I love Puccini as much as the next girl but when the Met is gearing up for their 1,360th performance of La Bohéme, don’t you think you should focus on something else?
(Just saying that the fact Fire Shut Up in My Bones only has 8 performances and Susannah only has 7 is unjust)
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my opinion on opera recordings (1.)
Offenbach: Orphée aux Enfers
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Réné Leibowitz with the Paris Philharmonic Orchestra
Violette JOURNEAUX (L'Opinion Publique)
Claudine COLLART (Eurydice)
Jean MOLLIEN (Orphée)
André DRAN (Aristée/Pluton)
Simone PEBORDES (Cupidon)
Monique CHALOT (Venus)
Janine LINDENFELDER (Diane)
Bernard DEMIGNY (Jupiter)
Luciens MANS (Mars)
André JONQUERES (Mercure/Morphée)
Anne Marie CARPENTIER (Junon/Minerve)
Jean HOFFMANN (Jon Styx)
1951
★★★★★★★★★⭐︎⭐︎ 8/10
This is the first in Leibowitz's (awesome) series of recordings of Offenbach's most famous Operettas, and the second opera I ever listened to. At least willingly... It's one of Offenbach's earlier works, filled with more meaningless farce compared to his later operettas (that still manage to be quite substantial despite the genre). I mean, most story lines lead nowhere aside from a few jokes and none of the characters are really fleshed out. However, the music is bombastic enough to make me ignore all that. After not listening to Offenbach for a while, going back to this made me realize how energetic his music is compared to other composers. It got my adrenaline going wild!!. What can i say, its early Offenbach!! Orphée aux Enfers is not literary or comedy genius, but it's fun anyways.
This cast suits the opera perfectly, nailing the range of characters and the comedic timing without fail. You can trust the french to do their own comedy well. Even just the dialogue sweeps me up with it's smooth frenchie rhythm. Most of it is cut though, so we were robbed!
Dialogue highlights:
- Claudine Collart delivering this line probably exactly as Offenbach intended:
"Je quitte la maison Parce que je suis morte. Aristée est Pluton, Et le diable m’emporte."
.btw. I want that on my tombstone? .
- Jean Mollien saying this line:
"Je ne lui conseille pas de folâtrer dans les blés que voilà, comme il le fait depuis qu’il est venu, je ne sais d’où, s’établir dans mon voisinage"
in a SINGLE breath!! im not JOKING!!! wtf?!!!
This recording was where I had my first impression of Jean Mollien's voice. I very distinctly remember that one of my first thoughts was; "oh, he should definitely be in a more dramatic opera". This is not to say that he doesn't fit the role! Jean Mollien has nice control over his voice when it comes to characters. Here, as Orphée, he makes his voice nasally and stiff. And he reuses this same voice in characters like Achilles (La Belle Hélène) and Guillot de Morfontaine (Manon). I call it the the "disagreeable man" because that's all it really is. A little pathetic, a little annoying, and seemingly always upset about something... I would say his interpretation here is pretty tame (especially compared to the absolute AMOUNT Collart is giving in their dialogue) and he also sounds like he's trying to speedrun Orphée any% gitchless. In any case, although he isn't really outstanding, Jean Mollien a perfectly enjoyable Orphée.
Claudine Collart is pretty much perfect as Eurydice! She has the comedy, the melodrama, the coquetter-ry... everything is on HIGH in the best way possible. She's bringing everything to make this character super fun and I'm sure Offenbach would be satisfied with her performance. "J'ai vu le dieu Bacchus" and her fly duet with Bernard Demingny's are some of my favorite parts of this recording. All the absurdity of the story and the charm of Offenbach's music can be found there. Collart and Demingny do a wonderful job, especially with the buzzing. I've heard other versions where the buzzing falls flat, or doesn't sound fly-like at all! Which is understandable. I can't imagine they teach you projection for optimal buzzing in music school.
Speaking of which, Bernard Demingny is absolutely great as Jupiter!!!! He's a hilariously flawed character of course, superficial and sleazy and very not self-aware, but Demigny gives him a little sass and relatablility which really makes it fun to follow his character through the story. He has so much energy and character, absolutely nailing every scene without overpowering the other interpreters. The dialogue with the Gods in the second part of act 1 is just a hilarious mix of perfect executions and (the so often neglected!!) reactions to one another, and because Jupiter is at the center of the dialogue I feel a lot of that chemistry depends on him. Instantly they communicate this sense of being this bored and dysfunctional family who just so happen to be gods. Demingny is, at the end of the day, a very strong force in this recording.
André Dran's Pluton has all the superficial sweetness of a Disney princess and the nerve of a spoiled teenager. That youth really comes out in his dialogue with Jupiter. it's an interpretation I haven't really heard before, but it sure makes this opera feel more like a dysfunctional family comedy. Not sure about how this aligns with the real mythology... But above all, he's very charming!
Finally, I'd like to say that Jean Hoffmann is O.K. as Jon Styx. I would never find enjoyment from this character, god forbid any comedy. But that's because I generally dislike those thin, absolutely flaccid comic tenor roles that seem to always reappear in Offenbach's operas (see: my anger with "jour et nuit" from Hoffmann). Jon Styx and similar roles are very one note and almost purely exist as pathetic men for the audience to ridicule. :/ . Jon Styx is handled here by Hoffmann with enough grace, just enough to stop me from skipping his aria during a casual listen.
⊱ ────── Final thoughts.────── ⊰
I cannot oversell how much listening to this recording feels like this:
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if you like:
Offenbach, Operetta/Opera Bouffe, the 1997 Opéra National de Lyon production (<3)
then this recording will be enjoyable 4 you!! (probably)
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