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07/27/2025
Jules Massenet: Grisélidis (Editions Heugel)
Vannina Santoni (Grisélidis), Julien Dran (Alain), Thomas Dolié (Le Marquis), Tassis Christoyannis (Le Diable), Antoinette Dennefeld (Fiamina), Adèle Charvet (Bertrade), Thibault de Damas (Le Prieur), Adrien Fournaison (Gondebaut), Chœur Opéra national Montpellier Occitanie, Noëlle Gény (chorus master), Orchestre national Montpellier Occitanie, Jean‑Marie Zeitouni (conductor)
Recording: Opéra Berlioz du Corum de Montpellier, France (May 30‑June 2, 2023) – 121’44
Bru Zane 1058 (Distributed by Naxos of America) – Book in French and English
 
Although Jules Massenet completed the opera in 1894, it was, subsequently, revised in 1898. But the official opening performance wasn’t inaugurated until November 20, 1901 at the Opéra‑Comique. Grisélidis is lightly patterned after a medieval tale, centered upon 14th century Provence. The opera is “compact” and economical, outlying vestiges of contrasting emotions and dual forces: matching the compartments of the serious versus elements of the comically-grotesque. Set against the libretto of Armand Silvestre and Eugène Morand, the treasures of this Conte lyrique are softly buried away, quickly eclipsed by the more popular pieces of Werther and Manon. Until Bru Zane resurrected this œuvre, Grisélidis had been a veritable non‑entity.
Under the direction of Jean-Marie Zeitouni, Massenet’s scoring is prolific and enlightening. The supportive cast of Vannina Santoni in the eponymous role, translates into beautiful articulation, though the higher notes are a bit “pinched”. Matching against her rôle is the ebullient voice of Julien Dran as he portrays Alain: pristine tenor voice, clarion and erudite. Long‑time participant in the Bru Zane family is Tassis Christoyannis as he portrays the “comical” platform of The Devil. Supporting characters/singers add to the dynamic substance of Massenet’s piece. Furthermore, M. Zeitouni’s expressive qualities bring nicely balanced controls and cadences within this music.
Predating this work is La Navarraise with its own vestiges of embattled Carlist history, but the aforementioned petite piece also falls under the umbrella of religious equations...anticipating the “oft‑forgotten” charms of Le Jongleur de Notre‑Dame (1902).
Massenet enthusiasts will be enamored by the beauties and affections inside the rather “obvious” plotline surrounding Grisélidis. But this frequently “overlooked” gem should be given more ample attention with its dynamic nuances and vocal might.
...a hidden trésor.
Christie Grimstad
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