Jean-philippe Rameau (1683-1764)

Contredanse (La guirlande)

Les Arts Florissants

William Christie (conductor)

Prelude (Premier livre de pieces de clavecin)

Michel Kiener (harpsichord)

In convertendo

Sophie Daneman, Olga Pitarch (sopranos)

Jeffrey Thompson (tenor)

Nicolas Rivenq (bass-baritone)

Le berger fidele

Veronique Gens (soprano)

Les Musiciens du Louvre

Marc Minkowski (conductor)

Les sauvages; La poule (Nouvelles suites de pieces de clavecin)

William Christie (harpsichord).

Donald Macleod considers Rameau's first 50 years, which are largely shrouded in mystery.

Contredanse (La guirlande)

Les Arts Florissants

William Christie (conductor)

Prelude (Premier livre de pieces de clavecin)

Michel Kiener (harpsichord)

In convertendo

Sophie Daneman, Olga Pitarch (sopranos)

Jeffrey Thompson (tenor)

Nicolas Rivenq (bass-baritone)

Le berger fidele

Veronique Gens (soprano)

Les Musiciens du Louvre

Marc Minkowski (conductor)

Les sauvages; La poule (Nouvelles suites de pieces de clavecin)

William Christie (harpsichord).

Donald Macleod considers Rameau's first 50 years, which are largely shrouded in mystery.

Hippolyte et Aricie (Act 1 excerpt)

Les Musiciens du Louvre

Marc Minkowski (conductor)

Hippolyte et Aricie (Act 2, Sc 2-5)

Aricie - Veronique Gens (soprano)

Hippolyte - Jean-Paul Fouchecourt (tenor)

Ph耀dre - Bernarda Fink (mezzo-soprano)

Diane - Therese Feighan (soprano)

L'Amour/Une Bergere/Une Matelote - Annick Massis (soprano)

Pluton/Neptune/Jupiter - Laurent Naouri (baritone)

Thesee - Russell Smythe (baritone)

Ensemble Vocal Sagittarius

Castor et Pollux (Act 1, Sc 3)

Agnes Mellon (soprano)

Les Arts Florissants

William Christie (conductor)

Les Fetes d'Hebe (Act 3, Sc 7)

Iphise - Sarah Connolly (mezzo-soprano)

L'oracle - Jean-Paul Fouchecourt (tenor)

William Christie (conductor).

Rameau is best known for his operas, yet he didn't write his first until he was nearly 50.

Hippolyte et Aricie (Act 1 excerpt)

Les Musiciens du Louvre

Marc Minkowski (conductor)

Hippolyte et Aricie (Act 2, Sc 2-5)

Aricie - Veronique Gens (soprano)

Hippolyte - Jean-Paul Fouchecourt (tenor)

Ph耀dre - Bernarda Fink (mezzo-soprano)

Diane - Therese Feighan (soprano)

L'Amour/Une Bergere/Une Matelote - Annick Massis (soprano)

Pluton/Neptune/Jupiter - Laurent Naouri (baritone)

Thesee - Russell Smythe (baritone)

Ensemble Vocal Sagittarius

Castor et Pollux (Act 1, Sc 3)

Agnes Mellon (soprano)

Les Arts Florissants

William Christie (conductor)

Les Fetes d'Hebe (Act 3, Sc 7)

Iphise - Sarah Connolly (mezzo-soprano)

L'oracle - Jean-Paul Fouchecourt (tenor)

William Christie (conductor).

Rameau is best known for his operas, yet he didn't write his first until he was nearly 50.

Fifth Concert (Pieces de clavecin en concerts)

Rachel Brown (flute)

Mark Caudle (viol)

James Johnstone (harpsichord)

La Princesse de Navarre (Act 1)

Marilyn Hill-Smith, Eiddwen Harrhy, Frances Chambers, Judith Rees (soprano)

Michael Goldthorpe (tenor)

Peter Savidge (baritone)

Ian Caddy, Richard Wigmore (bass)

English Bach Festival Singers and Baroque Orchestra

Nicolas McGegan (conductor)

Plat退e (Act 1, Sc 3 - end)

Platee - Gilles Ragon (tenor)

Mercure - Guy de Mey (tenor)

Clarine - Veronique Gens (soprano)

Ensemble Vocal Francoise Herr

Les Musiciens du Louvre

Marc Minkowski (conductor).

