An admirable performance of a rare work.

‘The worst libretto Handel ever set … the construction is clumsy, the characterisation incredible,’ wrote Winton Dean, with his typical panache, in his and Merrill Knapp’s classic book on the earlier Handel operas. Never mind: if one is prepared to accept that Handel’s dramatic muse sometimes nodded, and just enjoy the music for what it is, Silla is amply worth a hearing. It had its first English revival in spring 2000, in the Handel series that Denys Darlow directs at the Royal College of Music, and the present recording is a by-product of those performances.

The opera, probably Handel’s shortest, dates from 1713 and seems, oddly, to have been written for a private performance at the main London opera house in honour of a new French Ambassador – although there is no certainty that the performance actually took place. The plot, an absurd farrago about the Roman dictator Sulla (‘Silla’ is the Italianised form), here a ruthless murderer who makes unsuccessful grabs at two of the three women in the cast (the third is his wife) and then suddenly repents, seems decidedly inappropriate for a festive occasion, or indeed any occasion at all. It’s the kind of libretto that has got baroque opera a bad name. Its sole merit – and this is quite important – is that it does allow opportunities for a considerable range of musical expression.

Curiously, however, Handel doesn’t seem to have been fully alert to those opportunities. Sulla himself, for example, gets music more amiable than so odious a character seems to deserve (including a truly lovely ‘sleep song’, with recorders), and the music for his wife Metella is often absurdly at odds with the text and her situation. But there are many attractive numbers, notably some telling music for the two pairs of lovers who find themselves threatened by Sulla’s importunities – Lepido and Flavia have two duets, the second a miniature but intensely poignant F minor Adagio, while Celia grieves the (supposed) death of her Claudio in a heartfelt G minor sarabande.

The mainly youthful cast here – these performances traditionally give opportunities to promising young singers – are very successful and I am sure we will hear a lot more of some of them. Rachel Nicholls sings Metella’s music in a pleasant, natural and very even voice, strong and resolute in the big aria that ends Act 2. As Celia, Elizabeth Cragg shows a lighter voice with a hint of an attractively grainy quality; Natasha Marsh’s full and rounded voice rings out to excellent effect in Flavia’s arias.

Except for the brief appearance of ‘Il Dio’, an odd kind of god who encourages Sulla’s ferocity in his dream vision (ably taken by Christopher Dixon), there are no true male voices. Lepido is sung by Joanne Lunn in a fresh, bright voice, accurate and rhythmic; Claudio is taken by Simon Brown, a capable and fluent countertenor with a strong and clear top register and much subtlety in handling details of stress and timing. He has a fine aria with trumpet to end Act 1. Sulla himself is sung by a Handelian of considerable and obvious experience – a fine model for the young members of the cast: James Bowman shows his knowledge of how to shape and colour Handel’s lines and (as in the fiery Act 2 aria) to sing forcefully and still musically. The voice rings well even if the lower register now has a little less character.

All the singers add a little, generally discreet ornamentation in the da capo sections. Denys Darlow, as always, conducts in a direct and unaffected fashion, showing consideration for the singers and understanding of Handel, with a good range of tempos and with spruce, lively rhythms. Handelians will not want to miss this chance of hearing a rare work admirably performed.'

-- Stanley Sadie, Gramophone [3/2001]

George Frideric Handel
TAMERLANO

Bajazet – Plácido Domingo
Tamerlano – Monica Bacelli
Asteria – Ingela Bohlin
Andronico – Sara Mingardo
Irene – Jennifer Holloway

Teatro Real Chorus and Orchestra, Madrid
Paul McCreesh, conductor

Graham Vick, stage director

Recorded live at Teatro Real, Madrid on 29 March, 1 and 4 April 2008.

Bonus:
- Illustrated synopsis and cast gallery
- Interview with Paul McCreesh

Picture format: NTSC 16:9 anamorphic
Sound format: PCM Stereo / DTS 5.0
Region code: 0 (all regions)
Menu Language: English
Subtitles: English, French, German, Spanish, Italian
Running time: 241 mins
No. of DVDs: 3

Teatro Real's majestic production of Handel's vivid tragedy, Tamerlano, stars a Lear-like Plácido Domingo as the Turkish Sultan Bajazet, caught between pride, love and loyalty. Displaying the uniquely heroic quality of his voice, Domingo heads a superb cast, including Sara Mingardo, Monica Bacelli and Ingela Bohlin, all magnificently responsive to Paul McCreesh's authentic and luminous interpretation of the score. The stunning theatrical staging by Graham Vick provides a splendid setting for the characters and for designer Richard Hudson's extravagant Baroque-Islamic costumes, emphasising the brilliance of one of Handel's finest dramatic achievements.

