Offenbach Arias and Overtures
View record and artist detailsRecord and Artist Details
Composer or Director: Jacques Offenbach
Label: Red Seal
Magazine Review Date: 2/1996
Media Format: CD or Download
Media Runtime: 65
Mastering:
DDD
Catalogue Number: 09026 68116-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (La) Périchole, Movement: ~ |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| (La) Périchole, Movement: O mon cher amant, je te jure |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| (La) Périchole, Movement: Entr'acte |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| (La) Périchole, Movement: On vante partout son sourire |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| (La) Fille du tambour-major, Movement: Chanson de la fille du tambour-major |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| (La) Belle Hélène, 'Beautiful Helen', Movement: ~ |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| Pomme d'api, Movement: Overture |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| Pomme d'api, Movement: Bonjour, Monsieur...Je suis la bonne |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| Pomme d'api, Movement: J'en prenderai un, deux, trois |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| Madame l'archiduc, Movement: Couplet de l'Alphabet |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| (La) Romance de la rose |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Jacques Offenbach, Composer Scottish Chamber Orchestra |
| (La) Vie parisienne, Movement: Rondeau et valse |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| Orphée aux enfers, 'Orpheus in the Underworld', Movement: Ah! c'est ainsi! |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| Barbe-Bleue, Movement: Overture |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| Barbe-Bleue, Movement: Y a p't-êtr' des bergèr's dans l'village |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| Barbe-Bleue, Movement: V'la z'encor' de drôl's de jeunesses |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| (La) Grande-Duchesse de Gérolstein, Movement: Overture |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
| (La) Grande-Duchesse de Gérolstein, Movement: ~ |
Jacques Offenbach, Composer
Antonio de Almeida, Conductor Frederica von Stade, Mezzo soprano Jacques Offenbach, Composer Scottish Chamber Orchestra |
Author: Andrew Lamb
Frederica von Stade moves with grace and majesty through these numbers written for a range of Offenbach leading ladies. The items from La Perichole, La belle Helene and La grande-duchesse de Gerolstein may be familiar territory; but much less so are the military number for the Drum-Major’s Daughter in La fille du tambour-major and the impish songs for the maid/mistress in Pomme d’api. Rarer still is the Alphabet Song from Madame l’archiduc, in which the mystified heroine attempts to disentangle the letters “S. A. D. E.” whispered to her by conspirators, and ends up reciting the entire alphabet. In the touchstone arias from La Perichole von Stade may fail to capture all the bite of the Meilhac and Halevy text in “Ah! que les hommes sont betes!” in the way of predecessors such as Suzanne Lafaye (in the old EMI complete recording under Markevitch, 1/62 – nla); but she excels in the famous “Amours divins!” from La belle Helene and the succulent waltz-rondeau from La vie parisienne.
In the purely orchestral items, the overtures toBarbe-Bleue and La grande-duchesse de Gerolstein bubble along engagingly in their authentic original Parisian form, and we have welcome unfamiliar material in the overture to La romance de la rose, which begins with The Last Rose of Summer and develops into a lively allegretto. Again, perhaps, there is less sparkle and excitement than in Almeida’s outstanding Offenbach collection for Philips (10/88 – nla); but this collection nevertheless covers a good cross-section of familiar and unfamiliar Offenbach with considerable charm.'
In the purely orchestral items, the overtures to
Offenbach Arias and Overtures
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