WWW.THEWHOLENOTE.COM
(May
1 – June 7, 2004)
CD DISCOVERIES
Rameau - Castor et Pollux
Colin Ainsworth; Joshua Hopkins;
Monica Whicher; Meredith Hall; Giles Tomkins; Renée Winick; Brian McMillan
Opera in Concert; Aradia Ensemble;
Kevin Mallon Naxos 8.660118-19
Although Castor et
Pollux is regarded as Rameau’s masterpiece, performances and
recordings are surprisingly rare, especially in the
substantially reworked version Rameau made in 1754. This welcome recording of
his revision is based on live performances given in Toronto by Opera in
Concert.
Mallon takes an intimate,
low-key approach, avoiding the exaggerated contrasts and aggressive tempi so
prevalent in period performances of baroque opera today. What he gives up in
dazzling theatrics, he gains in expressive impact. Yet there is still plenty of
dramatic momentum, the standout being the thunderstorm in the last act, which
resolves with Cohn Ainsworth as Castor celebrating ‘ces
concerts harmonieux’ in one of the most moving
passages on the recording.
By integrating the fundamental dance elements into the fabric of the
opera, Mallon brings a graceful invigorating lilt to
the phrasing. He favours a light continuo and
vigorous strings, resulting in delightfully transparent textures.
Soprano Monica Whicher’s long-suffering Télaïre is magnificent in the gorgeous ‘Tristes
appréts’. Soprano Meredith Hall is so
radiant as the jealous, ill-fated Phébé that I wish
she had more to do. As Castor, the object of both women’s passion, Ainsworth’s
ardent tenor provides many beautiful moments, while baritone Joshua Hopkins as
his self-sacrificing brother Pollux, hopelessly in
love with Télaïre, supplies
a splendidly nuanced heroism.
Naxos’ Toronto production team has done a territic
recording job. But the excellent notes and detailed plot synopses in the
booklet do not compensate for the lack of an English translation of the
libretto.
Pamela Margies