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Christophe Rousset Monday, February 15, 2021 Christophe Rousset compares two early works composed in 1771, recently recorded with Les Talens Lyriques The more I get to know Antonio Salieri’s music – studying, conducting and recording his operas – the more I can assess the damage Milos Forman’s movie did to the reputation of the Italian composer, depicted as an evil, jealous, talentless, frustrated old fuddy-duddy in Amadeus.
Christophe Rousset introduces Lully's masterful, engaging and witty opera A couple of months ago, we released a recording of Gounod’s Faust in its first version – repertoire previously outside our normal sphere but an eye-opening experience nonetheless. Now we have returned to the home patch - French baroque - with the release of our eighth Lully opera recording, Isis.
I love the challenge of defending the un-defendable, of convincing singers and firing my orchestra Les Talens Lyriques’ imagination especially when they have doubts. History has unjustly maligned Antonio Salieri and Forman’s film Amadeus only perpetuated the myth. For me, Salieri has always held a fascination ever since we performed and recorded his La Grotta di Trofonio, a remarkable work, which undoubtedly inspired Mozart.
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