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André Messager, Les p'tites Michu (operetta or opéra-comique, 1897) – CORRIGENDUM Violette Polchi (Marie-Blanche), Anne-Aurore Cochet (Blanche-Marie), Marie Lenormand (Mme. Michu), Caroline Meng (Mlle. Herpin), Artavazd Sargsyan (Aristide), Philippe Estèphe (Captain Gaston Gigaud), Boris Grappe (General des Ifs), Damien Bigourdan (M. Michu), Romain Dayez (Bagnolet) Orchestre national des Pays de la Loire and Choeur d'Angers Nantes Opéra, Pierre Dumoussaud cond Bru Zane 1054 (2 CDs: 103 minutes, plus a 174-page book in French and English)

Published online by Cambridge University Press:  30 June 2021

Ralph P. Locke*
Affiliation:
Eastman School of Music (University of Rochester)RLocke@esm.rochester.edu
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Abstract

Type
Corrigendum
Copyright
Copyright © The Author(s), 2021. Published by Cambridge University Press

The author reports that, when tightening one passage in his CD review of André Messager's operetta Les p'tites Michu, he inadvertently created a misstatement. The “sly reference to the octave-leap opening of the scherzo from Beethoven's Ninth” occurs at the beginning of the Act 2 quartet for the entire Michu family, not the Act 1 Trio.

‘The beginning of the playful first trio for the sisters and Captain Gaston (in Act 1) makes what I think is a sly reference to….’

should read

‘The tension-filled Act 2 quartet between the four Michus (parents and daughters) makes what I think is a sly reference to….’

The authors apologises for this error.

References

Locke, R. (2019). André Messager, Les p'tites Michu (operetta or opéra-comique, 1897) - Violette Polchi (Marie-Blanche), Anne-Aurore Cochet (Blanche-Marie), Marie Lenormand (Mme. Michu), Caroline Meng (Mlle. Herpin), Artavazd Sargsyan (Aristide), Philippe Estèphe (Captain Gaston Gigaud), Boris Grappe (General des Ifs), Damien Bigourdan (M. Michu), Romain Dayez (Bagnolet) Orchestre national des Pays de la Loire and Choeur d'Angers Nantes Opéra, Pierre Dumoussaud cond Bru Zane 1054 (2 CDs: 103 minutes, plus a 174-page book in French and English). Nineteenth-Century Music Review, 18. doi:10.1017/S1479409819000454CrossRefGoogle Scholar