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Le Triomphe de L'amour - Sandrine Piau

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Product details

  • Conductor: Jerome Correas
  • Composer: Gretry, Lully, Rameau, Rebel, Charpentier, et al.
  • Audio CD (1 May 2012)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Naive
  • ASIN: B006TKK6E0
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 170,175 in Music (See Top 100 in Music)

1. Gretry: Je romps la chaine qui m'engage (L'amant jaloux)
2. Lully: Enfin, J'ai dissipe la crainte (Acis et Galatee)
3. Rameau: L'amour est le dieu de la paix (Anacreon)
4. Rebel/Francoeur: Ouverture (Scanderberg)
5. Campra: Espoir des malheureux (Idomenee)
6. Rebel/Francoeur: Tout est prêt (Scanderberg)
7. Charpentier: a - t
8. Rameau: Sarabande, 3 gavottes, 2 tambourins (Les Fetes de Ramire)
9. Rameau: Je vole, amour (Les Paladins)
10. Gretry: Ouverture (Le Tableau parlant)
11. Favart; Pauvre nise (La Bohemienne)
12. Sacchini: Que l'eclat de la victoire se repande sur vos jours (Renaud)
13. Ramaue: Viens, hymen (Les Indes Galantes)

Product Description

Product Description

The French music of the 17th and 18th centuries has changed my life both literally and metaphorically: having trained as a harpist, I never imagined I might one day embark on a singing career. Nevertheless, in an incredibly fertile profusion of music, a series of encounters led me into this Baroque adventure where imagination and rigour call the tune, and permanently influenced my approach to all kinds of music. The triumph of Love... Beyond that slightly pompous formula lies a less optimistic reality. The god of love, mischievous and implacable by turns, holds humanity in his snares. His triumph is rarely that of his victims. My friend and musical partner Jerome and I delighted in exploring together this territory which, if not entirely virgin land, is always surprising, where the hegemony of mere vocalism is banished, where the apparent antagonism between declamation and music is resolved in a perfect balance. How much Lully's Atys has in common with Debussy's Pelleas et Melisande! With this album, I was keen to return to a repertoire that, like Pandora's Box, opened up every conceivable possibility for me. Sandrine Piau, June 2011


***** Performance **** Recording Piau is surely one of the most seductive interpreters. --BBC Music Magazine October 2012

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Most Helpful Customer Reviews

8 of 8 people found the following review helpful By schumann_bg TOP 50 REVIEWER on 9 May 2012
Format: Audio CD
I did not know any of these arias so I approached this disc with a sense that I might be disappointed after Sandrine Piau's other recordings of plums of the operatic and melodie repertoire. But it actually caught my ear from the very first note and the whole CD is scintillating, full of colour and expression, and moving - really a thrilling sequence that makes you wonder how you can possibly not have known this whole area of French music before. And Piau's delivery has extraordinary range and catches you up in the excitement of the moment. The effect is a bit like standing under a waterfall - not too heavy a fall, but totally exhilarating and refreshing!
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Most Helpful Customer Reviews on (beta) 4 reviews
9 of 9 people found the following review helpful
Piau's Triumph of Love - a real triumph in every sense. 22 May 2012
By Abert - Published on
Format: Audio CD
Sandrine Piau's latest record Le Triomphe de l'Amour is a completely French baroque program, with Les Paladins conducted by Piau's long-term colleague and friend Jérome Correas. Arias by Lully (1632-1687), Rebel (1701-1775), Francoeur (1698-1787), Rameau (1683-1764), Campra (1660-1744), Charpentier (1643-1764), Gretry and Favart, a repertoire representing French opera in the period between Louis XIV and XVI.
Piau, so aptly called France's voice of the Baroque, turns to this rare repertory that is very little known outside of France. The composers range from familiar except for opera (Rameau, Charpentier) to middling obscurities (André Grétry, André Campra) to complete unknowns (Charles-Simon Favart and the collaborative composer team, François Francoeur and François Rebel). The music spans a little more than a century, with the opera Renaud by transplanted Florentine Antonio Sacchini having had its premiere in Paris in 1783. Thereare new discoveries such as Scanderberg by Rebel and Francoeur, or Zingara by Favart are presented alongside masterpieces by Rameau or the astonishing aria A-t-on jamais souffert, for Charpentier's David et Jonathas.
Piau summarizes: "The apparent antagonism between declamation and music is resolved in a perfect balance."
Piau' is at the height of her powers here with her atmospheric virtuosity on ample display such as whispering-like sliding offs of high Cs at several points in the tracks.
But it is the mixture of different moods of the works, and the natural musical expression by the performers of each piece that is the main attraction of this rare set of recordings.
Equally outstanding is the work of the period-instrumental ensemble Les Paladins (named after a Rameau opera) and its conductor, Jérôme Correas: an instrumental group with its language drawn effectively on the conventions of contemporary vocal music. The instrumental pieces, like the Scanderberg overture, are as exciting as the vocal ones, and anyone with the slightest interest in Baroque music and opera cannot afford to miss this release.
3 of 3 people found the following review helpful
AKA "Le Triomphe de Piau" 7 Dec. 2013
By William D. Larson - Published on
Format: Audio CD Verified Purchase
I could, actually, just second all that the previous two reviewers wrote and be done with it. What, if anything, can I add? Piau's voice, though "small", has all I could ask for, really: limpid and unfailing beauty, precise articulation and attacks, effortless coloratura, and even a steely edge when summoned. (OK, no one is perfect: perhaps a very slight weakening in her lower-most register--which even I would categorize as a nitpick.) And soaring over and enwrapping this instrument is an astonishing artistry--always communicative, always the voice at the service of, and shaped by, the text. Just what I want; and just what YOU want as well (take it from yourself).

