Marie Oppert's debut album is released today on Warner Classics.
For this release, we were able to ask a few questions to the young singer and actress!
For your album, you mix musical comedy songs with French song. How did you bring this “French Touch”?
MARIE OPPERT: The idea was to mix French chanson and American musical theatre, which are the two cultures I grew up with and that have fascinated me since I was little. I have tried to combine musical styles and languages into one world so that they become one.
For example, the songs Y'a d'la joie et I Could Have Danced All Night correspond to the universe of youth and lightness that we wanted to create. They are side by side in the album and represent American optimism and French optimism, each in the swing of their culture.
You reprise the theme of The Umbrellas of Cherbourg, that you sang at the Théâtre du Châtelet under Michel Legrand's musical direction.
You also cover a lesser-known tune, "The Moon and I" from the musical. Yentl. Was it important for you to pay tribute to Michel Legrand?
Yes obviously, it was very important for me to sing his music and in particular to pay homage to him by recording for the first time a version of "The Moon and I" which had been composed for Yentl and who ultimately did not appear in the film. Tom Kelly, the orchestrator on most of the tracks on the album, wrote the first orchestration for this song. It was also a way of making less covered song by Michel Legrand known and obviously, to continue to transmit his music to new generations and to perpetuate his genius!
Reprising the theme of The Umbrellas of Cherbourg is very symbolic, because meeting Michel Legrand was a very important moment for me, and a turning point for my career.
We chose to sing the French and English version since the song, “I Will Wait For You” performed by many American artists, has become a jazz standard. Interpreting it in both languages also pays homage to the Franco-American Michel Legrand who crossed the Atlantic and who was a legend in the United States.
Your title "I Will Wait For You" is in French and English and "Children Will Listen" has been translated into French. Was it important for you to make this English-speaking repertoire accessible in France?
“Children Will Listen” is one of my favorite tracks from the album because it's a unique version that we tried to do.
It is Sinan Bertrand, with whom I played in Fiddler on the Roof, who translated the lyrics, which were approved by Stephen Sondheim himself!
We wanted to make accessible this song from the repertoire of Sondheim which is less known in France. By giving a voice to French children, we wanted them to appropriate and transmit this song, usually interpreted by the mother in the show (The Witch in Into the Woods). They are the ones who teach adults: “weigh your words carefully, children listen. "
Recording with Natalie Dessay, Melissa Errico: how does it feel to follow in the footsteps of these incredible artists?
Obviously, I was so lucky and honored that they were on the album because I admire them so much.
I am very grateful that we were able to sing together. More than models, they are like my two fairy godmothers, a French one, and an American one!
Being able to record live with an orchestra, how lucky! Was it important for you to record the album together ?
It was very important and interesting because I was an integral part of the orchestra, like an instrument of the orchestra. It was essential to mix the two worlds to be a whole.
We also included in the orchestra, three musicians coming musical theatre and the jazz backgrounds. Thierry Boulanger - incredible composer and musical director with whom we worked on Sheepskin - who was at the piano. As well as Frédéric Liebert on bass and Matt Skelton on percussion. The three of them have been the rhythm section of the orchestra, bringing their swing and their knowledge of the musical. Again, it was great to bring these two worlds together to create our own.
Marie Oppert and the Lille National Orchestra during the recording of "Somewhere Over the Rainbow":
What is your fondest memory of the recording?
It's too hard to answer!… The first day of recording was magical: it was finally the realisation of several years of work!
Marie Oppert, the release date of your album has been postponed a lot because of lockdown. How do you feel now that the album is out?
I've been working on this album for several years now, it was only a few months more until the official release! With Warner, we decided to release several singles to continue promoting the record during lockdown.
The disc is released today in several countries: I am very happy that this dream has finally come true!
We call you a "rising star of the musical", what roles would you like to play on stage?
There's too much ! Among the titles of the disc, there are many "dream roles" of which Clara in The Light in the Piazza by Adam Guettel and Cinderella by Rodgers & Hammerstein!
I also think of musicals from the Golden Age, Julie in Carousel, the roles of the works of Sondheim, Mary Poppins… in a few years perhaps!
You trained in classical singing and have won prices at the Marseille International Singing Competition and at the Monkfish Lenya Competition: would you like to deepen this classical répertoire ? Is there another domain you would like to explore ?
Yes, for me it is essential to train myself in lyric singing in parallel. I am still in training; rather at the beginning of this long learning process!
I would love to develop roles from a more operatic repertoire, especially in operettas and works that are closer to theater and musicals.
I would love to do voice over for a cartoon character who sings, like in Disney films for example. It would be one of my dreams!
Your start of the year is busy: we will find you on stage in The Tempest, directed by Sandrine Anglade and in March 2037, directed by Pierre Guillois.
How do you go from Shakespeare to a cosmic musical?
I am delighted to be able to participate in such different projects. It is a pleasure to work with Sandrine Anglade and Pierre Guillois, two directors from the public theatre. One of the things I would like to develop is working in non-musical theatre.
Playing and studying Shakespeare's text is an exciting experience and March 2037 is a superb creation.
For me, it is essential to develop both theatre and singing because they both share the idea of bringing together different worlds to make one. This versatility that allows you to tell stories by all means: that's what interests me!
On November 9, we will see you at the Bal Blomet for a concert of the music from your album. Will we have some backstage stories about the creation of the album?
The concert on November 9 will be in the form of a cabaret to allow contact with the public. I will be accompanied by a jazz trio! I'm not telling you everything for the moment!
To reserve your seats, it's here!
Now a few quick questions:
What was your first musical theatre crush?
My first musical love at first sight was at the Théâtre du Châtelet when I played in the Sound of Music. It was there that I discovered the world of musical theatre; I didn't even know the Sound of Music, I had to buy the DVD before the audition!
If you could bring a French musical to Broadway, which one would it be?
Still in the Franco-American cultural exchange, it would be incredible to have Les Demoiselles de Rochefort on Broadway. I imagine a huge production, with amazingly choreographed ballets like Christopher Wheeldon's for An American in Paris.
In the film, Jacques Demy and Michel Legrand had tried to take back the energy of the American musical and culture of that time, with a french twist à la Jacques Demy!
A Broadway star you dream of working with?
There are too many ! One of the actresses who impressed me the most is Audra McDonald. Just meeting her would already be a dream.
You sing Anastasia and Cinderella on the album: which princess suits you the most?
I can not choose ! In character, I would say Anastasia but I would love to play both!
A motto that you apply in your life?
Your dreams can come true!
What was your hobby during lockdown?
I loved watching the Comédie Française's program, La Comédie Continue, with a great program every day. I can't wait see the troupe on stage again!
if you had to sum up your album in three words?
Transatlantic, magical and optimistic!
Marie Oppert's album "Enchantée" is produced by Warner Classics. It was recorded with the National Orchestra of Lille under the musical direction of Nicholas Skilbeck.
The disc is available as a digital CD on Fnac et Amazon and online on Itunes, Qobuz, Spotify, Deezer et Youtube music.
To find the full biography of Marie Oppert and for more information on the upcoming dates of Marie Oppert's shows, go to her website.