OP0660. PAGLIACCI (in French), Live Performance, 17 April, 1954, w.Albert Wolff Cond. l’Opéra-Comique Ensemble; Raoul Jobin, Geori Boué, Jean Borthayre, Robert Massard, etc.; RAOUL JOBIN: Arias from Werther, Manon, Carmen, Les Contes d’Hoffmann, L’Africaine, Roméo, Hérodiade, Tosca, Lohengrin & Siegfried. (France) 2-Malibran 590. - 3760003775905
"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.
“French soprano Geori Boué was born on 16 October, 1918 in Toulouse and managed an exemplary career in her native country. She studied at the Music Conservatory in Touluse, taking on voice with Claude Jean, piano and harp. She made her début in Toulouse in 1938 and rose to fame singing staples of the French repertoire that include Marguerite from FAUST, Juliette from ROMÉO ET JULIETTE and Manon from Massesent’s opera of the same name. As her career progressed she expanded into other repertoire taking on Gilda in Verdi’s RIGOLETTO, Violetta in LA TRAVIATA, Mimi in LA BOHEME, Cio Cio San in MADAMA BUTTERFLY, Tatiana in EUGEN ONÉGIN, Desdemona in OTELLO and Thaïs among other roles. In later years CARMEN, WERTHER and numerous operettas would enter her repertoire. She also appeared in a 1943 film entitled LA MALIBRAN.
She also managed an international career in Mexico, Barcelona, Rio de Janeiro and at La Scala in Milan where she appeared as Mélisande in Debussy’s PELLÉAS ET MÉLISANDE under the baton of Victor de Sabata. She appeared in that Debussy work alongside her husband Roger Bourdin. She died at age 98, 5 Jan., 2017.”
- David Salazar, operawire.com, 6 Jan., 2017
"Jean Borthayre is proof that a French baritone can sing with great warmth, full-bodied tone, immaculate diction and fine musicality. Borthayre has it all going for him. This glorious voice is heard here in a mainly French program….This is one of the most pleasing recital discs to come my way in a very long time – grand singing at its grandest."
- Charles H. Parsons, AMERICAN RECORD GUIDE, March/April, 2008
“Massard made his professional début at the Paris Opéra in 1952, as the High Priest in SAMSON ET DALILA, shorthly followed by Valentin in FAUST. The same year, he also made his début at the Aix-en-Provence Festival, as Thoas in IPHIGÉNIE EN TAURIDE. His career rapidly took an international dimension with débuts in 1955, at La Scala and the Glyndebourne Festival, both as Ramiro in L'HEURE ESPAGNOLE. Oreste in IPHIGÉNIE EN TAURIDE was his début role at the Maggio Musicale Fiorentino, the Royal Opera House in London, and the Edinburgh Festival. Massard also appeared in North and South America, notably at the Lyric Opera of Chicago, at Carnegie Hall and the Teatro Colón in Buenos Aires. Henceforth considered one of the best French baritones of his generation, he was internationally acclaimed as Valentin in FAUST, Escamillo in CARMEN, Fieramosca in BENVENUTO CELLINI, and Golaud in PELLÉAS ET MÉLISANDE.”
- Ned Ludd