Roland, an undoubted masterpiece, was among the last operas Lully composed. It shows an overall dramatic unity that brings it close to earlier works such as Th?s?e or Atys. The epic vein has been abandoned here, as well as all mythological elements, and the story is centred on the French paladin, nephew of Charlemagne, Roland, whose praises are sung in many literary works, the most famous of them being Ariosto’s Orlando Furioso. The eleventh of Lully?s twelve trag?dies lyriques and his last-but-one collaboration with Philippe Quinault, Roland (1685) was one of the composer?s favourite works. Louis XIV himself is said to have suggested the subject, no doubt as a celebration of his conquest of Luxemburg. The great dramatic unity of this opera brings it close to much earlier works such as Th?s?e or Atys. The composition both of the score and of the libretto is extremely rich, with long accompanied monologues for Ang?lique and M?dor, and duos and trios worthy of the finest French airs de cour. The orchestra is quite typical of Lully, with a continuo supporting all the vocal parts. After his revival of Lully?s Pers?e last year (recorded on the Astr?e label), Christophe Rousset now turns to another unjustly neglected opera by the same composer, performed by an excellent cast.