 
Rameau - Les Indes Galantes / Petibon, Croft, Hartelius, Agnew, Rivenq, Berg, Strehl, Christie, Les Arts Florissants, Paris Opera
Average Rating: 4.5 Total Reviews: 13
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 On: 2007-09-13
In which moment of life "the opera" concept took away the DANCE?
Seven years ago, in Cancun, a french friend recomended me to enjoy this opera, he was in a live performance in Paris. Now I can say it is one of my favorites operas. The production is espectacular, the music just wonderfull.
On: 2007-09-12
In which moment of life "the opera" concept took away the DANCE?
Seven years ago, in Cancun, a french friend recomended me to enjoy this opera, he was in a live performance in Paris. Now I can say it is one of my favorites operas. The production is espectacular, the music just wonderfull.
On: 2007-07-23
I have been checking out library opera DVDs for over a year with the hope that I can find another production of equal quality to this one. So far only a few have come close. Most have serious staging problems often called Eurotrash.
If I was not a fan of one of the singers (Malin Hartelius) I might have missed out on this wonderful production as Rameau is not a composer that I collect.
To all those people who wished that the dance was Baroque, let me say that most people would be bored by baroque dance, after a few minutes. This is a brilliant blending of modern dance and baroque music.
 On: 2007-07-10
Great to see this staged, but the music is so terribly driven - fast, even rushed - to the extreme. So much of the beautiful detail is lost. Much prefer to listen to Bruggen.
On: 2007-02-09
This is far and away the best Rameau DVD out there. Though the production is modern, it stays within the Barouqe style and is not a distraction from the music. The tempi are lively and slow arias are touching. The premise of the opera is original by even todays standard and offers the viewer a good idea of what a baroque opera prouction would have looked like in the 1730s while making full use of modern technology. Good extras on the DVD and very exciting music, of course!
 On: 2006-12-14
Great Fun, Great performence too!Music representing early colonial period of France You will Christie dancing at the end of the show!
On: 2006-12-13
Great Fun, Great performence too!Music representing early colonial period of France You will Christie dancing at the end of the show!
 On: 2006-11-25
Forget that attractive, dignified cover art: this is modern Euro-trash, start to finish. Any Rameau fan who values the unique blend of grandeur and sprightly good humor that permeates so much of the French masters music will find this production patently offensive. Christie and his troops mistakenly equate vulgar buffoonery and the most absurd posturing with good humor and high spirits. That a conductor of Christies stature endorses and participates in such revolting nonsense is (for me) a real eye-opener. Who woulda thought. Give it a wide berth, if you love Rameau.
On: 2006-11-10
This is one of the most enjoyable DVDs I have ever owned. The voices and orchestra are superb, with some outstanding acting thrown in. The sets and costumes are over the top, as happens occasionally at the paris Opera. This time it is a Masterwork!
On: 2006-09-16
_Les indes galantes_ is atypical in Rameaus output -- instead of a lyric work with a single plot, we have an entertainment composed of four "entrees" with a prologue. Its a somewhat loose framework that Rameau invests with his customary vigor of invention. The music is sublime, with a nice handful of showstoppers. All in all, this is a superb performance and production that showcase Rameaus brilliance, wit, and refinement.
SINGERS - THE PROLOGUE --
The musical company is quite lavish, with no doubling of roles between entrees, except for Nathan Berg who excels in his two roles. In the prologue, I rather relished the buffoonish travesti portrayal of the goddess of war Bellone, and Valerie Gabail is sweet-voiced and puckish as Cupid. Danielle de Niese has the important role of Hebe, goddess of youth, here employed as something of the mistress of ceremonies. Ms. de Nieses physical allure and (often overplayed) stage charm fail to compensate for her deficiencies as a singer. Her voice is simply too broad, too coarse in texture, too unrefined in technique to do service to the music. (To my sensibilities, she was the one great liability in the DVD of Giulio Cesare under Christie, her Glyndebourne acclaim notwithstanding.)
