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Reviewer: Charles
Brewer This is an excellent interpretation of Marc-Antoine Chapentier’s chamber opera, Les Arts Florissans. The anonymous libretto presents a conflict between the Arts (Music, Painting, Poetry, and Architecture), which thrive under the rule of Peace through the influence of King Louis XIV. Peace confronts forces of war, personified by Discord and Furies, though two Warriors enter to support the Arts.
The earlier recording by William Christe (Harmonia Mundi 8901083, 1982; reissued 2016) follows Charpentier’s autograph parts, producing a one-person-per-part interpretation (Charpentier sang the role of Painting) where the soloists also form the chorus. Jarry produces a much more extravagant sonority with an 18-voice choir and a 21-member instrumental ensemble. While this lacks the intimacy of Charpentier’s original conception for the home of his patron, Mademoiselle de Guise, it demonstrates how effectively the dramatic qualities of this opera translate into an opulent performance. Jarry leads a very subtle interpretation that also reflects advances in the performances of French baroque music, though Christe’s performance from 36 years ago is still quite enjoyable, especially since it respects Charpentier’s original conceptions.
As a bonus, a few excerpts from Charpentier’s pastorale, La Couronne de Fleurs - his adaptation of the original prologue to Le Malade Imaginaire - conclude this recording, though the earlier complete recording by the Boston Early Music Festival is recommended (Sept/Oct 2014). The booklet for this new release includes a short essay by Catherine Cessac and a complete libretto with English translation.
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