Les Arts Florissants: Charpentier at Christmas
Les Arts Florissants and William Christie offer a typically unorthodox helping of seasonal cheer.
Marc-Antoine Charpentier (1643–1704) never held a position at the court of Louis XIV. Yet his prolific output – almost 500 religious works survive – and a mastery of pretty much all genres brought him considerable renown in Paris. He began his career in Italy, where he studied with Giacomo Carissimi (no documentation exists to support the claim that Charpentier came from a family of artists and initially went to Rome to study painting). Carissimi, who seems to have never left Italy during his lifetime, was appointed in 1656 by Christina of Sweden as her maestro di cappella del concerto di camera. Charpentier studied with him for three years, and among his extant autographs are copies of his teacher’s Jephte. The Frenchman soaked up all manner of Roman techniques, and we can trace the influence of Domenico Mazzocchi, Alessandro Stradella, Bonifatio Gratiani and Francesco Foggia on his compositional style, too.
According to the contemporary biographer Titon du Tillet, on Charpentier’s return to Paris from Rome, he was given an apartment in the Hôtel de Guise by Marie de Lorraine. ‘Mademoiselle de Guise’ was an important figure in Parisian life, and Charpentier clearly won her favour. He seems to have served as her composer-in-residence and as a singer until shortly before her death in 1688. But enduring success was not guaranteed. His composition Médée, a tragic opera that premiered on 4 December 1693, though well received by some critics, can be considered a flop having only ran for some few months. Charpentier would devote the rest of his career to composing only religious music.
He composed his 10 Noëls sur les instruments in the 1690s. Scored for flutes, strings and continuo, they are instrumental versions of some of the most well-loved French traditional Christmas carols of the time. Three of these (H531) were apparently composed for performance along with his Christmastide motets, In Nativitatem Domini canticum; the remainder (H534) to accompany the so-called ‘O’ Antiphons. Some scholars have argued that the textures in the Noëls suggest that Charpentier was not composing for a small chamber ensemble, such as the one from his earlier years in the service of Mademoiselle de Guise, and that the contrast between tutti and solo passages, as well as the large organ suggest a much bigger orchestra. In his orchestration, Charpentier specifically indicates flutes which strongly evoke the pastoral.
The Antiennes ‘O’ de l’Avent (‘O’ antiphons for Advent) stem from a long liturgical tradition. While each antiphon was sung on a separate day in the week leading up to Christmas, they seem to have been conceived as a kind of whole. The textural contrasts between them are at the heart of their charm. There is a sumptuousness to the first three, which are scored for three male voices with basso continuo; the fourth and fifth are for four voices and four instrumental parts; in the sixth we glimpse a world beyond Paris with interjections from two solo violins that dance between sprightliness and luscious longing; the seventh, ‘O Emmanuel’, brings a semblance of symmetry to the collection with a return to the opening sonority.
The antiphons make an appeal to the coming of the saviour. Their rhetoric is characterised by a movement from expectation to impatient desire. Charpentier gloriously explores the invocation ‘O’ through suspension and melisma, these vowels of expectant mystery bloom and drift away like vapour. The ‘veni’ sections shift into more dance-like patterns which embody an eager expectation as well as gesture to the literal eschatological entrance – Jesus’s feet will dance on earth. Each antiphon concludes in a mood of solemnity.
Charpentier set In Nativitatem Domini Canticum to music no fewer than four times; this one, H416, dates from 1690. He was clearly drawn to the text – three of the settings have almost identical words – and seemingly rejoiced in creating different combinations of soloists, chorus and instruments to evoke the narrative. The work also speaks of his teacher’s influence, being an oratorio. As the musicologist Catherine Massip observes, in the 17th century the term canticum was used somewhat arbitrarily to designate both motet and oratorio. Here, an evangelist retells the Christmas story, while groups of singers represent angels and shepherds.
But perhaps it is Charpentier’s powers of evocation that make the oratorio so special: he combines high art music with more folky, popular elements as a way of telling the story. His melodies are often cast in shapes that invoke French Noëls; rhythmically, many have their roots in pastoral dances. Charpentier takes us through the still of night-time in the fields, the sparkling awakening of the shepherds by the angels – flutes cast the scene in radiance as the heavens are opened – and an angel proclaiming the good news in dance-like Italianate profusion. Time then seems to move slower during the ‘et in terra pax’, a particularly neat trick that makes the ensuing ‘Shepherds’ journey’ even more energetically joyous – an emotion that then transform into wide-eyed mystery at their first glimpse of the baby Jesus.
