Rameau: Pigmalion, Les Grands Motets / Niquet, Fouchécourt, de Reyghere, Piau, Gens, Composer: Jean-Philippe Rameau, Performer: Sandrine Piau, Véronique Gens, Nicole Fournié, Jean-Paul Fouchécourt, Conductor: Hervé Niquet, Orchestra/Ensemble: Le Concert Spirituel, Number of Discs: 2. The contents of both these discs were recorded in 1992 and issued separately towards the end of the decade in the U.S. This is their first reissue and this release should draw attention once more to some truly impressive performances. Any performance of Pigmalion rises and falls by the talent of it's eponymous hero, for it's three female roles are minor. Fortunately, Jean-Paul Fouchécourt was engaged for the part. He has sometimes been described as an haute-contre, though the meaning of the term has been hotly debated of late. Suffice to say that if it refers to a high tenor voice employing no falsetto, and used to convey an emotional range from sweetly lyrical to brightly heroic in French music, then Fouchécourt fits the bill. He excels equally in the expansive vigor of "L'Amour triomphe," as well as the delicate but elaborate coloratura of "Règne, Amour." Niquet cuts him no slack, setting a daunting pace for the latter, but Fouchécourt easily triumphs. The sound quality is excellent, however, spacious yet close enough to really catch the voices and instrumentals well.
Rameau: Pigmalion, Les Grands Motets / Niquet, Fouchécourt, de Reyghere, Piau, Gens, Composer: Jean-Philippe Rameau, Performer: Sandrine Piau, Véronique Gens, Nicole Fournié, Jean-Paul Fouchécourt, Conductor: Hervé Niquet, Orchestra/Ensemble: Le Concert Spirituel, Number of Discs: 2. The contents of both these discs were recorded in 1992 and issued separately towards the end of the decade in the U.S. This is their first reissue and this release should draw attention once more to some truly impressive performances. Any performance of Pigmalion rises and falls by the talent of it's eponymous hero, for it's three female roles are minor. Fortunately, Jean-Paul Fouchécourt was engaged for the part. He has sometimes been described as an haute-contre, though the meaning of the term has been hotly debated of late. Suffice to say that if it refers to a high tenor voice employing no falsetto, and used to convey an emotional range from sweetly lyrical to brightly heroic in French music, then Fouchécourt fits the bill. He excels equally in the expansive vigor of "L'Amour triomphe," as well as the delicate but elaborate coloratura of "Règne, Amour." Niquet cuts him no slack, setting a daunting pace for the latter, but Fouchécourt easily triumphs. The sound quality is excellent, however, spacious yet close enough to really catch the voices and instrumentals well.
