Clément Janequin - La Chasse et autres chansons

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I think this is the finest record so far from the astonishing Clement Janequin Ensemble, for three reasons. The first is that every performance here is bursting with energy and with the apparent experience of innumerable public performances: you never get the impression that a piece was prepared just for the recording. There are six very different voices here, sometimes scarcely blending, and occasionally with a touch of roughness. But that is all part of the magic. They are real performances.
The second reason, related to the first, is that one of the Clement Janequin Ensemble's most notable virtues is the ability to articulate some of those long, elaborate works of Janequin that can so easily seem empty and rambling. The singers offer a masterly variety of colour, texture and pace that clarifies many of the internal details but at the same time seems always beautifully focused on the needs of the broad musical design. They show that Le caquet des femmes, La chasse and La guerre are works of considerable—if bizarre—genius.
Which in turn brings us to the third reason: Janequin. He is surely one of the most varied and resourceful of all sixteenth-century composers. The record includes three immaculately turned Ronsard settings, and two of Marot. It includes the superbly madrigalesque Ce petit a'ieu qui vole, the exquisite C'est a bon droit almost in the ultra-pure style of Claudin de Sermisy, and— as befits the finest musical exponent of the spirit of Rabelais—several works that are just plain dirty in a way that is difficult to parallel anywhere else in the history of music.

-- Gramophone [9/1988]

contents:

1. Le caquet des femmes
2. Va rossignol
3. D'un seul soleil
4. Bel aubépin verdissant
5. Gaillarde des dieux (Guillaume Morlaye)
6. J'ay double dueil
7. Au verd boys je m'en iray
8. Revenés souvent m'amye
9. J'ay d'un costé l'honneur
10. Ce petit dieu qui vole
11. Branle de bourgogne (Adrian Le Roy)
12. La guerre
13. L'espoir confus
14. Petite nymphe folastre
15. Pourquoy tournez-vous vos yeux
16. C'est à bon droit
17. Fantaisie (Guillaume Morlaye)
18. Sur l'aubépin qui est en fleurs
19. Ce moys de may
20. Las, si tu as plaisir
21. Venez hardis et légiers
22. Branle gay (Adrian Le Roy)
23. Plus ne suys
24. Frère thibault, séjourné, gros et gras
25. La chasse

Ensemble Clement Janequin

 Claude Debôves (Lute)

G.F.Handel - Esther (1732 version)

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This is a particularly welcome and important world-premiere recording. Handel composed Esther in about 1718‑20 for James Brydges, the Earl of Carnarvon (and later Duke of Chandos), using a libretto that was anonymously adapted from Thomas Brereton’s English translation of a play by Racine. This slender work, containing only six scenes, lays a strong claim to being the first English oratorio, but Handel seems not to have considered performing it for a public audience until 1732, when the entrepreneurial composer thoroughly revised the score to fit his company of Italian opera singers (including Senesino, Strada and Montagnana, who all sang in English), and enlisted the aid of the writer Samuel Humphreys to expand the drama with additional scenes (which made the oratorio long enough to fill a theatre evening, advantageously fleshed out some of the characters a little bit, and also enhanced the musical attractiveness of the oratorio). This is the historic version of Esther that launched Handel’s oratorio career in London, but it has remained inexplicably neglected in modern times.
David Vickers, Gramophone [1/2008]

contents:
Disc: 1

1 - Act 1. Scene 1. Overture. Andante - Larghetto - Allegro
2 - Act 1. Scene 1. Breathe soft ye gales
3 - Act 1. Scene 1. Watchful Angels
4 - Act 1. Scene 1. O King of kings, celestial Lord!
5 - Act 1. Scene 1. Alleluia
6 - Act 1. Scene 1. With transport, lovely queen
7 - Act 1. Scene 1. So much beauty sweetly blooming
8 - Act 1. Scene 1. Again shall Salem, to the skies
9 - Act 1. Scene 1. My heart is inditing
10 - Act 1. Scene 1. Kings' daughters
11 - Act 1. Scene 1. Upon the right hand
12 - Act 1. Scene 1. Kings shall be thy nursing fathers
13 - Act 1. Scene 2. Let me with freedom thy petition know
14 - Act 1. Scene 2. Endless fame
15 - Act 1. Scene 3. 'Tis greater far to spare
16 - Act 1. Scene 3. Pluck root and branch
17 - Act 1. Scene 3. Our souls with ardour glow
18 - Act 1. Scene 3. Shall we the God of Israel fear?
19 - Act 1. Scene 4. Jerusalem no more shall mourn
20 - Act 1. Scene 4. Tune your harps to cheerful strains
21 - Act 1. Scene 4. Shall we of servitude complain
22 - Act 1. Scene 4. Praise the Lord with cheerful noise
23 - Act 1. Scene 5. How have our sins provok'd the Lord!
24 - Act 1. Scene 5. Ye sons of Israel, mourn
25 - Act 1. Scene 5. O Jordan, Jordan, sacred tide!
26 - Act 1. Scene 5. Ye sons of Israel, mourn