FULL REVIEW

Probably one of the best Handel operatic productions presently available...

If Handel’s two other great operas, Giulio Cesare and Rodelinda, are well known then this third of the trio of ‘greats’ should certainly join them. This production will do much to underline that.

For some years now the phrase ‘director’s opera’ has had a pejorative ring – sometimes with justification. This production has Graham Vick written all over it. Further, the music director James McCreesh concedes that that extends to choice of versions of scenes. “What do you mean, ‘choice of versions of scenes’? An opera is an opera is an opera.” Sorry but it is not: that is what we have come to expect today but Handel and very many composers re-wrote scenes or omitted, added or replaced arias according to the ability of the available singers. And Tamerlano is no exception. No, I do not intend to bore you with a detailed analysis. One example will suffice: death or coronation in the last scene? Well, here you get both.

What of the plot? The psychopathic Tamerlano has captured Ottoman leader Badajet and daughter Asteria. Tamerlano’s Greek buddy Andronico falls for Asteria. Meanwhile, Irene, princess of Trebizond, is on her way for her nuptials with Tamerlano. Tamerlano then decides that he will marry Asteria and palms Irene off on Andronico. Asteria’s two failed attempts on Tamerlano’s life and then Bajazet’s suicide persuade Tamerlano to revert to the original marital arrangement. Thus, theoretically, all ends happily but the music suggests otherwise, as it has throughout. This is ‘dark’ opera: Handel at his compelling best with some remarkable conventional da capo arias. There are three sections ABA where the singer is allowed free rein in the third which was much to the point of Handel’s operas when first produced: an opportunity for florid vocal display. And if you ever thought that da capo arias are repetitiously dull and boring then watch and listen. Further watch and listen carefully to the last scene where Handel almost ignored the musical conventions.

In Handel’s day productions were virtually static: singers stood and delivered and then frequently left the stage to applause hence, called, the exit aria. Curiously McCreesh describes this production as “quite still”. Maybe: in comparison with other operatic productions. However, for me, Vick instils this one with wholly appropriate body and facial movement. I cannot pretend that I understand all of the symbolism, particularly of the silent ‘groupies’ who accompany some of the singing: and just occasionally distract attention from it – an example is during the only aria given to Leone - Tamerlano’s henchman. That aside, the acting here is first class, capturing Tamerlano’s almost demonic personality, Badajet’s decline and his reciprocated love for Asteria and also Andronico’s constancy.

We expect no less. This is Monica Bacelli, the proven exciting Handelian in the title trouser role and the ‘imported’ Plácido Domingo as Badajet; ‘imported’ because this is his first Handel part in over a hundred roles and it is perfectly suited for him: a truly dramatic tenor.

Bacelli is in excellent form displaying a neurotic vibrancy through very expressive movements. This is not ‘stand and deliver’ and nor is it a general-distraction cavort about the stage: but it is movement to encompass the stage and engage the audience in her characterful playing. Yes, and she sings too. Whilst her smaller voice contrasts with Domingo’s power she never loses her strong focus or line and elegant phrasing. Not a pitch out of place, not a run slurred; most arias at a faster pace with opportunity for colouring and strong tones that she never misses.

Domingo is equally splendid portraying the beaten leader. Dramatic singing throughout. If I have a slight hesitation it would be about vocal flexibility in the quicker aria Ciel e terra (disc 1 track 15) – hardly surprising in a singer of his years which generally show no sign of catching up with him. But here I am being ‘nit-picky’. His is vocal drama which makes us empathize with a fallen leader of the Ottoman Empire and renders understandable the taking of his own life. That is no mean feat when his beloved daughter Asteria still lives. Domingo gives a master class in diction, dynamics and phrasing. His final aria is magnificently delivered as he leaves the stage backwards into the darkness.