© Mark Seow
Details
Programme and performers
Marc-Antoine Charpentier Antiennes ‘O’ de l’Avent, H36–43
and Noëls pour les instruments, H531 and 534
Noël ‘Laissez paître vos bêtes’
Salut: O salutaris hostia
Noël ‘O créateur’
Premier O: O Sapientia
Deuxième O: O Adonai
Noël ‘Vous qui désirez sans fin’
Troisième O: O radix Jesse
Noël ‘Les bourgeois de Châtre’
Quatrième O: O clavis David
Noël ‘Où s’en vont ces gais bergers’
Cinquième O: O Oriens splendor
Noël ‘Joseph est bien marié’
Sixième O : O rex gentium
Noël ‘Or nous dites Marie’
Septième O : O Emmanuel
Sur la Naissance de Notre Seigneur Jésus-Christ,
H482
1. Overture
2. Scene 1
3. Scene 2
In nativitatem Domini Canticum, H416
1. Prelude
2. Chorus of the Just
3. Night
4. The Shepherds’ Awakening
5. Shepherds’ Chorus
6. The Angel
7. Chorus of Angels
8. The Shepherd
9. The Shepherds’ Journey
10. Chorus
11. Final Chorus
Les Arts Florissants
William Christie conductor
Emmanuelle de Negri soprano
Julie Roset soprano
Nicholas Scott high tenor
Bastien Rimondi tenor
Lisandro Abadie bass-baritone
Translations
O salutaris:
O salutaris hostia quae caeli pandis ostium
bella premunt hostilia da robur fer auxilium.
Premier O: O Sapientia
O Sapientia quae ex ore altíssimi prodiísti
attíngens a fine usque ad finem fortiter
suaviterque disponens omnia veni ad
docendum nos viam prudentiae.
Deuxième O: O Adonai
O Adonai et dux domus Israel qui Moysi in
igne flammae rubi apparuisti et ei in sina
legem dedisti veni ad redimendum nos in
brachio extento.
Troisième O: O radix Jesse
O radix Jesse, qui stas in signum populorum
super quem continebunt reges os suum quem
gentes deprecabuntur veni ad liberandum nos
jam noli tardare.
Quatrième O: O clavis David
O clavis David, et sceptrum domus Israel;
qui aperis, et nemo claudit ; claudis, et
nemo aperit : veni, et educ vinctum de domo
carceris, sedentem in tenebris, et umbra mortis.
Cinquième O: O Oriens splendor
O Oriens, splendor lucis aeternae, et sol
justitiae : veni, et illumina sedentes in tenebris,
et umbra mortis.
Sixième O: O rex gentium
O rex gentium, et desideratus earum, lapisque
angularis, qui facis utraque unum : veni, et
salva hominem, quem de limo formasti.
Septième O: O Emmanuel
O Emmanuel, Rex et legifer noster, expectatio
gentium, et salvator earum : veni ad
salvandum nos, Domine, Deus noster.
O salutary host
O salutary Host, who opens the gates of
Heaven, our foes afflict us with war, give us strength and help.
O Wisdom
O Wisdom, proceeding from the mouth of the
Most High, stretching from end to end,
disposing all things in strength and sweetness:
come and teach us the way of understanding.
O Adonai
O Adonai, Lord of the house of Israel, who
appeared to Moses in the fire of the burning
bush, and gave him the Laws on Mount Sinai:
come and deliver us with your strong arm.
O root of the tree of Jesse
O root of the tree of Jesse, who stands as a
sign to the nations, before whom Kings are
silent, and whom the nations implore : come
and deliver us, do not tarry.
O key of David
O key of David, sceptre of the house of Israel,
who opens and no one can close: come and
break the bonds of those who lie captive in
darkness and in the shadow of death.
O Star of the Morning
O Star of the Morning, splendour of eternal
light, and sun of righteousness : come and
shine upon those who sit in darkness and in the shadow of death.
O King of all nations
O King of all nations, their desire and the
keystone that holds everything together:
come and redeem mankind whom you fashioned out of clay.
O Emannuel
O Emmanuel, our King and Legislator, Hope
and Saviour of nations : come and save us,
Lord our God.
Translation © Harmonia Mundi, reprinted with kind permission
Overture
Silvie
Qu’il est charmant, qu’il a d’appâts!
Est-il un coeur assez sauvage
pour lui refuser son hommage?
Qu’il est charmant, qu’il a d’appâts!
Est-il un coeur assez sauvage
pour ne l’aimer pas?
Tircis
Je te l’avouerai, sage bergère,
je n’ai pu retenir mes pleurs
de voir ce Seigneur des Seigneurs
loger sous cette humble chaumière.
Je te l’avouerai, sage bergère,
je n’ai pu retenir mes pleurs
de le voir souffrir tant de misère.
