Mireille    (Reynaldo Hahn;  Geori Boue, Pifteau, Legros)     (Malibran 137)
Item# OP2889
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Product Description

Mireille    (Reynaldo Hahn;  Geori Boue, Pifteau, Legros)     (Malibran 137)
OP2889. MIREILLE - La vraie MIREILLE de Gounod, recorded 11 June, 1941, w.Reynaldo Hahn Cond. Géori Boué, Marguerite Pifteau, Jean Gulheim, etc.; Reynaldo Hahn speaks about 'la nouvelle MIREILLE', 1941; Géori Boué, Marguerite Pifteau, Adrien Legros: Hahn mélodies. (France) Malibran 137. - 3760003771372

CRITIC REVIEWS:

“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



“The dominating feature is Hahn’s voice, self-accompanied of course in the manner of George Henschel, and one that has occasioned more than a fair share of critical bewilderment over the years. The register is sometimes uncertain – is it a baritone or a low tenor? – and its actual usage has generated a range of responses, from admiration to frigid contempt via speculative amusement. Hahn, of course, was not a professional singer; he did appear at suitably elegant Parisian soirées but his recording career as a singer is quite out of proportion to any public career in the rôle though clearly not out of proportion to his contemporary musical celebrity. His first recordings date from 1909 and Hahn returned to the studios two years later for a further session. After the end of the First World War, during which he served in the French Army, he was back for more recordings and there are later examples, including those provisionally dated to May 1928, as well as the 1930 and 1937 recordings. But of course we shouldn’t judge him against professional singers – but strictly on his own terms, as a sort of inspired salon one-off, and yet still one of the most attractive exponents of one current in Parisian music making in the early part of the twentieth century.”

- Jonathan Woolf