Pierre de Jélyotte News
French operatic tenor
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- opera singer
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2024-03-28
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2019-04-20 10:30:00
Platée, Semperoper Dresden, 16 April 2019
[…] even compelled, to reconsider what might be taken for granted, not only about this opera, but about opera more generally. Mark Milhofer’s twin assumption of Mercure and Thespis was certainly not the least of the quicksilver joys and thrills of the evening. But it was Philippe Talbot’s Platée, of course, who stood – and sang – centre-stage, gloriously repulsive in what must surely be one of Rameau’s higher haute-contre parts, originally taken by Pierre de Jélyotte. Talbot captured the swamp-nymph en travestie’s absurdity – we feel less uncomfortable, perhaps, given the Italian device of drag, highly unusual for French opera – in a keenly observed performance whose every detail contributed to the greater whole. Jupiter (Andreas Wolf) and Platée Another delightful incongruity was provided by Inga Kalna’s Folie, her apparition again very much a star apparition from another world (Italian opera, once again, but […]
2015-09-25 09:00:26
25/9
[…] remembered less for chamber music than for his stage works that took a variety of forms: tragédies lyriques, comédies lyriques and comédies-ballets. It was the age of the counter-tenor, a falsetto male voice with the vocal range equivalent to a female contralto or mezzo-soprano. But some of Rameau’s success can be attributed to one particular haute-contre, a tenor with an unusually high natural range that rarely makes use of falsetto. His name was Pierre de Jélyotte, who was active as a performer at the Paris Opéra between 1733 and 1755 and who appeared in important roles in thirteen of the sixteen works that Rameau composed during this period. Here’s an extract from the prologue to Rameau’s opera Platée (8.557993 ) sung by the haute-contre character Thespis, the creator of comedy: the aria Charmant Bacchus signs off in a manner appropriate to the character . Today’s final birthday boy is Wenzel […]
2014-10-10 19:18:19
Myth opportunity
[…] charming work neglected for over 200 years. In several weeks, the work’s first recording will be released on the Glossa label featuring conductor Hervé Niquet and his Le Concert Spirituel. One also hopes that the valuable series of recordings that Brown and Opera Lafayette have been making for the Naxos label will also find room for Les fêtes to join an earlier CD of arias by Rameau written for the famed haut-contre Pierre Jélyotte sung by Jean-Paul Fouchécourt. It is possible in the meantime to enjoy on YouTube a video of the delightful modern premiere of Les fêtes de l’Hymen et de l’Amour, ou Les dieux d’Égypte (in concert) performed by Niquet’s group at the Opéra Royal at Versailles. http://www.youtube.com/watch?v=xS8lSjL8CfU In Europe, Rameau 2014 continues in : La Temple de la Gloire will be recorded this week while productions of Castor et Pollux […]
2012-12-24 01:49:06
An embarrassment of divas
[…] written by Handel for one of his most important singers, Francesca Cuzzoni. Likewise, Philippe Jaroussky has recorded arias composed by Porpora, Gluck, Graun, Hasse and Handel for the great castrato Carestini, and Theodora Gheorghiu’s debut focused on Arias for Anna de Amicis. Even singers of the French baroque have gotten into the act (unusual since that repertoire was far less devoted to star singers) in Jean-Paul Fouchécourt’s tribute to the artistry of Jélyotte, one of Rameau’s most important haute-contres. But the most important trendsetter was Vivica Genaux’s Arias for Farinelli released over a decade ago. Now Genaux has returned for another—A Tribute to Francesca Bordoni—just out from Deutsche Harmonia Mundi. With Andres Gabetta conducting his eponymous “Capella Gabetta,” Genaux explores arias by Handel and, most importantly, Hasse written for one of the baroque era’s greatest divas. Faustina no doubt could expect grateful arias from […]
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