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Castor et Pollux

Castor et Pollux is a tragédie en musique in a prologue and five acts composed by Jean-Philippe Rameau, with a libretto by Pierre-Joseph Bernard (known as Gentil-Bernard).^[1] The opera premiered on 24 October 1737 at the Académie royale de musique in Paris, marking Rameau's third full-length opera and his first collaboration with Bernard.^[2] The work draws on the ancient Greek myth of the Dioscuri twins, Castor (a mortal son of Tyndareus) and Pollux (an immortal son of Jupiter), who both love the Spartan princess Télaïre.^[3] In the story, set in Sparta, the Underworld, and the heavens, Castor dies heroically in battle against the Spartans' enemies, prompting Pollux to descend to Hades to retrieve him, ultimately sacrificing his immortality so the brothers can share eternal life as the constellation Gemini through Jupiter's intervention.^[2] Themes of fraternal devotion, sacrifice, revenge, and redemption are central, culminating in a celebration of universal brotherhood.^[3] Musically, Castor et Pollux exemplifies Rameau's innovative Baroque style, blending expressive arias, choruses, and dances to heighten dramatic contrasts, such as the poignant lament "Tristes apprêts, pâles flambeaux" sung by Télaïre in Act II.^[3] The 1737 premiere received mixed reviews, dividing audiences between supporters of Rameau's modern harmonies (Ramistes) and traditionalists favoring Jean-Baptiste Lully (Lullistes), but it ran for 21 consecutive performances.^[2] Rameau revised the opera in 1754, removing the mythological prologue, restructuring acts, and adding new music like the triumphant "Éclatez, fières trompettes," which boosted its popularity and led to over 300 performances by 1785.^[2] Today, it remains one of Rameau's most enduring and frequently revived works, praised for its emotional depth and musical sophistication.^[4]

Background and Composition

Libretto and Sources

The libretto for Castor et Pollux was penned by Pierre-Joseph-Justin Bernard, a French poet also known as Gentil-Bernard, whose work on this opera established his reputation in Parisian salons.^[5] Bernard crafted the text as a tragédie en musique, drawing directly from the ancient Greek myth of the Dioscuri—the twin brothers Castor and Pollux, born to Leda, with Pollux sired by Zeus and thus immortal, while Castor, sired by Tyndareus, was mortal.^[6] The narrative revolves around Castor's death in battle, Pollux's descent to the underworld to join him, and their ultimate apotheosis as the constellation Gemini, symbolizing eternal brotherhood.^[5] Bernard sourced the mythological foundation from classical authors, including Ovid's Metamorphoses (Book 8), which recounts the twins' heroic deeds and deification, and Roman historians like Livy in Ab Urbe Condita (Book 2), describing their intervention at the Battle of Lake Regillus and emphasizing their protective role and shared immortality as a reward for fraternal devotion.^[7]^[8] Elements of tragic love and separation echo Ovid's Heroides, where epistolary laments explore mortality, loss, and unrequited affection, themes central to the opera's portrayal of Telaire's divided loyalties between the brothers. These sources underscore the opera's exploration of mortality versus immortality, self-sacrifice, and the transcendent power of sibling bonds, diverging from more episodic mythological treatments in prior French operas by focusing on psychological depth rather than divine spectacle alone.^[6] In contrast to earlier operas like Pascal Colasse's Polixène et Pyrrhus (1706), which dramatized Trojan War figures with clear antagonists and heroic conquests, Bernard's libretto constructs a tragic love triangle among Telaire, Castor, and Pollux devoid of villains, prioritizing internal moral dilemmas and emotional reconciliation. This approach aligns with the French classical tradition, avoiding punitive divine interventions in favor of harmonious resolution through apotheosis.^[5] Bernard's poetic style employs alexandrine verse—twelve-syllable lines with a caesura after the sixth syllable—evoking the measured grandeur of French classical tragedy as practiced by playwrights like Racine and Corneille.^[5] This formal structure integrates mythological grandeur with introspective dialogue, enhancing the libretto's suitability for Rameau's tragédie en musique genre through rhythmic symmetry and rhetorical eloquence.^[6]

Creation Process

Jean-Philippe Rameau composed Castor et Pollux over the course of 1736 and 1737, establishing it as his second tragédie en musique after the revolutionary Hippolyte et Aricie of 1733. The work represented a maturation of Rameau's operatic style, building on his earlier experiments while adhering to the conventions of the genre at the Paris Opéra. The libretto by Pierre-Joseph-Justin Bernard, a rising salon poet known as Gentil-Bernard, adapted the mythological tale of the Dioscuri twins to emphasize themes of fraternal devotion and immortality, providing Rameau with a dramatic framework suited to his expressive musical language.^[9] Central to the creation process were Rameau's theoretical innovations outlined in his Traité de l'harmonie (1722), which posited the fundamental bass and the corps sonore as foundational to musical structure, derived from natural acoustic principles like overtone series. These concepts were put into practice in Castor et Pollux, particularly through sophisticated harmonic progressions in recitatives and arias that underscored emotional contrasts, such as the descent into the underworld and the twins' reunion. Rameau's application of these ideas allowed for greater dramatic flexibility, moving beyond Lullian models to integrate harmony as a vehicle for psychological depth.^[10] Composing at age 53–54, Rameau encountered significant challenges in balancing the genre's demands for elaborate dance and spectacle with musical innovation. The Paris Opéra required extensive ballet interludes and scenic effects, including depictions of Hades and celestial realms, which necessitated close collaboration with choreographers to ensure dances advanced the narrative rather than merely diverting audiences. This integration tested Rameau's ability to orchestrate complex ensembles while maintaining dramatic coherence, a hurdle he addressed by embedding rhythmic motifs from his harmonic theories into the divertissements.^[11]

Premiere and Initial Context

Castor et Pollux received its world premiere on October 24, 1737, at the Académie Royale de Musique (Paris Opéra) in the Palais-Royal theater.^[12] The production was a lavish affair, featuring elaborate stage machinery and scenic designs. This innovative staging contributed to the opera's visual grandeur, aligning with the opulent traditions of French tragédie en musique. The opera enjoyed an initial run of 21 performances through December 1737, reflecting a solid but not overwhelming audience interest at the time.^[13] Set against the backdrop of heated debates in French musical circles over innovation versus tradition, the premiere highlighted Rameau's role as a champion of the French operatic style, particularly in contrast to the revered works of Jean-Baptiste Lully.^[14] Rameau's harmonic daring and emotional expressiveness sparked controversy among conservative critics and audiences, nearly inciting disturbances, though it ultimately achieved moderate box office success amid this polarized reception.^[15]

