Louise   (Wolff;  Geori Boue, Kriff, Musy, Solange Michel, Renee Gilly)     (2-Malibran 737)
Item# OP2086
Availability: Usually ships the same business day

Product Description

Louise   (Wolff;  Geori Boue, Kriff, Musy, Solange Michel, Renee Gilly)     (2-Malibran 737)
OP2086. LOUISE, recorded 1949 & 1950, w.Cluytens & Wolff Cond.; Geori Boué, Edouard Kriff, Louis Musy, Solange Michel, Renée Gilly, etc. (France) 2-Malibran 737. - 7600003777379


"Geori (Georgette) Boue made her Paris debut at the Opera-Comique in 1939, as Mimi in LA BOHEME (singing in the 1,000th performance at the Salle Favart on 3 May 1951), and other roles there included: Lakme, Manon (singing in the 2,000th performance on 18 January 1952), and Ciboulette (first performance at the Opera-Comique). In her HERODIADE, Louise, Gilda, Violetta, Desdemona, Tosca, Madama Butterfly, Tatiana, etc. Boue had a clear voice of considerable power, renowned for her impeccable diction, she was widely regarded as one of the greatest French sopranos of the 1940s. She was married to French baritone Roger Bourdin in May 1944, with whom she can be heard in two recordings, FAUST under Thomas Beecham, and THAIS. She retired from the stage in 1970, then died 5 January, 2017, at age 98."

- David Salazar, operawire.com, 6 Jan., 2017

"During Edouard Kriff's first contract year at the National Opera House of Paris of September 1938, he sang the roles of Samson, Radames and Faust in LA DAMNATION DE FAUST by Berlioz. After the armistice of June 1940 , he appeared at the National Radio, mostly under the direction of Paul Bastide in thirty leading roles. Denounced as a Jew by employees of the theater, he was arrested by collaborationist French police on 22 January 1943, along with his mother, but he escaped by jumping from the train to Sobibor.

In 1944, he resumed his activities at the Opéra-Comique, where he sang Don José, Werther, Hoffmann and Canio in PAGLIACCI. He sang Julien in Charpentier's LOUISE in 1950. From 1956 to 1958 he was stage director of the Opéra-Comique.

In 1961, he founded with George Hirsch, former director of the RTLN (Meeting of National opera houses), an association to bring to the theater, especially musical populations in the Paris suburbs, soloists like Jacqueline Brumaire, Alain Vanzo, Michel Cadiou, Michel Dens and the Opéra Ballet, performing regularly with conductors like Jésus Etcheverry and Richard Blareau. Maurice Escande appeared, as well as the great pianist Daniel Wayenberg.

In 1964, thanks to Georges Dardel, President of the General Council of the Seine, a new association was created as an extension of the previous one: The Theatre of the Paris region. Its financial resources were quite large for the time that Edward Kriff remained the Chief Executive Officer as he had been in the previous association."

- Zillah 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 Opéra-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 Opéra; 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, Geneviève 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-Pathé CARMEN, in which spoken dialogue (rather than recitative) is delivered with incomparable panache by a superbly chosen cast, many of them Opéra-Comique veterans. Stylishly paced by André Cluytens and recorded at the Theatre des Champs-Elysées 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 Bergère and L'Ecureuil (The Squirrel); Louise's Mother in Jean Fournet's 1956 performance of LOUISE; and Geneviève 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 Opéra-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

“Louis Musy was a French operatic baritone and stage director principally active at the Paris Opéra-Comique. His teacher was Léon David. He made his début in LE CHEMINEAU by Leroux in 1925 at the Opéra-Comique and went on to sing many other French and Italian roles in the Opéra-Comique repertoire. Musy was a member of the four-member committee which ran the Opéra-Comique after the liberation of Paris during 1944. From 1947 he was a director of staging at the theatre. His pupils included Xavier Depraz, Jean Dupouy, Jacques Loreau, Irène Sicot and Remy Corazza.

He sang in recordings of CARMEN in 1927 (as Escamillo), FAUST in 1930 (Valentin), THE TALES OF HOFFMAN in 1948 (Lindorf), and LOUISE in 1956 (Father); as well as L'ÉCOLE DES MARIS by Emmanuel Bondeville in 1954 (Sganarelle), and LES MOUSQUETAIRES AU COUVENT 1957 (Bridaine) AND LA FILLE DE MADAME ANGOT in 1958 (Larivaudière). He played Dr. Bartolo in the 1948 Opéra-Comique film of LE BARBIER DE SÉVILLE directed by Jean Loubignac and conducted by André Cluytens.”

- Zillah Dorset Akron

"Jewish artists joined the ranks of the Resistance. The opera singer Edouard Kriff, who had left Marseilles following the German raids in the Vieux-Panier quarter, fled from the train that was heading toward the extermination camps and joined up with the snipers and partisans operating in the Ardèche."

- Philippe Olivier, THE OREL FOUNDATION