[.ca] Dardanus Comp

Chronique amazon.fr:
Depuis l'enregistrement contestable, d'un point de vue musicologique et vocal, de Raymond Leppard en 1980, on attendait une version de référence de la troisième des cinq tragédies lyriques de Rameau. La voici, sous la baguette de Marc Minkowski. Après Hippolyte et Aricie, Anacréon et Platée, le chef fondateur des Musiciens du Louvre a choisi cette oeuvre créée en 1739, par un Rameau âgé déjà de 56 ans. A une époque où triomphe l'opéra italien, Rameau pousse à sa perfection le genre français de la tragédie lyrique. Un genre qui associe la gravité de la déclamation tragique, le goût du merveilleux, des intrigues romanesques et sentimentales, et la présence de la danse. En cinq actes, le livret raconte comment Dardanus, fils de Jupiter, finira par épouser Iphise, la fille de son ennemi Teucer, roi de Phrygie, contre son rival le prince Anténor. Une intrigue conventionnelle qui s'efface devant une musique superbe (écoutez particulièrement le premier air d'Iphise et "Lieux funestes" de Dardanus), servie ici par une distribution irréprochable où dominent l'Iphise de Véronique Gens et le Dardanus du ténor anglais John Mark Ainsley, qui chanta notamment Don Ottavio dans un Don Giovanni du festival d'Aix- en-Provence. --Franck Erikson

From Amazon.co.uk:
Listening to this thrilling recording of Rameau's 1739 opera Dardanus (with a few additions from the 1744 version), it is hard to see why it has languished in the backwaters of obscurity for so long. It contains elements guaranteed to get Rameau's juices flowing--a woman torn between love and duty, a generous helping of magic, and a set of finely drawn, rounded characters who transcend the conventional elements of the plot--and the composer responds with heartfelt passion: the music rivals anything in Les Boréades or Platée. In turn, Minkowski responds with direction which is a model of pacing: the drama crackles along in the sinuous recitatives, the climaxes are almost unbearably pulse-quickening (the thunderous and terrifying entracte "Bruits de guerre" is a good example), and the moments of reflection are poignant without being sentimental. (The Act 4 tenor aria "Lieux funestes" is a particular highlight.) Baroque superstars Ainsley and Gens are on excellent form, but are matched in intensity by the rest of the ensemble, and the whole just bursts with energy. --Warwick Thompson

Vrai Francais...:
Rameau, Dardanus. This superb recording should please both those who consider themselves "Ramistes" and those who simply enjoy pre - 19th century music. Previous recordings of Rameau have always seemed to me to be rather dull, but this one is full of energy and commitment and directed with flair. The cast is generally a good one, and in the case of the eponymous hero, sublime, and Minkowski obtains playing of real verve from his orchestra; the choral singing is incisive throughout. The part of the heroine, Iphise, is sung by the flavour-of-the-month soprano, Véronique Gens, and she never fails to give pleasure with her lovely tone, although her manner of address does not seem to me quite distinctive enough for a Rameau heroine, and her sense of the words is at times rather generalized. Her would - be lover Antenor is sung by Laurent Naouri, who gives a nobly dramatic account of "Monstre Affreux," and the wizard Ismenor is taken with credible sympathy by Jean-Philippe Courtis. Mireille Delunsch enjoys herself in the soubrette - ish role of Venus, and the much - hyped Magdalena Kozená turns up in a couple of smaller parts. The finest singing on the recording is, appropriately, by the Dardanus, John Mark Ainsley, who takes himself completely seriously in the role - there is none of the tongue-in-cheek attitude that afflicts some singers in such parts, and he is equally credible as the conquering hero and the forlorn lover. His singing is always lyrical, his French completely idiomatic and his mastery of the complex music absolute, but it is his attention to words which gives the purest delight; at every turn one is startled by some grace in delivery or some nuance of phrasing - the little air "D'un Amant empressé lui parler le langage" is full of these, and his scene with Iphise is heart-rendingly done - "Vous fuyez, inhumaine" is an especially poignant moment. There were one or two instances in his performance where I found myself wondering if his tone, with its distinctive sweetness, were not hardening a little, and if he is not doing too much of the wrong kind of music for him; his recent Lensky at ENO had wonderful moments but he struggled to rise above the orchestra during the aria. On the evidence of the present recording, he should perhaps be preparing to take on the mantle of the French classical tenor of our time, in such roles as Admetus and Pylades - amazing, really, to be able to say this about an English singer! This "Dardanus" is fresh, vital and fascinating, combining the best virtues of live performance with an utterly precise sound. Fully deserving of five stars.