The Swedish soprano Ingela Bohlin effortlessly despatches the role of Asteria, or so she makes it appear. This high-lying soprano role does not trouble her. In her splendid aria Cor di padre (disc 2 track 24) at the end of Act 2 she vocally wanders about at the top of and above the stave, occasionally leaping there with total accuracy. In her aria Se non mi vuol amor (disc 1 track 13) she leaves high notes just hanging exquisitely in the air. She has a very secure vibrato - and that is not an oxymoron - and a gentle trill which adds much to aria meaning and audience enjoyment.

Sara Mingardo is a true contralto but noticeably of smaller voice. Bearing in mind how responsive McCreesh is with the orchestra for the forte and piano of the roles for Bacelli and Domingo, it is disappointing that he does not at all times afford Mingardo that same facility/kindness/support. Mingardo has wonderful vocal flexibility with quite remarkable beauty of tone. No applause for her act 1 aria Bella Asteria (disc 1 track9) which I would have expected to lead to sustained applause. Her timbre balances extremely well with both Bacelli and Bohlin to produce some delightful sounds.

Jennifer Holloway, as Irene arrives on stage aloft by some three metres on a gorgeous blue elephant on wheels. Could it be that the slightly irregular jumbo traverse of the stage contributes to her occasional lack of smoothness and steadiness of note in her opening aria? Certainly when back on stage terra firma her smooth clarity of note returns and when singing piano there is great beauty of tone.

De Donato, as Leone, is afforded one aria. Here it is the act 2 Amor dà guerra (disc 2 track 10) as opposed to the act 3 option of Nel mondo e nell’ abisso. Apart from a slight hint of effort when on serious high he sings clearly with a firm line. His problem, or rather our problem, is to concentrate on him while three pairs of ‘supporters’ perform a variety of symbolic mimes. Despite watching it several times I remain convinced that I do not fully understand all the symbolism.

That applies also to movements that take place on the balcony which goes around the semi-circular stage where the ‘groupies’ perform various mimes in slow motion around it or small blue elephants move equally slowly. That leaves a bare stage over which hangs the celebrated foot on the globe (no prizes for guessing that piece of symbolism) variously pushed up by Badajet or crushing him or Asteria. It also ascends and descends almost imperceptibly as appropriate to the stage action. In act 2 in what is almost a coup de théâtre it revolves through 180° to reveal its hollow back with gold lining and a seat that becomes Tamerlano’s throne.

The only stage prop which doesn’t seem to me to be particularly effective is the long bench protruding from the back stage in the first part of act 3 which serves at Tamerlano’s throne. Otherwise, the stage effects together with the matching half moons near stage front that move together to form another circle and become a prop in their own right, are spectacularly effective.

Colours are also fundamental. The stage is white, the costumes black and/or white except for the splendid Act 2 vivid lime green for Tamerlano and later a brilliant cerise. Irene has similarly strongly coloured costume when on her elephant. As you can see above Badajet and daughter are in white and remain so throughout. Symbolism in colours? I think so.

All that said there is a fault: but not with the production. It is the subtitles: too frequently the translation leaves a great deal to be desired. It is not idiomatic; indeed occasionally it is archaic if not arcane. Rely on them and from time to time you might struggle to follow the plot. Any such problem is overcome by the synopsis - one of the extra features. There is also a helpful commentary in the accompanying booklet.

-- Robert McKechnie, MusicWeb International

Skin-tight rubber and lacrosse sticks bring contemporary chic to this timeless fantasy of warriors and witches in Robert Carsen's fun-filled transformation of Handel's first London triumph. Conducting from the keyboard just as Handel himself did, Ottavio Dantone leads a youthful cast of today's luminaries in the dramatic art of Baroque opera, the 'affecting' Sonia Prina, the 'unadorned intensity' of Anett Fritsch and 'fire-breathing flair' (The Observer) of Brenda Rae.

In their last recording project Handel Tribute, L'Apothéose pays homage to the great composer by performing six chamber music top pieces chosen from his op. 2, op. 5 and solo instrument with basso continuo repertoire. Mozart is reputed to have said of G. F. Händel (1685-1759): Handel understands affect better than any of us. When he chooses, he strikes like a thunderbolt. L'Apothéose is considered as one of the reference groups in the historical interpretation in Spain. In recent years the ensemble has won 12 national and international awards including the First Prize at the 2019 York Early Music International Young Artists Competition (United Kingdom), First Prize at the Göttingen Händel Competition 2017 (Germany), Second Prize at the prestigious International Van Wassenaer Competition 2018 within the Oude Muziek Festival in Utrecht (Netherlands) and the Second Prize at the Concours International de Musique Ancienne de Val de Loire 2017 (France) chaired by William Christie. All these merits have brought L'Apothéose to become "Ensemble in Residence" of the 2019/2020 season of the CNDM (Centro Nacional de Difusión Musical) in Spain and to the main international and national venues.