Roles and Characters

Principal Roles

In Jean-Philippe Rameau's Castor et Pollux (1737 version), the principal roles are crafted to embody the mythological twins' fraternal bond, romantic entanglements, and divine intervention, with voice types reflecting French Baroque conventions for dramatic expression. Castor, sung by a haute-contre (high tenor), represents the mortal twin born to Tyndareus and Leda, serving as the heroic yet tragic protagonist whose death in battle drives the central conflict. His vocal line demands agility and emotional intensity to convey valor in combat scenes and pathos in the underworld, highlighting his human vulnerability amid divine forces.^[2] Pollux, portrayed by a bass (often rendered as bass-baritone in modern performances), is the immortal son of Jupiter and Leda, embodying divine strength through his resolute quest to retrieve or join his brother in the afterlife, culminating in a sacrificial act of shared immortality. His deeper register underscores authority and resolve, contrasting Castor's lighter timbre to emphasize their complementary natures in duets and confrontations.^[16] Télaïre, a soprano role, is the Spartan princess, daughter of the Sun, beloved by both twins, forming the emotional core of the love triangle that propels the tragedy forward. Her arias, such as "Tristes apprêts," exploit the soprano's lyrical range to express profound grief and unwavering devotion, positioning her as a symbol of mortal passion tested by loss and celestial decree.^[2]^[17] Phébé, also a soprano, is Télaïre's sister and daughter of the Sun, whose unrequited love for Pollux introduces elements of jealousy and intrigue, as she summons infernal forces to thwart his mission. Her vocal demands parallel Télaïre's but shift toward sharper, more agitated expressions of envy, adding contrapuntal tension to the female leads' interactions.^[2]^[18] Jupiter, assigned to a bass, functions as the deus ex machina, intervening from Olympus to grant the twins joint immortality as the constellation Gemini, resolving the opera's moral and metaphysical dilemmas. His commanding timbre amplifies the god's authority in proclamatory scenes, providing harmonic closure and thematic uplift.^[16]

Supporting Roles and Premiere Cast

In Castor et Pollux, the supporting roles enhance the mythological framework and dramatic spectacle without dominating the principal narrative. Cléone, a soprano confidante to Télaïre, provides emotional support and commentary in key scenes, embodying the opera's themes of loyalty and sorrow. The High Priest of Jupiter, a tenor, invokes divine authority during ritualistic moments, underscoring the interplay between mortal and godly realms. Mercury, portrayed as a haute-contre, serves as Jupiter's messenger, facilitating heroic interventions with agility and celestial grace. These characters, drawn from Pierre-Joseph Bernard's libretto, reflect Rameau's preference for concise, expressive secondary figures that amplify the tragic tone.^[19]^[20]^[2] The chorus holds a vital position in the opera, representing diverse ensembles such as the shades of the underworld, Spartan warriors, and heavenly spirits. These groups drive the work's grandeur through collective expressions of mourning, battle fervor, and divine harmony, integral to the ballet sequences and emotional climaxes that define French tragédie lyrique. Rameau's choruses, often numbering around 20-30 singers from the Académie Royale de Musique, blend vocal lines with orchestral forces to create immersive spectacles, as seen in the infernal and celestial divertissements.^[20] At the premiere on 24 October 1737 at the Académie Royale de Musique in Paris, the cast featured prominent singers of the era, adhering to French Baroque conventions where haute-contre voices suited heroic male leads for their bright, agile timbre, contrasting with deeper basses for authoritative figures. Denis-François Tribou, a leading haute-contre, originated Castor, bringing nuanced expressivity to the mortal twin. Claude-Louis-Dominique Chassé de Chinais, a bass, portrayed Pollux, leveraging his resonant tone for the immortal brother's gravitas. Mlle Pellicier sang Télaïre as a soprano, noted for her clarity in lyrical passages. Mlle Antier, another soprano, took Phébé, infusing the role with dramatic intensity. Supporting performers included M. Dun (bass) as Jupiter, M. Cuvillier (tenor) as the High Priest of Jupiter, and Pierre Jélyotte (haute-contre) as Mercury, whose versatile voice highlighted the god's dynamic interventions. Cléone was assigned to a secondary soprano, though specific attribution remains elusive in surviving records. The production's chorus, drawn from the Opéra's ensemble, amplified the work's theatrical scale under Rameau's direction.^[19]^[20]^[21]^[22]

Synopsis

Prologue

The Prologue of the 1737 version of Jean-Philippe Rameau's Castor et Pollux functions as an allegorical overture to the main narrative, celebrating the end of the War of the Polish Succession. Personified figures such as the Pleasures and Arts urge Venus to restrain Mars, with Cupid intervening as Venus appears alongside the subdued Mars, leading to festivities honoring peace.^[23] This invocation establishes a ceremonial tone, drawing on the conventions of tragédie en musique to blend mythological symbolism with contemporary political resonance under royal auspices. The sequence transitions to the principal story by extolling the heroism of the twin brothers Castor and Pollux, whose legendary exploits exemplify the glory and harmonious ideals just invoked. Symbolically, the Prologue embodies the genre's tradition of flattering the sovereign, indirectly lauding Louis XV as the architect of peace through motifs of martial discord yielding to enlightened concord.^[24] This forward-looking reference to monarchical benevolence sets a moral foundation for the opera's themes without delving into the personal dramas of subsequent acts. Notably, the entire Prologue was excised in Rameau's 1754 revision to streamline the work for renewed appeal.^[25]

Act 1

Act 1 of Castor et Pollux is set in Sparta, where the people mourn the death of Castor, slain by the rival Lincée. The act establishes the central love triangle involving Castor, his brother Pollux, and Télaïre, daughter of the Sun god, through revelations of affections and fraternal duty. The chorus laments Castor's mortality in contrast to Pollux's divine heritage as Jupiter's son.^[23] Télaïre enters alone at Castor's monument, singing the aria "Tristes apprêts, pâles flambeaux" to express her profound regret and love for the deceased Castor. Phébé, Télaïre's sister and another admirer of the twins, joins her, noting Pollux's imminent vengeance against Lincée. This exchange underscores the sisters' differing affections and sets the emotional tone for the act. Pollux arrives having slain Lincée and his forces in battle to avenge his brother, but his victory is overshadowed by grief. He confesses his long-held love for Télaïre, proposing marriage to honor Castor's memory, yet she urges him to plead with Jupiter to revive Castor as proof of his devotion. This deepens Pollux's sorrow, transitioning the act toward his resolve to seek divine intervention, foreshadowing his sacrificial journey. The chorus closes with reflections on fraternal bonds and the shadows of loss, emphasizing the opera's exploration of love's sacrifices amid heroic valor.^[23]

