Marouf   (Rabaud)   (Fourestier;  Geori Boue, Moizan, Bourdin, Froumenty, Vessieres, Demigny)   (2-Malibran 798)
Item# OP3183
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Marouf   (Rabaud)   (Fourestier;  Geori Boue, Moizan, Bourdin, Froumenty, Vessieres, Demigny)   (2-Malibran 798)
OP3183. MAROUF (Rabaud), recorded 1951, w.Fourestier Cond. Geori Bou�, Genevi�ve Moizan, Roger Bourdin, Pierre Froumenty, Andr� Vessieres, Bernard Demigny, etc.; GEORI BOU�: Arias from Eugen On�gin, Der Freisch�tz, Mignon, Le Cid & Le Jongleur de Notre-Dame. (France) 2-Malibran 798. - 7600003777980

CRITIC REVIEWS:

�MAROUF is based on a tale from the ARABIAN NIGHTS. The title character, as drawn by Rabaud and his librettist Lucien Nepoty, must certainly be one of the most passive protagonists in operatic literature! Our Cairene cobbler isn't ambitious, clever, or brave. Rather he trusts to luck, or perhaps the will of Allah. When his �Calamitous Spouse� drags him before the law for beating her, though innocent, he accepts his punishment without a word in his own defense. He does at last choose to flee the harpy, and takes to the high seas with a group of mariners. But shortly thereafter he finds himself beaten and robbed far from home. It is a preposterous story that is meant to amuse, rather than to move the emotions. In fact Marouf's servile manner and vocal lines filled with endless sing-song arabesque started grating on me after a bit - that is, until I encountered his beguiling �Saamcheddine�! The couple's Act 3 love duet is perhaps the musical high point of the opera.

�Modernism is the enemy� was a favorite dictum of the Rabaud's, so it's no surprise that his opera has little in common with the works of such near contemporaries as Arnold Sch�nberg or even his compatriot Maurice Ravel. There's hardly a hint of the desperate passions found in contemporary verist works either, such as Zandonai's FRANCESCA DA RIMINI or Montemezzi's L'AMORE DEI TRE RE. Rather the name which most often springs to mind while listening to Marouf is that of his professor, Massenet--especially in that composer's lighter and more fanciful moods, found in operas like ESCLARMONDE or CENDRILLON. Like Massenet, Rabaud's music is suave, melodious, and meticulously crafted. Everything is paced with an astute sense of proportion. But the observant ear will also detect many fascinating �twentieth centuryisms� - hints of Straussian and Debussian harmonies that delight the ear and set his music apart from that of his more famous teacher. He also boasts a formidable orchestral technique.

Rabaud's opera doesn't aim for the heavens, but it achieves its more modest goals with such ease and facility that one cannot help but feel a certain delight in it.�

- Eric D. Anderson, OPERA NEWS, 27 Aug., 2005



�French soprano Geori Bou� was born on 16 October, 1918 in Toulouse and managed an exemplary career in her native country. She studied at the Music Conservatory in Touluse, taking on voice with Claude Jean, piano and harp. She made her d�but in Toulouse in 1938 and rose to fame singing staples of the French repertoire that include Marguerite from FAUST, Juliette from ROM�O ET JULIETTE and Manon from Massesent�s opera of the same name. As her career progressed she expanded into other repertoire taking on Gilda in Verdi�s RIGOLETTO, Violetta in LA TRAVIATA, Mimi in LA BOHEME, Cio Cio San in MADAMA BUTTERFLY, Tatiana in EUGEN ON�GIN, Desdemona in OTELLO and Tha�s among other roles. In later years CARMEN, WERTHER and numerous operettas would enter her repertoire. She also appeared in a 1943 film entitled LA MALIBRAN.

She also managed an international career in Mexico, Barcelona, Rio de Janeiro and at La Scala in Milan where she appeared as M�lisande in Debussy�s PELL�AS ET M�LISANDE under the baton of Victor de Sabata. She appeared in that Debussy work alongside her husband Roger Bourdin. She died at age 98, 5 Jan., 2017.�

- David Salazar, operawire.com, 6 Jan., 2017



�Genevi�ve Moizan entered the Conservatoire de Paris in 1942, and upon graduation in 1946 she won first prize in the Saint Sulpice competition. She d�buted at the Paris Op�ra in 1949 as Margu�rite in FAUST (with Nor� and Andr� Pernet), moving on to a vast repertoire. She often appeared in Monte Carlo, Geneva, Strasbourg, Brussels, Algiers, etc. It was, however, her collaboration with the ORTF which gained her the essential part of her national popularity for almost twenty-five years.

With its clear timbre, her lyric soprano was equally acclaimed in both dramatic and mezzo-soprano r�les: Werther, Sapho, Le Roi d'Ys, Mignon, Il Trovatore, etc.�

- Zilla D. Akron



Roger Bourdin studied at the Paris Conservatory, where he was a pupil of Andr� Gresse and Jacques Isnardon. He made his professional d�but at the Op�ra-Comique in 1922, as Lescaut in MANON. His d�but at the Palais Garnier took place in 1942, in Henri Rabaud's M�ROUF, SAVETIER DU CAIRE. The major part of his career was to be spent between these two theatres, where he created some 30 roles. Bourdin seldom performed outside France, but did a few guest appearances at the Royal Opera House in London, La Scala in Milan, and the Teatro Col�n in Buenos Aires. He also sang in the first performance of surviving fragments of Chabrier's VAUCOCHARD ET FILS IER on 22 April 1941 at the Salle du Conservatoire with Germaine Cernay, conducted by Roger D�sormi�re.

His most memorable roles were: Clavaroche in Andr� Messager's FORTUNIO, Metternich in Arthur Honegger and Jacques Ibert's L'AIGLON, Duparquet in Reynaldo Hahn's CIBOULETTE, Lheureux in Emmanuel Bondeville's MADAME BOVARY, the lead in Darius Milhaud's BOLIVAR, but also standard roles such as Valentin, Athanael, Onegin, and Sharpless. In all he sang an estimated 100 roles throughout his long career.�

- Ned Ludd