Les Indes Galantes Purcell Choir, Orfeo Orchestra & György Vashegyi

• Jean-Philippe Rameau (1683 - 1764): Les Indes galantes, RCT 44, Prologue:
• 1 Les Indes galantes, RCT 44, Prologue: Ouverture 02:31
• 2 Les Indes galantes, RCT 44, Prologue: Vous qui d'Hébé 03:24
• 3 Les Indes galantes, RCT 44, Prologue: Entrée de la suite d'Hébé 01:08
• 4 Les Indes galantes, RCT 44, Prologue: Musettes, résonnez dans ce riant bocage 02:00
• 5 Les Indes galantes, RCT 44, Prologue: Musette en rondeau pour la suite d'Hébé 01:26
• 6 Les Indes galantes, RCT 44, Prologue: Amants sûrs de plaire 03:06
• 7 Les Indes galantes, RCT 44, Prologue: Air pour deux polonais 01:51
• 8 Les Indes galantes, RCT 44, Prologue: Premier et deuxième menuet pour la suite d'Hébé 01:33
• 9 Les Indes galantes, RCT 44, Prologue: Qu'entends-je? Les tambours font taire nos musettes! 00:20
• 10 Les Indes galantes, RCT 44, Prologue: La gloire vous appelle, écoutez ses trompettes 01:58
• 11 Les Indes galantes, RCT 44, Prologue: Air pour deux guerriers portant les drapeaux 00:37
• 12 Les Indes galantes, RCT 44, Prologue: Ç'est la gloire 00:42
• 13 Les Indes galantes, RCT 44, Prologue: Pour remplacer les coeurs que vous ravit Bellone 00:41
• 14 Les Indes galantes, RCT 44, Prologue: Air pour les amours 00:57
• 15 Les Indes galantes, RCT 44, Prologue: Traversez les plus vastes mers 01:52
• 16 Les Indes galantes, RCT 44, Prologue: Reprise de l'ouverture 02:07
• Les Indes galantes, RCT 44, Act I:
• 17 Les Indes galantes, RCT 44, Act I: Ritournelle 00:43
• 18 Les Indes galantes, RCT 44, Act I: Vous devez bannir de votre âme 02:30
• 19 Les Indes galantes, RCT 44, Act I: Viens, Hymen, viens m'unir au vainqueur que j'adore 03:11
• 20 Les Indes galantes, RCT 44, Act I: Elle est seule... Parlons, l'instant est favorable 01:17
• 21 Les Indes galantes, RCT 44, Act I: Obéissons sans balancer... 00:39
• 22 Les Indes galantes, RCT 44, Act I: Non, non, je ne crois pas tout ce que l'on assure 02:45
• 23 Les Indes galantes, RCT 44, Act I: Soleil, on a détruit tes superbes asiles 01:59
• 24 Les Indes galantes, RCT 44, Act I: Adoration du soleil 01:22
• 25 Les Indes galantes, RCT 44, Act I: Brillant soleil, jamais nos yeux, dans ta carrière 03:18
• 26 Les Indes galantes, RCT 44, Act I: Air pour les Incas pour l'adoration du soleil 01:12
• 27 Les Indes galantes, RCT 44, Act I: Clair flambeau du monde 02:51
• 28 Les Indes galantes, RCT 44, Act I: Loure en rondeau pour les Incas 01:21
• 29 Les Indes galantes, RCT 44, Act I: Permettez, astre du jour 01:36
• 30 Les Indes galantes, RCT 44, Act I: Première et deuxième gavotte pour les Péruviens et les Péruviennes 01:58
• 31 Les Indes galantes, RCT 44, Act I: Tremblement de terre 00:25
• 32 Les Indes galantes, RCT 44, Act I: Dans les abîmes de la terre 01:24
• 33 Les Indes galantes, RCT 44, Act I: Arrêtez. Par ces feux le ciel vient de m'apprendre 01:54
• 34 Les Indes galantes, RCT 44, Act I: Tu t'abuses, barbare 01:35
• 35 Les Indes galantes, RCT 44, Act I: Pour jamais, l'amour nous engage 00:59
• 36 Les Indes galantes, RCT 44, Act I: La flamme se rallume encore 01:14
• Les Indes galantes, RCT 44, Act II:
• 37 Les Indes galantes, RCT 44, Act II: Ritournelle 00:42
• 38 Les Indes galantes, RCT 44, Act II: C'est Osman qui me suit, ne lui cachons plus rien 00:33
• 39 Les Indes galantes, RCT 44, Act II: Dans le séjour témoin de ma naissance 01:16
• 40 Les Indes galantes, RCT 44, Act II: Qu'en peignant vos malheurs vous redoublez mes maux! 01:53
• 41 Les Indes galantes, RCT 44, Act II: Il faut que l'amour š'envolé 01:21
• 42 Les Indes galantes, RCT 44, Act II: Que je ne verrai plus! 00:34
