Offenbach: Un Mari à la porte

There's top-drawer Offenbach here from the outset: the overture's waltz, elegantly orchestrated for woodwinds and strings, has a stylish flick in its tail...Philiponet's Rosita is a near-perfect... — BBC Music Magazine, September 2012, 4 out of 5 stars More…

Release Date: 28th May 2012
Catalogue No: LPOFFCD00211
Label: Liverpool Philharmonic

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Offenbach: Un Mari à la porte (A Husband at the Door)

Overture

Ah! Je touche enfin la terre

Enfin Suzanne ! Maintenant, c'est ton mari !

Ah ! ah ! ah ! quelle mine piteuse !

Tu sais ce que je crois ?

J'entends ma belle, la ritournelle aux sons si doux

Rosita, tu as mille fois raison

J'en étais sûre... Une vraie poule mouillée !

Ah !

Oui, mesdames...

Il se moque de toi

Suzanne ! C'est moi.... Suzanne, ne faites pas l'enfant !

Pour votre honneur, oui je m?immole

Regardez !

Ce soir ici, a son mari, messieurs, évitez une chute

Offenbach: Les fables de la Fontaine

1. Le Corbeau et le Renard

2. La Cigale et la Fourmi

3. La Laitiere et le Pot au lait

4. Le Rat de ville et le Rat de champs

5. Le Berger et la Mer

6. Le Savetier et le Financier

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About

A live recording from the 2008 Liverpool Philharmonic Hall performance of one of Offenbach's dozens of early one-act entertainments written for the Bouffes-Parisien, in which young Florestan, chased by a bailiff, ends up trapped in the bedroom of just-married Suzanne along with her friend Rosita, while at the door knocks Suzanne's husband - the very bailiff chasing Florestan.

Offenbach's songs are less well known but he wrote up to a hundred, including the 1842 set Les fables de la Fontaine. Though not well received on first performance they display the wit and verve typical of the master of the operetta.

Reviews

September 2012

There's top-drawer Offenbach here from the outset: the overture's waltz, elegantly orchestrated for woodwinds and strings, has a stylish flick in its tail...Philiponet's Rosita is a near-perfect flirtatious Offenbach soprano. And no wonder both women are so taken with Stephane Malbec-Garcia's Florestan: he's everything you hope for in a French tenor.

July/August 2012

The players are on technically good form, but I wish the conductor, Vasily Petrenko, had adopted a calmer style.

August 2012

I prefer all of the singers in the song-cycle to the operetta - it feels that they are not working so hard to play the piece. The scale of the songs suits their voices and their French-speaking origins ensure perfect enunciation of the text.

Offenbach: Un Mari à la porte

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