Prologue, Scene 1. Ariette: 'Regnez, Plaisirs, Regnez' - Mireille Delunsch
Prologue, Scene 1. Air Pour Les Plaisirs (Gai Et Gracieux) - Chor Des Musiciens Du Louvre/Marc Minkowski
Prologue, Scene 1. 'Je Veux Que Sous Mes Lois'/Duo: 'Plaisirs, Enchainez-Les' - Francoise Masset/Mireille Delunsch/Chor Des Musiciens Du Louvre/Marc Minkowski
Prologue, Scene 1. Air Pour Les Plaisirs (Tres Vif) - Chor Des Musiciens Du Louvre/Marc Minkowski
Prologue, Scene 1. 'Quel Calme!' - Mireille Delunsch
Prologue, Scene 1. Air: 'Brisez Vos Fers' - Mireille Delunsch
Prologue, Scene 1. Prld Et Choeur: 'Nos Mains Forgent Les Traits' - Chor Des Musiciens Du Louvre/Marc Minkowski
Prologue, Scene 1. 'C'en Est Trop' - Mireille Delunsch
Prologue, Scene 1. Air: 'Troubles Cruels' - Mireille Delunsch
Prologue, Scene 1. Ariette: 'Quand L'aquilon Fougueux' - Mireille Delunsch
Prologue, Scene 2. Marche Pour Les Differentes Nations (Gai)/Choeur Des Differentes Nations: 'Par... - Les Musiciens Du Louvre/Marc Minkowski
Prologue, Scene 2. Air Gracieux (Sans Lenteur) 'L'Amour, Le Seul Amour' - Chor Des Musiciens Du Louvre/Marc Minkowski
Prologue, Scene 2. Menuet Tendre En Rondeau - Les Musiciens Du Louvre/Marc Minkowski
Prologue, Scene 2. Premier Tambourin/Deuxieme Tambourin (Reprise) - Les Musiciens Du Louvre/Marc Minkowski
Prologue, Scene 2. 'Pour Celebrer Ce Jour Heureux' - Francoise Masset
Prologue, Scene 2. Reprise De L'Ov - Les Musiciens Du Louvre/Marc Minkowski
Act One, Scene 1. Prld Et Air: 'Cesse, Cruel Amour' - Veronique Gens
Act One, Scene 2. 'Ma Fille, Enfin Le Ciel Seconde Mon Courroux' - Russell Smythe
Act One, Scene 3. 'Par Des Noeuds Solennels'/Duo: 'Manes Plaintifs, Tristes Victimes' - Russell Smythe
Act One, Scene 3. Choeur Des Peuples Et Des Guerriers Phrygiens: 'Par Des Jeux Eclatants' - Chor Des Musiciens Du Louvre/Marc Minkowski
Act One, Scene 3. Entree Pour Les Guerriers (Majestueux) - Les Musiciens Du Louvre/Marc Minkowski
Act One, Scene 3. Air (Vif)/Ariette: 'Allez, Jeune Guerrier' - Les Musiciens Du Louvre/Marc Minkowski/Jean-Louis Bindi
Act One, Scene 3. Premier Rigaudon - Les Musiciens Du Louvre/Marc Minkowski
Act One, Scene 3. Deuxieme Rigaudon/Choeur Des Peuples Et Des Guerriers Phrygiens... - Les Musiciens Du Louvre/Marc Minkowski
Act One, Scene 3. 'Mars, Bellone, Guidez Nos/Leurs Coups'... - Laurent Naouri/Chor Des Musiciens Du Louvre/Marc Minkowski
Act One, Scene 4. 'Je Cede Au Trouble Affreux' - Veronique Gens
Act Two, Scene 1. Ritournelle: 'Tout L'avenir Est Present A Mes Yeux' - Jean-Philippe Courtis
Act Two, Scene 2. 'On Vient ... C'est Dardanus' - Jean-Philippe Courtis/John Mark Ainsley
Act Two, Scene 3. 'Entendez Ma Voix Souveraine'/Choeur Des Ministres D'Ismenor... - Chor Des Musiciens Du Louvre/Marc Minkowski
Act Two, Scene 3. Air (Grave) - Les Musiciens Du Louvre/Marc Minkowski
Act Two, Scene 3. 'Suspends Ta Brillante Carriere' - Jean-Philippe Courtis
Act Two, Scene 3. Air (Vif) - Les Musiciens Du Louvre/Marc Minkowski
Act Two, Scene 3. 'Nos Cris Ont Penetre Jusqu'au Sombre Sejour' - Jean-Philippe Courtis
Act Two, Scene 3. 'C'en Est Fait' - Jean-Philippe Courtis
Act Two, Scene 3. Choeur Des Ministres D'Ismenor: 'Obeis Aux Lois Des Enfers' - Chor Des Musiciens Du Louvre/Marc Minkowski
Act Two, Scene 5. Prld: 'Je La Vois' - John Mark Ainsley/Veronique Gens
Act Two, Scene 5. Gravement: 'Par L'effort De Votre Art Terrible' - Veronique Gens/John Mark Ainsley
Act Two, Scene 5. Air: 'D'un Penchant Si Fatal' - Veronique Gens
Act Two, Scene 5. 'Dieux! Qu'exigez-vous De Mon Zele?' - John Mark Ainsley/Veronique Gens
