Composer: Various
Works: Arias from: SAINT-SAËNS: Henry VIII/Etienne Marcel, MASSENET: Hérodiade/Le Cid/Marie Magdeleine, MEYERBEER: Les Huguenots, HALÉVY: La Juive, GOUNOD: Sapho/Faust, BIZET: Noé, FAURÉ: Pénélope, REYER: Sigurd
Performers: Anne-Sophie Schmidt (soprano), Orchestre Failoni de l’Opéra Hongrois/Jean-Luc Tingaud
Recording: Recorded at the Théâtre Impérial de Compiègne, 2001, DDD
Label: MANDALA MAN 5002
The anthology “Hidden Treasures of French Opera” offers a diverse selection of arias primarily from the 19th century, showcasing works by notable composers such as Saint-Saëns, Massenet, and Gounod. This collection aims to bring to light lesser-known pieces that, while not unfamiliar to seasoned opera-goers, remain underrepresented in the concert repertoire. The historical context is essential; these works arose during a time of rich operatic development in France, reflecting both the romantic ideals of emotional expression and the nationalistic fervor that characterized the era. However, the ambition to label these selections as “hidden treasures” feels somewhat overstated, particularly given the substantial contributions of this repertoire to the operatic canon.
The performance by soprano Anne-Sophie Schmidt is a focal point of this recording, yet her interpretation presents a mixed bag. While she exhibits a commendable lyricism in Massenet’s Salomé aria, one cannot ignore the limitations of her dramatic range. The opening number from Saint-Saëns’ Henry VIII suffers from a lack of vocal heft; the piece demands a dramatic soprano’s weight, which Schmidt does not fully deliver. This disparity becomes more pronounced as the program progresses, with her attempts at coloratura and high notes occasionally landing flat, detracting from the overall impact of her performance. In contrast, her portrayals in more lyrical passages allow for a gentler, more nuanced expression, though the lack of full-bodied sound ultimately undermines the dramatic intent of the arias.
The Orchestre Failoni de l’Opéra Hongrois, under the baton of Jean-Luc Tingaud, encounters similar challenges. The orchestral playing is competent yet lacks the vibrancy and clarity expected from a professional ensemble. The recording, captured in the acoustically unyielding environment of the Théâtre Impérial de Compiègne, further accentuates the ensemble’s deficiencies. The sound quality is rather dull, devoid of the bloom that elevates orchestral color in operatic excerpts. Occasional moments of finesse from the principal clarinet and harpist provide glimpses of potential, but these instances are overshadowed by the overall lack of orchestral cohesion and vibrancy.
This compilation raises intriguing questions about the broader landscape of French operatic repertoire. While it is commendable to explore works by composers such as Reyer and Halévy, the so-called hidden treasures are often part of a larger historical conversation that has been actively engaged by various British groups over the years. A comparison to recordings by ensembles such as the Wexford Festival or the Royal Academy of Music reveals a more robust interpretative approach and better production values.
The endeavor to illuminate these lesser-known arias is indeed valuable, yet the execution here leaves much to be desired. The combination of a lackluster vocal performance, an uninspired orchestral backdrop, and subpar sound quality diminishes the potential richness of the material. While there are moments of merit, this recording ultimately fails to fulfill its promise, suggesting that true treasures in the French operatic repertoire may still be waiting for a more adept interpretation.
