Cover Montéclair: Jephté

Album Info

Album Veröffentlichung:
2020

HRA-Veröffentlichung:
06.03.2020

Das Album enthält Albumcover Booklet (PDF)

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FLAC 48 $ 21,10
  • Michel Pignolet de Montéclair (1667 - 1737): Ouverture:
  • 1Jephté, Prologue: Ouverture03:28
  • Jephté, Prologue Scene 1:
  • 2Jephté, Prologue Scene 1: Beaux lieux, où notre gloire éclate01:33
  • 3Jephté, Prologue Scene 1: Vous, qu’avec Apollon en ces lieux on adore00:47
  • Jephté, Prologue Scene 2:
  • 4Jephté, Prologue Scene 2: Premier et deuxième rigaudon01:02
  • 5Jephté, Prologue Scene 2: Riez sans cesse00:31
  • 6Jephté, Prologue Scene 2: Canarie00:59
  • 7Jephté, Prologue Scene 2: Premier et deuxième menuet01:38
  • 8Jephté, Prologue Scene 2: Dans ces beaux lieux, on ne respire01:34
  • 9Jephté, Prologue Scene 2: De quels nouveaux concerts01:30
  • Jephté, Prologue Scene 3:
  • 10Jephté, Prologue Scene 3: Symphonie pour la descente de la vérité et des vertus qui l’accompagnent00:34
  • 11Jephté, Prologue Scene 3: Fantômes séduisants, enfants de l’imposture00:52
  • Jephté, Prologue Scene 4:
  • 12Jephté, Prologue Scene 4: Troupe immortelle comme moi00:56
  • 13Jephté, Prologue Scene 4: Retirez du tombeau, le malheureux Jephté00:39
  • 14Jephté, Prologue, Scene 4: Triomphez, vérité constante00:45
  • 15Jephté, Prologue Scene 4: Un roi qui me chérit00:58
  • 16Jephté, Prologue Scene 4: Qu’il triomphe par moi01:23
  • 17Jephté, Prologue Scene 4: L’ouverture pour entracte01:49
  • Jephté, Act I Scene 1:
  • 18Jephté, Act I Scene 1: Rivages du Jourdain, où le ciel m’a fait naître02:01
  • 19Jephté, Act I Scene 1: Mais, quel affreux spectacle00:52
  • Jephté, Act I Scene 2:
  • 20Jephté, Act I Scene 2: Seigneur, notre mortelle crainte02:34
  • Jephté, Act I Scene 3:
  • 21Jephté, Act I Scene 3: Jephté, tout Israël00:10
  • 22Jephté, Act I Scene 3: Dieu descend jusqu’à moi00:33
  • 23Jephté, Act I Scene 3: Il fait bien plus pour vous00:56
  • 24Jephté, Act I Scene 3: Viens, répands le trouble et l’effroi00:58
  • Jephté, Act I Scene 4:
  • 25Jephté, Act I Scene 4: Marche des guerriers00:54
  • 26Jephté, Act I Scene 4: Guerriers, l’arche terrible à vos yeux va paraître00:35
  • 27Jephté, Act I Scene 4: Ô gloire, ô force d’Israël01:03
  • 28Jephté, Act I Scene 4: Ennemis du maître suprême02:17
  • 29Jephté, Act I Scene 4: Bruit de trompettes00:10
  • 30Jephté, Act I Scene 4: Mais la sainte trompette sonne01:18
  • Jephté, Act I Scene 5:
  • 31Jephté, Act I Scene 5: Premier air des guerriers01:00
  • 32Jephté, Act I Scene 5: Deuxième air des guerriers00:33
  • 33Jephté, Act I Scene 5 Troisième air des guerriers00:48
  • 34Jephté, Act I Scene 5: Un doux espoir vous est permis00:32
  • 35Jephté, Act I Scene 5: Viens, répands le trouble et l’effroi00:40
  • Jephté, Act I Scene 6:
  • 36Jephté, Act I Scene 6: Seigneur, nos ennemis menacent nos rivages00:38
  • Jephté, Act I Scene 7:
  • 37Jephté, Act I Scene 7: Qu’ai-je entendu ? Tout fuit !02:03
  • 38Jephté, Act I Scene 7: Que vois-je ? quel heureux présage !01:33
  • 39Jephté, Act I Scene 7: Marche des guerriers01:02
  • Jephté, Act II:
