OP3002. CIBOULETTE (Hahn), recorded 1982, w.Diederich Cond. Monte Carlo Ensemble; Mady Mesplé, Nicolai Gedda, José van Dam, François Le Roux, etc. (E.U.) 2-EMI 66159, incl.65pp. Elaborate Libretto-Brochure. Long out-of-print, Final Sealed Copy! - 724356615922
“CIBOULETTE is a French opérette in three acts, music by Reynaldo Hahn, libretto by Robert de Flers and Francis de Croisset, first performed at the Théâtre des Variétés, in Paris, on 7 April 1923. One of the most elegant and refined composition of Hahn, CIBOULETTE is considered as one of the last masterpieces of French operetta.”
“Mady Mesplé is a fine French lyric coloratura soprano who was active from the late 1950s through the 1980s. Her operatic career was centered on the core coloratura roles, including Verdi's RIGOLETTO, Offenbach's TALES OF HOFFMANN, Rossini's THE BARBER OF SEVILLE, Donizetti's LUCIA DI LAMMERMOOR, and Mozart's THE MAGIC FLUTE, but she is best remembered for the title role in Delibes' LAKMÉ. Many consider her EMI recording of that signature role to be definitive. She also excelled in performances of new works, and as a recitalist.
Mesplé's discography is split fairly equally between French operetta (especially Offenbach), opera, and recital literature."
- Allen Schrott, allmusic.com
“Widely admired for his sensitive musicianship, masterly tonal control and impeccable diction in a spate of European languages, Mr. Gedda possessed a lyric tenor voice that shimmered like silver but was no less warm for that. He was one of the most versatile, and professionally long-lived, tenors of his era, with many dozens of roles to his name in a career that lasted until he was well into his 70s - a good two decades past a classical singer’s customary retirement age. Over a quarter-century, he sang 367 performances with the Metropolitan Opera, from his début in the title role of Gounod’s FAUST in 1957 to his final performance, as Alfredo in Verdi’s LA TRAVIATA, in 1983. But the role for which Mr. Gedda was very likely most famous was Russian: Lensky, the young poet in Tchaikovsky’s EUGENE ONEGIN. Reviewing Mr. Gedda in a concert performance of ONEGIN with the Boston Symphony in 1976, Richard Dyer wrote in The Boston Globe: ‘The tenor’s voicing of Lensky’s aria - an ideal union of responsiveness to word and musical line, a demonstration of vocal and technical mastery and varied and beautiful tone, and an expression of wise and generous human feeling - was a classic demonstration of why, for some of us at least, operatic singing is the highest achievement of human art’.
Mr. Gedda made his United States début in 1957, singing Faust with the Pittsburgh Opera. Reviewing his Met début, in the same role later that year, under the baton of Jean Morel, Howard Taubman wrote in THE NEW YORK TIMES: ‘His carriage is tall and straight and his movement buoyant. It is credible that he will attract Marguerite. Even more impressive than his appearance is the intelligence of his singing’.
With the Met, he also sang Anatol in the world premiere of Samuel Barber’s VANESSA, conducted by Dimitri Mitropoulos, in 1958, and Kodanda in the United States premiere of Gian Carlo Menotti’s THE LAST SAVAGE, under Thomas Schippers, in 1964.”
- Margalit Fox, THE NEW YORK TIMES, 10 Feb., 2017
“Of all the important tenors active during the latter half of the twentieth century, Nicolai Gedda was by far the most versatile and industrious, a questing musical spirit who left few areas of the operatic and song repertories unexplored. During a career that spanned nearly fifty years, Gedda was in demand the world over for the warm, sweet, silvery beauty of his voice, his patrician command of style, and an unshowy but dazzling technical virtuosity that was invariably in the service of the music.
Born to poor parents in Stockholm, Gedda was raised by his father’s sister and her Russian husband, a Don Cossack singer and cantor in a Russian orthodox church. It was from his strict stepfather that Gedda picked up his facility with languages and reading music - as well as an innate shyness and a distaste for confrontation that did not serve him well in later dealings with opera managements, not to mention two unhappy early marriages. The vocal rudiments were there from the beginning, however, and while he was working at his first job, as a bank teller, one of his helpful customers recommended a teacher - Carl-Martin Oehman, a former lyric tenor at Stockholm Opera and mentor of Jussi Björling.
Oehman, Gedda once recalled in his typically modest way, ‘taught me all the essentials, which I knew nothing about’. One can’t help thinking that the perfect vocal placement, firm muscular support, smooth register management and sovereign musical instincts were already present, just waiting to be coaxed out. Additional studies at Stockholm Conservatory lasted just two years before Gedda - in 1952, at age twenty-six - was given the leading role in Adam’s POSTILLON DE LONJUMEAU at the Royal Opera and created a sensation, especially with the brilliant high Ds that cap the coachman Chapelou’s famous entrance aria. Walter Legge, EMI’s legendary record impresario, and his wife, Elisabeth Schwarzkopf, were in town and demanded to hear the new tenor everyone was raving about. After a short audition, Legge immediately fired off cables to conductor Herbert von Karajan and Antonio Ghiringhelli, the intendant of La Scala: ‘Just heard the greatest Mozart singer in my life: his name is Nicolai Gedda’.
