B1632. Roland Mancini. Georges Thill et l’Opéra Français– A Profile. Includes Chronology (1924-56) by André Segond; Discography by Georges Voisin. Paris, l'Avant scène opéra-operette, Sept. 1984. 114pp. Numerous Photos. (French Text) (Pictorial thick paper covers) - 2901935
"Georges Thill is deservedly considered by many the finest lyrico-spinto among French tenors. A rock-solid tone, superb breath control, and an impression of strength carefully weighed through the sensibility of a first-rate musician: these are the qualities Thill brings to his recordings."
- Barry Brenesal, FANFARE, May/June, 2006
“While Thill performed many of the Italian lyric and spinto roles such as the Duke of Mantua, Radamès and Don Carlo, the lighter Wagner roles such as Lohengrin, Parsifal, and Meistersinger, and even Sadko from the Russian repertoire, and was a fine art song performer, Georges Thill is best known for his roles in French opera. During his long career he was the embodiment of French style, that combination of suavity, textual expression, delicacy, and vocal technique. His voice was not huge, but it had considerable carrying power, and his high notes were clear and ringing.
After military service during World War I, he entered the Paris Conservatory in 1919, where he studied with Andre Gresse for two years, after which he went to Naples to study with Fernando de Lucia. He made his operatic début at the Paris Opéra in 1925 as Nicias in Massenet's THAÏS, and thereafter, appeared there every season for the next 15 years, singing the major French tenor roles such as Faust, Werther, Admète in Gluck's ALCESTE, and Enée in Berlioz's LES TROYENS. As his fame spread, he made his Italian début in 1928 as Calaf in Puccini's TURANDOT in Verona, his Covent Garden début as Samson (Saint-Saëns) the same year, and repeated the role of Calaf for his 1929 La Scala and Teatro Colón débuts. His Met début was in 1931 as Gounod's Roméo. Over the course of his career, he created the title role of Canteloube's VERCINGÉTORIX, and also appeared in the world premieres of such now forgotten operas as Gaubert's NAILA, Hue's LE MIRACLE, Lazzari's LA TOUR DE FEU (a work whose other claim to fame is that it was the first to use film projection in the stage production), and Rataud's ROLANDE. He retired from the operatic stage in 1953, his last performance being at the Paris Opéra, oddly enough in the role of Canio in PAGLIACCI, and then from the concert stage in 1956.
He made three films, best known of which is Gustave Charpentier's LOUISE, with Grace Moore, and also made numerous recordings. His complete recording of Massenet's WERTHER is still a benchmark for all others.”
- Anne Feeney, allmusic.com