Pygmalion/l Impatience

Chers lecteurs français, veuillez m'excuser de devoir écrire ce commentaire en anglais. Dans le cas que vos connaissances de l'anglais ne sont pas si fortes que celles de la musique baroque, bref: *****

This is a superb recording of Pygmalion, Rameau's beautiful "acte de ballet" based on the Greek myth of the sculptor who falls in love with the statue he has created. It is performed here by the New York-based Concert Royal orchestra, directed by James Richman, playing on original instruments and accompanying an outstanding team of soloists and chorus.

From the very first notes of Rameau's scintillating overture, this fine period band play the music in incisive baroque style, then in the fast section beautifully pointing the cross-rhythms and repeated notes that mimic the sculptor's hammer and chisel strokes. After this brilliant start, Rameau's glorious music continues to move along superbly under Richman's inspired direction. The sequence of dances, in which the awakening statue is taught the different dance movements, is truly lovely, the frequent changes of tempo gracefully managed by players and conductor; and I have never heard the concluding Contredanse played with such panache as it is here.

As for the soloists, the tenor part of Pygmalion is an exceptionally demanding role calling for extreme range and agility, but the French tenor Mathias Vidal is more than up to the task and brings it off brilliantly - most of all in the triumphant finale Règne, Amour. In the other roles, soprano Rebecca Choate Beasley as the Statue has a lovely voice and delivery, conveying ethereal purity and innocence which perfectly suit the character. The other soprano, Ava Pine, is equally lovely and stylish as Amour. The mezzo Jennifer Lane, as Pygmalion's jilted lover Céphise, has little to do since her character, seriously offended at the sculptor's preference for his Statue over her, storms off for good soon after the beginning, her day ruined. The chorus, with a short but very significant part in the joyous L'Amour triomphe movement, are excellent.

The fillers on the disc consist of a short harpsichord work, La Dauphine, finely played and richly decorated by James Richman, and a cantata for tenor, L'Impatience, touchingly sung by Mathias Vidal. The booklet includes text and translation for Pygmalion, but not for the cantata. James Richman's notes are extremely informative, and Centaur's recording of all the works is excellent.

Returning to the main work, Rameau's Pygmalion has already been very fortunate on disc. Excluding the very first recording on an old DG Archive LP from 1963, conducted by Marcel Couraud with Éric Marion as an unforgettable Pygmalion - a marvellous version, unfortunately never transferred to CD - there are fine recordings directed by Hervé Niquet and William Christie, as well as my own favourite until now, Gustav Leonhardt. There is plenty of enjoyment to be had from any one of these, but personally I think that the present performance by James Richman and Concert Royal is at least the equal of any of them - and for some listeners it may even have the edge thanks to James Richman's thorough preparation and outstanding direction, the brilliance of the players and singers and especially the superb Mathias Vidal.

Altogether this is a stunning tour de force from all concerned, with the result that the prospective buyer now has an excellent choice of recordings. Finally, just in case it needs to be said, this vigorous, tuneful and affecting music is one of Rameau's finest scores and would make an ideal start for anyone seeking an introduction to this great master of the French baroque.