Don Quichotte chez la duchesse Arthur Tanguay-Labrosse, Dominique Côté, Catherine St-Arnaud, Geoffroy Salvas, Ensemble Caprice & Matthias Maute

• Joseph Bodin de Boismortier (1689 - 1755): Don Quichotte chez la duchesse, op. 97: Ouverture:
• 1 de Boismortier: Don Quichotte chez la duchesse, op. 97: Ouverture 02:24
• Acte I:
• 2 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte I, Scène 1 : Au secours, au secours, au secours (Sancho Pança) 00:59
• 3 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte I, Scène 3 : Je suis de mes exploits (Don Quichotte) 01:22
• 4 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte I, Scène 3 : D'un riche azur (Sancho Pança, Altisidore) 01:16
• 5 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte I, Scène 4 : Marche et chœur des pâtres (chœur) 01:38
• 6 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte I, Scène 4 : Menuets I et II 01:57
• 7 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte I, Scène 4 : Du passé point de souvenir (Sancho Pança) 00:32
• 8 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte I, Scène 4 : Tambourins I et II 01:29
• 9 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte I, Scène 5 : Scène de la paysanne (Altisidore, Paysanne, Don Quichotte) 02:21
• 10 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte I, Scène 6 : Merlin l'enchanteur (Merlin, Sancho Pança, chœur) 01:13
• Acte II:
• 11 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte II, Scène 1 : Séjour funeste (Altisidore, Sancho Pança, Don Quichotte, chœur) 03:32
• 12 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte II, Scène 3 : Air pour charmer (Altisidore, Sancho Pança, Don Quichotte, chœur) 03:05
• 13 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte II, Scène 5 : Air pour le désenchantement 00:32
• 14 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte II, Scène 5 : Don quichotte est vainqueur (Montesinos) 00:54
• 15 de Boismortier: Don Quichotte chez la duchesse, op. 97: acte II, Scène 5 : Air pour les amants désenchantés (Montesinos, chœur) 02:27
• 16 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte II, Scène 5 : Divertissement (une autre Amante, une Amante) 04:45
• 17 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte II, Scène 6 : Air des démons (Montesinos, chœur) 01:39
• 18 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte II, Scène 6 : Dieux quelle violence (Altisidore, Don Quichotte, Sancho Pança, Montesinos, Merlin, chœur) 00:42
• Acte III:
• 19 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte III, Scène 1 : Le gentil sapajou (Sancho Pança, chœur) 01:55
• 20 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte III, Scène 3 : Quel vain scrupule (Sancho Pança) 00:31
• 21 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte III, Scène 5 : Air pour l'arrivée de Merlin (Merlin) 00:49
• 22 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte III, Scène 5 : Fidèle amant (Altisidore, Merlin) 00:42
• 23 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte III, Scène 5 : Calmons aussi le trouble de Sancho (Don Quichotte) 00:30
• 24 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte III, Scène 5 : Habitants du Japon (Altisidore) 00:41
• 25 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte III, Scène 6 : Chœur des Japonais (chœur) 01:23
• 26 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte III, Scène 6 : Entrée des Japonais (Mentesinos en Japonais) 03:18
• 27 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte III, Scène 6 : Vole amour (Altisidore) 03:36
• 28 de Boismortier: Don Quichotte chez la duchesse, op. 97: Acte III, Scène 6 : Chaconne 03:56
• Total Runtime 50:08

Info zu Don Quichotte chez la duchesse

Ensemble Caprice under the direction of Matthias Maute presents Joseph de Boismortier's baroque opera-ballet Don Quichotte chez la Duchesse, featuring singers Arthur Tanguay-Labrosse (Don Quixotte), Dominique Cote (Sancho Panza), Catherine St-Arnaud (Altisidora) and Geoffroy Salvas (Merlin and Montesinos).

Charles-Simon Favart's 1743 libretto brings to life the characters of Miguel de Cervantes' masterpiece: Glory-loving Don Quixote, who wants to live like a valiant knight guided by the noblest ideals, but with no sense of reality, and his inseparable "squire" Sancho Panca.

The dramatic plot offers a series of intrigues as wild as those of Cervantes.

The score of Don Quichotte chez la duchesse used for this recording was transcribed from Boismortier's manuscript by violinist Olivier Brault, member of Ensemble Caprice and Sonate 1704. This is the manuscript score prior to the performances of the time, preserved at the Bibliotheque nationale de France; the commonly used engraved edition dates from after the premiere and includes changes that were introduced following the initial performances.

