[anvar]

Charpentier - Acteon / Шарпантье - Актеон (Paul O’Dette, Stephen Stubbs)
Жанр: Classical opera
Страна-производитель диска: Made in Germany
Год издания диска: 2010
Издатель (лейбл): cpo
Номер по каталогу: 777 613-2
Дата записи: 2009
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 66'19
Источник: релизер
сайт-источник/ник/другое: Рой Моврич, подарок
Наличие сканов в содержимом раздачи: да

Код:

[b]Actéon, pastorale for chorus, strings & continuo, H. 481[/b]:
1. Scene 1. Ouverture
2. Scene 1. Choeur de Chasseurs
3. Scene 1. Air d'Actéon
4. Scene 1. Duo de Chasseurs et Choeur de Chasseurs
5. Scene 2. Air de Diane et Choeur de Nymphes
6. Scene 2. Duo de Daphné et Hyalé
7. Scene 2. Air d'Aréthuse et Choeur de Nymphes
8. Scene 3. Recitatif et Air d'Actéon
9. Scene 3. Duo de Diane et Actéon
10. Scene 3. Choeur de Nymphes
11. Scene 4. Recitatif d'Actéon
12. Scene 4. Plainte
13. Scene 5. Choeur de Chasseurs
14. Scene 6. Air de Junon et Choeur de Chasseurs
15. Scene 6. Choeur de Chasseurs
[b]Orphée descendant aux enfers, cantata for 3 voices, instruments & continuo, H. 471[/b]:
16. Prélude; Récit d'Orphée sur le violon
17. Air. Orphée
18. Duo. Ixion et Tantale
19. Air. Orphée
20. Duo et Trio. Ixion, Tantale et Orphée
[b]La pierre philosophale, incidental music, H. 501[/b]:
21. Choeur des Quatre Éléments
22. La petite Gnomide
23. Chanson du Silphe parlant à sa maîtresse
24. Duo pour le Feu et l'Eau
25. Choeur des Quatre Éléments

Код:

Marc-Antoine Charpentier
[b]Actéon[/b]
Written: 1683-1685; France
Actéon / Ixion - Aaron Sheehan (Tenor)
Diane / La Petite Gnomide - Teresa Wakim (Soprano)
Hyalé / Junon - Mireille Lebel (Mezzo-Soprano)
Daphné / Le Feu - Lydia Brotherton (Soprano)
Aréthuse - Amanda Forsythe (Soprano)
Orphée - Jason McStoots (Tenor)
Tantale - Douglas Williams (Bass-Baritone)
Un Silphe - Zachary Wilder (Tenor)
L’Eau - Olivier Laquerre (Bass-Baritone)
Chorus - Boston Early Music Festival Vocal Ensemble
Ensemble - Boston Early Music Festival Chamber Ensemble
Conductors - Paul O’Dette, Stephen Stubbs
Recording Date: September 28, 2009 - September 30, 2009
Recording Location: Sendessaal, Bremen
Audio CD (November 16, 2010)

Код:

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EAC extraction logfile from 23. February 2018, 16:41
Paul O’Dette, Stephen Stubbs / Actéon
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Код:

REM DATE 2009
REM DISCID 610F8919
REM COMMENT "ExactAudioCopy v1.2"
CATALOG 0761203761326
PERFORMER "Paul O’Dette; Stephen Stubbs; Aaron Sheehan; Teresa Wakim; Mireille Lebel; Lydia Brotherton; Amanda Forsythe; Jason McStoot; Douglas Williams; Zachary Wilder; Olivier Laquerre; Boston Early Music Festival Vocal Ensemble; Boston Early Music Festival Chamber Ensemble"
TITLE "Actéon"
FILE "Marc-Antoine Charpentier - Actéon.flac" WAVE
  TRACK 01 AUDIO
    TITLE "Actéon, H. 481; Scène Première - Ouverture"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Boston Early Music Festival Chamber Ensemble"
    ISRC DEB200961301
    FLAGS DCP
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Actéon, H. 481; Scène Première - Choeur de Chasseurs"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Boston Early Music Festival Vocal Ensemble, Boston Early Music Festival Chamber Ensemble"
    ISRC DEB200961302
    FLAGS DCP
    INDEX 01 03:04:16
  TRACK 03 AUDIO
    TITLE "Actéon, H. 481; Scène Première - Air d’Actéon"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Aaron Sheehan, Boston Early Music Festival Chamber Ensemble"
    ISRC DEB200961303
    FLAGS DCP
    INDEX 00 04:59:31
    INDEX 01 05:00:46
  TRACK 04 AUDIO
    TITLE "Actéon, H. 481; Scène Première - Duo de Chasseurs et Choeur de Chasseurs"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Boston Early Music Festival Vocal Ensemble, Boston Early Music Festival Chamber Ensemble"
    ISRC DEB200961304
    FLAGS DCP
    INDEX 00 06:34:35
    INDEX 01 06:35:50
  TRACK 05 AUDIO
    TITLE "Actéon, H. 481; Scène Deuxième - Air de Diane et Choeur de Nymphes"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Teresa Wakim, Boston Early Music Festival Vocal Ensemble, Boston Early Music Festival Chamber Ensemble"