• 43 Les Indes galantes, RCT 44, Act II: La nuit couvre les cieux! Quel funeste ravage 01:50
• 44 Les Indes galantes, RCT 44, Act II: Ciel! De plus d'une mort nous redoutons les coups! 02:30
• 45 Les Indes galantes, RCT 44, Act II: Un de ces malheureux approche en soupirant 03:34
• 46 Les Indes galantes, RCT 44, Act II: Il vous entend, hélas! Comment fuir sa colère? 02:12
• 47 Les Indes galantes, RCT 44, Act II: Marche pour les matelots provençaux et matelotes provençales et les esclaves africains 00:39
• 48 Les Indes galantes, RCT 44, Act II: Volez Zéphyrs, volez tendres amants de Flore 04:42
• 49 Les Indes galantes, RCT 44, Act II: Air pour les esclaves africains 01:31
• 50 Les Indes galantes, RCT 44, Act II: Premier et deuxième rigaudon pour les matelots provençal et matelotes provencales 00:58
• 51 Les Indes galantes, RCT 44, Act II: Fuyez, fuyez, vents orageux 00:24
• 52 Les Indes galantes, RCT 44, Act II: Premier et deuxième tambourin pour les matelots provencal et matelotes provencales 01:10
• 53 Les Indes galantes, RCT 44, Act II: Régnez, Amour, régnez, ne craignez pas les flots 02:48
• 54 Les Indes galantes, RCT 44, Act II: Partez, on langsuit sur le rivage 00:42
• Les Indes galantes, RCT 44, Act III:
• 55 Les Indes galantes, RCT 44, Act III: Ritournelle 00:17
• 56 Les Indes galantes, RCT 44, Act III: Nos guerriers, par mon ordre unis à nos vainqueurs 01:08
• 57 Les Indes galantes, RCT 44, Act III: Rivaux de mes exploits, rivaux de mes amours 01:26
• 58 Les Indes galantes, RCT 44, Act III: Dieux! Ils cherchent Zima 00:19
• 59 Les Indes galantes, RCT 44, Act III: Damon, quelle vaine espérance 00:30
• 60 Les Indes galantes, RCT 44, Act III: L'inconstance ne doit blesser 01:00
• 61 Les Indes galantes, RCT 44, Act III: Dans ces lieux fortunés, c'est ainsi que l'on pense 00:56
• 62 Les Indes galantes, RCT 44, Act III: Nous suivons sur nos bords l'innocente nature 01:10
• 63 Les Indes galantes, RCT 44, Act III: Vous décidez pour moi 00:21
• 64 Les Indes galantes, RCT 44, Act III: La terre, les cieux, et les mers 01:11
• 65 Les Indes galantes, RCT 44, Act III: Voilà vos sentiments 00:21
• 66 Les Indes galantes, RCT 44, Act III: Le choeur change à son gré dans cet heureux séjour 00:44
• 67 Les Indes galantes, RCT 44, Act III: L'habitant des bords de la Seine 00:35
• 68 Les Indes galantes, RCT 44, Act III: Les époux les plus soupconneux 01:01
• 69 Les Indes galantes, RCT 44, Act III: Belle Zima, craignez un si triste esclavage 02:11
• 70 Les Indes galantes, RCT 44, Act III: Je ne vous peindrai point les transports de mon coeur 00:26
• 71 Les Indes galantes, RCT 44, Act III: De l'amour le plus tendre éprouvez la douceur 00:47
• 72 Les Indes galantes, RCT 44, Act III: Sur nos bords l'amour vole et prévient nos désirs 01:37
• 73 Les Indes galantes, RCT 44, Act III: Viens, Hymen, hâte-toi, suis l'Amour qui t'appelle 01:34
• 74 Les Indes galantes, RCT 44, Act III: Bannissons les tristes alarmes 02:14
• 75 Les Indes galantes, RCT 44, Act III: Danse du grand calumet de la paix en rondeau pour les sauvages 01:39
• 76 Les Indes galantes, RCT 44, Act III: Forêts paisibles 02:07
• 77 Les Indes galantes, RCT 44, Act III: Premier et deuxième menuet pour les guerriers francais et les francaises en habits d'amazones 01:28
• 78 Les Indes galantes, RCT 44, Act III: Régnez plaisirs et jeux 02:55
• 79 Les Indes galantes, RCT 44, Act III: Chaconne pour tous les guerriers francais et sauvages, les sauvagesses, les francaises en habits d'amazones, les bergers et les bergères de la colonie 05:18
• Total Runtime 02:03:00

