OP0283. MANON, recorded 1929, w.Cohen Cond. l’Opéra-Comique Ensemble; Germaine Féraldy, Joseph Rogatchewsky, Georges Villier, etc. (France) 2-Malibran 118. Out-of-print, Final Copy! - 3760003771181
“Germaine Féraldy's… voice itself is lovely - clear, clean, and shimmering in timbre - but voice per se is not what Féraldy is about. She presents the essence of charm, a quality hardly cultivated or even properly understood among singers today in any vocal category. Charm almost embarrasses artists nowadays, seeming a rather old-fashioned virtue. Féraldy's gracious, ultra-feminine style summons up another age altogether, when singing actresses knew how to portray both flirtatiousness and vulnerability onstage without affectation. In Féraldy's voice one hears a singer whose every word and phrase brings the youthful, fragile heroines of French opera to life.”
- Roger Pines, THE OPERA QUARTERLY, Vol. 19, #3
"Amongst the illustrious group of French-trained tenors before the public in the pre-war years, Joseph Rogatchewsky was one of the most highly regarded. Indeed, many vocal connoisseurs considered him to be the finest of them all. From a purely vocal aspect the quality is warmer, more distinctive, and with less vibrato than the tenors with whom he shared a similar repertoire. Making his operatic début in Toulouse in 1922, appearances at the Paris Opéra-Comique led to a contract with La Monnaie in Brussels, where he speedily became their leading lyric tenor. Such is Rogatchewsky's artistry that his singularly attractive voice has a warm, very slightly throaty quality that brings the great Giuseppe Anselmi to mind. Dynamic markings are scrupulously obeyed, and his soft, well-supported head tones have rarely been equaled."
- Vivian A. Liff, AMERICAN RECORD GUIDE, July, 2001
“Georges Villier was born in Brussels in 1884 and was a leading Belgian baritone. He studied law but gravitated to music at the Liège Conservatoire, making his début at the Monnaie in 1910. During the Great War, after military service in which he was taken prisoner, he directed the opera house at Antwerp. He then sang in Marseille and at the Trianon Lyrique in Paris, moving to the Opéra-Comique in 1925 and singing major rôles there for ten years. In Belgium he organized the Quatuor Villier which gave many concerts, and he was a well-known solo recitalist. His later opera performances were in Belgian houses, giving his farewell performance as Figaro in BARBIERE at the Théatre du Parc in 1946.”
- Tully Potter