Special offer. Offenbach: Un mari à la porte
Matteo Mezzaro (tenor), Francesca Benitez (soprano), Marina Ogii (mezzo-soprano), Patrizio La Placa (baritone), Maggio Musicale Fiorentino, Valerio Galli
If it’s not quite Offenbach’s daftest score – no singing dogs, dead parrots or laxative jokes, anyway – it’s still pretty daft.The performances are comparably broad – gestures are flamboyant...
Special offer. Offenbach: Un mari à la porte
Matteo Mezzaro (tenor), Francesca Benitez (soprano), Marina Ogii (mezzo-soprano), Patrizio La Placa (baritone), Maggio Musicale Fiorentino, Valerio Galli
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If it’s not quite Offenbach’s daftest score – no singing dogs, dead parrots or laxative jokes, anyway – it’s still pretty daft.The performances are comparably broad – gestures are flamboyant...
About
Recorded at the Teatro del Maggio Musicale on the occasion of the 200th anniversary of Offenbachs birth, Un mari à la porte ( A Husband at the Door) is a one-act operetta premiered in 1859. This rarely performed work is a most amusing comedy of errors that mocks the quirks and vices of French society of that period. The action takes place in Susannes bedroom, on her wedding night. While alone, the bride realises that theres a man hidden under the bed. Florestan Ducroquet is a young and penniless musician who had broken into the room falling from the chimney, while escaping from the fury of a jealous husband. He manages to escape via the window, seconds after having proposed to Rosita. This carefree play of allusions and misunderstandings is accompanied by the brilliant music of Offenbach with its characteristic use of the polka, mazurka and waltz.
Contents and tracklist
- Matteo Mezzaro (tenor), Francesca Benitez (soprano), Marina Ogii (mezzo-soprano)
- Valerio Galli
- Patrizio La Placa (baritone)
Spotlight on this release
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Awards and reviews
March 2020
If it’s not quite Offenbach’s daftest score – no singing dogs, dead parrots or laxative jokes, anyway – it’s still pretty daft.The performances are comparably broad – gestures are flamboyant and there’s a lot of mugging and slapstick. The musical numbers – conducted with a delightful lightness of touch by Valerio Galli – offer some respite from the silliness...I laughed, and I’m still humming the tunes, and I don’t think Offenbach would have asked for more.
