The Centre de musique baroque de Versailles is reissuing the vocal and keyboard scores of Campra’s Airs italiens, now organised into three volumes according to vocal range: one for soprano, the second for haute-contre and taille (tenor), and the third for bass. André Campra revitalised opera in France in the early 18th century, notably through his opera-ballets. These arias, most of which were unpublished, invite singers of all nationalities to explore the French style through the Italian language.

The bilingual (French/English) historical preface examines, amongst other things, the distinctive genre of the Italian aria as incorporated into French operas in the early 18th century, and provides a literal translation of each aria. The scores are set in the original keys, using the pitch standard of the Académie royale de musique in Paris, which was nearly a tone lower than today’s (≈ 392 Hz). The keyboard part (basso continuo realisation/orchestral reduction) is based on a historically informed approach and allows these pieces to be performed at auditions or in concert on either the piano or the harpsichord. These collections constitute a valuable resource for singers, perfectly suited to teaching, auditions and recitals. The works can also be used in concert thanks to the conductor’s score, available in a single volume, and the orchestral parts.

In this volume for dessus (soprano), the seventeen arias are taken from L’Europe galante, Vénus, fête galante, Le Carnaval de Venise, Aréthuse, ou la Vengeance de l’amour, La Sérénade vénitienne, Les Muses and Les Fêtes vénitiennes. Also included are a soprano/haute-contre duet, two soprano/bass duets and a soprano/haute-contre/bass trio.

Born in 1660, André Campra studied music with Guillaume Poitevin, choirmaster at the Maîtrise Saint-Sauveur of Aix-en-Provence Cathedral, which trained several renowned musicians (including Jean Gilles). On leaving, having been ordained as a priest, Campra secured several posts in the south of France. In 1694, he moved to Paris and was appointed Master of Music at Notre-Dame Cathedral in Paris. He resigned from this post in 1700 to devote himself fully to an equally exceptional career in opera, which led him to become Director of the Académie Royale de Musique in 1730. In 1723, Philippe d’Orléans entrusted him with one of the quarters of the Chapelle royale, replacing Lalande. It was there that Campra composed or revised most of the grand motets that have survived to this day. He died in 1744.