SINGERS - FIRST AND LAST ENTREES--
The first entree has in Anna Maria Panzarella and Paul Agnew two protagonists ideally suited to each other -- temperamentally, physically, and vocally. The last entree has the admirable Nicolas Rivenq as the native hero Adario, and the two European suitors are well played and sung. But Patricia Petibon, whom I normally adore in this repertoire, was downright irritating. Her characterization of Zima is tediously coy ... she minces around coquettishly while singing of the simple unaffected virtues and pure love of the natives. Perhaps she intended to come off as unself-conscious, but it doesnt work and seriously hinders enjoyment of her fine voice. The big "production number" in this entree, "la danse du grand calumet," comes off splendidly; it features those dancing bison and an enormous golden turkey dominating the stage. I do wonder, though, why the choreographer had the chorus and principles dancing the "Egyptian" ... !? Perhaps this touch was done in the naive spirit of the general production design, i.e., to underscore that what we are seeing is a not-always-informed European notion of certain faraway places, which can devolve into a generalized exoticism.
SECOND ENTREE - NATHAN BERGS TOUR DE FORCE--
It was the second and third entrees, however, that impressed me most in this performance ... The second entree is titled "Les Incas du Perou" and has a plot involving a high priest of the sun who is in love with Phani and wants to compel her to serve in his cult. She however is in love with a conquistador, Don Carlos. On the surface, the high priest Huascar seems a transplanted representation of the abuses of Church leadership. But given that the libretto has Don Carlos making reference to the superior faith of the Christians, any identification of Huascar with the Church must be considered ambiguous. Furthermore, Huascar is clearly the protagonist, the tragic hero of the piece -- with about 80 percent of the vocal music in the entree, he is no mere villain. His conflict, his torment are contrasted with the bold arrogance of Don Carlos.
All three parts are expertly sung. As Phani, Jael Azzaretti doesnt have the most distinctive timbre, but she delivers her big aria, "Viens, hymen," with considerable fervor and poise. Her characterization is a strong one, convincingly balanced between trepidation and determination. The tenor Francois Piolino has a ping to his voice that distinguishes his moments in the small part of Don Carlos, and his sense for Rameaus nuanced but alert recitative is truly a marvel. His portrayal is an odd mix of heroic and effete that is just right in bringing out the tensions in the plot. Nathan Berg as the high priest Huascar delivers a tour de force that electrified me. His bass-baritone voice has a grainy texture that gives it a rare warmth and emotional flexibility. He is also a superb actor. He allows us to see flashes of Huascars brutishness, but he also reveals a man consumed by love and religious duty, pride, cultural identity, and sense of moral order. He has two hymns to the sun: "Soleil, on a detruit tes superbes asiles" is almost devastating in the depth of its melancholy, and "Clair flambeau du monde" is a tender air shared with the chorus. His confrontations with Phani are impressively forceful. The trio where the lovers contentedness is sung in counterpoint to Huascars torment was particularly vivid. From there, Huascar plummets headlong into tragedy. Bergs voice loses some steam at this point, as might befit a man at the end of his rope. The stage effects and dancing for this entrée are quite successful, although the Gavottes and Rondeau are not well-integrated, disrupting the dramatic flow. _Les indes galantes_ is thought of as light fare, but I found this entree to be gripping and disturbing.
THIRD ENTREE - LOVE SWEETLY COMIC, MUSIC SUBLIME--
Whats amazing is that after this intense performance, Berg returns to sing a romantic-comedy role in the next entrée, "Les Fleurs," which has a Cosi-like plot involving two couples, romantic suspicions, and cross-dressing disguises. Three of the four singers are just splendid: Richard Croft has a vibrant high tenor with rather more substance than the haut-contre voice you might typically find in this role (much as I like haut-contres). Bergs deep voice adapts with ease to the completely different musical and expressive demands imposed in this entrée: He (and the others) bring warmth and elegance of tone; and, with a light touch, he delivers the copious plot-advancing recitatives with apt comic timing. Malin Hartelius as Bergs love interest is another poised singer and actress. Only Gaele Le Roi as Crofts paramour is less than wholly satisfying--thanks chiefly to her tortured-looking facial tics. Still, the romantic pairings are convincing and fun to watch. The quartet "Tendre amour" is for me the high point of the opera. It is a miracle of vocal ensemble writing, as delicious as the Three Women and Three Spirits in Mozarts Magic Flute. Rameau, without resorting to a round, manages to give each singer a vocal line worthy of solo performance. The bass voice here doesnt underpin the other singers but buoys them. This is one of my favorite pieces of music in all the world.
