Jean Philippe Rameau: Les Fetes de l’Hymen et de l’Amour

The latest subject of the ‘reinvigoration’ by Hervé Niquet and Le Concert Spirituel of French operatic music from the baroque and beyond for Glossa is Jean-Philippe Rameau’s Les Fêtes de l’Hymen et de l’Amour of 1747, a ballet héroïque in a prologue and three entrées, the whole work designed, when first created, to comprise a complete theatrical spectacle. Music for dancing – as befits a ballet – is given a prominent role and Rameau is able to create new orchestral sonorities, especially in the ballets figurés which encouraged the author to compose especially expressive symphonies and to give the choruses – even a double-chorus – an integral role in the action. Added to this are supernatural effects, and plots for the entrées which explored the then uncommon world of Egyptian mythology (including a musical depiction of the flooding of the River Nile).

The latest in Hervé Niquet and Le Concert Spiritual’s “reinvigorations” of French operatic music from the Baroque and beyond for Glossa, is Jean-Philippe Rameau’s 1747 Les fêtes de l’Hymen et de l’Amour , a heroic ballet in a prologue and three piece form. The whole work was designed, when first created to be a full range theatrical spectacle. Music for dancing – as befits a ballet – is given a prominent role and Rameau is reliably to creates new orchestral sonorities, especially in the ballets figured all which the author encouraged to compose symphonies. Especially expressive and to give the choruses – double-even a chorus – integral role in the year action. Added to this are supernatural effects, and pads for the entries All which Explored Then the uncommon world of Egyptian mythology (Including a musical depiction of the flooding of the Nile River).

In his vocal music Rameau deftly switches entre les Italianizing style and fashion of the French phrase current in the mid-18th century, all of which allows the team of vocal soloists – sopranos led by the three-Chantal Santon Jeffery, Carolyn Sampson and Blandine Staskiewicz – to demonstrate their accomplished talents. Overseen by the Centre de Musique Baroque de Versailles, and with a descriptive booklet from Thomas Soury, this new recording is a significant addition to the Rameau catalog – and more so in this the 250th anniversary year of the composer’s death. It brings to life one of Rameau’s finer, if underrated, compositions, and a dramatic work written on the cusp of significant reforms in opera.