HANDEL Joshua • Peter Neumann, cond; Myung-Hee Hyun ( Achsah ); Alex Potter ( Othniel ); James Gilchrist ( Joshua ); Georg Poplutz ( Angel ); Konstantin Wolff ( Caleb ); Cologne CCh; Collegium Cartusianum (period instruments) • MDG 332 1532 (2 CDs: 122:40 Text and Translation)


Joshua is not one of Handel’s great oratorios. Although it is patterned on the previous year’s Judas Maccabaeus with a perfunctory love story tacked on, Morrell’s mediocre libretto did not inspire Handel to the heights of their earlier collaboration. But there are some very good things in Joshua , and second-rate Handel is better than music from some composers’ top drawer, so Joshua is worthy of the occasional performance and recording.


My only previous encounter with Peter Neumann’s Handel is his excellent Athalia , which I consider the preferred recording of that work. His work here is on the same high level. He paces the work well, giving scrupulous attention to Handel’s tempo markings. In the few da capo arias, ornaments are tasteful and appropriate. Orchestra and chorus perform at a very high level, and one is almost unaware that English is not the choristers’ native tongue.


As with other period-instrument recordings that have come my way in recent months, I am puzzled by the use of continuo keyboards. The organ is sometimes used in place of the harpsichord in recitatives and arias. Neumann even goes further, sometimes using organ, harpsichord, and lute together, contrary to correct historical practice.


The soloists are a very accomplished group. James Gilchrist, one of only two native English soloists, is excellent as Joshua. He is very responsive to the words he is singing, projecting what drama there is in his role when he is given the opportunity. Despite the fact that most of the other soloists are German-born, they sing the English words with practically no hint of an accent. Myung-Hee Hyun was born in Korea, but has studied in Germany. Her diction is also excellent, as of course is that of Alex Potter, the other native English singer. None of these singers need yield anything to the soloists on Robert King’s recording on Hyperion, the main competition to this recording.


There are two additional recordings of Joshua in the current catalog. I have not heard the recording conducted by Budday on K & K, but it received a negative evaluation in Fanfare 31:5. The recording conducted by Palmer on Newport has its attractions, but is outclassed by slightly better competition. Anyone looking to add Joshua to his collection could not go wrong with either King or Neumann.


FANFARE: Ron Salemi

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD
During his years in Italy, Handel absorbed the music of his contemporaries and mastered new stylistic trends. Though the staging of La resurrezione was a memorable event in the Roman musical world, it was the production of Agrippina that marked Handel’s definitive investiture as an operatic composer. It met with enormous success and an unprecedented number of performances followed. Its melodic power is overwhelming and in his creation of credible and vivid characters, the alternation of recitative and arias, and sheer theatrical power, Handel established the template that was to last for the remainder of his operatic career. The production on the present release was filmed in March 2016 at the Theater an der Wien, Vienna, Austria, and was directed by Robert Carsen.

HANDEL Six Trio Sonatas, op. 2. Passacaille, op. 5/4 • The Brook Street Band (period instruments) • AVIE 2282 (69:49)


Handel’s music is always such a joy to listen to, I’m not sure how much we should trouble ourselves over how his works are identified or numbered in the listings. But just to clarify what’s on this disc, the updated or modern version of the Händel-Gesellschaft catalog places these sonatas in Volume XXVII, headed “Kammermusik: Sonate da Camera.” Falling under this heading are four subheadings or Parts, of which op. 2 is consigned to Part III: Nine Sonatas for Two Violins, Continuo, and Bass, as follows: B Minor, op. 2/1 (HWV 386b); G Minor, op. 2/2 (HWV 387); B? Major, op. 2/3 (HWV 388); F Major, op. 2/4 (HWV 389); G Minor, op. 2/5 (HWV 390a); G Minor, op. 2/6 (HWV 391).


