OP2086. LOUISE, recorded 1949 & 1950, w.Cluytens & Wolff Cond.; Geori Boué, Édouard Kriff, Louis Musy, Solange Michel, Renée Gilly, etc. (France) 2-Malibran 737. - 7600003777379
“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
During Édouard 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."
- Zilla 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 début 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 PELLÉAS ET MÉLISANDE, 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 Théâtre 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 SORTILÈGES, 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 Désiré-Emile Ingelbrecht's 1962 PELLÉAS. 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 Colón, 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.”
- Zilla D. 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