V2312. EMMA LUART, w.Roger Bourdin, David Devriès, Germaine Cernay, Suzanne Cesbron-Viseur, Charles Friant, Pierre Dupré: Rare Scenes & Arias (Massenet). (England) Vintage 1006, recorded 1927-30. Transfers by Richard Bebb. Very long out-of-print, Final Copy! - 618132100620
"Luart’s soprano has a distinctive character, a fast vibrato but a steely tonal core; she sings with great dramatic intensity, and in the death scene [of THAÏS] her voice rises to ecstatic high Ds….”
- Desmond Arthur, AMERICAN RECORD GUIDE, March/April, 1999
"David Devriès…exemplified the art of the French ténor-légère. As did Edmond Clément and the ill-fated Louis Cazette, he exhibited in his singing the elegance, style and good taste that has seemingly been eroded during the last half of the 20th Century."
- Alan Bilgora, THE RECORD COLLECTOR, 2004
“With his strong family theatrical background, becoming a dancer, training and performing as an actor with the great Sarah Bernhardt and winning an award as a singer at the Paris Conservatoire, Charles Friant occupied a special place in a long line of French tenors active in the first half of the 20th century….He not only moved extraordinarily well on stage, portraying a role with histrionic subtlety but, more importantly, sang with great taste, style and musicality. His many talents were both natural and also the result of training and, although not unique, it seems rare today to find all these gifts apparent in one tenor. He was without doubt a truly fine and important French artist.”
- Alan Bilgora, THE RECORD COLLECTOR, 2016
“Cesbron-Viseur's…inimitable French style has disappeared in an age of mediocre singing. [This celebrated artists’s pupils included Régine Crespin & Eliette Schenneberg]
.whose sound gives me chills…."
- Ward Marston, Courier-Post, 21 July, 1996
“Germaine Cernay was born Germaine Pointu in Le Havre, studied at the Paris Conservatory with Henri Albers and Émile Engel, making her début at the Opéra-Comique in 1927 in the Paris première of Alfano’s RESURREZIONE, opposite Mary Garden and René Maison. Her Salle Favart roles included Charlotte (WERTHER), Margared (LE ROI D’YS), Mignon, Suzuki (MADAMA BUTTERFLY), and Mallika (LAKMÉ). Outside of France she appeared in Belgium and Switzerland, as well as in North Africa. In 1942 she sang the role of Geneviève in the first complete recording of PELLÉAS ET MÉLISANDE under the baton of Roger Désormière. Cernay died prematurely a year later in Paris.”
- Vincent Giroud, Program Notes to Marston's FIREBIRDS OF PARIS
“Roger Bourdin studied at the Paris Conservatory, where he was a pupil of André Gresse and Jacques Isnardon. He made his professional début at the Opéra-Comique in 1922, as Lescaut in MANON. His début at the Palais Garnier took place in 1942, in Henri Rabaud's MÂROUF, 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 Colón 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 Désormière.
His most memorable roles were: Clavaroche in André 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