  • 40Jephté, Act II: Prélude00:25
  • Jephté, Act II Scene 1:
  • 41Jephté, Act II Scene 1: Seigneur, tous les moments sont chers02:57
  • Jephté, Act II Scene 2:
  • 42Jephté, Act II Scene 2: Je vois Ammon, évitons sa présence03:42
  • Jephté, Act II Scene 3:
  • 43Jephté, Act II Scene 3: Qu’ai-je entendu ! J’en ai frémi00:38
  • 44Jephté, Act II Scene 3: Mes yeux, éteignez dans vos larmes02:13
  • Jephté, Act II Scene 4:
  • 45Jephté, Act II Scene 4: Ma fille, je succombe à ma frayeur mortelle00:56
  • 46Jephté, Act II Scene 4: À peine, de ses voiles sombres01:33
  • 47Jephté, Act II Scene 4: Ciel ! J’entends mon arrêt00:45
  • 48Jephté, Act II Scene 4: Maître des vastes cieux, dieu vivant, dieu jaloux01:02
  • Jephté, Act II Scene 5:
  • 49Jephté, Act II Scene 5: Je vois Abdon, que vient-il m’annoncer ?00:21
  • 50Jephté, Act II Scene 5: Bruit d’instruments00:07
  • 51Jephté, Act II Scene 5: Quels doux concerts se font entendre ?00:43
  • Jephté, Act II Scene 6:
  • 52Jephté, Act II Scene 6: Marche au son des tambourins00:42
  • 53Jephté, Act II Scene 6: Ô jour heureux ! ô jour que l’Éternel a fait !01:06
  • 54Jephté, Act II Scene 6: Air pour les habitants de Maspha00:20
  • 55Jephté, Act II Scene 6: Notre crainte est bannie01:19
  • 56Jephté, Act II Scene 6: Air00:47
  • 57Jephté, Act II Scene 6: Tambourin (1)00:25
  • 58Jephté, Act II Scene 6: Tout rit à nos voeux00:26
  • 59Jephté, Act II Scene 6: Bruit de trompettes00:06
  • 60Jephté, Act II Scene 6: Le vainqueur en ces lieux s’avance00:23
  • 61Jephté, Act II Scene 6: Tambourin (2)00:32
  • Jephté, Act III:
  • 62Jephté, Act III: Prélude00:30
  • Jephté, Act III Scene 1:
  • 63Jephté, Act III Scene 1: Allez, retirez-vous02:26
  • Jephté, Act III Scene 2
  • 64Jephté, Act III Scene 2: Le ciel me rend enfin un époux glorieux01:19
  • Jephté, Act III Scene 3:
  • 65Jephté, Act III Scene 3: Quel trouble me saisit !02:48
  • Jephté, Act III Scene 4:
  • 66Jephté, Act III Scene 4: Autant que je l’ai pu, j’ai gardé le silence01:36
  • 67Jephté, Act III Scene 4: Aux yeux d’un dieu terrible00:29
  • 68Jephté, Act III Scene 4: Non dieu n’accepte pas un vœu si téméraire02:03
  • 69Jephté, Act III Scene 4: Je me suis imposé d’indispensables lois00:26
  • 70Jephté, Act III Scene 4: Ne précipitez rien00:21
  • 71Jephté, Act III Scene 4: Redoutable dieu des vengeances01:02
  • 72Jephté, Act III Scene 4: Soutiens, dieu tout puissant, le zèle qui m’enflamme00:38
  • Jephté, Act III Scene 5:
  • 73Jephté, Act III Scene 5: Pompeux apprêts, lieux témoins de ma gloire01:59
  • 74Jephté, Act III Scene 5: Équitable vengeur des crimes de la terre00:37
  • 75Jephté, Act III Scene 5: Bruit de trompettes00:10
  • 76Jephté, Act III Scene 5: Quel bruit ! Fuyons00:15
  • 77Jephté, Act III Scene 5: Marche00:46
  • 78Jephté, Act III Scene 5: Peuples, que le ciel a fait naître00:19
  • 79Jephté, Act III Scene 5: Pour le vainqueur, signalez votre zèle01:44
  • 80Jephté, Act III Scene 5: Chaconne03:02
  • 81Jephté, Act III Scene 5: Que nos chants dans les airs retentissent01:44
  • 82Jephté, Act III Scene 5: Jephté, si tu veux qu’on te craigne01:08
  • 83Jephté, Act III Scene 5: Ah ! Du maître des rois00:38
