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Nicolas Achten (harpsichord, conductor) - Acteon: Scherzi Musical - Import CD
Nicolas Achten (harpsichord, conductor) - Acteon: Scherzi Musical - Import CD
CD
Classical Music
July 9, 2026
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: RIC487
JAN/ISBN: 4589538832421
Number of Discs: 1
Country/Region of Manufacture: Import
Credits:
Nicolas Achten (harpsichord, conductor)
Description:
[Charpentier’s one-act opera, rich in dramatic twists and turns. A new recording featuring previously unreleased versions!] *Actéon*, a masterpiece pastoral opera by the 17th-century French master Charpentier, who—though unable to secure a position directly under the Sun King, Louis XIV, due to the machinations of Lully, the King’s Director of Royal Music—nonetheless blossomed as a composer of theatrical music within those constraints. Although written for a small chamber ensemble—unlike Lully, who enjoyed the privilege of using a full orchestra—the work condenses dramatic intensity into its brief duration, making for a truly compelling listening experience. It premiered in the spring of 1684 at the residence of its patron, Marie, daughter of the Duke of Lorraine-Guise, and a revised version was performed just a few months later. The role of Actéon—the tragic hero who, after venturing into the forest with his hunting companions and accidentally witnessing the goddess Diana bathing with her nymphs, is transformed into a stag and becomes prey for his own hunting dogs—was apparently sung by the composer himself, a high tenor, at the premiere, but was changed to a soprano for the revival. For the revival, the lament scenes in the second half and the overture were replaced with new music, and some pieces were transposed to make them easier for the new singers to perform. Led by Nikolai Akten—who has built a career as an unparalleled continuo player while also gaining experience as a singer—Scherzi Musicali has recorded both versions here (according to the label, this is the world’s first complete recording of the revival version, H481a). It is fascinating to compare the differences between these two versions, each with its own compelling dramatic development, and to fully appreciate the exquisite, polished ensemble work of the renowned singers who are at the forefront of Europe’s Baroque opera scene. This is an excellent project that allows listeners to savor this hidden masterpiece—which, surprisingly, has rarely been recorded in its entirety—with fresh vitality. Naxos Japan
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