Name: Offenbach: Un mari à la porte
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it’s fun and given a suitably zingy production … best of all is Francesca Benitez … she has the big hit number, a Valse Tyrolienne, one of Offenbach’s frothiest coloratura showpieces, and she... — Opera Now, April 2020, 4 out of 5 stars More…

Release Date: 15th Nov 2019
Catalogue No: 37844
Label: Dynamic

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Offenbach: Un Mari à la porte (A Husband at the Door)

Patrizio La Placa (Henri Martel), Francesca Benitez (Rosita), Matteo Mezzaro (Florestan Ducroquet) & Marina Ogii (Suzanne)
Maggio Musicale Fiorentino
Valerio Galli

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Directors: Luigi Di Gangi & Ugo Giacomazzi

Set designer: Federica Parolini

Costume designer: Agnese Rabatti

Lighting designer: Luigi Biondi

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.

Recorded: Teatro del Maggio Musicale Fiorentino, February 2019

Aspect ratio: 16:9

Colour - NTSC

Duration: 47 min.

Sound: Dolby Digital 5.1 - PCM 2.0

Region: 0

Notes/Synopsis: It, Eng

Subtitles: It, Eng, Fr, Ger, Jap, Kor

Reviews

Opera Now April 2020

it’s fun and given a suitably zingy production … best of all is Francesca Benitez … she has the big hit number, a Valse Tyrolienne, one of Offenbach’s frothiest coloratura showpieces, and she nails it with aplomb.

Opera Now May 2020

Bayrakdarian’s soprano is fluent and nimble, but if you know her voice and haven’t heard her for a while be prepared for a surprise. Her current timbre is curious and arresting. There is an occluded quality which I like very much, but may divide opinion – it is almost nasal, even congested in sound and dark in hue.

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