Disc: 2 

1 - Act 2. Scene 1. Tyrants may awhile presume
2 - Act 2. Scene 2. Why sits that sorrow on thy brow?
3 - Act 2. Scene 2. Dread not, righteous queen
4 - Act 2. Scene 2. O heaven, protect her
5 - Act 2. Scene 2. Blessings descend on downy wings
6 - Act 2. Scene 2. I go, the pow'r of grief to prove
7 - Act 2. Scene 2. Tears assist me, pity moving
8 - Act 2. Scene 2. Save us, O Lord!
9 - Act 2. Scene 3. Who dares intrude into our presence
10 - Act 2. Scene 3. Who calls my parting soul from death?
11 - Act 2. Scene 3. O beauteous queen, unclose those eyes
12 - Act 2. Scene 3. If I find favour in thy sight
13 - Act 2. Scene 4. With inward joy his visage glows
14 - Act 2. Scene 4. Heav'n has lent her ev'ry charm
15 - Act 2. Scene 4. The king will listen to the royal fair
16 - Act 2. Scene 4. Blessed are all they that fear the Lord
17 - Act 3. Scene 1. Jehovah crown'd with glory bright
18 - Act 3. Scene 1. He comes! He comes to end our woes
19 - Act 3. Scene 2. Now O my queen, thy suit declare
20 - Act 3. Scene 2. Turn not, O queen, thy face away
21 - Act 3. Scene 2. Flatt'ring tongue, no more I hear thee
22 - Act 3. Scene 2. Through the nation he shall be
23 - Act 3. Scene 2. All applauding crowds, around
24 - Act 3. Scene 2. How art thou fall'n from thy height!
25 - Act 3. Scene 2. I'll proclaim the wond'rous story 26 - Act 3. Scene 3. The Lord our enemy has slain, Allelujah!



Esther, Queen of Persia: Rosemary Joshua, soprano
Israelite Woman: Rebecca Outram, soprano
Second Israelite: Cecilia Osmond, soprano
Mordecai: Susan Bickley, mezzo-soprano
Ahasuerus: James Bowman, countertenor
First Israelite: Andrew Kennedy, tenor
Harbonah: Angus Smith, tenor
Haman: Christopher Purves, bass

London Handel Orchestra & Choir
Dir. Laurence Cummings

18th Century Venetian Organ Art

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This is a wonderful disc, and it is difficult to know what to single out. Marcon's touch and technique is simply exquisite throughout.This is a wonderful disc - sheer fun, brilliantly delivered!

contents:

Giovanni Battista Pescetti

Sonata C minor

Baldassare Galuppi

Sonata for flute

Giuseppe P. Paganelli

Three Arias «sub elevatione»: Aria II

Three Arias «sub elevatione»: Aria XXII

Three Arias «sub elevatione»: Aria XIII

Baldassare Galuppi

Sonata in D minor

Giovanni Battista Cervellini

Pastorale

Sonata in F

Gaetano Valeri

Sonata III

Sonata IX

Sonata VI

Andrea Lucchesi

Sonata in F

Sonata in C

Sonata V

Ignazio Spergher

Andante grazioso

Allegro con brio

Niccolò Moretti

Sonata «ad uso offertorio»

Sonata «ad uso Sinfonia»

Andrea Marcon, organ

Louis XIII - Ballet de la Merlaison (Vinyl rip)

Marc-Antoine Charpentier:
Messe pour Plusieurs Instruments au Lieu des Orgues

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"The next day, nothing was talked of in Paris but the ball that the Officials of the City were giving for the King and Queen, and in which Their Majesties were to dance the famous Ballet de la Merlaison, which was the favourite ballet of the King... Twenty violins had been commanded... The King... was in a hunting costume of the greatest elegance and Monsieur and the other nobles were similarly attired. The ballet lasted an hour, it contained sixteen entrées."
Alexandre Dumas, The Three Musketeers, chapter 22.

