Episodes
| Series | Episode | Title | First Broadcast | Comments |
|---|---|---|---|---|
| 2012 | 01 | 20121224 | According to Wagner, 'He writes like the divine Mozart', but it's a connection that isn't necessarily obvious. Jacques Offenbach is, after all, the man who gave us the can-can. Offenbach's music is largely a product of the Second Empire, a period that's popularly associated with a cynical, pleasure loving mood and the rule of Napoleon III. The politics of the world he lived in was fodder for a wealth of topical gags and daring allusions, parodies that audiences streamed through the doors of the Th退 tre des Bouffes-Parisiens to watch. The triumph of 'Orph退e aux Enfers' in 1858 was followed by a breathtaking number of operas and operettas, the most successful, La Belle H退l耀ne, La Vie Parisienne, Barbe-Bleue, La Grande-Duchess de G退rolstein and La P退richole, made him a fortune and took him to international fame. His facility to compose was extraordinary. He could write, orchestrate and produce a one-act work within the space of a week, happy to compose amid the noise of his family, wife and five children. Wherever he went, he wrote music, even in his coach, where he had a desk made so he could continue while he was moving between theatres. By the time of his death in 1880 he'd written over one hundred works for the stage. A thin, gaunt man, he struggled with painful gout and rheumatism all his life. Never weighing more than six stones, he nonetheless lived his life to the full, enjoying gambling, women, cigars and amateur dramatics whenever he could tear himself away from his multiple theatrical commitments. The advent of the Third Republic presented an artistic crossroads for Offenbach. The king of operetta found himself out of step with the changing tastes of theatre-goers. As he struggled to find a place for his music in the new order, he began to move towards a more profound style of musical expression. In 1877 he began work on what's now regarded as his masterpiece, Les Contes d'Hoffmann. Tragically, he died before completing it, at the age of 61. The task of finishing Offenbach's final statement was given to Ernest Guirard, and the restoration of Offenbach's reputation turned into a posthumous victory. In the first programme Donald Macleod traces Offenbach's roots back to Cologne, where he lived until the age of fourteen. Something of a child prodigy, it was his musical promise that encouraged his father to bring him to Paris, where pretty soon Offenbach was keen to make his mark as a composer. Donald Macleod traces Offenbach's early years, from Cologne to Paris where. | |
| 2012 | 02 | 20121225 | Singing Offenbach proved to be 'a life changing experience' for Dame Felicity Lott. Although she's well known as a recitalist and for her appearances in rather more serious operatic roles, she is also a leading interpreter of the title roles in Offenbach's La belle H退l耀ne and La Grande Duchesse de G退rolstein. In a festive edition of the programme, she shares her thoughts on these two comic roles with Donald Macleod. With excerpts from La belle H退l耀ne and La Grande Duchesse de G退rolstein. Donald Macleod discusses Offenbach's La belle Helene and La Grande Duchesse de Gerolstein. | |
| 2012 | 03 | 20121226 | Donald Macleod discusses Offenbach's La vie parisienne and Les Brigands. | |
| 2012 | 04 | 20121227 | The advent of the Third Republic presented several challenges for Offenbach. A naturalised Frenchman, he experienced some critcism at home and also from his birth country, Germany. Furthermore the political upheaval had changed the artistic climate. Parisian audiences had an appetite for romance. In order to succeed in this new atmosphere, Offenbach would need to adapt his musical outlook. Presented by Donald Macleod. Donald Macleod explains how Offenbach's success was affected by the Third Republic. | |
| 2012 | 05 LAST | 20121228 | Offenbach began writing his final operatic statement, 'Les Contes d'Hoffmann' in 1877. The project was to occupy him for the rest of his life. For the first time ever he worked slowly, deliberating carefully over the music.The result of his labour was to be his most profound opera, but tragically he was to die before completing it, so that task was handed over to Ernest Guiraud. The premiere took place at the Op退ra-Comique on 10th February, 1881 and ran for more than a hundred performances in its first season. Presented by Donald Macleod. Donald Macleod Offenbach's final opera, Les Contes d'Hoffmann. | |
