Les Arts Florissants, William Christie - Rameau: Pygmalion, Nelee & Myrthis (1992) CD-Rip

Pygmalion is, perhaps, Rameau's most consistently alluring ac/c de ballet whose overture, at least, was greatly admired in the composer's lifetime. There have been three earlier commercial recordings of which only the most recent, on Deutsche Harmonia Mundi, is currently available. Pygmalion was Rameau's second ac/c de ballet and it contains affecting and vigorous music in the composer's richest vein. The action takes place in Pygmalion's studio. Captivated by the appearance of the statue he has just completed, Pygmalion, legendary King of Cyprus, falls in love with it. His companion, Céphise, is less enamoured of it and, when she sees the extent to which her lover has become obsessed by his creation, decides to leave him to it; that is to say she makes no farther appearance in this version of the story. Aphrodite, not so named here, brings the statue to life, whereupon it reciprocates Pygmalion's affection. In the final scene Love's triumph is celebrated with a virtuoso ariette—one of Rameau's many enchanting salutes to the Italianate aria—and a high-spirited "Rondeau Contredanse".

The high-tenor role of Pygmalion is a demanding one and few singers succeed in projecting it without a hint of strain. One who did manage it, and at the higher present-day pitch at that, was Eric Marion, who took the part in the oldest of the four versions (Archiv, 7/63). Howard Crook in this new release is equally comfortable in the highest reaches of the tessitura, conveying his passionate responses to the statue with finely controlled, often touching declamation. The remainder of the small cast is strong, too, with the soprano Agnes Mellon as an appropriately exasperated Céphise, Sandrine Piau, whose singing in Christie's Les Indes ga/an/es (2/92) had such appeal, as L'Amour, and a relative newcomer to Les Arts Florissants, Donatienne Michel-Dansac as the statue. Her voice has a clarity, and an innocence which effectively complements her newly acquired mortal status. The instrumentalists of Les Arts Florissants do Rameau's richly textured score considerable justice, my particular enjoyment in this case being the care with which Christie has sought a transparent internal balance. This is noticeable above all, of course, in the fine over ture and in the dances. Only the off-stage choir, to my ears, leaves a little to be desired, but it acquits itself well in the single remaining number where it is required.

The other acte de ballet here is new to the archives of commercially recorded music. Nélée et Myrthis was perhaps, as Girdlestone and others have suggested, intended as an entrée to an opéraballet which was never completed. Rameau had originally called the piece Les Beaux Jours de l'Ansour. Myrthis, entrée which strongly suggests that he had once planned more to follow. But in spite of an orchestral chaconne of impressive dimensions, some colourful scoring for woodwind, trumpets, timpani and strings, and much alluring vocal writing, the piece falls well short of Pygmalion. It is another love story set this time at the Argive Games. Nélée, who has carried off the Victor Ludorum, is now in a mood for a little lighthearted mischief. He leads his girlfriend Myrthis to believe that he is attracted to her friend, Corinne. But just as the story is on the point of becoming tasteless the lovers are reunited and a happy ending is ensured.

The two sopranos Agnes Mellon and Francoise Semellaz are excellent and their very different sounding voices make for plenty of character definition. The sportf Nélée is well sung by Jérôme Corréas though perhaps he just fails to convey that self-confidence and lustre that we might expect from his recently demonstrated athletic prowess. As in Pygmalion the orchestral playing is sharply focused and lively though occasional passages of upper string playing lack unanimity of sound.

To sum up, a considerable success. Lovers of Rameau's music will be delighted to add a new title to their shelves and with performances of this calibre they should have little to complain about. The recorded sound is excellent though at a somewhat lower level than usual, requiring the listener to turn the volume control a notch or two upwards. Full texts in French and English and a helpful note by Sylvie Bouissou.