In Dumas works, as always, fiction and truth walk side by side. In fact the Ballet de la Merlaison was not only Louis XIII preferred ballet, but his own creation, as reported by Theophraste Renaudot, the inventor of periodical journalism, in the special issue of the Gazette de France for March 22, 1635.

**************************************

The "Mass for Instruments in place of the Organ" by Marc-Antoine Charpentier offers considerable interest on a number of grounds: liturgy, scoring, disposition of instruments and compositional procedures, even without taking into account the bold inspiration of the former disciple of Carissimi.

*******************************

All in all I believe this record is worth a try, even if the performance is not astounding.

17th & 18th Century Songs and Catches (Hilliard Ensemble)

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Too bad this disc is so short (43 minutes) because I could listen and listen to it! Some of the songs are recorded a capella, some have a sparse harpsichord/gamba accompaniment, but either way, each song sounds very Hilliard. If you like their controlled, unaffected singing, you will love this disc the way I did. The best song here is the anonymous "Here lies a woman," sung by James, Elliott and Nixon (ATT). They sound out of this world! In this song, each voice is eerily alike, reaching the almost genderless sonority of a flute or a reed. It's unbelievable. Who needs sopranos? Then there is the amazing David James singing "Sweeter than roses," the best I've heard. Then there is "The street intrigue," a bizarre mini-drama in less than 3 minutes, which allows the Hilliard members to prove that their singing is not always churchy and "dull." Then there is "Since time so kind to us does prove" whose overtly sexual suggestiveness is so striking, considering that this dates back to 17th century... I could go on, but I've made my point. This is a great recording which you too should have. (An Amazon Customer)

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Why don't have a look at my Hilliard Collection

HERE:

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contents:

 1.   By a bank as I lay (Thomas Ravenscroft c1590-c1633)

 2.   Tho' I am young (Nicolas Laniere 1588-1666)

 3.   Lost in my quiet (Henry Purcell 1659-1695)

 4.   We be three poor mariners (Thomas Ravenscroft)

 5.   Sweeter than Roses (Henry Purcell

 6.   I spy Celia (Henry Purcell)

 7.   Since time so kind to us does prove (Henry Purcell)

 8.   Orpheus and Euridice (William Boyce 1710-1778)

 9.   Here's that will challenge all the Fair (Henry Purcell)

 10.   Which is the properest day to drink (Thomas Arne 1710-1778)

 11.   Chloe found Amyntas (John Blow 1649-1708)

 12.   Here lies a woman (Anonimous)

 13.   On thy banks, gentle Stour (William Boyce)

 14.   So well Corinna likes the joy (John Eccles c1650-1735)

 15.   My man John - A Riddle (John Eccles)

 16.   The Street Intrigue (Thomas Arne)

 17.   When the cock begins to crow (attrib. Henry Purcell)

The Hilliard Ensemble

Johann Sebastian Bach - Arias

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Bach's cantatas make use of an amazing diversity of instruments, both old and new. Among the 'new' instruments was the violoncello piccolo, a rare type of cello that was popular for a brief period at the beginning of the eighteenth century. The addition of a fifth, higher string provided the instrument a unique lightness and delicacy in the upper registers. This collection featuring cellist Ophelie Gaillard and the ensemble Pulcinella focuses on arias from Bach's cantatas that are scored for the violoncello piccolo. The arias are interspersed with instrumental transcriptions from the Schubler Chorales and the Orgelbüchlein.

contents:

1. Mein gläubiges Herze, BWV 68 *

2. Choral Schübler, BWV 645 n°1

3. Woferne du den edlen Frieden, BWV 41 ***

4. Ich, dein betrübtes Kind, BWV 199 *

5. Jesus ist ein guter Hirt, BWV 85 **

6. Ach bleib bei uns, Herr Jesu Christ, BWV 6 *

7. Ich bin herrlich, ich bin schön, BWV 49 *

8. Es dünket mich, ich sehe dich kommen, BWV 175 ***

9. Choral Schübler, BWV 650 n°6

10. Bete aber auch dabei, BWV 115 *

11. Ich fürchte nicht des Todes Schrecken, BWV 183 ***

12. Es ist vollbracht, BWV 159 **

13. Ich ruf’ zu dir, Herr Jesu Christ, BWV 639

Georg Melchior Hoffman, 1679 – 1715

14. Schlage doch gewünschte Stunde, BWV 53 **

Sandrine Piau, soprano *

Christophe Dumaux, alto **

Emiliano Gonzalez Toro, ténor ***

Pulcinella

Ophélie Gaillard, violoncelle piccolo et direction musicale

Venezia 1625

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contents:


