The motet for solo voice and two dessus, usually two violins, and the cantata with instrumental accompaniment originated in Italy at the dawn of the 17th century. The genre was introduced to France by Marc-Antoine Charpentier and by travelling Italian musicians and rapidly became one of the key showpieces of Italian taste and style. The genre was deployed superbly in the early 18th century by two magnificent composers who were practically contemporaries: Andre Campra and Nicolas Bernier. Campra's natural attraction to Italian music is easily explained, as he was the son of an Italian doctor living in Aix-en-Provence and was also a pupil of the great Poitevin in the same city. Bernier, if we are to believe certain sources, was a pupil in Rome of the Venetian Antonio Caldara, one of the most important composers of his time.

Nearly a century before Gluck, another opera called Iphigenie en Tauride - same plot, same protagonists - had immense success on the opera stage. This 'first' Iphigenie has rather a curious history. The opera was sketched out by composer Henri Desmarest around the year 1695, but he was then banished from France by Louis XIV for having married a young girl without her father's consent. The uncompleted score of Iphigenie was then entrusted to Andre Campra. The opera, since lost and forgotten, was rediscovered by Benoit Dratwicki, Director of the Centre de Musique Baroque de Versailles, who marvels at it's stylistic unity: 'Campra easily adopted Desmarest's style. He just added some virtuoso arias to the divertissements, as well as the tuneful choruses that were his speciality.' Iphigenie en Tauride had it's premiere on 6 May 1704, and was revived throughout Europe from 1711. Thanks to Herve Niquet, a top-flight team of singers, an orchestra well versed in French repertoire, and all their collaborative research into the practices and specific playing techniques of the early 18th century, Iphigenie sees the light of day once more.

Les Arts Florissants, one of the world's most renowned Baroque ensembles, joins forces with legendary founder and artistic director William Christie for a landmark release: the first complete recording of Andre Campra's Requiem, paired with his profoundly moving Miserere. These works, filled with clarity, grace, and emotional power, offer a deeply personal and spiritual listening experience. Campra's music speaks straight to the soul, with harmonies that are subtle, expressive, and timeless. Performed on period instruments at original French pitch and shaped by authentic ensemble forces, this recording is a masterclass in historically informed performance, true to Campra's era, and brought vividly to life by musicians at the top of their craft. With it's unmistakably rich and nuanced sound, Les Arts Florissants infuses every phrase with the elegance of French musical heritage, even in Latin texts shaped by the unique French pronunciation of the time. This is more than a recording, it's a rediscovery of one of sacred music's most refined voices. Though Campra's genius has long been underappreciated, this release brings his spiritual artistry to the forefront for a new generation. A powerful listening experience and a milestone debut for Les Arts Florissants and William Christie on PENTATONE, this album is an essential addition to any collection of great sacred choral works.

One of Andre Campra’s best known works, the Messe de Requiem was frequently performed during the 18th century at notable memorial services and funerals. This release pairs the Messe de Requiem with Campra’s De profundis, which displays the composer’s theatrical abilities. The ensemble performing these works, ensemble3, grew out of the Internationale Chorakademie im Dreilandereck, and is conducted here by Hans Michael Beuerle.

A Baroque West Side Story, Tancrède tells of the absolute but impossible love between two young people brought together by their passion but separated by their origins. • We are in the time of the Crusades: Tancredi is the champion of the Frankish army, and Clorinda the passionaria of the Saracen troops. • In the labyrinth of sentiments, sorcerer Isménor’s magic wand confuses the issues, luring the two heroes into the enchanted forest to better prepare their downfall. • With Tancrède, André Campra (1660-1744) established himself as one of the great opera composers between Lully and Rameau.