"Leclair's single opera Scylla et Glaucus may lack the sheer audacity of his teacher Rameau, but it's enormously likeable…the performers respond…stylishly to Leclair's charming if slightly predictable sound-world…and the conducting preserves a neat balance between drama and ornament…It is clear that Gardiner favours intervention over chilly authenticity; whether or not you agree with all his decisions, the clarity of the image he presents is often provocative and always bracing." – Jan Smaczny, BBC Music Magazine
"John Eliot Gardiner has proved himself a doughty champion of the later French Baroque, cultivating credible performing methods and unearthing undeservedly neglected repertoire. … "Les Boreades" recorded in 1982. Viewed by many as one of the greatest of Rameau's operas, the score is both dramatically effective and a riot of orchestral colour. Gardiner conducts with a real feeling for the way in which instrumental timbre underpins the drama, while in a strong cast Philip Langridge is both stylish and superbly theatrical as Abaris." – Jan Smaczny, BBC Music Magazine
“This large-scale live recording (Gardiner's second) was made in Venice's St Mark's Basilica. It captures the drama as well as the ceremonial aspect of the work, despite sometimes cloudy recorded sound.” Gramophone Classical Music Guide. “Gardiner's second [recording of the Vespers], spectacularly recorded live in St Mark's, has a punchy choral sound, near-operatic solo singing (Bryn Terfel and Alistair Miles are among the basses), emphatic enunciation, big contrasts and deliberate exploitation of the building's spaces. Its outright theatricality sets it apart from other performances.” Gramophone Magazine.
Behind the near-mythical figure of the emancipated woman, the dazzling spectacle of the group tableau and vibrant seduction of the Spain of dreams, all its authenticity and brilliance have been restored to the world's most performed opera in the opera house where it was first performed in 1875. A veritable back to the origins for the masterpiece by Georges Bizet, who died at the age of thirty six, only a few weeks after finishing his controversial work, the tremendous success of which he was ever to know. By presenting it here in a brand-new version with instruments of the period, in an endeavour to rekindle the original musical and theatrical flame, Sir John Eliot Gardiner and Adrian Noble have reconstructed the unusual movement of the chorus and difficult dialogue between characters as a human, carnal tragedy.