Giovanni Battista Fontana - Sonata II
Marco Uccellini - Symphonia XX La Virmingarda
Marco Uccellini - Sonata XXVI sopra la Prosperina
Marco Uccellini - Aria sopra la Bergamasca
Giovanni Battista Fontana - Sonata III
Bernardo Storace - Improvisation sopra la Ciaccona
Tarquinio Merula - Chiaccona
Giovanni Battista Fontana - Sonata IV
Marco Uccellini - Symphonia XIV La Foschina
Salomone Rossi - Sinfonia XI in eco
Dario Castello - Sonata II
Marco Uccellini - Symphonia XVII La Stucharda
Tarquinio Merula - Canzon XVII La Monteverde
Tarquinio Merula - Canzon La Pighetta
Alessandro Piccinini - Toccata II
Giovanni Battista Fontana - Sonata VI
Tarquinio Merula - Canzon La Strada
Marco Uccellini - Sonata II


Maurice Steger, direction & recorder

Maurice Steger Ensemble

C.P.E. Bach Project - Ophélie Gaillard

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This programme presents a portrait, on the tercentenary of the composer’s birth, of Carl Philipp Emanuel Bach (1714-1788), who was probably the most gifted of the sons of the famous Johann Sebastian Bach. Highly admired in his own century by Haydn, Gluck and Mozart, he stands out today as a brilliant and highly original composer.

‘A musician cannot move others unless he is himself moved: it is essential for him to experience all the moods he wishes to arouse in his listeners. […] In languid, sad places, he will become languid and sad; this must be both audible and visible.’

For Carl Philipp Emanuel Bach, music had to be an expression of personal feelings. To achieve his aim, he did not hesitate to revolutionise the established principles of form, harmony and rhythm. His compositions are very personal and very free, with sudden changes of key, uneven phrase lengths and strong and unexpected contrasts, so that his music constantly holds the listener’s attention.

The Trio Sonata ‘Sanguineus und Melancholicus’ is a rarity in the composer’s output in that it is a quasi-programmatic work. It presents a conversation between two persons, the one sanguine (first violin) and the other melancholic (second violin). The same duality is found throughout the recordings presented here, from the well-known Sinfonia no. 5 to the two brilliant cello concertos.

With this revolutionary music, we find ourselves a whirl of emotions! Under the bow of cellist Ophélie Gaillard, at the head of the virtuosic Pulcinella Orchestra, these pieces come as a revelation!

'[The Pulcinella Orchestra] are a force to be reckoned with. Led by cellist Ophelie Gaillard, the group s well-nigh impeccable ensemble and palpable enthusiasm make it an ideal vehicle for CPE Bach at his most stormy and passionate. In the concertos, the energy is lightly handled, Gaillard dancing off-the-string with impressive bow-control ... I look forward to more from this excellent ensemble.' --George Pratt, BBC Music Magazine June 2014

Of the various CPE Bach recordings to have been released in his 300th anniversary year, that by cellist Ophelie Gaillard and the Pulcinella Orchestra stands out. The Cello Concertos Nos 1 and 3 are a particular treat. --BBC Music Magazine, December 2014

contents:

Concerto pour violoncelle en La Mineur, Wq 170

Sinfonia No. 5 en Si Mineur, Wq 182

Concerto pour violoncelle en La Majeur, Wq 172

Sonate en Ut Mineur pour deux violons et basse

"Sanguineus & Melancholicus", Wq 161

Ophélie Gaillard, cello

Pulcinella Orchestra

Il Primo Uomo

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In his debut album, Russian alto countertenor Dmitry Egorov chose excerpts from four operas, two by Alessandro Scarlatti, and two by Georg Friedrich Handel.
Egorov has a wonderful breadth control, and sings with brilliant intonation and crystal clear enunciation. He has quite a wide vocal range, but his timbre is not symmetrically bright in all registers. His coloratura technique is truly impeccable, and what is most impressive is his uncanny ability to shape long phrases.
His timbre is more suited to sacred music, with its innate serenity and evenness of tone production.

contents:

