“One of the most important voices of our time,” is how the young French mezzo-soprano Marianne Crebassa is described by Marc Minkowski, the distinguished conductor for her debut album, Oh, Boy! Comprising arias for young male characters who are sung by a woman – the so-called ‘trouser roles’ – it offers an alluring programme of Mozart, Chabrier, Gluck, Gounod, Hahn, Massenet, Meyerbeer, Offenbach and Thomas. Crebassa – praised by Le Monde for her “incredibly beautiful timbre and transcendent presence” – shows why she has already made an impact at the Paris Opéra, La Scala, Milan, the Berlin Staatsoper and the Salzburg Festival.
When she sang at the Salzburg Festival in 2014, the Financial Times described Crebassa as “dazzling … with doe-eyed looks, the seductive innocence of Debussy’s Mélisande and a luscious voice that seems destined for Massenet’s Charlotte.” The New York Times has hailed her as “splendidly charismatic” and Die Welt has praised her “evenly produced, shimmering timbre”. Shortly after she graduated from the Conservatory of Montpellier, not far from her hometown of Béziers in southern France, Forum Opéra described her voice as “opulent and perfectly projected,” singling her out as “an artist we are sure to hear more about.”
Marianne Crebassa (b.1987) 玛丽安妮·克瑞巴萨
Biography
In 2008 whilst studying musicology, voice and piano in Montpellier(蒙彼利埃, 法国南部城市), Marianne Crebassa, then just 21, was engaged by Opéra de Montpellier for Schumann’s Manfred conducted by Hervé Niquet. Since then, she has been invited to the Opera and the Festival de Radio France for projects including Pizetti’s Fedra, Debussy’s Le Martyr de Saint Sebastian conducted by Alain Altinoglu, and Bellini’s Zaira, Verdi's La Traviata, and Lehar’s Friederike conducted by Lawrence Foster.
In 2010, following a critically acclaimed appearance as Isabella Linton in Bernard Herrmann’s opera Wuthering Heights at the Festival de Radio France, Ms. Crebassa began a two-year contract with Paris Opera’s young artists programme, the Atelier Lyrique. May 2011 saw her debut in the title role of Gluck’s Orphée in the Atelier’s annual opera production. In 2011-2012, she appeared in productions of Lulu and Rigoletto on the main stage and sang her first Ramiro (La Finta Giardiniera) with the Atelier. July 2011 saw her return to the Festival de Radio France and Montpellier to sing the title role of Halevy’s La Magicienne conducted by Lawrence Foster.
In August 2012 Marianne Crebassa made her debut at the Salzburg Festival as Irene in Handel's Tamerlano conducted by Marc Minkowski and starring Plácido Domingo. She soon returned to Salzburg for the Mozart Festwochen in a new production of Lucio Silla with Rolando Villazón. The production was also played at the 2013 festival. Concert engagements in 2014 took her to the Musikverein Vienna for Le Martyr de Saint Sebastien, the Gulbenkian Foundation Lisbon for Berlioz’s Roméo et Juliette and the Bremen Festival for a revival of Lucio Silla.
During the 2013-2014 season, Marianne Crebassa sang Dorabella (Cosi fan tutte) in Montpellier and Siebel (Faust) in Amsterdam; new productions and concert engagements took her to the Festival de Saint Denis, the Théâtre des Champs Elysées and on a European tour with Les Musiciens du Louvre. Summer 2014 marked her return to the Salzburg Festival, this time singing the title role in a new opera written by Marc-André Dalbavie based on the life of Charlotte Salomon.
Most recently, Crebassa made noted debuts at La Scala in Lucio Silla and at the Berlin Staatoper in a new production of Le Nozze di Figaro conducted by Gustavo Dudamel. In Salzburg, she returned to the Mozart Festwochen for an exciting project based on the music from Mozart’s oratorio Davide Penitente, directed by Bartabas and conducted by Marc Minkowski. In concert she sang Berlioz’s Roméo et Juliette with the Orchestre National de France conducted by Daniele Gatti, and Ravel’s Schéhérazade with the Orchestre du Capitole de Toulouse. She appeared with Les Musiciens du Louvre in a gala concert to mark the opening of the Philharmonie in Paris, as well as making her American debut with the Chicago Symphony Orchestra in L’enfant et les Sortilèges under the direction of Esa-Pekka Salonen.