With Rameau's music composed for the 1745 wedding of the Dauphin to Maria-Theresa of Spain

Fifth Concert (Pieces de clavecin en concerts)

Rachel Brown (flute)

Mark Caudle (viol)

James Johnstone (harpsichord)

La Princesse de Navarre (Act 1)

Marilyn Hill-Smith, Eiddwen Harrhy, Frances Chambers, Judith Rees (soprano)

Michael Goldthorpe (tenor)

Peter Savidge (baritone)

Ian Caddy, Richard Wigmore (bass)

English Bach Festival Singers and Baroque Orchestra

Nicolas McGegan (conductor)

Plat退e (Act 1, Sc 3 - end)

Platee - Gilles Ragon (tenor)

Mercure - Guy de Mey (tenor)

Clarine - Veronique Gens (soprano)

Ensemble Vocal Francoise Herr

Les Musiciens du Louvre

Marc Minkowski (conductor).

With Rameau's music composed for the 1745 wedding of the Dauphin to Maria-Theresa of Spain

La Dauphine

Sophie Yates (harpsichord)

Pygmalion - John Elwes (tenor)

Cephise - Mieke van der Sluis (soprano)

Statue - Francois Vanhecke (soprano)

Amour - Rachel Yakar (soprano)

Choeurs de la Chapelle Royale, Paris

La Petite Bande

Gustav Leonhardt (conductor).

Donald Macleod introduces a complete performance of Rameau's acte de ballet Pygmalion.

La Dauphine

Sophie Yates (harpsichord)

Pygmalion - John Elwes (tenor)

Cephise - Mieke van der Sluis (soprano)

Statue - Francois Vanhecke (soprano)

Amour - Rachel Yakar (soprano)

Choeurs de la Chapelle Royale, Paris

La Petite Bande

Gustav Leonhardt (conductor).

Donald Macleod introduces a complete performance of Rameau's acte de ballet Pygmalion.

Alphise - Barbara Bonney (soprano)

Semire - Anna-Maria Panzarella (soprano)

Une Nymphe - Jael Azzaretti (soprano)

Abaris - Paul Agnew (tenor)

Calisis - Toby Spence (tenor)

Boree - Laurent Naouri (baritone)

Borilee - Stephane Degout (baritone)

Apollon - Nicolas Rivenq (baritone)

Opera National de Paris

Les Arts Florissants

William Christie (conductor).

Donald Macleod devotes his final programme to Rameau's final opera Les Boreades.

Alphise - Barbara Bonney (soprano)

Semire - Anna-Maria Panzarella (soprano)

Une Nymphe - Jael Azzaretti (soprano)

Abaris - Paul Agnew (tenor)

Calisis - Toby Spence (tenor)

Boree - Laurent Naouri (baritone)

Borilee - Stephane Degout (baritone)

Apollon - Nicolas Rivenq (baritone)

Opera National de Paris

Les Arts Florissants

William Christie (conductor).

Donald Macleod devotes his final programme to Rameau's final opera Les Boreades.

Controversy was never too far away from Jean-Philippe Rameau. He lived a long life, amid the lively cultural and aesthetic debates that erupted in France after music was freed from Jean-Baptiste Lully's artistic monopoly. An octogenarian at his death in 1764, Rameau was by then a prosperous and successful opera composer. However, unlike his contemporaries, Bach, Handel and Scarlatti, Rameau was something of a late starter. Born in Dijon, he spent the first part of his life in the provinces, working in relative obscurity. He didn't make his name until the age of 50, at which point he conquered the stage in Paris with his first opera. What followed was a remarkable burst of creativity, amounting to about a hundred works, in addition to a regular and prolific publication of original theoretical writing.

In the first part of this week's series Donald looks at the impact of Rameau's breakthrough work, the opera Hippolyte et Aricie. Joined by Rameau expert, Professor Graham Sadler, he explores the reasons why this seemingly innocuous adaptation of Racine created such a hornet's nest of conflicting opinion, dividing audiences into two camps, the 'Lullistes' and the 'Ramistes'.

Donald Macleod on the impact of Rameau's breakthrough work, the opera Hippolyte et Aricie.

