harpentier’s Médée is one of the glories of the Baroque. Medea’s betrayal by Jason, her comprehensive revenge and the plight of those caught up in this epic tragedy prompted Charpentier to compose music of devastating power. Transcending the constraints of the Lullian tragédie lyrique, he produced characterisations of astonishing complexity and invested vast stretches of music with a dramatic pace and a harmonic richness rivalled among contemporaries only by Purcell. The electrifying exchanges of the third act, mingling pathos with extreme violence, alone put Charpentier on the same imaginative level as Rameau and Berlioz. The machinations of the fourth act and the dénouement in the fifth maintain the same captivating impetus.
This is an attractive programme of comparatively rare vocal repertoire. Airs de cour by Charpentier (including verses from Corneille’s Le Cid) and Lambert are interpersed with instrumental movements from Couperin’s Les Nations. Cyril Auvity is an experienced advocate of the haute-contre repertoire and draws on all that experience to engage fully with the texts of these miniature dramas. His tone in the higher register can verge on the harsh, though this is a rare event.
With William Christie and Les Arts Florissants, relive Christmas Eve as it was celebrated in the France of Louis IV.
Marc-Antoine Charpentier (1643 – 24 February 1704) was a French composer of the Baroque era.
Exceptionally prolific and versatile, Charpentier produced compositions of the highest quality in several genres. His mastery in writing sacred vocal music, above all, was recognized and hailed by his contemporaries.
For twenty years William Christie and Les Arts Florrisants have contributed immeasurably to our understanding of Baroque opera. Unequalled in the French repertoire until Rameau, Médée far surpasses the finest work of his great rival Lully. Returning to this recording, I was struck by the rhythmic infectiousness and élan of concerted scenes, especially the divertissement which concludes act 2… Jan Smaczny
It would not, perhaps, be too much of a stretch to think of Marc-Antoine Charpentier as a sort of late 17th century Poulenc. Poulenc is known for two distinct artistic faces, one a comedian of the zaniest sort, and the other capable of expressing the most profound emotional depth. Charpentier's work lay in almost complete obscurity for nearly two centuries when in the late 20 century it began being brought to light, revealing one of the most fertile and inventive musical minds of the Baroque. He has been known almost exclusively for his religious music, and particularly for his gift for expressing the darkest grief.
Christie is an British rock band that formed in 1969 by Jeff Christie (guitar, vocals, keyboards), Vic Elmes (guitar) and Michael Blakley (drums, piano). They are best remembered for their UK chart-topping hit single "Yellow River", released in 1970. In 1971 Blakley was replaced by Bob Fenton and in 1972 Lem Lenton joined them as bass player. The band was reformed in 1974 with Roger Flavell (bass), Danny Krieger (guitar) and Terry Fogg (drums). For All Mankind is their second studio album.