Act Two, Scene 6. 'Elle Fuit! ... Mais J'ai Vu Sa Tendresse' - John Mark Ainsley
Act Two, Scene 6. Entracte: Bruit De Guerre - Les Musiciens Du Louvre/Marc Minkowski
Track Listings (36) - Disc #2
Act Three, Scene 1. Prld (Sans Lenteur)/Air: 'O Jour Affreux!' - Veronique Gens/Les Musiciens Du Louvre/Marc Minkowski
Act Three, Scene 2. 'Princesse, Enfin La Paix Va Combler Mon Attente' - Laurent Naouri/Veronique Gens
Act Three, Scene 2. Choeur Des Phrygiens: 'Que L'on Chante, Que L'on S'empresse'/Recitatif... - Laurent Naouri/Veronique Gens
Act Three, Scene 3. Air En Rondeau (Gai)/Duo Avec Choeur En Rondeau: 'Paix Favorable, Paix Adorable' - Les Musiciens Du Louvre/Marc Minkowski/Francoise Masset/Jean-Louis Bindi/Chor Des Musiciens Du...
Act Three, Scene 3. Premier Menuet/Deuxieme Menuet En Rondeau: Air: 'Volez, Plaisirs, Volez' - Les Musiciens Du Louvre/Marc Minkowski/Magdalena Kozena
Act Three, Scene 3. Premier Tambourin/Deuxieme Tambourin (Reprise) - Les Musiciens Du Louvre/Marc Minkowski
Act Three, Scene 4. 'Cessez Vos Jeux' - Russell Smythe/Laurent Naouri
Act Three, Scene 4. Choeur Des Phrygiens: 'Allez, Et Remportez Une Illustre Victoire' - Chor Des Musiciens Du Louvre/Marc Minkowski
Act Four, Scene 1. Prld Et Air: 'Lieux Funestes' - John Mark Ainsley
Act Four, Scene 1. Ritournelle (Gracieusement Et Un Peu Gai) - Les Musiciens Du Louvre/Marc Minkowski
Act Four, Scene 1. 'Malgre Le Dieu Des Mers' - Mireille Delunsch
Act Four, Scene 1. Prld Et Air: 'Venez, Songes Flatteurs' - Mireille Delunsch
Act Four, Scene 2. Sommeil (Rondeau Tendre) - Les Musiciens Du Louvre/Marc Minkowski
Act Four, Scene 2: Trio Avec Choeur En Rondeau: 'Par Un Sommeil Agreable' - Magdalena Kozena/Jean-Francois Lombard/Marcos Pujol/Chor Des Musiciens Du Louvre/Marc Minkowski
Act Four, Scene 2. Air (Tres Vif) - Les Musiciens Du Louvre/Marc Minkowski
Act Four, Scene 2. Air: 'Un Monstre Furieux Desole Ce Rivage' - Magdalena Kozena/Jean-Francois Lombard/Marcos Pujol
Act Four, Scene 2. Air: 'Ah! Que Votre Sort Est Charmant' - Magdalena Kozena/Jean-Francois Lombard/Marcos Pujol
Act Four, Scene 2. Calme Des Sens (Air Tendre) - Les Musiciens Du Louvre/Marc Minkowski
Act Four, Scene 2. Gavotte Vive - Les Musiciens Du Louvre/Marc Minkowski
Act Four, Scene 2. Air De Triomphe (Vivement)/Trio Des Songes Et Choeur Des Phrygiens: 'Il Est... - Les Musiciens Du Louvre/Marc Minkowski
Act Four, Scene 3. 'Ou Suis-Je!' - John Mark Ainsley
Act Four, Scene 3. Ariette: 'Hatons-nous; Courons A La Gloire' - John Mark Ainsley
Act Four, Scene 4. Prld: 'Voici Les Tristes Lieux' - Laurent Naouri
Act Four, Scene 4. Tempete: 'Quel Bruit! Quelle Tempete Horrible!' - Laurent Naouri/John Mark Ainsley
Act Four, Scene 5. 'Mon Rival Va Perir'/Recitatif: 'Le Monstre Est Abattu': Quel Est Donc Le Heros.. - John Mark Ainsley/Laurent Naouri
Act Five, Scene 1. Ritournelle Et Choeur Des Phrygiens: 'Antenor Est Victorieux' - Chor Des Musiciens Du Louvre/Marc Minkowski/Russell Smythe/Laurent Naouri/Veronique Gens
Act Five, Scene 2. 'N'en Doute Point; C'est Dardanus Lui-meme' - John Mark Ainsley/Laurent Naouri/Veronique Gens/Russell Smythe
Act Five, Scene 3. 'Mais Un Nouvel Eclat Embellit L'univers' - Russell Smythe
Act Five, Scene 3. 'Teucer, Bannissez Pour Jamais La Vengeance Et La Haine' - Mireille Delunsch/Russell Smythe
Act Five, Scene 3. Duo: 'Des Biens Que Venus Nous Dispense' - Veronique Gens/John Mark Ainsley
Act Five, Scene 3. Air Pour Les Plaisirs (Gai)/Choeurs De Amours: 'Nous Quittons... - Chor Des Musiciens Du Louvre/Marc Minkowski
Act Five, Scene 3. Gavotte (Gracieusement)/Air: 'C'est La Constance' - Les Musiciens Du Louvre/Marc Minkowski/Francoise Masset
