Long before Bach's genius came to the fore, a line of intrepid minds patiently paved the way for the dawn of the Baroque violin in the Holy Roman Empire, lifting it out of the shadow of the voice to establish it as a commanding solo instrument. From the contrapuntal rigour of Samuel Capricornus to the theatrical brilliance of Biber, via the elegance of Krieger, Schmelzer, Westhoff, and Vilsmayr, this album unfolds an evolving Germanic musical landscape. With infinite delicacy, Louise Ayrton unearths these forgotten roots and celebrates these visionaries, who laid the foundations for the violin to finally become the absolute master of it's own musical narrative.

A tireless adventurer and eclectic soul, Joseph Bologne de Saint-George is revisited here through a unique portrait that reveals the many facets of his talent. A true polymath born in Guadeloupe, he combined the arts and arms: an outstanding fencer, military adviser and violin virtuoso, he was even Marie Antoinette's teacher. Theotime Langlois de Swarte and the Orchestre de l'Opera Royal thus shine a light on this flamboyant personality who rose above the societal constraints of the 18th century.

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.

Composed in 1680, Proserpine marks the reunion of Lully and Quinault after the scandal surrounding Isis (1677). Set in the splendour of Saint-Germain, the work offers a mythological mirror to the Dauphin's wedding. In it, Lully revolutionises his art: the orchestra becomes the driving force of the drama while the voices gain in expressive intensity. Under the baton of Christophe Rousset, Les Talens Lyriques revive this gem in which the fate of a captive queen and the splendour of restored peace unite in immortal harmony.

Jewels of the 17th century, the Tours and Deslauriers manuscripts form a corpus of three hundred works born in the fervour of the provinces of the Kingdom. This journey to the very heart of French cathedrals reveals the striking theatricality of sacred stories, ranging from fascinating anonymous pieces to flashes of genius by Bouzignac and Moulinié. Under the direction of Fabien Armengaud, the Pages and Chantres of the Centre de musique baroque de Versailles make these scores blossom into a garden of delights, like a bouquet of myrrh.

Son of the famous Johann Sebastian, Carl Philipp Emanuel Bach was a renowned keyboard virtuoso in the 18th century. A prolific composer and theorist of keyboard instruments, he forged the aesthetic of Empfindsamkeit, a style in which emotion is conveyed through subtle contrasts and harmonic surprises. From his Berlin sonatas to his flamboyant Fantasies, his work, published with great pomp for connoisseurs and amateurs, remains a pinnacle of musical eloquence. Arnaud de Pasquale, through the virtuosity of his playing, reveals all it's depth and expressive power.

At the borders of mythical Lydia, a crisis erupts: Prince Melo takes up arms against his father, King Halyattes, who has been blinded by the slanders of a deceitful adviser who made him believe he would be disinherited in favor of an usurper. It is in this torn kingdom that Sosarme, sovereign of Media and future husband of Princess Elmira, steps forward as a mediator, determined to calm the fury of blood and restore peace. Drawing on the conventions of opera seria, Handel achieves a subtle balance between the power of Antonio Salvi's text and the richness of the score, building a bridge between the Lullian tradition and the innovations later brought by Rameau. Under the direction of Marco Angioloni, the Orchestre de l'Opéra Royal delivers a Sosarme that is both innovative and filled with vitality and emotion.

In a dreamlike vision of Spain, where scorching sun meets simmering tensions, Carmen embodies a magnetic, defiant figure driven by one desire: to live free. Around her, hearts falter-from Don José, the soldier consumed by obsessive love, to Escamillo, the flamboyant toreador. With Carmen, Georges Bizet created more than an opera; he composed a theatre of human passion, where romantic impulses, wounded pride, and an ominous sense of fate collide. Premiered in 1875 to a reception of near indifference, the work has since claimed it's place as one of the great pinnacles of Western operatic art. This recording, brought to life by an outstanding cast and a sharply defined musical interpretation, captures the full modernity and emotional power of Bizet's score-affirming Carmen as a revolutionary work that remains as vibrant and resonant as ever.