If you might be expecting music-making that is limp-wristed, delicate, bewigged and perfumed, you will not get that here. Les Paladins under Jerome Correas play with muscle and verve throughout--for me, both startling and refreshing. Winnie Edmunds, of Edmunds Roses, once wrote of the single (five-petal) rose "Dainty Bess", that looking at high-centered fully-double blooms all day at a rose show is "like looking at too many strippers", and so it is a delight to partake, after all that, of a great single like "Dainty Bess". I sometimes feel the same way after listening to too many modern orchestras with their "rich" sound. So listening to Les Paladins and Sandrine Piau is also refreshing of the spirit, on top of the great musical values they project.

A couple of corrections from the previous reviewers: There are four instrumental (only) pieces here, not two (and I would excise none of them); and the music here is not just French baroque but reaches into the classical era as well.

Recommended without qualification. What a joy it is to live in the present era and be able to partake of music such as this!
4 of 6 people found the following review helpful
Forgive Me! Bejun, David, Michael, Max Emmanuel... 29 July 2012
By Giordano Bruno - Published on
Format: Audio CD Verified Purchase
... and all my many highly esteemed falsettist friends, but I don't think you can match this performance by the diminutive Sandrine Piau, not at this repertoire at least, neither the muscular tenderness of her voice nor the gamut of her technique. The repertoire here is pure French, France's greatest musical era, from Lully (1632-1687) to Grétry (1741-1813) by way of Charpentier, Campra, Rameau, Rebel and Favart, and I've never heard it sung more triumphantly. I suppose it's invidious to compare the art of counter-tenors to that of the paragon of women, but that's what rose to the surface of my mind as I listened to this CD. Only Philippe Jaroussky, among male sopranos, can equal Piau's technical virtuosity and even he can't approach her palette of expressive timbres.

The eleven arias of this program explore all the nuances of Love as dramatized in French baroque opera, from virginal rapture to jealous rage to disdain and despair, but there's nothing precieuse about the performance. Conductor Jéróme Correas doesn't hear it that way. His tempi are brisk and resolute, and his orchestra - Les Paladins - is a robust 'force majeure' of nine violins, three violas, four basses, plus two each of oboes, flutes and horns. If you've previously found "French Baroque" emotionally too delicate, this is the performance that might change your impression. The two instrumental tracks -- the ouverture to François Rebel's 'Scanderberg' and the dance suite from Jean-Philppe Rameau's 'Fêtes de Ramire" -- are as rambunctious as any Italian or German works of the same era. Correas is an alumnus of William Christie's ensemble Les Arts Florissants and of Christophe Rousset's Les Talens Lyriques. I have to wonder whether his distinctly forceful style, not unlike that of Emmanuelle Haim, represents a new wave of Baroque interpretation. Certainly I would love to hear Les Paladins under his baton in the pit for a staging of a French opera seria.

This recording was made last October (2011) at La Fondation Royaumont, housed in the grand Abbey Royaumont in Asnières-sur-Oise, near Senlis north of Paris. I'll be there myself, this October 2012. It's worth informing yourself, as a musician and/or as a tourist, about the year-round activities of the Foundation, which offers an on-line newsletter in French. The region of Oise features such wonders as the gothic cathedral of Senlis and the national forest of Chantilly.
0 of 7 people found the following review helpful
Scam 22 May 2014
By Peter H. Denton - Published on
Format: Audio CD Verified Purchase
NAIVE CDs do not work on certain american CD players. My vendor classical music superstore knew this and sold me the product nevertheless. And has stonewalled me. I guess I could use it as a kind of miniature frisbee. I guess one dissatisfied customer is part of the cost of doing business.
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