Act 2

Act 2 of Castor et Pollux commences in Sparta amid the ongoing mourning for Castor, where Pollux gives voice to his profound grief and internal conflict between his love for Télaïre—Castor's beloved—and his unbreakable bond with his deceased mortal twin. This setting underscores the aftermath of the tragedy, with Pollux torn between personal desire and fraternal devotion, reflecting the Dioscuri legend's emphasis on unity that transcends mortality.^[23] Pollux sings the aria "Nature, amour" to highlight his heroic resolve to challenge the boundaries between life and death. Télaïre reminds Pollux of his promise to revive Castor, intensifying his turmoil. Pollux ascends to the heavens to plead with Jupiter, who grants mercy but reveals that only Pollux can take Castor's place in the Underworld. Despite a divertissement of Celestial Pleasures tempting him with a ballet, Pollux resolves to descend into Hades, embarking on a perilous journey to retrieve Castor's shade and restore balance to their intertwined fates.^[23] This heroic act faithfully echoes the ancient Dioscuri myth, where Pollux's willingness to brave the realm of the dead exemplifies the twins' legendary unity. The act transitions toward the infernal gates, leaving the earthly conflicts unresolved as Pollux prepares for the trials ahead.

Act 3

Act 3 of Castor et Pollux shifts the action to the entrance of the underworld, portrayed as a cavernous domain guarded by dark forces, evoking the mythological realm of the dead through Rameau's orchestration of low strings and ominous winds that underscore the somber atmosphere. Phébé, driven by her love for Pollux and jealousy toward Télaïre, attempts to stop him from descending, leading to tense exchanges where she learns of his true motivation for the quest.^[23] Key events unfold as Pollux battles the guardians of Hades, depicted in a dramatic divertissement featuring an infernal ballet of demons and furies who attempt to bar his path with frenzied dances and menacing airs, such as the "Air des démons." With Mercury's assistance, Pollux overcomes these obstacles and descends into the depths, symbolizing his struggle against the inexorable laws of death. The chorus of infernal shades acknowledges his determination in numbers like "Tout cède à ce héros vainqueur," highlighting Pollux's heroic advance despite the gathering shadows. Thematically, Act 3 delves into the contrast between mortality and immortality, as Pollux grapples with the finality of Castor's death and the imperative of fraternal sacrifice, drawing on classical mythology to question divine privilege against human bonds. Phébé's distraught reaction underscores the opera's themes of unrequited desire and rivalry. The act resolves on Pollux's successful entry, setting the stage for the reunion while affirming the triumph of brotherly devotion over death's divide.

Act 4

Act 4 transports the audience to the Elysian Fields, a serene realm of eternal peace in the Underworld, where the happy shades dwell in harmonious bliss away from earthly troubles. Castor, now a shade among them, sings the aria "Séjours de l'éternelle paix" of the lingering pull of his love for Télaïre, noting how the soothing murmurs of the Lethe and enchanting harmonies fail to fully quell his desires. The chorus of happy shades enters, dancing and inviting Castor to embrace their jealousy-free joys, emphasizing that love here unites rather than divides. A female shade elaborates on the pleasures of forgetfulness, describing the Lethe as an enchanted stream flowing amid flowers, where memories of pleasure endure without sorrow.^[18] The idyllic scene is interrupted as Pollux arrives, causing the shades to flee in fear. The brothers reunite in a moment of profound tenderness, exclaiming their joy in a duet that captures their unbreakable bond. Pollux reveals he has descended to free Castor, offering to elevate him to divine status while taking his place in the Underworld. Castor, overjoyed at the prospect of returning to life, initially resists the sacrifice, insisting that Pollux, as Jupiter's son, should reign in the heavens.^[18] Their dialogue highlights the opera's central theme of fraternal love surpassing romantic attachment, with Pollux urging Castor to prioritize Télaïre's despair and the people's needs. Reluctantly, Castor agrees to a temporary return for one day to see Télaïre, swearing by the Styx to reclaim his place in the Underworld afterward. Pollux calls upon Mercury to escort his brother upward. As Mercury carries Castor away in a cloud, the chorus of shades pleads for both brothers to remain, envying the gods. Pollux withdraws with the shades, leaving the stage poised for the earthly reunion and ensuing divine intervention. This act's emotional core lies in the twins' duet and recitative exchanges, which underscore the sacrificial depth of their relationship and pivot the narrative toward resolution.^[18]

Act 5

Act 5 of Castor et Pollux unfolds across earthly and celestial realms, providing a supernatural resolution to the opera's exploration of fraternal sacrifice amid the romantic entanglements and mortal-immortal tensions from prior acts. The scene begins near Sparta, where Castor, granted a momentary return from Hades through Pollux's self-sacrifice, reunites with Télaïre in a poignant expression of love and sorrow, as he must soon descend once more to honor their pact.^[23] Phébé, overwhelmed by jealousy and devastation at Castor's return—believing Pollux eternally lost—stabs herself in despair. As the Spartans revel in Castor's revival, ominous thunder heralds Jupiter's dramatic appearance from the heavens, shifting the setting to encompass both worlds. Jupiter, father to Pollux and sovereign of the gods, praises the twins' unbreakable bond of brotherhood and their willingness to trade immortality for one another's life.^[23] In a gesture of mercy and cosmic order, Jupiter revokes the sacrificial oath, bestowing shared immortality on both Castor and Pollux, who will henceforth dwell alternately on earth and in the stars as the Gemini constellation. He revives Phébé from death, uniting her in marriage with Pollux to heal her unrequited passion, while affirming the betrothal of Castor and Télaïre as a reward for their fidelity. This divine decree embodies the opera's central moral: that profound sacrifice and familial devotion earn eternal favor from the gods.^[2] The act reaches its triumphant close with a grand ballet finale, as the heavens part to unveil radiant pavilions, stars, and planets in celebratory dance. The chorus of stars and earthly ensemble intones "Que le Ciel, que la terre et l'onde," proclaiming universal festivity and harmony under Jupiter's command, with elaborate divertissements featuring the Graces, Pleasures, and Arts to symbolize restored unity and joy. In the 1754 revival, this act was condensed for swifter pacing, tightening the dramatic arc while preserving the essential themes of redemption and brotherhood.