Act Five, Scene 3. Ariette: 'Pour La Fete Ou L'on Vous Appelle' - Mireille Delunsch
Act Five, Scene 3. Gigue (Vivement) - Les Musiciens Du Louvre/Marc Minkowski
Act Five, Scene 3. Chaconne - Les Musiciens Du Louvre/Marc Minkowski
If there was any composer who could fit music to the special effects called for by the conventions of the French baroque tragédie lyrique, it was Jean-Philippe Rameau (patron saint of the late bloomers, who composed h... more »is first operatic masterpiece, Hippolyte et Aricie, at age 50). In the lesser-known Dardanus, Rameau's librettist provided plenty of such opportunities. In fact, he curiously goes beyond the French Age of Reason penchant for Greek myth by inventing his own prehistory for the mythic hero Dardanus (eventual founder of Troy). The story of rival factions, divine interventions, and love triumphing over obstacles political and personal clearly inspired some of Rameau's most adventurous musical evocations (just one example might be the fascinating harmonic language he uses to depict a magician commanding an eclipse). It's this spirit of daring experiment that Rameau expert Marc Minkowski relishes throughout this magnificent, high-octane, deftly tailored account. He fires the authentic-instrument group Les Musiciens du Louvre into his customary whiplash speeds, which are just perfect for the air of martial excitement that prevails, while the many dance-centered numbers have a muscular grace. The result in general is some of his best work to date on disc, with a special emphasis on the through line of the score. The cast is spectacular--young in demeanor, passionate, and superbly fluent in the idiom. Consider the vocal acting of Véronique Gens as the conflicted heroine Iphise (in love with her father's enemy), with its rich emotional involvement; there's an exciting chemistry between her and the title hero John Mark Ainsley, who gently tapers his vibrato into a beautifully nuanced tenor--now forlorn and outcast, now assertively heroic. Less satisfying is Laurent Naouri's inconsistently projected lower range as the antihero Anténor. The chorus has been beautifully prepared. For this recording, Minkowski uses Rameau's original 1739 version, with some interpolations of especially compelling material from the slimmed-down 1744 revision. --Thomas May« less
If there was any composer who could fit music to the special effects called for by the conventions of the French baroque tragédie lyrique, it was Jean-Philippe Rameau (patron saint of the late bloomers, who composed his first operatic masterpiece, Hippolyte et Aricie, at age 50). In the lesser-known Dardanus, Rameau's librettist provided plenty of such opportunities. In fact, he curiously goes beyond the French Age of Reason penchant for Greek myth by inventing his own prehistory for the mythic hero Dardanus (eventual founder of Troy). The story of rival factions, divine interventions, and love triumphing over obstacles political and personal clearly inspired some of Rameau's most adventurous musical evocations (just one example might be the fascinating harmonic language he uses to depict a magician commanding an eclipse). It's this spirit of daring experiment that Rameau expert Marc Minkowski relishes throughout this magnificent, high-octane, deftly tailored account. He fires the authentic-instrument group Les Musiciens du Louvre into his customary whiplash speeds, which are just perfect for the air of martial excitement that prevails, while the many dance-centered numbers have a muscular