‘It will be a strange score: people will either not like it at all, or will like it enormously,’ prophesied Camille Saint-Saëns a few days before the premiere of Déjanire. The opera, first performed in Monte Carlo on 14 March 1911, is based on incidental music written in 1898 for the Béziers Arena. Fascinated by the subject, the composer soon wanted to give it a second, more ambitious life. He therefore conceived a mythological epic that inspired ‘powerfully evocative music,’ according to Gabriel Fauré, who was struck by the impact of the choral writing. Yet the love drama that rends the heroine’s heart engenders wildly romantic duets and culminates in the public immolation of Hercules, set ablaze by the poisoned tunic offered to him by the fallen queen. This new Déjanire received high praise from the critics, who flocked to Monaco to see it. But the modernist path that French opera was taking at the time did not allow the work to survive the upheavals of the First World War. It would have been a shame to prolong this unjustified ostracism any longer.

It was around 1825 that Louise Bertin, pupil of Reicha and friend of Berlioz, tackled the subject of Faust with all the energy and confidence of a young woman of twenty. She entirely exceeded the public’s expectations and won over the critics with her daring. Colourful orchestration, charming cantabiles, vigorous choruses – everything seemed to promise the work would enter the repertory. But the closure of the Théâtre-Italien after just three performances in 1831 decided otherwise, and the score languished in the vaults of the Bibliothèque Nationale de France for 190 years. The leading role, conceived for the mezzo-soprano Rosmunda Pisaroni, was finally created by the tenor Domenico Donzelli. In this complete recording with period instruments, Christophe Rousset presents the work in its original form, which has never been heard before, even in the composer's lifetime. Once again, Les Talens Lyriques and the Palazzetto Bru Zane join forces in an adventurous French operatic rediscovery.

REVIEW:

Limelight Magazine Recording of the Month, May 2024

“Mademoiselle Louise Bertin, the daughter of the proprietor of the Journal des Débats, and sister of its chief editor, has been remarkably successful, both in literature and music. She is one of the ablest women of our time. Her musical talent, to my mind, is rather rational than emotional; but it is a real talent notwithstanding.” That’s Berlioz in his Mémoires, responding to criticisms of his boss’ daughter’s fourth and final opera La Esmeralda (based on Notre Dame de Paris; Bertin was the only composer with whom Victor Hugo ever collaborated).

As Berlioz makes clear, she had to struggle with not just the usual prejudice against a female composer but with those who wanted to knock her powerful family connections. The result: in 1836 she abandoned opera for good. It’s often been assumed that Berlioz was being paid to be kind, but with Fausto, the latest release from Palazetto Bru Zane, we have ample proof that Bertin was a force to be reckoned with.

She was just 20, when in 1825 she began working up Goethe’s masterwork into an Italian opera semiseria. Fausto, to her own libretto, was meant to premiere in 1830, but unforeseen complications meant it didn’t reach the stage until 1831. Bad notices and the closure of the Théâtre-Italien condemned it to just three performances. Intriguingly, the title role was conceived for the mezzo-soprano Rosmunda Pisaroni but ended up being sung by the tenor Domenico Donzelli. In this recording, with period instruments, Christophe Rousset and Les Talens Lyriques present the work in its original form, and it’s an absolute cracker. Despite its Italian title, Fausto is more Weber than Rossini, although there are clear bel canto elements here and there. The orchestrations are highly original for its day – snipers in 1836 accused Berlioz of having written parts of La Esmerelda – and the dramatic effects are bold, sometimes startlingly so. Listen to the percussive wallop which kicks off the lengthy overture. Or the striking Gothic excesses as Fausto seals the pact with Mefistofele. There’s no shortage of good tunes either, with Margarita in particular getting some real charmers.

Dramaturgically, there are one or two missteps – Margarita asking the elderly Fausto to heal Catarina delays the devil’s arrival, and the final trio peters out (one suspects that Bertin might have fixed that if she’d ever had the chance). Otherwise, a good stage director could do something with the opera, not to mention singers with three meaty parts on offer.

