Anne Sofie von Otter headlines this entertaining disc of both famous and rarely-heard Offenbach excerpts, but it really smacks of the handiwork of Marc Minkowski, who makes the most of a 1999 critical edition of Offenbach’s oeuvre and at the same time does as much as Michel Plasson did in the 1980s to revive interest in this neglected composer. The timing of this release coincides with Minkowski’s recently well-received La Belle Hélène (Virgin) with the same choral and orchestral forces, and from beginning to end everyone sounds as if they are having a good time, including Otter, who throughout the various arias and scenes reveals a comedic touch not often heard.
As this Fledermaus-like recital was recorded live last December at the Théâtre du Châtelet in Paris, a sense of enthusiasm abounds and you can clearly hear the singers–especially the main attraction–playing to the audience. Some listeners may miss the fruity sounds of their favorite Offenbach heroines (Regine Crespin and Frederica von Stade, to name two) in Otter’s more masculine sonority–not to mention her occasional tendency to dissolve into a chanteuse by relying on the increasingly common vocal effects of crooning, swooping, and breathing out the notes (listen to the famous “Dites-lui” from La Grande-Duchesse de Gérolstein to get the full admixture). But overall, you can hear that she may be trying to shed the image of a stolid doyen of “serious” opera by flexing her repertoire muscles. In this respect, she succeeds, capturing the playfulness and coquettishness of her manifold characters without losing her dignity in the process.
Not surprisingly, the “hits” on this disc come when the tempos turn upbeat and the subjects become absurd or just plain funny. The “Military Song” from La Grande-Duchesse showcases tenor Gilles Ragon’s remarkable trumpet imitation, set at a fearsomely high tessitura. The “Alphabet Sextet” from the virtually unknown Madame L’Archiduc offers good old-fashioned slapstick, and Offenbach’s parody of Wagner (Symphony of the Future) is an unexpected delight, featuring the most unlikely orchestral techniques (polytonality, tone clusters, and wild momentary outbursts) from a composer heretofore known primarily for his tunes.
Including the famous “Barcarolle” from Les Contes d’Hoffmann, this disc has its lyrical moments as well, the languorous “Ballad” from Fantasio and the florid opening “Air” from La Belle Hélène among them, sung touchingly by the featured soloist. For the finale, Otter lets it all hang out (as she must) in the “Tipsy” Aria from La Périchole, which must have been hysterical to see in person as the audience chuckles repeatedly. In sum, a first-rate disc for new and old Offenbach admirers alike and a refreshing look at one of the world’s premier mezzos. [9/11/2002]