Controversy was never far away from Jean-Philippe Rameau. He lived a long life, amid the lively cultural and aesthetic debates that erupted in France after music was freed from Jean-Baptiste Lully's artistic monopoly. An octogenarian at his death in 1764, Rameau was by then a prosperous and successful opera composer. Unlike his contemporaries, Bach, Handel and Scarlatti, Rameau was something of a later starter. Born in Dijon, he spent the first part of his life in the provinces, working in relative obscurity. He didn't make his name until the age of 50 when he conquered the stage in Paris. What followed was a remarkable burst of creativity, amounting to about a hundred works, in addition to the prolific publication of original theoretical writing.

Today, Donald Macleod looks at the musical resources made available to Rameau, while living with his wife and children in the comfort of his patron's mansion, and Professor Graham Sadler, an authority on Rameau, fills in some of the blanks surrounding Rameau's formative activities in the provinces.

Donald Macleod discusses the musical resources Rameau was given by his patron.

Controversy was never far away from Jean-Philippe Rameau. He lived a long life, amid the lively cultural and aesthetic debates that erupted in France after music was freed from Jean-Baptiste Lully's artistic monopoly. An octogenarian at his death in 1764, Rameau was by then a prosperous and successful opera composer. Unlike his contemporaries, Bach, Handel and Scarlatti, Rameau was something of a later starter. Born in Dijon, he spent the first part of his life in the provinces, working in relative obscurity. He didn't make his name until the age of 50 when he conquered the stage in Paris. What followed was a remarkable burst of creativity, amounting to about a hundred works, in addition to the prolific publication of original theoretical writing.

Today Donald reflects on the considerable vocal challenges Rameau set his singers and discusses the close relationship between music and dance in his stage works, with Dr. Jonathan Williams, founder of The Rameau Project at the University of Oxford, whose activities this year include preparing and performing two of Rameau's operas, Zas and Anacr退on.

Donald Macleod discusses Rameau's favourite singers at the Paris Opera.

Controversy was never far away from Jean-Philippe Rameau. He lived a long life, in the thick of the lively cultural and aesthetic debates that erupted in France after music was freed from Jean-Baptiste Lully's artistic monopoly. An octogenarian at his death in 1764, Rameau was by then a prosperous and successful opera composer. Unlike his contemporaries, Bach, Handel and Scarlatti, Rameau was something of a later starter. Born in Dijon, he spent the first part of his life in the provinces, working in relative obscurity. He didn't make his name until the age of 50 when he conquered the stage in Paris. What followed was a remarkable burst of creativity, amounting to about a hundred works, in addition to the prolific publication of original theoretical writing.

Celebrations for the wedding of Louis XV's eldest son to the Spanish Infanta resulted in Jean-Philippe Rameau's comic masterpiece, Plat退e and two other major commissions for the court. Thereafter more than half of his stage works were intended for court, where he was given generous resources. Today, Dr. Jonathan Williams from The Rameau Project joins Donald Macleod once again, to discuss the instrumental forces Rameau drew on to create his unique and brilliant orchestral sound.

How Rameau's activities went from the Parisian stage to spectacular performances at court.

Controversy was never far away from Jean-Philippe Rameau. He lived a long life, amid the lively cultural and aesthetic debates that erupted in France after music was freed from Jean-Baptiste Lully's artistic monopoly. An octogenarian at his death in 1764, Rameau was by then a prosperous and successful opera composer. Unlike his contemporaries, Bach, Handel and Scarlatti, Rameau was something of a later starter. Born in Dijon, he spent the first part of his life in the provinces, working in relative obscurity. He didn't make his name until the age of 50 when he conquered the stage in Paris. What followed was a remarkable burst of creativity, amounting to about a hundred works, in addition to the prolific publication of original theoretical writing.

In this final part of his survey Donald Macleod is rejoined by Rameau expert Graham Sadler. Together they look at the ways in which the changing nature of cultural life impinge on Rameau's theoretical and composing interests.

Exploring how aesthetic quarrels and political upheaval had a dramatic effect on Rameau.

By the time of his death in 1764, Rameau, then an octogenarian, had more than 30 stage works to his credit. It's a remarkable achievement when you consider he produced his first opera at the age of 50. Up to that point, although details about his life are surprisingly patchy, he appears to have held a succession of posts in the provinces, as an organist, teacher and theoretician, seemingly without even a whiff of greasepaint. Then, at an age when one might assume his chosen path was settled, Rameau upped sticks, came back to Paris and conquered the stage with breathtaking speed.

