composer's music, I wish she recorded Rameau more often.
Finally, the music itself is unique, interesting and entertaining all at the same time. The 2 two excerpts from Lully are not conventional arias, but they display how well the composer was able to blend drama into music. His music is both at the same time, and it soudns cliched but you have to hear it to treally understand it.Read more ›
Most recent customer reviews
Patricia Petibon's performance on this recording seems wholly appropriate for the Baroque era repertoire she is singing. Read morePublished on April 23 2003 by R. Duren
This is one of the most amazing vocal recordings I have heard in years.Published on Oct. 15 2002 by Stewart A. McIntire