Gabriel Garrido’s Ensemble Elyma have been enjoying
a long collaboration with the French label K617, producing recordings
of many byways of the early baroque. These types of project show just
how advanced is the state of government support for the arts in a country
like France. Frequently, as in the case of this recording, there is
a combined approach between ensemble, recording company, various festivals
of early music and civic, regional or national government bodies. In
the case of this recording the emphasis is on the musical heritage of
Lorraine, and the recording appears to have been made in collaboration
with the Festival D’Ambronay. The programme recreates the sumptuous
festivities for the wedding of a favourite of King Henri III to one
Marguerite de Vaudemont, half-sister of Queen Louise de Lorraine. This
took place in 1581, two days after the coronation of Henri III in Reims
Cathedral. The music has such striking resonances of the more famous
intermedii to the play La Pellegrina that formed the high point of Florentine
entertainment before the invention of opera, but this spectacular predates
the more famous Florentine offering by nine years. It is a remarkable
rediscovery by any standards. Like that work, there is a thin line of
story, loosely Classical but filled with allegorical references to the
newly married couple and their patron, the newly crowned king. The real
reason for the work is the integrated display of music, poetry, dance
and scenery.
Ensemble Elyma have produced a succession of these
interesting recording projects, although the quality of performance
has sometimes been rather variable. No such qualms exist in this case
as Garrido has assembled a first class line-up of soloists and a large
band of high quality players. The string and wind playing is uniformly
exciting and well balanced and the added pair of harps and no less than
five lutes gives great vitality to the continuo. Of the singers, the
lion’s share of the work falls to the two countertenors, but the most
interesting soloist is the soprano Caroline Pelon. Her sense of the
musical flow of strophic song is assured and the quality of her voice
is engaging, although she sounds disarmingly like a clone of Montserrat
Figueras in the intensity of individual notes, the rapid vibrato added
to the end of notes, and the dramatically snatched breathing.
The composition is in three "intermedes"
but basically comes across as a diverting succession of solos, ensembles
and choruses interspersed with instrumental sinfonias. The flow and
the pacing are well controlled and the quality of the chorus belies
the fact that it is largely composed of students from the early music
departments of the Lyon and Geneva conservatories. There is youthful
enthusiasm, but no roughness or lack of refinement. The work eventually
becomes a typically French baroque sequence of dances, beginning with
the last movement of the third "intermede" and being followed
by an extended "Bal de Cour". This latter is made of French
dances by Pierre-Francisque Caroubel. Most of these are in fact well
known already as they were all included in Praetorius’ famous "Terpsichore"
of 1612, of which there are many recordings. Hearing these pieces in
an actual context does, however, give them an added interest, and the
playing of them is excellent.
This is a well worthwhile disc of completely unfamiliar,
but admirable music. The usual quality of K617 production is maintained,
although the extensive booklet is, as usual with this label, rather
confusing to follow and the English translations are somewhat pompous
and verbose. However, full background information is given in French,
English and German and all texts are translated, at least into English.
Highly enjoyable.
Peter Wells
Caroline Pelon - soprano
(Thetys)