Silvie
Il n’a pas de quoi se couvrir,
cependant, d’un oeil sec, sa mère le contemple.
Duo
Ah, son humilité nous donne cet exemple
pour nous enseigner à souffrir.
Tircis
Mais que peux-tu penser de sa mère divine?
Silvie
On juge à son air gracieux et par le noble éclat
qui brille dans ses yeux
qu’elle est de royale origine.
Mais toi, que penses-tu du vieillard, son époux?
Tircis
Il est ce qu’il nous dit,
mais cette vierge mère,
par un mystère nouveau pour nous,
lui donne cet enfant sans qu’il en soit le père.
Silvie
Et Joseph n’en est point jaloux?
Tircis
Il est vrai que Marie enceinte,
quand moins il s’en devait douter,
lui fit méditer comment il quitterait
une Épouse si sainte.
Mais un Ange envoyé des cieux
lui tint en songe ce langage :
Garde-toi bien, Joseph,
qu’un divorce odieux
ne rompe les liens de ton saint mariage.
Marie est mère et vierge
et son fruit précieux
est le parfait ouvrage
du Dieu qui détruit les faux dieux.
C’est le salut enfin de tout l’humain lignage.
Duo
Que ne devons-nous pas, Seigneur, à tes bontés?
Tu quittes les voûtes célestes
pour venir en ces lieux funestes
te charger avec nous de nos infirmités.
Que ne devons-nous pas, Seigneur, à tes
bontés?
Menuet
Overture
Silvie
How sweet he is, how lovable!
Could any heart be so hard
as to refuse him its tribute?
How sweet he is, how lovable!
Could any heart be so hard
as not to love him?
Tircis
I tell you, gentle shepherdess,
I could not hold back my tears
on seeing the Lord of Lords
housed in that humble dwelling.
I tell you, gentle shepherdess,
I could not hold back my tears
on seeing him endure such privation.
Silvie
He has no covers to keep him warm,
and yet his mother watches him without crying.
Duo
Ah, such humility is an example to us,
teaching us how to endure sorrow.
Tircis
But what do you think of his divine mother?
Silvie
From her graceful air and the noble light
that shines in her eyes
you would think she was of royal birth.
And you, what do you think of the old man, her husband?
Tircis
He is what he seems,
but, by some mystery unknown to us,
this virgin mother has borne him
a child although he is not the father.
Silvie
And is Joseph not jealous?
Tircis
It is true that once he suspected
that Mary was pregnant
he considered how to leave
so virtuous a bride.
But an angel sent from heaven
appeared to him in a dream and said:
‘Hold back, Joseph,
let not a hateful divorce
break the bonds of your holy marriage.
Mary is both mother and virgin,
and her precious offspring
is the perfect creation
of the God who destroys false gods.
He is the salvation of all mankind.’
Lord, what do we not owe to your
goodness?
You have left the vaults of heaven
to come to this dark, drear place
and help us bear our weaknesses.
Lord, what do we not owe to your
goodness?
Menuet
Translation © Susannah Howe
Chorus
D’où venez-vous, bergers,
tous deux de compagnie?
D’où venez-vous au point du jour?
À peine le soleil a commencé son tour
que vous et vos moutons quittez la bergerie.
Ah, si vous ne craignez pour vous
ni la faim, ni les dents des loups,
craignez pour vos troupeaux leur cruelle furie.
Duo
Pour nous, pour nos troupeaux, cesse toute frayeur.
Nous n’appréhendons plus de fâcheuse aventure.
Et vous-mêmes, je vous assure,
quand vous saurez votre bonheur,
vous serez comme nous, sans peur.
Trio
Est-ce donc que des loups
qui nous mettaient en crainte
le ciel favorable a permis
que la race cruelle aujourd’hui soit éteinte?
Ou ces fiers animaux n’auraient-ils point
appris à redouter nos craintives brebis?
Silvie
Nous sommes les brebis fidèles
du pasteur que nous attendons.
Depuis longtemps nous demandons
qu’il daigne nous montrer ses bontés paternelles.
Ô miracle étonnant autant qu’il est nouveau,
bonheur qui de bien loin surpasse notre espérance.
Ce pasteur est venu,
Jésus est au berceau.
(Duo) Ce pasteur est venu,
Jésus est au berceau.
(Silvie) Poussez, heureux bergers,
(Duo) Poussez à sa naissance
Mille chants de réjouissance.
Chorus
Le Messie est donc né!
Ô nouvelle agréable!
Ô jour mille fois fortuné!
Quoi, le Verbe s’est incarné
pour sauver les humains
du malheur déplorable
où le crime d’Adam,
cet illustre coupable,
avait tout le monde entraîné!
