| Credited cast: | |||
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Les Arts Florissants | ... | Orchestre et Choeur (as Orchestre et Choeur des Arts Florissants) |
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William Christie | ... | Self - Direction musicale |
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Ingela Bohlin | ... | Iole |
| Joyce DiDonato | ... | Dejanira | |
| Malena Ernman | ... | Lichas | |
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Simon Kirkbride | ... | Prêtre de Jupiter |
| William Shimell | ... | Hercules | |
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Toby Spence | ... | Hyllus |
| Rest of cast listed alphabetically: | |||
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Hanna Bayodi | ... | Choeur - Soprano (as Les Arts Florissants) |
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Daniel Blanchard | ... | Solo dans 'Crown with Festial Pomp' (as Les Arts Florissants) |
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Jean-Paul Burgos | ... | Self - Violon (as Les Arts Florissants) |
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Jonathan Cable | ... | Self - Basso continuo - Contrebasse (as Les Arts Florissants) |
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Patrick Cohën-Akenine | ... | Self - Premier violon (as Les Arts Florissants) |
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Sophie Decaudaveine | ... | Choeur - Soprano (as Les Arts Florissants) |
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Brian Feehan | ... | Self - Bosso continuo - Théorbe (as Les Arts Florissants) |
As the first collaboration ever between conductor William Christie and director Luc Bondy, this production of Hercules was the major event of the 2004 opera season. Originally Created in Aix-en-Provence in July 2004, the show then moved on to the Palais Garnier in Paris where it was recorded in December of the same year. The Hercules received the student prize at the Golden Prague 2005.
Handel's oratorio is presented here by Luc Bondy in operatic form. And on the most part it is most effective. If I were to be honest though I was not a fan of the production values, the sets are very spare which will be unappealing to some people(especially if you are a traditionalist) and the performers look as though they've just walked off from the street. It did look as though it was part of a rehearsal and for this that was the not the feeling I wanted to have. The scene with Hyllus preparing to leave his mother is rather too casually done. However, the orchestral playing is absolutely fantastic especially in the third act prelude. You can tell that William Christie loves this music and that he specialises in that style, and his lively reading of the score doesn't suggest otherwise. The chorus play narrative and moral roles, both of which are done superbly with the drama sure and the balance between the voices is without fault. The principal singing ranges from very good to outstanding. Toby Spence maybe fares the weakest, mainly because of the scene that I mentioned beforehand being too dramatically casual, but the extreme flexibility of Hyllus' role is done with utmost confidence overall. William Shimell occasionally has moments where he is a little too monochromatic, but vocally and dramatically he is almost always a very commanding lead indeed. Ingela Bohlin is very affecting, with movie-star looks and a truly beautiful voice. Malena Ernman fits the trouser role of Lichas very well, she does bring masculinity to the role and she has a lower register that will take your breath away. The star though is Joyce DiDonato, it is a profoundly moving performance and her technique and singing as always is close to perfect. All in all, a very interesting production. 8/10 Bethany Cox