Rameau - Dardanus / Ainsley, Gens, Naouri, Delunsch, Courtis, Kozena, Les Musiciens du Louvre, Minkowski

Music : Rameau - Dardanus / Ainsley, Gens, Naouri, Delunsch, Courtis, Kozena, Les Musiciens du Louvre, Minkowski

Rameau - Dardanus / Ainsley, Gens, Naouri, Delunsch, Courtis, Kozena, Les Musiciens du Louvre, Minkowski

by: Mireille Delunsch



 : Rameau - Dardanus / Ainsley, Gens, Naouri, Delunsch, Courtis, Kozena, Les Musiciens du Louvre, Minkowski
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Binding: Audio CD
EAN: 0028946347621
Label: Archiv Produktion
Manufacturer: Archiv Produktion
Number Of Discs: 2
Publisher: Archiv Produktion
Release Date: 2000-05-09
Studio: Archiv Produktion



Editorial Review:

Amazon.comIf there was any composer who could fit music to the special effects called for by the conventions of the French baroque tragédie lyrique, it was Jean-Philippe Rameau (patron saint of the late bloomers, who composed his first operatic masterpiece, Hippolyte et Aricie, at age 50). In the lesser-known Dardanus, Rameau's librettist provided plenty of such opportunities. In fact, he curiously goes beyond the French Age of Reason penchant for Greek myth by inventing his own prehistory for the mythic hero Dardanus (eventual founder of Troy). The story of rival factions, divine interventions, and love triumphing over obstacles political and personal clearly inspired some of Rameau's most adventurous musical evocations (just one example might be the fascinating harmonic language he uses to depict a magician commanding an eclipse). It's this spirit of daring experiment that Rameau expert Marc Minkowski relishes throughout this magnificent, high-octane, deftly tailored account. He fires the authentic-instrument group Les Musiciens du Louvre into his customary whiplash speeds, which are just perfect for the air of martial excitement that prevails, while the many dance-centered numbers have a muscular grace. The result in general is some of his best work to date on disc, with a special emphasis on the through line of the score. The cast is spectacular--young in demeanor, passionate, and superbly fluent in the idiom. Consider the vocal acting of Véronique Gens as the conflicted heroine Iphise (in love with her father's enemy), with its rich emotional involvement; there's an exciting chemistry between her and the title hero John Mark Ainsley, who gently tapers his vibrato into a beautifully nuanced tenor--now forlorn and outcast, now assertively heroic. Less satisfying is Laurent Naouri's inconsistently projected lower range as the antihero Anténor. The chorus has been beautifully prepared. For this recording, Minkowski uses Rameau's original 1739 version, with some interpolations of especially compelling material from the slimmed-down 1744 revision. --Thomas May







Disc 1:
  1. Ouverture
  2. Prologue, Scene One: Air pour les Plaisirs (Gai et gracieux)
  3. Prologue, Scene One: Air pour les Plaisirs (Très vif)
  4. Prologue, Scene Two: Marche pour les différentes nations (Gai)
  5. Prologue, Scene Two: Air gracieux (Sans lenteur)
  6. Prologue, Scene Two: Menuet tendre en rondeau
  7. Prologue, Scene Two: Premier Tambourin/ Deuxième Tambourin (Reprise)
  8. Prologue, Scene Two: Reprise de l'Ouverture
  9. Act One, Scene Three: Entrée pour les Guerriers (Majestueux)
  10. Act One, Scene Three: Premier Rigaudon
  11. Act Two, Scene Three: Air (Grave)
  12. Act Two, Scene Three: Air (Vif)
  13. Act Two, Scene Five: Air: D'un penchant si fatal>>
  14. Act Two, Scene Five: Dieux! qu'exigez-vous de mon zèle?>>
  15. Act Two, Scene Six: Entracte: Bruit de guerre
Disc 2:
  1. Act Three, Scene Three: Air en rondeau (Gai)
  2. Act Three, Scene Three: Premier Menuet/Duo avec Chœur en rondeau: Paix favorable, paix adorable>>
  3. Act Three, Scene Three: Premier Tambourin/Deuxième Tambourin (Reprise)
  4. Act Four, Scene One: Ritournelle (Gracieusement et un peu gai)
  5. Act Four, Scene One: Malagé le dieu des mers>>
  6. Act Four, Scene Two: Sommeil (Rondeau tendre)
  7. Act Four, Scene Two: Air (Très vif)
  8. Act Four, Scene Two: Calme des sens
  9. Act Four, Scene Two: Gavotte vive
  10. Act Four, Scene Four: Prélude: Voici les tristes lieux>>
  11. Act Five, Scene Three: Duo: Des biens que Vénus nous dispense>>
  12. Act Five, Scene Three: Gigue (Vivement)
  13. Act Five, Scene Three: Chaconne








