Andre Cluytens;  Martha Angelici & Louis Noguera;  Maurice Durufle     (Testament SBT 1240)
Item# C0232
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Andre Cluytens;  Martha Angelici & Louis Noguera;  Maurice Durufle     (Testament SBT 1240)
C0232. ANDRE CLUYTENS Cond. Paris Conservatoire S.O., w.Roget (Organ): Organ Symphony #3 in c (Saint-Saëns); w. MARTHA ANGELICI & LOUIS NOGUÉRA; MAURICE DURUFLÉ (Organ): Réquiem (Fauré). (Austria) Testament SBT 1240, recorded 1955/’50, resp. Long out-of-print, Final Sealed Copy! - 749677124021


"Martha Angelici was a French operatic soprano of Corsican origin, particularly associated with the French lyric repertoire. While still very young she moved with her family to Belgium, where she studied voice in Brussels with Alfred Mahy. She began singing for the Belgian, Dutch and Luxemburg radio in 1933, and gave her first public concert at the Kurzaal of Ostend in 1934. Her first stage performance was in Marseille, as Mimi in La Bohème, in 1936. She made her début at the Opéra-Comique in 1938, where she had a long and successful career, and made her début at the Palais Garnier in 1953, as Micaëla in Carmen, other notable roles included Leila, Pamina, Nedda, etc. She made a few guest appearances at the Monte Carlo Opera and La Monnaie in Brussels. She was also much admired in French baroque music notably in Rameau's Les Indes Galantes, and was much loved as a concert singer, especially of Corsican songs. She was married to the director of the Opéra-Comique, François Agostini."

-Zillah Dorset Akron

“The Algerian bass-baritone, Louis Noguera (original name: Louis Claver), began his career in 1935 at the Paris Opéra and sang there for many years. In 1945 he made his debut at the second major opera house in the French capital, the Opéra-Comique, as Escamillo in CARMEN. During his career he performed at these two opera houses in a variety of roles from the bass-baritone repertoire, among them the title role in Rossini’s GUILLAUME TELL, Valentin in FAUST, Ourrias in MIREILLE, Lescaut in Massenet’s MANON, the title role in RIGOLETTO, Zurga and Nourabad in PÊCHEURS DE PERLES, Shylock in Hahn’s LE MARCHAND DE VENISE, Beckmesser in MEISTERSINGER and Alberich the NIBELUNG RING. On June 2, 1948, he appeared at the Opéra-Comique in the premiere of the opera LA CARROSSE DU SAINT SACREMENT by Henri Büsser. There were also guest performances and concert appearances in the French music centers.”

- Bach Cantatas Website

“André Cluytens was among the leading French conductors of his time. His father, Alphonse, was conductor at the Royal French Theater of Antwerp. André became his assistant and a choirmaster there. When an illness prevented Alphonse from conducting, André made his performance début in 1927. After that experience he devoted his efforts to orchestral and opera conducting rather than choral work, and he became a resident conductor in the house.

In 1932 he accepted a position as the musical director of orchestral concerts at the Capitole de Toulouse, and he became a French citizen. In 1935 was appointed the opera director in Lyons. He was an assistant of Josef Krips in a summer series in Vichy and, once again, was called on to substitute when that conductor could not perform. He became musical director of the Lyons Opera in 1942, conductor of the Conservatoire Concerts and the French National Radio Orchestra in Paris in 1943, and in 1944 conducted at the Opéra de Paris. From 1947 to 1953 he was music director of the Paris Opéra-Comique, and in 1949 was appointed as principal conductor of the Conservatory Concerts. He retained that position for the rest of his life. In 1955 he was invited to conduct LOHENGRIN at the Bayreuth Festival, the first French person to appear on the podium there. He débuted in the United States in 1956, and in Britain in 1958, when he substituted for Otto Klemperer. He formed a close relationship with the Vienna State Opera, which he first conducted in 1956, becoming a permanent guest conductor in 1959. In 1960 he became conductor of the Belgian National Orchestra in Belgium, also holding that post until his death. He also formed a close link with the Berlin Philharmonic, with which he made a notable recording of the Beethoven symphonies. However, he was primarily known for French repertoire, premiering works by Françaix, Jolivet, Messiaen, Milhaud, Tomasi, Büsser, and Bondeville. He was invited back to Bayreuth in 1965.”

- Joseph Stevenson,