    ISRC DEB200961305
    FLAGS DCP
    INDEX 00 08:17:60
    INDEX 01 08:19:00
  TRACK 06 AUDIO
    TITLE "Actéon, H. 481; Scène Deuxième - Duo de Daphné et Hyalé"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Lydia Brotherton, Mireille Lebel, Boston Early Music Festival Chamber Ensemble"
    ISRC DEB200961306
    FLAGS DCP
    INDEX 00 12:57:66
    INDEX 01 12:59:06
  TRACK 07 AUDIO
    TITLE "Actéon, H. 481; Scène Deuxième - Air d’Aréthuse et Choeur de Nymphes"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Amanda Forsythe, Boston Early Music Festival Vocal Ensemble, Boston Early Music Festival Chamber Ensemble"
    ISRC DEB200961307
    FLAGS DCP
    INDEX 00 14:27:51
    INDEX 01 14:28:66
  TRACK 08 AUDIO
    TITLE "Actéon, H. 481; Scène Troisième - Recitatif et Air d’Actéon"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Aaron Sheehan, Boston Early Music Festival Chamber Ensemble"
    ISRC DEB200961308
    FLAGS DCP
    INDEX 00 17:53:30
    INDEX 01 17:54:05
  TRACK 09 AUDIO
    TITLE "Actéon, H. 481; Scène Troisième - Duo de Diane et Actéon"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Teresa Wakim, Aaron Sheehan, Boston Early Music Festival Chamber Ensemble"
    ISRC DEB200961309
    FLAGS DCP
    INDEX 00 21:51:59
    INDEX 01 21:52:74
  TRACK 10 AUDIO
    TITLE "Actéon, H. 481; Scène Troisième - Choeur de Nymphes"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Boston Early Music Festival Vocal Ensemble, Boston Early Music Festival Chamber Ensemble"
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    INDEX 01 24:39:31
  TRACK 11 AUDIO
    TITLE "Actéon, H. 481; Scène Quatrième - Recitatif d’Actéon"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Aaron Sheehan, Boston Early Music Festival Chamber Ensemble"
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    INDEX 00 25:25:53
    INDEX 01 25:26:68
  TRACK 12 AUDIO
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    PERFORMER "Paul O’Dette, Stephen Stubbs, Boston Early Music Festival Chamber Ensemble"
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    INDEX 00 26:49:51
    INDEX 01 26:50:66
  TRACK 13 AUDIO
    TITLE "Actéon, H. 481; Scène Cinquième - Choeur de Chasseurs"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Boston Early Music Festival Vocal Ensemble, Boston Early Music Festival Chamber Ensemble"
    ISRC DEB200961313
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    INDEX 00 31:04:69
    INDEX 01 31:05:73
  TRACK 14 AUDIO
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    PERFORMER "Paul O’Dette, Stephen Stubbs, Mireille Lebel, Boston Early Music Festival Vocal Ensemble, Boston Early Music Festival Chamber Ensemble"
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    TITLE "Actéon, H. 481; Scène Sixième - Choeur de Chasseurs"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Boston Early Music Festival Vocal Ensemble, Boston Early Music Festival Chamber Ensemble"
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    INDEX 01 35:36:24
  TRACK 16 AUDIO
    TITLE "Orphée descendant aux enfers, H. 471 - Prélude; Récit d’Orphée sur le violon"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Jason McStoots, Boston Early Music Festival Chamber Ensemble"
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    PERFORMER "Paul O’Dette, Stephen Stubbs, Jason McStoots, Boston Early Music Festival Chamber Ensemble"
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    FLAGS DCP
    INDEX 00 45:17:34
    INDEX 01 45:18:36
  TRACK 18 AUDIO
    TITLE "Orphée descendant aux enfers, H. 471 - Duo: Ixion et Tantale"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Aaron Sheehan, Douglas Williams, Boston Early Music Festival Chamber Ensemble"
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    TITLE "Orphée descendant aux enfers, H. 471 - Duo et Trio: Ixion, Tantale et Orphée"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Aaron Sheehan, Douglas Williams, Jason McStoots, Boston Early Music Festival Chamber Ensemble"
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  TRACK 21 AUDIO