Ô nouvelle agréable!
Ô jour mille fois fortuné!
Ô nouvelle agréable!
Le Messie est donc né!
Ô jour mille fois fortuné!
Solo/Chorus
Sarabande
Heureux bergers, reprenez vos musettes,
que la douleur avait rendu muettes
et répandez dans le vague des airs
le bruit charmant de vos joyeux concerts.
Plus de tristesse, plus de soupirs,
un dieu naissant dans ce jour d’allégresse
ne doit-il pas suffire à vos désirs?
Sarabande
Du Tout-Puissant célébrez les louanges,
et de concert avec les choeurs des Anges,
poussez vos chants en l’honneur de son Fils
jusqu’au séjour des bienheureux esprits.
Plus de tristesse, etc.
Sarabande
Chorus
Whence do you come, shepherds,
the two of you together?
Whence do you come at break of day?
The sun has barely begun its travels
and you and your sheep are leaving the fold.
Ah, even if you do not fear the wolves’
hunger and teeth for your own sake,
beware their cruel fury for that of your flocks.
Duo
Whether for us or our flocks, all alarm is gone.
We no longer dread any untoward event.
And you too, I promise you,
when you learn of your joy
will be like us, free from fear.
Trio
Has favourable heaven then granted
that the cruel race of wolves
which has instilled such terror in us
should be destroyed?
Or could it be that these fierce beasts
have learned to fear our timid sheep?
Silvie
We are the faithful flocks
of the shepherd for whom we have waited.
We have long been asking him
to show us his paternal kindness.
O miracle as astonishing as it is new,
o joy that so greatly surpasses our hope.
That shepherd has come,
Jesus lies now in a crib.
That shepherd has come,
Jesus lies now in a crib.
Sing aloud, merry shepherds,
Sing aloud a thousand songs
in praise of his birth.
Chorus
So the Messiah is born!
What wonderful tidings!
O day of a thousand blessings!
The Word is made flesh
to redeem mankind
from the wretched misery
into which the crime of Adam,
that legendary sinner,
had dragged all men on earth!
What wonderful tidings!
O day of a thousand blessings!
What wonderful tidings!
So the Messiah is born!
O day of a thousand blessings!
Solo/Chorus
Sarabande
Merry shepherds, take up the pipes
that sorrow had rendered mute,
and fill the night air with
the sweet sound of your joyful music.
No more sadness, no more sighs,
is the birth of a God on this happy day
not enough to satisfy your desires?
Sarabande
Praise and celebrate the Almighty Lord,
and in harmony with the choirs of angels
lift up your songs in honour of his Son
to the realm of the blessed spirits.
No more sadness, etc.
Sarabande
Translation © Susannah Howe
Prelude
Recitative
Usquequo avertis faciem tuam Domine,
et oblivisceris tribulationis nostrae.
Chorus of the Just
Memorare testamenti tui quod locutus es,
veni de excelso et libera nos.
Recitative
Consolare, filia Sion, quare moerore
consumeris.
Veniet ecce rex tibi mansuetus,
plorans nequaquam plorabis,
et tacebit pupilla oculi tui.
In illa die stillabunt montes dulcedinem,
et colles fluent lac et mel.
Consolare, confortare, filia Sion,
et sustine Deum salvatorem tuum
Chorus
Utinam dirumperes coelos,
Redemptor noster, et descenderes?
Recitative
Prope est ut veniat Dominus,
veniet et non mentietur,
juxta est salus Domini.
Qui venturus est modo veniet,
qui mittendus est veniet modo,
veniet et non tardabit:
Chorus
Rorate coeli de super,
et nubes pluant justum.
Aperiatur terra et germinet Salvatorem.
.
Night
The Shepherds’ Awakening
Shepherds’ Chorus
Coeli aperti sunt,
lux magna orta est,
lux magna, lux terribilis.
Recitative
The Angel
Nolite timere pastores.
Ecce enim annuntio vobis
gaudium magnum quod erit omni populo,
quia natus est vobis hodie Salvator Christus
Dominus, in civitate David;
et hoc erit vobis signum:
Invenietis infantem pannis involutum,
et positum in proesepio.
Surgite, ergo ite, ite, properate,
et adorate Dominum.
Vos autem Angeli, cantate mecum Domino
canticum novum, quia mirabilia fecit super
terram.
Chorus of Angels
Gloria in altissimis Deo. Et in terra pax hominibus bonae voluntatis.
Recitative
Shepherd
Transeamus usque Bethleem,
et videamus hoc verbum quod factum est,
quod Dominus ostendit nobis.
The Shepherds’ Journey
Chorus
O infans, o Deus, o salvator noster,
Sic eges, sic clamas,
sic friges, sic amas.