Very Nice:
This is a very nice live recording of one of Rameau's lesser-known operas. The story is fairly typical of French Baroque opera. Dardanus, son of Jupiter and Electra, has been waging war against the Kingdom of Phrygia, but has fallen in love with King Teucer's daughter, Iphise. Iphise secretly loves Dardanus too, but Teucer has promised her to his ally Antenor, who helps the Phrygians defeat Dardanus in battle. Dardanus is captured, but before Teucer can sacrifice him to the gods a sea monster appears and ravages the Phrygian coast. Antenor departs to battle the monster, but the gods intervene and release Dardanus from prison. Dardanus is transported to the sea coast, defeats the monster, and saves Antenor's life. Antenor, who does not recognise his rescuer, promises to grant Dardanus any favour within his power: you can probably guess the rest. Minkowski has chosen to perform the 1739 version with a couple of additions from the revised version of 1744, most notably Dardanus's Act IV prison air "Lieux funeste." This was a good choice, since "Lieux funeste" is one of the best parts of the performance. Other memorable moments include the Chorus of Dreams in Act IV, Scene 2 and the striking war dance in Act 1, Scene 3, "Mars, Bellone, guidez nos/leur coups." It's all good, however. The many choruses and dances, one of French Baroque opera's best features, are excellent, but the soloists shine as well. I was a little apprehensive about buying a live recording, but the sound quality is excellent. If you're a "Ramiste" like myself, you will definitely enjoy these discs.

Bravo Me Minkowski!:
This is one of the best 18th century french opera recording you can acquire. Do not hesitate.

Best recording of a Rameau opera to date:
This certainly is not Rameau's finest opera, but this recording is marvelous. This was on my Amazon "wish list" and when I played it , I was very, very impressed with the excitement Maestro Minkowski generates from his orchestra. All 154 minutes of the 2 CD set are a pleasure to listen to. The Archiv (Deutche Grammophon) engineers have done a superb job in capturing the liveliness of the performance. The soloists are first rate, especially Veronique Gens. Rameau is gaining in prestige ( New York City Opera is staging his works) and this recording certainly will enhance his popularity.

Another Rameau gem:
After listening to DG's new Manon Lescaut, it is obvious that there are no decent Puccini tenors around, but while listening to this new Dardanus it also was obvious that these baroque operas are the real glory of our time. This is not the first recording of Dardanus, there was a 1977 recording in ERATO with a marvelous cast that included Frederica von Stade, Christiane Eda-Pierre and Jose van Dam, but it was incompetently conducted by Raymond Leppard with an inadequate modern-instrument orchestra. Now we are fortunate to have a very good and stylish period-orchestra recording from Radio France. John Mark Ainsley is certainly a better Rameau tenor than Jose Cura is a Puccini one. Veronique Gens is exquisite as usual and the rest of the cast is admirable, even if we miss the great Jose van Dam. If you have never heard a Rameau opera, you are missing a lot to put it mildly. Here is France greatest composer in all his glory.

