Georgette Brejean-Silver     (Malibran 733)
Item# V1816
$19.90
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Product Description

Georgette Brejean-Silver     (Malibran 733)
V1816. GEORGETTE BREJEAN-SILVER: Songs by Silver, etc.; Arias from Nozze, Rigoletto, La Traviata, La Boheme, Manon, Thais, Lakmé, Faust, Roméo, La Belle au Bois Dormant, Fra Diavolo & Les Noces de Jeannette. (France) Malibran 733, recorded 1905-09. - 7600003777331

CRITIC REVIEWS:

“In the years around 1900, Georgette Bréjean-Silver held her own against stiff competition at the Opéra-Comique. These years saw the zenith of the French operatic tradition. Bréjean-Silver shared roles with their most famlous divas, and in the role of Manon she was arguably second to none, her ravishing voice and polished technique being immortalized by the records she made for Odéon and Fonotipia. She possessed a characteristically French soprano voice of the period with bright timbre and pointed focus. Georgette Bréjean-Silver made her debut (as Brejean-Gravière) at the Opéra-Comique as Manon, 17 Sept., 1894. This theatre remained the centre of her activities for the rest of her career. It was in 1894 that Massenet first heard Brejean-Silver as Manon. In a letter of September 16th 1894 to his publisher Henri Heugel, he described her interpretation as ‘first-rate’. Massenet was sufficiently impressed to write an additional aria, the ‘Fabliau’ to showcase her coloratura talents and as an alternative to the famous ‘gavotte’ for her debut in the role in Brussels. It was a remarkable compliment considering that MANON was already well established as his greatest masterpiece. Brejean-Silver remained closely associated with Massenet for the rest of her career.

- Patrick Bade



"There is a natural, unaffected quality about much of Bréjean-Silver's singing, and her enunciation is quite wonderfully clear in all but the highest reaches of her voice. Her upper middle range often comes over as surprisingly powerful. First of all, her voice is almost generically French for its type - silvery, pretty, and just a bit strident above the staff. More importantly, she is a true interpreter and holds the listener's attention throughout. French words mean something to her in the way that German ones do to Lotte Lehmann and Italian ones to Licia Albanese. Her Manon, Mimi and Marguerite are wonderfully detailed. Her enunciation, textual emphases, and highly flirtatious manner here are both a highly seductive rendering and a greatly pleasurable listening experience."

- Joe Pearce, THE RECORD COLLECTOR, 2011