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Auber: La Sirene / Reiland, Orchestre des Frivolites Parisiennes
Auber earned international adulation in the late 1820s for his revolutionary grand opera ‘La Muette de Portici’ and by the time he composed ‘La Sirene,’ the success of which inspired potpourris of its melodies, he occupied a central place in French musical life. The mysterious siren of the title is part of a plot that abounds in fantastic comedy, love, betrayal, farce, and festivity in the lineage of Italian popular theatre. The German poet Heinrich Heine wrote that “La Sirene was received with resounding bravos… The author and the composer know how to amuse us agreeably, and even to enchant us, or to dazzle us by the luminous facets of their spirit.”
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REVIEW:
The performances on this premiere recording are modest but engaging and entertaining as well. David Reiland secures bright and breezy playing from his appropriately named Orchestre des Frivolités Parisiennes. Jeanne Crousaud doesn’t quite live up the idealised Siren of the title but sings with charm, as do the two tenors, Xavier Flabat and Jean-Noël Teyssier. The lower men’s voices sing characterfully, as do Les Métaboles, even if some of their contributions get a little lost in the rough-and-tumble.
– Gramophone
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REVIEW:
The performances on this premiere recording are modest but engaging and entertaining as well. David Reiland secures bright and breezy playing from his appropriately named Orchestre des Frivolités Parisiennes. Jeanne Crousaud doesn’t quite live up the idealised Siren of the title but sings with charm, as do the two tenors, Xavier Flabat and Jean-Noël Teyssier. The lower men’s voices sing characterfully, as do Les Métaboles, even if some of their contributions get a little lost in the rough-and-tumble.
– Gramophone
$19.99
Auber: La Sirene / Reiland, Orchestre des Frivolites Parisiennes—
$19.99
Auber: La Sirene / Reiland, Orchestre des Frivolites Parisiennes
Auber earned international adulation in the late 1820s for his revolutionary grand opera ‘La Muette de Portici’ and by the time he composed ‘La Sirene,’ the success of which inspired potpourris of its melodies, he occupied a central place in French musical life. The mysterious siren of the title is part of a plot that abounds in fantastic comedy, love, betrayal, farce, and festivity in the lineage of Italian popular theatre. The German poet Heinrich Heine wrote that “La Sirene was received with resounding bravos… The author and the composer know how to amuse us agreeably, and even to enchant us, or to dazzle us by the luminous facets of their spirit.”
-----
REVIEW:
The performances on this premiere recording are modest but engaging and entertaining as well. David Reiland secures bright and breezy playing from his appropriately named Orchestre des Frivolités Parisiennes. Jeanne Crousaud doesn’t quite live up the idealised Siren of the title but sings with charm, as do the two tenors, Xavier Flabat and Jean-Noël Teyssier. The lower men’s voices sing characterfully, as do Les Métaboles, even if some of their contributions get a little lost in the rough-and-tumble.
– Gramophone
-----
REVIEW:
The performances on this premiere recording are modest but engaging and entertaining as well. David Reiland secures bright and breezy playing from his appropriately named Orchestre des Frivolités Parisiennes. Jeanne Crousaud doesn’t quite live up the idealised Siren of the title but sings with charm, as do the two tenors, Xavier Flabat and Jean-Noël Teyssier. The lower men’s voices sing characterfully, as do Les Métaboles, even if some of their contributions get a little lost in the rough-and-tumble.
– Gramophone
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Description
Auber earned international adulation in the late 1820s for his revolutionary grand opera ‘La Muette de Portici’ and by the time he composed ‘La Sirene,’ the success of which inspired potpourris of its melodies, he occupied a central place in French musical life. The mysterious siren of the title is part of a plot that abounds in fantastic comedy, love, betrayal, farce, and festivity in the lineage of Italian popular theatre. The German poet Heinrich Heine wrote that “La Sirene was received with resounding bravos… The author and the composer know how to amuse us agreeably, and even to enchant us, or to dazzle us by the luminous facets of their spirit.”
-----
REVIEW:
The performances on this premiere recording are modest but engaging and entertaining as well. David Reiland secures bright and breezy playing from his appropriately named Orchestre des Frivolités Parisiennes. Jeanne Crousaud doesn’t quite live up the idealised Siren of the title but sings with charm, as do the two tenors, Xavier Flabat and Jean-Noël Teyssier. The lower men’s voices sing characterfully, as do Les Métaboles, even if some of their contributions get a little lost in the rough-and-tumble.
– Gramophone
-----
REVIEW:
The performances on this premiere recording are modest but engaging and entertaining as well. David Reiland secures bright and breezy playing from his appropriately named Orchestre des Frivolités Parisiennes. Jeanne Crousaud doesn’t quite live up the idealised Siren of the title but sings with charm, as do the two tenors, Xavier Flabat and Jean-Noël Teyssier. The lower men’s voices sing characterfully, as do Les Métaboles, even if some of their contributions get a little lost in the rough-and-tumble.
– Gramophone
