Charpentier, M-A: La Descente d'Orphée aux enfers

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Offer,Charpentier, M-A: La Descente d'Orphée aux enfers

Robert Getchell (Orphée), Caroline Weynants (Eurydice), Caroline Dangin-Bardot (Oenone), Violaine Le Chenadec (Daphné), Caroline Arud (Aréthuse), Lucile Richardot (Proserpine), Stephen Collardelle (Ixion), Davy Cornillot (Tantale), Étienne Bazola (Apollon/Titye), Nicolas Brooymans (Pluton)

Ensemble...

In this unfailingly beautiful performance, Ensemble Correspondances reflects the relatively modest forces available to Charpentier…Robert Getchell is an appropriately sweet-voiced Orphée and... — BBC Music Magazine, November 2017, 4 out of 5 stars More…

Release Date: 25th Aug 2017
Catalogue No: HMM902279
Label: Harmonia Mundi
Length: 54 minutes

BBC Music Magazine

November 2017

Opera Choice

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Charpentier, M-A: La Descente d'Orphée aux enfers

Work length54:38

$26.00

$32.50

$37.70

$41.60

Nicolas Brooymans, Robert Getchell, Davy Cornillot, Caroline Dangin-Bardot, Stephen Collardelle, Caroline Arnaud, Etienne Bazola, Violaine Le Chenadec, Caroline Weynants
Ensemble Correspondances
Sébastien Daucé

Premier Acte: Ouverture

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Premier Acte, Scène 1: Inventons mille jeux divers

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Premier Acte, Scène 1: Compagnes fidèles

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Premier Acte, Scène 1: Soutiens-moi, chère Œnone

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Premier Acte, Scène 2: Ah ! Bergers, c'en est fait

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Premier Acte, Scène 2: Entrée de Nymphes et de Bergers désespérés

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Premier Acte, Scène 2: Lâche amant

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Premier Acte, Scène 3: Ne tourne point, mon fils

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Premier Acte, Scène 3: Que d'un frivole espoir

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Second Acte, L'Enfer, Scène 1: Affreux tourments

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Second Acte, L'Enfer, Scène 2: Cessez, cessez fameux coupables

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Second Acte, L'Enfer, Scène 2: Quelle touchante voix

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Second Acte, L'Enfer, Scène 2: Je ne refuse point

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Second Acte, L'Enfer, Scène 2: Il n'est rien aux Enfers

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Second Acte, L'Enfer, Scène 2: Entrée des Fantômes

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Second Acte, L'Enfer, Scène 3: Que cherche en mon palais

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Second Acte, L'Enfer, Scène 3: Je ne viens point ici

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Second Acte, L'Enfer, Scène 3: Pauvre amant

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Second Acte, L'Enfer, Scène 3: Eurydice n'est plus

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Second Acte, L'Enfer, Scène 3: Le destin est contraire

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Second Acte, L'Enfer, Scène 3: Tu ne la perdras point

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Second Acte, L'Enfer, Scène 3: Quel charme impérieux

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Second Acte, L'Enfer, Scène 3: Souviens-toi du larcin

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Second Acte, L'Enfer, Scène 3: Je cède, je me rends

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Second Acte, L'Enfer, Scène 4: Vous partez donc

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Second Acte, L'Enfer, Scène 4: Entrée des Fantômes

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'La Descente d’Orphée aux Enfers', Charpentier's last short opera, was written for his patron Mademoiselle de Guise [Marie de Lorraine, Duchesse de Guise, Duchesse de Joyeuse, Princesse de Joinville, 1615-88] and constitutes in its breadth and dramatic density a little gem of 17th-century French vocal art.

Charpentier made use of all 10 singers employed by Mademoiselle de Guise at the time, using the Orpheus' myth, albeit one left in suspension, without a resolution; a carefree and happy ‘descent’ that celebrates Orpheus’ song and the enchanting power of music. Charpentier was one of the first French composers to use this story in its full dimensions. He had already produced a short divertissement called 'Orphée descendant aux Enfers', which may be regarded as the earliest example of the French cantata, a miniature vocal genre that flourished in aristocratic gatherings of the early 18th century. Conceived on a larger scale, 'La Descente d’Orphée aux Enfers' unfolds over two acts. The first installs the listener in the bucolic universe typical of the pastorale, peopled by nymphs led by Daphne, Arethusa and OEnone, who have come to celebrate the wedding of their companion Eurydice with the shepherd Orpheus. Eurydice is mortally wounded by a serpent and her sudden death leaves her companions and Orpheus distraught and tearful. The longer Act Two traces Orpheus’ difficult quest through the Underworld, where he charms first of all the damned souls, then Proserpina and Pluto, with his songs in the hope of bringing Eurydice back with him. He is finally allowed to leave with Eurydice, though warned that he must not meet her gaze until he has seen the light of day once more; otherwise, he will have to abandon her to the realm of the dead for ever. Charpentier’s manuscript stops at this point, as Orpheus commences his journey back to the light, leaving the denizens of the Underworld in despair at his departure.

A poetic experience amid the depths of night, which inspired Sébastien Daucé and his Ensemble Correspondances in this new edition, recorded in Grenoble in January last year.

Artists

Ensemble Correspondances, Sébastien Daucé

Reviews

November 2017

In this unfailingly beautiful performance, Ensemble Correspondances reflects the relatively modest forces available to Charpentier…Robert Getchell is an appropriately sweet-voiced Orphée and Caroline Weynants a delightful Eurydice…The recorded sound captures faithfully this small-scale ensemble performance that is a near-ideal realisation of this delightful, if modest, entertainment.

November 2017

Robert Getchell's mellow, rounded haute-contre is ideal for the role of Orphée, which he sings with admirable conviction and sensitivity that broadens expansively…I would urge anyone with any taste for French Baroque opera to investigate this little masterpiece.

27th August 2017

Throughout, the writing is rich, unusual yet immediate. Orpheus’s journey through the underworld in search of Eurydice is memorably expressive.

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Offer,Charpentier, M-A: La Descente d'Orphée aux enfers

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