The magic of Offenbach is unquestionably found in his beautiful melodies, almost to the exclusion of any other feature in his music. Regardless of how they are presented, whether as arias in the original operetta scores or as arranged by other hands in various overtures and concert suites, these well-crafted and memorable songs support Rossini's judgment of Offenbach as the "Mozart of the Champs Élysées." Frederica von Stade's exuberance and charm run through her performances, and her singing is especially bright in such ...
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The magic of Offenbach is unquestionably found in his beautiful melodies, almost to the exclusion of any other feature in his music. Regardless of how they are presented, whether as arias in the original operetta scores or as arranged by other hands in various overtures and concert suites, these well-crafted and memorable songs support Rossini's judgment of Offenbach as the "Mozart of the Champs Élysées." Frederica von Stade's exuberance and charm run through her performances, and her singing is especially bright in such comic numbers as "Ah! que les hommes sont bêtes!" and "Ah! que j'aime les militaires!" However, she is at her best when she sings expressively in the gentle and yearning arias, of which "Lettre de la Périchole" and the rapturous "Amours divins" are fine examples. Von Stade's performances of the "Rondeau et valse" from La vie parisienne and "Dites-lui" from La Grande-Duchesse de Gérolstein deserve highlighting as they are among Offenbach's greatest arias and von Stade gives them superb...
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