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Pigmalion Les Grands Motets Fresh Stock

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SKU: SK0525691-US20260105-083122 Category: Tag:
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DISC: 1

1. Ouverture
2. Pigmalion : Fatal Amour
3. CacPhise : Pigmalion, Est-Il Possible
4. Pigmalion : Que D’appas!
5. La Statue S’anime – Pigmalion : Quel Prodige!
6. L’amour : Du Pouvoir de L’amour
7. Les GraøCes Instruisent la Statue
8. Tambourin… Choeurdes Peuples: CacDons, CacDons A Notre Impatience
9. Pigmalion/Choeur: L’amour Triomphe
10. Pantomme – Deuxia”Me Pantomime
11. Pigmalion: Ra”Gne, Amour
12. Air Gracieux – Ballet GacNacRal
13. Air Gay
14. Trajan : Ces Oiseaux Par Leur Doux Ramage
15. Air Gay
16. Deus Noster Refugium
17. Proptera Non Timebimus
18. Sonuerunt Et Turbatae Sunt
19. Fluminis Impetus
20. Deus in Medio Ejus
21. Conturbate Sunt Gentes
22. Dominus Virtutum Nobiscum
23. Venite Et Videte Opera Domini
24. Arcum Conteret
25. Dominus Virtutum Nobiscum
26. Quam Dilecta Tabernacula Tua
27. Cor Meum Et Caro Mea
28. Et Enim Passer Invenit Sibi Domum
29. Altaria Tua
30. Beati Qui Habitant in Domo Tua
31. Domine, Deus Virtutum
32. Domine, Virtutum, Beatus Homo
33. In Convertendo Dominus
34. Tunc Repletum Est Gaudio Nostrum
35. Magnificavit Dominus Facere Nobiscum
36. Converte, Domine, Captivatem Nostram
37. Laudate Nomen Dei Cum Cantico
38. Qui Seminant in Lacrimis
39. Euntes Ibant Et Flebant

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2 cd set

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Rameau: Pigmalion, Les Grands Motets / Niquet, Fouchécourt, de Reyghere, Piau, Gens, Composer: Jean-Philippe Rameau, Performer: Sandrine Piau, Véronique Gens, Nicole Fournié, Jean-Paul Fouchécourt, Conductor: Hervé Niquet, Orchestra/Ensemble: Le Concert Spirituel, Number of Discs: 2. The contents of both these discs were recorded in 1992 and issued separately towards the end of the decade in the U.S. This is their first reissue and this release should draw attention once more to some truly impressive performances. Any performance of Pigmalion rises and falls by the talent of it’s eponymous hero, for it’s three female roles are minor. Fortunately, Jean-Paul Fouchécourt was engaged for the part. He has sometimes been described as an haute-contre, though the meaning of the term has been hotly debated of late. Suffice to say that if it refers to a high tenor voice employing no falsetto, and used to convey an emotional range from sweetly lyrical to brightly heroic in French music, then Fouchécourt fits the bill. He excels equally in the expansive vigor of “L’Amour triomphe,” as well as the delicate but elaborate coloratura of “Règne, Amour.” Niquet cuts him no slack, setting a daunting pace for the latter, but Fouchécourt easily triumphs. The sound quality is excellent, however, spacious yet close enough to really catch the voices and instrumentals well.