Marked by a profound dramatic and spiritual intensity, the St John Passion was composed by Johann Sebastian Bach in 1724. Based on the Gospel according to St John, it recounts the last moments of Christ's life, from his arrest to his burial in the tomb. The Cantor's Passion is one of the most sublime works in his repertoire, drawing the listener into a mystical and contemplative reflection. Gaétan Jarry conducts the Orchestre de l'Opéra Royal and the child singers of the Tölzer Knabenchor, to restore this treasure of sacred music to it's rightful place.

From ancient theatre to lyric tragedy, the character of Medea has withstood the test of time. A quintessential tragic heroine, she embodies a soul torn apart by betrayal, whose pain turns into devastating madness. Following Charpentier and Corneille's opera (1693), Abbé Simon-Joseph Pellegrin's avant-garde libretto offers a liberated interpretation of the classical myth, in which Medea masters her magic and her destiny. Salomon's score responds with sumptuous writing, borrowing from the tradition of Lully while foreshadowing the genius of Rameau. By unearthing this missing link between two eras, Reinoud Van Mechelen offers us a spectacular lyric tragedy, revealing the superb complexity of a woman equally powerful and tormented.

All the sacred spirit of the Romantic era is embodied in these pages: Gabriel Faure's Requiem offers itself without artifice, frank and generous. Begun in 1887 and carefully reworked over the years, the work unfolds with a spiritual fervour bathed in a halo of crystalline honesty, carried by a fluid choral writing. Victor Jacob conducts the Orchestre de l'Opera Royal in revealing the 1893 version, the first complete edition of this masterpiece. Selected works by Brahms, Schubert, Rossini, and Rheinberger bridge the divine and the secular, transforming this album into a journey steeped in depth and melancholy, where the purity of the score draws the listener's mind into unsuspected reveries.

At a time when castrati reigned on Europe's stages, a few composers dared to write for female voices. Vivaldi, Porpora, and Porta explored the subtleties of this repertoire to create some of the finest sacred music scores of their era. Marina Viotti revives this forgotten heritage, placing the power of her voice at the service of the rich and moving melodies gathered here. Accompanied by Andres Gabetta and the Orchestre de l'Opera Royal, between theatricality and sacredness, Marina Viotti accomplishes the feat of bringing back to life the golden age of 18th-century sacred music, while paying tribute to all the women who, through their art, embodied the soul of the masters.

In 1725, Jose de Torres crafts the narrative of the royal funerals of Spain's first Bourbon monarchs. At the heart of this tribute, the Misa de difuntos para Luis I, the first Bourbon born on Iberian soil, blends with exquisite finesse the echoes of Versailles with the exuberant splendour of Spanish Baroque. The offering is here completed by the monumental Dies Irae by Francisco Corselli, a Franco-Italian composer, to the glory of Philip V. Alberto Miguelez Rouco revives these rare works, bringing the music of the Real Capilla de Madrid to life in the Royal Chapel of Versailles!

In 1735, Porpora challenged Handel in London with Polifemo, a work that still resonates today as a vibrant ode to triumphant love. On the bewitching shores of Sicily, Galatea falls in love with the mortal Acis. This pure passion arouses the fierce jealousy of the Cyclops Polifemo, whose rage threatens to sweep everything away. But the unexpected arrival of Ulysses and the intrigues hatched by Calypso weave a complex web where gods and mortals clash. Carried by a constellation of exceptional soloists and conducted by Stefan Plewniak, this opera masterfully weaves together the legacy of a baroque golden age and the timeless power of myth.

While the famous Te Deum secured Charpentier's place in history, it was undoubtedly his Messe de Minuit that most contributed to his renown. True to Charpentier's genius, this mass is a perfect synthesis of the secular and the sacred, popular melodies and refined composition, offering a piece of remarkable originality and joy. These melodies, familiar to all, peasants and gentlemen alike, are enriched by orchestral parts and interwoven with subtle counterpoint and renewed harmony. The pleasure of music is thus offered to everyone: to recognise a familiar tune, or to grasp it's extraordinary arrangement. Under the direction of Gaetan Jarry, the Marguerite Louise ensemble sublimates these Latin oratorios and French pastorals, infusing the Christmas celebration with unparalleled fervour!

