Composer: Alexis Emmanuel Chabrier, Christoph Willibald Gluck, Charles François Gounod, Reynaldo Hahn, Jules Emile Frederic Massenet, Giacomo Meyerbeer, Wolfgang Amadeus Mozart, Jacques Offenbach, Ambroise Thomas
Performer: Marianne Crebassa
Orchestra: Mozarteum Orchestra Salzburg
Conductor: Marc Minkowski
Format: FLAC (tracks)
Label: Erato
Catalogue: 9029592762
Release: 2016
Size: 1.22 GB
Recovery: +3%
Scan: yes
Gluck: Orphée et Eurydice
01. “Amour, viens rendre à mon âme” (Orphée)
Mozart: Lucio Silla, K135
02. “Pupille amate” (Cecilio)
Meyerbeer: Les Huguenots
03. “Nobles seigneurs, salut!” (Urbain)
Offenbach: Les Contes d’Hoffmann
04. “Vois sous l’archet frémissant” (Nicklausse)
Mozart: Lucio Silla, K135
05. “Dunque sperar poss’io… Il tenero momento” (Cecilio)
Mozart: Le nozze di Figaro, K492
06. “Voi che sapete” (Cherubino)
Thomas, Ambroise: Psyché
07. “Non, ne la suivons pas… Sommeil, ami des dieux” (Eros)
Gounod: Roméo et Juliette
08. “Depuis hier… Que fais-tu, blanche tourterelle ” (Stéphano)
Massenet: Cendrillon
09. “Allez, laissez-moi seul… Coeur sans amour, printemps sans roses” (Le Prince Charmant)
Offenbach: Fantasio
10. “Voyez dans la nuit brune” (Fantasio)
Gounod: Faust
11. “Versez vos chagrins dans mon âme” (Siébel)
Mozart: La finta giardiniera, K196
12. “Va’ pure ad altri in braccio” (Ramiro)
Chabrier: L’Étoile
13. “Ô petite étoile” (Lazuli)
Mozart: Le nozze di Figaro, K492
14. “Non so più” (Cherubino)
Hahn: Mozart
15. “Un jour de plus… Alors, adieu donc, mon amour!” (Mozart)
Mozart: La clemenza di Tito, K621
16. “Parto, ma tu ben mio” (Sesto)
“One of the most important voices of our time,” is how the young French mezzo-soprano Marianne Crebassa is described by Marc Minkowski, the distinguished conductor for her debut album, Oh, Boy! Comprising arias for young male characters who are sung by a woman – the so-called ‘trouser roles’ – it offers an alluring programme of Mozart, Chabrier, Gluck, Gounod, Hahn, Massenet, Meyerbeer, Offenbach and Thomas. Crebassa – praised by Le Monde for her “incredibly beautiful timbre and transcendent presence” – shows why she has already made an impact at the Paris Opéra, La Scala, Milan, the Berlin Staatsoper and the Salzburg Festival.
When she sang at the Salzburg Festival in 2014, the Financial Times described Crebassa as “dazzling … with doe-eyed looks, the seductive innocence of Debussy’s Mélisande and a luscious voice that seems destined for Massenet’s Charlotte.” The New York Times has hailed her as “splendidly charismatic” and Die Welt has praised her “evenly produced, shimmering timbre”. Shortly after she graduated from the Conservatory of Montpellier, not far from her hometown of Béziers in southern France, Forum Opéra described her voice as “opulent and perfectly projected,” singling her out as “an artist we are sure to hear more about.”