Les Indes galantes, which premiered in 1735 in Paris, is one of the most celebrated works by composer Jean-Philippe Rameau. The composer adopted the format of the opéra-ballet, a genre where choreography and dance are the primary focus.
In the prologue, Hebe, the goddess of youth, summons young Europeans to celebrate love and pleasure. However, Bellona, the goddess of war, lures the men away with promises of military glory. Cupid, frustrated, travels to distant lands in search of people more receptive to his charms. This slender premise sets the stage for four acts, or entrées, set in the "Indes" – a term which, at the time, broadly referred to any non-European country. The settings range from the more familiar Middle Eastern locales of Turkey and Persia to the newly colonised territories of Peru and North America. The libretto offers a revealing glimpse into early 18th-century European attitudes toward these foreign lands and peoples. It reflects the Enlightenment's fascination with "Indians", who were often romanticised as more innocent and pure than Europeans, an idea echoing Rousseau's concept of the "noble savage". Simultaneously, the work shows a complete lack of acknowledgment of the brutalities of colonisation, which were probably unknown or unexamined in aristocratic circles.
The Teatro alla Scala presented a concert version of the work featuring just four singers, who adeptly performed all the different roles across the various entrées, with some staged interaction. Extensive cuts were made to the score, particularly to the ballet sequences – an understandable choice given the opera's length, though one that unfortunately detracted at times from the overall coherence and enjoyment of the performance.
From the harpsichord, conductor Leonardo García-Alarcón led the Cappella Mediterranea with palpable vigour. His direction was characterised by a beautiful, gestural style that seemed more focused on shaping the sound than strictly keeping time. The chemistry between him and the ensemble, and among the players themselves, was both evident and charming. While the overture, in the classic French style, was taken at a perhaps overly brisk tempo, the orchestra quickly settled and responded energetically to his leadership. The resulting sound was crisp yet not rigid, with the strings producing a particularly soft resonance.
The most successful moments were the energetic set-pieces: the storm in the first act and the volcanic eruption in the second. Here, both the orchestra and the Choeur de Chambre de Namur delivered an emotional and powerful, yet still controlled, interpretation. In contrast, some of the more lyrical passages were perhaps less effective. The delightful quartet "Tendre amour", for instance, suffered from the severe cuts in the third act. It was introduced somewhat abruptly, and felt rushed in its execution, with the chorus occasionally overpowering the ensemble.
The production featured a cast of four Baroque specialists, who tackled the numerous roles with great competence and a perfectly idiomatic style. Ana Quintans, possessing the highest and most brilliant soprano of the ensemble, was particularly moving as Emilie in the first act, where she delivered a deeply emotional performance. Laurène Paternò’s warmer, golden-toned soprano was ideally suited for Phani in the Incas entrée, allowing her beautiful middle register to shine.
Tenor Mathias Vidal showcased a remarkable heroic emission and a beautiful high register, yet was equally capable of a sweet mezza-voce, resulting in a truly masterful performance. Bass Andreas Wolf was a standout as the Inca high priest Huascar; his prayer to the sun-god was both powerful and authoritative. He possessed splendid low notes, combined with the lightness and elegance essential for the French Baroque repertoire.
