This new recording from March 2024 of Jean-Baptiste Lully's musical tragedy, premiered in Saint-Germain-en-Laye 348 years earlier, is the result of the most recent historical, musicological and organological research. The instructions in the 1676 libretto regarding the orchestra's layout, the number and distribution of musicians, and the instrumental colours, particularly of the wind instruments, have been scrupulously followed by Alexis Kossenko and Benoît Dratwicki, artistic director of the Centre de Musique Baroque de Versailles. The choice of soloists was as close as possible to the characteristics of the singers who performed the work when it was first created, as much is known about their vocal and theatrical qualities. This has resulted in a first-rate vocal ensemble, including Mathias Vidal, Véronique Gens, Sandrine Piau, Tassis Christoyannis, Hasnaa Bennani, Eléonore Pancrazi, Adrien Fournaison, David Witczak... as well as the Pages and Chantres du CMBV (bringing together children and adults) and Les Ambassadeurs - La Grande Écurie, all experts in this repertoire.

Veronique Gens' talent as a storyteller needs no introduction; she is an eminent ambassador for French melodie and tragedie lyrique around the world. "Make us laugh! "says this sparkling programme, devised in collaboration with the Palazzetto Bru Zane. 'Les Divas d'Offenbach' presents all the facets of the prolific Jacques Offenbach - operetta, opera-bouffe, fairy tales and opera-comique - his famous arias from La Belle Helène, La Grande-Duchesse de Gerolstein and La Perichole, as well as previously unreleased works recorded here for the first time. There are sections from major works that were not included in the final version as well as rarities from incidental music such as Valeria, Le Roman comique, Geneviève de Brabant and La Boulangère a des ecus, a work that is practically never performed today but which enjoyed great success in the 19th century. Gens' long-time collaborator Herve Niquet conducts the Choeur et Orchestre National des Pays de la Loire with style and passion.

Castor et Pollux is Rameau's third opera and is packed with arias that show off the soloists to their best advantage: Tristes apprêts for Telaire, Nature, Amour for Pollux, Sejour de l'eternelle paix for Castor, and Soulevons tous les dieux for Phebe. In this new recording Judith van Wanroij, Reinoud Van Mechelen, Tassis Christoyannis and Veronique Gens are the outstanding performers, alongside the Purcell Choir and the Orfeo Orchestra conducted by Gyorgy Vashegyi, in a new edition of Rameau's work prepared under the aegis of the Centre de musique baroque de Versailles. Research that was begun several years ago on questions of performance practice has now been complemented by their intensive work on the score and the division of roles, respecting what we now know about performance practice at the Paris Opera in Rameau's day.

The harpist Emmanuel Ceysson is unanimously recognised for his powerful virtuoso playing. He was appointed principal harp with the Opera national de Paris at the age of 22, where he remained for fifteen years before going to the orchestra of the Metropolitan Opera of New York for five years; he has been principal harpist of the Los Angeles Philharmonic Orchestra under Gustavo Dudamel since 2020. Here he pays tribute to Marcel Tournier (1879-1951), one of the greatest harpist composers in the history of the instrument. The majority of Tournier's works are for solo harp or voice and harp, but he later added other instruments to certain pieces and so transformed them into chamber works. The works recorded here date from his mature years and show the influence of Debussy, Satie, and Ravel. Emmanuel Ceysson, the Quatuor Voce and Veronique Gens draw our attention to this important composer and to several previously unpublished versions of some of his works, the manuscripts of which have only recently come to light.

