Aricie and Hippolyte. Rameau's recitative is like Lully's in that it respects the prosody of the words, but it is more (song-like) and has more ornamentation, with wider intervals to increase expressivity. Phèdre then gives vent to her jealousy in the aria "Périsse la vaine puissance". The High Priestess of Diana arrives and sings a highly contrapuntal aria with contributions from the chorus. The (thunder) which ensues is in the French tradition of the musical depiction of meteorological phenomena. The most famous earlier example was in Marais's Sémélé (1709). Rameau's music is much more intense, containing "Vivaldian tremolos and rapid scale figures." Pellegrin situated the second act in the Underworld, following the example of Lully's Alceste (1671), Isis (1674), and Proserpine (1680), as well as later works by Desmarets, Marais, and Destouches. Isis, which had been revived on 14 December 1732, was particularly important for Pellegrin as it had a trio for the Fates. The dark colour of this act is enhanced by the use of solely male voices. There are lively and rhythmically inventive dances for the demons contrasted with Thésée's moving invocations to save the life of his friend Pirithous in music in which "the expression of the sentiment is cut down, as it were, to the bone". The act concludes with the famous and controversial second "Trio des Parques", omitted from the premiere because the Opéra's singers and instrumentalists found it too hard to play. It makes use of enharmony, a technique Rameau believed was ideal for "inspiring dread and horror". At the beginning of Act Three, Phèdre implores Venus for mercy in the aria "Cruelle mère des amours" which Girdlestone praises as a "magnificent solo" in spite of its "terribly flat" words. There follows a violent confrontation between Phèdre and Hippolyte then a scene in which Phèdre's confidante Oenone suggests to the king that Hippolyte has attempted to seduce his wife. In a scene of "grim irony", Thésée is forced to suppress his rage while he watches a divertissement of sailors thanking Neptune for his safe return home. The entertainment consists of two rigaudons, two danced airs and the chorus "Que ce rivage rétentisse". The festivities over, Thésée finally has the chance to call on his father Neptune to punish Hippolyte in the invocation "Puissant maître des flots", which Girdlestone regarded as one of the finest solos of the 18th century with its contrast between the