THE PRODUCTION--
The sets, costumes, and dancing all have a naive flavor that works well here. The occasional deliberate peek at the stage machinery, behind the curtain as it were, adds to this effect. (The costumes work best when they are in the same bold strokes as the sets, but some of the wardrobe comes off as cheesy.) The production is crowded but somehow not as cumbersome as a more garish, baroque design sensibility would have rendered it. There is a lot of superfluous business, but it is deliberately being staged as a grand entertainment so the over-the-top goings-on didnt get in the way for me.
THE DANCING--
Two other Christie-Rameau DVDs, _Les Boreades_ and _Les Paladins_, are afflicted by precious or excessively high-concept dancing. After that, it is a relief to report that Bianca Lis choreography is a consistent asset -- we are treated to dancing flowerpots, dancing bison, acrobatics and balancing acts. It falls short of the seamless inspiration of the choreography in Minkowskis DVD of _Platee_, but it works well within this production design.
THE DVD PRODUCTION VALUES--
The camerawork is only slightly too jumpy for my taste, but at least we are spared rapid-fire MTV-style editing. The "interview" extras are fairly routine, but at least the designer and choreographer are likable and helpful in explaining what the music brings out in them -- In most other opera DVDs the designers are so pretentious you just want to pack them off to an arteest gulag.
FUTURE ROLES FOR BERG?--
This is a beautiful set, presented on two DVDs to optimize quality. Nathan Berg is a performer I will be paying attention to. I could see him in some choice modern roles as well as baroque repertoire: as Golaud, Wozzeck, Claggart, or Jochanaan; as Christ in the St. Matthew Passion; and in Bachs comic secular cantatas (Coffee and Peasant).
On: 2006-04-04
Music: Perfect
Singing: Perfect
Costumes and Scenery: Not bad
Technical quality: Perfect
Dance: Very modern ballet, which is a great disappointment
These vignettes are not plot oriented. Usually the love conflict is happily resolved in the first third of each vignette, clearing the way for the real purpose of these pieces, which is a very long instrumental-and-dance extravaganza. I dont know if the original dance notation has survived. But surely, if this production has such authentic baroque music it really should have baroque dance, instead of a leaps-and-lifts choreography that does not even remotely resemble it.
On: 2006-02-26
Quite an interesting and remarkable performance of a not well known piece of art.
by: vindarten On: 2006-01-05
This DVD is really quite fabulous in every way.
Les Indes Galantes was always one of Rameaus most popular operas and it was revived a number of times in the 18th century. The work is a joyful manifestation. Rameau, a true son of the Age of Enlightenment, celebrates different and exotic cultures in this opera.
Mr. William Christie and his Les Arts Florissants have performed this work before and I highly recommend the complete recording of this work on the French HARMONIA MUNDI label. This new production, on DVD, gives us a snapshot of Christies current ideas about the work. In every way, it is just as good as the older CD recording, and it is interesting to note that at least one of the old Les Arts Florissants stalwarts, Nicolas Rivenq, is still there - singing the same role, too!
(Adario)
This new production glows with vitality, beauty, colour and style.
Paul Agnew is here and he is an excellent Rameau singer - he also graces the Christie/LAF production of Les Boréades and the Minkowski Les Musiciens du Louvre DVD recording of Platée.
Danielle de Niese as Hébé is so beautiful and so gorgeous and so vivacious it is almost embarrassing! I couldnt take my eyes off her whenever she was on stage. Her singing is lovely, too.
Patricia Petibon appears in the Entrée - Les Sauvages as the Amerindian, Zima. She just about steals the show.
Nicolas Rivenq and Patricia Petibon have wonderful chemistry together and manage to get the audience cheering and clapping along with them. Bravo!