Ernest Chausson is a most unusual figure in French music, positioned at the crossroads where the romanticism of Berlioz and Franck meet the language of Wagner and the symbolism of the young Debussy. His Poème de l’amour et de la mer is a unique score for the period and certainly his greatest work; simultaneously a profane, naturistic cantata, a monologue, and a song cycle, it was composed between 1882 and 1892 to poetry by Maurice Bouchor, a longstanding friend of Chausson. Véronique Gens is recording this cycle for the first time, although she has already issued ‘Le temps des lilas’ with Susan Manoff at the piano for her album Néère, about which Ernst Van Bek wrote in Classiquenews: ‘Chausson’s “Le temps des lilas” mesmerises with the nuancing of its colors, the allusive precision of every sung word: this ecstatic, depressive prayer represents another peak of French post-Wagnerianism. The song uninterruptedly expresses the profound, accursed languor of overcharged spirits. The tact and sense of style that Gens displays, is proof of her remarkably acute understanding of the veiled references.’ Clément Taillia, in Forum Opera, spoke of ‘all the art of a song that desires to express itself…’ Véronique Gens’ talent is equally on display in this recording too, with the Orchestre National de Lille – an orchestra she already knows well – under Alexandre Bloch, its new chief conductor, whose appointment and first concerts and recordings have already caused a sensation. We can confidently predict that these two artists will be collaborating again in the near future… The Symphony in B flat major completes this programme: a summit of French symphonic writing, for some a milestone as important as the Symphony in D of Chausson’s teacher César Franck!

-----

REVIEWS:

A performance that ranks, unquestionably, among the finest to date. Superbly sung, and wonderfully well conducted and played by Alexandre Bloch and his Lille orchestra, this is an interpretation of great beauty and insight. Gens’s dark tone and her ability to fuse sound with sense allow her both to encompass the work’s rapturous lyricism and to map out the psychological subtlety of its depiction of the painful end of an affair.

– Gramophone

Lovers of French Romantic music will be in their element with this Chausson album. Eminent soprano Véronique Gens gives a quite stunning performance of the beautiful Poème de l’amour et de la mer and Alexandre Bloch and his players are in impressive form with the Symphonie.

– MusicWeb International

There's more to Canteloube than the Auvergne, so splendidly shown here

For her second CD devoted to Joseph Canteloube’s vocal music, Véronique Gens has looked beyond the celebrated, much-recorded Chants d’Auvergne, and back to Tryptique, composed in 1913. Canteloube dedicated this to Maggie Teyte but the First World War interrupted its progress, and it was not until 1923 that Jane Campredon gave the premiere, with the Colonne orchestra conducted by Gabriel Pierné.

A setting of three poems by Roger Frêne, its lush, not to say extravagant orchestration anticipates Canteloube’s later folksong settings. The influence of both Ravel and Debussy is obvious, maybe also Stravinsky (it was, after all, the year of The Rite of Spring). The first section, “Offrande à l’été” is an ardent love song, with some pretty giddy scoring for harps. The central “Lunaire” has a more mysterious, yearning feel, with a lovely little dissonance at the word “cendre”, as the poet imagines the leaves turning to ash. The finale, “Hymne dans l’aurore” is an ecstatic prayer to Pan, celebrating every wonder of nature. The final cry, “Mon âme s’ouvre ainsi qu’une aube étincellante! O Pan!” is marked in the score crescendo en grandissant, and Gens, Serge Baudo and the Lille Orchestra rise to the moment with splendid force. It is really surprising that this work has not become better known; any soprano wanting to look beyond the obvious repertory should welcome it.

The rest of the disc is taken up with those remaining Auvergne songs not included on the earlier issue, conducted by Jean-Claude Casadesus (4/05). Once again, Gens proves that an authentic knowledge of the dialect is a great advantage. The much later group from Chants de France makes a pleasant end to the recital, but it is Tryptique that has to be heard.

-- Patrick O'Connor, Gramophone [12/2007]

Véronique Gens sings beautifully throughout and shows a fine understanding … perfectly at ease.

Since Stokowski’s and Anna Moffo’s pioneering recording of selections from Canteloube’s Chants d’Auvergne, these beautiful folk-song arrangements have become part of many sopranos’ repertoire. One can name Kiri Te Kanawa, Jill Gomez, Frederica von Stade and others having had a go at these ravishing works. Véronique Gens has already recorded a first volume with the same orchestra conducted by Jean-Claude Casadesus (Naxos 8.557491) favourably reviewed here by Anne Ozorio.