Across the week Donald Macleod focusses on those heady, initial years in the French capital, building a picture of what made Rameau into a highly successful, if controversial, theatrical composer.

The transformation begins in 1733. What Rameau served up in Hippolyte et Aricie was daring, original rhythms and harmonies. The astonished spectators were both outraged and delighted. Dividing into two camps, a cultural war ensued that raged for over 20 years!

Hippolyte et Aricie (Prologue)

Entr退e des habitants de la forꀀts

Les Arts Florissants

William Christie, director

Hippolyte et Aricie (Act 2, Sc 5)

Trio des Parques

Nathan Berg, bass Pluton

Christopher Josey, tenor, First Fate

Matthieu L退croart, baritone, Second Fate

Bertrand Bontoux, bass, Third Fate

Th退tis

Peter Harvey, baritone

London Baroque

Ingrid Seifert, violin

Charles Medlam, bass violin

Terence Charlston, harpsichord

Concert No. 1 in C minor

Ensemble Masques

Olivier Fortin, director

Hippolyte et Aricie, (Act 3, Sc 1 to 5)

Lorraine Hunt, mezzo soprano Ph耀dre

Katalin Kကrolyi, mezzo soprano Oenone

Mark Padmore, tenor Hippolyte

Laurent Naouri, bass Th退s退e

Hippolyte et Aricie (Act 5, Sc 3)

Où suis-je

Anna-Maria Panarella, soprano, Aricie

Donald Macleod explores Jean-Philippe Rameau's operas beginning with Hippolyte et Aricie.

At his death in 1764, Rameau, by then an octogenarian, had more than 30 stage works to his credit. It's a remarkable achievement when you consider he produced his first opera at the age of 50. Up to that point, although details about his life are surprisingly patchy, he appears to have held a succession of posts in the provinces, as an organist, teacher and theoretician, seemingly without even a whiff of greasepaint. Then, at an age when one might assume his chosen path was settled, Rameau upped sticks, came back to Paris and conquered the stage with breathtaking speed.

Across the week Donald Macleod focuses on those heady, initial years in the French capital, building a picture of what made Rameau into a highly successful, if controversial, theatrical composer.

Having stirred up a storm with Hippolyte et Aricie, two years later in 1735 Rameau was back in the spotlight with the saucily titled Les Indes Galantes or Love in Exotic Climes. His critics were up in arms all over again. But Rameau had his defences, among them, the protection of a fabulously rich patron.

Les Indes Galantes (suite)

Gavotte qu'on peut jouer sur le clavecin ou sur le violon (Deuxieme concert)

Christophe Rousset, harpsichord

La Pouplini耀re

Ryo Terakado, violin

Kaori Uemura, viola da gamba

Les Indes Galantes (excerpt)

Les Incas du P退rou

Bernard Del退tr退, bass Huascar

Isabelle Poulenard, soprano, Phani

Jean-Paul Fouch退court, tenor, Don Carlos

Les Arts Florissants

William Christie, director

Nouvelles Suites de Pi耀ces de Clavecin

Mahan Esfahani, harpsichord

Les Indes Galantes (Suite) (excerpts)

Le Concert des Nations

Jordi Savall, director

Donald Macleod explores Jean-Philippe Rameau's Les Indes Galantes.

At his death in 1764, Rameau, by then an octogenarian, had more than 30 stage works to his credit. It's a remarkable achievement when you consider he produced his first opera at the age of 50. Up to that point, although details about his life are surprisingly patchy, he appears to have held a succession of posts in the provinces, as an organist, teacher and theoretician, seemingly without even a whiff of greasepaint. Then, at an age when one might assume his chosen path was settled, Rameau upped sticks, came back to Paris and conquered the stage with breathtaking speed.

Across the week Donald Macleod focusses on those heady, initial years in the French capital, building a picture of what made Rameau into a highly successful, if controversial, theatrical composer.

Rameau had a singular ability to connect music with human emotion. Today Donald considers the composer's rather contrary character and how he brought his operatic characters to life on stage.

