- Vivaldi, Chelleri, Ristori
Adèle Charvet (mezzo-soprano), Le Consort, Justin Taylor (harpsichord), Théotime Langlois de Swarte (violin and conductor).
The mezzo-soprano Adèle Charvet participated in the development of this program in the form of an anthology of arias created at the Teatro Sant’Angelo in Venice, where Vivaldi notably officiated as well as two of his emulators, Fortunato Chelleri and Giovanni Alberto Ristori. Airs of bravery and lamentations allow Adèle Charvet to show the extent of her vocal talents in the light of a generous and sunny musicality. With a long range, impressive virtuosity and lively ornaments, the singer makes short work of the airs of fury while the flame of her warm voice, with a coppery medium, deep bass, works to support the musical phrase with charming expressiveness. . Ardor, sincerity, delicacy, the young Frenchwoman has a wide expressive palette capable of galvanizing a high-flying belcantist game. Accomplice, the soul mate of Théotime Langlois de Swarte’s violin at the head of a Consort in love with his singer. Marie Aude Roux
1 CD Alpha/Outhere Music.
- Maurice Ravel
The Spanish Hour. Bolero
Isabelle Druet (mezzo-soprano), Julien Behr (tenor), Loïc Félix (tenor), Thomas Dolié (baritone), Jean Teitgen (bass), Les Siècles, François-Xavier Roth (conductor).
Although The Spanish Hour occupies the largest part of this disc, it is not the recording of the modest but tasty opéra-comique by Maurice Ravel which constitutes its main attraction. However, his interpretation is most engaging. On the vocal level, with a leading cast (Isabelle Druet, beautifully theatrical) capable of making you dizzy and on the orchestral level, with alloys of color of rare subtlety. More than a “Hispanic” program complement, it is the famous Bolero which appears as the centerpiece of the album with a performance based on the new critical edition of the work. Thus informed of the composer’s true intentions, one could say that François-Xavier Roth sets the record straight. First, by a relatively high tempo but above all by the use of original instruments. A drum (and not a snare drum), which initiates the very military rhythmic step, then a sarrusophone (and not a bassoon) which states the second theme, jazzy, before the arrival of saxophones and even castanets, never heard until there, in the frenzied finale of the score which, under the masterful direction of François-Xavier Roth, takes on its full meaning as a challenge to the time and space of the symphony orchestra. Pierre Gervasoni
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