Alessandro Scarlatti (1660 – 1725)
1 - Sinfonia from “Tigrane”
2 - Icilio's aria “Il fiero aspetto” from “La caduta de' Decemviri”
3 - Tigrane's aria “Reo mi credi” from “Tigrane”
4 - Tigrane's aria “Esser degg'io come un scoglio” from “Tigrane”
5 - Tigrane's aria “All' acquisto di gloria” from “Tigrane”
6 - Icilio's aria “S'io non t'amassi” from “La caduta de' Decemviri”
7 - Sinfonia from “La caduta de' Decemviri”

      Georg Friedrich Händel (1685 – 1759)
8 - Rinaldo's aria “Or la tromba” from “Rinaldo”
9 - Amadigi's aria “Sussurrate” from “Amadigi di Gaula”
10 - Amadigi's aria “Non sa temere” from “Amadigi di Gaula”
11 - Rinaldo's aria “Cara sposa” from “Rinaldo”
12 - Rinaldo's aria “Venti, turbini, prestate” from “Rinaldo”
13 - Rinaldo's aria “Il tricerbero” from “Rinaldo”
14 - Amadigi's aria “O rendetemi il mio bene” from “Amadigi di Gaula”
15 - Amadigi's aria “Sento la gioia” from “Amadigi di Gaula”
16 - Ballet of Pleasant and Bad Dreams from “Alcina”


Dmitry Egorov, contratenor

La Stagione Frankfurt
dir. Michael Schneider

L'Agonie Du Languedoc

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This recording features modern Languedoc political folk singer, Claude Marti. The program is formed to highlight the horrors of the Albigensian Crusade, featuring some texts which do not survive with music.

contents:

Tartarassa Ni Voutor By Peire Cardenal

Ben Voigra By Peire Cardenal

Razos Es Qu Ieu M'Esbaudei By Peire Cardenal

D'Un Sirventes Far By Guilhelm Figueira

Si Col Flacs Molins Torneja By Tomier Et Palazi

L'Afar Del Comte Guió By Peire Cardenal

Ab Marrimen By Peire Bremon Ricas Novas

Ab Greu Cossire By Bernart Sicart Marjevols

Claude Marti, Vocals, Narrator

Studio Der Frühen Musik

Andrea von Ramm (voice, organetto)

Richard Levitt (voice, percussions)

Sterling Jones (bowed instruments)

Thomas Binkley (plucked instruments)

Claude Marti (chanteur, reader)

Benjamin Bagby (voice)

Harlan Hokin (voice)

Alice Robbins (bowed instruments)

Paul O'Dette (plucked instruments)

J.F.Fasch - Orchestral Works

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Richard Stone of Tempesta di Mare describes these pieces as ‘fantastic, true discoveries... they have the breadth and complexity of J.S. Bach without the austerity, and have a much more evolved sense of orchestral colour that's truly extraordinary'.

contents:

Ouverture grosso in D Major, FWV K:D8
Concerto in B-Flat Major, FWV L:B3
Concerto for Orchestra in D Major, FWV L:D15
Andante in D Major, FWV L:D15bis


Tempesta di Mare
Philadelphia Baroque Orchestra

Venezia 1625

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contents:

Giovanni Battista Fontana - Sonata II
Marco Uccellini - Symphonia XX La Virmingarda
Marco Uccellini - Sonata XXVI sopra la Prosperina
Marco Uccellini - Aria sopra la Bergamasca
Giovanni Battista Fontana - Sonata III
Bernardo Storace - Improvisation sopra la Ciaccona
Tarquinio Merula - Chiaccona
Giovanni Battista Fontana - Sonata IV
Marco Uccellini - Symphonia XIV La Foschina
Salomone Rossi - Sinfonia XI in eco
Dario Castello - Sonata II
Marco Uccellini - Symphonia XVII La Stucharda
Tarquinio Merula - Canzon XVII La Monteverde
Tarquinio Merula - Canzon La Pighetta
Alessandro Piccinini - Toccata II
Giovanni Battista Fontana - Sonata VI
Tarquinio Merula - Canzon La Strada
Marco Uccellini - Sonata II

Maurice Steger, direction & recorder
Maurice Steger Ensemble

Guinevere Yseut Melusine

20 tracks - MP3 192 Kbps - RAR 82 Mb

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The heritage of Celtic womanhood in the Middle Ages. La Reverdie is an Italian group of old Music founded on 1986 by two pairs of sisters: Claudia Caffagni, Livia Caffagni, Elisabetta de Mircovich and Ella Mircovich. From 1991 it performs with the collaboration of other interpreters like Doron David Sherwin (Cornetto, percussion, singer), who plays habitually with the group. The name of the group comes from lyrical romances (reverdies) that celebrated the return of the spring.

contents:

Serca • Amores
01 - Lamento di Tristano · Italian, 14th c.
02 - Francesco LANDINI (1335-1397). La bionda trezza · ballata
03 - Johannes CUNELIER (14th c). Se Geneive, Tristan · ballata
04 - Pucelete ~ Je langui ~ DOMINO · French, 13th c.