Music and Style

Orchestration and Vocal Demands

Rameau's orchestration for Castor et Pollux employs a Baroque ensemble typical of French tragédie en musique, centered on a five-part string section comprising first and second violins, haute-contres de violon (high violas), tailles de violon (low violas), and basses de violon (bass violins and cellos).^[26] Woodwinds include pairs of flutes, oboes, and bassoons, while brass features two horns and, in select movements, two trumpets with timpani for ceremonial effects; basso continuo provides harmonic foundation via harpsichord, theorbo, and bassoon doubling.^[27] Clarinet parts are absent, reflecting their limited adoption in mid-18th-century French opera.^[28] This configuration allows for colorful timbres and dynamic contrasts, with divided violas enhancing textural depth in over half of the retained movements from the 1737 score.^[28] Vocal demands are rigorous, emphasizing dramatic expression and technical prowess suited to the Opéra's star singers. Castor, the mortal twin, is written for haute-contre—a high tenor voice requiring agility, flexibility, and sustained high notes up to a' without falsetto, as in his poignant arias depicting heroic resolve.^[29] Pollux, the immortal brother and son of Jupiter, demands a robust bass (basse-taille) for authoritative, resonant delivery in scenes of divine intervention and underworld descent.^[16] Female leads like Télaïre and Phébé call for sopranos capable of coloratura runs and lyrical pathos, with Phébé's entries featuring florid passagework to convey jealousy and longing.^[22] Supporting roles and chorus (SATB) further require blend and stamina across the prologue and five acts. The opera's structure integrates numerous ballet divertissements, distributed across acts to advance the myth through dance, where the orchestra's rhythmic precision—driven by continuo and strings—underpins complex choreographies depicting celebrations, infernal torments, and apotheoses.^[30] One innovative feature is the obbligato bassoon in Télaïre's aria "Tristes apprêts," its plaintive tones weaving intimately with the voice to evoke profound sorrow, elevating the instrument beyond mere accompaniment.^[28]

Key Musical Numbers

One of the most renowned numbers in Castor et Pollux is Télaïre's aria "Tristes apprêts, pâles flambeaux" from Act 1, a poignant lament expressing her grief over Castor's death during his funeral rites. The vocal line features a fragile, descending chromatic progression that symbolizes tears and sorrow, supported by luminous strings and bassoon orchestration to evoke a bittersweet fragility. This monologue not only underscores Télaïre's emotional turmoil but also propels the plot by revealing her willingness to sacrifice herself, aligning musical accents with French prosodic rhythms for heightened expressive depth.^[31]^[32]^[33] In Act 2, Pollux's heroic accompagnato and aria mark his resolute decision to descend into the underworld to rescue his brother, blending recitative-like intensity with bold melodic strides that convey determination and fraternal devotion. Accompanied by martial rhythms and swelling orchestration, this sequence highlights Pollux's noble sacrifice, transitioning from earthly resolve to the supernatural realm and emphasizing the opera's themes of immortality and loss. The dramatic tension builds through dynamic contrasts, underscoring the hero's internal conflict before his journey.^[31] The chorus of demons in Act 3, guarding the gates of Hades, employs eerie, dissonant harmonies and forceful rhythms to depict the menacing underworld, with low strings and winds creating a shadowy, impenetrable atmosphere. This ensemble number serves as a formidable barrier to Pollux's entry, evoking terror through its intense, syncopated lines and chromatic clashes that symbolize the chaos of the dead. Historically, its vivid portrayal of infernal forces was so striking that it reportedly overwhelmed early audiences.^[31] Act 4 features the twins' reunion duet in the Elysian fields, where Castor and Pollux express their unbreakable bond through interwoven vocal lines that rise in ecstatic harmony, supported by serene, pastoral orchestration. This ensemble captures the joy of their brief reunion amid eternal peace, with melodic exchanges reflecting mutual affection and the bittersweet acceptance of their fates, providing a moment of tender respite before the opera's climactic resolution.^[31] The opera culminates in Act 5 with the final apotheosis ballet and joyful ensemble, a grand divertissement featuring the full orchestra in triumphant major-key fanfares and transfigured string motifs echoing the overture. This celebratory number unites the characters in cosmic harmony, symbolizing the twins' ascension as the constellation Gemini, with lively dances and choral exultation conveying reconciliation and divine order. The expansive orchestration amplifies the sense of apotheosis, blending individual voices into a collective paean of fraternal and romantic love.^[31]

Innovations in Harmony and Form

In Castor et Pollux, Jean-Philippe Rameau advanced harmonic progressions through the strategic use of dissonant suspensions and pedal points, which intensified emotional expression and dramatic tension. Dissonant suspensions, often resolving from unprepared dissonances in the upper voices against stable bass lines, appear prominently in recitatives and arias to evoke pathos, as seen in the lamenting passages where delayed resolutions mirror characters' grief. Pedal points, particularly inverted varieties held in inner voices or the trumpet, further amplify this effect; for instance, in Act I, Scene IV, the D trumpet's pedal on the harmonic series creates a sustained dissonance against shifting harmonies in the continuo, deviating from standard Baroque practice to heighten celebratory yet foreboding energy.^[34] These techniques marked a departure from the more restrained dissonances of earlier French opera, allowing Rameau to explore greater emotional depth without overwhelming the diatonic framework.^[35] Central to these innovations was Rameau's application of the fundamental bass concept from his Traité de l'harmonie (1722), which posits that all chords derive from a generating root tone, enabling systematic progressions that underpin both local and large-scale structures. In Castor et Pollux, this theory manifests in harmonic sequences where bass lines progress by thirds or fifths, generating expressive chromaticism through implied root movements rather than explicit melodic alterations. A key example is the aria "Tristes apprêts, pâles flambeaux" in Act I, where the fundamental bass employs third-related progressions (e.g., from B-flat to D-flat) to convey profound sadness, integrating dissonance subtly within the da capo form without disrupting tonal coherence—Rameau himself cited this as evidence of harmony's natural expressive power.^[32] This approach extended to cyclical motifs, such as recurring subdominant-dominant chains that link acts thematically, symbolizing the twins' bond and the opera's progression from mortal strife to divine resolution, as analyzed in overture and choral sections.^[36] Structurally, Rameau innovated form by blending flexible recitative with modified da capo arias, prioritizing dramatic flow over rigid conventions. Recitatives in Castor et Pollux are richly harmonic, with the fundamental bass guiding modulations that reflect narrative shifts, contrasting the more speech-like, less chromatic recitatives of Jean-Baptiste Lully. Da capo arias, such as Télaïre's monologue in Act I, Scene III (in E-flat major), adapt the form by incorporating recitative-like B-sections with chromatic inflections for heightened pathos, allowing melodic leaps and suspensions to drive emotional arcs. Compared to Lully's diatonic restraint, Rameau's greater chromaticism and bolder leaps—evident in the underworld scenes of Act III, where descending chromatic lines in the bass depict descent into Hades—infuse the music with psychological intensity, aligning harmony directly with mythic turmoil.^[37] These elements, rooted in Rameau's theoretical writings, elevated the tragédie en musique beyond Lully's model toward a more dynamic synthesis of form and affect.^[14]