Pastores undique certent concentibus,
Pastorum hodie natus est Dominus.
Certent muneribus,
certent amoribus,
Palmas victori legere.
Agni cum matribus caulis prorumpite,
Aquae de fontibus agros perfundite,
Aves in vallibus concordent cantibus,
Silvae, lac et mel facite.
Final Chorus
Exultemus, jubilemus
Deo salutari nostro.
Justitia regnabit in terra nostra
et pacis non erit finis.
Prelude
Recitative
How long will you turn your face from us, O Lord,
and ignore our distress?
Chorus of the Just
Remember the promise you made,
come from heaven and save us.
Recitative
Be consoled, daughter of Zion, who are
consumed with mourning.
Behold, your gentle king will come to you,
beseeching you not to plead,
and the pupil of your eyes will be still;
one day the mountains will distil sweetness
and the hills will flow with milk and honey.
Be comforted, be consoled, daughter of Zion,
and uphold God, your salvation.
Chorus
Open up the heavens,
our redeemer, and come down.
Recitative
The time is near when the Lord should come,
he will come and not deceive us,
the redemption of the Lord is nigh.
He will come in the way he will come
and must be sent in the way he will come,
he will come and will not delay.
Chorus
Rain down, you heavens, from above,
and the clouds will rain the just one.
The earth shall be opened and a saviour will grow forth.
Night
The Shepherds' Awakening
Shepherds' Chorus
The heavens were opened,
a great light arose,
a great light, a terrible light.
Recitative
The Angel
Fear not, shepherds,
behold: I announce to you
great joy which will be for all the people,
for a saviour is born for you today, the anointed one, the Lord, in the city of David;
and this shall be a sign for you:
you shall find a baby wrapped in swaddling bands
and laid in a manger,
So get up, go, go, hurry
and adore the Lord.
But you too, angels, sing with me to the Lord,
a new song, for he is doing marvels on the
earth.
Chorus of Angels
Glory to God in the highest and on earth peace to men of good will.
Recitative
Shepherd
Let us go to Bethlehem
and see this word made flesh
that the Lord will show us
The Shepherds' Journey
Chorus
O child, O God, our saviour,
how poor you are, how you cry,
how cold you are, how loving.
The shepherds vie with each other in making music.
The shepherds’ Lord is born today.
They contend with gifts,
they contend with love,
in bringing palms to the victor.
Lambs, leave your folds with your mothers;
waters, flood out from springs on fields,
let birds in the valleys join in the singing,
woods, make milk and honey.
Final Chorus
Let us exult, let us rejoice
in God our saviour.
Justice shall reign in our land
and of peace there will be no end.
Translation © Louise Riley-Smith, reprinted with
kind permission from Erato
Artist biographies
Les Arts Florissants is a renowned ensemble of singers and instrumentalists specialising in the performance of Baroque music on period instruments. It was founded in 1979 by the Franco-American harpsichordist and conductor William Christie and has played a pioneering role in the revival of a Baroque repertoire that had long been neglected. Today that repertoire is widely performed and admired: not only French music from the reign of Louis XIV, but also more generally European music of the 17th and 18th centuries. Since 2007, the ensemble has also been conducted by the British tenor Paul Agnew, who was appointed Musical Co-director in 2019.
Each season Les Arts Florissants gives around 100 concerts and opera performances in France – at the Philharmonie de Paris, where it is Artist-in-Residence, the Théâtre de Caen, Opéra Comique, Théâtre des Champs-Élysées, Château de Versailles, as well as at numerous festivals – and as an ambassador for French culture abroad, being regularly invited to New York, London, Edinburgh, Brussels, Vienna, Salzburg, Madrid, Barcelona, Moscow, and elsewhere.
Since the 1987 production of Lully’s Atys at the Opéra Comique, it has been on the opera stage that Les Arts Florissants has enjoyed its greatest successes. Notable productions include works by Rameau, Lully, Charpentier, Handel, Purcell, Mozart and Monteverdi, but also by composers who are less frequently played, such as Landi, Cesti, Campra and Hérold.
For its theatre productions, Les Arts Florissants has worked with leading stage directors and renowned choreographers.
Les Arts Florissants enjoys an equally high profile in the concert hall, as illustrated by its many acclaimed concert or semi-staged performances of operas and oratorios, its secular and sacred chamber-music programmes and its approach to large-scale works.
The ensemble has a discography of nearly 100 recordings on CD and DVD.