In spite of a varied output of chamber and orchestral music also including an opera Le Mas, the composer is now mainly known for his colourful, yet often subtle arrangements. In fact, next to the now celebrated Chants d’Auvergne, he also collected and arranged folk-songs from the Basque country, some of which were recorded some time ago (on Audivis). The present selection of nine folk songs, a few of which are new to me, beautifully complements Gens’ first instalment. What makes this release particularly worth having is the inclusion of a selection from Les Chants de France and, more importantly to my mind, that of the fine Triptyque composed in 1914 but first performed in 1925. In these settings of poems by Roger Frêne, a poet unknown to me about whom I could not find any useful information, Canteloube proves himself the heir of the likes of Fauré, Duparc and Chausson. At the same time he is attentive to the musical trends of his time: Debussy and Ravel. There is much orchestral refinement in these fine settings with more than a touch of Impressionism. I was particularly impressed by the third song Hymne dans l’aurore. It paints a strongly atmospheric evocation of the coming of dawn crowned by a glowing sunrise.

In Chants de France, Canteloube continues his labour of love with French folk-song and brings comparable subtlety and refinement to bear. In much the same way as in Chants d’Auvergne, the composer succeeds in wrapping his arrangements in superb orchestral guise, while bringing out some surprising and unexpected touches. Just try the first song, the celebrated Auprès de ma blonde; in which the composer eschews any mawkishness and vulgarity. In the last one, D’où venez-vous fillette? Has some salty rhythmic surprises in the accompaniment. The other arrangements in this selection, likewise those from Chants d’Auvergne, alternate touching tenderness, mild sorrow and earthy humour. A most welcome addition to the catalogue, although I wanted more of them given the somewhat short total playing time of this otherwise desirable release.

Véronique Gens sings beautifully throughout and shows a fine understanding of the Auvergne dialect. I think I remember a recent interview - was it in Gramophone? - in which she mentioned that she had family roots in the Auvergne and that these folk-songs meant a great deal to her. That certainly shows in her performances; but she is equally and equally perfectly at ease with the other works featured here.

Serge Baudo is highly regarded for his sympathy with French music of the first half of the 20th century and beyond. Once again he proves a most reliable and inspired partner. A pity, though, that the words of Triptyque could not be printed in the insert notes, although Gens’ excellent diction more than compensates.

-- Hubert Culot, MusicWeb International

This is an absolutely wonderful program. Of course Les Nuits d’été and Shéhérazade are old discmates, most famously on an outstanding disc featuring the late, great Régine Crespin. A dramatic soprano, Crespin’s voice was quite a bit larger than the comparative lightness and purity of Gens, but these songs aren’t Wagner, and each soloist does the music full justice in her own way. Especially in Les Nuits d’été, which isn’t really a song cycle, Gens and conductor John Axelrod team up to produce a performance that actually makes you forget that the work consists of two quick numbers enclosing four long, droopy ones. “Absence” and “Au Cimetière” seldom have sounded more flowing and purposeful.

Gens’ deft handling of the poetry also pays major dividends in the long first song of Shéhérazade, a travelogue that all too easily degenerates into a sort of impressionistic, French version of “I’ve Got A Little List”. Not here, with Gens conveying an unexaggerated feeling of wonderment, ably seconded by Axelrod’s colorful accompaniments. The brief concluding songs, “La flûte enchanté” and “L’indifférent”, are sexy but not smarmy, beautifully capturing Ravel’s delicately etched vocal lines. I can’t help but think, despite wonderful performances by non-French singers (Ely Ameling especially), how much it helps to have a native speaker take the part.

However, what makes this disc particularly desirable is the presence of Herminie, an early cantata by Berlioz that’s almost always passed over in favor of the more popular La mort de Cléopâtre. Herminie is not only a very enjoyable work in its own right, but it begins with a tune that’s nothing less than the “idée fixe” that later found a home in the Symphonie fantastique. The tune returns in the middle section of the aria “Arrête! Arrête! Cher Tancrède”, where it becomes an accompaniment to the vocal line (sound sample). As with everything on this program, the work is compellingly sung by Gens and conducted with conviction. The engineering is also excellent, with Gens’ voice captured with truly striking naturalism. Highest recommendation.

