Jean Martinon, Vol. XV;   Le Rossignol;  Janine Micheau, Genevieve Moizan, Janine Collard, Jean Giraudeau, Camille Maurane, Joseph Peyron - Stravinsky (St Laurent Studio YSL T-1324)
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Jean Martinon, Vol. XV;   Le Rossignol;  Janine Micheau, Genevieve Moizan, Janine Collard, Jean Giraudeau, Camille Maurane, Joseph Peyron - Stravinsky (St Laurent Studio YSL T-1324)
C2009. JEAN MARTINON Cond. Chicago Orch.: Petrouchka - Live Performance, 2-3 Dec., 1965, Orchestra Hall; JEAN MARTINON Cond. RTF S.O., w. Janine Micheau, Geneviève Moizan, Janine Collard, Jean Giraudeau, Camille Maurane, Joseph Peyron, etc.: LE ROSSIGNOL - Live Performance, 29 May, 1952 (both Stravinsky). (Canada) St Laurent Studio YSL T-1324. Transfers by Yves St Laurent.

CRITIC REVIEWS:

"Stravinsky's short, charming opera LE ROSSIGNOL is rarely performed or recorded. THE NIGHTINGALE (Le rossignol) is a Russian conte lyrique in three acts by Igor Stravinsky. The libretto, based on the tale of THE NIGHTINGALE by Hans Christian Andersen, was written by the composer and Stepan Mitussov. It was first performed on 26 May 1914 by the Ballets Russes at the Palais Garnier in Paris.

Stravinsky had begun work on the opera in 1908, but put it aside for several years after he had received the commission from Sergei Diaghilev for the ballet THE FIREBIRD. He completed it in 1914, after he had completed his other two major ballets for Diaghilev, PETRUSHKA and THE RITE OF SPRING. Because the time between the writing of the first and second acts extended over six years, stylistically the work reflects Stravinsky's significantly changed approach to composition, and this can clearly be detected when performances are given. Stravinsky subsequently turned aside from large productions to concentrate on chamber music and the piano.”

- Hans Lick





“Janine Micheau was a French singer, one of the leading lyric sopranos of her era in France, she was born in Toulouse, and studied voice at the Paris Conservatoire. She made her professional début at the Opéra-Comique on 16 November 1933, as la Plieuse in LOUISE, following this with Loys in JUIF POLONAIS by Camille Erlanger, etc. By 1935 her performances gained her invitations to Marseille (Lakmé), and then (at the instigation of Pierre Monteux) to Amsterdam (Mélisande) and San Francisco. In Buenos Aires, Erich Kleiber conducted her in Sophie in DER ROSENKAVALIER.

She created the role of Creuse in Darius Milhaud's Médée, for her début at the Paris Opéra in 1940, where she also sang Gilda in RIGOLETTO, Violetta in LA TRAVIATA and Sophie in DER ROSENKAVALIER, among other roles.

Once the war was over, her career became more international than it had been; she performed at La Scala in Milan, La Monnaie in Brussels, Royal Opera House in London, the San Francisco Opera, and the Lyric Opera of Chicago. At these venues she sang nearly all the great French soprano roles. From 1961 she became a voice teacher at the Paris Conservatoire, and the Mozarteum in Salzburg. Her final performance was as Pamina in Rouen in May 1968.”

- Zillah Dorset Akron





“In the words of one of his biographers, conductor Jean Martinon's performances ‘were distinguished by a concern for translucent orchestral textures, and sustained by a subtle sense of rhythm and phrasing’. Occasionally ‘he stressed a poetic inflection at the expense of literal accuracy’.

Martinon's first instrument was the violin; he studied at the Lyons Conservatory (1924-1925), then transferred to the Paris Conservatory, where he wo n first prize in violin upon his graduation in 1928. He subsequently studied composition with Albert Roussel, and conducting with Charles Munch and Roger Désormière. Until the outbreak of World War II Martinon was primarily a composer. His early substantial works include a Symphoniette for piano, percussion, and strings (1935); Symphony #1 (1936); Concerto giocoso for violin and orchestra (1937); and a wind quintet (1938). At the start of the war he was drafted into the French army. Taken prisoner in 1940, he passed the next two years in a Nazi labor camp. There, he wrote 'Stalag IX’ (Musique d'exil), an orchestral piece incorporating elements of jazz; during his internment, he also composed several religious works, including ’Absolve’, ‘Domine’ for male chorus and orchestra, and ‘Psalm 136’ (Chant des captifs), the latter receiving a composition prize from the city of Paris in 1946.

Upon his release from the Nazi camp Martinon became conductor of the Bordeaux Symphony Orchestra (from 1943 to 1945) and assistant conductor of the Paris Conservatory Orchestra (from 1944 to 1946), then associate conductor of the London Philharmonic (from 1947 to 1949). He toured as a guest conductor as well, although his U.S. debut did not come until 1957, with the Boston Symphony giving the American premiere of his Symphony #2. Although he devoted as much time as he could to composing in the early postwar years -- producing a string quartet (1946), an ‘Irish’ Symphony (1948), the ballet ‘Ambohimang’a (1946), and the opera HÉCUBE (1949-1954) -- he was increasingly occupied with conducting, working with the Concerts Lamoureux (from 1951 to 1957), the Israel Philharmonic (from 1957 to 1959), and Düsseldorf Symphony Orchestra (from 1960 to 1966). Martinon resumed his career as a composer around 1960, writing his Violin Concerto #2 (1960) for Henryk Szeryng, his Cello Concerto (1964) for Pierre Fournier, and his Symphony #4 (‘Altitudes’), composed in 1965, for the 75th anniversary of the Chicago Symphony. He acknowledged Prokofiev and Bartók as strong influences on his scores, which meld Expressionism with French Neoclassicism. Martinon continued composing into the 1970s, but he seldom recorded any of his own music, with the notable exceptions of the Second Symphony, ‘Hymne à la vie’ (ORTF, for Barclay Inedits) and Fourth Symphony, ‘Altitudes"’ (Chicago SO, for RCA).

In 1963, he succeeded Fritz Reiner as head of the Chicago Symphony. Martinon's tenure there was difficult. In five seasons he conducted 60 works by modern European and American composers, and made a number of outstanding LPs for RCA, mostly of bracing twentieth century repertory in audiophile sound. Chicago's conservative music lovers soon sent him packing.

Martinon jumped at the chance to take over the French National Radio Orchestra in 1968; working with this ensemble he recorded almost the entire standard French repertory for Erato and EMI. His earlier Erato efforts that focused on such secondary but nevertheless interesting figures as Roussel, Pierné, and Dukas, whereas EMI assigned him integral sets of the Saint-Saëns symphonies and the orchestral works of Debussy and Ravel, among other projects. In 1974, he was appointed principal conductor of the Residentie Orkest in The Hague, but he died before that relationship could bear much fruit.”

- James Reel, allmusic.com