Jules Massenet (1842-1912)
Frederica von Stade, Samuel Ramey
June Anderson, Dawn Upshaw
Münchner Rundfunkorchester
Chor der Bayerischen Staatsoper
dir: Pinchas Steinberg
RCA Red Seal (1992) 09026-60593-2 DDD 2 Cds
Rec. April 8-16, 1991 in Studio 1, Bavarian Radio, Munich
flac & cue; cover, inlays, booklet & disc scans
Reviews
"This is a charming opera from Jules Massenet's old age. The composer was 60 when he wrote Cherubin but far from the music reflecting his age, it brims with youthful vitality. The opera might be called the further adventured of Cherubino of Mozart's "The Marriage of Figaro." It is based upon a three-act play and tells the story of Cherubino, now seventeen years old and his infatuation with a dancer named L'Ensoleillad. Cherubino is, in turn, loved by Nina, a girl whom his tutor would like him to settle down with.
The cast is a dream: Frederica von Stade, Samuel Ramey, June Anderson and Dawn Upshaw. On occasion, June Anderson's voice sounds a bit strained on the high notes but otherwise, one would not want for a better operatic recording. The Munich Radio Orchestra is completely at home with this music and Pinchas Steinberg proves to be a wonderful guide to this rarely heard opera. Although this is a studio recording everyone gets into the action making it a lively experience. The recording itself is well balanced and clear.Certainly a must have recording for anyone interested in French opera." David Wend - ww.amazon.com
"...Who better to impersonate Chérubin, therefore, than Frederica von Stade, with innumerable Cherubinos (Mozart) to her credit? True, a slightly darker voice might have set his moments of anger in sharper relief, as well as distinguishing him from the admirable Ensoleillad of June Anderson in their love duet of Act II, arguably among Massenet’s finest. But let us remember that the original Chérubin was the soprano Mary Garden, creator of Debussy’s Mélisande, who, alive in Aberdeen until 1967, could have told us much about the opera’s rapturous premiere at Monte Carlo, had she not remained firmly uncommunicative to interviewers (‘Och, I cannae remember...’).
Clearly in 1903 the composer’s granary of attractive melodies was still well stocked, if none are as memorable as those of Manon or Werther; and the elegant, colourful, at times Spanish-inflected score retains much of its appeal today.
Nor is it unworthily served here. Samuel Ramey exploits his smooth sonority to splendid effect as the sententious yet comprehending Philosophe. Among the lesser vignettes Michel Sénéchal’s Duc is outstanding. The revelation, however, is Dawn Upshaw: sweet-toned, infinitely touching, as Nina, the girl to whom Chérubin eventually turns." Julian Budden, BBC Music Magazine
Clearly in 1903 the composer’s granary of attractive melodies was still well stocked, if none are as memorable as those of Manon or Werther; and the elegant, colourful, at times Spanish-inflected score retains much of its appeal today.
Nor is it unworthily served here. Samuel Ramey exploits his smooth sonority to splendid effect as the sententious yet comprehending Philosophe. Among the lesser vignettes Michel Sénéchal’s Duc is outstanding. The revelation, however, is Dawn Upshaw: sweet-toned, infinitely touching, as Nina, the girl to whom Chérubin eventually turns." Julian Budden, BBC Music Magazine