Castor et Pollux (Act 1)

Que tout g退misse

Les Arts Florissants

William Christie, director

Tristes apprꀀts, pales flambeaux

Agn耀s Mellon, soprano, T退lare

Castor et Pollux (Act 3, Scenes 4 & 5)

Sortez d'esclavage

At his death in 1764, Rameau, by then an octogenarian, had more than 30 stage works to his credit. It's a remarkable achievement when you consider he produced his first opera at the age of 50. Up to that point, although details about his life are surprisingly patchy, he appears to have held a succession of posts in the provinces, as an organist, teacher and theoretician, seemingly without even a whiff of greasepaint. Then, at an age when one might assume his chosen path was settled, Rameau upped sticks, came back to Paris and conquered the stage with breathtaking speed.

Across the week Donald Macleod focusses on those heady, initial years in the French capital, building a picture of what made Rameau into a highly successful, if controversial, theatrical composer.

When Rameau was writing for the stage, the abilities of the colourful company of singers, dancers and musicians employed by the Paris Opera shaped the music he provided.

Les fꀀtes d'H退b退, (Prologue)

Accourez, riante jeunesse

Sophie Daneman, soprano, H退b退

Les Arts Florissants

William Christie, director

Les fꀀtes d'H退b退 (La danse, Suite)

Les fꀀtes d'H退b退, (opera-ballet)

Deuxi耀me Entr退e: La Musique (Sc 1 to 5)

Sarah Connolly, mezzo soprano, Iphise

Paul Agnew, tenor, Lycurgue

Thierry F退lix, bass, Tirt退e

Maryseult Wieczorek, mezzo soprano, Une Lac退d退monienne

Jean-Paul Fouch退court, tenor, l'Oracle

Pi耀ces de clavessin

Le Rappel des Oiseaux

Les soupirs

Les cyclops

Olivier Baumont, harpsichord

Les fꀀtes de l'Hymen et de l'Amour (Sc 3 to 5)

Carolyn Sampson, soprano Memphis

Alain Buet, bass, le Grand-Prꀀtre

Tassis Christoyannis, bass, Canope

Le Concert Spirituel

Herv退 Niquet, director

Donald Macleod explores Jean-Philippe Rameau's stage works. Today Les fetes d'Hebe.

At his death in 1764, Rameau, by then an octogenarian, had more than 30 stage works to his credit. It's a remarkable achievement when you consider he produced his first opera at the age of 50. Up to that point, although details about his life are surprisingly patchy, he appears to have held a succession of posts in the provinces, as an organist, teacher and theoretician, seemingly without even a whiff of greasepaint. Then, at an age when one might assume his chosen path was settled, Rameau upped sticks, came back to Paris and conquered the stage with breathtaking speed.

Across the week Donald Macleod focusses on those heady, initial years in the French capital, building a picture of what made Rameau into a highly successful, if controversial, theatrical composer.

Rameau was an innovator who found new ways of writing for different combinations of instruments and voices. Today Donald explores how he used this ability in his operas.

Overture to Dardanus

Les Musiciens du Louvre

Marc Minkowski, director

Hippolyte et Aricie (Act 5)

Rossignols amoureux

Carolyn Sampson, soprano, a shepherdess

Ex Cathedra

Jeffrey Skidmore, director

Dardanus, (Prologue, excerpt)

Mireille Delunsch soprano, V退nus

Fran瀀oise Masset, soprano, Amour

Dardanus (Act 1, Sc 3)

Entr退e pour les Guerriers

Magdalena Koženက, soprano, 1stPhrygienne

Laurent Naouri, baritone, Ant退nor

Russell Smythe, baritone, Teucer

Nouvelles suites de pieces de clavecin

Les tricotets

L'indifferente

La poule

l'enharmonique

l'退giptienne

Angela Hewitt, piano

Dardanus (Act 4, Sc 1)

Lieux funestes

John Mark Ainsley, tenor Dardanus

Donald Macleod explores Jean-Philippe Rameau's operas. Today, Dardanus.