But that’s only six. The Händel-Gesellschaft catalog places nine sonatas in this grouping. So what gives? Well, here’s the scoop: op. 2/1 (HWV 386b) turns up in an alternate version as HWV 386a, but in C Minor instead of B Minor, my guess is to accommodate performance on flute in place of violin. There’s an HWV 392 in G Minor, which was not published in the original op. 2 set of six sonatas, and which is considered spurious by some Handel scholars. And finally, there’s a Sonata in E Major listed as op. 2/9 (HWV 394), again not published as part of the original set. But when the set was first published in 1733, they appeared in print as “IX Sonatas or Trios for Two Violins, Flutes, or Hoboys with a Thorough Bass for the Harpischor [sic] or Violoncello.”


The Brook Street Band gives us the standard six listed in the first paragraph above, including as a bonus, the Passacaille, which I headlined as coming from op. 5/4, but which Handel actually made use of in a number of different works. I can’t be sure why the players have ordered the sonatas on the disc as they have—Nos. 3, 2, 4, 5, 1, and 6—but a good guess would be to avoid the adjacency of minor-key sonatas, three of which are in G Minor. One other note: Though the Händel-Gesellschaft catalog places these sonatas under the category of “Kammermusik: Sonate da Camera,” all but one of these sonatas are of the chiesa (church) type, meaning they’re in four movements that follow a slow-fast-slow-fast layout. The exception, No. 4 in F Major, adds a fifth movement, an additional Allegro , at the end.


Since the original printing indicates that these sonatas or trios may be played by two violins, flutes, or oboes, The Brook Street Band, named, by the way, for Handel’s London residence, divides the pieces up accordingly; however, the ensemble, as it’s constituted, is oboe-less. Members are Rachel Harris and Farran Scott, Baroque violins; Lisete da Silva, flute and recorder; Tatty Theo, Baroque cello; and Carolyn Gibley, harpsichord.


Despite the 1733 publication date, it’s believed Handel composed these trio sonatas as early as 1722. Consider, though, that by then he was a well-established opera composer in London. Some of his most important operas date from this period— Ottone, Flavio, Giulio Cesare, Tamerlano , and Rodelinda were all composed between 1722 and 1725. I mention this because the slow movements of these trios are emotively expressive in much the same way as Handel’s arias are in his operas of these years, gorgeous cantilenas spun out with affective lyrical beauty. In contrast, the fast-paced movements anticipate the vivacious, energetic drive to come in the later organ concertos and concerti grossi. They’re full of spirited invention, and performed here by The Brook Street Band with lots of spring and bounce, along with some delightfully spontaneous-sounding embellishments added for good measure.


There is competition in these works, and it’s not insignificant, from groups like Sonnerie with Monica Huggett, and the Academy of Ancient Music, led by Richard Egarr. I have Sonnerie’s recording on Avie, and have been very happy with it. But The Brook Street Band’s playing strikes me as sounding freer, more natural, and less constrained. Perhaps the word I’m looking for is less studied. In any case, these are wonderful performances of uplifting music beautifully recorded. What more could you want? Very strongly recommended.


FANFARE: Jerry Dubins

HANDEL (tr. Gibley) Sonatas: in G, HWV 365; in a, HWV 367a; in C, HWV 369; in d, HWV 362; in F, HWV 377; in d , HWV 360 • The Brook Street Band • AVIE 2118 (55:58)


Handel wrote cello sonatas? Surprisingly, he seems to have written none. Nevertheless, composers and musicians of the Baroque era freely transcribed music as the desire or need arose, and so it is not an outrageous idea to make cello sonatas out of six of Handel’s sonatas for recorder and basso continuo. In the present case, this has been done by harpsichordist Carolyn Gibley, who is half of The Brook Street Band. (The other half is cellist Tatty Theo.) Gibley has transposed the sonatas into keys more suited for the cello. Sensibly, she has chosen to accompany the cello with harpsichord alone (Handel also suggested bass violin), presumably because the cello and the bass violin would make a poor match—and also because there are only two musicians in The Brook Street Band, I imagine!


Although I love the sound of the recorder, I was not displeased to hear these sonatas played on the cello. This is some of Handel’s most intimate and salubrious music, and while there is a good variety of tempos, moods, and textures, the music works consistently to unknot whatever tangles the workday has introduced into the soul. This is true whether it is played on the recorder or on the cello. Obviously the two instruments affect listeners in different and personal ways, but there’s nothing about Gibley’s transcriptions that falsifies Handel’s originals, at least as far as my ears are concerned.