Performance History

1737 Premiere and Early Reception

Castor et Pollux premiered on 24 October 1737 at the Académie royale de musique in Paris.^[4] The production featured a prologue celebrating the end of the War of the Polish Succession, followed by five acts depicting the fraternal bond between the mortal Castor and the immortal Pollux.^[38] The opera's early reception was mixed, reflecting the ongoing querelle des Lullistes et Ramistes, a debate pitting defenders of Jean-Baptiste Lully's traditional French style against supporters of Rameau's innovative harmonies.^[39] Lullistes accused Rameau of overly complex and "too harmonic" music that deviated from established norms, labeling it excessively modern and influenced by Italian elements.^[39] This controversy, sparked by Rameau's earlier Hippolyte et Aricie in 1733, generated significant publicity but deepened the critical divide, with Ramistes praising the score's emotional depth and dramatic expression while opponents decried the plot's mythological intricacies as contrived and lacking clarity.^[39] Public interest was evident in the opera's run of 21 performances during its debut season, a respectable figure that underscored solid attendance without achieving the sensational popularity of Rameau's prior works like Les Indes galantes.^[29] Contemporary accounts, such as those in the Mercure de France, noted the premiere's occurrence but offered limited analysis, focusing instead on logistical details amid the polarized discourse.^[23] Accusations of harmonic complexity persisted, contributing to perceptions of the work as intellectually demanding rather than immediately accessible.^[40] The production aligned with broader French-Italian opera debates, where Rameau's reforms emphasized expressive innovation over convention. Voltaire, a key advocate for operatic renewal through simple, emotive tableaux, indirectly supported such approaches in his collaborations with Rameau, influencing the opera's static, poignant scenes like the opening funeral procession.^[31] Despite the controversies, the premiere solidified Rameau's position in the evolving landscape of tragédie en musique.^[41]

1754 Revival and 18th-Century Performances

The revised version of Castor et Pollux premiered on 11 January 1754 at the Académie Royale de Musique in Paris, amid the heated Querelle des Bouffons debate pitting French grand opera against Italian styles. This revival, prompted by insistent requests from directors François Rebel and François Francœur, featured significant revisions by Rameau—including a new first act, restructuring the opera into five acts by removing the prologue and condensing subsequent acts, and added Italianate ariettes—which enhanced its dramatic flow and appeal. Unlike the original 1737 production's 21 performances, the 1754 staging achieved greater acclaim, running for 30 performances that season and an additional 10 in 1755, marking it as a commercial triumph that solidified Rameau's reputation.^[42]^[43]^[29] Post-revival, Castor et Pollux gained enduring favor in French opera circles, shifting from initial controversy to recognition as Rameau's masterpiece and a cornerstone of the tragédie en musique genre. The work's emphasis on fraternal sacrifice and moral harmony resonated with Enlightenment ideals of reason and virtue, facilitating its integration into the Opéra's core repertoire as tastes evolved beyond Lullian traditions toward more expressive forms.^[9]^[2]^[44] The opera's popularity extended across Europe in the late 18th century, with notable revivals at the court of Versailles in 1764 and in Stuttgart in 1779, contributing to approximately 50 documented outings by century's end and reflecting its broadening influence amid shifting musical aesthetics. Paris saw further stagings in 1765, 1772–1773, 1778–1779, and 1780, after which it marked the last major production there until the revolutionary era, totaling over 300 performances of the revised version by 1785.^[2]^[16]

19th- and Early 20th-Century Revivals

Following the active performance tradition of the 18th century, Castor et Pollux experienced a sharp decline in the 19th century, with no documented stagings after the 1780s as Italian bel canto and grand opéra rose to prominence in French theaters.^[45] The work's intricate Baroque style and mythological subject matter fell out of favor amid shifting aesthetic preferences toward more dramatic, emotionally expansive forms exemplified by composers like Verdi and Wagner.^[46] This obscurity was compounded by practical challenges, including the scattering or loss of manuscript scores during the French Revolution and subsequent upheavals, which made reconstruction difficult for potential revivers.^[47] Advocates such as Camille Saint-Saëns played a key role in rekindling interest, praising Rameau's harmonic innovations and editing selections from his operas to highlight their enduring value amid the Wagnerian dominance of late-19th-century stages. The first modern revival came in 1903 with a concert performance of two acts at Paris's Schola Cantorum, organized by Vincent d'Indy, which drew praise from figures like Claude Debussy for its revelation of Rameau's dramatic depth.^[46] This partial presentation, using a newly edited score, marked a tentative step toward rehabilitation despite ongoing hurdles in sourcing complete materials and adapting the opera's choruses and dances to contemporary ensembles.^[45] A milestone followed in 1908 with the opera's first full modern staging at the Théâtre de Montpellier, conducted by Charles Bordes as part of the Schola Cantorum's efforts to promote French musical heritage.^[45] Though limited by period-instrument approximations and cuts to accommodate vocal styles influenced by Wagner, this production helped sustain momentum into the interwar years. The early music movement's recordings in the 1970s, such as Nikolaus Harnoncourt's 1972 version, built on these foundations to spur broader interest leading into the 21st century.^[9]

21st-Century Productions

The resurgence of Jean-Philippe Rameau's Castor et Pollux in the 21st century has been marked by a series of notable stagings and concert performances, reflecting a broader revival of Baroque opera with an emphasis on historical authenticity and innovative interpretations.^[48] One early highlight was the 2008 production at De Nederlandse Opera in Amsterdam, directed by Pierre Audi and conducted by Christophe Rousset with Les Talens Lyriques, which utilized the 1754 revised version and explored the opera's mythological themes through minimalist staging.^[49] This was followed by Barrie Kosky's visceral 2011 staging at the English National Opera in London, conducted by Christian Curnyn, where the production confined characters to stark, earth-bound environments like mounds of dirt to symbolize emotional isolation, replacing traditional ballet with raw, physical ensemble movements.^[48] In the 2020s, productions have increasingly favored the original 1737 version to highlight Rameau's initial dramatic intent, diverging from the more expansive 1754 revision.^[3] A key concert performance occurred in March 2023 at the Opéra Royal de Versailles, conducted by György Vashegyi with Orfeo Orchestra and Purcell Choir, underscoring the work's sacrificial themes in a historically resonant venue.^[50] The trend toward authenticity culminated in Peter Sellars' bold 2025 staging at the Opéra National de Paris (January 20 to February 23), conducted by Teodor Currentzis with the Utopia Orchestra and Choir, which reimagined the myth in a contemporary suburban setting—a shabby apartment with IKEA-like furniture serving as portals to other realms—while incorporating breakdancing ("flexing") choreography by Cal Hunt to echo the score's rhythmic intensity and addressing modern issues like the human cost of war through video projections of ruined cities.^[51]^[52] Later that year, semi-staged concert versions appeared at the Salzburg Festival on August 27 and 29, again under Currentzis with Utopia, featuring principal singers like Jeanine De Bique as Télaïre and Reinoud van Mechelen as Castor, further promoting the 1737 edition's leaner structure.^[53] This period has seen expanded global reach, with performances in the United States, such as the Boston Early Music Festival's 2019 concert featuring excerpts from Castor et Pollux alongside other Rameau works, conducted by Paul O'Dette and Stephen Stubbs, contributing to the opera's growing international profile amid the Baroque revival.^[54] These efforts, often documented in video recordings, have revitalized the work for contemporary audiences by blending period-informed musicology with directorial visions that connect ancient myths to present-day concerns.^[6]