-- David Hurwitz, ClassicsToday.com

After composing Fiesque and Le Roi d'Ys, Edouard Lalo embarked on the composition of what he intended as his masterpiece; a historical and moral opera set against the background of a peasants' revolt. However Lalo died unexpectedly, having completed only the first act. His family entrusted Arthur Coquard with the task of completing the work. The work had a successful premiere in March, 1895 and was revived in Lyon and Paris during the same year.

REVIEW:

The opera was a succès d’estime in its day, with productions in Lyon and Paris following on from its premiere. Thereafter it sank into obscurity until its revival last year in concert by Radio France, under the auspices of Palazetto Bru Zane, in Paris and Montpellier, where this live recording was made. Conducted by Patrick Davin, it has a restless energy that draws you in and keeps you engaged throughout. The playing is richly detailed, the choral singing fiercely committed and there are some fine central performances. Charles Castronovo’s Robert is all persuasive elegance and ringing high notes: you believe in him as a charismatic revolutionary, and he brings real passion to his scenes with Véronique Gens’s smoky toned Blanche, who is equally convincing as a refined aristocrat, questioning her own moral values as her world slowly crumbles around her. Nora Gubisch’s Jeanne makes up in intensity for what she sometimes lacks in steadiness, and the two baritones are nicely contrasted: Boris Pinkhasovich’s Guillaume sounds very baleful and obsessive; Jean-Sébastien Bou’s Comte gradually strips back the layers of hauteur to reveal the man’s essential vulnerability. The recording itself is scrupulously balanced, with only the final applause to remind us it was made live. A fascinating work, superbly done.

-- Gramophone

Berlioz wrote of Halévy’s La Reine de Chypre (1841): ‘Its success will at least equal that of La Juive.’ And Wagner added: ‘It is in La Reine de Chypre that Halévy’s new style has appeared with the most brilliance and success.’ So several voices – and those by no means insignificant – have declared this work, written six years after La Juive, to be its composer’s masterpiece. Premiered on 22 December 1841, Halévy’s opera offered the limelight to Rosine Stoltz in the title role: she was the only woman in the cast, for it had been found preferable to isolate her, following her incessant disputes with the other female singers in the company. Alongside her, the tenor Gilbert Duprez shone in the role of Gérard. The story takes the spectator on a voyage from the palaces of Venice to those of Cyprus. But despite an initial success confirmed by several translations and adaptations that appeared shortly after the first run (notably Lachner’s Caterina Cornaro in 1841 and Donizetti’s in 1843), the work gradually vanished from European opera houses. This new recording from the Flemish Radio Choir and the Orchestre de chamber de Paris, alongside a star-studded list of soloists, allows the work to have a new life in a new century.

-----

REVIEW:

The Palazzetto Bru Zane has done Halévy’s reputation an enormous service by presenting this splendidly cast recording in a new edition painstakingly assembled by Volker Tosta. Gens, in superb voice, is dramatically convincing throughout, as though she were in a staged performance. Cyrille Dubois is equally magnificent as Gérard. Chorus, orchestra and Hervé Niquet’s conducting are exemplary. An absolutely thrilling recording.

– Gramophone

As the symbiosis between the art of the poet and that of the composer, the French melodie became the jewel of the salons of the ‘Belle epoque’. By placing a string quartet and a piano around the singer, Chausson’s Chanson perpetuelle, Lekeu’s Nocturne and Faure’s La Bonne Chanson oscillate between chamber musical intimacy and orchestral ambition. Alongside these famous pioneering pieces, this programme devised by the Palazzetto Bru Zane champions a return to the art of transcription, so popular in the nineteenth century, with the aim of expanding the repertory for voice, strings and piano in order to unearth some forgotten treasures. Hence Hahn, Berlioz, Saint-Saens, Massenet, La Tombelle, Ropartz, Louiguy and Messager all appear in a programme whose guiding thread is the emotions of nocturnal abandonment: the charms of twilight, the trajectory of dreams, the terror of nightmare or the exhilaration of festive occasions. Alexandre Dratwicki has made these arrangements in the style of the nineteenth century. Appropriately enough, the programme ends with La Vie en rose, for this music offers a kaleidoscope of all the colors of human feeling. The texture of solo strings and piano sets Veronique Gens’s incomparable storytelling artistry in a new light.