grace. The result in general is some of his best work to date on disc, with a special emphasis on the through line of the score. The cast is spectacular--young in demeanor, passionate, and superbly fluent in the idiom. Consider the vocal acting of Véronique Gens as the conflicted heroine Iphise (in love with her father's enemy), with its rich emotional involvement; there's an exciting chemistry between her and the title hero John Mark Ainsley, who gently tapers his vibrato into a beautifully nuanced tenor--now forlorn and outcast, now assertively heroic. Less satisfying is Laurent Naouri's inconsistently projected lower range as the antihero Anténor. The chorus has been beautifully prepared. For this recording, Minkowski uses Rameau's original 1739 version, with some interpolations of especially compelling material from the slimmed-down 1744 revision. --Thomas May
CD Reviews
Vrai Francais...
Melanie Eskenazi | Cheam UK | 07/27/2000
(5 out of 5 stars)
"Rameau, Dardanus.This superb recording should please both those who consider themselves "Ramistes" and those who simply enjoy pre - 19th century music. Previous recordings of Rameau have always seemed to me to be rather dull, but this one is full of energy and commitment and directed with flair.The cast is generally a good one, and in the case of the eponymous hero, sublime, and Minkowski obtains playing of real verve from his orchestra; the choral singing is incisive throughout. The part of the heroine, Iphise, is sung by the flavour-of-the-month soprano, Véronique Gens, and she never fails to give pleasure with her lovely tone, although her manner of address does not seem to me quite distinctive enough for a Rameau heroine, and her sense of the words is at times rather generalized. Her would - be lover Antenor is sung by Laurent Naouri, who gives a nobly dramatic account of "Monstre Affreux," and the wizard Ismenor is taken with credible sympathy by Jean-Philippe Courtis. Mireille Delunsch enjoys herself in the soubrette - ish role of Venus, and the much - hyped Magdalena Kozená turns up in a couple of smaller parts.The finest singing on the recording is, appropriately, by the Dardanus, John Mark Ainsley, who takes himself completely seriously in the role - there is none of the tongue-in-cheek attitude that afflicts some singers in such parts, and he is equally credible as the conquering hero and the forlorn lover. His singing is always lyrical, his French completely idiomatic and his mastery of the complex music absolute, but it is his attention to words which gives the purest delight; at every turn one is startled by some grace in delivery or some nuance of phrasing - the little air "D'un Amant empressé lui parler le langage" is full of these, and his scene with Iphise is heart-rendingly done - "Vous fuyez, inhumaine" is an especially poignant moment. There were one or two instances in his performance where I found myself wondering if his tone, with its distinctive sweetness, were not hardening a little, and if he is not doing too much of the wrong kind of music for him; his recent Lensky at ENO had wonderful moments but he struggled to rise above the orchestra during the aria. On the evidence of the present recording, he should perhaps be preparing to take on the mantle of the French classical tenor of our time, in such roles as Admetus and Pylades - amazing, really, to be able to say this about an English singer! This "Dardanus" is fresh, vital and fascinating, combining the best virtues of live performance with an utterly precise sound. Fully deserving of five stars."