The cast here is outstanding. French mezzo-soprano Karine Deshayes hurls herself fearlessly at Fausto’s challenging lines (the role is often high). The voice is bright and flexible, and she conveys the doctor’s mixture of ardent determination, despair and desperation. Canadian soprano Karina Gauvin may not sound the innocent victim, but her Margarita is beautifully sung and full of fire. The voice is luscious with first-rate diction. Croatian bass Ante Jerkunica is a sonorous Mefistofele with plenty of personality (though the role could use an aria or two). Nico Darmanin displays a bright, thrilling tenor as Margarita’s brother Valentino (his military aria, drums and horns popping, is a bel canto bombshell), and Marie Gautrot is ripe and characterful as the elderly Catarina. Best of all is Rousset who delivers a high-octane account of this remarkably original score. Not only does he bring it to life with judicious pacing and a winning flexibility, he draws out the unique textures of Bertin’s orchestrations with a sensitive ear for colour.

Les Talens Lyriques play like demons. Period strings are full of bite, while the individual timbres of wind, brass and percussion combine to create delicate and dramatic textures. Beautiful recording in vivid, in your face sound, and smartly documented, Fausto is more than just an intriguing rediscovery. It makes you long to hear La Esmerelda, by all accounts a more mature work and with a Victor Hugo libretto no less.

-- Limelight (Clive Paget)

Many Romantic composers owe their fame to one of their symphonic poems. Alongside acknowledged French masterpieces in the genre, the fifteen tracks presented here include four previously unrecorded works and several rarities by women composers. The Orchestre National de Lyon, a great champion of French Romantic music, offers a palette of shimmering colours under the baton of Nikolaj Szeps-Znaider as it relates in music the legend of Merlin the Magician, the fairytale of Sleeping Beauty and the misadventures of the Sorcerer’s Apprentice.

‘It would be difficult to find a simpler and more poignant subject’, Massenet remarked during the composition of Ariane, a vast score in five acts premiered at the Paris Opéra in October 1906. The libretto by Catulle Mendès is part ancient drama, part symbolist poem, and sets Phaedra and Ariadne, two sisters in love with Theseus, in violent conflict with each other. This epic work does not shrink from relating the combat against the Minotaur, from showing a ship tossed by the raging billows, nor even from transporting the audience to the Underworld where Persephone reigns. Despite its flamboyant orchestration, its grandiose scenography and its triumphant premiere, Ariane remains one of the few Massenet operas never recorded until now. The young Egyptian soprano Amina Edris takes the title role with ardour and passion, surrounded by a cast well versed in the specificities of the French style. The Bavarian Radio Chorus provides dedicated support in the epic scenes, under the baton of Laurent Campellone, a great champion of Massenet.

The injustices of history are made to be redressed. Here a cast of international singers, under the dynamic direction of Gergely Madaras, devotes itself with conviction to the task of reviving one of the forgotten glories of French Romantic opera. Hulda, completed in 1885, was never staged in César Franck’s lifetime. This gory medieval legend recounts the multiple acts of vengeance its heroine inflicts on the Aslak clan, which slaughtered her family, and on her unfaithful lover Eiolf. The ferocious performance of American soprano Jennifer Holloway in the title role is matched by the sinister presentiments of her French colleague Véronique Gens and the tender outbursts of Dutch soprano Judith van Wanroij. Although the imaginary Norwegian setting brings Wagner to mind, Franck continues the tradition of French grand-opéra while adopting the contemporary Verdian idiom. The intensity of the action is reflected in harmonic and instrumental experiments that place Franck in the forefront of the modernists of his time. The inventiveness of the ballet is matched only by the splendour of the choral writing. How could such a masterpiece have languished in oblivion for so long? Quite simply, because it was deliberately buried by Franck's pupils, who preferred to keep for themselves the glory of personifying the French operatic revival.

Guilty of allowing the sacred fire to go out while declaring her love to the general Licinius, the Vestal Virgin Julia is sentenced to be buried alive. But her execution is averted by a divine intervention, which rekindles the altar flame and absolves the victim. The simple plot of Gaspare Spontini’s La Vestale achieved resounding success in 1807 thanks to the highly skilled treatment of the characters’ psychology and the transparency of the political allusions – Licinius is an allegory of Napoleon Bonaparte himself. Yet the work is more than a mere piece of propaganda: it represents one of the links between the tragédie lyrique of the Ancien Régime and the future grand opéra à la française, even anticipating Bellinian bel canto. The opera’s focal point is the character of Julia, which requires an exceptional soprano to do it justice. After the creator, Caroline Branchu – whom Berlioz described as ‘operatic tragedy incarnate’ – and Maria Callas at La Scala in 1954, Marina Rebeka takes on in masterly fashion a role that seems tailor-made for her impressive vocal resources, supported by the energy and precision of the period instruments of Les Talens Lyriques under Christophe Rousset. The result is genuinely revelatory.

