Véronique Gens - Tragediennes 1 (2006)

		Armide
1 	–Lully 	Enfin Il En Est Ma Puissance 	4:17
2 	–Lully 	Ouverture 	2:13
3 	–Lully 	Venez, Venez, Haine Implacable 	1:10
4 	–Lully 	Passacaille 	3:56
		Le Carnaval De Venise
5 	–Campra 	Mes Yeux, Fermez-vous A Jamais 	4:00
		Hippolyte Et Aricie
6 	–Rameau 	Prélude De L'Acte III 	1:40
7 	–Rameau 	Cruelle Mère Des Amours 	5:11
8 	–Rameau 	Chaconne 	3:09
		Castor Et Pollux
9 	–Rameau 	Tristes Apprêta 	4:11
10 	–Rameau 	Chaconne 	4:57
		Les Fêtes De Polymnie
11 	–Rameau 	Que Ses Regrets M'Ont Attendrie 	2:58
		Ishé
12 	–Mondonville 	Désirs Toujours Détruits 	3:57
		Seylla Et Glaucus
13 	–Leclair 	Ouverture 	5:45
14 	–Leclair 	Et Toi, Dont Les Embrasements... Noires Divinités 	3:45
15 	–Leclair 	Premier Air Des Démons 	1:50
16 	–Leclair 	Brillante Fille De Latone 	0:42
17 	–Leclair 	Deuxième Air Des Démons 	1:16
		Le Pouvoir De L'Amour
18 	–Royer 	 L'Objet Qui Règne Dans Mon Âme 	2:51
		Zaïde
19 	–Royer  	Dieu Des Amants Fidèles 	2:06
		Iphigénie En Aulide
20 	–Gluck 	Dieux Puissants Que J'Atteste... 	3:32
		Armide
21 	–Gluck 	Enfin Il Est En Ma Puissance 	6:28

Véronique Gens – soprano
Les Talens Lyriques (Ensemble)
Christophe Rousset - conductor

This fascinating recital, filled with rarities from the French Baroque/Classical period, is a series of monologues by tragic heroines: they're enraged, submissive, and everything in between. Gens is an amazingly classy singer, incapable of vulgar exclamation, but she still manages to express the full range of emotions required here. Her chest register has gained in volume and thrust and the top of her voice remains free and clear; her classical line, enunciation, and legato are flawless; her mastery of ornamentation is exquisite. Composed about 100 years apart, Lully's and Gluck's Armide bookend the program and use the same text; the latter's version is far more manic, but the character's torment is equally clear. Gens makes the stylistic distinctions. A great find is from Leclair's Scylla et Glaucus, in which Circe sings in front of Mount Etna, demanding assistance for her horrors. Each selection is riveting. This is a veritable primer in the emotions of early French opera. ---Robert Levine, amazon.com

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