Cyril Auvity heads the cast in a new recording of Marc-Antoine Charpentier's La Descente d'Orphée aux enfers in a production being released by Glossa. Auvity is the lovelorn Orpheus who ventures, with his lyre, into the Underworld to plead with Pluto (Etienne Bazola) for the return of his Eurydice (Céline Scheen), struck down in her prime by a snakebite, being encouraged in his efforts by Proserpine, the wife of the ruler of Hades (Floriane Hasler). This is a two-act chamber opera, written in 1686, and it is not known whether Charpentier ever composed any more music for the piece (the drama stops at a tantalizing moment in the well-known story). Even still, the composer appears to have invested substantial inspiration into the work, which will have been performed in front of the composer's patron, Mademoiselle de Guise by a group of singers working within the limitations imposed by Jean- Baptiste Lully's "musical monopoly" of the time. For this recording, keyboard-player Ronan Khalil directs his Ensemble Desmarest. The demanding lead role of this entertainment continues Auvity's strong current presence in French Baroque music-making - as well as his connection with Glossa. His Orpheus follows his previous Charpentier Stances du Cid release on the label, as well as appearances in operas by Campra, Destouches and Lully.
Cyril Auvity heads the cast in a new recording of Marc-Antoine Charpentier's La Descente d'Orphée aux enfers in a production being released by Glossa. Auvity is the lovelorn Orpheus who ventures, with his lyre, into the Underworld to plead with Pluto (Etienne Bazola) for the return of his Eurydice (Céline Scheen), struck down in her prime by a snakebite, being encouraged in his efforts by Proserpine, the wife of the ruler of Hades (Floriane Hasler). This is a two-act chamber opera, written in 1686, and it is not known whether Charpentier ever composed any more music for the piece (the drama stops at a tantalizing moment in the well-known story). Even still, the composer appears to have invested substantial inspiration into the work, which will have been performed in front of the composer's patron, Mademoiselle de Guise by a group of singers working within the limitations imposed by Jean- Baptiste Lully's "musical monopoly" of the time. For this recording, keyboard-player Ronan Khalil directs his Ensemble Desmarest. The demanding lead role of this entertainment continues Auvity's strong current presence in French Baroque music-making - as well as his connection with Glossa. His Orpheus follows his previous Charpentier Stances du Cid release on the label, as well as appearances in operas by Campra, Destouches and Lully.
8424562236028

Details

Format: CD
Label: GLOSSA
Rel. Date: 05/18/2018
UPC: 8424562236028

Descente D'orphee Aux Enfers
Artist: Cyril Auvity
Format: CD
New: Available 18.99
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DISC: 1
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1. La Descente D'orphée Aux Enfers, H. 488: Overture
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2. La Descente D'orphée Aux Enfers, H. 488, Act I: Inventons Mille Jeux Divers
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3. La Descente D'orphée Aux Enfers, H. 488, Act I: Ruisseau Qui Dans Ce Beau Séjour
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4. La Descente D'orphée Aux Enfers, H. 488, Act I: Compagnes Fidèles
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5. La Descente D'orphée Aux Enfers, H. 488, Act I: Qu'il Se Croira Fortuné
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6. La Descente D'orphée Aux Enfers, H. 488, Act I: Soutiens Moi, Chère Œnone - Qu'ai-Je Entendu, Que Vo
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7. La Descente D'orphée Aux Enfers, H. 488, Act I: Ah! Bergers, C'en Est Fait
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8. La Descente D'orphée Aux Enfers, H. 488, Act I: Entrée De Nymphes Et De Bergers Désespéré
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9. La Descente D'orphée Aux Enfers, H. 488, Act I: Lâche Amant
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10. La Descente D'orphée Aux Enfers, H. 488, Act I: Ne Tourne Point, Mon Fils
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11. La Descente D'orphée Aux Enfers, H. 488, Act I: Que D'un Frivole Espoir - Juste Sujet De Pleurs
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12. La Descente D'orphée Aux Enfers, H. 488, Act II: Prélude - Affreux Tourments
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13. La Descente D'orphée Aux Enfers, H. 488, Act II: Prélude - Cessez, Fameux Coupables
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14. La Descente D'orphée Aux Enfers, H. 488, Act II: Quelle Touchante Voix
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15. La Descente D'orphée Aux Enfers, H. 488, Act II: Je Ne Refuse Point Le Secours - Il N'est Rien Aux Enfers
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16. La Descente D'orphée Aux Enfers, H. 488, Act II: Entrée De Fantômes
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17. La Descente D'orphée Aux Enfers, H. 488, Act II: Prélude - Que Cherche En Mon Palais
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18. La Descente D'orphée Aux Enfers, H. 488, Act II: Je Ne Viens Point Ici - Pauvre Amant
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19. La Descente D'orphée Aux Enfers, H. 488, Act II: Euridice N'est Plus
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20. La Descente D'orphée Aux Enfers, H. 488, Act II: Le Destin Est Contraire - Ah! Puisqu'avant Le Temps
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21. La Descente D'orphée Aux Enfers, H. 488, Act II: Tu Ne La Perdras Point, Hélas!
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22. La Descente D'orphée Aux Enfers, H. 488, Act II: Quel Charme Impérieux - Courage Orphée
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23. La Descente D'orphée Aux Enfers, H. 488, Act II: Souviens-Toi Du Larcin
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24. La Descente D'orphée Aux Enfers, H. 488, Act II: Je Cède, Je Me Rends - Amour, Brûlant Amour
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25. La Descente D'orphée Aux Enfers, H. 488, Act II: Vous Partez Donc, Orphée
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More Info:

Cyril Auvity heads the cast in a new recording of Marc-Antoine Charpentier's La Descente d'Orphée aux enfers in a production being released by Glossa. Auvity is the lovelorn Orpheus who ventures, with his lyre, into the Underworld to plead with Pluto (Etienne Bazola) for the return of his Eurydice (Céline Scheen), struck down in her prime by a snakebite, being encouraged in his efforts by Proserpine, the wife of the ruler of Hades (Floriane Hasler). This is a two-act chamber opera, written in 1686, and it is not known whether Charpentier ever composed any more music for the piece (the drama stops at a tantalizing moment in the well-known story). Even still, the composer appears to have invested substantial inspiration into the work, which will have been performed in front of the composer's patron, Mademoiselle de Guise by a group of singers working within the limitations imposed by Jean- Baptiste Lully's "musical monopoly" of the time. For this recording, keyboard-player Ronan Khalil directs his Ensemble Desmarest. The demanding lead role of this entertainment continues Auvity's strong current presence in French Baroque music-making - as well as his connection with Glossa. His Orpheus follows his previous Charpentier Stances du Cid release on the label, as well as appearances in operas by Campra, Destouches and Lully.