OP0059. CARMEN, recorded 1950, w.Cluytens Cond. l'Opéra-Comique Ensemble; Solange Michel, Martha Angelici, Raoul Jobin, Michel Dens, etc. (Holland) 2-EMI 65318, w.64pp Libretto-Booklet. Long Out-of-Print, Final copy! - 724356531826
“…in no other recording [of CARMEN] is the fluency, the endless subtlety of Bizet’s word-setting so vividly demonstrated…. this is an extraordinary, nay unique recording….a milestone in the saga of CARMEN on record.”
- Rodney Milnes, OPERA ON RECORD, Vol.1, pp.467-68
“The LP era of Carmen was launched with two wonderful complete sets that remain touchstones of excellence. On the first, everything works beautifully and wondrously, with just enough spirit to sustain interest but without any element dominating the rest, enabling us to fully absorb the creators' masterful work without any distraction. The soloists project sufficient personality to vitalize their roles without preening for individual attention, the music is played with a sure but light touch, pacing is fleet but never rushed, enunciation clear, the monaural sound well-balanced and bright, emotions moderated but intelligible, choruses sharp and enthused but not mechanically precise, dialogue abridged and naturally conversational. No aspect stands out and some of the singing may seem somewhat bland compared to the competition, but that's really the point – above all else, there's a splendid sense of ensemble, with all forces united to contribute to a common artistic goal. Overall, the spirit of light opera – and diffident French artistry – comes shining through. Everything is confidently in place without any distractions. Although I would hate to have to do it, if I ever had to choose a single favorite CARMEN, this just might be it. Time and again, it fills me with appreciation for this ever-fresh masterwork…. the quintessential French recording of Carmen.”
- Peter Bachmann
"Solange Michel presents a Carmen of the old school. Her voice is really more contralto in quality and her diction suggests not so much a sensual gipsy as an actress at the Comedie-Française. Nevertheless, there is something fascinating and endearing about her portrayal. One simply could not find anyone today who sounds like her – and yet she was the favourite Carmen at the Opéra-Comique, where she sang the role at the 2,500th performance there and went on to notch up 500 of her own! Michel Dens is a swaggering Escamillo and Martha Angelici a convincing Micaëla. Of course, with such heavy competition where CARMEN on CD is concerned, this set is valuable principally as a document of the opera's performing tradition."
- GRAMOPHONE, Sept., 1995
"Martha Angelici was a French operatic soprano of Corsican origin, particularly associated with the French lyric repertoire. While still very young she moved with her family to Belgium, where she studied voice in Brussels with Alfred Mahy. She began singing for the Belgian, Dutch and Luxemburg radio in 1933, and gave her first public concert at the Kurzaal of Ostend in 1934. Her first stage performance was in Marseille, as Mimi in La Bohème, in 1936. She made her début at the Opéra-Comique in 1938, where she had a long and successful career, and made her début at the Palais Garnier in 1953, as Micaëla in Carmen, other notable roles included Leila, Pamina, Nedda, etc. She made a few guest appearances at the Monte Carlo Opera and La Monnaie in Brussels. She was also much admired in French baroque music notably in Rameau's Les Indes Galantes, and was much loved as a concert singer, especially of Corsican songs. She was married to the director of the Opéra-Comique, François Agostini.
Raoul Jobin made his début at the Paris Opéra on 3 July, 1930, as Tybalt in ROMÉO ET JULIETTE. He quickly sang principal tenor rôles at both the Opéra and the Opéra-Comique, as well as in many cities throughout France, Lyons, Toulouse, Bordeaux, Marseilles, etc. He sang mainly the French repertoire, with occasional incursions into the Italian repertoire. With the outbreak of the war, he returned to North America. He made his début at the Metropolitan Opera on 19 February, 1940, as des Grieux in MANON. He remained with the company until 1950, where he sang many rôles alongside such singers as Lily Pons, Bidu Sayao, Licia Albanese, Risë Stevens, under conductors such as Wilfrid Pelletier and Thomas Beecham. He made regular appearances in San Francisco, Chicago, Boston, New Orleans, etc., also appearing in Mexico City, Rio de Janeiro, and Buenos Aires. After WW II, he returned to Paris in 1947, where he successfully sang his first major Wagnerian rôle, Lohengrin, earning him the nickname ‘Monsieur Lohengrin’. He later sang the role of Walther in DIE MEISTERSINGER VON NÜRNBERG with equal success. He also created the rôle of Fabrice Del Dongo in LA CHARTREUSE DE PARME by Henri Sauguet. Subsequently, Jobin divided his time largely between Europe and America, maintaining his high standard in his accustomed rôles while adding new ones, until his retirement from the stage in 1958."
- Z. D. Akron
“André Cluytens was among the leading French conductors of his time. His father, Alphonse, was conductor at the Royal French Theater of Antwerp. André became his assistant and a choirmaster there. When an illness prevented Alphonse from conducting, André made his performance début in 1927. After that experience he devoted his efforts to orchestral and opera conducting rather than choral work, and he became a resident conductor in the house.
In 1932 he accepted a position as the musical director of orchestral concerts at the Capitole de Toulouse, and he became a French citizen. In 1935 was appointed the opera director in Lyons. He was an assistant of Josef Krips in a summer series in Vichy and, once again, was called on to substitute when that conductor could not perform. He became musical director of the Lyons Opera in 1942, conductor of the Conservatoire Concerts and the French National Radio Orchestra in Paris in 1943, and in 1944 conducted at the Opéra de Paris. From 1947 to 1953 he was music director of the Paris Opéra-Comique, and in 1949 was appointed as principal conductor of the Conservatory Concerts. He retained that position for the rest of his life. In 1955 he was invited to conduct LOHENGRIN at the Bayreuth Festival, the first French person to appear on the podium there. He débuted in the United States in 1956, and in Britain in 1958, when he substituted for Otto Klemperer. He formed a close relationship with the Vienna State Opera, which he first conducted in 1956, becoming a permanent guest conductor in 1959. In 1960 he became conductor of the Belgian National Orchestra in Belgium, also holding that post until his death. He also formed a close link with the Berlin Philharmonic, with which he made a notable recording of the Beethoven symphonies. However, he was primarily known for French repertoire, premiering works by Françaix, Jolivet, Messiaen, Milhaud, Tomasi, Büsser, and Bondeville. He was invited back to Bayreuth in 1965.”
- Joseph Stevenson, allmusic.com