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Other products from Reinoud Van Mechelen / A Nocte Temporis |
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 01. "Th?tis et Pel?e: Ouverture" 02. "Th?tis et Pel?e, Act I: Que mon destin est d?plorable" 03. "Th?tis et Pel?e, Act III: Ciel ! en voyant ce temple redoutable" 04. "Sylvie: Conduisez ces captifs" 05. "Sylvie: Air pour les cyclopes" 06. "Sylvie: Air gracieux" 07. "La f?te de Flore: Amour, si tu te plais ? ma douleur mortelle" 08. "Iphig?nie en Aulide, Wq.40: Ouverture" 09. "Iphig?nie en Aulide, Wq.40, Act II: J'obtiens l'objet que j'aime" 10. "Orph?e et Eurydice, Wq.41, Act I: Accabl? de regrets" 11. "Orph?e et Eurydice, Wq.41, Act II: Ballet des ombres heureuses" 12. "Orph?e et Eurydice, Wq.41, Act II: Quel nouveau ciel pare ces lieux !" 13. "Orph?e et Eurydice, Wq.41, Act III: Malheureux, qu'ai-je fait. J'ai perdu mon Eurydice" 14. "Alexis et Daphn?: Loin de ces bois charmants ? regret entra?n?" 15. "Alexis et Daphn?: Vers le sommet de la montagne" 16. "C?phale et Procris, Act II: Parais, mortel amoureux" 17. "C?phale et Procris: Ballet des Nymphes de Diane" 18. "C?phale et Procris: Contredanse" 19. "C?phale et Procris, Act II: D?esse des beaux jours" 20. "Hylas et gl?: C'est ici que j'ai vu pour la premi?re fois" 21. "Atys, Act II: O funeste amiti? ! Confiance accablante !" 22. "Amadis de Gaule, W.G 39: Largo" 23. "Iphig?nie en Tauride, Wq.46, Act II: Quel langage accablant pour un ami qui t'aime !"
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 | | Number of discs: |
1 |
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.. Gluck / Works By Gossec/ Gretry/ Gluck/ Legros/ Jc Bach |
| | Description: | Tenor Reinoud Van Mechelen concludes his trilogy dedicated to hautes-contre with "Legros, haute-contre de Gluck". Joseph Legros (1739-1793) was a singer at the Paris Opéra, renowned for his extraordinary musical abilities, wide range and brilliant high notes. â??His contemporaries appreciated the fact that his vocal delivery was not forced and that his taste was less mannered than that of his predecessors. His pronunciation was perfect and his face pleasing, although he did not cut a graceful figure and his stage acting left something to be desiredâ? writes Benoit Dratwicki, of the Centre de Musique Baroque de Versailles, which is a partner in this series... Legros sparked renewed interest among modern composers for the hautecontre voice. The first to write for him were La Borde, Trial and Berton. Then came Gossec (Alexis et Daphné) and Grétry
(Céphale et Procris). In 1774, Gluck's arrival in Paris marked a turning point in Legros's career: he made a name for himself in Orphée et Eurydice, caused a sensation in Iphigénie en Aulide and Iphigénie en Tauride... The title roles in Amadis de Gaule by J. C. Bach and Piccinni's Atys were the last roles in which he shone. After Legros, the haute-contre voice gradually disappeared, giving way to that of the "true tenor", a more powerful voice, but one that had difficulty tackling the high register of the old repertoire. - .. GLUCK / WORKS BY GOSSEC/GRETRY/GLUCK/LEGROS/JC BACHTenor Reinoud Van Mechelen concludes his trilogy dedicated to hautes-contre with "Legros; Gluck's haute-contre". Joseph Legros (1739-1793) was a singer at the Paris Opéra; renowned for his extraordinary musical abilities; wide range and brilliant high notes. "His contemporaries appreciated the fact that his vocal delivery was not forced and that his taste was less mannered than that of his predecessors. His pronunciation was perfect and his face pleasing; although he did not cut a graceful figure and his stage acting left something to be desired" writes Benoit Dratwicki; of the Centre de Musique Baroque de Versailles; which is a partner in this series... Legros sparked renewed interest among modern composers for the haute-contre voice. The first to write for him were La Borde; Trial and Berton. Then came Gossec (Alexis et Daphné) and Grétry (Céphale et Procris). In 1774; Gluck's arrival in Paris marked a turning point in Legros's career: he made a name for himself in Orphée et Eurydice; caused a sensation in Iphigénie en Aulide and Iphigénie en Tauride... The title roles in Amadis de Gaule by J. C. Bach and Piccinni's Atys were the last roles in which he shone. After Legros; the haute-contre voice gradually disappeared; giving way to that of the "true tenor"; a more powerful voice; but one that had difficulty tackling the high register of the old repertoire | | | Manufacturer No.: |
ALPHA992 |
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Art Song
1.037