Info for Les Indes Galantes

With Les Indes galantes by Jean-Philippe Rameau, György Vashegyi – along with his Orfeo Orchestra and Purcell Choir – makes a further dazzling addition to their Glossa series of French dramatic masterpieces from the Baroque, and in the company of a luxurious line-up of vocal soloists.

The version of this ballet heroïque – supplied with an anti-colonial, anti-clerical manifesto by librettist Louis Fuzelier – selected by Vashegyi is the 1761 revision, a mere decade or so before the irruption onto the Parisian musical scene of the likes of Gluck and Grétry. Rameau’s score had undergone frequent adjustments and improvements since its première a quarter of a century earlier, and the performing edition for this recording, prepared for the Rameau Opera omnia by Sylvie Bouissou (who also provides a booklet essay here), offers a vision of this work which is more theatrical, fluid and concise than hitherto.

Just in themselves, the names of Chantal Santon-Jeffery, Katherine Watson, Véronique Gens, Reinoud Van Mechelen, Jean Sébastien Bou and Thomas Dolié (sharing out the dozen solo roles) augur well for a glorious exploration of the prologue and three entrées ahead. Recently, they have also, in conjunction with the Centre de Musique Baroque de Versailles, been working on questions of tempo and how to perform Rameau’s sequences as the composer intended. Vashegyi brings a consummate understanding of Rameau’s galante style to the proceedings, following two previous Ramellian Glossa outings (Naïs and Les Fêtes de Polymnie).

Chantal Santon Jeffery, soprano (Hébé, Zima)
Katherine Watson, soprano (Emilie)
Veronique Gens, soprano (Phani)
Reinoud van Mechelen, tenor (Dom Carlos, Valère, Damon)
Jean-Sebastien Bou, baritone (Osman, Adario)
Thomas Dolié, baritone (Bellone, Huascar, Dom Alvar)
Purcell Choir
Orfeo Orchestra
György Vashegyi, conductor

Purcell Choir
The Purcell Choir was founded in 1990 in Budapest by György Vashegyi for the performance of Purcell’s Baroque opera Dido & Aeneas. Few suspected at the time that the group would become the most respected choir in Hungary fifteen years later. All of the choir members are excellent professional singers, musicians and instrumentalists, and some of them are also members of other choirs and orchestras. The core repertoire of the Purcell Choir ranges from works by Gesualdo to Mozart, but the ensemble also performs works by more modern composers. The Purcell Choir is a regular participant at the Haydn Festivals in Hungary; for example, the choir performed with the Capella Savaria Ensemble in 2004, conducted by Nicholas McGegan. The Purcell Choir and the Orfeo Orchestra are closely connected as performing partners and together they have taken part in a large number of TV, CD and concert recordings in Hungary.

Orfeo Orchestra
The Orfeo Orchestra was founded in Budapest in 1991 by György Vashegyi, taking its name from Monteverdi’s L’Orfeo, after the ensemble presented the first complete performance of this opera in Hungary. The orchestra consists of professional musicians with experience in Hungary as well as on the international scene, either as members of the orchestra or as instrumental soloists. The Orfeo Orchestra is the most authentic exponent of classical music in Hungary and it has given many first performances on period instruments under the baton of György Vashegyi. Between 2002 and 2007 the ensemble performed the first eighty symphonies composed by Haydn as part of Mr. Vashegyi’s own concert series (at Esterházy Palace), enabling these to be heard there for the first time since the 18th century with the same number of musicians, on period instruments, as Haydn himself used to perform them. The names of the Orfeo Orchestra and the Purcell Choir have now become inseparably linked with that of Mr. Vashegyi, who can rightly be described as the outstanding exponent of classical and early music in Hungary and the person who has revitalized these works this country.

György Vashegyi
was born in Budapest in 1970 and began his musical studies as an instrumentalist: he played the violin, flauto dolce, the oboe and the harpsichord. At just 18 he became a student of conducting under Ervin Lukács at the Ferenc Liszt Academy of Music in Budapest, obtaining his diploma with distinction in 1993. He was a frequent participant in the conducting master classes of John Eliot Gardiner and Helmuth Rilling and from 1994 to 1997 he was a student in the continuo master class of John Toll in Dresden, where he also studied chamber music with Jaap ter Linden and Simon Standage. He has performed as a continuo player in leading Hungarian chamber orchestras such as the Ferenc Liszt Chamber Orchestra and Concerto Armonico. In 1990 he founded the Purcell Choir in Budapest and one year later the Orfeo Orchestra. In 1991 Vashegyi made his operatic debut with Gluck’s Orfeo together with the Budapest Chamber Opera. He undertook successful tours with Orfeo in France, Switzerland and Luxembourg. In his concerts (mostly in Budapest) he has conducted many important works of the 17–18th centuries which until then had never been performed in Hungary, including Buxtehude’s Membra Jesu Nostri, Purcell’s The Fairy Queen, Funeral Anthem and Theodora by Handel, and the Requiem by Kraus. Nevertheless, he primary emphasis is on the research and performance of 18th century works by Hungarian composers which are still unknown internationally. He works primarily with his own ensembles but also gives concerts with other early music groups, including Concerto Armonico, Capella Savaria and Musica Aeterna, as well as with modern symphony orchestras and chamber orchestras as a guest conductor. He made his debut at the Hungarian State Opera of Budapest (with the Orfeo Orchestra) in August 2000 with Haydn’s L’infedeltà delusa; this was the first opera performance with period instruments in the history of the Hungarian State Opera. Since 2001 he has conducted regularly at the State Opera. In 2004 he conducted the Prague Chamber Orchestra in Würzburg (at the Mozart Fest) and Kloster Eberbach (at the Rheingau Festival).

Booklet for Les Indes Galantes