Composer: André Messager
Works: Véronique (complete with dialogue)
Performers: Mady Mesplé (Hélène), Michel Dens (Florestan), Denise Benoit (Estelle/Ermance), Michel Dunand (Loustot), Jean-Christophe Benoit, Jacques Pruvost, René Duclos Choir, Orchestre de l’Association des Concerts Lamoureux/Jean-Claude Hartemann
Recording: EMI 72435 7407328 (rec. Paris, 1969)
Label: EMI
André Messager, often overshadowed by his illustrious contemporaries, emerges through the lens of his operetta Véronique as a significant voice in the French musical landscape of the late 19th and early 20th centuries. Premiered in 1898, this work showcases Messager’s deft craftsmanship, blending charming melodies with a light-hearted narrative. He was not only a composer but a conductor who shaped the presentation of operatic works, enhancing the cultural fabric of his time. Véronique, rich with its whimsical plot and engaging characters, is a delightful example of French operetta, often regarded as one of the genre’s masterpieces.
The performances captured in this EMI recording are vibrant and engaging, with Mady Mesplé embodying the spirited Hélène/Véronique with a lyricism that is both playful and poignant. Her vocal agility shines in the “Donkey” duet, where she and Michel Dens’s Florestan navigate the playful, syncopated rhythms with charming ease. Dens brings a dashing quality to his role, effortlessly balancing the character’s frivolity with moments of earnestness. The chemistry between Mesplé and Dens is palpable, particularly in the “Swing” duet, where their voices intertwine with a buoyancy that is infectious. Supporting performances from Denise Benoit and Michel Dunand further enrich the tapestry of the work, with Benoit’s nuanced portrayal of Estelle/Ermance adding depth and humor, while Dunand’s waggish Loustot provides a delightful counterpoint.
From a technical perspective, the recording quality of this 1969 production is commendable, capturing the vibrancy of the performances with clarity. While the sound may lack the polish of contemporary recordings, it retains a warmth that complements the operetta’s jovial spirit. The orchestral playing of the Orchestre de l’Association des Concerts Lamoureux under Jean-Claude Hartemann is particularly noteworthy, exhibiting a fine balance between precision and expressiveness. The waltz passages and czardas rhythms are rendered with a lightness that enhances the overall buoyancy of the work. The absence of a libretto in the documentation is a missed opportunity, although the synopsis provided is adequate for following the narrative arc.
Messager’s Véronique stands as a testament to the enduring appeal of the operetta form, demonstrating a masterful blend of narrative and musicality. This recording serves not only as a delightful entertainment but also as a valuable artifact of its time, capturing a significant moment in French theatrical music. With its memorable melodies and engaging performances, this rendition remains a worthy listening experience for both aficionados of operetta and newcomers alike, showcasing the delightful inventiveness that Messager brought to the stage.