  • Jephté, Act IV Scene 1:
  • 84Jephté, Act IV Scene 1: Ruisseaux, qui serpentez02:06
  • 85Jephté, Act IV Scene 1: Le ciel me rend un père00:34
  • 86Jephté, Act IV Scene 1: Prélude de musettes00:21
  • Jephté, Act IV Scene 2:
  • 87Jephté, Act IV Scene 2: Les habitants de ces belles retraites00:32
  • 88Jephté, Act IV Scene 2: Marche des bergers00:29
  • Jephté, Act IV Scene 3:
  • 89Jephté, Act IV Scene 3: Nous vivons dans l’innocence00:34
  • 90Jephté, Act IV Scene 3: Première et deuxième pastourelle01:25
  • 91Jephté, Act IV Scene 3: Premier et deuxième menuet00:31
  • 92Jephté, Act IV Scene 3: Que tout brille en ce boccage01:27
  • 93Jephté, Act IV Scene 3: J’aime à voir vos soins empressés00:52
  • 94Jephté, Act IV Scene 3: Que le ciel, que la terre et l’onde01:20
  • Jephté, Act IV Scene 4:
  • 95Jephté, Act IV Scene 4: Finissez vos chants d’allégresse00:28
  • Jephté, Act IV Scene 5:
  • 96Jephté, Act IV Scene 5: Quels malheurs ai-je à craindre encore ?02:45
  • 97Jephté, Act IV Scene 5: Par le grand prêtre et par Jephté01:41
  • 98Jephté, Act IV Scene 5: Par vos soupirs et par vos larmes01:25
  • 99Jephté, Act IV Scene 5: Seigneur, tout mortel qui t’offense01:04
  • 100Jephté, Act IV Scene 5: Dieu redoutable, exauce-nous00:20
  • Jephté, Act IV Scene 6:
  • 101Jephté, Act IV Scene 6: C’en est donc fait00:33
  • 102Jephté, Act IV Scene 6: Malheureux un coeur qui se livre01:48
  • 103Jephté, Act IV Scene 6: Symphonie triste01:10
  • Jephté, Act IV Scene 7:
  • 104Jephté, Act IV Scene 7: Le secours est tout prêt04:11
  • 105Jephté, Act IV Scene 7: Apprends que, pour sentir une fatale flamme00:35
  • 106Jephté, Act IV Scene 7: Ô vertu qui m’enchante01:19
  • Jephté, Act IV Scene 8:
  • 107Jephté, Act IV Scene 8: Entracte00:25
  • Jephté, Act V Scene 1:
  • 108Jephté, Act V Scene 1: Seigneur, un tendre père, à tes ordres soumis01:33
  • Jephté, Act V Scene 2:
  • 109Jephté, Act V Scene 2: Cessez de me retenir04:21
  • 110Jephté, Act V Scene 2: Mes cris s’élèvent jusqu’à toi00:55
  • 111Jephté, Act V Scene 2: Bruit de guerre00:04
  • 112Jephté, Act V Scene 2: Quel bruit affreux !00:41
  • Jephté, Act V Scene 4:
  • 113Jephté, Act V Scene 4: Qu’entreprends-tu ?00:28
  • 114Jephté, Act V Scene 4: Esprit de feu, lance la foudre00:43
  • 115Jephté, Act V Scene 4: Ciel ! ô Ciel ! Nous périssons tous00:25
  • 116Jephté, Act V Scene 4: Favorable et terrible jour00:55
  • Jephté, Act V Scene 5:
  • 117Jephté, Act V Scene 5: Enfin, temple sacré, je puis te voir encore01:07
  • 118Jephté, Act V Scene 5: Qu’entends-je ?00:35
  • 119Jephté, Act V Scene 5: Ton redoutable bras, sous ton brûlant tonnerre00:24
  • 120Jephté, Act V Scene 5: Quel reproche !00:32
  • 121Jephté, Act V Scene 5: Favorable et terrible jour00:27
  • 122Jephté, Act V Scene 5: Je meurs01:08
  • 123Jephté, Act V Scene 5: Quel funeste appareil !00:44
  • 124Jephté, Act V Scene 5: Moi ! Je serais assez barbare !00:24
  • 125Jephté, Act V Scene 5: Mais quel effroi de mon âme s’empare00:40
  • 126Jephté, Act V Scene 5: Quel bonheur !01:16
  • 127Jephté, Act V Scene 5: Du plus beau de nos jours04:37
  • Total Runtime02:21:30

