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Anne Sofie von Otter Sings Offenbach.(Sound Recording Review)

Opera News

| December 01, 2002 | Traubner, Richard | COPYRIGHT 2002 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

[] "SINGS OFFENBACH" Arias, ensembles and orchestral pieces. With Leger, d'Oustrac, Grapperon, Henry, Keek, Naouri, Ragon; Les Musiciens du Louvre (Grenoble), Minkowski. Text and translations. DG 471501

Following Marc Minkowski's enchanting La Belle Helene with Britain's Felicity Lott, the Chatelet asked the conductor to return with an Offenbach concert in late 2001, this time starring Sweden's Anne Sofie von Otter. The question arises: is this a trend, or are there no Frenchwomen today to do justice to Pere Jacques?

The current CD booklet notes don't address this chauvinist issue, but they do confirm that the general public's knowlege of Offenbach's vast output still stays within the predictable Hoffmann and can-can borders. To remedy this, Minkowski balances several familiar numbers from the celebrated opera-bouffes of the 1860s with rarities. Strangest are the orchestral items: a long, non-theatrical overture from 1843 that demonstrates the young Cologne-born composer's affinity to the German Romantics, and a Wagner take-off (from a Bouffes-Parisiens revue) entitled The Symphony of the Future, which imposes supercharged orchestral silliness on a familiar dance tune. More scintillating are a lovely vocal ballad to the moon from Fantasio, an Opera-Comique flop, and the dotty alphabet sextet from Madame l'Archiduc, which--with its ...

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