Echtrai • Casus

05 - Richard I the LIONHEART (1175-1199). Ja nus hons pris
06 - Jacopo da BOLOGNA (fl.1335-1355). Di nuovo è giunt'un chavalier · madrigale
07 - Donato da FIRENZE (fl.1335-1375). Seguendo 'l canto · madrigale
08 - Pange melos · conductus · French, 13th c.
09 - Non al so amante · Italian, 15th c.

Fisi • Visiones

10 - Guy of CHERLIEU (12th c.). Salve Regina
11 - Ave maris stella · Italian, 15th c.
12 - Oswald von WOLKENSTEIN (1377-1457). Ave mutter Koniginne ~ Ave mater
13 - Magdalena degna da laudare · Italian, 13th c.
14 - Sancta mater gracie ~ Do way Robin · English, 14th c.
15 - Saint Godric of FINCHALE (1080-1170). Sainte Marie viergene

Banflaith • Regalitas

16 - FRANKES (15th c.). Quene note
17 - Nobilis humilis · discantus in festo Sancti Magni · Orkney Islands, 12th c.
18 - Ave rex gentis anglorum · antiphona in festo Sancti Eadmundi · English, 10th c.
19 - Deus tuorum ~ De flore marthyrum ~ Ave rex · motteto · English, 10th c.
20 - A l'entrada del tens clar · Provençal, 12th c.   [2:13]


La Reverdie

Ella de' Mircovich · voice, medieval harp, gothic harp, recorder, percussion
Elisabetta de' Mircovich · voice, rebec, medieval harp, recorder, percussion
Claudia Caffagni · lute, voice, medieval harp, percussion
Livia Caffagni · recorder, fiddle, voice

Doron David Sherwin · percussion

Mozart in Paris

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contents:

Johann Christian Bach - Sinfonia in D major op.18 n.6
Simon le Duc - Symphony in E-flat major
Chevalier de Saint-George - Concerto in G major op.2 n.1
Pierre-Montan Berton L'Ainé - Nouvelle Chaconne in e minor
Wolfgang Amadeus Mozart - "Parisian" Symphony in D major KV 297

Yura Lee, violin
Bayerische Kammerphilarmonie
dir. Reinhard Goebel

Review (English)

J.Mouret - Les Amours de Ragonde

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contents:

Le mariage de Ragonde et de Colin
ou
La Veillée de Village

Comic Opera in 3 acts
libretto by
Philippe Néricault Destouches

 

First performed at the
Château de Sceaux
December 1714

Act One: La soirée de village (The Village Junket)

Ragonde is an ugly old farmer's widow. At a party in the village she tells the young Colin of her love for him but Colin wants to marry her daughter, Colette, and mocks Ragonde. Lucas, who is also in love with Colette, tells the old woman how she can be revenged on Colin.

Act Two: Les lutins (The Goblins)

Colette is in love with Lucas, but their marriage is dependent on Colin becoming Ragonde's husband, otherwise Ragonde will not allow it. Colette, Lucas and his friend Thibault hatch a plot against Colin. Colette arranges an assignation with him in a wood in the dead of night. Colin arrives at the appointed place only to be terrified by "goblins" who claim to be in the service of the witch Ragonde. In reality, they are boys from the village who have been disguised by Lucas and Thibault. They make Colin promise to marry Ragonde in return for his life.

Act Three: La noce ou le charivari (The Wedding or the Charivari)

The double wedding of Colette and Lucas and Ragonde and Colin takes place. Colin is in tears until Ragonde threatens him with the goblins again. The opera ends with a charivari, noisy music to celebrate the married couples.

(Wikipedia)

Performers:

Ragonde: Michel Verschaeve, tenor
Colin: Jean-Paul Fouchécourt, haute-contre
Colette: Sophie Marin-Degor, soprano
Lucas: Jean-Louis Bindi, bass
Mathurine: Noémi Rime, soprano
Thibault: Gilles Ragon, haute-contre
Blaise: Jean-Louis Serre, bass

Les Musiciens du Louvre
dir. Marc Minkowski