Info zu Montéclair: Jephté

Ideale Besetzung: Michel Pignolet de Montéclair (1667–1737) zählt mit Campra und Destouches zu den bedeutendsten Vertretern der französischen Oper zwischen Lully und Rameau. Sein 1732 uraufgeführtes Meisterwerk Jephté war ein überragender Erfolg und kam in den drei Jahrzehnten nach der Uraufführung allein an der Pariser Oper über hundert Mal zur Aufführung. Für diese Einspielung stützt sich György Vashegyi auf die dritte Fassung von 1737. Er erweist sich hier erneut als einer der derzeit profiliertesten Interpreten der französischen Barockoper und punktet einmal mehr auch mit einer idealen Sängerbesetzung, die u. a. mit Tassis Christoyannis als Jephté und Chantal Santon Jeffery als Iphise aufwartet.

David Witczak, Bariton
Adriána Kalafszky, Sopran
Katia Velletaz, Sopran
Judith van Wanroij, Sopran
Tassis Christoyannis, Bariton
Clément Debieuvre, Tenor
Thomas Dolié, Bariton
David Witzcak, Bariton
Zachary Wilder, Tenor
Chantal Santon Jeffery, Sopran
Orfeo Orchestra
Purcell Choir
György Vashegyi, Dirigent




György Vashegyi
was born in Budapest in 1970 and started his musical studies as an instrumentalist: he played the violin, flauto dolce, the oboe (then the baroque oboe) and the harpsichord. At the age of 16 he gave his first concert as a conductor and at only 18 he became a student of conducting under Ervin Lukács at the Ferenc Liszt Music Academy in Budapest, obtaining his diploma with distinction in 1993. He was a frequent participant in the conducting mastercourses of John Eliot Gardiner and Helmuth Rilling and, from 1994 to 1997, he was a student in the continuo master-class of John Toll at the Academy of Early Music, Dresden, where he also studied chamber music with Jaap ter Linden and Simon Standage. He played as a continuo-player in leading Hungarian chamber orchestras such as the Ferenc Liszt Chamber Orchestra and Concerto Armonico. In 1990 he founded the Purcell Choir in Budapest for a concert performance of Purcell's Dido & Aeneas, and one year later the Orfeo Orchestra (performing on period instruments), with which he performed the complete L'Orfeo by Monteverdi for the first time in Hungary. Since then the two ensembles have become the youngest of Hungary's leading early music groups: their main repertoire ranges from Gesualdo to Haydn and Mozart, but they also perform later compositions.

György Vashegyi graduated in Budapest with a concert performance of Mozart's Zauberflöte (1993). In 1991 he made his operatic début with Gluck's Orfeo (with Derek Lee Ragin in the title role) at the Budapest Chamber Opera, where he later conducted Il Ballo delle Ingrate and Il Combattimento di Tancredi e Clorinda by Monteverdi, and Zauberflöte once more. In 1994/95 he undertook successful tours with Orfeo by Gluck in France, Switzerland and Luxembourg. In his concerts (mostly in Budapest) he has conducted many important works of the 17-18th centuries which had never been performed in Hungary before: Buxtehude's Membra Jesu Nostri, Purcell's The Fairy Queen, Blow's Venus & Adonis, Draghi's From harmony, Charpentier's In Nativitatem, Actéon and Messe pour M. Mauroy, Rameau's Pygmalion and Castor et Pollux, Solomon, Aci,Galetea e Polifemo, Funeral Anthem and Theodora by Handel, A Shakespeare Ode by Linley, Requiem by Kraus, etc. Nevertheless, he emphasises the research and performance of 18th century works by Hungarian composers which are still unknown internationally. (Since 1992 he has been teaching at the Ferenc Liszt Music Academy in Budapest.)