Women composers had great difficulty in making their voices heard and gaining recognition during their lifetimes. Even today, they are all too rarely heard in the concert hall or the opera house. That situation obviously cries out for a change in attitude, but then come the questions: all right, let’s programme women composers, but which ones, and which of their works? In this eight-CD set featuring several hundred performers, the Palazzetto Bru Zane offers its initial answer as far as nineteenth-century France is concerned. The selections range over chamber music, orchestral works, piano pieces and songs. They highlight twenty-one female creators, from already identified personalities like Hélène de Montgeroult, Louise Farrenc, Pauline Viardot, Marie Jaëll and Mel Bonis to such completely unknown figures as Charlotte Sohy, Madeleine Jaeger, Marthe Grumbach, Jeanne Danglas, Hedwige Chrétien and Madeleine Lemariey. From now on, there will be no excuse for ignoring Romantic women composers.

The dance permeated every layer of Romantic society. From popular dance halls to courtly salons, people showed their public face, enjoyed themselves and met one another in waltz time or to the rhythms of the quadrille or the polka. At the same time, ballet gained unprecedented fame on the stage of the Paris Opéra. The music that accompanied this frantic round in France has long been neglected, whereas the Viennese have never ceased to celebrate their waltzes. Under the expert baton of François-Xavier Roth, the orchestra Les Siècles has set out to rediscover this French repertory using historical instruments. Their album explores the output of both established composers – Camille Saint-Saëns, Ambroise Thomas, Charles Gounod, Jules Massenet – and their colleagues who specialized in Terpsichorean entertainment, including Philippe Musard, Isaac Strauss, Émile Waldteufel and Hervé.

REVIEWS:

Beautifully recorded and with Bru Zane’s customary excellent booklet notes, this is a disc to delight Francophiles, especially sweet-toothed ones like myself.

 -- Gramophone

There is a blowsy joie de vivre in these performances by Roth’s French Orchestra Les Siecles that is hard to resist.

-- The Sunday Times (UK)

It’s all very French, and presented with great flair and warmth by Roth and his orchestra.

-- The Guardian (UK)

Cherubini’s Les Abencérages, premiered in 1813, heralds the spectacle and extravagance of Romantic grand opera. From the Alhambra gardens to the battlefield, the action skillfully intertwines political conspiracies with a love story. Underpinned by the energy and timbres of period instruments, this recording demonstrates the work’s modernity and its musical qualities. Anaïs Constans valiantly tackles the demanding role of Noraïme, while Edgaras Montvidas displays his lyric tenor voice in a series of sublime airs whose beauty was already hinted at by none other than Roberto Alagna in a recital disc released in 2003. Around this couple, a plethoric cast of soloists (Dolié, Sargsyan, Williams, Martin, Lavoie, etc.) achieves the same high standards of French diction and style. The Hungarian conductor György Vashegyi, flanked by the Purcell Choir and Orfeo Orchestra, reveals here another key milestone of French Romantic opera.

REVIEWS:

Unstaged in Paris for over two centuries Les Abencérages, a kind of ‘missing link’ in the history of French opera, has been disinterred by Bru Zane. The overture with its two warring themes – romantic passion versus battlefield chivalry – announce a changed sensibility where the political is properly personal.

György Vashegyi and the Orfeo Orchestra find Beethoven – drums and trumpets and driving rhythms – in Cherubini’s score, and hints at the start of Act III of the Romanticism to come with Mendelssohn. While Étienne de Jouy’s libretto is set in the exotic Alhambra of late-15th century Moorish Grenada, its spectacle and masterly use of the chorus suggests the coming French Grand Opéra. Its story presents two warring factions within the last Spanish caliphate ready to be reconciled through the warrior Almazor’s marriage to Princess Norïme. That is until the villainous Vizier Alémar starts to plot!