What happened next would probably leave any young singer breathless. Gedda was instantly cast as Dimitri in EMI’s splashy new recording of BORIS GODUNOV, starring Boris Christoff (‘that BORIS recording opened the doors of the world to me’, Gedda once remarked), and he made a La Scala début as Don Ottavio in DON GIOVANNI under Karajan’s baton. Gedda suddenly had invitations to sing everywhere - Faust and Weber's Oberon in Paris, the Duke of Mantua at Covent Garden and dozens of other requests from Rome, Vienna, Salzburg, Berlin, Munich and Tokyo.
Meanwhile Legge kept Gedda busy in the recording studios after BORIS with Bach’s b-minor Mass under Karajan, rarities such as Cornelius’ BARBIER VON BAGHDAD and the French version of Gluck’s ORPHÉE, Strauss’ CAPRICCIO, Pinkerton in MADAMA BUTTERFLY, Faust, as well as solo recitals covering a wide range of repertory. One of the most impressive examples I know of the young Gedda on disc, at age twenty-eight, is Lehár’s LAND DES LÄCHELNS, in which he sings the mysterious yet passion-driven Prince Sou-Chong, a role made famous by Richard Tauber. It’s a ravishing piece of singing, delicately shaded and exquisitely controlled until all the character’s banked-up emotions come tumbling out in a glorious rendition of the Tauberlied, ‘Dein ist mein ganzes Herz’. Even here, vocal connoisseurs will marvel at the singer’s technical control when Gedda eases into the reprise of the big tune without so much as drawing a breath.
Rudolf Bing snapped up Gedda early on (an unusual move by this canny impresario, who usually liked to keep Metropolitan Opera audiences expectantly waiting, even for the most sensational new discoveries), and Gedda made his Met début on 1 November, 1957, as Faust. Thereafter the tenor, like so many important singers of his generation, tended to base himself in New York, while reserving plenty of time to fulfill engagements in Europe and make hundreds of recordings. So New York heard Gedda display the full range of his vocal talents and language facility until he left the company in 1983 - classic roles (Don Ottavio, Admèto in ALCESTE), standard repertory (the Duke, Alfredo, Rodolfo, Pinkerton, Edgardo), French specialties (Hoffmann, Don José, des Grieux, Pelléas, Roméo), bel canto (LA SONNAMBULA, L’ELISIR D’AMORE, DON PASQUALE), Russian roles (Dmitri, Lenski, Gherman), new American opera (VANESSA and THE LAST SAVAGE) and even a touch of operetta (Johann Strauss’s GYPSY BARON). Gedda never generated the hysterical fan response of, say, Franco Corelli, but few left his finely nuanced, vocally secure, emotionally generous performances feeling cheated.
Gedda wound down his career slowly during the 1990s, giving concerts, teaching and taking on occasional character roles, such as the ancient Abdisu, Patriarch of Assyria, in Covent Garden’s 1997 production of Pfitzner’s PALESTRINA. He also finally found marital contentment in 1997 with Aino Sellermark, who collaborated with Gedda on his memoirs, MY LIFE—MY ART. The couple settled in what appeared to be an idyllic retirement in Tolochenaz, a Swiss villa, where Gedda could take pride in recalling an extraordinarily productive career that had made him one of the most admired and widely heard tenors of his generation. Gedda died 8 January, 2017, aged 91.”
- Peter G. Davis, OPERA NEWS, 9 Feb., 2017
“José van Dam has recorded nearly 150 roles, appeared in multiple world premieres, received most of the awards given to singers, is one of the most respected musicians of his generation -- and almost nobody outside the world of classical music has even heard his name. His presence is rather austere, and his singing is notable for subtlety and attention to detail. His bass-baritone voice is rich, and his phrasing is impeccable in nearly every musical style, from Baroque to contemporary. He is an intense though introverted actor, and even starred in LE MAITRE DE MUSIQUE, a film about a reclusive singer who retires from the operatic stage to teach.
Van Dam was engaged by the Paris Opera in 1962, where he made his operatic début in Berlioz's LES TROYENS, as Priam and the Voice of Mercury. In 1964 he sang the role of Escamillo for the first time, appearing in this role countless times in the future and recording it no fewer than four times. In 1965, he joined the Geneva Opera, where he sang the role of Maitre Fal in the world premiere of Milhaud's LA MÈRE COUPABLE. Lorin Maazel engaged him to sing in his recording of Ravel's L'HEURE ESPAGNOL on Deutsche Grammophon and invited him to become a member of the Deutsche Oper. He made his La Scala and Covent Garden débuts in 1973; in 1974, was named a Berliner Kammersänger and won the German Music Critics' Prize; and in 1975, made his Metropolitan Opera début.
During the 1970s and 1980s, he continued to add new roles to his repertoire and began his long-standing partnership with Herbert von Karajan and with the Salzburg Festival. As he and his voice matured, he dropped certain roles, such as Escamillo and Figaro, and added roles such as Philip II, the Flying Dutchman, and Simon Boccanegra. In 1983, he sang the title role in the world premiere of Messiaen's SAINT FRANÇOIS D'ASSISE. He also continued to perform and record oratorio repertoire and became a noted interpreter of German lieder and French song, particularly the music of Henri Duparc. In the mid-1990s, he began again to explore new operatic repertoire, portraying Scarpia for the first time in 1995. He fared well in the inevitable comparisons to Gobbi. Both took a similar approach to roles - studying the historical and literary sources for the character, but regarding them as supplementary to what the composer and librettist created.”
- Anne Feeney, allmusic.com