Theatre Royale de la Monnaie, 300 Ans d'Opera           (4-Malibran 169)
Item# V0620
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Theatre Royale de la Monnaie, 300 Ans d'Opera           (4-Malibran 169)
V0620. Théatre Royale de la Monnaie, 300 Ans d’Opéra à Bruxelles, incl. d’Inès, Noréna, Bastard, ben Sédira, Madeleine Renaud, Bertin, Maurane, Baugé, Fugère, Vallin, Doria, Ansseau, Tilkin-Servais, d’Arkor, Clément, Journet, Pernet, Bovy, Cambon, Lugo, Clairbert, Bunlet, Revoil, Germaine Martinelli, Sibille, Goavec, Mertens, Luart, Ponzio, Beets, Balbon, Gallins, Nespoulous, Vezzani, Maison, Melba, Vecray, Devriès, Franz, van Dyck, Balguerie, Dufranne, d’Assy, Noté, Alexis Boyer, Endrèze, Crabbé, Talifert, Dister, Villier, Croiza, Frozier, Vanni-Marcoux, Féraldy, Claudel, Billot, Heldy, Planel, Rouard, Luccioni, van Obbergh, de Trévi, Huberty, Almona, Thill, Richard, Rogatchevsky, Burdino, Colonne, Lens, Djanel, Jobin, Boons, Vieuille, Raveau, Berthon, Brothier, Kaisin, Beckmans, Villabella & Pape. (France) 4-Malibran 169, recorded 1903-1954, featuring two Booklets w.54pp of Photos & brief notes of the Theater and its Singers. - 3760003771693


“This is a marvelous album. There is a brief history of the Brussels La Monnaie opera house in one of the two accompanying booklets (in French, Dutch, and an amusing sort of English), but the album's greatest value is in its collection of recordings by the Belgian, French, and Dutch singers who appeared there in the period from 1900 to the beginning of World War II. They sing a repertoire that represents three centuries of Monnaie performance, from Rameau through Debussy. Several expected names are there, but there are also a great many lesser-known artists, fascinating for voice, career, or both. In any event, very few such broad collections of French singing generally come along. In this age of globalization, national styles in singing, once so pronounced and productive, are receding further in every decade. This album provides a fine opportunity to explore those qualities, technical and interpretive, that for so long distinguished French singing of both the native and international repertoires. On listening to these discs, I began to re-explore the topic. I discovered about twenty performances that for me posed central interpretive questions, exemplified marvelous approaches to interpretive problems, or illustrated with great force the special qualities of certain singers. The subject of interpretation is, of course, endless, and this Malibran set is a splendid encyclopedia of French vocal styles, revealing a powerful arsenal of expressive subtleties often coarsened or lost in modern performances of classic French works. [The extensive booklet] lists the selections and singers represented, and then a group of considerations of particularly provocative performances, each of them preceded by basic information on the recording.”

- London Green, THE OPERA QUARTERLY, Vol.19, #3, Summer 2003