Following on from Callirhoe (Andre Cardinal Destouches), Semele(Marin Marais) and Proserpine (Jean-Baptiste Lully), three important tragedies lyriques rescued from oblivion by Herve Niquet and Le Concert Spirituel, Glossa is now restoring to the catalogue and within its collection of French Baroque opera, a recording made in Metz in December 2001: Daphnis et Chloe, the work which was to add Joseph Bodin de Boismortier to the roll call of the history of music in a most determined fashion. First performed in Paris in 1747 – a time when the tragedie lyrique, the genre which Lully had brought to its peak, was already in evident decline – Daphnis et Chloe is a pastorale within which lurks a ballet with a bergere storyline, and which is blessed with a plot which, although mythological in content, is of great lightness; this neatly matched the taste of the nobility of the time and even more so that of Madame de Pompadour with its recreation of an idealized pastoral world. From the very beginning the music is reminiscent of that series of rural settings painted by Boucher for the king’s favourite, crammed full of smitten shepherds and besotted shepherdesses jostling for space on the canvas whilst big-bottomed and chubby-cheeked cupids are hanging about in the clouds… In just a few years time, in 1753, Paris was to become the setting for the flaring up of the notorious Querelle des Bouffons, with the supporters of the French tradition confronting the partisans of the Italian opera buffa. By then the taste for Boismortier’s music had gone stale... until now!