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Medea's Fury

With Stéphanie d'Oustrac


The program featuring Medea’s Fury came into being from the wishes of Amarillis and Stéphanie d’Oustrac. They wanted to revive this passionate character–who is both engaging because of her being betrayed, but also cruel–through two cantatas whose dramatic power perfectly imparts the contrast between Medea in love with Medea the avenger–between the power of sentiment and blind cruelty.

We have thus chosen to illustrate this additional dimension of her character by performing sections of Lully’s lyrical tragedy. Quinault’s libretto actually brings out her demonic personality.

This French angle of the myth is placed side by side with the Venetian viewpoint of an opera with Medea as its central character (thus entitled Medea in Athens), composed in 1675 by Giovanni Gianettini, still unpublished and performed as a world premiere.


Télérama 4 FFFF

Opéra international Diamant

Diapason * * * *

ClassicsToday France 9/10

What the press says

Télérama { 26mars 2008 }
Gilles Macassar
Fury and enchantment
"Backed up by a tight-knit instrumental group, two ‘Grand-Siècle’ gems are added to the Lully excerpts: cantatas by Clérambault and Nicolas Bernier–a musician in service of the Duchess of Maine who spent her evenings listening to vocal music at her Sceaux estate. Alternating short recitatives with collected airs, the French cantata is a pocket-sized lyrical tragedy. Stéphanie d’Oustrac captivates us effortlessly."
Opéra international { mai 2008 }
Medea with a thousand faces
"Stéphanie d’Oustrac returns to her earliest love affairs through a carefully laid out recording centered on 17th and 18th century vocal and instrumental works. Among these particularly distinct moods, Gaultier de Marseille’s plaintive Symphony in c minor and the angular Medea...
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ClassicsToday France { }
Christophe Huss
« [...] des pièces instrumentales, splendidement jouées par Amarillis (on notera la beauté du clavecin et la qualité d'Héloïse Gaillard au hautbois). Dans les hauts faits vocaux de ce disque habité par cette voix si efficace et si bien placée, il y a la Cantate Médée de Clérambault, ainsi que Médée de Bernier, avec un somptueux air Ingrat, ta cruelle inconstance ».
Gramophone { septembre 2008 }
Richard Lawrence
The Medea myth in musical guises and a singer who can find all the drama.
"Stéphanie d’Oustrac is faultless in pathos and intensity. Short instrumental pieces, neatly played by the four-strong Amarillis, are scattered throughout. An enjoyable programme."
Diapason { mai 2008 }
« Stéphanie d’Oustrac possède la couleur qui manquait à la sensible Agnès Mellon (alpha), un caractère affirmé, un instinct manifeste et des vocalises superlatives dans le délicat Volés, Démons. Joli quatuor instrumental auprès d’elle,...
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Stéphanie d'Oustrac mezzo-soprano


Héloïse Gaillard recorders, baroque oboe

Violaine Cochard harpsichord

Gilone Gaubert-Jacques violin

Anne-Marie Lasla viola da gamba