In recent years, Les Arts Florissants has launched several education programmes for young musicians. Central to these is the Academy of Le Jardin des Voix: created in 2002, it is held every two years and has already brought a substantial number of new singers into the limelight. The Arts Flo Juniors programme, launched in 2007, enables conservatory students to join the orchestra and chorus for the duration of a production; it also has a partnership with the Juilliard School, which since 2007 has allowed a fruitful artistic exchange between the US and France. Last year it launched an annual programme of masterclasses in Thiré (in the Vendée) led by William Christie and Paul Agnew to help young professionals improve their skills.
Les Arts Florissants also organises numerous events aimed at building new audiences.
In 2012, William Christie and Les Arts Florissants created the festival Dans les Jardins de William Christie, in partnership with the Conseil départemental de la Vendée. An annual event, the festival brings together artists from Les Arts Florissants, students from the Juilliard School and finalists from Le Jardin des Voix for concerts and promenades musicales in the gardens created by William Christie at Thiré. In addition to the festival, Les Arts Florissants is working towards the creation of a permanent cultural venue in Thiré. This aim was furthered in 2017 through the accolade of ‘Centre culturel de Rencontre’ for Les Arts Florissants and Les Jardins de William Christie – an award which distinguishes projects associating creation, heritage and dissemination. The following year saw the creation of the Les Arts Florissants–William Christie Foundation.
Les Arts Florissants receives financial support from the French state — the Regional Direction of Cultural Affairs (DRAC), the Département de la Vendée and the Région Pays de la Loire. The Selz Foundation is its Principal Sponsor. Aline Foriel-Destezet and the American Friends of Les Arts Florissants are Major Sponsors. Les Arts Florissants has been ensemble-in-residence at the Philharmonie de Paris and is recognised as a ‘Heritage Site for Culture’.
William Christie is a harpsichordist, conductor, musicologist and teacher, and the inspiration behind one of the most groundbreaking musical adventures of the last 40 years, having introduced the repertoire of 17th- and 18th-century France to a very wide international audience. Born in Buffalo, and educated at Harvard and Yale, he has lived in France since 1971. The turning point in his career came in 1979, when he founded Les Arts Florissants.
As director of this vocal and instrumental ensemble, he soon made his mark as both a musician and man of the theatre, in the concert hall and the opera house. Major public recognition came in 1987 with the production of Lully’s Atys at the Opéra Comique in Paris.
From Charpentier to Rameau, via Couperin and Mondonville, he is the master of tragédie-lyrique as well as opéra-ballet, and is just as comfortable with the French motet as with music of the court. Nor does his affection for French music preclude the exploration of other European repertoire, including the music of Monteverdi, Rossi, Scarlatti, Landi, Purcell, Handel, Mozart, Haydn and Bach.
Notable among his most recent operatic work are Handel’s Jephtha at the Opéra de Paris and Ariodante at the Wiener Staatsoper, The Beggar’s Opera on European tour and Monteverdi’s L’incoronazione di Poppea at the Salzburg Festival, Rameau’s Platée at Theater an der Wien, Mondonville’s Titon et l’Aurore at the Opéra Comique and Handel’s Partenope on international tour.
As a guest conductor, William Christie often works with the Berliner Philharmoniker and Orchestra of the Age of Enlightenment at venues such as Glyndebourne, the Metropolitan Opera, New York, Zurich Opera House and Opéra National de Lyon.
His award-winning discography includes more than 100 recordings.
Wishing to develop further his work as a teacher, in 2002 he created Le Jardin des Voix, Les Arts Florissants’s biennial Baroque Academy for young singers, now established at Thiré in the Vendée, his own gardens where in 2012 he created the festival Dans les Jardins de William Christie. Since 2007 he has been Artist-in-Residence at the Juilliard School in New York, where he gives masterclasses twice a year. Last year he launched with Les Arts Florissants the first ‘Arts Flo Masterclasses’ for young professional musicians at the Quartier des Artistes in Thiré.
In 2018 he created the Les Arts Florissants–William Christie Foundation. Christie has gifted his entire Thiré estate to the Foundation.
In 2008 he was elected to France’s Académie des Beaux-Arts.
His projects for this season include Molière and His Music to mark the playwright’s 400th birthday; Purcell’s Dido and Aeneas directed by Blanca Li; a sequence of concerts of French music for Christmas at Fontevraud; duo recitals with violinist Théotime Langlois de Swarte and harpsichordist Justin Taylor; Haydn’s The Seasons; Handel’s L’Allegro, il Penseroso ed il Moderato; Charpentier’s music for the Nativity and for Holy Week; the fourth part of his series of Airs sérieux et à boire; and concert programmes with leading soloists, including Véronique Gens, Lea Desandre, Carlo Vistoli and Hugh Cutting.
