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07/22/2026
“French Opera” Series, Volume 46
Clémence de Grandval: Mazeppa
Tassis Christoyannis (Mazeppa), Nicole Car (Matréna), Julien Dran (Iskra), Ante Jerkunica (Kotchoubey), Pawel Trojak (L’Archimandrite), Chor des Bayerischen Rundfunks, Stellario Fagone (chorus master), Münchner Rundfunkorchester, Mihhail Gerts (conductor)
Recording: Prinzregententheater, Munich, Germany (January 17 & 19, 2025) (World Premiere Recording) – 140’
Bru Zane BZ 1063 – Book in French and English
 
The label Bru Zane continues indefatigably to exhume mainly C19th French rarities, and generally to excellent effect. But obviously not everything will be top draw and with Clémence de Grandval’s Mazeppa I feel they struck a slight dud.
Clémence de Grandval was born into a wealthy family; as a young girl she showed immense musical promise and was encouraged to develop her skills, studying with von Flotow, Chopin and Saint‑Saëns. She composed across most genres, having particular success with religious pieces and, having married well and becoming a Vicomtesse into the bargain, money was not a problem so she was able to pursue her work unlike most women of the time. Her compositions are highly skilled, and she was very well‑regarded in her lifetime, if less so after her death in 1907.
Mazeppa is a relatively late work and her last opera, premiered in Bordeaux in 1892. The Paris Opéra was stuck in a relative rut of presenting Grand Opéra, hence the choice of venue, with its not inconsiderable company and soloists (including soprano Georgette Bréjean who went on to triumph in roles by Massenet). The premiere seems to have been a success but the opera never gained traction, though excerpts, notably the ballet, had later performances. And since then it has languished in the archives until Bru Zane pieced it together to create a full score for performance. The story is of Polish Mazeppa, chosen to lead the Ukrainians against his own country, who then changes sides and sends the Ukrainians to their deaths. To complicate the main story, he courts Ukrainian girl Matréna who is dazzled and dumps her existing lover, Iskra, much to his understandable chagrin and consequent machinations against Mazeppa.
I must admit that I feel rather ungrateful because the score is highly accomplished and the performance excellent, but there is something about it that doesn’t hang together. The “Prelude” is vivid with the right amount of Eastern promise, not overdone. The opening chorus follows suit and then the opera gets under way – but to little effect a lot of the time. Grandval’s writing is polished, but it never quite flows – it remains a series of numbers as opposed to a continuous music drama. Act II, in particular, meanders, and despite listening to the opera thrice, I felt my attention wandering at this point each time (and thinking ‘only three acts to go!’) Her orchestration is sophisticated and very much of its time: you can hear the ghost of Meyerbeerian excess looming in the grander moments as well as more contemporary influences such as the aforementioned Saint‑Saëns and Massenet. Grandval uses motifs to positive effect (well explained in the accompanying book), but I couldn’t sing one for you now, they are ultimately forgettable. That is half the problem: the lack of a killer tune. We come close with Mazeppa’s graceful Act III aria but we never quite get there. The ballet in Act IV is better value for money and has a bit more gusto, but I wouldn’t be disappointed if I never hear it again.
Mihhail Gerts conducts the Münchner Rundfunkorchester and Choir with zest and makes as much of a case possible for the opera. Both orchestra and chorus are excellent, and the engineering is, as ever with Bru Zane, outstanding. Tassis Chrystoyannis takes the title role and obviously relishes it. A Bru Zane stalwart, it must be rewarding to get the chance to shine in the spotlight. His baritone is rich and firm, if a little open at the very top, and he sings off the text. He meets his vocal match with Nicole Car’s Matréna, her soprano glorious as ever. She manages her role adeptly, particularly the soaring phrases that give her the opportunity to thrill, such as in her final Act V duet with Chrystoyannis. Julien Dran doesn’t get much of a look in as Iskra, but makes the most of what he has with his idiomatic tenor, though he is slightly over-parted in the Act II finale. Bass Ante Jerkunica gets even less to do as Matréna’s father Kotchoubey, but growls along well.
I am a fan of Bru Zane and a great admirer of their works, so I feel quite dispirited writing this review. There really is nothing wrong with the performance or recording, which are both top notch. It is just the actual opera is not overly thrilling. Sorry, regretfully it is a “no” from me. I think Mazeppa could have languished in the archives a while longer.
Francis Muzzu
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