The pastoral tragedy Acis et Galatée was Lully's last finished work, a three-act extravaganza complete with an opening Prologue, a closing Passacaglia, and assorted dances interspersed throughout. In the right performance, it is at once an inspiring work, a relaxing work, and even an entertaining work and this performance by the Choeurs des Musiciens du Louvre led by Marc Minkowski is surely the right performance.
Corelli's older Roman contemporary, Alessandro Stradella, was held in high esteem both by his contemporaries and by later generations of composers. Among his patrons in Rome were the exiled Queen Christina of Sweden and the Colonna and Pamphili families. Stradella's amorous adventures, which eventually led to his murder in Genoa at the age of 37 subsequently gave rise to a novel, an opera by Flotow, a poem, a play and a song text. Though an outstanding oratorio composer he was considered in his own lifetime foremost as a composer for the theatre and his great gifts in this direction enabled him to treat the New Testament story of the imprisonment and murder of John the Baptist with considerable dramatic force.
Following the success of 1999's thrilling Armide, Marc Minkowski and his excellent cast fully convey the power and drama of Gluck's masterpiece. They pull you into the story (based on a play by Euripides) through the emotional truth of their interpretation. The opening quiet strings create an air of mystery dispelled by a ferocious storm magnificently conveyed by these early-music specialists. Within a few phrases of Iphigénie's opening lament, Delunsch creates a believable, sympathetic character.
Under the direction of the principal conductor and artistic director of the Salzburg Mozart Week, Mark Minkowski, the Musiciens du Louvre perform on two of Mozart’s original instruments. Mozart’s Violin Concerto and his Piano Concerto in A major are played on instruments that were once in the composer’s possession. Thibault Noally plays the Violin Concerto on a violin from the workshop of Pietro Antonio Dalla Costa and “conjures up Romantic brilliance from the well maintained instrument”, then Francesco Corti brings Mozart’s fortepiano to life again, thereby spreading “collective Mozart happiness all round” (Salzburger Nachrichten).
This production resuscitates Gounod s original composition, largely forgotten. A triumph for Minkowski, conducting at the Opera national de Paris, it attracted more than 1 million viewers when broadcast on TV! No competition on DVD or Bluray At last, Mireille one of the most original works of the 19th century has found its rightful place at the Palais Garnier. In 1854, a young Provençal poet, Fredéric Mistral, founded a literary association with a few other people, the aim of which was to uphold and illustrate its language and culture. They called this school Félibrige, a word of mysterious origin - a blend of joy, books and freedom. In 1859, he took things one step further and gave Félibrige its battle flag and masterpiece, Miréio, a vast epic love poem. As it happened, Gounod, whose Faust was created that year, read Mireille shortly after publication and was full of enthusiasm and went to Saint-Rémy de Provence to seek out this passionate music. Due to its singularity and density, the work has had a difficult career and was revised and altered several times. In 1939, Guy Ferrant and Henri Busser, disciples of Gounod, restored the original and Mireille was finally restored from the fine midsummer's morning and its dancing to the gripping scene in the desert-like Crau region.
It’s an achievement when an artist can take a well-known work and interpret it freshly as if heard for the first time. This Marc Minkowski does with Handel’s Water Music by daring to challenge convention and expectation. Firstly Minkowski chooses to ignore modern musicology, which considers the work a continuous piece or a sequence of movements first in F major or D minor, then a mix of movements in D major and G major. Minkowski follows the earlier performance practice of presenting the Water Music as three suites, respectively grounded in F, G and D major which used to be called the Horn, Flute and Trumpet suites, designating the notable solo instruments. Minkowski also includes the two variant movements in F, HWV331, which are now thought to be a revision by Handel to create a freestanding concerto.
“Minkowski, among the liveliest of period-performance specialists, brings out the inventiveness, helped by an excellent cast… these include Della Jones as Medea, Eirian James in the castrato role of Teseo, Julia Gooding as Agilea and characterful counter-tenors Derek Lee Ragin and Jeffrey Gall as Egeo and Arcane” (The Penguin Guide)