Cherubini’s vocal line is free of Italian decorative thrills. Anaïs Constans handles Norïme’s high tessitura with grace, and Edgaras Montvidas’s Almanzor is a worthy heir to Louis Nourrit, the tenor who created the role in 1813. His farewell when exiled from Grenada having ‘lost’ the kingdom’s sacred standard on the battlefield is properly affecting.

Yet it’s the Purcell Choir who steal the vocal honours, with magnificent singing by the women in Act I as they prepare for the wedding, and the men rattling their vocal sabres handsomely as the plot thickens in Act II. For all that, the musical history is perhaps more striking than the opera itself.

-- BBC Music Magazine

A New Yorker Notable Recording of 2022!

French grand-opéra specialist Marc Minkowski has at last recorded Robert le Diable, a jewel of the genre. A triumph at its premiere in November 1831, it captivated contemporaries, and its influence stretched as far as Verdi and Wagner. An imposing international cast brings this repertory cornerstone to life: John Osborn portrays a Robert at once valiant and tender, Amina Edris reveals her full resources in the perilous role of Alice, while idiomatic performances by Nicolas Courjal, Erin Morley and Nico Darmanin complete a line-up offering the most vivid contrasts of tessitura. Against the backdrop of a medieval legend, this fantastical work depicts a confrontation between Good and Evil, pitting against each other a group of protagonists torn between desire and duty. A foundational score of musical Romanticism – performed more than 750 times in the nineteenth century at the Paris Opéra alone – is now gradually emerging from oblivion.

REVIEWS:

In these days of cash-strapped opera houses and risk-averse labels, recordings of the grander grand operas are rarities. Flawless ones are even rarer, making this breathtaking and ground-breaking new Palazzetto Bru Zane recording of Meyerbeer’s Robert le Diable a cause for celebration. In Marc Minkowski’s experienced hands, Meyerbeer’s gothic saga fairly flies off the page, every bar fizzing with energy and with set pieces that burst over our heads like fireworks. Add an outstandingly talented cast, headed by John Osborn as Robert and Erin Morley as Isabelle, and you have a set with award-winner written all over it.

-- Limelight

The Palazzetto Bru Zane label may have outdone itself with this album of orchestral songs by Jules Massenet.

Massenet was not only the composer of the famous operas Manon and Werther. In the shadow of his stage works slumber many songs, mélodies decked out in subtle and delicate orchestrations which we are delighted to revive here. These previously unrecorded works have been entrusted to a team of first-rate artists, most of them fervent champions of French poetry and its musical settings. The purpose of the Palazzetto Bru Zane – Centre de musique Romantique françaiseis to favor the rediscovery of the French musical heritage of the years 1780-1920 and obtain international recognition for that repertory. Housed in Venice in a palazzo dating from 1695 specially restored for the purpose, the Palazzetto Bru Zane – Centre de musique Romantique française is a creation of the Fondation Bru. Combining artistic ambition with high scientific standards, the Centre reflects the humanist spirit that guides the actions of that foundation.

REVIEW:

The Palazzetto Bru Zane label has done yeoman's work in rediscovering unknown French music from the late Classical through the early modern periods, but the label may have outdone itself with this album of orchestral songs by Jules Massenet. The songs here are all world recorded premieres. One thing that strikes the listener about these songs is their brevity; they are not in the least like little operatic scenes but are fully self-contained. The pieces are of consistently high quality, and it is no wonder that he was able to attract high-profile singers like Véronique Gens and Cyrille Dubois, as well as a host of interesting up-and-comers, to the project. It is also no wonder that this album of completely unknown music hit the best-seller charts in the summer of 2022.

-- AllMusic.com (James Manheim)

Jules Verne was the inspiration for Offenbach’s opéra-féerie, premiered in 1875. The Parisian craze for this type of musical extravaganza stemmed from its impressive stage effects: for Le Voyage dans la Lune, two ballets and some twenty sets took the audience from the Earth to the Moon, successively recreating the Paris Observatory, a working blast furnace and the crater of an erupting volcano. The piece is studded with zany characters and imaginary places: a lunar landscape, a glass palace, mother-of-pearl galleries, etc. The producers even borrowed a dromedary and an ostrich from the zoo at the Jardin d’Acclimatation! To accompany this theatrical display, Offenbach composed a series of colorful, picturesque hit numbers, wittily and energetically performed here by a team of enthusiastic soloists. The Chœur et Orchestre National Montpellier Occitanie are placed under the subtle and precise direction of Pierre Dumoussaud.