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Customer Reviews
Average Rating:  out of 5 stars

Rating: 5 out of 5 stars - Very Nice
This is a very nice live recording of one of Rameau's lesser-known operas. The story is fairly typical of French Baroque opera. Dardanus, son of Jupiter and Electra, has been waging war against the Kingdom of Phrygia, but has fallen in love with King Teucer's daughter, Iphise. Iphise secretly loves Dardanus too, but Teucer has promised her to his ally Antenor, who helps the Phrygians defeat Dardanus in battle. Dardanus is captured, but before Teucer can sacrifice him to the gods a sea monster appears and ravages the Phrygian coast. Antenor departs to battle the monster, but the gods intervene and release Dardanus from prison. Dardanus is transported to the sea coast, defeats the monster, and saves Antenor's life. Antenor, who does not recognise his rescuer, promises to grant Dardanus any favour within his power: you can probably guess the rest. Minkowski has chosen to perform the 1739 version with a couple of additions from the revised version of 1744, most notably Dardanus's Act IV prison air "Lieux funeste." This was a good choice, since "Lieux funeste" is one of the best parts of the performance. Other memorable moments include the Chorus of Dreams in Act IV, Scene 2 and the striking war dance in Act 1, Scene 3, "Mars, Bellone, guidez nos/leur coups." It's all good, however. The many choruses and dances, one of French Baroque opera's best features, are excellent, but the soloists shine as well. I was a little apprehensive about buying a live recording, but the sound quality is excellent. If you're a "Ramiste" like myself, you will definitely enjoy these discs.



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Ted Shelton: "Frankly I felt that BlogOn was a waste of time and money."

I think the BlogOn conference was overproduced. In the name of professionalism the organizing firm turned off potential speakers, oversubscribed sponsors, etc.

I would have liked a debatable topic (aside from *blogging = journalism*. Two people slugging it out. Or a devil's advocate taking challenges from the floor.

I would have liked more hard numbers. Facts. Charts. Diagrams. We have the analytic tools to BS-check them; harder on vague opinions and single-points-of-observation.

I found it disturbing how much money was being commanded (from both attendees and sponsors) for a conference at a university. Maybe it was because it was at Berkeley? Maybe we should have taken over a community college or a Cal State or a DeVry. The facilities costs would have been cheaper at least. I heard an organizer apologize and say the next one would be at a hotel, like that would have been better.

Cost wasn't the whole problem. We're at a stage where early adopters are meeting folks who want to leap the chasm. Huge gaps in knowledge, experience, context, culture, vocabulary. It's the gap.

There are huge ideas to be explored, even in the world of applying blogs to media strategy and the enterprise. And most of the big ideas weren't even on the agenda at BlogOn. Probably because it was catering to those who want to commercialize, fund, and otherwise exploit (excuse me, "get in on") the emerging medium.

Let's fork these conferences so advanced topics on business and technology and culture fit the participants. 

[a klog apart]


Eclipse3.1M3 comes out later today..





Rameau - Dardanus / Ainsley, Gens, Naouri, Delunsch, Courtis, Kozena, Les Musiciens du Louvre, Minkowski

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