In the mid-nineteenth century, opérettes de salon, light comedies intended for performances in homes and often within the capability of amateur singers, were a popular form of entertainment, particularly in France. Usually scored for just a few voices and piano, they included musical numbers interspersed with spoken dialogue. Success on the operatic stage eluded Parisian composer Jean-Baptiste Wekerlin (1921-1910), but he was prolific with his opérettes de salon, and while they brought him neither fame nor fortune, they were a creative outlet for which posterity should be grateful. La Laitière de Trainon (The Milkmaid of Trianon), which he wrote at
Rossini's request for one of his famous soirées, is a completely delightful work, skillfully crafted, elegant, witty, and musically sparkling. Several numbers, particularly the tenor's "Prêt à partir de Lunéville" and the soprano's "Il peut aimer l'une avant l'autre," transcend the genre of salon music and could easily slip into the repertoire of nineteenth century opera excerpts deserving consideration by recitalists. Opera Rara gives the modest piece a first-rate treatment in this premiere recording, which was the result of the research of musicologist Jeremy Commons. Soprano
Joan Rodgers and tenor
Yann Beuron are fresh-voiced and fetching in the roles La Comtesse de Lucienne and Le Marquis de Brunoy, and pianist Jeff Cohen provides a lively accompaniment. The set contains several additional charming works by Wekerlin, one an adulatory ode that the singers delivered to
Rossini after the first performance and another written for a later performance at the home of the composer Ambroise Thomas and his wife. The sound is clean, transparent, and intimate.