REVIEWS:

The Bru Zane Opéra français CD-book series has reached volume 32 with Jacques Offenbach’s music theatre work Le Voyage dans la Lune (A Trip to the Moon). This first complete recording is part of Bru Zane’s contribution to a co-production directed by Olivier Fredj being taken to a number of theatres and opera houses in France. I applaud the entirely sensible decision to abridge the extensive spoken dialogue of this studio recording of Le Voyage (as it is often abbreviated) just enough to keep the narrative coherent.

From the first bar to the last this recording of Le Voyage is very much to my taste, entirely holding my attention. Clearly judiciously chosen, the cast of mainly native French speakers gives an ebullient performance that communicates the sheer infectious joy of music making. This may be a light music work but it doesn’t take long to realise that the cast treats the performance of this opéra féerie with utmost sincerity. What a treat it is to encounter such a motivated cast that communicates such spirit and hilarity.

Both Violette Polchi and Sheva Tehoval are in splendid form, their voices combining so well. They are clearly savouring the charming text as the royal couple express their love for each other. Projecting his large personality, [bass-baritone] Matthieu Lécroart excels in couplets so good-humoured and entertaining the role could have been written for his voice.

Tenor Raphaël Brémard takes the roles of Microscope, the brainy scientist who designed the project to reach the Moon, and Un Acheteur and Un Marchand. He is most effective as Microscope which, although a significant role, consists largely of dialogue; there is some singing but nothing in the way of major solos. As Prince Quipasseparla, tenor Pierre Derhet demonstrates his fine comedy voice in his major solo with chorus known as the Rondo de Quipasseparla. Derhet negotiates the tricky text with witty expression as the prince boasts of how he collects women of all types.

[The] thirty-strong Chœur Opéra national Montpellier Occitanie, prepared by chorusmaster Noëlle Gény, is in splendid voice throughout, adding to the success of the recording. The Orchestre national de Montpellier Occitanie is conducted by Pierre Dumoussaud who keeps the score on the move, bolstered by the enthusiasm and energy of the players.

Released as part of the Bru Zane Opéra français series of CD-books, Le Voyage enjoys the usual high-end presentation that one has come to expect from this label. This 212-page hardback book is a bilingual edition (French and English) with a full cast and track listing, a detailed synopsis and the abridged French libretto with English translation. There are four detailed and informative essays: Alexandre Dratwicki Shooting for the Moon with Offenbach, Jérôme Collomb Offenbach and the ‘féerie’, Alexandre Dratwicki A journey... through the press and Jean-Claude Yon Jacques Offenbach and Jules Verne: abortive encounters. In addition, there are several reproductions of artworks, drawings and posters of the early productions and also current performer photos.

With Offenbach’s opéra féerie - Le Voyage dans la Lune Bru Zane has come up trumps. This unashamedly light music comes across as a fast-moving and immensely entertaining fantasy romp. Surely the number of spectacular scenes makes Le Voyage best appreciated in a full staging; nonetheless, the excellence of the performances on this recording drew me in completely.

-- MusicWeb International

To provide an initial account of 10 years of musical rediscovery, the Palazzetto Bru Zane is bringing out a boxed set of 10 albums showcasing extracts from some of the works that have been unearthed: a wide spectrum (1780-1920) of music is presented, spanning tragédie lyrique, opera, operetta and café-concert, cantata, sacred music, orchestral music, concertante music, chamber music, piano music and mélodie. This boxed set also includes recordings made in collaboration with labels working in partnership with the Palazzetto Bru Zane since 2009.

The vocation of the Palazzetto Bru Zane - Centre de musique romantique francaise is to favor the rediscovery of the French musical heritage of the years 1780-1920 and obtain international recognition for that repertory. Housed in Venice in a palazzo dating from 1695 specially restored for the purpose, the Palazzetto Bru Zane - Centre de musique romantique francaise is a creation of the Fondation Bru. Combining artistic ambition with high scientific standards, the Centre reflects the humanist spirit that guides the actions of that foundation. The Palazzetto Bru Zane’s main activities, carried out in close collaboration with numerous partners, are research, the publication of books and scores, the production and international distribution of concerts, support for teaching projects and the production of recordings.

