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  • Rameau - Hippolyte et Aricie / Padmore, Panzarella, Hunt, Naouri, E. James, Petibon, Mechaly, Delunsch, Les Arts Florissants, Christie
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Rameau - Hippolyte et Aricie / Padmore, Panzarella, Hunt, Naouri, E. James, Petibon, Mechaly, Delunsch, Les Arts Florissants, Christie Box set

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Audio CD, Box set, March 18, 1997
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Product Details

  • Performer: Mark Padmore, Lorraine Hunt Lieberson, Laurent Naouri, Anna Maria Panzarella, Nathan Berg, et al.
  • Orchestra: Les Arts Florissants
  • Conductor: William Christie
  • Composer: Jean-Philippe Rameau
  • Audio CD (March 18, 1997)
  • SPARS Code: DDD
  • Number of Discs: 3
  • Format: Box set
  • Note on Boxed Sets: During shipping, discs in boxed sets occasionally become dislodged without damage. Please examine and play these discs. If you are not completely satisfied, we'll refund or replace your purchase.
  • Label: Alliance
  • ASIN: B000005E4S
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #371,264 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews

53 of 56 people found the following review helpful By "hcf" on November 25, 1999
Format: Audio CD
As you know, there are two historically informed recordings of Hippolyte: the Minkowski and the Christie. There is also an older recording (not a period performance) with Janet Baker and John Shirley-Quirk, but that one's been out of print for years. I also have a CD in which the great Placido Domingo bellows Ah! Faut-il, but I will spare you my complaints about how "inauthentic" it sounds. For a genuinely authentic Hippolyte, listen to this recording. As far as the role of Hippolyte goes, it is difficult to choose between the Minkowski and the Christie. I'm a big fan of both Jean-Paul Fouchecourt's and Mark Padmore's, although, having listened to them in numerous other recordings, I must say that as Hippolyte neither turns in the performance of his career. However, both are splendid stage actors (speaking from a firsthand experience), so if you notice an occasional vocal flaw in the relatively disembodied atmosphere of a studio recording, I guarantee you, you wouldn't notice it if you were watching these singers live. Tenors aside, I prefer the Christie. He chooses the first, the original, version of Hippolyte, while Minkowski opts for the second remake. The difference is the most evident in the stunning second act - the descent of Tesee into the underworld. Les Arts Florissants as an ensemble, headed by a haute-contre Tisiphone, are much more expressive in this scene, than the Minkowski group. Christie really knows how to make these underworld scenes unfogettable: witness his skill in the invocation of evil spirits in Medee or his poignant rendition of Charpentier's La Descente d'Orphee aux Enfers. Laurent Naouri as Tesee is incomparable in Puisque Pluton, aided by Christie's imaginative split-second pauses in the flow of the aria.Read more ›
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13 of 14 people found the following review helpful By A Customer on June 17, 1999
Format: Audio CD
If there was one opera work by Rameau to own, this lyric tragedy is THE one. Two characters are worth every praise: Phèdre and Thésée. Naouri in his exceptional aria "Puisque Pluton" is such a moving character, cursed to kill his own son with the help of gods (well not quite so, but he is not supposed to know). The aria in itself is a master work by Rameau (I believe it is his first official opera at an old age, whereas he always wanted to create one). And of course, "Quelles plaintes en ces lieux m'appellent?" is a scene to listen to till the end of times. Lorraine Hunt (with her mezzo/soprano voice) is a woman in fury, so proud to be the daughter of the Sun, so wounded by Love, trapped into her fantasies and acts. Just as Christie has written it, I have listened to this scene time and time again...
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Format: Audio CD
For audiences who languish through the long hours in small opera houses around the world for productions of the works by Jean-Philippe Rameau ten this recording of HIPPOLYTE ET ARICIE is sure to delight. William Christie and his orchestra and chorus who go by the collective name of Les Arts Florissants do wonders with works of this sort (the audiences who have witnessed his wondrous reading of The Messiah can attest to this) and this recording is one of his loveliest.

The playing and singing of the ensemble is light and air-borne and Christie has assembled a splendid cast who breathe life into this rather redundant mythological tale. Tenor Mark Padmore and mezzo-soprano Lorraine Hunt (now Lorraine Hunt Lieberson) are especially outstanding but there really isn't an insecure voice in this cast. The singing is in the style of Rameau's period - graceful, fluid, well embellished, and artsy! In every way this performance is a period piece and as such it is probably as fine as a performance of the opera as we're likely to hear.

For lovers of baroque music this elegant and wistfully executed performance of Rameau, France's greatest baroque composer, is a must. Highly recommended. Grady Harp, June 05
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5 of 5 people found the following review helpful By Abert TOP 1000 REVIEWER on September 13, 2012
Format: Audio CD
RAMEAU Hippolyte et Aricie - (Cast) Mark Padmore (ten) Hippolyte; Anna-Maria Panzarella (sop) Aricie; Lorraine Hunt Lieberson (mezzo) Phèdre; Laurent Naori (bass bari) Thésée; Eirian James (mezzo) Diana; Gaëlle Mechaly (sop) L'Amour, Female Sailor; Nathan Berg (bass) Jupiter, Pluton, Neptune; Katalin Karolyi (mez) Oenone; Yann Beuron (ten) Areas Mercure; Francois Piolino (ten) Tisiphone; Christopher Josey (ten) Fate I; Matthieu Ikeroart (bar) Fate II; Bertrand Bontoux (bass) Fate III; Mireille Delunsch (sop) High Priestess; Mechaly (Cupid/Sailor Girl); Patricia Petibon (Priestess/Shepherdess); William Christie conducting the Les Arts Florissants
This recording of Hippolyte et Aricie was made in Paris at the Salle Wagram in 1996, following performances the year before at the Palais Garnier.
This Sylvie Bouis-sou's edition, trumps Minkowski/Musiciens du Louvre (Archiv 001572102)'s version in terms of authenticity, as one reviewer already noted, in restoring much but not all recitatives, in an attempt to get at what Rameau wanted before being forced to make concessions for the performance of his first opera. The most significant variation occurs at the end of the work, where conductor William Christie includes some recitative, a short air, and a reprised chorus that aren't in Minkowski. The differences between the two versions are such that it is difficult to follow the Christie version with Minkowski's libretto. This reissue by Warner, however, is without the libretto, which is the greatest downside of this release.
Despite the opera's title, the main protagonists are Theseus and his queen Phaedra, whose guilty passion for her `son' Hippolytus precipitates the tragedy (even though there is a happy ending for the eponymous pair).
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