Egidio Romualdo Duni (1709-1775)
Les deux chasseurs et la Laitière, opéra-comique en 1 acte

Michal Orlowski (Seconde moitié du 18ème siècle)
Sinfonia en fa

Agnieszka Budzinska-Bennett, soprano
Maciej Straburzynski, baryton
Lukasz Wilda, ténor
Accademia dell' Arcadia
Roberto Balconi, direction

Vedette de l’Opéra Comique de 1763 jusqu’au milieu du XIXème siècle, "Les deux chasseurs et la laitière" du compositeur italien Egidio Romualdo Duni disparut ensuite de la scène. Cette courte comédie champêtre (trente-cinq minutes environ) en Français est inspirée d’un amusant amalgame entre "La Laitière et le Pot au Lait" de La Fontaine et la maxime "Vendre la peau de l’ours avant de l’avoir tué". La musique agréable, bien écrite, propose des arias simples à retenir et joliment tournés et oscille constamment entre style italien et français. La distribution intégralement polonaise est malheureusement entachée par une soprano, Agnieszka Budzinska-Benett, au timbre franchement agressif et faisant du Français une bouillabaisse incompréhensible. Cela gâche sensiblement le plaisir d’une découverte autrement charmante. La symphonie en Fa de l’illustre inconnu Orlowski, bien dans le style XVIIIème, complète de façon sympathique le programme sans révéler de chef-d’œuvre. On y percevra les limites de l’orchestre et celles de son violoncelliste solo à l’âpre sonorité. (Thierry Jacques Collet)

Les deux chasseurs et la laitière (The two hunters and the milkmaid) is an opéracomique first performed at the Théâtre Italien in July 1763, and repeated many times there as well as attracting stagings across Europe for the following halfcentury, when the fashion for such light entertainment was supplanted by younger and better-known contemporaries from Mozart to Rossini. The composer in this case is Egidio Romualdo Duni (1708-1775), originally educated within the Neapolitan school of composers. As a court composer in Parma he produced several Italian operas such as Olimpiade and La buona figliola, still awaiting modern revival. His move to Paris in 1757 proved decisive, and four years later he became music director of the Théâtre Italien, where he produced many light operas such as this example, which is as unfailingly charming and humorous as it is now little known. Whereas most previous examples in the French opéra-comique tradition were heavily dependent on pastiche and borrowing to create an effervescent but ephemeral entertainment, Duni worked hard to innovate within the genre and unify it. Despite the limitations of the small pit and resources available at his disposal in the Théâtre Italien, there are many telling orchestral details in this one-act pastoral, scored for pairs of oboes, bassoons and horns with strings and continuo. Pleasingly for English audiences, there is a scene in which the eponymous milkmaid cries over spilt milk; a role once apparently taken in a Versailles performance by Marie Antoinette herself. Presented here is the work’s only available recording, made during a run of performances in 2010, given by Polish singers and period instrumentalists led by the countertenor and conductor Roberto Balconi, who has recorded madrigals by Giovanni Ghizzolo (BC94834) with his other ensemble, Fantazyas. The booklet includes a contextual essay and the French libretto.