French historical-performance ensemble Les Talens Lyriques has devoted itself to Baroque opera and often to the revival of unfamiliar operatic scores, with some works in other genres, many of them French.
Les Talens Lyriques took its name from the subtitle of Rameau's 1739 opera Les Fêtes d'Hébé. Rameau, with such difficult-to-stage works as Les Indes galantes, with its Peruvian-Native American-Turkish setting, has indeed occupied a chunk of the ensemble's attention, and Les Talens Lyriques has collaborated with a variety of directors, choreographers, and stage designers in its efforts to bring to life operas from the Baroque era and later. Performances and recordings by Les Talens Lyriques have ranged from Monteverdi (all the major operas and many madrigals and sacred works as well) and Cavalli (La Didone, La Calisto) to Handel (ten operas, including the rare Riccardo Primo).
Lully, whose operas have rarely been performed, has been represented by Persée, Roland, Bellérophon, Phaéton, Amadis, Armide). Les Talens Lyriques has revived works by Desmarest (Vénus et Adonis), Mondonville (Les Fêtes de Paphos), Cimarosa (Il Mercato di Malmantile, Il Matrimonio segreto), Traetta (Antigona, Ippolito ed Aricia), Jommelli (Armida abbandonata), and Martin y Soler (La Capricciosa corretta, Il Tutore burlato). Its repertory extends forward not only to Mozart (Mitridate, Die Entführung aus dem Serail, Così fan tutte, Die Zauberflöte), but to his rival Salieri (La Grotta di Trofonio, Les Danaïdes, Les Horaces); not only to Beethoven, but to Cherubini (Médée), García (Il Califfo di Bagdad), Berlioz, Massenet, and even Camille Saint-Saëns.