Future engagements include Le nozze di Figaro in Vienna (her Staatsoper debut), Amsterdam and Milan (La Scala), Roméo et Juliette in Chicago, La clemenza di Tito with the Opéra de Paris, and the title role of Fantasio with the Opéra-Comique in Paris.
Marianne Crebassa has signed an exclusive recording contract with Erato. Hailed “splendidly charismatic” by The New York Times, the young French mezzo-soprano is “an absolute revelation” (Forum Opéra), praised for her “luscious voice” (Financial Times).
Within a broad repertory encompassing Handel, Gluck, Berlioz, Debussy and Offenbach, Crebassa has nonetheless made a name for herself above all in Mozart. An alumnus of the Montpellier Conservatoire, she sang opposite Rolando Villazón in the acclaimed 2013 Lucio Silla at the Festwoche Salzburg, conducted by Marc Minkowski and reprised at the Salzburg Festival the same year. She made her La Scala debut in the same production in 2015; later that year, she portrayed Cherubino in Le nozze di Figaro at the Staatsoper Berlin, conducted by Gustavo Dudamel.
Crebassa’s first collaboration with maestro Minkowski was in a Salzburg performance of Handel’s Tamerlano in 2012, in which she sang alongside Plácido Domingo. The mezzo-soprano and conductor have continued to explore lesser-known Mozart repertoire together, most recently in a pioneering production based on his oratorio Davide penitente for the 2015 Salzburg Mozart Week, featuring equestrian choreography restoring the stage of the Salzburg Felsenreitschule (Horseriding School) to its original function.
Marc Minkowski and the Mozarteum Orchester Salzburg, then, were the ideal partners for Crebassa’s debut aria recital recording. For this project, the mezzo-soprano takes as a starting point the Mozart ‘trouser roles’ that have already won her acclaim on stage – Lucio Silla’s Cecilio (originally written for a soprano castrato) and Ramiro from La finta giardiniera and Cherubino. The theme continues with male characters from French grand operas by Chabrier, Gounod, Massenet and Offenbach.
Alain Lanceron, President of Warner Classics and Erato, said: “Since her first appearances in concert and on stage, Marianne Crebassa has captivated the international music scene, thanks to the exceptional quality of her vocal timbre and her innate musicality. We are delighted to welcome this jewel into the Erato family and look forward to a stellar future with her.”
Crebassa added: “I couldn't have hoped for greater luck than to bring my first recording to fruition with Erato. This album is close to my heart – it feels like a natural continuation of the personal and artistic connections I've made since my debut at the Salzburg Festival. This great musical city and the Mozarteum have supported me unfailingly from the beginning, as well as Marc Minkowski, with whom I have shared the stage many times. Let the adventure begin!”
Recorded in January in Salzburg, Marianne Crebassa’s debut album with the Mozarteum Orchester Salzburg and Marc Minkowski is slated for release in November 2016.
