Oh, Boy! Marianne Crebassa

• Christoph Willibald Gluck (1714-1787): Arr Berlioz: Orphee et Eurydice, Wq. 41, Act 1:
• 1Amour, viens rendre a mon ame (Orphee)05:46
• Wolfgang Amadeus Mozart (1756-1791): Lucio Silla, K. 135, Act 3:
• 2Pupille amate (Cecilio)04:15
• Giacomo Meyerbeer (1791-1864): Les Huguenots, Act 1:
• 3Nobles seigneurs, salut! (Urbain)04:04
• Jacques Offenbach (1819-1880): Les Contes dHoffmann, Act 4:
• 4Vois sous larchet fremissant (Nicklausse)03:56
• Wolfgang Amadeus Mozart: Lucio Silla, K. 135, Act 1:
• 5Dunque sperar possio... Il tenero momento (Cecilio)10:19
• Le nozze di Figaro, K. 492, Act 2:
• 6Voi che sapete (Cherubino)02:42
• Ambroise Thomas (1811-1896): Psyche, Act 2:
• 7Non, ne la suivons pas... Sommeil, ami des dieux (Eros)04:21
• Charles Gounod (1818-1893): Romeo et Juliette, CG 9, Act 3:
• 8Depuis hier... Que fais-tu, blanche tourterelle (Stephano)04:03
• Jules Massenet (1842-1912): Cendrillon, Act 2:
• 9Allez, laissez-moi seul... Coeur sans amour, printemps sans roses (Le Prince Charmant)06:26
• Jacques Offenbach: Fantasio, Act 1:
• 10Voyez dans la nuit brune (Fantasio)04:16
• Charles Gounod: Faust, Act 4:
• 11Versez vos chagrins dans mon ame (Siebel)03:17
• Wolfgang Amadeus Mozart: La finta giardiniera, K. 196, Act 3:
• 12Va pure ad altri in braccio (Ramiro)03:21
• Emmanuel Chabrier (1841-1894): LEtoile, Act 1:
• 13O petite etoile (Lazuli)04:01
• Wolfgang Amadeus Mozart: Le nozze di Figaro, K. 492, Act 1:
• 14Non so piu (Cherubino)02:50
• Reynaldo Hahn (1874-1947): Mozart, Act 3:
• 15Un jour de plus... Alors, adieu donc, mon amour! (Mozart)04:22
• Wolfgang Amadeus Mozart: La clemenza di Tito, K. 621, Act 1:
• 16Parto, ma tu ben mio (Sesto)06:26
• Total Runtime01:14:25

Info for Oh, Boy!

“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, mezzo-soprano
Mozarteum Orchestra Salzburg
Marc Minkowski, conductor

Marianne Crebassa
In 2008 whilst studying musicology, voice and piano in Montpellier, 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.

Booklet for Oh, Boy!