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专辑名称: Roussel: Le testament de la tante Caroline, L. 59 (1964 Version) [Live]
创作艺人: [Orchestre des Frivolités Parisiennes, Aurélien Gasse, Lucile Komitès, Marion Gomar, Marie Lenormand]
音乐流派: Classical|古典
专辑规格: 1碟20首
出品公司: Naxos
发行时间: 2022/3/11
官方标价: £6.19 （会员免费下载）
域名语言: [fr] （AI检测）
曲目介绍：
Ouverture [Live]
Ah! Pauvre tante Caroline [Live]
Avez-vous vu ces trois gredines qui se prétendent héritières ? [Live]
La patronne n'aurait jamais dû mourir [Live]
Il est parti ? [Live]
En voilà des manières ! [Live]
Mais laissez-moi passer ! [Live]
Alors voyons, racontez-moi ça [Live]
Maintenant si vous le voulez bien [Live]
Mademoiselle Irène d'Anjou [Live]
Ce silence ne m'étonne pas ! [Live]
Prenez ce siège que l'on vous offre [Live]
Vous êtes sans doute les héritiers ? [Live]
Prenez un siège [Live]
Mais qu'est ce que ça veut dire tout ça ? [Live]
Finale. J'attaque ! [Live]
Le 18 juin à six heures du soir moins deux minutes [Live]
C'était un gars de la Bretagne [Live]
L'affaire est d'importance [Live]
Finale. Je le proclame légataire universel ! [Live]
详细介绍:
As soon as you discover this little-known work by Albert Roussel—which was criticised right from its inception—you’ll wonder why it hasn’t received the credit it so deserves. As he neared the end of his life, the composer decided to write an operetta in the style of André Messager, whose work was enjoying great success at the time. Ravel had tried his hand at this style with his Heure Espagnole, as had Jacques Ibert with Angélique and even Arthur Honegger with Les Aventures du Roi Pausole, a pleasant operette, even if he wasn’t considered a comic dramatist.
Roussel followed in these footsteps, composing Le testament de la tante Caroline, a libretto rather like Puccini’s Gianni Schicchi, but even more risqué. Critics disliked the piece, refusing to afford Roussel the relaxed approach needed to appreciate this light music. Removed from the repertoire before it could even be performed, the operetta fell into oblivion until, at the request of the composer’s widow, Marcel Mihalovici produced a new version in 1964 (this time shortened to just one act). It’s this version that was presented and recorded in 2019 by the Les Frivolités Parisiennes, under the direction of Dylan Corlay, at the Théâtre de l%27Athénée in Paris.
This world premiere recording sets the record straight, introducing us to a work that no doubt belongs in the repertoire from a time when France liked to laugh at its own depravity. Roussel’s deep understanding of music composition creates a work that is clear, melodic and, to say the very least, absolutely exquisite. This dazzling discovery is to the credit of a sparkling cast of young singer-actors. The protagonist is the larger-than-life character of Béatrice (Marie Lenormand), who is surrounded by her sisters Christine (Marion Gomar) and Noémie (Lucie Komitès). The husbands Ferdinand (Charles Mesrine) and Jobard (Aurélien Gasse) are funny and offbeat. The caricatured role of the notary, here Maître Corbeau, is played by the hilarious Till Fechner. The rest of the cast are equally fantastic, and the whole ensemble is taken to the next level under Dylan Corlay’s cheerful and meticulous direction.
This premiere is a real success, and one that has turned Roussel’s reputation as an austere musician completely on its head. Here, it’s been proven that he remains one of the greatest musicians of early 20th century France. It’s simply scandalous to think that he’s been omitted from concert programmes. © François Hudry/Qobu
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