Louise   (Beecham;  Grace Moore, Jobin, Pinza, Doe)    (2-Walhall 9)
Item# OP1398
Regular price: $59.95
Sale price: $29.97
Availability: Usually ships the same business day

Product Description

Louise   (Beecham;  Grace Moore, Jobin, Pinza, Doe)    (2-Walhall 9)
OP1398. LOUISE, Live Performance, 20 Feb., 1943, w.Beecham Cond. Met Opera Ensemble; Grace Moore, Raoul Jobin, Doris Doe, Ezio Pinza, etc. (England) 2-Walhall 9. Very long out-of-print, Final Sealed Copy! - 5019148003557

CRITIC REVIEWS:

"[Moore's] voice takes on a lovelier glow, and she gives herself to the music, singing with tremendous exuberance and vibrant tone; how well suited is she by temperament to this expansive, uncomplicated rapture!....De Schauensee, always an astute observer, called her the most 'plausible' Louise the Metropolitan had known (and he had heard Farrar and Bori at the Met, as well as Garden, the most celebrated Louise of all)."

- Paul Jackson, SATURDAY AFTERNOONS AT THE OLD MET, p.290



"After training in France, Moore made her operatic début at the Metropolitan Opera on 7 February, 1928, singing the role of Mimì in Puccini's LA BOHEME. She debuted at the Opéra-Comique in Paris on 29 September, 1928 in the same role, which she also performed in a Royal Command Performance at Covent Garden in London on 6 June, 1935. During her sixteen seasons with the Metropolitan Opera, she sang in several Italian and French operas as well as the title roles in TOSCA, MANON and LOUISE. LOUISE was her favorite opera and is widely considered to have been her greatest role."

- Ned Ludd



“Grace’s only failing – if, indeed, she had one – was that she lived and breathed headlines, and was a master at creating them. When describing events to interviewers, she embellished liberally and encouraged others to follow suit. She delighted in the resulting press she got – no matter how outrageous it was….Offstage, Grace was the foodstuff of a gossip columnist’s diet. In newsprint she became an earthy woman who sampled love at every table – and rumor had it that the tables were numerous.”

- Rosa Ponselle, PONSELLE, A SINGER’S LIFE, p.138



“Grace has the mind of an exceedingly shrewd, precocious, and confused child….Except for certain rough spots that have been sloughed off through the natural effect of the frictions that she herself has often created, she is an unlicked cub. Her personality is asymmetrical; of gemlike substance, but amorphous in structure and development.”

- Charles O’Connell, THE OTHER SIDE OF THE RECORD, p.4



"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