Emmanuelle de Negri has demonstrated a remarkable breadth of repertoire and emotional range since the beginning of her career, singing Yniold in Debussy’s Pelléas et Mélisande and the title-role in Pasquini’s oratorio Sant’ Agnese before establishing an enduring performing relationship with William Christie and Les Arts Florissants, for whom highlights have included Purcell’s The Fairy Queen, The Indian Queen and Dido and Aeneas, Handel’s Susanna and Silete venti, Monteverdi’s Selva morale e spirituale, and numerous roles in French Baroque operas.
She has appeared regularly with other prominent French ensembles such as Pulcinella, Les Folies Françoises, Les Enfants d’Apollo, Raphaël Pichon’s Pygmalion, Vincent Dumestre’s Le Poème Harmonique, Le Banquet Céleste, Les Paladins and Les Accents. For Emmanuelle Haïm and her Concert d’Astrée, she also sung in Rameau’s Castor et Pollux and, recently, in a highly acclaimed new production of Rameau‘s Les Boréades staged by Barrie Kosky for Opéra de Dijon.
Further opera repertoire has ranged from roles in Monteverdi and Cavalli to Offenbach and Dukas, via Rameau, Hasse, Handel and Mozart.
Recent highlights include Cephise (Schürmann’s Die getreue Alceste) under Christina Pluhar; Les Indes galantes and Sémiramis at Versailles; Il Trionfo del Tempo e del Disinganno with both Accademia Bizantina and Les Arts Florissants; Messiah on tour; a celebration of Molière at 400 with William Christie and Les Arts Florsissants; and a tour of Handel’s Israel in Egypt with René Jacobs and the Freiburger Barockorchester.
Highlights this season include a recital with harpsichordist Brice Sailly, French cantatas with Thibault Noally’s Les Accents and French mélodies accompanied by Romain Descharmes, as well as a number of programmes with Les Arts Florissants. On stage, she takes the title-role in Rameau’s Io and Héro in de la Garde’s Héro et Léandre with Opéra Lafayette and sings Helena in a production of The Fairy Queen at Drottningholm.
Her discography includes Caldara’s Maddalena ai piedi di Cristo with Le Banquet Céleste and Damien Guillon, Rameau’s Dardanus and Castor et Pollux, a DVD of Lully’s Atys, a recital disc Bien que l’Amour (with William Christie) and Gluck’s Orfeo ed Euridice under Laurence Equilbey.
Soprano Julie Roset won this year’s Metropolitan Opera Laffont Competition. She began her vocal studies at an early age, studying initially in Avignon and Geneva, before going on to the Juilliard School.
On the opera stage she has appeared as Papagena (The Magic Flute) at Opéra de Toulon and made her Paris debut as Amour (Mondonville’s Titon et l’Aurore) with Les Arts Florissants and William Christie. Appearances at the Aix-en-Provence Festival include Valletto and Amore (L’incoronazione di Poppea) under Leonardo García Alarcón and as Clorinde (Il Combattimento, la théorie du cygne noir, a musical journey through the Italian Baroque) conducted by Sebastien Daucé. She sang Amour (Les Indes galantes) at Opéra Royal de Versailles and the Beaune Festival and appeared as Euridice (Rossi’s Orfeo) at the Juilliard.
As a concert performer, she has formed strong connections with numerous ensembles, including Leonardo García Alarcón’s Cappella Mediterranea and Ensemble Pygmalion under Raphaël Pichon. She made her debut with the Orchestre Philharmonique de Radio France as Galatea (Acis and Galatea).
Nun Danket Alle Gott, her first solo recording, made with Ensemble Clematis, features works by Buxtehude, Hammerschmidt and Monteverdi. Other recent recordings include d’India with Cappella Mediterranea, Brabant with Holland Baroque and, most recently, L’Orfeo with Cappella Mediterranea.
Highlights of this season include her debut tour with Philharmonia Baroque in the title-role of Theodora under Richard Egarr and her house debuts at Teatro Real and Opéra du Rhin. Other concert highlights include tonight’s programme of Charpentier with Les Arts Florissants and Die Schöpfung with Le Concert de la Loge at the Saint-Denis Festival.
British tenor Nicholas Scott enjoys a busy international schedule, and is particularly renowned in the field of early music.
Last summer he made his debut at the Aix-en-Provence Festival in a concert version of Monteverdi’s L’Orfeo with Cappella Mediterranea, a piece he reprises at the Kölner Philharmonie and has already toured throughout Europe and South America. Other recent and current highlights include Handel’s L’Allegro, il Penseroso e il Moderato with Les Arts Florissants under William Christie at the Lanaudière Festival and Handel’s Esther conducted by Paolo Zanzu in Vezelays.
