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 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!

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.

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.

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!

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.

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.

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.

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.

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.

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!

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. Ga�tan Jarry conducts the Orchestre de l'Op�ra Royal and the child singers of the T�lzer Knabenchor, to restore this treasure of sacred music to it's rightful place.

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 Ch�ur de Chambre de Namur displays all it's virtuosity in the timeless Te Deum � Grand Ch�ur, a true testament to Clerambault's genius!

Having reached the peak of his art, Marc-Antoine Charpentier composed his final mass, Assumpta est Maria, around 1669. Composed around the theme of the Assumption of the Virgin, central to the Catholic religion, this grandiose work blends Italian influences and French style. Charpentier succeeded in combining devotion and virtuosity, making the Assumpta est Maria Mass one of the masterpieces of Baroque sacred music, still appreciated for it's mystical depth and musical brilliance. Gaetan Jarry, accompanied by his ensemble Marguerite Louise, gives a superb performance that brings out all the expressiveness and solemnity of this mass.

The terrible Atalia, having eliminated the entire royal family in order to secure her power, reigns mercilessly over Jerusalem. But seven years later, the High Priest, determined to put an end to her tyranny, joins forces with General Ormano and the wise old Nourrice to bring little Joas, the only survivor of the massacre, to the throne. Emmanuel Resche-Caserta and the Ensemble Hemiolia make Francesco Gasparini's oratorio their own, bringing to life characters in the grip of fury, vengeance and exaltation. The music, with it's striking dramatic intensity, underlines the final moral: justice and innocence always triumph.

In an intrigue-filled Verona, Giulietta and her beloved Romeo struggle to live out their love in the face of conflicts between their families... Inspired by Luigi Da Porto's original 16th-century novella, Niccolo Antonio Zingarelli breathed new life into this iconic tale: from it's premiere in 1796, this flamboyant opera seria became Napoleon I's favourite opera. Gilles Rico chooses to set the play at the dawn of the 19th century, and skilfully stages the torments of the two young heroes, torn between their family duty and the violent passion that seizes them, all underlined by Roland Fontaine's grandiose sets and Christian Lacroix's splendid costumes.

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 Ch�ur de l'Opera Royal.

La Caravane du Caire became the greatest success of it's composer, Andre Gretry, as soon as it premiered in 1783. This flamboyant opera-ballet takes us to a fantasised Orient, where colourful characters meet: an ambitious slave trader, an idle Pasha and distraught lovers experience a thousand adventures, in a sumptuous setting, to the sound of Gretry's superb instrumentation. In a whirlwind of precious fabrics, the Ballet de l'Opera Royal accompanies Herve Niquet and Le Concert Spirituel in a brilliant rendition of this late 18th-century masterpiece.

Although it is not known to which mysterious figures they were dedicated, Joseph de Boismortier's cantatas Les Quatre Saisons, published in 1724, resonate with the splendour of court festivities and the eloquence of the salons de conversation. The libretto, written by an anonymous but undoubtedly romantic hand, unfolds it's poetry through the seasons, and the composer seems to have enjoyed recreating all it's subtleties in his music. For her first recording as conductor, Chloe de Guillebon surrounded herself with young talent, accompanied by the skilful musicians of the Orchestre de l'Opera Royal de Versailles.

The young Wolfgang, aged only 10, composed the oratorio Die Schuldigkeit des ersten Gebots (The Duty of the First Commandment) in 1767 on his return to Salzburg after a fabulous tour of Europe with his father Leopold and his sister. It's rich and varied orchestration reveals Mozart's precocious talent in using instrumentation to enrich the musical narrative and accentuate the emotions of the drama. The libretto depicts a half-hearted Christian who, thanks to Divine Mercy and Justice, is led back to the path of virtue by the Spirit of Christianity, despite the temptations of the Spirit of the world. Camille Delaforge and Il Caravaggio gracefully underline the harmonic skill of this most famous of musicians.

At his arrival in Venice in 1613, Monteverdi, ever the tireless worker, finally found a challenge that suited him: he would compose every day, both sacred and secular music, for the glory of God or his patrons. In the twilight of his life, he gathered his works into a corpus, intended to inspire musicians during the celebration of religious services. This recording is a musical testament to his carefully preserved life's work. Vincent Dumestre and Le Poeme Harmonique pay tribute to the brilliant composer who set the tone for all 17th-century sacred music.

Giovanni Battista Velluti, born in 1780, was the last heir of the great Italian castrati. His exceptional voice, both powerful and agile, and his impressive vocal mastery opened the doors to the most prestigious opera houses in Europe. His talent for highly complex vocal ornamentation had a lasting influence on the style of vocal interpretation in the 19th century. Franco Fagioli immerses himself in Velluti's theatricality to recreate the full extent of his genius, and gives a superb performance of his most famous roles, accompanied by the Orchestre de l'Opera Royal de Versailles.

The collection of toccatas Apparatus musico-organisticus, published in 1690, immediately established Georg Muffat as one of the greatest organists of his century. A veritable reference in the organ repertoire, appreciated for it's stylistic diversity, this work testifies to Muffat's ambition to blend European styles while exploring the expressive possibilities of the Baroque organ. Bernard Foccroulle deploys a range of emotions that underline the breadth and harmonic richness of the toccatas, performed on an organ emblematic of the French style that suits them so well, to which is added the delicate Sonata a violino solo, executed with brio by Marie Rouquie.