La Basoche  (Messager)  (Gressier;  Berton, Monteil, Maurane, Musy, Lovano)  (2-Malibran 787)
Item# OP3164
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La Basoche  (Messager)  (Gressier;  Berton, Monteil, Maurane, Musy, Lovano)  (2-Malibran 787)
OP3164. LA BASOCHE (Messager), Broadcast Performance, 30 April, 1958, w.Gressier Cond. RTF Ensemble; Lillian Berton, Denise Monteil, Germaine Parat, Camille Maurane, Moizan, Boué, Bourdin, Louis Musy, Lucien Lovano, etc.; Messager Excerpts by Massard, Musy, Reidinger & Huylbrock. (France) 2-Malibran 787. - 7600003777874


�LA BASOCHE is an op�ra comique in three acts, with music by Andr� Messager and a French libretto by Albert Carr�. The opera d�buted at the Op�ra-Comique in Paris in 1890 and was mounted in Brussels in 1890, Geneva in 1891, London in 1891�1892 and New York in 1893.

The title of the operetta refers to the old Parisian guild of law clerks that was abolished with the French revolution in the 18th century. LA BASOCHE was first performed at the Op�ra-Comique (Salle du Th��tre Lyrique, place du Ch�telet), Paris, on 30 May 1890 and was initially given on 51 nights. It was revived there up to the Second World War and given at least another 150 performances, with Jean P�rier, Andr� Baug� playing Cl�ment Marot and Lucien Fug�re repeating the role of the duke. Messager himself conducted the 1900, 1902 and 1919 productions at the Op�ra-Comique, while later revivals were conducted by Gustave Clo�z and Albert Wolff. In 1908 the work entered the repertoire of the Th��tre de la Ga�t� in Paris, the cast including Baug�, Edm�e Favart and Fug�re and was revived there in 1927. It was presented at the Th��tre de la Porte-Saint-Martin in 1934 under the management of Maurice Lehmann with Baug� and Yvonne Brothier.�

- Wikipedia

�Camille Maurane was a French baritone singer who studied at the Paris Conservatoire in the class of Claire Croiza from 1936 to 1939. He began his professional career as a singer in 1940 at the Op�ra-Comique in Paris. He d�buted as the Moine musicien in LE JONGLEUR DE NOTRE DAME on 14 January 1940.

His voice was typical of the baryton-martin range (between baritone and tenor). He is famous for his interpretation of Debussy's Pell�as, for which he took part in three complete recordings. He is also regarded as one of the best interpreters of French m�lodies, of which he left many recordings. His repertoire extended back to music of Rameau through to Honegger and other contemporaries. A dedicated teacher, he taught at the Paris Conservatory until 1981.�

�Louis Musy was a French operatic baritone and stage director principally active at the Paris Op�ra-Comique. His teacher was L�on David. He made his d�but in LE CHEMINEAU by Leroux in 1925 at the Op�ra-Comique and went on to sing many other French and Italian roles in the Op�ra-Comique repertoire. Musy was a member of the four-member committee which ran the Op�ra-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, Ir�ne 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'�COLE DES MARIS by Emmanuel Bondeville in 1954 (Sganarelle), and LES MOUSQUETAIRES AU COUVENT 1957 (Bridaine) AND LA FILLE DE MADAME ANGOT in 1958 (Larivaudi�re). He played Dr. Bartolo in the 1948 Op�ra-Comique film of LE BARBIER DE S�VILLE directed by Jean Loubignac and conducted by Andr� Cluytens.�

- Zillah Dorset Akron

“Liliane Berton was a French soprano, known principally on the opera stage, but also active in radio recordings and as a teacher. Although considering a dramatic career, after vocal studies at the Conservatoire de Lille and the Conservatoire de Paris she made her debut at the Opéra de Marseille as Blondine in DIE ENTFÜHRUNG AUS DEM SERAIL.

Berton was taken on by the RTLN, and made her Paris debut at the Opéra as Siebel in FAUST on 8 September 1952, before appearing in the premiere of DOLORÈS by Michel-Maurice Lévy at the Opéra-Comique on 7 November 1952.

Her career encompassed many lighter soprano roles in the repertoire: l’Amour, Fatime (LES INDES GALANTES), Sophie (WERTHER), Poussette (MANON), Xenia (BORIS GODUNOV), Rosina (THE BARBER OF SEVILLE, in French), Eurydice (ORPHÉE), Sophie (DER ROSENKAVALIER) and Chérubin and Susanna (LE NOZZE DI FIGARO). In 1962, at l'Opéra she sang Sophie to Elisabeth Schwarzkopf's Marschallin. Although she rarely sang outside France, in 1963 she at the Glyndebourne Festival, she appeared as Susanna, NOZZE DI FIGARO. In 1957 she created the role of Soeur Constance in the French premiere of DIALOGUES DES CARMÉLITES by Francis Poulenc.

As well as Paris, she sang frequently in the French provincial houses, as well as at the Festivals of Aix-en-Provence, Edinburgh, Glyndebourne and the Netherlands, and in Rio de Janeiro, Buenos-Aires, Lisbon and London. Around 1966 her career moved from performing to teaching, at the Paris Conservatoire, with Gabriel Bacquier, while still occasionally singing lighter repertoire and opérettes. As well as DIALOGUE DES CARMÉLITES she left recordings of other operas, many operettas and mélodies by Poulenc.”

- Wikipedia