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Notes
Jean-Philippe Rameau (1683-1764) left two very different versions of his tragédie en musique Zoroastre: the first, in 1749, suffered from cabals and the work was withdrawn from the repertory. Rameau gave it a thoroughgoing revision in 1756. At this time, he was at the height of his powers. Melody, harmony, orchestration and choral writing no longer held any secrets for him. Zoroastrebrought still further innovation. For the first time, he dispensed with a prologue, and turned the overture into a philosophical ‘programme’, the struggle between day and night, between good and evil. The 1749 version is entirely governed by avant-garde ideas; Zoroastre resembles Tamino in Die Zauberflöte, but two generations earlier. This disconcerted some of the audience: Zoroastrewas a moral, social and philosophical opera. The 1749 version has never been revived in modern times. Alexis Kossenko takes up the challenge with zest, accompanied by an outstanding cast including Véronique Gens, Jodie Devos, Reinoud Van Mechelen, Mathias Vidal and Tassis Christoyannis.
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Reviews
Shortlisted for the Gramophone Opera Award
2023 Gramophone Award Shortlist
“Some of France’s best early-music singers and a splendid period-instrument band make this Zoroastre a perfect introduction to the pleasures of Baroque music.”
Ralph P Locke – Artsfuse.org – 26 May 2023
***** Coup de cœur
Exceptional Album
Philippe Ramin – Classica magazine (France) – February 2023
Editor’s Choice – February 2023
“… It’s a ravishing score, brought to vivid life by their playing, and the quality of the soloists, each of them quite at home in the baroque, is often staggering. This set’s not just for the specialists.” ****
Justine Nguyen – Limelightmagazine.com.au – 25 January 2023
“… With his effortless top notes and superb breath control, the haute-contre Reinoud Van Mechelen makes an ideal Zoroastre…another triumph.”
Richard Lawrence – Gramophone magazine – January 2023
*****
Matthias Siehler – Rondo magazine (Germany) – December 2022
“… It’s the great musical set pieces, especially the occult rites that take up most of the fourth act in a dazzling sequence of choruses and dances, that are the most compelling parts of the score, and provide most of the moments when Kossenko’s performance really catches fire. There are outstanding individual performances, too: Reinoud van Mechelen, suitably charismatic in the title role; Tassis Christoyannis, as a pantomime villain Abramane; Jodie Devos as a sweetly lyrical Amélite; and Véronique Gens as the scheming Érinice…” ****
Andrew Clements – The Guardian – 10 November 2022
Performance ***** Recording ****
“… The chorus and line-up of soloists is first-rate, with a suitably menacing Abramane (Tassis Christoyannis) and a witchy Érince (Véronique Gens); with a gorgeously pure-toned Amélite (Jodie Devos), and an expressive and clarion-voices Zoroastre (Reinoud van Mechelen). The instrumental numbers (notably the sarabands) are beautifully done, with the weather – lashings of thunder and lightning – forcefully dramatized throughout.”
Michael Church – BBC Music magazine – December 2022
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