I have followed the theatre since the age of twelve', so said Rameau to a young composer who wrote to him for advice. It's an intriguing insight into a man who didn't produce his first opera until the age of fifty. Quite why it took him that long isn't clear. Up to that point he had been a church musician, following in his father's footsteps, holding a succession of posts mainly in the South of France. He also taught and established himself as a theoretician of some note. A brief, early sojourn in Paris, a mecca for any theatrical hopeful, ended abruptly when he was still in his twenties. It wasn't until he returned to Paris in 1723 that Rameau was able to start writing music for theatrical entertainments, at first for the popular Fairs, and then finally in 1733 for the Paris Opera. In the midst of constant cultural rows over the merits of French and Italian operatic style, Rameau flourished as a theatre composer. At one point he was so successful the management of the Paris Opera decreed no more than two of his works should be mounted per season, to allow other composers to get a look in! He completed his final opera, a masterpiece, Les Bor退ades in 1763, the year before he died at the age of eighty. Across the week Donald Macleod focuses on this remarkable period in Rameau's life, from the first of his theatrical works to his last.

It was lucky break for the newcomer when Rameau persuaded an established poet, Abb退 Simon-Joseph Pellegrin to write the text for his first opera. Pellegrin was a highly respected figure in the opera world and being able to add his name to the frontispiece of the score shored up Rameau's credentials.

Overture to Nas

Attaquons les cieux

Orfeo Orchestra

Purcell Choir

Gy怀rgy Vashegyi, conductor

Prologue: Lancez, lancez la foudre

Achante et C退phise, Act 1

Premier et deuxi耀me air en movement de chaconne vive

La Grande ɀcurie et Les Ambassadeurs

Alexis Kossenko, conductor

'Un horizon serein'

Caroline Weynants, soprano, S退phire

Collegium 1704

Vကclav Luks

La poule (Suite in G minor)

Nouvelles suites de pieces de clavecin

Justin Taylor, harpsichord

Hippolyte et Aricie, Act 3

Quels biens!

Laurent Naouri, bass, Th退s退e

Les Arts Florissants

William Christie, director

Hippolyte et Aricie, Act IV, Sc 1 to 3

Ah! Faut-il en un jour, perdre tout ce que j'aime!

C'en est donc fait, cruel, rien n'arrꀀte vos pas

Nous allons nous jurer une immortelle foi

Faisons partout voler nos traits

Anna-Maria Panzarella, soprano, Aricie

Mark Padmore, tenor, Hippolyte

Donald Macleod marks the Tour de France cycle race with French composers throughout July.

I have followed the theatre since the age of twelve', so said Rameau to a young composer who wrote to him for advice. It's an intriguing insight into a man who didn't produce his first opera until the age of fifty. Quite why it took him that long isn't clear. Up to that point he had been a church musician, following in his father's footsteps, holding a succession of posts mainly in the South of France. He also taught and established himself as a theoretician of some note. A brief, early sojourn in Paris, a mecca for any theatrical hopeful, ended abruptly when he was still in his twenties. It wasn't until he returned to Paris in 1723 that Rameau was able to start writing music for theatrical entertainments, at first for the popular Fairs, and then finally in 1733 for the Paris Opera. In the midst of constant cultural rows over the merits of French and Italian operatic style, Rameau flourished as a theatre composer. At one point he was so successful the management of the Paris Opera decreed no more than two of his works should be mounted per season, to allow other composers to get a look in! He completed his final opera, a masterpiece, Les Bor退ades in 1763, the year before he died at the age of eighty. Across the week Donald Macleod focuses on this remarkable period in Rameau's life, from the first of his theatrical works to his last.

As members of a permanent ensemble employed by the Opera, Rameau was fortunate in being able to write music for some of the most celebrated voices of the day, among them the high tenor, Pierre J退lyotte and the soprano Marie Fel.

Overture to `Dardanus`

Orfeo Orchestra

Gy怀rgy Vashegyi, conductor

Castor et Pollux , Act 2

Que tout g退misse que se tout s'unisse

Tristes apprꀀts, p les flambeaux

Emmanuelle de Negri, soprano, T退laire

Ensemble Pygmalion

Rapha뀀l Pichon, director

Castor et Pollux, Act IV, Sc 3

Rentrez, rentrez dans l'esclavage

Danse des Demons et des Furies

Air I pour les Demons et les Furies

Brisons tous nos fers

Air II pour les Demons et les Furies

Philippe Talbot, tenor, Mercure

Cl退mentine Margaine, mezzo soprano, Ph退b退

Florian Sempey, baritone, Pollux

Dardanus, Act I Sc 1:

