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? Orchestre national de Cannes, Benjamin Levy – Croisette (2022) [FLAC 24-96]

? Orchestre national de Cannes, Benjamin Levy - Croisette (2022) [FLAC 24-96] Download

Artist: Orchestre national de Cannes, Benjamin Levy
Album: Croisette
Genre: Classical
Year: 2022
Label: Warner Classics
Tracks: 25
Duration: 01:07:48
Format: FLAC (tracks) 24 bit, 96 kHz
Size: 1,21 GB

Tracklist:
1-1. Orchestre national de Cannes – Gosse de riche: Ouverture (00:01:58)
1-2. Orchestre national de Cannes – Toi c’est moi, Act 1: “Vagabonde” (Viviane) [Arr. Perrine] (00:02:43)
1-3. Orchestre national de Cannes – Un soir de réveillon, Act 2: “Quand on est vraiment amoureux” (Gérard Cardoval) [Arr. Melchior] (00:01:56)
1-4. Orchestre national de Cannes – Ô mon bel inconnu, Act 2: “Ô mon bel inconnu” (Marie-Anne, Antoinette, Félicie) (00:03:44)
1-5. Orchestre national de Cannes – Toi c’est moi, Act 2: “Et si nous allions faire un tour dans la forêt vierge ?” (Honorine, Pedro) (00:00:10)
1-6. Orchestre national de Cannes – Toi c’est moi, Act 2: “Sous les palétuviers” (Honorine, Pedro) (00:02:24)
1-7. Orchestre national de Cannes – Dédé: Ouverture (00:02:52)
1-8. Orchestre national de Cannes – Ciboulette, Act 2: “Nous avons fait un beau voyage!” (Ciboulette, Duparquet) (00:02:21)
1-9. Orchestre national de Cannes – Trois jeunes filles nues, Act 2: “Est-c’que je te demande” (Hégésippe) (00:04:08)
1-10. Orchestre national de Cannes – Passionnément !, Act 1: “Dès que l’âge” (Hélène, Ketty, Robert) (00:04:21)
1-11. Orchestre national de Cannes – Pas sur la bouche: Ouverture (00:03:00)
1-12. Orchestre national de Cannes – Ta bouche, Act 2: “Non, non, jamais les hommes” (Eva, Marguerite, Margot) (00:04:05)
1-13. Orchestre national de Cannes – PLM, Act 1: “Paris, Lyon, Méditerranée” (Le contrôleur) [Arr. Melchior] (00:03:10)
1-14. Orchestre national de Cannes – Phi-Phi, Act 2: “Ah ! cher Monsieur, excusez-moi” (Aspasie) (00:02:28)
1-15. Orchestre national de Cannes – Pas sur la bouche, Act 2: “À propos mon cher Faradel” (Faradel, Charley) (00:00:09)
1-16. Orchestre national de Cannes – Pas sur la bouche, Act 2: “Sur le quai Malaquais” (Gilberte, Huguette, Mademoiselle Poumaillac, Charley, Faradel, Valandray, Thomson) (00:02:25)
1-17. Orchestre national de Cannes – Phi-Phi: Ouverture (00:03:20)
1-18. Orchestre national de Cannes – Coups de roulis, Act 1: “Qu’ai-je donc ? Je suis comme grise” (Béatrice, Kermao) (00:03:21)
1-19. Orchestre national de Cannes – Gosse de riche, Act 2: “Quand on est chic !” (Patarin) [Arr. Melchior] (00:01:58)
1-20. Orchestre national de Cannes – Toi c’est moi, Act 1: “Étrange et douce chose” (Maricousa, Bob) [Arr. Perrine] (00:03:31)
1-21. Orchestre national de Cannes – Toi c’est moi, Act 2: “C’est ça la vie, c’est ça l’amour” (Viviane) [Arr. Perrine] (00:03:00)
1-22. Orchestre national de Cannes – Ta bouche: Ouverture (00:02:17)
1-23. Orchestre national de Cannes – Pas sur la bouche, Act 1: “Comme j’aimerais mon mari s’il était mon amant…” (Gilberte) (00:03:53)
1-24. Orchestre national de Cannes – Passionnément !, Act 2: “Moi, toute la vie” (Julia) (00:02:03)
1-25. Orchestre national de Cannes – J’adore ça !, Act 2: “Cannes et parapluies” (Bomboli, Pafoska, Blanche) (00:02:19)

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The Années Folles (“Crazy Years”) of the title of this release from the Orchestre National de Cannes were the “Roaring Twenties,” and the Croisette is a seaside road and promenade in Cannes, France. Today, the Croisette boasts lifestyles of the rich and famous, but in the 1920s, its atmosphere flavored the French operetta genre. That genre is now almost forgotten, although it was popular even outside France in its day; some of the songs of composer Maurice Yvain showed up in the Ziegfeld Follies revues and film in the U.S. Yvain, like most of the other composers here, is obscure nowadays, although a few “name” composers like André Messager and Reynaldo Hahn wrote operettas as well and are also represented. The operettas fall into 19th century tradition, and there is hardly a hint of the American musical theater or popular song that were beginning to make their way into other forms of French music; the motor rhythms are those of Offenbach, not jazz. The mood is light and even satirical. The biggest representation here goes to Yvain, whose Pas sur la bouche (“Not on the Mouth”) is excerpted several times and whose humor has survived the intervening century. Nearly everything is vivacious and fun, and conductor Benjamin Levy’s cast of singers is enthusiastic, brings the requisite clarity of diction, and doesn’t overplay the humor. Levy and company have done a real service in unearthing this material, much of which seems to beg for live presentation. – James Manheim

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