Don Quichotte  (Gressier;  Andre Pernet, Solange Michel)  (Malibran 120)
Item# OP0115
Availability: Usually ships the same business day

Product Description

Don Quichotte  (Gressier;  Andre Pernet, Solange Michel)  (Malibran 120)
OP0115. DON QUICHOTTE (Abridged) (Massenet) - Excerpts, recorded 1947, w. Gressier Cond. André Pernet, Solange Michel & Lucien Lovano. [Massenet identified personally with his comic-heroic protagonist as he was in love with Lucy Arbell who sang Dulcinée at the first performance. He was then 67 and died just two years later. The role of Don Quichotte was one of the most notable achievements of the Russian bass Feodor Chaliapin, for whom the role was specifically conceived. The opera, 1910, was one of six commissioned from Massenet by Raoul Gunsbourg for the Opéra de Monte-Carlo] (France) Malibran 120. - 3760003771204


�Andr� Pernet was a French bass-baritone who studied at the Paris Conservatory before making his operatic d�but in Massenet's H�RODIADE at Nice, in 1921. He sang at the Paris Op�ra beginning in 1928. He also performed in Amsterdam, Brussels, London and Monte Carlo. He is perhaps best remembered today for his role as the father in the 1939 film version of Gustave Charpentier's LOUISE, directed by Abel Gance and also featuring Grace Moore and Georges Thill. He was noted for singing the title parts in MEFISTOFELE, BORIS GODUNOV, DON GIOVANNI and DON QUICHOTTE. Among the operas in which he created roles during the premiere performances were LE MARCHAND DE VENISE (Hahn), OEDIPE (Enesco), MAXIMILIEN (Milhaud) and VERCING�TORIX (Canteloube). Pernet's smooth, elegant, well-produced voice can be heard on a number of recordings which he made between the two world wars.�

-Z. D. Akron

"One of most popular Carmens active in post-World War II France, Michel studied at the Paris Conservatoire before beginning her career as a concert and recital singer in the 1930s. She made her debut at the Opra-Comique in 1945, in the title role of Ambroise Thomas' MIGNON. She was soon established as an important mezzo-soprano at that company, as well as at the Paris Opra; her plummy, contralto-ish timbre and crisp, witty delivery of text enlivened all of her specialties, which ranged from Carmen - undoubtedly her signature role, with more than 600 performances to her credit - to Charlotte in WERTHER, Dalila, Genevive in PELLEAS ET MELISANDE, Gluck's Orfeo and Marguerite in LA DAMNATION DE FAUST. The best-known of Michel's recordings is the 1950 EMI-Path CARMEN, in which spoken dialogue (rather than recitative) is delivered with incomparable panache by a superbly chosen cast, many of them Opra-Comique veterans. Stylishly paced by Andr Cluytens and recorded at the Theatre des Champs-Elyses in Paris, Michel's Carmen is sly, sexy and authoritative, testifying to her long association with Bizet's Gypsy.

Other Michel recordings included Ernest Bour's 1947 recording of L'ENFANT ET LES SORTILEGES, in which she sang the roles of La Bergre and L'Ecureuil (The Squirrel); Louise's Mother in Jean Fournet's 1956 performance of LOUISE; and Genevive in Ingelbrecht's 1962 PELLEAS. In 1963, Michel created the role of the Maharani in the world premiere of Menotti's THE LAST SAVAGE at the Opra-Comique. Although she was active principally in France, she appeared as a guest at Covent Garden, La Scala, Teatro San Carlo in Naples, Teatro Liceo in Barcelona, Royal Flemish Opera and Teatro Colon, among other theaters. She retired from singing in 1978."

- OPERA NEWS, 7 Jan., 2011