Even at this early point of his career, it’s clear that Massenet – with his exceptional melodic gift and complete technical knowhow – was born for the theatre…Vocally, Elsa Dreisig’s neat, precise Maritana and Marion Lebègue’s purposeful Lazarille (who is given a very pretty lullaby) represent the best of a recommendable account based on solid choral and orchestral foundations, all overseen by a conductor whose enthusiasm proves infectious.

This is a real treat for all fans of Massenet, as it is the debut recording of this work. There is no doubt that Dreisig is the stand-out singer here and she is marvelous, but always stays within the ensemble. The recording is well balanced, and Naxos supply very good notes and short biographies of the singers.

It’s all very well done by Les Frivolités Parisiennes. The best-known singer is Laurent Naouri, who brings a wealth of experience to the title-role...The women are even better. Elsa Dreisig expresses Maritana’s loneliness and yearning in a beautifully phrased Romance...Mathieu Romano is the conductor of this lively performance, which at bargain price is certainly worth investigation and, indeed, investment.

Don César de Bazan is one of French theatre’s best-loved originals...Nor does the evergreen Laurent Naouri sell Don César short here: he may not be quite the vocal force he was once, but his craggy portrait reveals every aspect of the multifaceted hero who bestrides proceedings like a colossus...this is a highly enjoyable outing for Massenet’s early opera, which proves anything but prentice work.