Revisions and Editions

1754 Revisions

For the 1754 revival of Castor et Pollux at the Académie Royale de Musique in Paris, Jean-Philippe Rameau undertook extensive revisions to address the opera's initial mixed reception and to align with evolving tastes during the Querelle des Bouffons. The prologue, which had allegorically celebrated Louis XV and the Treaty of Aix-la-Chapelle, was entirely removed, as such dedicatory elements had fallen out of favor.^[55] Rameau collaborated with librettist Pierre-Joseph Bernard (Gentil-Bernard) to restructure the drama for greater coherence and faster pacing, responding to contemporary criticisms of the 1737 version's excessive length and protracted recitatives.^[27] Rameau added a new Act I introducing the backstory of the twins' divine and mortal origins, setting up the central conflict more explicitly from the outset; the original Acts I and II were merged into the new Act II, while the original Act III became Act III, the original Act IV was shortened to form Act IV, and the original Act V was adapted as Act V with new material. These alterations reduced the overall runtime and heightened dramatic momentum.^[27] This expansion notably enlarged the role of Phébé, portraying her as a more active antagonist driven by jealousy over Télaïre's affections, as both now love Castor, with additional scenes emphasizing her intrigue and emotional turmoil.^[27] Rameau also incorporated new musical numbers, such as Italian-influenced arias and dances, to infuse greater variety and appeal to audiences favoring lighter, more theatrical elements amid the ongoing debate between French and Italian styles.^[27] These modifications proved effective, as the revised opera enjoyed an initial run of 30 performances in 1754—compared to 21 for the 1737 premiere—followed by 10 more in 1755, marking a clear improvement in public and critical reception. The 1754 version subsequently became the standard performing edition of Castor et Pollux throughout the 18th and 19th centuries, remaining dominant until 20th-century scholarship began advocating for the original.^[56]

Modern Editions and Adaptations

In the 20th century, the first major modern edition of Castor et Pollux was the full score published in 1903–1908 as part of the Durand edition of Rameau's complete works, supervised by Camille Saint-Saëns, which used the 1754 revised version to make the opera accessible for contemporary performances, facilitating its 1908 revival.^[57]^[58] This edition, drawing on manuscript sources, established a benchmark for editorial fidelity to Rameau's harmonic innovations, though it incorporated some interpretive adjustments typical of the era.^[1] Modern editions prioritizing the 1737 version emerged in the late 20th and early 21st centuries, such as Bärenreiter's scholarly publication (c. 2020), which provides both versions' symphonies and emphasizes authentic orchestration based on primary manuscripts. These editions have influenced performances by providing detailed annotations on Rameau's use of dissonance and rhythmic complexity, supporting historically informed practice.^[27]^[59] Modern adaptations of Castor et Pollux often take the form of concert suites, extracting key instrumental numbers such as the overture, loure, and chaconne for orchestral programming; for instance, the Lowell Chamber Orchestra's 2022 performance highlighted these dances to showcase Rameau's ballet-style writing.^[60] Dance adaptations include recent stagings that integrate Rameau's choreographic elements, such as the 2025 Opéra national de Paris production, directed by Peter Sellars with choreography by Cal Hunt, which featured flex dancers in a contemporary narrative of fraternal bonds using the 1737 version.^[3] Scholarly debates surrounding Castor et Pollux center on the preference for the 1737 original versus the 1754 revival, with many experts arguing the earlier version better captures Rameau's initial dramatic intensity and innovative harmonies, while the later includes expanded divertissements that enhance theatrical spectacle.^[46]^[38] These discussions have driven editorial choices, with the 1737 text often favored in recent scholarship for its conciseness and emotional purity. Digital reconstructions, led by the Centre de Musique Baroque de Versailles, have utilized computational analysis of historical scores to recreate lost instrumental parts and performance practices, enabling virtual performances that simulate 18th-century acoustics.^[61]^[62] A notable recent development is the 2025 critical edition prepared with input from the Centre de Musique Baroque de Versailles for the Paris Opéra production, which emphasizes the original 1737 orchestration by restoring period-specific instrumentation like transverse flutes and natural horns, based on archival research to highlight Rameau's textural subtlety.^[3]^[63] This edition supports the production's focus on the opera's mythological core while adapting it for modern stages.^[64]

Recordings

Audio Recordings

Among modern interpretations, William Christie's 1993 recording with Les Arts Florissants presents the original 1737 version on period instruments, praised for its vibrant rhythmic drive and authentic timbres that capture the opera's dramatic intensity and ornamental flourishes, with standout performances by sopranos Véronique Gens as Phébé and Sophie Daneman as Télaïre.^[65]^[66] The first complete recording of the opera was Nikolaus Harnoncourt's 1971 rendition of the 1737 version with Concentus Musicus Wien on period instruments, a landmark in the revival of Rameau's works, noted for its scholarly approach and energetic interpretation, though using a smaller ensemble.^[65] The 2025 release conducted by György Vashegyi with the Orfeo Orchestra and Purcell Choir revives the 1737 version using a new critical edition from the Centre de musique baroque de Versailles, prioritizing textual fidelity to the premiere score and achieving exceptional vocal clarity through a balanced ensemble of 43 instrumentalists and a 26-voice choir; standout roles include Judith van Wanroij's poignant Télaïre in "Tristes apprêts" and Reinoud van Mechelen's agile Castor, addressing previous discographies' outdated emphasis on the 1754 revision.^[63]^[13]