Earlier this season he made his Italian debut with Filarmonica Toscanini in a concert performance of Les Indes galantes, followed by his return to Canada with Arion Baroque and performance at Chateau de Versailles with Les Ombres and his debut with Ensemble de l’Encyclopédie in Geneva. Tonight’s concert is part of two tours he makes with Les Arts Florissants (returning in April 2023), performing at leading venues including the Paris Philharmonie and Carnegie Hall, among others.
Other highlights include his debut at the Berlin Philharmonie conducted by Vincent Dumestre; a reprise of Monteverdi’s L’Orfeo with Cappella Mediterranea in France and Canada; and performances and a recording of the word premiere of Philippe d’Orléans’s La Jérusalem délivrée at Opéra Royal de Versailles under Leonardo García Alarcón.
Past notable engagements include Lully’s Atys at Grand Théâtre de Genève; L’Allegro, il Penseroso e il Moderato at the Beaune Festival, his debut with the Dunedin Consort at Wigmore Hall and Nevill Holt Opera and his return to Zurich Opera.
He has an extensive discography, which includes Sacrifices with La Nuova Musica; Cavalli’s Egisto, Lully’s Le bourgeois gentilhomme and Cadmus et Hermione and Anamorfisi, all with Le Poème Harmonique; Handel’s Chandos Anthems with Ensemble Marguerite Louise, and, with Les Arts Florissants, a series of cantatas with William Christie and mezzo-soprano Lea Desandre and, with Paul Agnew, an album titled Les Maîtres du Motet Français.
While undertaking piano studies at the Narbonne Conservatoire, Bastien Rimondi also undertook a master’s degree. He studied singing with Michel Wolkowitsky and then in Toulouse with Jacques Schwarz. In 2017 he began studies at the Paris Conservatoire with Frédéric Gindraux, graduating with honours last year.
His repertoire ranges from the Baroque to contemporary, and in the opera house his roles have included Ferrando (Così fan tutte), Don Ottavio (Don Giovanni), Almaviva (The Barber of Seville), Wedgwood Teapot, Mr Arithmetic and Tree Frog (Ravel’s L’enfant et les sortilèges), Monsieur de Crotignac (Cimarosa’s Le Peintre Parisien), Dorvil (Rossini’s The Silken Ladder), the Doctor (Debussy’s The Fall of the House of Usher) and the Innocent (Mussorgsky’s Boris Godounov). Most recently he has sung Don Ottavio and the role of Râma in Olivier Calmel’s Râmâyana for Opéra de Massy.
This season he performs in Le Monde selon Mozart with Les Ambassadeurs and sings the role of the Evangelist in Bach’s St John Passion with Les Arts Florissants.
Since 2015 he has performed with pianist Timothée Hudrisier as the Florestan Duo, and they have appeared at a number of festival venues in France.
Lisandro Abadie was born in Buenos Aires, where he began his musical studies, later graduating from the Schola Cantorum Basiliensis and Lucerne’s Musikhochschule. He was awarded the Edwin Fischer Gedenkpreis in 2006.
He has sung under the direction of William Christie, Laurence Cummings, Facundo Agudin, Václav Luks, Jordi Savall, Paul Agnew, Paul Goodwin, Giovanni Antonini, Fabio Bonizzoni, Skip Sempé, Vincent Dumestre, Simon-Pierre Bestion, Hervé Niquet and Geoffroy Jourdain. In the field of opera, his wide repertoire extends from Monteverdi to contemporary music, notably the works of Handel and Viktor Ullmann. In 2010 he created the title-role in Oscar Strasnoy’s Cachafaz.
He has collaborated with ensembles such as Les Arts Florissants, Collegium 1704, the Orchestra of the Age of Enlightenment, Les Talens Lyriques, Le Poème Harmonique, La Tempête, Le Concert Étranger, Ensemble Inégal and La Risonanza. He also works with the lutenist Mónica Pustilnik and the pianist and composer Paul Suits. He regularly appears at the Handel festivals in London, Karlsruhe and Göttingen.
Among his numerous recordings are Handel’s Siroe, the complete Monteverdi madrigals, Music for Queen Caroline, Airs sérieux et à boire, The Tempest, Aci, Galatea e Polifemo, Der Rose Pilgerfahrt, Bach Mirror and a DVD of La Resurrezione.
Recent highlights include Lully’s Phaëton in Perm and at Versailles; Campra’s L’Europe galante in Potsdam and Prague; Rossini’s La Cenerentola and Offenbach’s Les fées du Rhin with the Théâtre Orchestre Bienne Soleure; tours and recordings with Les Arts Florissants, Le Poème Harmonique and Collegium 1704, and Marais’s Alcyone at the Barcelona Liceu.