“The version we propose is the result of the primary compositional work that Boismortier had in mind before submitting it to the musicians. We have chosen to focus on the arias and musical divertissements and have cut most of the recitatives,” says Maute. This version of the manuscript has never been recorded.

Arthur Tanguay-Labrosse, tenor (Don Quixote)
Dominique Côté, baritone (Sancho Pança)
Catherine St-Arnaud, soprano (Altisidore)
Geoffroy Salvas, baritone (Merlin et / and Montesinos)
Dorothéa Ventura, soprano (a peasant woman, an enchanted lover)
Claudine Ledoux, alto (an enchanted lover)
Ensemble Caprice
Matthias Maute, direction

Arthur Tanguay-Labrosse
is a tenor from Quebec equally at home in early and contemporary music. Particularly involved in modern opera, he has collaborated with Chants Libres (Aziz in L’orangeraie by Zad Moultaka, 2021), and the Ballet-Opéra-Pantomime company (Orphée in Orpheus on Sappho’s Shore, an opératorio by Canadian composer Luna Pearl Woolf). He has also sung the roles of Kaherdin in Le vin herbé by Frank Martin, and First Trader in the Canadian premiere of Nero and The Fall of Lehman Brothers by Jonathan Dawe. He has performed as a soloist with several Baroque ensembles, notably with Ensemble Caprice (Vêpres de la Vierge by Monteverdi, as Don Quixote in Don Quichotte chez la duchesse by Boismortier, and in Bach’s Easter Oratorio), and Les Idées heureuses (Cantatas by Bach and Graupner). He regularly sings in the best professional choirs in Quebec, including La Chapelle de Québec, the OSM Chorus, Voces Boreales, the Ensemble ArtChoral, and the Choir of the Church of St. Andrew and St. Paul.

Dominique Côté
Winner of several international prizes, baritone Dominique Côté has been hailed by audiences and critics alike for his warm voice and moving interpretations. His first solo album, Amour et fantaisies, mélodies de Lionel Daunais, produced by ATMA Classique, was enthusiastically received by audiences and critics alike, and was nominated for Recording of the Year at the Gala des Prix Opus 2022. His discography includes several world premieres: Louis Beydts’ La SADMP with the Orchestre Avignon- Provence; Paolo Lorenzani’s Nicandro e Fileno with Les Boréades; Germaine Tailleferre’s L’affaire Tailleferre with the Opéra de Limoges; Gavaux’s Léonore with Opera Lafayette; as well as two recordings of the title role in André Gagnon’s opera Nelligan with the Orchestre symphonique de Montréal and for ATMA Classique. Notable performances include the title role in Nelligan for numerous companies, La Comtesse in Les feluettes at Edmonton Opera, Dr Falke and Eisenstein in Strauss’s La chauve-souris in Montréal, Québec, Tours, and Geneva, Gérard in the world premiere of Messe solennelle pour une pleine lune d’été by Christian Thomas at the Festival d’Opéra de Québec, numerous Handel Messiah and Orff’s celebrated Carmina Burana. He sings under such conductors as Kent Nagano, Hervé Niquet, Christophe Rousset, Theodor Guschlbauer, Jacques Lacombe, Nicolas Ellis, Matthias Maute, Alexander Weimann, Jean-Marie Zeitouni, and Thomas Le Duc-Moreau, in a repertoire ranging from Baroque to contemporary, with a particular penchant for French and Québecois music of all periods.

Catherine St-Arnaud
Effervescent and luminous, soprano Catherine St-Arnaud is a “simply stunning” artist (Revue L’Opéra), a “first-rate performer” (Opera Canada) who excels in a vast repertoire. Recently, she performed with the National Kaohsiung Arts Center in Taiwan (Adina in L’elisir d’amore) and the Oregon Symphony (Soprano solo, Carmina Burana), in addition to originating the role of Albertine à 30 ans at the Théâtre du Rideau Vert (Albertine en cinq temps – l’opéra). On stage, she has performed as Susanna (Le nozze di Figaro), Lucia (Lucia di Lamermoor), Altisidore (Don Quichotte chez la duchesse), and Thérèse (Les mamelles de Tirésias). She has also performed in concert with the Brott Festival, l’Ensemble Caprice, the Festival Bach de Montréal, the Grands Ballets Canadiens, Les idées heureuses, l’Opéra de Québec, the Orchestre Métropolitain, and the Štátna filharmónia Košice, working with renowned conductors such as Luc Beauséjour, Nicolas Ellis, Jean-Michel Malouf, Matthias Maute, Hervé Niquet, and Alain Trudel. The diversity of women’s voices is at the core of recitals she has presented at the Chapelle historique du Bon-Pasteur and the Société d’art vocal de Montréal, among several others. Catherine St-Arnaud is a graduate of l’Université de Montréal, and she has pursued further development at the Canadian Vocal Arts Institute, the Orford Academy, the Staatstheatre Augsburg and the Vancouver International Song Institute. She has twice been a finalist at the Metropolitan Opera National Council Auditions (New England Region) and has been a prize-winner at the Orchestre symphonique de Montréal’s Manuvie Competition, the Prix d’Europe, and the Auditions Jeunes Ambassadeurs Lyriques.