| 2019 | 01 | The Mozart Of The Champs-elysees | 20190617 | Donald Macleod explores the life and music of the maestro of the Cancan and much more besides, Jacques Offenbach. Today, on the brink of defeat he launches his own theatre company. In May 1854, Offenbach wrote despairingly to his sister Ranetta; the `golden future` he had dreamt of hadn't materialised, and come September he'd be off to America, without his family, to seek his fortune there. Offenbach did indeed make the hazardous journey across the Atlantic, but that wouldn't be for another 20 years or so. For now, he decided to stay put and tough it out in his adopted home city of Paris, where his father had deposited him, with his elder brother Julius, 20 years earlier, in the hope that there they would receive a better musical education than was on offer in their native Cologne. It was a good decision; eight months after he wrote that letter to his sister, Offenbach put in an application to the Minister of State for the Fine Arts to open his own theatre, for the presentation of musical shows; the entertainment was to be known as Les Bouffes-Parisiens'. The venue was a tiny wooden shack on the Champs-Elys退es that had recently been vacated by its previous owner, a magician called Lacaze. With the backing of a wealthy newspaper-owning friend - the founder of Le Figaro, no less - Offenbach had the Salle Lacaze', which became known as the ladder', on account of the steep rake of the seats, refurbished and open for business again in July 1855. This was just in time to capitalise on its fortunate proximity to the site of the Exposition Universelle, modelled on - and intended to surpass - the Great Exhibition which had been held in London four years earlier. The Bouffes was an instant and enduring success; over the next quarter-century, more than 50 of Offenbach's musical comedies were to d退but there, including the opening-night smash Les deux aveugles, a one-acter about a couple of con-men vying for the best spot on a bridge over the Seine, and Orph退e aux enfers, Orpheus in the Underworld, a runaway success in 1858, whose `profanation of holy and glorious antiquity` was held by one critic at the time to herald the end of civilisation as it was then known. Orph退e aux enfers (Act 2 tableau 4, Ce bal est original') Jean-Paul Fouch退court, tenor (Pluton) Laurent Naouri, bass baritone (Jupiter) V退ronique Gens, soprano (Venus) Natalie Dessay, soprano (Eurydice) Chorus and orchestra of Lyon Opera Mark Minkowski, conductor Les deux aveugles (Overture) The Academy of St Martin-in-the-Fields Neville Marriner, conductor Le financier et le savetier (scene 8, extract: `J'ai-z-un million!`) Eric Huchet, tenor (Larfaillou) Fr退d退ric Bialecki, baritone (premier invit退) Franck Th退zan, tenor (Belazor) Orchestre Pasdeloup Jean-Christophe Keck, conductor Orph退e aux enfers (Act 1 tableau 2, opening: Entr'acte et choeur du sommeil - Les heures - `Par Saturne! Quell est ce bruit!`) Patricia Petibon, soprano (Cupidon) V退ronique Gens, soprano (V退nus) Jennifer Smith, soprano (Diane) Orph退e aux enfers (Act 1 tableau 2, conclusion: `Il approche! Il s'avance!` - `Gloire! gloire |
| 2024 | 01 | Prodigy And Upstart (1819-1848) | 20240122 | Jacques Offenbach's life throws a light on the political turbulence and identity within 19th century Europe. He struggled to break into the musical establishment of Paris, but he didn't struggle with creating a dazzling array of work for the theatre. His 98 stage works established and defined what operetta was, paving the way for modern musical theatre. Today, Donald Macleod looks at Offenbach's early life in Cologne, before his move to Paris, where he was initially taught by the aged Luigi Cherubini. Les contes d'Hoffmann (The Tales of Hoffmann), Act III: Barcarolle (arr. A. Sedlar for violin, cello, piano and string ensemble) Nemanja Radulović,violin Camille Thomas, cello Ensemble Double Sens Grand Concerto in G Major for cello and orchestra, Concerto Militaire (I. Allegro maestoso) Edgar Moreau, cello Les Forces Majeures Raphaël Merlin, conductor Les fleurs d'hiver Marco Sollini, piano Musette, Op 24 Pepito Overture Armes Herz Ich bin ein Held in jerem Fache Sind die jungen Madchen hier alle? Auf seine Knie sank er darnieder Hessen Radio Symphony Orchestra Kurt Schröder, conductor Produced by Iain Chambers for BBC Audio Wales & West Offenbach's early life in Cologne and Paris, amidst Europe's political turbulence. Offenbach's early life in Cologne and Paris, amidst 19th century Europe's political turbulence. |
