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Choeurs d'opérettes Françaises vol 2

Choeurs d'opérettes Françaises vol 2

(Code: A135300055)

To be discovered urgently, Chœurs d'opérettes françaises vol. 2 , a selection of 17 operetta choirs for mixed voice choirs and piano (SATB), dedicated to Jacques Offenbach.
Jacques Offenbach is a witness of his time. He transcribes in his work the evolution of French and Parisian society: that of industry, of the railways, of the advent of a bourgeoisie that gradually takes the
reigns of power, of a Paris that radiates its prestige, its great Haussmannian works and its artistic vitality. He makes fun of the powerful and the nouveau riche, the cocottes and the cuckolds.
But beyond that, there is music of a rare quality, "sticking" to the texts of his talented librettists (Henri Meilhac, Ludovic Halévy, Hector Crémieux,...), a musical sense of humour that is never vulgar and a melodic ease.
Claude Debussy said, speaking of Déodat de Séverac: "His music smells good". One could say that Jacques Offenbach's music "does good".
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To be discovered urgently,, Chœurs d'opérettes françaises vol. 2 , uselection for mixed voice choir and piano, dedicated to Jacques Offenbach:

Offenbach arrived at the Paris Conservatory in 1833 at age of 14. The young Jakob, son of the cantor of thesynagogue in Cologne, was an unruly cellist but with very promising talent.
Some 800 works later (one hundred forthe operatic repertoire, some now lost), he would be recognized throughout Europe, having composed some of the major musical works of the 19th Century which have become characteristic of the entire period.
Offenbach would progressively move from the orchestra pits of the Opéra Comique and the Théâtre Français to become the director of the Théâtre des Bouffes-Parisiens (then located on the Champs-Elysées) and lastly to theGaîté-Lyrique theatre, where his wit and his prolific inspiration allowed him to continually introduce new works with highly diverse librettos.
Jacques Offenbach was a witness to the great changes of his times. His works reflect the transformations of the French, and more particularly, the Parisian society of the day : industry, railroads, the rise of the Bourgeoisie andthe prestige of Paris with its artistic vitality and its major urban transformation led by Haussman. Offenbach mocked everyone, from the powerful and the nouveaux riches, to tarts and cuckolds...
But beyond that, there is a music of rare quality, that « sticks » to the texts of his talented librettists (Henri Meilhac, Ludovic Halévy, Hector Crémieux,…), a musical sense of humor that is never vulgar and an ease in creating touching as well as humorous melodies.
Claude Debussy said, speaking of Déodat de Séverac: "His music smells good". One could say that Jacques Offenbach's music "does good".

A selection of 17 operetta choirs for mixed voices (SATB) and piano :



Content :
  • TROMB-AL-CA-ZAR (1856) - Livret : Charles Dupeuty et Ernest Bourget
    • Trio du jambon de Bayonne (N° 5)
  • ORPHÉE AUX ENFERS (1858) - Livret : Hector Crémieux et Ludovic Halévy
    • Choeur infernal « Vive le Vin ! » (Acte III, début)
    • Galop infernal (Acte III, final)
  • LE PONT DES SOUPIRS (1861) - Livret : Hector Crémieux et Ludovic Halévy
    • « Ah ! Que Venise est belle » (Acte I, n° 1)
  • LA BELLE HÉLÈNE (1864) - Livret : Henri Meilhac et Ludovic Halévy
    • Marche et Couplets des Rois (Acte I « l’Oracle », n° 7)
    • Marche de l’oie (Acte II « Le jeu de l’oie » scène 5, n° 12)
    • Chœur et couplets de Pâris (Acte III « La galère de Vénus » n° 21)
  • LA VIE PARISIENNE (1866) - Livret : Henri Meilhac et Ludovic Halévy
    • Chœur des employés (Acte I, n° 1)
    • Chœur des voyageurs (Acte I, n° 6 Final)
  • LA PÉRICHOLE (1868) - Livret : Henri Meilhac Ludovic Halévy
    • Chœur de fête (Acte I, n°1 A)
    • Chanson des trois cousines (Acte I, n° 1 B)
  • LA PRINCESSE DE TRÉBIZONDE (1869) - Livret : Charles Nuitter et Étienne Tréfeu
    • Chœur de la loterie (Acte I, N° 1 B)
  • LE VOYAGE DANS LA LUNE (1875) - Livret : Eugène Leterrier, Albert Vanloo et Arnold Mortier, d’après Jules VERNE
    • Chœur des artilleurs (Acte I, n° 8 Final)
  • LE DOCTEUR OX (1877) - Livret : Arnold Mortier et Philippe Gille
    • « C’est vraiment étonnant » (Acte II, n° 11 Final)
  • LES CONTES D’HOFFMANN (1881) - Livret : Jules Barbier
    • Chœur des esprits de la bière et du vin (Acte I, Introduction)
    • Barcarolle (Acte IV, n° 17)
    • Barcarolle (Acte IV, n° 22)

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