Rameau: Zoroastre (2002)
by Anna-Maria Panzarella (dessus), 蓃ic Martin Bonnet (bass), Fran鏾is Bazola (bass), Ga雔le Mechaly (dessus), Les Arts Florissants, Mark Padmore (haute contre vocal), Matthieu Lecroart (bass), Nathan Berg (bass), St閜hanie R閐ivat (dessus)
It is tempting to say William Christie and Les Arts Florissants perform Rameau's opera Zoroastre the exact way the composer imagined it. Indeed, ... Show synopsis It is tempting to say William Christie and Les Arts Florissants perform Rameau's opera Zoroastre the exact way the composer imagined it. Indeed, there are many riches in this performance: impeccable singing, a magnificent chorus, and an orchestra that perfectly captures the opulent beauties and complexities of French Baroque. A late work, Zoroastre may lack the consistent brilliance of Rameau's masterpiece Castor et Pollux, but this composition's daring formal conception, which presages the fluidity of late nineteenth century opera, richly compensates any perceived absence of structural balance. The story, centering on Zoroastre's struggle to save his beloved Amelite from the evil Abramanr, contains Masonic references. Was Rameau a Mason? Scholars cannot answer that question. True, Zoroastre is about the struggle between good and evil symbolized, respectively, by light and darkness, but what fascinates the listener is not the Masonic story, but Rameau's unique ability to represent archetypal...
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