Jean-Philippe Rameau
Les Fêtes d’Hébé RCT 41
Ballet-Opéra in a prologue and 3 acts
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Jean-Philippe Rameau
Les Fêtes d’Hébé RCT 41
Ballet-Opéra in a prologue and 3 acts
- Instrumentation Orchestra
- Composer Jean-Philippe Rameau
- Editor François Saint-Yves
- Editor Pascal Denécheau
- Lyricist Antoine-César Gautier de Montdorge Louise-Angélique Bersin
- Edition Piano Reduction Download
- Publisher Bärenreiter Verlag
- Order no. BA8866-90-DL
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Description:
The ballet "Les Fêtes d'Hébé" deals with those talents that are usually thematized at the Opéra and placed on stage in the service of love: poetry and declamation (1st entrée, "La Poésie"), the art of singing and harmony (2nd entrée, "La Musique") and finally dance and choreography (3rd entrée, "La Poésie"). Entrée, "La Poésie"), the art of singing and harmony (2nd Entrée, "La Musique") and finally dance and choreography (3rd Entrée, "La Danse"); hence the ballet's alternative title "Les Talents lyriques". In this ballet opera, Rameau gives priority to the female roles throughout. The prologue glorifies Hébé, the goddess of youth, and her alliance with love, while "La Poésie" praises the poetess Sappho, who sings almost continuously, and "La Musique" focuses on the omnipresent Princess Iphise; finally, "La Danse" has the shepherdess Églé as the main character, who comes to the fore with dance and song.
Since its premiere, the libretto's text has been perceived as rather unbalanced. Rameau compensates for these poetic shortcomings with musical boldness and innovation at the highest level. Be it the overture, which throws Lully's model overboard, the varied choral movements such as that of the Thessalians "Que jusqu'au fond de nos grottes profondes", the virtuoso arias such as Sappho's air "Un jour passé dans les tourments" or the magnificent monologues for Iphise and Tirtée - the originality and beauty of the music testify to incredible ingenuity.
Since its premiere, the libretto's text has been perceived as rather unbalanced. Rameau compensates for these poetic shortcomings with musical boldness and innovation at the highest level. Be it the overture, which throws Lully's model overboard, the varied choral movements such as that of the Thessalians "Que jusqu'au fond de nos grottes profondes", the virtuoso arias such as Sappho's air "Un jour passé dans les tourments" or the magnificent monologues for Iphise and Tirtée - the originality and beauty of the music testify to incredible ingenuity.