OP3181. SAMSON ET DALILA, Live Performance, 30 Jan., 1956, Palais Garnier, w. Fourestier Cond. l'Opéra Ensemble; Raoul Jobin, Denise Scharley, René Bianco, Henri Médus, Pierre Froumenty, etc.; DENISE SCHARLEY & RENÉ BIANCO: SAMSON ET DALILA - Excerpts, 1960 & 1956. (France) 2-Malibran 789. - 7600003777898
“Raoul Jobin, the leading French Canadian tenor of the 1930s and 1940s, studied in his native Québec and then at the Paris Conservatoire, making both his concert and Paris Opéra débuts in 1930. After a spell back in Canada, he returned to the Opéra in 1934 and was a valued member of the company thereafter. He made his Covent Garden début in 1937 and from 1940 to 1950 was regularly engaged at the Metropolitan in New York, also singing with other companies in North and South America. He sang at the Opéra-Comique from 1946. Although he was best known in the French repertoire, Jobin also appeared with success in Italian rôles and the lighter Wagnerian parts. He taught singing in Montréal from 1957 and made his final stage appearance the following year. His exciting voice can be heard on many recordings.”
- Tully Potter
“Denise Scharley was a French contralto who débuted at the Opéra-Comique on 29 November, 1942, in the role of Geneviève in PELLÉAS ET MÉLISANDE, and then at the Paris Opéra, 23 Nov., 1953, as Maddalena in RIGOLETTO. On 21 June, 1957, she created the role of the Prioress in Poulenc’s DIALOGUES DES CARMÉLITES. Denise Scharley occupied a place in the forefront of French singers. Two key roles, however, have particularly distinguished her: that of Madame de Croissy, First Prioress (DIALOGUES DES CARMÉLITES) and Mme Flora in Menotti’s THE MEDIUM. In 1951 she appeared as Carmen at the Monnaie in Brussels. She is particularly remembered for performances of SAMSON ET DALILA at the Palais Garnier in 1960. With Crespin and Gorr, she was one of the Norns in GÖTTERDÄMMERUNG, Fricka in DIE WALKÜRE and Erda in SIEGFRIED in 1958, under Knappertsbusch. In Weber’s OBERON she became Puck, under the baton of André Cluytens (1954), and young David, at the stage presentation of Arthur Honegger's KING DAVID in October 1960. In 1972, she again sang Madame de Croissy in the new production of DIALOGUES DES CARMÉLITES. In Geneva, she also had the opportunity to perform the Russian repertoire in PIQUE DAME and KHOVANSHCHINA.
Raoul Jobin made his début at the Paris Opéra on 3 July, 1930, as Tybalt in ROMÉO ET JULIETTE. He quickly sang principal tenor rôles at both the Opéra and the Opéra-Comique, as well as in many cities throughout France, Lyons, Toulouse, Bordeaux, Marseilles, etc. He sang mainly the French repertoire, with occasional incursions into the Italian repertoire. With the outbreak of the war, he returned to North America. He made his début at the Metropolitan Opera on 19 February, 1940, as des Grieux in MANON. He remained with the company until 1950, where he sang many rôles alongside such singers as Lily Pons, Bidu Sayao, Licia Albanese, Risë Stevens, under conductors such as Wilfrid Pelletier and Thomas Beecham. He made regular appearances in San Francisco, Chicago, Boston, New Orleans, etc., also appearing in Mexico City, Rio de Janeiro, and Buenos Aires. After WW II, he returned to Paris in 1947, where he successfully sang his first major Wagnerian rôle, Lohengrin, earning him the nickname ‘Monsieur Lohengrin’. He later sang the role of Walther in DIE MEISTERSINGER VON NÜRNBERG with equal success. He also created the rôle of Fabrice Del Dongo in LA CHARTREUSE DE PARME by Henri Sauguet. Subsequently, Jobin divided his time largely between Europe and America, maintaining his high standard in his accustomed rôles while adding new ones, until his retirement from the stage in 1958.
René Bianco was a French baritone whose career began in 1942 in the major theaters of North Africa (Algiers, Tunis, Oran, etc.), then continued in France. From 1950, he regularly performed at the Opéra de Paris especially the works of Verdi, Gounod and Bizet . He then retired to teaching in the 1990s.”
- Z. D. Akron