Claude BABELON (d. 1715)
Marche pour les Gardes du Roy [1:05]
Jean-Baptiste LULLY (1632-1687)
Prélude de trompettes et de violon en écho (Psyché: Acte V, scène dernière) Églogue en musique (Versailles, 17th January 1671; LWV45) [1:44]
La Grotte de Versailles: Tragédie-ballet (Paris, Tuileries, 17 January 1668; LWV45) [33:32]
Premier Air pour les Suivants de Mars (Psyché: Acte V, scène dernière) [1:18]
Deuxième Air pour les Suivants de Mars (Psyché: Acte V, scène dernière) [0:46]
George Dandin ou Le Mari Confondu, Comédie en musique (Versailles, 18 July 1668; LWV68) [40:14]
Ensemble Marguerite Louise/Gaétan Jarry
rec. 26-28 February 2020, Les Salles des Croisades, Versailles, France
CHÂTEAU DE VERSAILLES SPECTACLES CVS027 [78:43]
Collaboration between Molière and Lully brings to mind Le Bourgeois Gentilhomme, their masterpiece created for Louis XIV in 1670. Its popularity seems to eclipse everything else they created, some twelve works in all. For example, the Comedy-Ballet in three acts Monsieur de Pourceaugnac from 1669 is noteworthy for Lully performing the role of the doctor in the dance of the enemas at the premiere of the work, and Molière was a regular performer of his own works. Sadly, only a highlight of this ballet has been recorded on an enjoyable celebration of the partnership, Molière at the Opera (Glossa GCD923509). Another collaboration – Le Grand Divertissement royal de Versailles (Georges Dandin), Molière’s play first presented at Versailles on August 18, 1668 – is one of the works on this sparkling disc.
Marche pour les Gardes du Roy – a short piece for timpani by for the court timpanist Claude Babelon – is an attention catcher, especially when paired with Lully’s Prélude de trompettes et de violon en écho from his opera Psyché. The two make an exciting introduction; it was a device often employed by the theatre to gain the attention of the public.
Before we get to Molière’s contribution, the headline work, there is La Grotte de Versailles, a Tragédie-ballet from 1668. It was the first collaboration between Lully and Philippe Quinault, who was to become his librettist for the lyric tragedies, and an instant success with the public. I know a recording on Hugo Reyne’s third of six discs in the series Lully ou le Musicien du Soleil (Accord 461 811-2). One can follow the action more easily here, because the text in the booklet is more readable, and there are English and German translations. Not that there is much of a plot. This pastoral idyl celebrates the installation of a grotto in the chateau’s parkland, a feature that was to sweep through the stately homes of Europe.
Both performances do this music justice. Hugo Reyne’s version is divided into twelve tracks, and is a little slower; here we have eighteen tracks. This recording has greater depth and a greater sense of clarity, and it has been a nice touch to include a wind machine and birdsongs. The live recording on the Accord disc is showing its age. Then there is the coupling. Reyne’s disc had two short fillers, whilst George Dandin runs over forty minutes – the most impressive and enjoyable work on this disc. Another preface from Psyché, Air pour les Suivants de Mars, makes for a nice introduction.
A comédie en musique, George Dandin also comes from 1668. James R. Anthony in his book French Baroque Music writes: “…musical features tend to dominate and their link with the dramatic action is compromised.” Well, I find this work a good synthesis of music and the context of the words. There is more of a plot, explored well. I find it difficult to understand why this seems to be a recording premiere of the complete piece, a splendid and well-constructed short operatic work. It is a thoroughly enjoyable performance, a treat for any Lully fan.
There is fine singing from all the soloists, and fine playing by the Ensemble Marguerite Louise. Gaétan Jarry shows control and understanding as he offers a nuanced interpretation of this music. The sound is crisp and bright. The booklet highlights aspects of La Grotte de Versailles not noted on Reyne’s disc, and there are great insights on George Dandin. No fan of French baroque music, and Lully in particular, will not want to be without this invaluable disc.
Stuart Sillitoe
Previous review: Brian Wilson
