OP2994. LA DAMNATION DE FAUST (Berlioz), Live Performance, 8 March, 1962, Royal Festival Hall, London; w.Monteux Cond. London S.O. & Chorus; Régine Crespin, André Turp, Michel Roux & John Shirley-Quirk. 2-Music & Arts 928. Very long out-of-print, final ever-so-slightly used copy! - 017685092800
"Pierre Monteux had one of the longest musical careers in memory, exceeded perhaps only by Pablo Casals and Leopold Stokowski. He retained a youthful appearance (and a full head of black hair!) well into old age, and he was well loved by colleagues and audiences alike.
He started violin studies at the age of six and then entered the Paris Conservatoire at the age of 9. He made his conducting début in Paris at the age of 12. He was a co-winner of the first prize for violin in 1896, with the great violinist Jacques Thibaud. He served as principal violist in the Opéra-Comique, and was also assistant conductor and concertmaster of the Concerts Colonne. In 1894 he joined the Quatuor Geloso as a violist and was privileged to participate in the performance of a Brahms quartet in the composer's presence. In 1908 he became conductor of the Orchestre du Casino in Dieppe and in 1911 founded a series called the Concerts Berlioz. In the same year, he began a historic association when he was hired by Diaghilev to conduct his Ballets Russes. He led the premieres of Ravel's DAPHNIS ET CHLOÉ, Debussy's JEUX, and Stravinsky's PETRUSHKA and RITE OF SPRING, the last of which caused a notorious audience riot.
In 1914, when war broke out, he was called to military service. He received a discharge in 1916 and travelled to the United States, where he obtained a conducting post at the Metropolitan Opera that lasted until 1919. At that point he was engaged to conduct the Boston Symphony Orchestra. Taking up the post in 1920, he walked into a labor dispute, with his musicians on strike; by the time the strike was settled, the concertmaster and 30 other musicians had left. Monteux had to rebuild the orchestra - a difficult task, but an opportunity for Monteux to mold the orchestra according to his own taste; ever since then, the Boston Symphony Orchestra has been known for its French sound and its expertise in French and Russian repertoire. He remained in Boston through 1924, gaining a reputation as a supporter of modern music. He brought to America not only Stravinsky and the French composers, but such others as Respighi, Vaughan Williams, and Honegger.
In 1924 he began a ten year association with the Amsterdam Concertgebouw. He was a good fit with the orchestra's other conductor, Willem Mengelberg, who had a Romantic-era style, and who specialized in traditional repertoire and Dutch composers. In addition, Monteux founded the Orchestre Symphonique de Paris in 1929, and the École Monteux, a coaching school for young conductors in 1932.
In 1936 he returned to the United States as conductor of the San Francisco Symphony Orchestra, staying in that position through the 1952 season. During World War II he obtained American citizenship and transferred his École Monteux to his new hometown of Hancock, Maine, where Erich Kunzel, Neville Marriner, and André Previn were among his students. He guest conducted and recorded extensively, and in 1961, at the age of eighty-six, accepted the musical directorship of the London Symphony Orchestra.
RCA Victor recorded him extensively in stereo, not only in Debussy, Ravel, Milhaud, Stravinsky, and the like, but also in Beethoven and Brahms; Monteux was especially noted for his performances of these composers' music, to which he brought an unusual charm and lyrical quality. He strove for transparency of sound, precision, light and springy rhythms, and that elegance that seems particularly associated with French music."
- Joseph Stevenson, allmusic.com
"Crespin was the greatest singer to come out of France in the past half century….She expressed herself through words rather than through obvious histrionic gestures, and few artists enunciated so clearly, in any language – English and German included. Her French, of course, was perfect, so lucidly projected that the soprano had every right to expect her listeners to understand her. She never felt the need to exaggerate….Flickers of nuance are always sufficient for the intelligent operagoer."
- Ralph V. Lucano, AMERICAN RECORD GUIDE, Sept./Oct., 2007
"[Crespin] was surely one of the greatest French singers of the 20th Century; in fact…one of the great singers on records, one whose art goes well beyond the merely vocal….Beyond its size, [her voice] had a beautiful shimmer about it, a glowing quality present in all registers."
- Henry Fogel, FANFARE, March/April, 2005
"Régine Crespin, the French operatic soprano and later mezzo-soprano, one of the most important vocal artists to emerge from France in the decades after World War II was widely admired for the elegance, warmth and subtlety of her singing, especially in the French and German operatic repertories. Early on, the natural carrying power of her voice seemed to point to a career as a dramatic soprano. Indeed, she made her 1950 début at the regional company in Mulhouse, France, singing Elsa in Wagner’s LOHENGRIN. Yet Ms Crespin’s singing was imbued with nuanced phrasing, telling attention to text, creamy lyricism and lovely high pianissimos. While she had an enveloping voice, she always seemed to keep something in reserve, leading some listeners to sense a touch too much French restraint. But most opera buffs valued Ms Crespin for the effortless richness, lyrical nobility and subtle colorings of her singing. She was also a sophisticated actress whose Junoesque presence commanded attention. Ms Crespin’s Metropolitan Opera début came in 1962 as the Marschallin in DER ROSENKAVALIER, directed by the soprano Lotte Lehmann, who had been the most renowned interpreter of the role. Reviewing Ms Crespin’s portrayal, the New York Times critic Harold C. Schonberg wrote that she gave ‘a simply beautiful performance’ enriched with ‘all kinds of delicate shading’. But when she let out her full voice, he added, it ‘soared over the orchestra and all over the house — big, confident and beautiful’. In 1967 she sang Sieglinde to Birgit Nilsson’s Brünnhilde at the Met, with Herbert von Karajan conducting a production that he also directed. Reviewing that performance for The Times of London, the critic Conrad L. Osborne wrote that ‘Nilsson and Crespin spurring each other on make for the sort of thing one remembers with a chill for years’. In later life Ms Crespin won wide recognition as a voice teacher. During some 1995 master classes at the Mannes College of Music in New York, the students were enraptured not only by her insightful critiques, but by her insider tales about opera stars."
- Anthony Tommasini, THE NEW YORK TIMES, 6 July, 2007