REVIEW:

Well worth anyone’s attention, especially those attracted to the less familiar areas of 19th-century repertoire. In fact, I have rarely encountered a ‘compilation’ that has yielded so much listening pleasure...it helps that the standard of performance (and recording) is first-rate throughout. Treat it as an educational indulgence, I say.

-- Gramophone

CONTENTS:

• CD 1: Tragédie lyrique
• CD 2: Opéra
• CD 3: Opérette et Café-Concert
• CD 4: Cantate
• CD 5: Musique sacrée
• CD 6: Musique symphonique
• CD 7: Musique concertante
• CD 8: Musique de chambre
• CD 9: Piano
• CD 10: Mélodie

That globetrotting composer Camille Saint-Saëns wrote La Princesse jaune in 1872, exemplifying the current craze for all things Japanese. Kornélis, played by the tenor Mathias Vidal, dreams only of the Land of the Rising Sun. Under the influence of a hallucinogenic potion, he becomes infatuated with Ming, a fantasy princess. His cousin Léna – the soprano Judith van Wanroij – despairs of this passion and does not dare to confess her own feelings to Kornélis, who eventually comes to his senses. The running time of this opera enables us to offer a coupling in the shape of a previously unrecorded version of Saint-Saëns’s six Mélodies persanes, thus extending the guiding thread of a yearning for exotic horizons in another direction. Leo Hussain conducts the Orchestre National du Capitole de Toulouse in both works.

REVIEW:

With La Princesse jaune, Saint-Saëns, his librettist Gallet and the co-directors of the Opéra-Comique, who commissioned the opera, were attempting to take advantage of the Parisian vogue for the Orient, in particular Japan and its art and culture (the craze was known as japonisme). Gallet made a rather unlikely choice: he placed the Japanese-themed story in a Dutch town, in a room converted to an artists’ studio. There are just two characters. An overture is followed by arias and duets, all interspersed with spoken dialogue. Spoken word may be off-putting but the little there is – a few minutes all in all – integrates seamlessly with the sung text.

The story concerns Kornélis, a Dutch doctor fascinated with Japanese culture. His young cousin Léna is in love with him. Under the effects of a hallucinogenic drug, the fixated Kornélis falls in love with the subject of a portrait, a Japanese princess named Ming. His perception of reality is profoundly distorted. He believes Léna is Ming inhabiting a fairy-tale land. The potion wears off and Kornélis returns to reality. He yields to the charms of the despairing Léna and takes her in his arms.

Kornélis is sung by lyric tenor Mathias Vidal, who specialises in French and Italian roles. He clearly relishes this repertoire, and is well suited to Kornélis’s arias. He puts his sonorous tone to splendid use, with fine diction, projection and vitality. In the air J’aime, dans son lointain mystère (I love, in its different mystery) with its gently rocking accompaniment, Vidal increases the atmospheric mood as he extols to Léna the glories of Japan, a paradise he dreams of. Another highlight is the solo described as Kornélis’s vision: he drinks the potion and gazes at the portrait of Ming, imploring the image to come to life. At this key moment, Vidal provides all the necessary tenderness and a heartfelt sincerity.

Dutch soprano Judith van Wanroij is a convincing Léna. I have encountered her previously in mainly French Baroque opera including Lemoyne’s Phèdre on Bru Zane (review). She sings with plenty of character the air Outsou Sémisi Kamini when Léna finds a poem that Kornélis wrote to Ming. In her high range, Wanroij’s tone hardens slightly; I generally prefer a warmer soprano tone. In the second air Je faisais un rêve insensé (I was dreaming a foolish dream), there is suitable emotion and a pleasing honesty as Léna realises that Kornélis has fallen in love with a portrait.

Another highlight is the delightful and affecting duet Ah! Quel nuage d’or s’ouvre (Ah! what a golden cloud). Drugged, Kornélis believes that Léna is Ming who has come to life, and expresses his love. An unnamed women’s vocal ensemble adds to the mood: they sing a short passage in Japanese, just once.

