Customer Reviews

Lully - Atys

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It is said that this opera was written by the Italian composer Lully for the famous sun king Louis XIV and that he so identified with the obscure mythical origin that he wept at the end. I have seen engravings of the grand event; it was staged in the inner court at a young Versailles, with thousands of candles. And only the king could sit on a chair with a back! They restaged this when I was in college, and I read that people still were sitting on benches to watch the 4.5 hour opera, and loving it.

It may take a little getting used to and is a bit of a culture shock, but there are many lilting melodies, charming and graceful arias, entrees, gavottes, and overall I miss this opera much (it was stolen from my trunk). The music is baroque, early baroque, played on period instruments that give a shimmering quality to the music that I find most charming and unusual. The singers also have been trained to sing with the shimmering trills of the period. I particularly like the counter tenors, which is basically the highest tenors singing falsetto.

For some reason Louis XIV identified with the protagonist: an exceptionally good and comely man, whom the earth godess falls in love with. She elevates him to the position of high priest over more qualified persons. He falls in love with his rivals' daughter, and when Cybele finds out, she castrates him. He laments his fate, kills himself, and when he dies, she turns him into a tree.

If you like baroque opera, this is a gem. But not for the unsophisticated.

This is a great recording, maybe not as great as some of the most recent Christie opera recordings, but distinguished nevertheless. Guy de Mey's singing is a bit too nervous for my tastes, but he gets it pretty close to the French baroque high tenor sound which is expected in a role like that. Later, Christie will get better tenors, first tapping more extensively into the talents of Jean-Paul Fouchecourt (who is present here in a small role), and then enlisting a couple of English guys (Padmore, Agnew and even Bostridge - who can compare with this lineup!). But in 1987, Les Arts Florissants already boasted a strong cast of performers. Agnes Mellon is marvellous. Too bad that she later somehow disappeared from Christie's universe. The most famous, and by far the most beautiful scene in the entire opera is the Scene du Sommeil. It is one of the most captivating quartets you will ever hear in your life. I also relished the scene Que l'on chante, que l'on danse with Sangar and the chorus of gods. Sangar is sung here by Bernard Deletre, who was reportedly recruited into baroque music by Christie himself. If that is true, I applaud Christie for catching Deletre because he is one of the most outstanding basses I've ever heard. Atys has a lot of beautiful music and a lot of beautiful performances - don't miss it!

William Christie runs a very tight ship used to marvellous effect. I discovered this production thanks to un unforgettable live performance. The record reflects excellently that wonderful day although, unfortunately, the scene is missing. If you like baroque opera, this is a must.

The previous reviewers have said it all and have said it very well. Anyone who loves Baroque opera and enjoys the works of Handel and Vivaldi will, I am sure, love this work. Lully's works are vastly different from those two greats, his work is distinctively French (although Lully was Italian). It is brilliant and exciting. Christie has no peer and for Atys he has assembled a cast which absolutely beggars the imagination. He seems to have recruited every great singer of French Baroque music right down to the minor roles. It is three hours of listening pleasure.

I am biased because I saw this opera produced live in 1992, and that experience is seared in my memory . . . until William Christie and Les Arts Florissants decide to stage the opera again or release a video recording, I will have to satisfy myself with this wonderful, precise and beautiful recording. Is it possible to wear out a CD? I am not sure, but I bet I am coming close! With every listen, I can vividly remember scenes from the live production.

For the listener who is not familiar with Les Arts Florissants: this is one of the truly outstanding recordings of Baroque opera. It may not be as accessible as Handel or Vivaldi, but the French Baroque composers will reward attentive listening. The length of the piece and the chromatic harmonies may be daunting, but there are some moments in the final acts that come as close as you can get to real catharsis.

For some, this music may not be easy listening, and so I might recommend the recording of Charpentier's Medée, recorded by the same group at around the same time.

I listened to this recording very frequently when I worked in a Melbourne music shop in the late '80s & early '90s. It bought it and I have enjoyed it ever since. It is a masterpiece and I am certain that Jean-Baptiste Lully is one of the greatest composers of opera in history.

The cast of Atys is first class and many will recognise names amongst the chorus and orchestra - John Holloway (violin), Christoph Rousset (harpsichord), Stephen Stubbs (lute), Marc Minkowski (bassoon), Véronique Gens (soprano), Hervé Niquet (tenor), etc. Yes, even the "rank & file" members of the cast of Atys are that good!

The whole thing is glorious and beautiful from start to finish. Listen "La Sommeil" from Acte III (track 9, disc 2) and you'll be hooked!

A triumph for William Christie and Les Arts Florissants and one of the best recordings they made for Harmonia Mundi France. Sadly, they have recorded less Lully ever since.

The music of Lully has a resonance all of its own. It is unmistakable - elegant, graceful, almost sorrowful in its beauty, full of French baroque ornaments and distinctive falling figures. It lends itself wonderfully to good baroque singers, making them sound ravishing if they will but sing with shimmering and creamy purity right into the centre of each note, and if they will utilise the correct style for this genre of singing.

This opera is a grand and spectacular achievement. The music is Lully at his best - the plot is magnificent on a royal scale.

With William Christie conducting, the style is, as one would expect, impeccable. The playing of Les Arts Florissant is glorious. And most of the singers on this recording are splendid indeed - some of the finest exponents of French baroque singing.

But... there is a substantial "but".

Guillemette Laurens was once a very good singer of this style of music, I believe. But the tone appears to have deterioriated to the point where I feel uncomfortable listening to her. I have tried to do so on numerous occasions... and each time I think I can see the stylishness of her attempted portrayal, although I do not think she's attained what she strove to portray - certainly not in this recording, and in several others. The voice has a vibrato that is uncontrolled, and a sour quality to the timbre that does it no service. Style-wise, yes, I could appreciate it... but as far as timbre goes... no.

And I'm afraid that for me, timbre and style are two necessary components that simply cannot please unless both are present and functioning beautifully.

This recording is thus hampered by the singing of one pivotal role.

In every other respect, it's a gorgeous recording. I do recommend it, but I can also say that I am eagerly waiting to see if there will be a new recording with, perhaps, Veronique Gens or Mireille Delunsch in the role which Ms Laurens sings here.