| 2024 | 02 | Satirical Tendencies (1841-1853) | 20240123 | Jacques Offenbach's life throws a light on the political turbulence and identity within 19th century Europe. He struggled to break into the musical establishment of Paris, but he didn't struggle with creating a dazzling array of work for the theatre. His 98 stage works established and defined what operetta was, paving the way for modern musical theatre. Today, Donald Macleod looks at Offenbach's satirical side and his musical jokes, which often got him into trouble - he was accused of poking fun at contemporary morals and of some of the era's key figures, including Wagner and Meyerbeer Les bavards: Overture Orchestre Lyrique de Region Avignon Provence Marcel Couraud, conductor Decameron dramatique: V. Augustine, schottische VI. Louise, grande valse Marco Sollini, piano Le “66 ? – Operetta XIII: No. 7 Trio, O ciel! O ciel! (Grittly, Frantz, Berthold) XV, No. 8 Final, Ah, quell bonheur (Grittly, Frantz, Berthold) Armando Noguera, baritone (Berthold) Pierre-Antoine Chaumien, tenor (Frantz) Sandrine Buendia, soprano (Grittly) Kölner Akademie Michael Alexander Wilens, conductor 6 Fables de Lafontaine (orchestrated by J.-P. Haeck) No. 3. La cigale et la fourmi No. 4. La laitière et le pot au lait No. 5. Le rat de ville et le rat des champs Karine Deshayes, mezzo-soprano Orchestre de l'Opéra de Rouen Haute-Normandie Jean-Pierre Haeck, conductor Rends-moi mon âme, romance dramatique L'etoile Mariam Sarkissian, soprano Daniel Propper, piano Produced by Iain Chambers for BBC Wales & West Offenbach's satirical side and musical jokes often got him into trouble. Offenbach's satirical side and musical jokes often got him into trouble - he was accused of poking fun at contemporary morals. |
| 2024 | 03 | Living Beyond His Means (1854-1864) | 20240124 | Jacques Offenbach's life throws a light on the political turbulence and identity within 19th century Europe. He struggled to break into the musical establishment of Paris, but he didn't struggle with creating a dazzling array of work for the theatre. His 98 stage works established and defined what operetta was, paving the way for modern musical theatre. Today, Donald Macleod looks at Offenbach's expensive taste and lavish generosity. Even as his fortunes grew, he went on spending more than he earned. He had no choice but to continue composing a huge quantity of theatrical works. Inactivity was not an option. Les brigands: Overture Lyon National Opera Orchestra John Eliot Gardiner, conductor Ba-ta-clan - finale Huguette Boulangeot, soprano Raymond Amade, tenor Remi Corazza, tenor Renee Terrasson, bass Philippe Caillard Choir Jean-François Paillard Orchestra Marcel Couraud, conductor Orphee aux enfers (Orpheus in the Underworld): Act I Scene 1: Qui je suis? Du theatre antique (L'Opinion publique) Act I Scene 1: La femme dont le coeur (Eurydice) Act I Scene 1: Il est sorti! (Eurydice, Orphee) Act I Tableau 1: Ah! c'est ainsi! (Orphee, Eurydice) Ewa Podleś, contralto (L'Opinion publique) Natalie Dessay, soprano (Eurydice) Yann Beuron, tenor (Orpheus) Grenoble Chamber Orchestra Marc Minkowski, conductor Le Papillon: Marsch Allegretto delicato Waltzer: Allegro Cologne West German Radio Orchestra Pinchas Steinberg, conductor Die Rheinnixen: Overture Philharmonia Orchestra Antonio de Almeida, conductor Abendblatter Marco Sollini, piano Produced by Iain Chambers for BBC Audio Wales & West Offenbach's expensive tastes and lavish generosity meant he had no choice but to compose. Offenbach's expensive tastes and lavish generosity meant he had no choice but to compose - even as his fortunes grew, he went on spending more than he earned. |
