Rameau's raid on Afghanistan

Asked to name an opera set in Afghanistan, you may not immediately think of Les Boréades. But Rameau's last great masterpiece does indeed take place in the ancient kingdom of Bactria (now northern Afghanistan) and has other claims to modernity in that the queen of that kingdom abdicates for love of a commoner.

Without Robert Carsen's controversial production, as seen at the Paris Opéra recently, the plot seems inconsequential. But in this semi-staged performance by Les Arts Florissants under William Christie, largely with the Paris cast, Rameau's astonishing music carries the day.

Though the work of a septuagenarian, Les Boréades is packed with energy and inspiration. Rameau's ear for ravishing tonal colouring - winds including early clarinets, percussion including tambourine - sustains interest throughout, along with expressive vocal declamation and captivating harmonies full of heart-rending suspended dissonances.

Christie and his players have all this under their fingers now and he coaxed a superb performance from them, shaping phrases and paragraphs with unforced eloquence. Unlike the rigid form of opera seria, with its da capo arias, Rameau's structures unfold with a fluidity and dramatic sweep unimpeded by formal barriers. Recitative and aria are dissolved into continuous arioso, affording wonderful opportunities for vocalists au fait with the style.

Christie's handpicked cast included British tenors Paul Agnew and Toby Spence in starring roles: the former as the supposed commoner Abaris (who happily turns out to be Apollo's son), the latter as Calisis. Anna Maria Panzarella was excellent as Alphise, the queen willing to give up her throne for love, while Laurent Naouri, Stéphane Degout and Nicolas Rivenq also acquitted themselves admirably in various roles. The Chorus of Les Arts Florissants provided eloquent commentaries on the action.

Les Boreades