Charpentier, M-A: Prélude...Noires filles du Styx (from Medée)

This page lists all recordings of Prélude...Noires filles du Styx (from Medée), by Marc-Antoine Charpentier (1643-1704) on CD & download (MP3 & FLAC).


Editor's Choice
January 2013

All recordings

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Patricia Petibon: Nouveau Monde

Patricia Petibon: Nouveau Monde

Baroque Arias & Songs


Cachua a voz y bajo Al Nacimiento de Christo Nuestro Señor (from Codex Martinez Compañon)

Tonada la Lata a voz y bajo, para bailar cantando (from Codex Martinez Compañon)

Mon amy s’en est allé

Tonada la Lata el Congo a voz y bajo para baylar cantando (from Codex Martinez Compañon)

Greensleeves to a ground


Yo soy la locura

Charpentier, M-A:

Quel prix de mon amour (from Medée)

Prélude...Noires filles du Styx (from Medée)

Dieu du Cocyte et des Royaumes sombres (from Medée)


No se emendará jamás, HWV 140

Nebra Blasco:

El bajel que no recela (from Vendado es amor, no es ciego)

En amor, pastorcillos, no hay quien distinga (from Vendado es amor, no es ciego)


When I am laid in earth (from Dido and Aeneas)

Fairest Isle (from King Arthur)


Rondeau – Forêts paisibles (from Les Indes Galantes)

Les Indes galantes: Tempête : La nuit couvre les cieux !


J’ai vu le loup, le renard et la belette

Patricia Petibon (soprano)

La Cetra Baroque Orchestra, Andrea Marcon

Admired for her remarkable creative imagination and exemplary musicianship, soprano Patricia Petibon, in her newest album for Deutsche Grammophon, offers a treasure-trove of fascinating Baroque curiosities guaranteed to enthral both the Baroque aficionado and the casual listener.

Nouveau Monde is conceived as a journey from the Old to the New World, a spell-binding collection of arias, songs and pieces from European composers (Charpentier, Händel, Rameau, Purcell) that testify to their composers’ fascination with the exoticism of recently-discovered lands, as well as South American folksongs which boast exceptional rhythmic energy and colour

Spectacularly accompanied by the La Cetra Baroque Orchestra under the excelling direction of Andrea Marcon – who also stands out as a Baroque organist and harpsichordist - Patricia enchants our senses with a mélange of 17th-century arias and folk songs from England, France, Spain, and Latin America

As a follow-up to her best-selling Rosso and Melancolía albums, Patricia Petibon’s 2012 release is guaranteed to be one of the most popular and sought-after Baroque releases of the year

“Conquest is one theme, confession another; the whole a breakneck A-Z of Baroque song from airs de cours to zarzuela.” BBC Music Magazine, Christmas 2012 ****

“'Nouveau Monde' is a tightly thought-through and arranged and compelling programme, a tour de force for its performer/compiler, most atmospherically recorded. Compulsive, repeatable listening.” Gramophone Magazine, January 2013

GGramophone Magazine

Editor's Choice - January 2013

DG - 4790079



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Ombre de mon amant

Ombre de mon amant

French Baroque Arias

Charpentier, M-A:

Medée: Ouverture

Princesse c'est sur vous (from Medée)

Concert pour quatre parties de violes H. 545: Prelude

Quel prix de mon amour (from Medée)

Croiras-tu mon malheur...Dieux témoins de la foy que l'ingrat m'a donnée (from Medée)

Prélude - C'en est fait, on m'y force (from Medée)

Avant que d'éclater...Malgré ta noire trahison (from Medée)

Prélude...Noires filles du Styx (from Medée)

Venez mêler à mes poison (from Medée)

Prélude...Je voy le Don fatal (from Medée)

Premier Air pour les Démons (from Medée)

Dieu du Cocyte et des Royaumes sombres (from Medée)

Entrée des Démons (from Medée)

Auprès du feu l'on fait l'amour, H. 446

Concert pour quatre parties de violes H. 545: Gigue angloise

Chanson à danser celle qui fait mon tourment, H. 450

Concert pour quatre parties de violes H. 545: Gigue francoise

Lambert, M:

Ma bergère est tendre et fidelle

Ombre de mon amant

Vos mépris chaque jour


Cruelle mère des amours (from Hippolyte et Aricie)

Gigue Air gracieux pour Zéphyre et les Grâces - Prologue (from Les fêtes d'Hébé)

Ariette de l'Amour Vole, Zéphyre! (from Les fêtes d'Hébé)

Tambourins I et II - Première Entrée La Poésie (from Les fêtes d'Hébé)

Air tendre from (Les fêtes d'Hébé)

Pour le Génie de Mars (from Les fêtes d'Hébé)

Rigaudons I et II (from Les fêtes d'Hébé)

Chaconne (from Les fêtes d'Hébé)

Quelle plainte en ces lieux m'appelle? (from Hippolyte et Aricie)

Anne Sofie von Otter (mezzo soprano)

Chœur et orchestre Les Arts Florissants, William Christie

Ombre de mon amant is Anne Sofie von Otter’s first recording of these French Baroque Arias - graceful, temperamental tunes which will delight her fans and thrill Baroque music cognoscenti

Otter’s mastery of diverse musical genres, crystalline diction and exquisite musicality empower her interpretations of French repertoire. Her celebrated Offenbach album and album of rarities of songs by Chaminade are cases in point

Anne Sofie von Otter, every bit a woman of the theatre as she is of song, embodies Charpentier's Médée and Phèdre in Rameau's Hippolyte et Aricie matchlessly, in the grand manner

The Guardian commented: “Her Médée […] was a thing of wonder. Keeping us to the right side of empathy, von Otter dragged us with her into utter monstrosity, unleashing hell with the most exquisite of pianissimos and suggesting vortices of emotion beneath the calm, controlled surface.”

“As the titular anti-heroine of Charpentier's Médée, she plumbs the depths of villainous tragedy with an energetic relish. But it's the pastoral airs by Michel Lambert which provide the greatest pleasure” The Independent, 15th January 2010 ****

“Von Otter has spoken of her love affair with the French Baroque and it is something that she avows in her singing, which can range from anger to the tenderest pensiveness, from lofty seriousness to whimsicality. This a captivating programme, performed with finesse and radiance.” The Telegraph, 5th February 2010 *****

“For readers who have yet to be seduced by French Baroque music, Anne Sofie von Otter's recital with Les Arts Florissants and William Christie may be the start of a grand passion. Charpentier and Rameau's tragic heroines require a depth of experience and complexity of expression beyond young singers... Impeccably accompanied this is a tour de force from opera's Meryl Streep.” BBC Music Magazine, March 2010 ****

“Von Otter sounds utterly wretched in Medea's lament for her lost love; then she intensifies her tone as she summons up demons and monsters...[she] conveys Phaedra's various emotions with consummate ease.” Gramophone Magazine, July 2010

GGramophone Awards 2010

Finalist - Recital

DG Archiv - 4778610

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