Utwory na płycie:

• Auber - Overture to Le Domino noir S 30 - Overture to Le Domino noir S 30
• Auber - Overture to La Muette de Portici S 16 - Overture to La Muette de Portici S 16
• Auber - Overture to Les Diamants de la couronne S 34 - Overture to Les Diamants de la couronne S 34
• Planquette - Overture to Les Cloches de Corneville - Overture to Les Cloches de Corneville
• Lecocq - Suite from Mamzelle Angot - Overture. Allegro moderato - Allegro moderato -
• Lecocq - Suite from Mamzelle Angot - Allegro - Allegro moderato
• Lecocq - Suite from Mamzelle Angot - Allegretto - Piu mosso
• Lecocq - Suite from Mamzelle Angot - Mazurka. [Allegro vivace]
• Lecocq - Suite from Mamzelle Angot - Andantino - Tempo di Valse - Piu mosso
• Lecocq - Suite from Mamzelle Angot - Tempo di Marcia - Coda
• Lecocq - Suite from Mamzelle Angot - Allegro vivace
• Lecocq - Suite from Mamzelle Angot - Allegretto
• Lecocq - Suite from Mamzelle Angot - Allegro - Tempo di Gavotta - Allegro - Tempo di Gavotta -
• Lecocq - Suite from Mamzelle Angot - Allegretto - Piu mosso - Tempo di Galop -
• Lecocq - Suite from Mamzelle Angot - Allegro - Tempo di Valse -
• Lecocq - Suite from Mamzelle Angot - Allegro - Presto
• Lecocq - Suite from Mamzelle Angot - Adagio
• Lecocq - Suite from Mamzelle Angot - Allegro moderato - Piu mosso - Allegro - Allegro moderato -
• Lecocq - Suite from Mamzelle Angot - Finale. Allegro molto - Vivo

Auber:
Overture to ‘Le Domino noir’
Overture to ‘La Muette de Portici’
Overture to ‘Les Diamants de la couronne’

Planquette:
Overture to ‘Les Cloches de Corneville’

Lecocq:
Suite from ‘Mam’zelle Angot’

The nineteenth-century French opera overture was for many years looked down on by certain music critics (and musicians) – largely as the genre turned its back on the historical adherence to strict musical form (fugue, sonata form, etc.). Percy Scholes, in the 1955 Oxford Companion to Music, had the following to say: ‘a cheap but not always ineffective type of opera overture is that of the pot-pourri or medley – little more than a string of tunes from the work to follow.’ These overtures were incredibly popular in their time, and the revival of this repertoire is long overdue. Daniel Auber composed more than fifty operas, some for the Paris Opéra and some for the Opéra Comique. His Grand Opera La Muette de Portici famously sparked the Belgian revolution in 1830, which led to the country’s independence in 1839. Les Cloches de Corneville was by far the most successful of Planquette’s twenty-four operas, receiving some 400 consecutive performances. Alexandre Lecocq’s La Fille de Madame Angot was premiered in Brussels in 1872 and is set in postrevolutionary Paris. The Overture is followed here by numbers put together by Gordon Jacob, in his reorchestration of material taken mainly from the opera, for Léonide Massine’s ballet Mam’zelle Angot, which closely follows the action of the opera.