Composer: Robert Planquette
Works: Les Cloches de Corneville (The Chimes of Normandy)
Performers: Mady Mesplé (Germaine), Christiane Stutzmann (Serpolette), Charles Burles (Grenicheux), Bernard Sinclair (Henri de Corneville), Jean Giraudeau (Le Bailli), Jean-Christophe Beniot (Gaspard)
Recording: EMI, Salle Wagram, Paris, June 1973
Label: EMI
Robert Planquette’s operetta, Les Cloches de Corneville, premiered in 1877, stands as a significant marker in the evolution of French musical theatre. Emerging during a period when operetta was flourishing under the influence of composers like Jacques Offenbach, Planquette’s work achieved remarkable popularity, outpacing contemporaries such as Emmanuel Chabrier. The vibrant score and whimsical narrative, which follows the misadventures surrounding a supposedly haunted castle, reveal a composer adept at weaving catchy melodies and playful orchestration, showcasing his Norman heritage and Parisian influences.
The recording, featuring notable performers such as Mady Mesplé and Christiane Stutzmann, offers a compelling presentation of Planquette’s work. Mesplé’s portrayal of Germaine is especially notable for its effervescent charm; her light soprano voice dances through the score, bringing to life the character’s youthful exuberance. Stutzmann’s Serpolette, while possessing a somewhat brittle quality, effectively communicates the character’s spirited nature. However, her Rondeau (CD1 tk.5) is marred by an uneven staccato delivery that detracts from the fluidity expected in such a melodic line, indicating a missed opportunity for greater expressiveness.
Technical execution across the cast remains solid, with Charles Burles delivering a particularly haunting rendition of the barcarolle “On billow rocking” (CD1 tk.7). Yet, in the subsequent duet with Mesplé (CD1 tk.9), Burles appears slightly behind the beat, a momentary lapse that momentarily disrupts the musical interplay. Jean Giraudeau and Jean-Christophe Beniot round out the ensemble effectively, with Giraudeau’s buffo number (CD2 tk.2) showcasing a commendable balance of humor and vocal clarity.
The orchestral accompaniment, conducted by Jean Doussard, is well-balanced, allowing the intricate orchestral textures and colorful motifs, such as those representing the titular bells, to resonate throughout the performance. The engineering of this recording, however, reveals some shortcomings; track indexing is inconsistent, leading to interruptions where dialogue overlaps with musical numbers. Such technical issues could have been mitigated, as the dialogue occasionally disrupts the listener’s immersion in the score, an unfortunate oversight in sound design.
Planquette’s mastery of melody and orchestral color is evident, particularly in the Act 1 finale (CD1 tk.20), where inventive rhythms and bright orchestration culminate in a joyous celebration that encapsulates the essence of the operetta. The work’s historical significance cannot be overstated; it not only enjoyed a staggering number of performances but also established Planquette as a preeminent figure in the genre, influencing subsequent operettas.
This recording of Les Cloches de Corneville offers a vibrant insight into Planquette’s compositional prowess, even as it reveals some interpretive and technical challenges. The performances, while occasionally uneven, capture the spirit of the work, and the engaging orchestration showcases Planquette’s skill in creating a memorable musical landscape. The operetta’s enduring appeal is well-illustrated here, making this recording a valuable addition to the catalogue of French operetta.