• Ov - Les Musiciens Du Louvre/Marc Minkowski
• Prologue, Scene 1. Ariette: 'Regnez, Plaisirs, Regnez' - Mireille Delunsch
• Prologue, Scene 1. Air Pour Les Plaisirs (Gai Et Gracieux) - Chor Des Musiciens Du Louvre/Marc Minkowski
• Prologue, Scene 1. 'Je Veux Que Sous Mes Lois'/Duo: 'Plaisirs, Enchainez-Les' - Francoise Masset/Mireille Delunsch/Chor Des Musiciens Du Louvre/Marc Minkowski
• Prologue, Scene 1. Air Pour Les Plaisirs (Tres Vif) - Chor Des Musiciens Du Louvre/Marc Minkowski
• Prologue, Scene 1. 'Quel Calme!' - Mireille Delunsch
• Prologue, Scene 1. Air: 'Brisez Vos Fers' - Mireille Delunsch
• Prologue, Scene 1. Prld Et Choeur: 'Nos Mains Forgent Les Traits' - Chor Des Musiciens Du Louvre/Marc Minkowski
• Prologue, Scene 1. 'C'en Est Trop' - Mireille Delunsch
• Prologue, Scene 1. Air: 'Troubles Cruels' - Mireille Delunsch
• Prologue, Scene 1. Ariette: 'Quand L'aquilon Fougueux' - Mireille Delunsch
• Prologue, Scene 2. Marche Pour Les Differentes Nations (Gai)/Choeur Des Differentes Nations: 'Par... - Les Musiciens Du Louvre/Marc Minkowski
• Prologue, Scene 2. Air Gracieux (Sans Lenteur) 'L'Amour, Le Seul Amour' - Chor Des Musiciens Du Louvre/Marc Minkowski
• Prologue, Scene 2. Menuet Tendre En Rondeau - Les Musiciens Du Louvre/Marc Minkowski
• Prologue, Scene 2. Premier Tambourin/Deuxieme Tambourin (Reprise) - Les Musiciens Du Louvre/Marc Minkowski
• Prologue, Scene 2. 'Pour Celebrer Ce Jour Heureux' - Francoise Masset
• Prologue, Scene 2. Reprise De L'Ov - Les Musiciens Du Louvre/Marc Minkowski
• Act One, Scene 1. Prld Et Air: 'Cesse, Cruel Amour' - Veronique Gens
• Act One, Scene 2. 'Ma Fille, Enfin Le Ciel Seconde Mon Courroux' - Russell Smythe
• Act One, Scene 3. Prld: 'Princesse, Apres L'espoir' - Laurent Naouri/Veronique Gens
• Act One, Scene 3. 'Par Des Noeuds Solennels'/Duo: 'Manes Plaintifs, Tristes Victimes' - Russell Smythe
• Act One, Scene 3. Choeur Des Peuples Et Des Guerriers Phrygiens: 'Par Des Jeux Eclatants' - Chor Des Musiciens Du Louvre/Marc Minkowski
• Act One, Scene 3. Entree Pour Les Guerriers (Majestueux) - Les Musiciens Du Louvre/Marc Minkowski
• Act One, Scene 3. Air (Vif)/Ariette: 'Allez, Jeune Guerrier' - Les Musiciens Du Louvre/Marc Minkowski/Jean-Louis Bindi
• Act One, Scene 3. Premier Rigaudon - Les Musiciens Du Louvre/Marc Minkowski
• Act One, Scene 3. Deuxieme Rigaudon/Choeur Des Peuples Et Des Guerriers Phrygiens... - Les Musiciens Du Louvre/Marc Minkowski
• Act One, Scene 3. 'Mars, Bellone, Guidez Nos/Leurs Coups'... - Laurent Naouri/Chor Des Musiciens Du Louvre/Marc Minkowski
• Act One, Scene 4. 'Je Cede Au Trouble Affreux' - Veronique Gens
• Act Two, Scene 1. Ritournelle: 'Tout L'avenir Est Present A Mes Yeux' - Jean-Philippe Courtis
• Act Two, Scene 2. 'On Vient ... C'est Dardanus' - Jean-Philippe Courtis/John Mark Ainsley
• Act Two, Scene 3. 'Entendez Ma Voix Souveraine'/Choeur Des Ministres D'Ismenor... - Chor Des Musiciens Du Louvre/Marc Minkowski
• Act Two, Scene 3. Air (Grave) - Les Musiciens Du Louvre/Marc Minkowski
• Act Two, Scene 3. 'Suspends Ta Brillante Carriere' - Jean-Philippe Courtis
• Act Two, Scene 3. Air (Vif) - Les Musiciens Du Louvre/Marc Minkowski
• Act Two, Scene 3. 'Nos Cris Ont Penetre Jusqu'au Sombre Sejour' - Jean-Philippe Courtis
• Act Two, Scene 3. 'C'en Est Fait' - Jean-Philippe Courtis
• Act Two, Scene 3. Choeur Des Ministres D'Ismenor: 'Obeis Aux Lois Des Enfers' - Chor Des Musiciens Du Louvre/Marc Minkowski
• Act Two, Scene 5. Prld: 'Je La Vois' - John Mark Ainsley/Veronique Gens
• Act Two, Scene 5. Gravement: 'Par L'effort De Votre Art Terrible' - Veronique Gens/John Mark Ainsley
• Act Two, Scene 5. Air: 'D'un Penchant Si Fatal' - Veronique Gens
• Act Two, Scene 5. 'Dieux! Qu'exigez-vous De Mon Zele?' - John Mark Ainsley/Veronique Gens
• Act Two, Scene 6. 'Elle Fuit! ... Mais J'ai Vu Sa Tendresse' - John Mark Ainsley
