As the author of the notes accompanying this recording points out, it is no mean achievement for a show that was essentially a topical revue to hold the attraction 120 years later that Offenbach's La vie parisienne does. It is a reminder of how Offenbach wrote the show to entertain the visitors to the 1867 Paris Exhibition. the fact that it was written more for actors than for singers meant that Offenbach had to rely on his melodies to carry the work musically. and how well he succeeded, with melodies alternately sparkling, rumbustious and charming to add to the delightful inconsequentiality of the book!
Nominal star of the recording is Regine Crespin; but she has a relatively small role—as the courtesan Metella—to which she none the less brings fine characterization and alluring presence. The principal singing role is that of the glove-maker Gabrielle, sung a little shrilly but by no means inappropriately so by Mady Mesple, getting her tongue delightfully around such phrases as ''Eh viola d1eja que ma tete s'en va''. Further dexterity is demanded in the patter song of the Brazilian, admirably carried off by Jean-Christophe Benoit. This is, however, a work demanding team work, and it is in this respect that the cast of experienced French singers particularly shine in their various character parts.
To get the full flavour of such comic numbers as ''Votre habit a craque dans le dos!'' one really does need to understand what is going on, and happily EMI provide a full text and English translation. As I felt when I reviewed the original issue, Michel Plasson does not always achieve the fine Offenbachian gradations of tempo; but there is no denying the exhilarating overall effect of this most tuneful work so expertly performed and now happily transferred to Compact Disc.'