Cesse, cruel Amour, de regner sur mon  me

Judith van Wanroij, soprano, Iphise

Dardanus, Act 2, Sc 3

Nos cris ont penetre jusqu au sombre s退jour

Obeis aux lois des enfers

Thomas Doli退, baritone, Ism退nor

Dardanus, Act IV, Sc 1

Lieux funestes

Cyrille Dubois, tenor, Dardanus

Les fetes d'H退b退 (excerpts)

Prologue: Air gracieux pour Zephir et les Graces

Prologue: Vole Zephir, H退b退 t'appelle

Premiere Entree: Tambourins I-II

Troisi耀me Entr退e, Sc 5 : Air: Une tendre berg耀re

Deuxi耀me Entr退e : Pour le g退nie de Mars

Deuxi耀me Entree: La victoire

Deuxi耀me Entree: L'Hymen - Chaconne

Anne-Sophie Otter, mezzo soprano

Les Arts Florissants

William Christie, director

Donald Macleod follows Rameau backstage at the Paris Opera.

I have followed the theatre since the age of twelve', so said Rameau to a young composer who wrote to him for advice. It's an intriguing insight into a man who didn't produce his first opera until the age of fifty. Quite why it took him that long isn't clear. Up to that point he had been a church musician, following in his father's footsteps, holding a succession of posts mainly in the South of France. He also taught and established himself as a theoretician of some note. A brief, early sojourn in Paris, a mecca for any theatrical hopeful, ended abruptly when he was still in his twenties. It wasn't until he returned to Paris in 1723 that Rameau was able to start writing music for theatrical entertainments, at first for the popular Fairs, and then finally in 1733 for the Paris Opera. In the midst of constant cultural rows over the merits of French and Italian operatic style, Rameau flourished as a theatre composer. At one point he was so successful the management of the Paris Opera decreed no more than two of his works should be mounted per season, to allow other composers to get a look in! He completed his final opera, a masterpiece, Les Bor退ades in 1763, the year before he died at the age of eighty. Across the week Donald Macleod focuses on this remarkable period in Rameau's life, from the first of his theatrical works to his last.

Among the entertainments Rameau wrote for performance by the King's mistress and her circle of friends was his opera ballet Les Surprises d'Amour.

Les Surprises de l'Amour

Ouverture - le plus vite possible

Les Nouveaux Caract耀res

S退bastien d'H退rin, direction

Act 1, Sc 6 (The Abduction of Adonis)

Entr退e: Le jour vient d'退clore

L'oiseau le plus tendre

Premier et deuxi耀me airs - Vif

Magali Perol-Dumora, soprano, A Nymph

S退bastien d'Herin, direction

Hippolyte et Aricie, Act 1, sc 1

Temple sacre, s退jour tranquille

V退ronique Gens, soprano, Aricie

Les Musiciens du Louvre

Marc Minkowski, director

Plat退e, Act 1, sc 5 and 6

Ariette Quittez, nymphes

ɀpais nuages

Tambourins

Ariette Soleil, fuis de ces lieux

Aria: les Aquilons viennent troubler

Orage

Marcel Beekman, tenor, Plat退e

Emmanuelle de Negri, soprano, Clarine

Cyril Auvity, tenor, Mercure

Arnold Schoenberg Choir

Les Arts Florissants

William Christie, director

Plat退e, Act 2, sc 2 to 4

I have followed the theatre since the age of twelve', so said Rameau to a young composer who wrote to him for advice. It's an intriguing insight into a man who didn't produce his first opera until the age of fifty. Quite why it took him that long isn't clear. Up to that point he had been a church musician, following in his father's footsteps, holding a succession of posts mainly in the South of France. He also taught and established himself as a theoretician of some note. A brief, early sojourn in Paris, a mecca for any theatrical hopeful, ended abruptly when he was still in his twenties. It wasn't until he returned to Paris in 1723 that Rameau was able to start writing music for theatrical entertainments, at first for the popular Fairs, and then finally in 1733 for the Paris Opera. In the midst of constant cultural rows over the merits of French and Italian operatic style, Rameau flourished as a theatre composer. At one point he was so successful the management of the Paris Opera decreed no more than two of his works should be mounted per season, to allow other composers to get a look in! He completed his final opera, a masterpiece, Les Bor退ades in 1763, the year before he died at the age of eighty. Across the week Donald Macleod focuses on this remarkable period in Rameau's life, from the first of his theatrical works to his last.