Geoffroy Salvas
has nurtured his love for music since childhood through studying piano and cello. He later honed his singing skills at the Conservatoire de musique de Montréal under the guidance of Gabrielle Lavigne and Aline Kutan. Over the years, he has forged a path onto both Canadian and French stages, notably collaborating with the Orchestre symphonique de Montréal, Camerata-RCO, Symphony New Brunswick, the Opéra de Montréal, the Opéra de Québec, Pacific Opera Victoria, the Opéra de Toulon, the Opéra national de Montpellier, and the Opéra Grand Avignon. Among the roles he performs are Valentin (Faust), Masetto and Don Giovanni (Don Giovanni), Morales, Escamillo, and Zuniga (Carmen), Mercutio (Roméo et Juliette), Marcello (La bohème), Peter (Hänsel und Gretel), Giorgio Germont (La traviata), Frank (La chauve-souris), Bobinet (La vie parisienne), the vice-roi (La Périchole), Papageno (Die Zauberflöte), and Aeneas (Dido and Aeneas). In oratorios and recitals, he has been heard in works such as Ein deutsches Requiem by Brahms, the Requiem by Fauré, Messiah by Handel, Matthäus-Passion, Weihnachtsoratorium by Bach, Les nuits d’été by Berlioz, the Te Deum by Charpentier, Le bal masqué by Poulenc, the Lieder eines fahrenden Gesellen by Mahler, Winterreise by Schubert, and Don Quichotte à Dulcinée by Ravel.

Claudine Ledoux
A versatile performer with a warm voice, mezzo-soprano Claudine Ledoux has been praised by critics and the public for her stage presence and musical sensitivity. Her repertoire is sophisticated; it ranges from the Baroque to contemporary and includes opera and mélodie. A graduate of McGill University, she has had the pleasure of working with numerous celebrated musicians and conductors, and of exploring a great variety of repertoires. She has performed as a soloist with I Musici de Montréal, Opéra de Montréal, the Orchestre symphonique de Montréal, the Chapelle de Montréal directed by Yannick Nézet-Séguin, the NEM, Les Idées heureuses, the Studio de musique ancienne de Montréal, the Nouvele Sinfonie (Hervé Niquet), Ensemble Caprice, Chants Libres, etc. Recently, alongside soprano Karina Gauvin, she performed Mahler’s Second Symphony with the Orchestre symphonique des jeunes de Montréal. She has made a diverse range of recordings: cantatas by C. Graupner (Les Idées heureuses, Analekta); mélodies and lieder (Après le jour, Jardin de givre, Storkclassic); and works by Québécois composers (Auguste Descarries, XXI), etc. On the opera stage she has happily sung such roles as Rossini’s heroines in La Cenerentola and The Barber of Seville. She has had the opportunity of participating in the premiers of numerous works, several of which have won Opus prizes, by Québécois composers, including Michel Gonneville (L’hypothèse Caïn), José Evangelista (Manuscrit trouvé à Saragosse), Gabriel Thibaudeau (Cantate pour un fleuve), Pierre Labbé (Chante Edmond), and Gilles Tremblay (l’Opéra-féérie). She was a guest soloist for the premiere, at Carnegie Hall in New York, of a work by Montréal composer Éric Champagne.