Another Rameau gem
J. Luis Juarez Echenique | Mexico City | 05/10/2000
(5 out of 5 stars)
"After listening to DG's new Manon Lescaut, it is obvious that there are no decent Puccini tenors around, but while listening to this new Dardanus it also was obvious that these baroque operas are the real glory of our time. This is not the first recording of Dardanus, there was a 1977 recording in ERATO with a marvelous cast that included Frederica von Stade, Christiane Eda-Pierre and Jose van Dam, but it was incompetently conducted by Raymond Leppard with an inadequate modern-instrument orchestra. Now we are fortunate to have a very good and stylish period-orchestra recording from Radio France. John Mark Ainsley is certainly a better Rameau tenor than Jose Cura is a Puccini one. Veronique Gens is exquisite as usual and the rest of the cast is admirable, even if we miss the great Jose van Dam. If you have never heard a Rameau opera, you are missing a lot to put it mildly. Here is France greatest composer in all his glory."
Very Nice
David Leeson | 05/09/2000
(5 out of 5 stars)
"This is a very nice live recording of one of Rameau's lesser-known operas. The story is fairly typical of French Baroque opera. Dardanus, son of Jupiter and Electra, has been waging war against the Kingdom of Phrygia, but has fallen in love with King Teucer's daughter, Iphise. Iphise secretly loves Dardanus too, but Teucer has promised her to his ally Antenor, who helps the Phrygians defeat Dardanus in battle. Dardanus is captured, but before Teucer can sacrifice him to the gods a sea monster appears and ravages the Phrygian coast. Antenor departs to battle the monster, but the gods intervene and release Dardanus from prison. Dardanus is transported to the sea coast, defeats the monster, and saves Antenor's life. Antenor, who does not recognise his rescuer, promises to grant Dardanus any favour within his power: you can probably guess the rest. Minkowski has chosen to perform the 1739 version with a couple of additions from the revised version of 1744, most notably Dardanus's Act IV prison air "Lieux funeste." This was a good choice, since "Lieux funeste" is one of the best parts of the performance. Other memorable moments include the Chorus of Dreams in Act IV, Scene 2 and the striking war dance in Act 1, Scene 3, "Mars, Bellone, guidez nos/leur coups." It's all good, however. The many choruses and dances, one of French Baroque opera's best features, are excellent, but the soloists shine as well. I was a little apprehensive about buying a live recording, but the sound quality is excellent. If you're a "Ramiste" like myself, you will definitely enjoy these discs."
Best recording of a Rameau opera to date
Walter Fekula | New York, NY USA | 01/04/2001
(5 out of 5 stars)
"This certainly is not Rameau's finest opera, but this recording is marvelous. This was on my Amazon "wish list" and when I played it , I was very, very impressed with the excitement Maestro Minkowski generates from his orchestra. All 154 minutes of the 2 CD set are a pleasure to listen to. The Archiv (Deutche Grammophon) engineers have done a superb job in capturing the liveliness of the performance. The soloists are first rate, especially Veronique Gens. Rameau is gaining in prestige ( New York City Opera is staging his works) and this recording certainly will enhance his popularity."
Bravo Me Minkowski!
Marc Billon | France | 08/08/2002
(5 out of 5 stars)
"This is one of the best 18th century french opera recording you can acquire.
Do not hesitate."