V2208. GEORGES LICCIONI: Songs by Tosti & Büsser; Arias & Duet (w.Robert Massard) from Manon, Lakmé, Roméo, Mireille, Werther, Carmen, Faust, Le Roi dÝs, La Reine de Saba, Le Roi Malgré Lui, La Juive, Ballo, La Traviata, Don Carlos, La Boheme, Tosca & Madama Butterfly. France) Malibran 204. - 7600003772046
“Georges Liccioni enjoyed a good career both at home and abroad and undertook a wide variety of roles suitable to his sizeable, lyric voice, which has a very free emission of tone. It reminds one of only a slightly less powerful José Luccioni, which perhaps is not so surprising considering Liccioni’s Corsican lineage….All the items from the standard French repertoire are well sung in a forthright manner, with informed phrasing and an ability to soften the tone when required, whilst the arias sung in excellent Italian have that essential slancio that makes them both attractive and exciting.”
- Alan Bilgora, THE RECORD COLLECTOR, 2013
“Georges Liccioni made his début at the Opéra 13 September, 1963 in the role of the Duke of Mantua. Opera magazine’s review promised a bright future. At the Palais Garnier he soon afterward sang Faust, Roméo and Rodolfo. He went on to perform 350 times at the Palais Garnier and at the Salle Favart.
In the April, 1964 issue of OPERA, André Chedorge wrote: ‘Liccioni is becoming established as one of the best lyric tenors of the time’. The end of that decade marked the peak of his career and witnessed triumph in a series of operatic rarities: LE ROI D'YS (Palais Garnier), WAR AND PEACE at the Théâtre des Champs-Elysées, and in Marseille with Henri Sauguet’s LA CHARTREUSE DE PARME, one of the longest of the French repertoire ténorial roles, under the direction of composer, for the 1968 Olympic Winter Games in Grenoble. Liccioni appeared in LUCREZIA BORGIA, again in Marseille, alongside Montserrat Caballé and José van Dam. Jean-Louis Caussou wrote: ‘We expect in this part bel canto delivery, and Georges Liccioni offers this plus great style, courage and flexibility, the Marseille tenor aquitted himself with honor. One month after this brilliant Marseille success he sang in Genève alongside Gwyneth Jones in Boito's MEFISTOFELE under the baton of Michel Plasson.
Throughout the 1970's, he embellished his repertoire with Lensky, Rinuccio and Puccini’s Des Grieux, plus Stravinsky (OEDIPUS REX) through Berg (LULU) and DIALOGUES DES CARMÉLITES (in Garnier under the baton of George Priest). In 1978, two of the productions in which he sang were broadcast on television: Chabrier’s LE ROI MALGRÉ LUI in Toulouse under the leadership of Michel Plasson and CARMEN from Lavelli, filmed in Strasbourg. Liccioni was the very authentic representative of real French song in France and across the borders. He was awarded the Arts and Humanities and the National Order of Merit.”
- Jerome Pesqué
“Massard made his professional début at the Paris Opéra in 1952, as the High Priest in SAMSON ET DALILA, shorthly followed by Valentin in FAUST. The same year, he also made his début at the Aix-en-Provence Festival, as Thoas in IPHIGÉNIE EN TAURIDE. His career rapidly took an international dimension with débuts in 1955, at La Scala and the Glyndebourne Festival, both as Ramiro in L'HEURE ESPAGNOLE. Oreste in IPHIGÉNIE EN TAURIDE was his début role at the Maggio Musicale Fiorentino, the Royal Opera House in London, and the Edinburgh Festival. Massard also appeared in North and South America, notably at the Lyric Opera of Chicago, at Carnegie Hall and the Teatro Colón in Buenos Aires. Henceforth considered one of the best French baritones of his generation, he was internationally acclaimed as Valentin in FAUST, Escamillo in CARMEN, Fieramosca in BENVENUTO CELLINI, and Golaud in PELLÉAS ET MÉLISANDE.”
- Ned Ludd