Faust   (Fourestier;  Georges Nore, Jacqueline Brumaire, Raphael Arie, Robert Massard, Liliane Berton)  (2-Malibran 788)
Item# OP3165
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Product Description

Faust   (Fourestier;  Georges Nore, Jacqueline Brumaire, Raphael Arie, Robert Massard, Liliane Berton)  (2-Malibran 788)
OP3165. FAUST, Broadcast Performance, 1 Jan., 1955, w.Fourestier Cond. l'Op�ra Ensemble; Georges Nor�, Jacqueline Brumaire, Rapha�l Ari�, Robert Massard, Liliane Berton, Genevi�ve Serres & Charles Soix, accompanied by broadcast commentary. (France) 2-Malibran 788. - 7600003777881


"Georges Nor� was a French tenor unjustly forgotten today, even though Sir Thomas Beecham choose him for the title role of FAUST, recorded in 1947. Although seen as the successor to Thill, in 1960 he took a somewhat premature retirement.�

- Laurent Bury, Op�raforum.com, 21 December, 2015

�To hear these native-born artists declaiming in their own tongue is pleasure enough in itself, but as they are all masters of their roles, the delight in hearing them is the greater. Nor�s refined, plaintive timbre allied to his sense of style makes his entire contribution above reproach."

- Alan Blyth, GRAMOPHONE, Sept., 2001

�Rapha�l Ari� was never as well known as his two great compatriots Nicolai Ghiaurov and Boris Christoff, but he is the third in the trinity of great Bulgarian basses. Born in Sofia he studied with the important pedagogue Christo Brambarov who guided his pupil�s career with care and caution. He won the Geneva singing competition in 1946, continuing studies in Italy with stellar figures such as Stracciari and Granforte and soon made a name for himself in Prokofiev, in BORIS and DON GIOVANNI. He performed widely in Italy and France in particular � though in 1953 he was chosen as the Commendatore for a Salzburg Festival performance under Furtw�ngler � even if he made Rome his base."

- Jonathan Woolf

�Massard made his professional d�but at the Paris Op�ra in 1952, as the High Priest in SAMSON ET DALILA, shorthly followed by Valentin in FAUST. The same year, he also made his d�but at the Aix-en-Provence Festival, as Thoas in IPHIG�NIE EN TAURIDE. His career rapidly took an international dimension with d�buts in 1955, at La Scala and the Glyndebourne Festival, both as Ramiro in L'HEURE ESPAGNOLE. Oreste in IPHIG�NIE EN TAURIDE was his d�but role at the Maggio Musicale Fiorentino, the Royal Opera House in London, and the Edinburgh Festival. Massard also appeared in North and South America, notably at the Lyric Opera of Chicago, at Carnegie Hall and the Teatro Col�n in Buenos Aires. Henceforth considered one of the best French baritones of his generation, he was internationally acclaimed as Valentin in FAUST, Escamillo in CARMEN, Fieramosca in BENVENUTO CELLINI, and Golaud in PELL�AS ET M�LISANDE.�

- Ned Ludd

“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