Perpetual Night
17th Century Ayres and Songs
Lucile Richardot (contralto)
Ensemble Correspondances, Sébastien Daucé
Awards:
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Schallplattenkritik Awards, 2018, Winner - Jahrespreis
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Diapason d’Or de l’Année, 2018, Winner - Musique baroque vocale
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Diapason d’Or, June 2018, Nouveauté
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Gramophone Awards, 2019, Finalist - Solo Vocal
The title may be ‘Perpetual Night’ but there’s absolutely nothing gloomy or unremitting about this delicious disc and its chiaroscuro play of shading and texture…Lawes and Locke may never quite...
Perpetual Night
17th Century Ayres and Songs
Lucile Richardot (contralto)
Ensemble Correspondances, Sébastien Daucé
Purchase product
Awards:
-
Schallplattenkritik Awards, 2018, Winner - Jahrespreis
-
Diapason d’Or de l’Année, 2018, Winner - Musique baroque vocale
-
Diapason d’Or, June 2018, Nouveauté
-
Gramophone Awards, 2019, Finalist - Solo Vocal
The title may be ‘Perpetual Night’ but there’s absolutely nothing gloomy or unremitting about this delicious disc and its chiaroscuro play of shading and texture…Lawes and Locke may never quite...
About
The circulation of artists and sovereigns between France and England in the seventeenth century resulted in the establishment of highly original genres in the latter country: the first recitatives, large-scale airs from masques and dramatic ‘scenes’ provided fertile ground for experimentation and prepared the way for the birth of semi-opera. Sébastien Daucé explores this English vocal art in a programme tailor-made for one of today’s most fascinating voices: Lucile Richardot, in the exquisite setting provided by Ensemble Correspondances, subtly blends music, love, night and melancholy.
Contents and tracklist
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Awards and reviews
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Schallplattenkritik Awards2018Winner - Jahrespreis
-
Diapason d’Or de l’Année2018Winner - Musique baroque vocale
-
Diapason d’OrJune 2018Nouveauté
July 2018
The title may be ‘Perpetual Night’ but there’s absolutely nothing gloomy or unremitting about this delicious disc and its chiaroscuro play of shading and texture…Lawes and Locke may never quite have Purcell’s pulling-power on a recording but that disparity has rarely sounded more misplaced than it does here.