Tracklist:
01. Gluck / Arr Berlioz: Orphée et Eurydice, Wq. 41, Act 1: "Amour, viens rendre à mon âme" (Orphée)
格鲁克(1714-1787)歌剧《奥菲欧与尤丽狄茜》，第1幕：“爱，直抵我的灵魂 ”(角色：奥菲欧)
02. Mozart: Lucio Silla, K. 135, Act 3: "Pupille amate" (Cecilio)
莫扎特(在16岁时所创作的冷门)歌剧《露契奥·西拉》，第3幕：“学生的爱”(角色：切契利奥)
03. Meyerbeer: Les Huguenots, Act 1: "Nobles seigneurs, salut!" (Urbain)
梅耶贝尔(1791-1864)歌剧《新教徒 / 胡格诺教徒》，第1幕：“贵族领主，你好”(角色：于尔班)
04. Offenbach: Les Contes d'Hoffmann, Act 4: "Vois sous l'archet frémissant" (Nicklausse)
奥芬巴赫(1819-1880)歌剧《霍夫曼的故事》，第4幕：“看，颤抖的弓下面”(角色：尼克劳斯)
05. Mozart: Lucio Silla, K. 135, Act 1: "Dunque sperar poss'io... Il tenero momento" (Cecilio)
莫扎特(在16岁时所创作的冷门)歌剧《露契奥·西拉》，第3幕：“所以我希望poss'io......这温柔的时刻 ”(角色：切契利奥)
06. Mozart: Le nozze di Figaro, K. 492, Act 2: "Voi che sapete che cosa a amor" (Cherubino)
莫扎特歌剧《费加罗的婚礼》，第2幕：“你们可知道什么是爱情”(角色：凯鲁比诺)
07. Thomas: Psyché, Act 2: "Non, ne la suivons pas... Sommeil, ami des dieux" (Eros)
托马斯歌剧《普赛克 / 普叙赫、赛琪、赛姬、普绪喀》，第2幕：“不，别跟着...睡吧，诸神的朋友”(角色：爱神厄洛斯(也就是古罗马传说里的丘比特))
08. Gounod: Roméo et Juliette, CG 9, Act 3: "Depuis hier... Que fais-tu, blanche tourterelle" (Stéphano)
古诺(1818-1893)歌剧《罗密欧与朱丽叶》，第3幕：“从昨天开始......你在做什么，白斑鸠”(角色：斯特凡诺)
09. Massenet: Cendrillon, Act 2: "Allez, laissez-moi seul... Coeur sans amour, printemps sans roses" (Le Prince Charmant)
马斯奈(1842-1912)歌剧《灰姑娘》，第2幕：“来吧，留下我一个人......心中无爱，春无玫瑰”(角色：白马王子)
10. Offenbach: Fantasio, Act 1: "Voyez dans la nuit brune" (Fantasio)
奥芬巴赫(1819-1880)喜歌剧《范泰西奥》，第1幕：“在漆黑的夜晚见面”(角色：范泰西奥)
11. Gounod: Faust, Act 4: "Versez vos chagrins dans mon âme" (Siébel)
古诺歌剧《浮士德》，第4幕：“你的悲伤深入我的灵魂”(角色：西贝尔)
12. Mozart: La finta giardiniera, K. 196, Act 3: "Va' pure ad altri in braccio" (Ramiro)
莫扎特歌剧《假扮园丁的姑娘》，第3幕：“就让别的男人抱你吧”(角色：拉米罗)
13. Chabrier: L'Étoile, Act 1: "Ô petite étoile" (Lazuli)
夏布里埃(1841-1894)轻歌剧《星》，第1幕：“小星星”(角色：拉祖利)
14. Mozart: Le nozze di Figaro, K. 492, Act 1: "Non so più cosa son cosa faccio" (Cherubino)
莫扎特歌剧《费加罗的婚礼》，第1幕：“不知道我自己干了什么 / 不知道为何我心神不宁”(角色：凯鲁比诺)
15. Hahn: Mozart, Act 3: "Un jour de plus... Alors, adieu donc, mon amour! " (Mozart)
哈恩(1874-1947)1925年创作的歌剧《莫扎特》，第3幕：“又一天......那就再见吧，我的爱”(角色：莫扎特)
16. Mozart: La clemenza di Tito, K. 621, Act 1: "Parto, ma tu ben mio" (Sesto)
莫扎特歌剧《蒂托(狄多/狄托)的仁慈》，第1幕：“我要走了，但愿带来和平”(角色：塞斯托)
/1 
发表于 2020-1-19 17:12:58
提升卡
置顶卡