• Act Two, Scene 6. Entracte: Bruit De Guerre - Les Musiciens Du Louvre/Marc Minkowski
• Act Three, Scene 1. Prld (Sans Lenteur)/Air: 'O Jour Affreux!' - Veronique Gens/Les Musiciens Du Louvre/Marc Minkowski
• Act Three, Scene 2. 'Princesse, Enfin La Paix Va Combler Mon Attente' - Laurent Naouri/Veronique Gens
• Act Three, Scene 2. Choeur Des Phrygiens: 'Que L'on Chante, Que L'on S'empresse'/Recitatif... - Laurent Naouri/Veronique Gens
• Act Three, Scene 3. Air En Rondeau (Gai)/Duo Avec Choeur En Rondeau: 'Paix Favorable, Paix Adorable' - Les Musiciens Du Louvre/Marc Minkowski/Francoise Masset/Jean-Louis Bindi/Chor Des Musiciens Du...
• Act Three, Scene 3. Premier Menuet/Deuxieme Menuet En Rondeau: Air: 'Volez, Plaisirs, Volez' - Les Musiciens Du Louvre/Marc Minkowski/Magdalena Kozena
• Act Three, Scene 3. Premier Tambourin/Deuxieme Tambourin (Reprise) - Les Musiciens Du Louvre/Marc Minkowski
• Act Three, Scene 4. 'Cessez Vos Jeux' - Russell Smythe/Laurent Naouri
• Act Three, Scene 4. Choeur Des Phrygiens: 'Allez, Et Remportez Une Illustre Victoire' - Chor Des Musiciens Du Louvre/Marc Minkowski
• Act Four, Scene 1. Prld Et Air: 'Lieux Funestes' - John Mark Ainsley
• Act Four, Scene 1. Ritournelle (Gracieusement Et Un Peu Gai) - Les Musiciens Du Louvre/Marc Minkowski
• Act Four, Scene 1. 'Malgre Le Dieu Des Mers' - Mireille Delunsch
• Act Four, Scene 1. Prld Et Air: 'Venez, Songes Flatteurs' - Mireille Delunsch
• Act Four, Scene 2. Sommeil (Rondeau Tendre) - Les Musiciens Du Louvre/Marc Minkowski
• Act Four, Scene 2: Trio Avec Choeur En Rondeau: 'Par Un Sommeil Agreable' - Magdalena Kozena/Jean-Francois Lombard/Marcos Pujol/Chor Des Musiciens Du Louvre/Marc Minkowski
• Act Four, Scene 2. Air (Tres Vif) - Les Musiciens Du Louvre/Marc Minkowski
• Act Four, Scene 2. Air: 'Un Monstre Furieux Desole Ce Rivage' - Magdalena Kozena/Jean-Francois Lombard/Marcos Pujol
• Act Four, Scene 2. Air: 'Ah! Que Votre Sort Est Charmant' - Magdalena Kozena/Jean-Francois Lombard/Marcos Pujol
• Act Four, Scene 2. Calme Des Sens (Air Tendre) - Les Musiciens Du Louvre/Marc Minkowski
• Act Four, Scene 2. Gavotte Vive - Les Musiciens Du Louvre/Marc Minkowski
• Act Four, Scene 2. Air De Triomphe (Vivement)/Trio Des Songes Et Choeur Des Phrygiens: 'Il Est... - Les Musiciens Du Louvre/Marc Minkowski
• Act Four, Scene 3. 'Ou Suis-Je!' - John Mark Ainsley
• Act Four, Scene 3. Ariette: 'Hatons-nous; Courons A La Gloire' - John Mark Ainsley
• Act Four, Scene 4. Prld: 'Voici Les Tristes Lieux' - Laurent Naouri
• Act Four, Scene 4. Air: 'Monstre Affreux, Monstre Redoutable' - Laurent Naouri
• Act Four, Scene 4. Tempete: 'Quel Bruit! Quelle Tempete Horrible!' - Laurent Naouri/John Mark Ainsley
• Act Four, Scene 5. 'Mon Rival Va Perir'/Recitatif: 'Le Monstre Est Abattu': Quel Est Donc Le Heros.. - John Mark Ainsley/Laurent Naouri
• Act Five, Scene 1. Ritournelle Et Choeur Des Phrygiens: 'Antenor Est Victorieux' - Chor Des Musiciens Du Louvre/Marc Minkowski/Russell Smythe/Laurent Naouri/Veronique Gens
• Act Five, Scene 2. 'N'en Doute Point; C'est Dardanus Lui-meme' - John Mark Ainsley/Laurent Naouri/Veronique Gens/Russell Smythe
• Act Five, Scene 3. 'Mais Un Nouvel Eclat Embellit L'univers' - Russell Smythe
• Act Five, Scene 3. 'Teucer, Bannissez Pour Jamais La Vengeance Et La Haine' - Mireille Delunsch/Russell Smythe
• Act Five, Scene 3. Duo: 'Des Biens Que Venus Nous Dispense' - Veronique Gens/John Mark Ainsley
• Act Five, Scene 3. Air Pour Les Plaisirs (Gai)/Choeurs De Amours: 'Nous Quittons... - Chor Des Musiciens Du Louvre/Marc Minkowski
• Act Five, Scene 3. Gavotte (Gracieusement)/Air: 'C'est La Constance' - Les Musiciens Du Louvre/Marc Minkowski/Francoise Masset
• Act Five, Scene 3. Ariette: 'Pour La Fete Ou L'on Vous Appelle' - Mireille Delunsch
• Act Five, Scene 3. Gigue (Vivement) - Les Musiciens Du Louvre/Marc Minkowski
• Act Five, Scene 3. Chaconne - Les Musiciens Du Louvre/Marc Minkowski