In the autumn of 1725, as France celebrated the union of Louis XV and Marie Leszczynska, the French ambassador in Venice entrusted Vivaldi with the composition of a serenata in honor of the young royal couple. This commission inspired a sumptuous work, carried by two allegorical figures: Imeneo, god of marriage, and Gloria, the radiant embodiment of French majesty. In turn, these voices rise, echo each other, and gracefully contend in virtuosity, before blending in a sumptuous final duet, sealing their tribute in perfect harmony. Logan Lopez Gonzalez and Nicolo Balducci lend their talent and sensitivity to these roles, exalting Vivaldi's music. In the profusion of his work, this brief yet striking piece stands out as much for it's diplomatic finesse as for it's inspired brilliance - an enchantment offered to the French Court.

With Hail! Bright Cecilia, Henry Purcell, herald of the British Baroque, pays tribute to the patron saint of music through a score widely regarded as one of his masterpieces. Composed in 1692, this ode reflects both the artistic effervescence of 17th-century England and the central role of music in society at the time. Vincent Dumestre and Le Poeme Harmonique reveal the full expressive richness of Purcell's writing in a performance where jubilant brilliance, lyrical delicacy, and dramatic contrasts unfold with infectious vitality. Alternating between recitatives, solo arias, and sumptuous choruses, the score showcases Purcell's mastery of musical dramaturgy, balancing orchestral refinement with controlled theatricality.

In addition to his reputation as a dancer, the Sun King was also a musician. Under the enlightened influence of his mother, Anne of Austria, the young Louis XIV learned to play the lute and then the guitar. Once relegated to commoners, this instrument became a symbol of royal refinement. Beyond simple entertainment, this musical craze served a political purpose: to seduce the court and the people, and to weave harmony between French, Italian and Spanish cultures. Like a new King David, monarch-musician par excellence, Louis XIV crafted the image of an Apollonian sovereign, master of the arts as much as of power. Together with exceptional musicians, Lea Masson reveals this forgotten facet of the guitarist king!

Marc-Antoine Charpentier, with his Messe a quatre choeurs, delivers a unique work that reflects a rare encounter between French tradition and the splendor of Roman Baroque. Inspired by the grand polychoral works of Gabrieli and Benevoli whom he listened to attentively during his stay in Italy he unfolds a choral dialogue of exceptional breadth. Four vocal and instrumental ensembles face each other, respond, and intertwine in a play of echoes and timbres that transcends the liturgical space. Jean-Baptiste Nicolas brings an exalted momentum to this masterpiece of sacred music, combining stylistic precision with interpretative finesse.

In a palace at the edge of the Ottoman Empire, Constance, a noble captive, lives under the watchful guard of the powerful Pasha Selim, who longs for her heart. But Belmonte, her devoted lover, braves seas and dangers to find her. With the help of Pedrille, he attempts a daring escape, all under the suspicious eye of Osmin, the brutal yet comical guard. Nighttime intrigues, outlandish disguises, and eternal vows weave an exuberant comedy where emotions are put to the test. The Orchestre de l'Opera Royal, conducted by Gaetan Jarry, blends liveliness and eloquence to bring to life one of Mozart's most spirited works-performed in French!

The English musical Renaissance reached it's apogee with Henry Purcell. Inspired by French pomp and Italian melodies, he forged a unique style, blending royal splendour with an authentic British spirit. His masterpiece, Dido and Aeneas, is a timeless lyrical gem, exploring the eternal tragedy of love and abandonment. The majestic Sonya Yoncheva plays Dido, the queen in love betrayed by fate, while Halidou Nombre gives voice to the passions of Aeneas, torn between his love and the call of Rome, who is caught up in an intrigue hatched by dark forces. At the Opera Royal of Versailles, the music of the Orpheus britannicus resonates with eternal splendour, magnified by the dreamlike staging of Cecile Roussat and Julien Lubek. Their masterful approach, combining mime, dance and acrobatics, transforms every moment into a magical tableau, sublimated by the fervour of the young soloists from the Academie de l'Opera Royal.

Amid the pomp of the court, the ear of the young Louis XIV was awakened to the charms of the harpsichord. Surrounded by the most illustrious harpsichordists, he explored a world where music was still a treasure passed from hand to hand. While French harpsichord making flourished, Jacques Champion de Chambonnieres published the first printed scores in 1670. From unmeasured preludes, to poignant tombeaux imbued with subtle melancholy, to delicate arrangements of popular airs, the harpsichord of Louis XIV echoes an era of unprecedented musical richness. Brice Sailly's sublime interpretation highlights the splendour and diversity of this golden age of the French harpsichord.

