horizontal line

Sabine Devieilhe’s voice is beautifully clear and full, cultured but young and natural, lyrical and agile; if it doesn’t have the womanly transcendence and depth of a Piau it is still a creation of shapely musicianship, constantly engaged with the words. Likewise the accompaniments by Les Ambassadeurs, led by Alexis Kossenko, are lively, engaged, thought-out and beautifully balanced. The idea of this pasticcio is a journey through love’s delights and torments expressed through bits and bobs culled from Rameau’s operas; as usual with this composer you are blown away by his imagination, the sounds, the variety, the orchestration, before realising he is actually at his best when most restrained and not showing off– as with ‘Viens hymen’, the layered contrapuntal loveliness of ‘Coulez, mes pleurs’ and the passionately sad ‘Tristes apprets’. Devieilhe is equal to them all, and displays faultless coloratura too in the Air de la folie from Platée. The dances are fun, the freaky sounds of old instruments and the fantasy of skirling flutes a delight; if things pall it’s only because it lacks the shape and variety of a true opera.

Robert Thicknesse Read the full review on Agora Classica

   Read full review   

To continue reading, please upgrade to a premium account. You will have immediate full access.

Read more classical music reviews online here:

Opera Now, 2014 - ©Rhinegold Publishing