The narrator is the soprano, and a French native speaker, Anaïs Constans. (Spoken word has been omitted in the Chandos recording of La Princesse jaune from 1996 at Lugano with soloists Carlo Allemano and Maria Costanza Nocentini and the Orchestra della Svizzera italiana under Francis Travis – review.)

A yearning for oriental and exotic vistas continues in Saint-Saëns’s six Mélodies persanes (Persian Melodies). Late 19th-century Parnassian poet Armand Renaud was attracted to Persian and Japanese verse. His collection of poems Les Nuits persanes (Persian Nights) was published in 1870. It is easy to imagine how Renaud’s verse would have inspired Saint-Saëns; that same year he set six of the poems for voice and piano. In 1891 he orchestrated Mélodies persanes for solo voices, chorus and orchestra. He also took the opportunity to ‘reorganise’ them into a Symphonic Ode or Cantata with the title Nuits persane by connecting the orchestral songs with “orchestral preludes and transitions and added a spoken narration with passages of melodrama”.

Bru Zane presents a new version, which strips away the choral contribution but adds an orchestral prelude and interlude taken from Nuits persane. It has been decided here to allocate a different soloist to each mélodie. I definitely respond to the exotic tone-pictures in this new guise. I savour Renaud’s imaginative if flowery text and the composer’s glorious setting. A stand-out: La Brise (The Breeze) sung by Philippe Estèphe in a hearty, rich-toned baritone; one relishes the exotic rhythms as the girl gives the sultan a special dance watched by the eunuch. Another highlight: the exquisitely beautiful Au cimetière (In the graveyard) sung by Anaïs Constans; she demonstrates her accomplished high register and produces a meaningful expression as the protagonist sitting at the warrior’s grave.

Leo Hussain conducts the Orchestre national du Capitole de Toulouse. They play impressively, with a fine balance between accuracy and expression. There also are a number of outstanding solo contributions. As shown on a promo video clip, the studio sessions at the Halle aux Grains in Toulouse were made under Covid-19 protocols: face masks when appropriate, social distancing and so on. No problems whatsoever with the satisfying recorded studio sound. As one has come to expect from the Bru Zane Opéra français series, the presentation of this CD-book maintains the label’s highest standards. The hardback book in French and English contains the full opera libretto, synopsis and four valuable essays, plus the texts of the Mélodies persanes.

I had been unsure of Louis Gallet’s libretto with just two characters. Yet La Princesse jaune has far exceeded my expectations. In a performance as notable as this, Saint-Saëns’s short opéra-comique is highly recommended, and the glorious Mélodies persanes are a bonus.

-- MusicWeb International

Shortlisted for the Gramophone Awards!

Normandy in the Années Folles. Romantic encounters, changes of identity and unexpected comic twists: in Passionnément, André Messager places himself at the intersection of café-concert, American popular music and French operetta. The score is swept along with great spirit by Véronique Gens, Étienne Dupuis, Nicole Car and a team of enthusiastic soloists accompanied by the Münchner Rundfunkorchester under Stefan Blunier. As witty as Messager’s music, the libretto, with its flavor of boulevard theatre, offers a genuine manifesto of the French spirit in the years after the First World War.

REVIEW:

Heading the cast is the distinguished soprano Véronique Gens in the role of Ketty, an American, former music-hall star. Gens sings beautifully, displaying her artistry and providing the subtleties to capture each mood. Undoubtedly the best-known aria from Passionnément is the act two waltz-song where Robert is missing being with Ketty (Margaret) and is anxious that his love for her should be reciprocated. Clearly savouring the celebrated waltz-song, Dupuis sings with warmth, successfully creating an entirely captivating mood.

This revival of Passionnément was recorded live during concert performances in 2020 at the Prinzregententheater, Munich and broadcast live. From what I understand to be a tricky live acoustic, the sound engineers have achieved successful results. As usual, the book is a bilingual edition (English and French) and it's hard to find fault with such detailed and extensive notes. Included is the complete libretto both sung and spoken, a synopsis and five interesting and helpful booklet essays. Bringing its 'French opera' series up to volume 28, Bru Zane's release of Messager's feelgood musical comedy Passionnément receives my wholehearted endorsement.

– MusicWeb International