-----

REVIEWS:

Soprano Véronique Gens’ last four solo albums have been for the Alpha Classics label, a collaboration which is undoubtedly bearing luscious fruit. Now with ‘Nuits’ (Nights), her new album for Alpha, Gens revisits the genre of French mélodies. Here the fourteen-work programme focuses on eleven mélodies for voice with piano and string quartet accompaniment, played by chamber ensemble I Giardini. Three mélodies have been written by the respective composers’ own hands and eight are transcriptions prepared by Alexandre Dratwicki (Palazzetto Bru Zane). Serving as interludes, the three remaining works are purely instrumental works by Liszt, La Tombelle and Widor. Essentially, the programme is designed not only to suit the qualities of Gen’s voice but to widen the mélodie repertoire with voice accompanied by chamber forces and to present well-known examples together with some rarely heard.

Created by Bru Zane, Gen’s programme has at its cornerstone the theme of ‘Nuits’ (Nights) exploring the different ways poets have described nightfall and dreams. The eleven mélodies have been categorised under four descriptive French headings which Dratwicki helpfully describes as ‘the charms of twilight’ (Lekeu, Fauré, Berlioz); ‘the path of dreams’ (Massenet, Saint-Saëns); the terror of nightmares’ (Chausson, Ropartz, Fauré) and ‘the dizziness of rejoicing’ (Louiguy/Piaf, Messager, Hahn).

Singing in her native French, Orléans-born Gens demonstrates compelling form in such frequently beguiling repertoire. Given her impeccable diction, one feels that the soprano is affording each word of the mélodie special attention. Standing out, too, are Gens’ steadfast vocal lines and purity of tone, enriched by her instinctive talent for style, composure and sincerity.

New to me is Ropartz’s exquisite Ceux qui, parmi les morts d’amour (Those who Died from Love). This is Ropartz’s setting of his own French translation prepared in collaboration with Pierre-René Hirsch after Heinrich Heine’s original German text. There is an affecting sincerity as Gens expresses the lovesick protagonist identifying with the ultimate price paid by suicide victims. Memorable, too, is Après un rêve (After a Dream) Faure’s setting of a Romain Bussine poem. Gens provides a satisfying generosity of expression in this exquisite mélodie, a portrayal infused with tenderness. By some distance, the best-known work on this collection is La Vie en rose with a melody by Louis Guglielmi (Louiguy) to a text by legendary French singer Édith Piaf who made the song world-famous. Clearly enjoying it, Gens sings admirably but I find hers and the other cover versions unable to match the individuality of Piaf’s own recordings and her unique relationship to her signature song.

Gens is deftly accompanied by I Giardini, a chamber ensemble founded in 2012 by Pauline Buet (cello) and David Violi (piano) its joint artistic directors. Set up here as a string quartet with piano, I Giardini is impressive with its sparkling contribution, communicating compassion when needed. Violi’s playing on a lovely toned Steinway is striking throughout and in Liszt’s La Lugubre Gondole (The Funeral Gondola) Buet excels, displays a wistful, yet delightful, cello line.

Sound engineer Olivier Rosset achieves satisfying a quality, with clarity and impressive balance. Alpha Classics is to be commended for ensuring that the French sung texts with English translations are provided in the booklet. There are a couple of helpful essays too: ‘Four Variations of the Soul’ written by Alexandre Dratwicki and the other ‘Love of the Night, Love of the Exotic’ by Hélène Cao.

This new album makes a captivating prospect and one difficult to ignore.

– MusicWeb International (Michael Cookson)

It is hard to imagine a voice better suited to this repertoire. Evenness of tone between registers and seamless legato are as apparent as ever, as is careful attention to diction and a sensitivity to the changing sentiments of the poetry. Full texts and translations are provided. This is a first-class production in every way and should be heard by every lover of the French mélodie.

– The Classic Review