La Poupee;  La Mascotte (both Audran)  (Pernet, Delimoges, Dens, Peyron, Renaux, Berton) (2-Malibran 806)
Item# OP3211
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La Poupee;  La Mascotte (both Audran)  (Pernet, Delimoges, Dens, Peyron, Renaux, Berton) (2-Malibran 806)
OP3211. LA POUP�E, recorded 1955, w. Benedetti Cond. Genevi�ve Pernet, Blanche Delimoges, Joseph Peyron, Willy Cl�ment, Linda Felder, etc.; LA MASCOTTE, recorded 1953, w. Gressier Cond. Nadine Renaux, Michel Dens, Claude Devos, Liliane Berton, Linda Felder, etc. (both Audran). [Another irresistible charmer!] (France) 2-Malibran 806. - 7600003778062


"LA POUP�E (The Doll) is an op�ra comique in a prelude and three acts composed by Edmond Audran with a libretto by Maurice Ordonneau. It opened at the Th��tre de la Ga�t�, Montparnasse, Paris on 21 October 1896. Along with MISS HELYETT (1890) LA POUP�E was one of Audran's late successes. The libretto was based on E.T.A. Hoffmann's DER SANDMANN.

LA MASCOTTE (The Mascot) is an op�ra comique by Edmond Audran. The French libretto was by Alfred Duru and Henri Charles Chivot. The story concerns a farm girl who is believed to bring good luck to whoever possesses her, so long as she remains a virgin. The title as translated into English initiated the use of the word �mascot� in the English language to mean an animal, human, or thing which brings luck.

It was first performed at the Th��tre des Bouffes Parisiens in Paris on 29 December 1880. It was very popular and 1,000 performances were given in just five years. It was revived at the Bouffes Parisiens in 1883 and 1889 and produced at other Paris theatres up until the 1930s and again in 1944; a film was made in 1935 with Germaine Roger, Lucien Baroux, Lestelly and Dranem. It was translated into English and staged."

- Wikipedia

�Michel Dens ranks with Robert Merrill and Pavel Lisitsian as one of the great lyric baritones of the period after the Second World War. Born in Roubaix, he studied the violin as a boy and planned to go into the textile business, but was urged to take his singing seriously, studied at the local Conservatoire and made his d�but in 1934 at Lille as Wagner in FAUST. After learning his craft in such cities as Bordeaux, Grenoble, Toulouse, Marseille and Monte Carlo, he arrived in 1947 at both the Op�ra and the Op�ra-Comique in Paris. As a guest artist he sang at many opera houses in France, Belgium, Switzerland, Canada and North Africa. Gifted with a high-lying voice of great beauty and flexibility, he was equally at home in the French repertoire and in such Italian r�les as Rigoletto and Figaro. He was also a wonderful singer of both French and Viennese operetta, and could even handle Tauber�s r�les in Leh�r�s works convincingly. Dens had a long career and was still singing well at the age of eighty. Fortunately he made a vast quantity of recordings.�

- Tully Potter

“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