Offenbach - Le Violoneux & Le 66
£13.25
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Label: CPO
Cat No: 5555852
Format: CD
Number of Discs: 1
Genre: Opera
Release Date: 6th October 2023
Contents
Artists
Sandrine Buendia (soprano)Pierre-Antoine Chaumien (tenor)
Armando Noguera (baritone)
Kolner Akademie
Conductor
Michael Alexander WillensWorks
Le 66Le Violoneux
Artists
Sandrine Buendia (soprano)Pierre-Antoine Chaumien (tenor)
Armando Noguera (baritone)
Kolner Akademie
Conductor
Michael Alexander WillensAbout
On 31 August 1855, the curtain rises on Le Violoneux, according to its subtitle a "légende bretonne", the libretto penned by Eugène Mestépès and Émile Chevalet. Le Violoneux entertains the World's Fair audience in the best possible way. A young Hortense Schneider enraptured the audience with her innocent performance as Reinette, and only a few years later she became the undisputed queen of operetta, with roles that Offenbach always wrote to fit her perfectly.
After the end of the Universal Exhibition, Offenbach's success continued, but now in winter quarters in a hall in the Passage Choiseul, where the Théâtre des Bouffes-Parisiens is still located today. The summer venue, however, remained the house on the Champs-Elysées - and it was there that an "opérette" to a libretto by Philippe Pittaud de Forges and Laurencin with the unusual title Le 66 was premiered on 31 July 1856. Here, too, Offenbach liked to make use of a certain local musical colour. If the tumultuous dance rhythms in Le Violoneux sounded more Breton and peasant than in Brittany, the Tyrolienne in Le 66 refers to the musical ideas that people in 19th century France had "de l'Allemagne" - to paraphrase Madame de Staël. In fact, even pieces as "close to home" as Le Violoneux and Le 66 are permeated by a musical exoticism that had a lasting influence on French music theatre of the 19th century. And it is perhaps exciting in this context that some of the melodies in Le Violoneux, for example, are reminiscent of synagogue chants from the environment of the Cologne cantor Isaak Offenbach, the composer's father. But it was probably Gioacchino Rossini who paid the inventor of the operetta perhaps the greatest compliment in this sense - for him Offenbach was simply the "Mozart of the Champs-Elysées".
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