    TITLE "La Pierre Philosophale, H. 501 - Choeur des Quatre Éléments"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Boston Early Music Festival Vocal Ensemble, Boston Early Music Festival Chamber Ensemble"
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    INDEX 00 58:41:52
    INDEX 01 58:48:68
  TRACK 22 AUDIO
    TITLE "La Pierre Philosophale, H. 501 - La petite Gnomide"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Teresa Wakim, Boston Early Music Festival Chamber Ensemble"
    ISRC DEB200961322
    FLAGS DCP
    INDEX 01 60:21:23
  TRACK 23 AUDIO
    TITLE "La Pierre Philosophale, H. 501 - Chanson du Silphe parlant à sa maîtresse"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Zachary Wilder, Boston Early Music Festival Chamber Ensemble"
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    INDEX 01 61:42:24
  TRACK 24 AUDIO
    TITLE "La Pierre Philosophale, H. 501 - Duo pour le Feu et l’Eau"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Lydia Brotherton, Olivier Laquerre, Boston Early Music Festival Chamber Ensemble"
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    INDEX 00 64:02:55
    INDEX 01 64:03:70
  TRACK 25 AUDIO
    TITLE "La Pierre Philosophale, H. 501 - Choeur des Quatre Éléments"
    PERFORMER "Paul O’Dette, Stephen Stubbs, Boston Early Music Festival Vocal Ensemble, Boston Early Music Festival Chamber Ensemble"
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Код:

Notes and Editorial Reviews
1 CD in a boxed-set with 92 page booklet
Previous recordings on CPO from the Boston Early Music Festival have been received with great acclaim; Conradi's Ariadne and Lully's Thésée and Psyché have received Grammy nominations and Psyché was a finalist in the Baroque Vocal category at the 2009 Gramophone Awards.
This month, in corporation with the Boston Early Music Festival, CPO proudly present more Baroque opera, this time by the French composer Marc Antoine Charpentier. The main work on the disc is Charpentier's Actéon, a tragédie en musique based on Greek myth. Alongside this are the chamber opera Orphée descendant aux Enfers (The descent of Orpheus to the Underworld) and La Pierre Philosophale.
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CHARPENTIER Actéon. Orphée descendant aux enfers. La Pierre Philosophale • Paul O'Dette and Stephen Stubbs, cond; Aaron Sheehan ( Actéon/Ixion ); Teresa Wakim ( Diane/Petite gnomide ); Mireille Lebel ( Hyaleé/Junon ); Lydia Brotherton ( Daphné/Feu ); Amanda Forsythe ( Aréthuse class="ARIAL12">); Jason McStoots ( Orphée ); Douglas Williams ( Tantale ); Zachary Wilder ( Silphe ); Olivier Laquerre ( Eau ); BEMF Vocal/Ch Ens • CPO 777 613-2 (66:19 Text and Translation)
The Boston Early Music Festival performed Charpentier's Actéon on a double bill with John Blow's Venus and Adonis in Boston, November 29, 2008. I saw that production, with its excellent period choreography, and costuming—the stylized stag head and children equipped with hounds' heads providing a fine distancing element—not to mention superlative singing and inventive staging. Venus and Adonis hasn't made it to records yet, but here we have that Actéon , with two other unstaged works of the composer.
Though there's a dearth of information about Actéon 's date of composition and performance, it may have been written for Charpentier's primary patron, the Dauphin. That prince was known for his love of both music and hunting, whose themes are joined in this opera; he did command a retinue of musical resources, if hardly the deep stage and elaborate scenery of the Paris Opera. The libretto contains unusually few stage directions and set descriptions, but the latter turn up in profusion within the dialogue—“the crystal of these pure waters,” “the peace of this retreat”—fostering a sense that the opera may have been semi-staged, and for a private audience. A work of energy, imagination, and Italianate warmth, it shows just how much fine opera was lost in the days of Lully's effective monopoly over the art form, and why he took the steps he did to nip potential competition in the bud.