The whole thing is just pure joy.
If you have any interest in Rameau or are slightly curious about French Baroque opera, then rush out and buy this incredible recording.
Five stars are just not enough for products like this one.
On: 2005-10-01
Jean-Philippe Rameau would be proud of how his work shines on this DVD by Les Arts Florissants, Paris Opera. Les Indes Galantes was popular after its 1735 premier, and one can see why while watching this widescreen version. Here you have the best seat in the house and a chance to see creative costuming that adds great beauty to what is already beautiful dance.
If there are tears in your eyes by the final curtain, they will be tears of joy. I love William Christie and this magnificent cast. Not only do they sing, dance and act well, but they also seem to have fun doing it. The joy of doing this work is apparent after the final curtain, when Christie strikes up the orchestra from the stage. The singers and dancers recapitulate a bit of the last entree with Christie joining in the joyous dance. Christies love of doing the dance is contagious. Their pleasure and that of the audience was complete. The house erupted after this encore.
An enjoyable bonus on this DVD is a film entitled: "Swinging Rameau." It consists of interviews with William Christie, Nicolas Rivenq, Blanca Li, Andrei Serban, Paul Agnew and Patricia Petibon. The French tradition of dance within opera has turned into a work of love for Christie.
On: 2005-07-22
Les Indes Galantes was Rameaus second theatrical work. This opéra-ballett was first given on August 1735. This enchanting and exotic piece consists of a prologue and four entrées (acts).
Opus Arte released this month a DVD version of This performance was recorded at the Opera de Paris - Palais Garnier in 2004. William Christie conducted the Les Arts Florissants chorus and orchestra. The director was Andrei Serban. Décor and costumes: Marina Draghici Choreography: Blanca Li. This proves to be the A team!!
In the prologue the stage is crowded with people representing various mythological figures. The dancers are dressed in colorful Rococo styled costumes. The dancing is full with humor charm and imagination. From the singers, I liked Danielle de Niese as Hébé with a bright soprano. There is action all the time on stage. Never a dull moment!
In the first entrée, we are near the sea and the sea waves are shaped beautifully. The blue color dominates. I was very impressed with the singing of Anne-Maria Panzarella as Emilie. She has a beautiful voice and really knows how to sing this kind of music, as is evident from numerous recordings of Lully and Rameau she had made. Nicolas Cavallier is very good as Osman and Paul Agnew is an effective Valère. The sailors dance is amusing and exotic and has a more modern character.
The second entrée, Incas of Peru is dominated by warm colors: red, yellow and orange. Nathan Berg is impressive in the role of Huascar. After the very effective earthquake where the mountains scenery is moving from side to side, comes the finale of this act, which is ending the first DVD, with the chorus praising the sun and this leaves a great impression.
In the third entrée, we meet two couples, which are playing disguising games: A mini Cosi fan tutte. The four singers are very good: Richard Croft, Nathan Berg, Gaële Le Roi and Malin Hartelius. In the middle of the act, the four are singing a quartet: this is extremely tender music of overwhelming beauty and fragility. And then follows the biggest divertissement: it begins with a funny dance of flowerpots and that dances for the flowers. This is a brilliant dance sequence. Wonderful!!
And than the last entrée. Nicolas Rivenq and the amazing Patricia Petibon are the Indian lovers. Christoph Strehl and Christophe Fel are the French and Spanish suitors. More exquisite music and brilliant dances. The highlight of the act is the dance of the savages and then the splendid duet with chorus "Forets Paisibles" (Peaceful forests).
It was not a short evening. The opera lasts a little more than three hours. But I havent felt its length. The wealth of colors, the charming dances, and above all, Rameaus beautiful music, makes it such an entertaining experience, that time is really flying.
The second DVD contains a 50 minutes long documentary. Christie says, "Rameau is the greatest dance composer before Stravinsky. You cannot listen to his music without performing some dance movements...". Christie is proving his case, during the final applauses when he sings and dances with the rest of the performers the "Forets Paisibles" from the final entrée.
Technical quality is first rate. I cannot recommend this DVD highly enough. Magnifique!!
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