As much as one third of Rameau's operas were made up of dance music, adding an originality to a format which had been established in the time of Louis XIV.

Les indes galantes

Danse du Grande Calumet de la Pais en rondeau aux sauvages

Orchestre de la Chapelle Harmonique

Valentin Tournet, direction

Air des polonais,

Air pour les amants et amantes

Air pour les esclaves africains

Valentin Tournet, director

Zas, Act 4, Sc 3 to 4

Entr退e pour les peuples 退lementaires

Air pour les peuples 退lementaires

T退moins de mes feux

First aria en rondeau for the Shepherds and second aria for the Sylphes and the Sylphides

Julien Pr退gardien, tenor, Zas

Sandrine Piau, soprano, Z退lidie

Les Talens Lyriques

Christophe Rousset, director

Anacr退on, Sc 6

Air for the Bacchantes

Gavottes 1-2 for the Aegipans and the Bacchantes

Aria: When Love Inflames Our Hearts (Chloe)

Pantomime for Silenus and two Bacchae

Airs 1-2 for Silenus and two Bacchae

Anna Dennis, soprano, Chlo退

Orchestra of the Age of Enlightenment

Jonathan Williams, conductor

Pygmalion, Sc 3

Quel prodige?

De mes maux,

I have followed the theatre since the age of twelve', so said Rameau to a young composer who wrote to him for advice. It's an intriguing insight into a man who didn't produce his first opera until the age of fifty. Quite why it took him that long isn't clear. Up to that point he had been a church musician, following in his father's footsteps, holding a succession of posts mainly in the South of France. He also taught and established himself as a theoretician of some note. A brief, early sojourn in Paris, a mecca for any theatrical hopeful, ended abruptly when he was still in his twenties. It wasn't until he returned to Paris in 1723 that Rameau was able to start writing music for theatrical entertainments, at first for the popular Fairs, and then finally in 1733 for the Paris Opera. In the midst of constant cultural rows over the merits of French and Italian operatic style, Rameau flourished as a theatre composer. At one point he was so successful the management of the Paris Opera decreed no more than two of his works should be mounted per season, to allow other composers to get a look in! He completed his final opera, a masterpiece, Les Bor退ades in 1763, the year before he died at the age of eighty. Across the week Donald Macleod focusses on this remarkable period in Rameau's life, from the first of his theatrical works to his last.

There's plenty of evidence to support the view that Rameau was a difficult man. But how much of it was true, and how much of it was generated out of spite? Donald Macleod weighs up the available facts.

Overture to Zoroastre

Les Arts Florissants

William Christie, director

Zoroastre, Act 3

Sommeil, fuis de ce s退jour - L'aurore vermeille - Pour la fete la plus belle - De notre flamme mutuelle

Entr退e de peuples diff退rent

Mille rayons brillants- Tout se ranime - O lumi耀re vive et pure

Mark Padmore, tenor, Zoroastre

Ga뀀lle M退chaly, soprano, Am退lite

Achant退 et C退phise, Act 3

Aigle naissant, l耀ve les yeux

Cyrille Dubois, tenor, Achant退

Les Ambassadeurs et La Grande ɀcurie

Alexis Kossenko, director

Tremblez, tremblez malheureux

H退las, h退las! Vous pouvez m'opprimer

Soyons unis jusqu'au tombeau

Haine implacable, guide leurs pas

Air tr耀s vif

Zirphile est n䀀tre reine

Triomphe! victoire!

Sabine Devieilhe, soprano, C退phise

Judith van Wanroij, soprano, Zirphile

David Witczak, baritone, La G退nie Oro耀s

Les Chantres du Centre de musique baroque de Versailles

Les Bor退ades, Act 2

Enl耀vement d'Orithie

Air Andante

Air di Boril退e C'est des Dieux qu'on doit appr Loure

Premi耀re Gavotte vive pour les suivants de Bore

Deuxi耀me Gavotte pour Orithie

Premi耀re Gavotte da capo

Choeur; Ciel! Quels accords harmonieux

Benedict Kristjကnsson, tenor, Calisis

Tomကs Šelc, baritone, Borilee

Collegium 1704

Vကclav Luks, director

Les Bor退ades, Act IV

Entr退e de Polymnie

Les musiciens du Louvre

Marc Minkowski, director

Donald Macleod explores Rameau's prickly relationships with colleagues and friends.