| 2024 | 04 | Identity Crisis (1864-1875) | 20240125 | Jacques Offenbach's life throws a light on the political turbulence and identity within 19th century Europe. He struggled to break into the musical establishment of Paris, but he didn't struggle with creating a dazzling array of work for the theatre. His 98 stage works established and defined what operetta was, paving the way for modern musical theatre. Today, Donald Macleod looks at Offenbach's identity challenges throughout his life: not just the matter of his nationality, before and during the Franco-Prussian War, but also his identity as a composer. La Vie parisienne: Overture Lille National Orchestra Darrell Ang, conductor La belle Helene: Act II: Entracte Act II Scene 1: O reine, en ce jour il faut faire (Chorus, Helen, Bacchis) Act II Scene 2: On me nomme Helene la blonde (Helen) Felicity Lott, soprano (Helene) Les Musiciens du Louvre Marc Minkowski, conductor Barbe-bleue: Act I: Couplets de Boulotte: Y a p't-etr' des berger's dans l'village Anne Sofie von Otter, mezzo-soprano (Boulotte) La Grande-Duchesse de Gerolstein: Act III Tableau 2: Au repas comme a la bataille (Chorus, All) Act III Tableau 2: Legende du Verre: Il etait un de mes aieux (Duchesse, Paul, Boum, Nepomuc, Puck, Grog, Chorus) Act III Tableau 2: Retour de Fritz: Voici revenir mon pauvre homme! (Wanda, Chorus) Act III Tableau 2: Complainte de Fritz: Eh bien mon Altesse me voila! (Fritz, Duchesse, Puck, Boum, Chorus) Act III Tableau 2: Vous n'avez pas d'autre explication a me donner? (Duchesse, Fritz, Boum, Puck, Paul, Grog) Act III Tableau 2: Final: Enfin, jai repris le panache! (Boum, Puck, Paul, Grog, Wanda, Fritz, Duchesse, Chorus) Felicity Lott, soprano (Duchesse) Sandrine Piau, soprano (Wanda) Yann Beuron, tenor (Fritz) Franck Leguérinel, baritone (Le Baron Puck) Eric Huchet, tenor (Le Prince Paul) François Le Roux, baritone (Le Général Boum) Les Musiciens du Louvre Chorus La Haine, Act IV: Marche religieuse Leipzig Symphony Orchestra Nicolas Krüger, conductor Produced by Iain Chamber for BBC Audio Wales & West Offenbach faced issues of identity during a time of political strife in Europe. Offenbach faced identity challenges throughout his life: not just the matter of his nationality, before and during the Franco-Prussian War, but also his identity as a composer. |
| 2024 | 05 LAST | Immorality In America (1876-1880) | 20240126 | Jacques Offenbach's life throws a light on the political turbulence and identity within 19th century Europe. He struggled to break into the musical establishment of Paris, but he didn't struggle with creating a dazzling array of work for the theatre. His 98 stage works established and defined what operetta was, paving the way for modern musical theatre. Today, Donald Macleod looks at Offenbach's later years, which were marked by ill health. We begin with his tour of America in 1875, before Offenbach faced his final battle - to complete his late swansong, The Tales of Hoffman. Les contes d'Hoffmann (The Tales of Hoffmann) Prologue: Introduction: Glou, Glou, Glou (Chorus) Paris Conservatoire Orchestra Rene Duclos Choir André Cluytens, conductor American Eagle Waltz Philip Collins, trumpet Cincinnati Pops Orchestra Erich Kunzel, conductor Le voyage dans la lune: I. Introduction II. Les Hirondelles Bleues III. Le Bonhomme de Neige IV. Les Flocons Animes V. Polka VI. Mazurka VII. Variations VIII. Galop Philharmonia Orchestra Antonio de Almeida, conductor Madame Favart: Overture Frankfurt Brandenburg State Orchestra Howard Griffiths, conductor Les contes d'Hoffmann (The Tales of Hoffmann): Act III: Cher ange! (Dapertutto, Giulietta) Act III: Aujourd'hui, cependant, affermis mon courage (Giulietta, Hoffmann) Act III: Schlemil! - J'en etais sur! (Giulietta, Schlemil, Hoffmann, Pittichinaccio, Dapertutto, Nicklausse) Act III: Helas! mon coeur s'egare encore! (Septuor) Elisabeth Schwarzkopf, Nicolai Gedda, Ernest Blanc, Jean-Christophe Benoit, Jacques Loreau, Jean-Pierre Laffage, Ouverture a grand orchestra Cologne West German Radio Orchestra Jan Stulen, conductor Produced by Iain Chambers for BBC Audio Wales & West Offenbach's later years, starting with his tour of America in 1875. Offenbach's later years, starting with his tour of America in 1875, were marked by ill health. He faced a battle to complete his late swansong, The Tales of Hoffman. |