Theo plays a Baroque cello dating from circa 1741 (probably 10–20 years after Handel composed these sonatas), and Gibley plays a 1990 Alan Gotto harpsichord based on an instrument built by Mietke circa 1710. The instruments blend together nicely. Theo’s cello has a lean, attractive sound, with more muscle and sinew than modern instruments. Even when Theo’s playing is at its most energetic, her cello sings. As the sole continuo player, Gibley is very much an equal partner, and she fills out Handel’s harmonies with imagination and period-style grace. Together, Theo and Gibley make a joyous noise, even if the joy is of the more mellow variety.


The engineering is wonderful, and Theo’s booklet note helpfully clarifies some of the confusion related to the provenance of the original sonatas. I can’t imagine anyone disliking this CD, unless they are opposed, in principle, to its underlying concept.


FANFARE: Raymond Tuttle

The Brook Street Band has produced attractive recordings of Handel’s chamber music for Avie, and this newcomer is no exception. There are nine Handel violin sonatas, theoretically, and all of them are included here. Of course, with Handel you never really know. Five sonatas exist in verifiable manuscripts, four were printed without any demonstrable input from the composer, and all of them may well use music by others, as was Handel’s wont. But none of it matters because, as Tovey perspicaciously observed, every note added by Handel annihilates the rest.

The first sonata (in G, HWV158) dates from Handel’s days in Italy, and it’s the only work in three movements. I was a bit worried here because in the central slow movement violinist Rachel Harris adopts a “period instrument tone” that has soft, sustained notes on the verge of disappearing entirely. Of course, a decent vibrato would have helped, but as the saying goes, if the basic timbre is unattractive that’s like trying to put lipstick on a pig. Happily, once past the Sonata in G, Harris shows that her sound in sustained music, while slender, is mellow, touching, and sensitively varied.

The remaining sonatas are all in “church” style, that is four movements, slow-fast-slow-fast(ish). Three are in minor keys, smartly dispersed within the broadly chronological ordering of the set, and they provide welcome contrast to the general predominance of charm and cheer. Of course, all of the music is charming, with an abundance of melody that suggests, as the booklet notes state, that Handel’s authorship even in the four doubtful works is more likely than not. If eighty minutes of less than familiar Handel, elegantly presented and naturally recorded sounds appealing, then by all means give this disc serious consideration.

– ClassicsToday (David Hurwitz)

Monica Huggett and her ensemble Sonnerie scored a hit on Avie with their recording of Handel's Trio Sonatas, Op. 2 (AVI33). They continue their traversal of Handel's chamber works with the Organ Concertos, Op. 4, featuring soloist Matthew Halls, a brilliant young soloist who spins out Handel's endlessly tuneful works with an improvisatory flair that the composer - himself a virtuoso organist - would surely have approved of. On this CD, he plays a replica of a Baroque style chamber organ, built by Jaap Fama and Henk Klop, and owned by the Dutch Bach Society.

R E V I E W S:

"Sonnerie elect to open this delectable recording with the bright, extrovert Concerto No 4, which Handel based on music he had rejected from his autograph of Alcina. Matthew Halls begins this with a fabulous flourish on the organ before Sonnerie launch in, setting the pace for this lively and engaging disc. Halls, using a fascinating Dutch chamber organ which is perfect for the intimately balanced ensemble, plays the solos in Concerto No 6 (the 'harp' concerto) with admirable delicacy and affection...Although Halls is sometimes accompanied only by six musicians, the slow movements are surprisingly lush and evocative. Inspiring interpretations that are a joy from beginning to end"
- David Vickers, GRAMOPHONE

Under Italian skies, the young Handel chiselled the human soul into music, providing Roman palaces with secular cantatas of incandescent virtuosity. This theatre of passions explores the thousand faces of love: from the torments of the dizzying Il delirio amoroso, to the lightness of Sans y penser, through to the chains of Un'alma innamorata and the lamentations of Crudel tiranno amor. Soprano Marie Lys lends her exquisite voice to the heroines of the "dear Saxon". Under the baton of Gaétan Jarry, the Orchestre de l'Opéra Royal revives this baroque ardour with supreme elegance.