Customer Reviews

Adam - Le Toréador / Sumi Jo, Aler, Trempont, Bonynge

5 star:		(8)
4 star:		(1)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

This delightful opéra-comique deserves to be incorporated to the standard repertoire. And there is not a better introduction to the work than this excellent recording. Richard Bonynge deserves praise for his interest in reviving these masterpieces of French light opera. The plot is funny and amusing and the music is sparkling. The cast is simply ideal. Sumi Jo positively shines once more with her virtuoso technique and engaging personality, even though she is sustituted by an actress for the spoken parts. John Aler is very idiomatic and is always involved and Michel Tremplont is a perfect basso buffo. The most memorable part of their performance is, of course "Ah vous dirai-je, maman". This scene was used as a solo showpiece by famous coloraturas of the past like Amelita Galli-Curci, but it is in its original setting, as a trio, when it is possible to appreciate Adam's ability to integrate words and music for an amusing effect. The use of the children's rhyme is the base for a double entendre between Coraline, Tracolin and Don Belflor, something that will be essential for the slighty amoral ending of the piece. The orchestra of the Welsh National Opera shines under the energetic conducting of Richard Bonynge. I hope that there will be more recordings by Sumi Jo of other works by Adam, Auber, Meyerbeer and others in the future!

Sumi Jo strikes you with her great ease at coloratura, and at the same time, her capability to deliver her art with expression & cheer happiness. Here, in this London's record, you could appreciate her performig Coraline in Adam's: Le Toréador (Théâtre de la Opéra-Comique, 5/18/1849). Her technique is evident, and she sings with a very good control. She never sounds shrill, or strained as sometimes did Mr. Aler (tenor) performing Tracolin, her musicality shinning & bringing her technical brilliance and charm to Coraline in this "opéra-bouffon" (as the author calls it).

"Ah! vous dirai-je, maman" (Ah! mother, let me tell you) (Track 15), is a delightful comic trio (Jo/Aler/Trempont) that deserves to be staged more often. The "grand-air": "Temps heureux de la féerie" (Happy fairytale days) (Track 20), allows Ms. Jo display her lively & fresh coloratura. The overture is elegantly delicious, and immediately grateful to the ear, with its abundance of melodies/motifs (although I prefer Adam's overture to "Si j'etais roi" (1852)).

I want to suggest other opéra-comiques from this 19th century french composer which you might enjoy (they are also tuneful, light and accessible): "Le Postillon de Lonjumeau" (1836), and "Si j'etais roi" (1852)).

Sumi Jo's rendition of 'Coraline' is particularly outstanding, and don't believe in the first reviewer's remark that Mady Mesple is better than Jo. He must be joking! I wonder if he really bought this CD. Or he must be a big fan of Mesple. The harmony shown in "Ah! vous dirai-je, maman" is celestial and unbelievably beautiful. While listening to "Avec son petit air" and "Car la femme, sans cesse", I felt as if I were floating over clouds. What an indredible vocal facility Jo has! Recommendable for all the lovers of French Opera comique!

I am a fan of Sumi Jo, and this recording of an extremely delightful comic opera that showcases Jo's fantastic voice and technique. The vocal gymnastics required of the part Coraline is astounding, but Jo does them effortlessly. Even though Jo does not do her own dialogue, the actress chosen to speak the part has similar voice quality, so the switches from speaking to singing and back do not sound awkward. John Aler is a good complement to Jo; his voice quality and technique do not disappoint. Michel Trempont is also quite good, though at times he doesn't seem to hit the low notes as well as maybe he should. The numerous trios the three have together sound just wonderful, with the highlight being, of course, "Ah! vous dirai-je, maman". If you like French comic opera, or are a fan of Sumi Jo, definitely get this CD.

The name Adolphe Adam lives on today largely due to the Christmas carol "O Holy Night." The music to his ballet GISELLE is sometimes heard in concert halls, and occasionally an aria from one of his operas may be performed, but like many composers who were popular in their day. Adam's music is not so well known today, and since there are budgetary constraints on opera houses and in the recording industry, we're probably not going to have too many Adam revivals anytime soon. This makes this release of LE TOREADOR a true gem.

There are two reasons this recording works so well. The first is the direction of Richard Bonynge. He is such a versatile conductor, an expert in Verdi, Bel Canto, the French school, and German operetta to name a few, it's not surprising he is able to breathe life into this score and strike a perfect balance between orchestra and performers. The other strength is soprano Sumi Jo as Coraline. Her voice is well suited for the score and she seems at home in the French repertoire. Tenor John Aler as Tracolin and baritone Michael Trempont as Don Belflor are both good performers, though Aler's voice, while nimble, seems to be stretched in some tracks.

French operas have been neglected over the years. Lack of performers who can do justice to the score is generally the reason given for the neglect. This recording, like recordings of LA JUIVE and some Meyerbeer works, and Anne Sophie von Otter's Offenbach album, show that the French repertoire is vital, enjoyable, and should be explored.

...and what's wrong with frothy entertainment, when it's as tuneful and funny as LE TOREADOR? With Adam's delightful music and the really very clever libretto, excellently sung and recorded, this is a treat.

Richard Bonynge gives this delightful cross between opera and operetta just the sparkle and lift needed, with excellent WNO forces vividly recorded. Adams here offers the frothiest score, full of zest, crowned by a great coloratura show-piece, the variations on `Ah vous dirai-je maman.' That inspires Sumi Jo to a alluring performance, with John Aler as the flautist-lover and Michel Tremont as the old toreador-husband equally colloquial. Spectacular sound, with the copious spoken dialogue well co-ordinated.

I agree with the previous reviewer that this is a delightful little piece, but I can't agree at all about the performance, which is quite wonderful. True, Sumi Jo isn't French, but her diction is good (though her dialogue is spoken by a French actress), and I find it hard to resist her charm and coloratura technique. (I can't agree with the preference for Mady Mesple on the old broadcast recording; Mesple has the coloratura facility, but she also has a horribly fluttery, shrieky tone that can make her a trial to listen to.) John Aler is a bit strained at times, but he's one of the few singers around who has a grasp of French opera-comique style, and he speaks his own dialogue, quite effectively. Michel Trempont, though getting on in years, is welcome as the only actual Francophone in the cast. Bonynge, though he's never been a great conductor, clearly loves and understands this music, and the whole performance, including the well-delivered dialogue, plays beautifully. The sound is good, making a delightful performance of a lightweight but charming operetta.

Richard Bonynge missed an opportunity to give a great new performance of Adam's Le Toréador. This is an okay performance that simply does not measure up to the 1958 Musidisc performance of the French Radio Lyric Orchestra. Mady Mesplé is so much better than Sumi Jo... Find the old CD if you can.

N. A. Peppas

Great sound, wonderful performances, and especially beautiful voice of Sumi Jo....one thing that I don't like is Ms. Jo didn't do the dialogue herself. Nevertheless, I think both singing and dialogue were greatly performed and that's why I'm giving 5 stars to this recording.