Dorothéa Ventura
A versatile artist, Dorothéa Ventura is very active in the Quebec artistic scene. Singer, harpsichordist, vocal coach, choral conductor, dancer and actor, she has performed with the most prestigious ensembles in Quebec, Canada and Europe, in some 500 productions, concerts and recordings, many of which have won Prix Opus, Juno Awards and ADISQ nominations. She co-founded Ensemble ALKEMIA, an a cappella vocal ensemble that was a finalist at the Early Music America Competition in New York and nominated for the 2014 and 2015 Prix Opus (Best Concert of the Year). With violinist Olivier Brault, she collaborated on the creation of the ensemble Sonate 1704, aimed at discovering the repertoire of violin sonatas in 18th-century France. She is artistic director of the ensemble Les Idées heureuses, sits on the artistic committee of La Nef, directs the Opus Novum Choir, teaches harpsichord at the Cégep de Trois-Rivières and is a regular teacher at CAMMAC. A private vocal coach for professional singers, notably at McGill University and the Atelier lyrique de l’Opéra de Montréal, she has been assistant to conductors Yannick Nézet-Séguin, Hervé Niquet, and Andrew Parrott on several opera productions. Following solid training in classical, modern and baroque dance, she joined Les Jardins chorégraphiques in 2009. As an actress, Dorothéa has appeared in several short films and plays, including the 150 performances of La mélodie du bonheur, directed by Denise Filiatrault.

Ensemble Caprice
Known for its extensive national and international touring, more than 20 albums and more than 100 videos, two times Juno Award winning Ensemble Caprice was founded by acclaimed conductor, composer and recorder soloist Matthias Maute and has become known for its innovative and adventuresome approach to baroque, classical and contemporary musical repertoire. In addition to its series of concerts in Montréal, the group tours extensively, in Canada, the United States, Central and South America, Europe, Asia, and Africa, including multiple tours to China. During the past two years, Ensemble Caprice has given over 100 concerts on 4 continents. The New York Times published a lengthy article hailing the musicians’ innovative and refreshing approach, praising them as “imaginative, even powerful; and the playing is top-flight”. The ensemble has been invited to perform in prestigious festivals, including the Lufthansa Festival in London, festivals in Bruges (Belgium) and Utrecht (Netherlands), the Felicja Blumental International Festival in Tel Aviv, and, in Germany, the Musikfestspiele Potsdam Sanssouci, the Regensburg Early Music Festival, the Festival Händel-Festspiele in Halle and the Stockstadt Festival. The ensemble’s recording activity is every bit as impressive, comprising over twenty CD’s on the ATMA Classique and Analekta labels. These recordings have gleaned many honours and much critical acclaim, including two Juno Awards and five prix Opus awards. In addition, Ensemble Caprice was nominated for the Echo Klassik Prize in Germany and received a glowing recommendation from the prestigious magazine Gramophone. Ensemble Caprice has also gained an international reputation for its videos on the Mécénat Musica noncerto classical music channel, distributed worldwide in more than 170 countries. In 2020, at the beginning of the pandemic, Ensemble Caprice co- founded the project Mini-Concerts Santé, providing 9,000 free door-to-door outdoor concerts to 70,000 children, adolescents, elderly, adults, and families suffering from isolation, loneliness and psychological distress, on more than 1,000 streets in more than 100 cities, boroughs and regions across Montréal, Québec and Canada.

Matthias Maute
The conductor, composer, recorder and flute soloist Matthias Maute, winner of two Juno awards, has acquired an international reputation. He is the artistic director of Ensemble ArtChoral, Ensemble Caprice, and the Bach Society of Minnesota. Impressed by his artistic approach, The New York Times described the orchestra he conducts in Montréal, Ensemble Caprice, as “an ensemble that encourages the listener to re-listen to the world.” Maute’s recording of Bach’s Brandenburg Concertos juxtaposed with Maute’s own arrangements of Preludes from Shostakovich’s Opus 87 was hailed by The New Yorker’s Alex Ross as standing out “for its fleet, characterful approach” and “its fresh, vibrant colors.” Matthias Maute’s compositions are published by Breitkopf & Härtel, Amadeus, Moeck and Carus. In 2014 and 2015, Maute’s Violin Concerto was performed by soloist Mark Fewer with the St. John’s Symphony and with I Musici de Montréal. His compositions are featured in 49 videos on noncerto.com. Matthias Maute has made around twenty recordings on the Analekta, Vanguard Classics, Bella Musica, Dorian, Bridge, and ATMA Classique labels. He is regularly invited to perform at major international festivals. He is also co-artistic director of the Montréal Baroque Festival. Matthias Maute created the Mini-Concerts Santé during the pandemic in 2020, offering 12,000 Mini-Concerts Santé to 80,000 people in Quebec and Ontario by offering more than 3,000 hiring of professional singers and musicians during difficult times. Maute is the artistic director of the Art Choral project, featuring the history of choral singing from the 16th century to today on 15 albums (ATMA Classique), 15 concert videos and 120 videoclips. Maute initiated the ClassiqueInclusif project, which creates a platform for inclusion and diversity in the classical music.

Booklet für Don Quichotte chez la duchesse