Musik / operafilm

Hippolyte et Aricie


Anmeldelser (11)


The guardian

d. 18. nov. 2021

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Andrew Clements (musikanmelder)

d. 18. nov. 2021

"The stylish staging ... is a busy mix of ancient and modern, and it's an outstanding show musically. Elsa Benoit as Aricie sets the vocal standard with her gorgeous opening aria; Reinoud van Mechelen's Hippolyte and Stéphane Degout's Thésée match her, while the chorus and period band of Pygmalion under Raphaël Pichon are wonderfully committed, too".


MusicWeb international

2022 February

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Mike Parr (musikanmelder)

2022 February

"Jean-Philippe Rameau's earliest opera Hippolyte et Aricie has certainly become his most successful work on recordings ... There is a special air of dedication which seems to infuse the performances of just about everyone involved in this production ... The resurgence of pandemic cases forced the closure of the theaters in France just as this was ready to reach the premiere. The company and the media sponsors decided to go ahead and stage the opera in the empty house ... This results in a rather strangely touching film of the curtain calls, with all of the artists, chorus, orchestra and extras seen standing silently in the empty auditorium to the sound of a superimposed applause track ... Vocally there are some real standout performances here ... Foremost among them is Stéphane Degout's superb assumption of Theseus ... The Ensemble Pygmalion are in fine form for their leader Raphaël Pichon. He directs the score with an admirable clarity that doesn't forget to add touches of individual flair here and there throughout this long score".


Klassisk

2022, nr. 67

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Mikael Garnæs

2022, nr. 67

"Hippolyte et Aricie er et af mesterværkerne i den franske barokopera ... Dels bygger operaen på et virkelig godt forlæg, Racines tragedie 'Phèdre', dels er Rameaus musik af højeste klasse ... Denne version fra Opéra Comique i Paris er en fornøjelse at se på, med en spændende iscenesættelse og musikere og sangere fra den øverste hylde ... Optagelsen med håndholdte kameraer bringer mange af de mere subtile detaljer, som ofte går tabt, frem i lyset. Dirigent Raphaël Pichon, koret og periodeorkestret Pygmalion gør det fremragende ... Også sangerholdet er fornemt. I titelrollerne er Reinoud van Mechelen ubesværet velklingende i det højtliggende tenorparti som Hippolyte og Elsa Benoit smukt syngende som hans elskede Aricie".


BBC music magazine

2022 February

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Berta Joncus

2022 February

"Opera choice: Here's a captivating, glorious performance, complemented by Jeanne Candel's cheeky yet sensitive stage direction brought home through innovative cinematography ... The principals embody the drama played out by their characters ... But it is mezzo soprano Lea Desandre, in four different roles, who shines brightest. In the daring soft-coloratura pastoral air with which Rameau closed the opera, Desandre ascends with apparent ease into the stratosphere. Raphaël Pichon aids plot coherence by joining up solo verse lines in unexpected ways and licensing instrumental interventions in the action".


Klassisk

2014, nr. 35

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Mikael Garnæs

2014, nr. 35

"Denne Glyndebourne-udgave er bestemt værd at se og høre. Under ledelse af William Christie spilles og synges der klart, disciplineret og vitalt ... Orkestret med periodeinstrumenter omfatter både luftige fløjter, der efterligner nattergalens sang, brølende naturhorn i jagtscenerne ... Helt i barokoperaens ånd giver instruktøren Jonathan Kent os en hel masse spektakulære scenebilleder at se på ... En klar anbefaling".


BBC music magazine

2014 October

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Anna Picard

2014 October

"Jonathan Kent ... favouring an eclectic mixture of the contemporary and the Baroque ... Four performances of great integrity [Degout, Conolly, Lyon, Karg]. Under William Christie, the orchestra ... delivers musky strings, beguiling recorders, meaty bassoons ... The choral singing is excellent".


BBC music magazine

2015 January

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Jan Smaczny

2015 January

"As a whole, Ivan Alexandre's production is appropriately stately and Antoine Fontaine's set seems superbly authentic ... The drama in the first act coalesces around Sarah Connolly's powerful Phèdre, and Stéphane Degout's resonant Thesee dominates much of the remaining acts. Emmanuelle Haïm's musical direction is taut, insightful and expressive, and Le Concert d'Astrée play like a dream ... A slighty mixed bag, but in general this is a very creditable presentation of a masterpiece".


Fono Forum

2022 Juni

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Manuel Brug

2022 Juni

"Pichon hat sich für die 1757er-Revision entschieden, sie verknappt und umgestellt. So tritt die Essenz der Geschichte ohne allzu viel schmückendes Barock-Divertissement zu Tage ... So beliebig und hässlich leer die szenische Zurichtung Jeanne Candels zwischen Treppen, Gipsköpfen, Putzkolonnen und Irrenhaus ohne jeden inhaltlichen Mehrwert ist, so spannungsvoll facettenreich erweist sich die musikalische Seite. Stéphane Degout als leidenschaftlicher Theseus sprengt fast sein Barockklangkostüm, ebenfalls ist Sylvie Brunet-Grupposo eine zerrissen leidende Phädra ... und Lea Desandre in verschiedenen Rollen ergänzen das stimmige Vokalensemble".


The gramophone

2014 October

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Richard Lawrence

2014 October

"This is at least the third production that William Christie has conducted and his enthusiasm inspires orchestra, chorus and all. If you enjoyed his and kent's The Fairy Queen, you will enjoy this".


Fono Forum

2014 November

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Manuel Brug

2014 November

"Eine französische Barockoper, die in einem monströsen Kühlschrank spielt ... Das ist so originell und unterhaltsam aufbereitet wie wendig geschnitten, und um das Barockglück voll zu machen, waltet im Graben der Altmeister William Christie, der mit lächelnd verzückter Miene ausnahmsweise ... The Orchestra of the Age of Enlightenment zu heiter vergnügtem, dabei delikat ausgekostetem Instrumentalspiel anleitet".


The gramophone

2015 January

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David Vickers

2015 January

"Alexandre's rigorously historical production ... requires that singers almost always face the front and sing downstage, even when addressing lines to each other ... The controlled delivery of the drama is consequently unhurried and there are subtle ideas that might not be obvious at first viewing ... Stéphane Degout's dignified Theseus and Sarah Connolly's anguished Phaedra both sing magnificently".