Les Frivolités Parisiennes Corlay - Le Diable a Paris - COMPACT DISCS [CD]

Rameau is one of the universal geniuses in European musical history, on the same level as Bach, Mozart and HaydnInch, asserts conductor György Vashegyi. With this recording of Les Boréades Vashegyi completes an ambitious 10-year Rameau project, run in collaboration with the Centre de musique baroque de Versailles. The cast of Sabine Devieilhe, Reinoud Van Mechelen, Tassis Christoyannis, Thomas Dolié, Gwendoline Blondeel, Benedikt Kristjánsson and Philippe Estèphe is joined by the Orfeo Orchestra and Purcell Choir - both ensembles founded by Vashegyi. Devieilhe - who made her Erato debut with a Rameau recital - takes the central role of Alphise, Queen of Bactria, who must defy the traditions of her country if she is to marry the man she loves. The theme of freedom, 'la liberté', is important in the opera; conceived in 1763 to mark the end of the Seven Years' War, it had to wait more than 200 years for it's first full staging. When the performers on this recording appeared in a concert version of Les Boréades at the Théâtre des Champs-Elysées in Paris, Concert Classique declared that InchRameau's genius shines through at every moment.

Maurice Yvain's operettas were immensely successful in the 1920s. The fantasy of the 'swing' music, the catchy songs and the perfectly oiled rhythms were all the rage in the Paris of the Roaring Twenties. But the success of these comedies, with their caustic humour, also owed much to the fabulous texts by Albert Willemetz, considered as one of the fathers of modern operetta in the twentieth century. Yvain and Willemetz's numbers were hummed in the streets and charmed all who hear them - and still do, even a century later! Les Frivolités Parisiennes set out to revive this music, which is still as young as ever. Yes! Was premiered at the Théâtre des Capucines on 26 January 1928 and was an immediate hit this story of a complicated marriage, moving between Le Touquet and London, was to remain on the bill for years to come. The version presented here by Les Frivolités Parisiennes is as close as possible to the spirit of the work's premiere, and includes all available musical material. With the exceptional participation of Clément Rochefort as narrator.

The minstrel Carlo Broschi has hidden his sister Casilda in a convent to protect her from the machinations of the clergy who wish to make a present of her for King Ferdinand VI. In Carlo's opinion, she is in love with an unknown cavalier- likewise too highborn to have any lawful intentions toward her. Carlo happens upon the King, who is possessed by melancholy and succeeds in cheering him with a song (It was, in fact, Ferdinand's predecessor Philip V, for whom Farinelli was engaged as a music therapist). As a reward, he is invited to the court, where he encounters his sister's lover, Raphael d'Estuniga. Raphael is so despondent over his thwarted passion that he is ready to sell his soul, so Carlo introduces himself as Satan, ready to lend aid for half of his takings. Casilda appeals to Carlo for protection; she has been kidnapped by the priests and brought to the king, who, only recently having recovered his sanity, takes her for a ghost. Carlo leaves to speak with the queen (Louise-Rosalie Lefebvre created this roleLouise-Rosalie Lefebvre) and leaves the lovers alone. Raphael, who has obtained an office due to Carlo's influence and has had uncommon luck at gambling, is so confident of supernatural aid that he is nonplussed at the king's entrance, even when the latter orders his death. Carlo attempts to smooth things over by telling the king Raphael is her husband, but the Grand Inquisitor exposes the fabrication, enraging the king against Carlo as well. Things can only be put right by Carlo's revealing all and reminding the king that the queen still suspects nothing. Carlo, who has never hesitated to claim his 50%, tells his future brother-in-law that his share will be Casilda's happiness this time.