Poppea, a courtesan with an insatiable thirst for power, weaves her destiny with formidable grace. Mistress of the Emperor Nero, she frees herself from all restraints, sweeping aside past loves, orchestrating the suicide of the philosopher Seneca and precipitating the fall of the Empress Octavia. Her coronation and the coveted union with Nero could be seen as nothing more than a manifesto of amorality. However, under Monteverdi's majestic inspiration and Stephane Fuget's fervent direction, this ascension is transformed into an intoxicating ode to all-powerful desire, revealing the terrifying beauty of unrestrained ambition!

While Pygmalion, Rameau's emblematic work, reveals the passion of a sculptor in love with his creation, Pierre Iso's Zemide reveals the gentle tyranny of Love, weaving an allegory in which even the fiercest hearts yield to it's power. Like Galatea awakening under Pygmalion's gaze, this vibrant programme of Baroque passion comes to life under the inspired direction of Reinoud Van Mechelen, offering a spectacle where music and sentiment intertwine in dazzling symphonies.

When Atys was first performed before the court in 1676, Lully was at the peak of his triumph: his tragedie lyrique became "the King's opera," so highly did the monarch esteem it's quality. The chords unfold to embody human passions and divine wills, guiding the young Atys's romantic impulses and the wounded fury of the goddess Cybele. With Atys, Lully establishes love as the central thread of the drama, weaving around this sovereign passion a tale where the impulses of the heart, celestial jealousies, and human flaws intertwine to seal the fate of the heroes. Leonardo Garcia-Alarcon conducts this new version with exquisite finesse, elevating Lully's music to carry souls into an enchanting dream.

An enigmatic figure, Jean Adam Guilain has left posterity a collection of suites imbued with grave majesty and subtle melancholy. Rarely played nowadays, the four suites that have escaped the hazards of time resonate for the first time on the Great Organs of the Chapelle Royale de Versailles. Guilain's solemn music is interwoven here with the gentle melodies of Jacques Morel, forming a sumptuous tableau in which organ, viol and harpsichord complement each other harmoniously. Thomas Ospital and the Ensemble Saint-Honore combine their talents to perform these little-known works with great finesse.

Neglected since Charpentier's death, the oratorio genre finds in Clerambault a worthy successor to the master with his poignant version of the biblical story l'Histoire de la Femme adultere. Conducted by Reinoud Van Mechelen, a nocte temporis delivers a masterly performance in which every note reveals the depth of the human soul, while the Chœur de Chambre de Namur displays all it's virtuosity in the timeless Te Deum à Grand Chœur, a true testament to Clerambault's genius!

Torn between her love for the King of Denmark, Sandomir, and her duty to her father, Rodoald, King of Norway, Princess Ernelinde finds herself caught up in a political whirlwind in the heart of medieval Scandinavia. Beyond the exotic setting of this lyrical tragedy, the boldness of Philidor's composition reflects an unprecedented modernity, paving the way for Gluck's reforms. Under the passionate direction of Martin Wahlberg, the Orkester Nord and the Chantres du Centre de musique baroque de Versailles bring this forgotten opera back to life!

Alone in his workshop, the sculptor Pygmalion shapes a statue of incomparable beauty, to the point of falling hopelessly in love with it. He then implores Love to bring his creation to life, and, moved by his pure devotion, Love grants his wish. With Pigmalion, Rameau crafted his finest opera-ballet, showcasing the full brilliance of his genius to depict the transformation from marble to flesh and the passionate quest for love. Alongside this, Antoine Bailleux's version offers a fresh and novel interpretation of the myth. Camille Delaforge and the ensemble Il Caravaggio deliver a brilliant performance, unveiling the full evocative power and refined elegance of Rameau's style.

In 1674, Lully and Quinault unveiled a new collaboration: Alceste, a tragedie en musique combining the dramatic power of the Greek myth from which it was inspired with the musical richness of the French Baroque. Despite criticism from the rivals of Lully and Quinault, this opera seduced the court of Louis XIV, reinforcing the new genre of the tragedie en musique. Stephane Fuget explores a world where love, sacrifice and duty intertwine, supported by sumptuous arias and choruses of unprecedented expressivity, sublimely performed by Les Epopees and the Chœur de l'Opera Royal.