He works primarily with his own ensembles but also gives concerts with other early music groups (Concerto Armonico, Capella Savaria and Musica Aeterna) as well as with modern symphony orchestras (National Philharmonic Orchestra, Hungarian Radio and Television Symphony Orchestra, MATÁV Hungarian Symphony Orchestra, Budapest Concert Orchestra, Sinfonietta Hungarica, Cluj Philharmonic Orchestra, Pécs Symphony Orchestra, Szolnok Philharmonic Orchestra, Miskolc Symphony Orchestra, 'Ernõ Dohnányi' Youth Symphony Orchestra, etc.) and chamber orchestras (Prague Chamber Orchestra, Budapest Strings and Erdõdy Chamber Orchestra) as a guest conductor. He has worked together with internationally renowned artists such as Derek Lee Ragin, David Cordier, Simon Standage, Malcolm Bilson, Sergiu Luca, Miklós Perényi, John Toll and Nigel North. In December 1998 he conducted the Romanian premiere of Mozarts Idomeneo at the State Hungarian Opera of Cluj, and in May 1999 and 2000 in Budapest the concert world premiere of Levente Gyöngyösi's The Stork Caliph. He made his début at the Hungarian State Opera of Budapest (with the Orfeo Orchestra) in August 2000 with Haydn's L'infedeltà delusa; this was the first opera performance with period instruments in the history of the Hungarian State Opera. Since 2001 he has conducted regularly at the State Opera: mainly Mozart operas which were in the repertoire (Entführung, Figaro, Così and La Clemenza di Tito), and in October 2003 he also conducted Verdi's Don Carlos (with Paolo Gavanelli). In 2004 he conducted the Prague Chamber Orchestra in Würzburg (at the - Mozart Fest -) and Kloster Eberbach (in the -Rheingau Festival-).

The Purcell Choir and Orfeo Orchestra have been performing continuously since their foundation in Budapest. The chief conductor and artistic director of both ensembles is György Vashegyi, but they have also given concerts with guest conductors such as Nicholas McGegan and Howard Williams. The choir consists of 20-45 young soloists; the orchestra plays - on period instruments - with 15-45 members, and has undertaken successful tours in Austria (Vienna/Salzburg, -Toujours Mozart- 2004, 2005), Germany (Dresden, "Festspiele" 1993), France (Paris, "Festival d'Art Sacré" 1995, "Festival Périgord-Noir" 2001, etc.), Belgium (Namur, Europalia 1999), Switzerland, Luxembourg, Italy, Israel (Rishon LeZion Spring Festival 2001) and South America. The Hungarian recording company HUNGAROTON has produced several recordings on CD with the Purcell Choir and Orfeo Orchestra, including works by Istvánffy, Kraus, Charpentier, Tunder and Tartini. The two ensembles performed the following compositions on period instruments for the first time in Hungary: Mozart's Requiem (November 1998), Così fan tutte (August 1999 - the first historic stage performance of the opera in Hungary), Brahms's A German Requiem (November 1998) and the St. Matthew Passion by Bach (April 2000). Since the founding of the Haydn Festival by the Hungarian Haydn Society (1998) they have regularly given concerts in the Esterházy Palace at Fertőd, featuring first performances of important compositions (masses and other church music, symphonies and concertos) by Joseph Haydn on period instruments in Hungary. In 2002 they embarked on a 6-year project to perform the first 80 of Haydn's symphonies at Fertőd, employing the unusually small ensemble which Haydn used for these symphonies.

The PURCELL Choir
was founded in 1990 in Budapest by György Vashegyi for the performance of Purcell's Baroque opera Dido & Aeneas. Few suspected at the time that the group was to become the most respected choir in Hungary fifteen years later. All the choir members are excellent professional singers, musicians and instrumentalists, and some of them are also members of other choirs and orchestras. The core repertoire of the Purcell Choir ranges from works by Gesualdo to Mozart, but they also perform pieces by later composers. The Purcell Choir is a regular performer at Haydn Festivals in Hungary, where it was conducted in 2004 by Nicholas McGegan, with the Capella Savaria Ensemble.

The PURCELL Choir and the ORFEO Orchestra are closely connected as performing partners, and together they have taken part in a large number of TV, CD and concert recordings in Hungary.

The ORFEO Orchestra
was founded in Budapest in 1991 by György Vashegyi, receiving its name from Monteverdi's L'Orfeo, following the first full performance of the opera in Hungary. The orchestra consists of professional musicians with Hungarian and international experience as either orchestra members or instrumental soloists. The Orfeo is the most authentic exponent of classical compositions in Hungary and has given many first performances on period instruments under the baton of György Vashegyi. Between 2002 and 2007 are being performed Haydn's first 80 symphonies as part of Mr. Vashegyi's own concert series (venue: Esterházy Palace), enabling these to be heard there for the first time since the 18th century with the same number of players, on period instruments, as Haydn himself used to perform them.

The names of the ORFEO Orchestra and the PURCELL Choir have now become inseparably linked to that of Mr. Vashegyi, who can rightly be described as the outstanding exponent of classical and early music compositions and the person who has revitalized these works in Hungary.



Booklet für Montéclair: Jephté

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