Orphée descendant aux enfers (1683–84) is considered a very early example of the French cantate , based on the Roman cantata. The instrumentation is light in both genres, the singers few, and the subject usually drawn from Biblical sources or Greco-Roman mythology. It shouldn't be confused with Charpentier's La Descente d'Orphée , composed roughly three years later. La Descente calls for five female and male soloists each, with an orchestra that includes flutes, violins, viols, and the obligatory harpsichord. The far shorter Orphée only requires a relatively modest three male singers and a small chamber instrumental ensemble. While La Descente spans the Orphic tragedy, Orphée is a moment in which the hero brings temporary peace to the hearts of Ixion and Tantalus, reminding them of the love they felt during their lifetimes. The overall emotional effect is not unlike the concluding “In paradisum” to Fauré's Requiem, solace from suffering, and on a similarly personal scale.
La Pierre Philosophale was first performed at the Comédie-Française in 1681. A comédie mêlée de spectacles , it was designed to show off fantastical stage machinery. In doing so, it was part of a venerable entertainment genre that continued through the dawn of motion pictures in the hundreds of short films by Georges Méliès, and into modern times with Star Wars films. The libretto, concerning that favorite dupe of the French stage, the faddish bourgeois (in this case, one who seeks occult knowledge to create the Philosopher's Stone), has gone missing, but a detailed synopsis exists. This act IV divertissement features elementals drawn from the four Empedoclean kingdoms of air, fire, water, and earth; and since they're fakes, brought into a plan to secure the marriage of that bourgeois's daughter, they aren't musically displayed with the imaginative power of Rebel's Les Élémens , but evince lighthearted charm and appealing dance rhythms.
I've had the pleasure of hearing Aaron Sheehan live in concerts and operas, performing in French, Italian, and English. He can be heard in his accustomed bright richness in Actéon , and in the smaller role of Ixion in Orphée . As always, high tessitura proves no problem, and the voice is seamlessly navigated at all times. Teresa Wakim's supplies a narrow, perfectly placed, ringing tone, with great control over dynamics. Both furnish superior enunciation and ornamentation. In lesser roles, Amanda Forsythe is a standout, offering focused, brilliant tone, a silver top, and a gift for lyrical phrasing, while Lydia Brotherton makes a suitably imperious impression as Juno. Jason McStoots, whom I've heard live to good effect, seems curiously recessed from the microphone here during Orphée , at least as compared to Williams and Sheehan, who have a lot of presence. (The same problem affects Actéon 's chorus of nymphs, suddenly much more distant in sound than Wakim, a moment earlier.) As usual, Paul O'Dette and Stephen Stubbs supply stylish orchestral accompaniment with a solid rhythmic underpinning, and a natural ease with recitative.
Strongly recommended, not that you had any doubts.
FANFARE: Barry Brenesal
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AllMusic Review by Stephen Eddins [-]
Marc-Antoine Charpentier was neglected for centuries after his death, but by the late 20th century increased frequency of performances and recordings revealed him as one of the geniuses of the Baroque. He had a distinctive, individual voice and a gift for subtle emotional expression capable of evoking the most profound grief, as well as a loopy humor rarely associated with music of his era.
Musical directors Paul O'Dette and Stephen Stubbs lead the vocal and chamber ensembles of the Boston Early Music Festival in characteristically expert performances of Charpentier's 40-minute pastoral opera Actéon, the brief cantata Orphée descendant aux enfers, and incidental music for the play La Pierre Philisophale. The musically polished performances shimmer with life and dramatic urgency. The cast of young soloists sings Charpentier's graceful, yearning melodies with naturalness and a sure grasp of the middle Baroque French style. Their ornamentation sounds entirely spontaneous, as expressions of emotion rather than merely the fulfillment of a formulaic stylistic requirement. The singers are so consistently first-rate, singing with sweet tone, flawless intonation, and technical mastery, that it seems almost unfair to single any out for special commendation over the others. Tenors Aaron Sheehan and Jason McStoots and soprano Teresa Wakim shine in the most prominent roles. The sound of CPO's 2009 recording is clean, clear, and nicely present. This is an album that should interest any fans of Baroque vocal music.
