Composer: Jacques Offenbach
Works: La Belle Hélène
Performers: Felicity Lott (Hélène), Yann Beuron (Pâris), Michel Sénéchal (Ménélas), Laurent Naouri (Agamemnon), François Le Roux (Calchas), Marie-Ange Todorovich (Oreste), Eric Huchet (Achille), Alain Gabriel (Ajax premier), Laurent Alvaro (Ajax deuxième), Hjørdis Thïbault (Bacchis), Magali Léger (Parthénis), Stéphanie d’Oustrac (Loena), Chœur des Musiciens du Louvre, Les Musiciens du Louvre-Grenoble
Recording: October 2000, Théâtre du Châtelet, Paris
Label: Virgin Classics 5 45477-2 0 [2CDs: total time 118.11]
Jacques Offenbach, a titan of operetta, is often celebrated for his exquisite ability to blend humor with poignant musicality, particularly in works that parody classical themes. “La Belle Hélène,” first performed in 1864, exemplifies this talent, transforming the myth of Helen of Troy into a delightful satire that critiques both romantic ideals and societal norms. The present recording, conducted by Marc Minkowski and featuring a stellar cast, captures the essence of this operetta with a freshness that resonates with contemporary audiences while respecting its historical roots.
Minkowski’s interpretation presents a remarkable clarity and vigor, hallmarks of his expertise in the French operatic repertoire. The orchestra, comprised of the Musiciens du Louvre, exhibits a well-defined balance between instrumental lines and vocal lines, ensuring that neither overshadows the other. The precision of the orchestration allows for Offenbach’s wit—often expressed through playful rhythms and clever melodic turns—to shine through. For instance, the overture’s lively tempo and orchestral color set an energetic tone that is maintained throughout the performance. Minkowski’s pacing is particularly effective in the duet between Hélène and Pâris, where the interplay of melody and harmony illustrates both characters’ flirtatious banter, underscoring the operetta’s comedic elements.
The vocal performances are uniformly strong, with Felicity Lott’s portrayal of Hélène standing out for its lyrical elegance and dramatic insight. Though her command of the French language lacks the native inflection that might deepen her character’s authenticity, her musicality compensates admirably. Lott navigates the challenging vocal lines with grace, particularly in “Je suis une belle Hélène,” where her phrasing and dynamic shading evoke both the character’s vanity and her vulnerability. Yann Beuron’s Pâris, in contrast, showcases a deft use of rubato that enhances the emotional depth of his character. The inclusion of the previously unrecorded lullaby for Pâris is a delightful addition, allowing Beuron to explore a more tender facet of his character, bolstered by Minkowski’s sensitive accompaniment.
The engineering of the recording deserves particular commendation. The sound quality is pristine, allowing the intricate textures of Offenbach’s writing to emerge with clarity. The balance between singers and orchestra is expertly managed, ensuring that the delightful orchestral interludes do not overpower the vocal lines. Additionally, the recording captures the atmospheric resonance of the Théâtre du Châtelet, enhancing the sense of being part of a live performance. The accompanying notes by Jean-Claude Yon provide valuable context regarding the various editions of the score, enriching the listener’s engagement with the work.
This recording of “La Belle Hélène” reaffirms its status as one of Offenbach’s most enjoyable operettas, thanks to Minkowski’s insightful direction and the exceptional talents of the cast. The vitality of the performance, coupled with the careful attention to musical detail, results in a rendition that resonates strongly with both historical integrity and modern sensibilities. This may well stand as a definitive recording for both seasoned aficionados and newcomers to Offenbach’s enchanting world.
