Lully - Atys

Jean-Baptiste Lully has long been known as the father of French opera; this 1987 recording was the first to suggest his works are fit for something more than the library shelf. Though the 1676 Atys lacks the depth of texture and characterization (as well as the sheer weirdness) found in Rameau, the opera is like a catalog of French Baroque recitative and aria techniques in this Dangerous Liaisons-style story of love and jealousy amid royals and gods. Ironically, when the title character goes to sleep in act 3, the music truly wakes up in an imaginative, strikingly mellifluous evocation of abstract gods such as Morpheus and Phantasmus. William Christie's direction isn't quite as crisp and polished as later recordings, but his sense of style and ability to find passion behind the operatic formality is rock solid, with fine vocal contributions by Guy de Mey (Atys), Agnes Mellon (Sangaride), and Guillemette Laurens (Cybele). --David Patrick Stearns Amazon.com

Not to be missed

The previous reviewers have said it all and have said it very well. Anyone who loves Baroque opera and enjoys the works of Handel and Vivaldi will, I am sure, love this work. Lully's works are vastly different from those two greats, his work is distinctively French (although Lully was Italian). It is brilliant and exciting. Christie has no peer and for Atys he has assembled a cast which absolutely beggars the imagination. He seems to have recruited every great singer of French Baroque music right down to the minor roles. It is three hours of listening pleasure. June 13, 2008

As close as you can get to the real thing ...

I am biased because I saw this opera produced live in 1992, and that experience is seared in my memory . . . until William Christie and Les Arts Florissants decide to stage the opera again or release a video recording, I will have to satisfy myself with this wonderful, precise and beautiful recording. Is it possible to wear out a CD? I am not sure, but I bet I am coming close! With every listen, I can vividly remember scenes from the live production.

For the listener who is not familiar with Les Arts Florissants: this is one of the truly outstanding recordings of Baroque opera. It may not be as accessible as Handel or Vivaldi, but the French Baroque composers will reward attentive listening. The length of the piece and the chromatic harmonies may be daunting, but there are some moments in the final acts that come as close as you can get to real catharsis.

For some, this music may not be easy listening, and so I might recommend the recording of Charpentier's Medée, recorded by the same group at around the same time. December 21, 2007

One of the best recordings of any Baroque opera

I listened to this recording very frequently when I worked in a Melbourne music shop in the late '80s & early '90s. It bought it and I have enjoyed it ever since. It is a masterpiece and I am certain that Jean-Baptiste Lully is one of the greatest composers of opera in history.

The cast of Atys is first class and many will recognise names amongst the chorus and orchestra - John Holloway (violin), Christoph Rousset (harpsichord), Stephen Stubbs (lute), Marc Minkowski (bassoon), Véronique Gens (soprano), Hervé Niquet (tenor), etc. Yes, even the "rank & file" members of the cast of Atys are that good!

The whole thing is glorious and beautiful from start to finish. Listen "La Sommeil" from Acte III (track 9, disc 2) and you'll be hooked!

A triumph for William Christie and Les Arts Florissants and one of the best recordings they made for Harmonia Mundi France. Sadly, they have recorded less Lully ever since.



September 23, 2006

A glorious opera, spinning like a sun king in music's galaxy

The music of Lully has a resonance all of its own. It is unmistakable - elegant, graceful, almost sorrowful in its beauty, full of French baroque ornaments and distinctive falling figures. It lends itself wonderfully to good baroque singers, making them sound ravishing if they will but sing with shimmering and creamy purity right into the centre of each note, and if they will utilise the correct style for this genre of singing.

This opera is a grand and spectacular achievement. The music is Lully at his best - the plot is magnificent on a royal scale.

With William Christie conducting, the style is, as one would expect, impeccable. The playing of Les Arts Florissant is glorious. And most of the singers on this recording are splendid indeed - some of the finest exponents of French baroque singing.

But... there is a substantial "but".

Guillemette Laurens was once a very good singer of this style of music, I believe. But the tone appears to have deterioriated to the point where I feel uncomfortable listening to her. I have tried to do so on numerous occasions... and each time I think I can see the stylishness of her attempted portrayal, although I do not think she's attained what she strove to portray - certainly not in this recording, and in several others. The voice has a vibrato that is uncontrolled, and a sour quality to the timbre that does it no service. Style-wise, yes, I could appreciate it... but as far as timbre goes... no.

And I'm afraid that for me, timbre and style are two necessary components that simply cannot please unless both are present and functioning beautifully.

This recording is thus hampered by the singing of one pivotal role.

In every other respect, it's a gorgeous recording. I do recommend it, but I can also say that I am eagerly waiting to see if there will be a new recording with, perhaps, Veronique Gens or Mireille Delunsch in the role which Ms Laurens sings here. May 31, 2006

Fantastique!

It is said that this opera was written by the Italian composer Lully for the famous sun king Louis XIV and that he so identified with the obscure mythical origin that he wept at the end. I have seen engravings of the grand event; it was staged in the inner court at a young Versailles, with thousands of candles. And only the king could sit on a chair with a back! They restaged this when I was in college, and I read that people still were sitting on benches to watch the 4.5 hour opera, and loving it.

It may take a little getting used to and is a bit of a culture shock, but there are many lilting melodies, charming and graceful arias, entrees, gavottes, and overall I miss this opera much (it was stolen from my trunk). The music is baroque, early baroque, played on period instruments that give a shimmering quality to the music that I find most charming and unusual. The singers also have been trained to sing with the shimmering trills of the period. I particularly like the counter tenors, which is basically the highest tenors singing falsetto.

For some reason Louis XIV identified with the protagonist: an exceptionally good and comely man, whom the earth godess falls in love with. She elevates him to the position of high priest over more qualified persons. He falls in love with his rivals' daughter, and when Cybele finds out, she castrates him. He laments his fate, kills himself, and when he dies, she turns him into a tree.

If you like baroque opera, this is a gem. But not for the unsophisticated. May 29, 2004

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