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The fact that Marc-Antoine Charpentier has left far more sacred than secular music was probably not a matter of choice but rather the result of historical circumstance. He had the bad luck to be a contemporary of Jean-Baptiste Lully who, although of Italian birth, was a staunch defender of the 'true' French style. He totally dominated the realm of opera and didn't allow any possible rivals to shine. Charpentier, who had studied with Carissimi in Rome, was suspect, firstly because of the Italian features in his oeuvre, secondly because of his dramatic talent. That talent comes to the fore in his sacred music, but also in his works with a secular subject.
This disc brings together three specimens of this part of his oeuvre, which bear witness to his theatrical instinct. Charpentier composed just one opera, Médée, but the main work on this disc, Actéon, can be considered a pocket-size opera. Although it is called a pastorale en musique, the autograph manuscript begins with an Ouverture de l'Opéra d'Actéon. It is divided into six scenes, the first five of which all end with an instrumental piece, as was usual in opera.
It is not quite clear whether the work was staged when it was first performed. In fact, it isn't known for sure for what occasion it was written. Charpentier had close ties with Marie de Lorraine, Duchesse de Guise, but he was also the favourite composer of the Crown Prince. A private performance at his court is quite possible, also considering the subject of Actéon. It is based on Ovid's Metamorphoses, and tells of Actaeon, a hunter who trying to find a place to rest unexpectedly sees Diana - goddess of chastity - bathing, surrounded by her nymphs. Angry that a mortal has seen her in the nude she takes revenge with a curse: Actaeon is changed into a stag who is then devoured by his own dogs. This subject must have been suitable to perform before the Crown Prince, who was an enthusiastic hunter. It is known that Charpentier himself sang the role of Actaeon.
The recording is based on live and staged performances during the Boston Early Music Festival, and that must have been a good preparation for a lively performance in the recording studio. There is a strong coherence within the vocal ensemble, which sings the choruses, and whose members also perform the solo parts. Aaron Sheehan and Teresa Wakim give very fine accounts of their roles as Actaeon and Diana respectively. Lydia Brotherton, Amanda Forsythe and Mireille Lebel take the roles of the nymphs, and their voices blend excellently. Ms Lebel also sings the role of Juno, who at the end reveals what has happened to Actaeon. The chorus of the hunters which laments about Actaeon's fate is particularly expressive.
Orphée descendant aux enfers has no reference to any genre, but is generally called a cantata, although this genre only came into existence in the early 18th century, as a direct result of the growing influence of the Italian style. This piece could also be a scene from an opera. The myth of Orpheus and Euridice is one of the most famous subjects in 17th and 18th century operas and cantatas. Charpentier focuses on Orpheus as he descends into the underworld to collect his beloved Euridice, where he meets two criminals, Ixion and Tantalus. The piece opens with a prelude, which is called récit d'Orphée sur le violon. The violin here represents Orpheus' instrument, the lyre. Jason McStoots sings this role whose range requires an haute-contre, a high tenor going well into the alto range with his natural voice, without using the falsetto register. McStoots is alright, but probably could have made a bit more of his part. The small roles of the criminals are sung by Aaron Sheehan and Douglas Williams. The piece ends with a moral: "Once love touches a soul, it can feel no other torments".
The last piece of this disc is an example of music which Charpentier wrote for plays to be performed at the theatre. It is the only music which was to be performed during the play, which deals with the fascination with all things magic in the 17th century. Two choruses of the Four Elements embrace short solos of a gnome girl and a sylph and a duet of water and fire. The choruses again show the good blending of the voices; the soloists are Teresa Wakim, Lydia Brotherton, Zachary Wilder and Olivier Laquerre.
In recent years Paul O'Dette and Stephen Stubbs, with their ensembles, have successfully explored French theatrical music of the 17th century. This has resulted in two recordings of operas by Lully for CPO, Thésée and Psyché. With this new recording they have extended their discography with another fine production. The two main works on this disc have been recorded before, but as they are not frequently performed this new recording is welcome, in particular as they are given nice performances. La pierre philosophale seems to have been recorded here for the first time and sheds light on one of the least-known aspects of Charpentier's oeuvre.
The booklet contains an informative essay by Gilbert Blin, who was also the drama coach for the live performances at the Boston Early Music Festival. Pictures from these staged performances are also included. In addition Stephen Stubbs contributes some personal notes on the three works in the programme. All lyrics are given with an English and a German translation.