Video and Concert Recordings

One of the most notable video recordings of Castor et Pollux is the 2008 production from the Dutch National Opera in Amsterdam, directed by Pierre Audi and conducted by Christophe Rousset with Les Talens Lyriques.^[67] This staging, featuring Anna Maria Panzarella as Télaïre, Véronique Gens as Phébé, and Finnur Bjarnason as Castor, was recorded live at Het Muziektheater and released on DVD by Opus Arte (OA0999D), capturing the opera's 1754 version in a visually striking Baroque-inspired set design by Patrick Kinmonth.^[68] The 2011 English National Opera production, directed by Barrie Kosky and conducted by Christian Curnyn, offered a minimalist staged interpretation emphasizing the opera's themes of brotherhood and sacrifice, with Roderick Williams as Pollux and Allan Clayton as Castor.^[48] Although primarily documented through audio broadcasts, excerpts from this English-language version, including key scenes, are available on platforms like YouTube, providing visual glimpses of its innovative use of a massive water tank and contemporary choreography.^[69] In 2023, a concert performance of the 1737 version, coproduced by the Centre de Musique Baroque de Versailles and presented in Budapest's Béla Bartók National Concert Hall under György Vashegyi with the Orfeo Orchestra and Purcell Choir, was captured on video.^[70] Featuring Judith Van Wanroij as Télaïre, Véronique Gens as Phébé, Reinoud Van Mechelen as Castor, and Tassis Christoyannis as Pollux, full footage is accessible online via specialized opera streaming sites, highlighting the work's dramatic arias and choral elements in a live setting.^[71] The Paris Opéra's 2025 staging at the Palais Garnier, directed by Peter Sellars and conducted by Teodor Currentzis with the Utopia Orchestra and Choir, marked a return to the 1737 version and was recorded for streaming release in February 2025.^[3] Starring Jeanine De Bique as Télaïre, Reinoud Van Mechelen as Castor, and Marc Mauillon as Pollux, this production integrates video projections and contemporary visuals to explore themes of war and redemption, available on the Paris Opera Play platform.^[72] At the 2025 Salzburg Festival, a semi-staged concert version conducted by Teodor Currentzis with Utopia, featuring Jeanine De Bique as Télaïre, Yulia Vakula as Phébé, and Reinoud Van Mechelen as Castor, premiered on August 27 and 29 at the Felsenreitschule.^[53] Promotional videos and rehearsal footage were released online, with potential for full broadcast via Austrian public television, emphasizing the opera's mythological intensity in a festival context.^[73] Additional visual materials include Blu-ray highlights from select productions, such as edited scenes from the 2008 Amsterdam staging, and numerous YouTube excerpts from recent revivals, offering accessible introductions to the opera's choreography and scenic designs.^[74]

