A midprice reissue collecting this young French pianist s three baroque recordings. I fell in love with Tharaud s Rameau disc several years ago and never once missed the rattling sound of the harpsichord. Tharaud points out that Rameau s frequent ornamentation would have served to prolong notes on a harpsichord. This isn t necessary on a modern piano, and there s an incredible delicacy to the pianism here, with the trills and turns played with a barely credible lightness of touch. It s infectious stuff, with the witty character pieces from the Suite in G vivid and alive.
Applaudi dans le monde entier, célébré par le grand public comme les spécialistes, Alexandre Tharaud est un enfant chéri du piano français. C’est à travers sa discographie qu’il s’est révélé et qu’il a défini sa figure d’artiste unique : une trentaine d’enregistrements, singulièrement variés et imaginatifs. Car aux côtés de ses nombreux disques consacrés à Chopin, Bach et Schubert, d’autres reposent sur des choix plus inattendus : interpréter Rameau au piano, défendre le trop discret Chabrier, replacer Satie à la hauteur qui est la sienne, ressusciter le fameux Boeuf sur le toit. …
The biggest surprise on this wonderfully exuberant and exhilarating disc comes with the very first notes: the piano tone is rich and full, worlds away from the slightly distant, musical-box tone that is often thought appropriate for recordings of Domenico Scarlatti's sonatas on a modern concert grand. But as the soundworld suggests, Tharaud is totally unapologetic about playing these pieces – all originally composed for harpsichord even though the earliest fortepianos were in circulation in Scarlatti's time – on a piano. In the sleevenotes, Tharaud says that of the four baroque keyboard composers that he has recorded so far – Bach, Couperin, Rameau and now Scarlatti – it's the last whose music is most suited to this treatment. His selection of sonatas is chosen for maximum variety, with a group in which the Spanish inflections of flamenco and folk music can be heard, others in which he gets a chance to show some dazzling technique, alongside those in which the playfulness is replaced by profound introspection.
In celebration of the 250-year anniversary of Jean Philippe Rameau’s death, this album is a selection of Teodor Currentzis’ favourite orchestral and orchestral / vocal works by Rameau - taken mostly from his operas and opera-ballets.
The opera Platée by Jean Philippe Rameau is not just a comic opera but an opera in which the Gods of Olympus play a part. With his tragedies lyriques Jean Baptiste Lully had banned all comical characters from the opera, and musical comedies had become unfashionable. Thanks to works by André Campra and Jean-Joseph Mouret, however, the genre had not disappeared completely, and Rameau made his own contribution with Platée.
Rameau on the piano? It's not altogether unheard of – there were a handful of classic recordings made by Robert Casadesus back in 1952 – but, despite many recordings of Bach, Handel, and Scarlatti on the piano in the digital age, there's been precious little Rameau on the piano until this Angela Hewitt recording of three complete suites from 2006. By choosing the Suite in E minor from the Pièces de clavecin of 1731 plus the Suites in G minor and A minor from Nouvelles suites de pièces de clavecin, Hewitt has for the most part stayed away from the more evocatively titled works and stuck to the standard stylized Baroque dance forms of the allemande, courante, and gigue. Justly celebrated for her cool and clean Bach recordings, this strategy works well for Hewitt. Without seeming to resort to the sustain or the mute pedal, she floats Rameau's lines and melodies, and without seeming to exaggerate the accents or dynamics, she gives Rameau's rhythms a wonderful sense of lift. In the deliberately evocative movements from the G minor Suite – "La poule," "Les sauvages," and especially "L'egiptienne" – Hewitt seems to bring less to the music – her interpretations are remarkably straight – and to get less out of it – her performances are remarkably bland.
Making full use of Drottningholm Theatre's unique 17th century Baroque theatre machinery, as well as his deep creative understanding of the profound drama of the work, stage director Pierre Audi creates a production of Zoroastre that completely accords with the spirit of Rameau. True to the form of the tragédie lyrique, choreographer Amir Hosseinpour's dances perfectly match the weight and meaning of both plot and music. The ensemble, Les Talens Lyriques, reinforced with musicians from the Drottningholm Court Theatre Orchestra and Chorus, is expertly and passionately led into the musical stratosphere by musical director Christophe Rousset. This intensely dramatic production is captured live in vibrant High Definition video and true surround sound.
Alexandre Tharaud records Beethoven for the first time! Beethoven’s last three sonatas, Nos. 30, 31, 32, composed 1820-22 and are considered some of the most difficult works in the repertoire. The NY Times said “[Alexandre Tharaud] imbued the opening of Beethoven’s Sonata No.31 (Op. 110) with a poetic introspection…”