Johan van Veen
musicweb-international
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The Guardian
13th January 2011
****
“It has all of Charpentier's trademark fascination with the dark side of classical mythology...As Actéon, Aaron Sheehan is utterly compelling, whether swooning over Teresa Wakim's imperious Diana or emitting disturbing howls during his metamorphosis...the playing and choral singing are both exquisite.”
Gramophone Magazine
March 2011
“[Actéon is] a touching little piece, performed here with spirit and sensitivity..Aaron Sheehan is a light tenor with a rounded, unforced tone that falls very easily on the ear...A must-have recording for admirers of Charpentier's operas.”
International Record Review
March 2011
“Aaron Sheehan has a convincing vocal presence as a lusty young man...Teresa Wakim is clearly a Diane who brooks no nonsense...Jason McStoots as Orphée presents a most compelling vocal portrait of a bereaved husband...These are highly commendable performances all round.”
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Neues aus Boston
In der Kategorie »Beste Opernproduktion« wurden bereits in den letzten Jahren die Barockopern »Ariadne« von Conradi, »Thésée« sowie »Psyché« von Lully für den Grammy nominiert. Jetzt veröffentlicht cpo erneut in Kooperation mit dem Boston Early Music Festival weitere barocke Opern - dieses Mal von Charpentier -, die sich auch als ebenso vielschichtig und unterhaltsam erweisen. Im Mittelpunkt steht die Oper »Actéon«. Charpentiers Kreation wurde von der italienischen Kantate angeregt und ist ein Vorläufer des französischen Gegenstücks, das erst zu Beginn des 18. Jahrhunderts seine reife Form erlangen sollte. Der Franzose bringt hier zur Anwendung, was er bei seinem italienischen Lehrer Giacomo Carissimi gelernt hatte, um die intime Dramatik einer für die privaten Gemächer gedachten Cantate zu erforschen. Der Komponist benutzt gekonnt die evokative Macht der Musik und die gesanglichen Konventionen der Zeit, um Szenen über die heilsame Wirkung der Liebe darzustellen.
Product Information
New Boston Operas
During recent years our recordings of the baroque operas Ariadne by Conradi and Thésée and Psyché by Lully have received Grammy nominations in the Best Opera Production category. This month, again in cooperation with the Boston Early Music Festival, cpo is releasing more baroque operas – this time by Marc Antoine Charpentier – proving to be no less diverse and entertaining. The focus is formed by Charpentier's Actéon, a creation inspired by the Italian cantata and the precursor of its French counterpart, which would first reach maturity in the early eighteenth century. Here the French composer employs what he learned from his Italian teacher Giacomo Carissimi toward the goal of exploring the intimate drama of a cantata intended for private chambers. He skillfully exploits the evocative power of the music and the vocal conventions of the time in order to present scenes displaying the transforming power of love.
Rezensionen
klassik-heute. com 11 / 10: »Repertoirepolistisch exzellent zusammengestellt.«
FonoForum 01 / 11: »Quicklebendige Musik mit allerlei folkloristischen Anklängen. Ein Großaufgebot an hervorragenden jungen Solisten rundet den positiven Eindruck dieser Produktion ab.«

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AllMusic Review by Stephen Eddins  [-]
Marc-Antoine Charpentier was neglected for centuries after his death, but by the late 20th century increased frequency of performances and recordings revealed him as one of the geniuses of the Baroque. He had a distinctive, individual voice and a gift for subtle emotional expression capable of evoking the most profound grief, as well as a loopy humor rarely associated with music of his era.
Musical directors Paul O'Dette and Stephen Stubbs lead the vocal and chamber ensembles of the Boston Early Music Festival in characteristically expert performances of Charpentier's 40-minute pastoral opera Actéon, the brief cantata Orphée descendant aux enfers, and incidental music for the play La Pierre Philisophale. The musically polished performances shimmer with life and dramatic urgency. The cast of young soloists sings Charpentier's graceful, yearning melodies with naturalness and a sure grasp of the middle Baroque French style. Their ornamentation sounds entirely spontaneous, as expressions of emotion rather than merely the fulfillment of a formulaic stylistic requirement. The singers are so consistently first-rate, singing with sweet tone, flawless intonation, and technical mastery, that it seems almost unfair to single any out for special commendation over the others. Tenors Aaron Sheehan and Jason McStoots and soprano Teresa Wakim shine in the most prominent roles. The sound of CPO's 2009 recording is clean, clear, and nicely present. This is an album that should interest any fans of Baroque vocal music.