References

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Castor et Pollux, RCT 32 (Rameau, Jean-Philippe) - IMSLP
Misc. Notes, For page index, see Discussion. ; Work Title, Castor et Pollux ; Composer, Rameau, Jean-Philippe ; Librettist, Pierre-Joseph Bernard (1708–1775).
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A return to its roots for Castor et Pollux, Jean-Philippe Rameau's lyric tragedy first performed in 1737 at the Académie royale.
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Castor et Pollux, his third opera, was not immediately successful, but was speedily revived and adjusted. It has remained among the most popular in modern times ...
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**Summary:**
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Castor et Pollux. Composer: Rameau, Jean-Philippe. Librettist/Text Author: Bernard, Pierre-Joseph. Conductor: Rousset, Christophe.Missing: name | Show results with:name
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Castor et Pollux was Rameau's second tragedie-en-musique and was first performed in 1737. The librettist was Pierre-Joseph Bernard—Gentil Bernard, as Voltaire ...Missing: 1736 | Show results with:1736
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[PDF] Jean Philippe-Rameau and the Corps Sonore - Athens Journal
Jean-Philippe Rameau (1683-1764) is remembered today as a composer and music theorist. He contributed significantly to the harpsichord literature.
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Oct 20, 2011 · In Rameau's early operas, such as Les Indes Galantes (1735), and Castor and Pollux, you can already sense a social revolution taking shape.
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Charles Dill. University of Wisconsin-Madison. School of Music. 5523 ... Nov 1988. "Voltaire and Rameau's Castor et Pollux." Paper delivered at annual.
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L'opéra, créé à l'Académie royale de musique, dans son théâtre du Palais-Royal à Paris, le 24 octobre 1737, est très attendu. C'est un énorme succès, avec ...<|control11|><|separator|>
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Despite an initial run of 21 performances – good enough for most composers – Castor et Pollux was only a mixed success when it was unfurled at the Académie ...
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Rameau himself declared that he admired Lully and that he always tried to imitate him – not as a subservient copyist but as part of his attempt to take nature ...
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May 2, 2008 · In the 1730's, Rameau's boldly emotional new operas nearly caused riots among the conservative music lovers of Paris.
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Refined orchestration. Jean-Philippe Rameau's opera “Castor et ...
Like Rameau, they regarded a revival of Castor et Pollux as a suitable means of supplying evidence of the supremacy, influence and greatness of the French style ...Missing: Voltaire advisory
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Castor et Pollux - accueil (data.bnf.fr)
Spectacle: Castor et Pollux ... Mlle Fel (Amour), Mlle Rabon (Vénus), M. Le Page (Mars), M. Tribou (Castor), M. Chassé (Pollux), Mlle Pellicier (Télaïre), Mlle ...
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None
### Characters, Voice Types, and Premiere Singers for *Castor et Pollux* (1737)
[18]
Jélyotte Pierre de (1713-1797) - Musicologie.org
Biographie de Pierre Jélyotte (1713-1797), célèbre haute-contre du xviiie siècle, créateur des grands rôles dans les opéras de Jean-Philippe Rameau.
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Castor et Pollux | Opera Scotland
### Summary of Prologue from 1737 Version of Castor et Pollux
[21]
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Feb 8, 2025 · Rameau's Castor et Pollux is an opera like no other. It has ... Laurence Kilsby, in various haute-contre parts, sang in the grand manner.
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CASTOR ET POLLUX (1737) / CASTOR ET ... - Rameau 2014
The people of Sparta are grieving at the funeral rites of Castor, who has been slain by Lincée (Lynceus). Télaïre (Telaira), daughter of the Sun, mourns the one ...Missing: pdf | Show results with:pdf
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Castor et Pollux - Act I, Scene 3 | Cynthia Verba - Harvard University
... Castor's death, cited by Rameau for its expressive use of chromatics in section A of the da capo. Rameau argues that the source of expression is not through ...Missing: opera | Show results with:opera
[25]
[PDF] CASTOR AND POLLUX, By Rameau and Bernard, An Opera
TELAIRE: It's the conquering king who's advancing. PHOEBE: He has avenged our ill deeds, we must repair them. CASTOR AND POLLUX, By Rameau and Bernard, An Opera.Missing: Grove sources
[26]
CASTOR ET POLLUX (1737) / CASTOR ET ... - Rameau 2014
TRIBOU, Denis-François [Castor] DECHASSÉ, Claude-Louis-Dominique (1699-1786) ... RAMEAU ...
[27]
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BA08864-01 – Rameau, Je ... – Castor et Pollux RCT 32 B
### Instrumentation Summary for Rameau's Castor et Pollux RCT 32 B
[29]
Rameau and the Orchestra - jstor
Castor et Pollux (1754) is revealing in this respect. Of the music retained from the 1737 original, movements with divided violas out-number those with ...
[30]
Rameau: Castor et Pollux (Naxos) - MusicWeb International
Apr 9, 2025 · For this revival, Rameau and his librettist (Pierre-Joseph Bernard) dropped the rather old-fashioned mythological prologue and replaced it by a ...
[31]
A Multi-Layered Analysis of Dancing in Eighteenth-Century French ...
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[32]
Castor et Pollux Programme Notes - Guido Martin-Brandis
Jun 24, 2022 · The very fine libretto, by Pierre-Joseph Bernard, tells of the quest of the immortal Pollux to save his slain mortal twin brother Castor from Hades.Missing: sources | Show results with:sources
[33]
[PDF] Rameau's Imaginary Monsters: Knowledge, Theory, and ...
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[34]
[PDF] i EXPRESSIVE PROSODY IN FRENCH SOLO SONG
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[35]
[PDF] /\/O, >17 - UNT Digital Library
however, Rameau digressed from normal practice in a somewhat puzzling manner. In Act I, Scene IV of Castor et Pollux (1737) Rameau wrote a part for trumpet ...
[36]
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Rameau revised his 1737 opera Castor et Pollux in 1754, at the height of the raging debate, the so-called Querelle des Bouffons, over the relative merits of ...Missing: libretto Justin mythological Ovid
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[PDF] castor et pollux17-25 octobre - Opéra de Lille
Castor et Pollux sont deux frères jumeaux tous deux épris de Télaïre. ... Acte III, scène 1 - "Présent des Dieux" (Pollux) / piste n°21. Voici un air ...Missing: libretto text
[40]
Rameau Castor et Pollux - Gramophone
William Christie's recording of this opera was of Rameau's original version, which in 1737 met with a somewhat muted reception owing to the opposition of ...
[41]
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Rameau: Castor et Pollux. Robert Levine. Artistic Quality: 9. Sound Quality: 9. This is the 1754 revision of Rameau's 1737 masterpiece. The earlier version was ...Missing: synopsis | Show results with:synopsis<|control11|><|separator|>
[42]
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[43]
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[44]
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Dec 8, 2012 · The opera is about Enlightenment values of forbearance and generosity. Both twins are in love with the same woman (Télaïre), but she loves only ...
[45]
JEAN-PHILIPPE RAMEAU (1683–1764) CASTOR & POLLUX ...
Their vocal production is heavy and their declamation laboured; indeed, the entire musical canvas sports a veneer of vibrato that disfigures the intricacy of ...
[46]
Final Regret - The American Scholar
Mar 22, 2018 · In 1903, the composer Vincent d'Indy put on two acts of Castor et Pollux at the Schola Cantorum conservatory in Paris's Latin Quarter.
[47]
Research Portal
No readable text found in the HTML.<|separator|>
[48]
Barrie Kosky breathes life into Rameau's Castor et Pollux at the ENO
Oct 29, 2011 · David Karlin reviews Barrie Kosky's new production of Rameau's Castor et Pollux for the ENO.
[49]
Rameau's Castor et Pollux - medici.tv
With Anna Maria Panzarella (Télaïre), Véronique Gens ( ...Missing: name | Show results with:name
[50]
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[51]
Peter Sellars stages "Castor et Pollux" at the Opéra National de Paris
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[52]
Playing midwives to an egg | Paris Opera Review - Castor et Pollux
Jan 31, 2025 · Nigel Wilkinson reports on Teodor Curentzis and Peter Sellars's new production of Rameau's Castor et Pollux in Paris ... haute-contre ...
[53]
Castor et Pollux • Salzburg Festival 2025
In Castor et Pollux, Rameau combined all the compositional elements for which he was equally renowned and controversial. Each dramatic situation is musically ...
[54]
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[55]
Castor et Pollux - harmonia mundi
He deleted the Prologue and made substantial modifications to the dramatic structure, with a completely new first act! But the original has continued to ...
[56]
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[57]
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The aim of the course is to validate the students' research and study of sources through the preparation of a critical edition of an unpublished manuscript. The ...Missing: Castor Pollux
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[63]
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[66]
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Oct 13, 2025 · One is the artificiality of the plot which is all posturing classical gods spouting elevated sentiments in formal, stilted French and the ...
[67]
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Jan 29, 2025 · Conductor: Teodor Currentzis. Production: Peter Sellars. Sets: Joelle Aoun. Costumes: Camille Assaf. Lighting: James F. Ingalls. Choreography: Cal Hunt.Missing: composition 1736 Bernard
[68]
AT 300 RAMEAURISES FROM NEGLECT - The New York Times
Dec 11, 1983 · It is this second version that survives, and it has now been recorded by La Grand Ecurie et La Chambre du Roy under Jean-Claude Malgoire (CBS US ...
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We're fortunate to have recordings of both the original 1737 version of Rameau's opera Castor et Pollux (with prologue) and the more often-performed 1754 ...Missing: Servandoni designer<|control11|><|separator|>
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https://mupa.hu/en/program/classical-music-opera-theatre/rameau-castor-et-pollux-first-version-1737-concert-performance-2023-03-02_19-00-bela-bartok-national-concert-hall
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€22.20Rameau's Castor et Pollux: a constellation of emotions blending tragedy and baroque splendor, conducted by Christophe Rousset. A must-see on DVD!
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[75]
Castor et Pollux Budapest 2023 Judith Van Wanroij, Véronique ...
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Jean-Philippe Rameau. Libretto. Pierre-Joseph Bernard. Conductor. Teodor Currentzis. Director. Peter Sellars. Editions. Bärenreiter-Verlag. Chorus master.Missing: sources Justin Ovid
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[78]
Rameau: Castor et Pollux - Amazon.com
Castor et Pollux is arguably Rameau's finest creation in the tragédie lyrique style. Its libretto, based in mythology, focuses on an unusual theme.Missing: 1918 | Show results with:1918