OP0197. PELLEAS ET MELISANDE, recorded 1978, w. Baudo Cond. Lyon Ensemble; Michelle Command, Claude Dormoy, Gabriel Bacquier, Roger Soyer, Jocelyne Taillon, etc. (Germany) 3-Eurodisc 353 266, Slipcase Edition w.Elaborate Libretto-Brochure. Very long out-of-print, Final Copy! - 4007193532666
"Serge Baudo studied at the Paris Conservatoire, where he won first prize for harmony, chamber music, percussion and conducting; here his conducting teacher was Louis Fourestier. Between 1949 and 1957 Baudo played the timpani with the Lamoureux, Paris Conservatoire and Paris Opera Orchestras, under conductors such as Charles Munch, Bruno Walter and Hans Knappertsbusch. He made his conducting debut in 1950, appearing frequently in this role in Paris. Between 1962 and 1965 he was the resident conductor at the Paris Opera. Baudo's international career commenced in 1962 when, at Herbert von Karajan's invitation, he followed Karajan as the conductor of Debussy's PELLEAS ET MELISANDE at La Scala, Milan.
In 1967 the music director of the newly formed Orchestre de Paris, Charles Munch, invited Baudo to become the first conductor of the orchestra, where he stayed until 1970. Between 1969 and 1971 he served as director of music at the Lyons Opera. In the latter year he made his debut at the Metropolitan Opera, New York and returned there for the next three seasons. In addition to his permanent appointments Baudo has conducted widely as a guest, throughout Europe and Russia, the Far East and Canada. He was appointed chief conductor of the Prague Symphony Orchestra in 2001, and also serves as the permanent guest conductor of the Yomiuri Nippon Symphony Orchestra. One of the finest French conductors of his generation, he is a Chevalier of the Légion d'honneur and a member of the Ordre National du Maitre and of the Ordre des Arts et des Lettres"
- David Patmore, A-Z of Conductors
“Gabriel Bacquier was a leading twentieth century baritone, especially in roles in his native French. He was noted for his sophisticated and natural acting style, his smooth, warm voice, and his remarkable endurance. His studies at the Paris Conservatoire were unusually successful: he won three first prizes in student voice competitions there. As a result he quickly obtained a regular operatic job, joining the Compagnie Lyrique in 1950. From this privately owned opera company, he moved in 1952 to join the company of La Monnaie, the main opera house in Brussels. He returned to Paris in 1955 to join the Opéra-Comique in 1956. Two years later he joined the Opéra de Paris, débuting there as Germont, Sr., in LA TRAVIATA.
He gained a reputation as a serious, reliable singer, willing and able to take both comic and serious roles, and parts ranging from supporting characters to leads. Although he had a wide range, he was especially effective in the more lyric baritone parts and was one of the leading Mozart singers of his generation, yet he was able convincingly to sing such dramatic parts as Simon Boccanegra and Boris Godunov.
He began to make appearances abroad in the 1960s, particularly in England, where he débuted as the Count in Mozart's MARRIAGE OF FIGARO in 1962 and as Riccardo in Bellini's I PURITANI in 1964. The same year he first sang at the Metropolitan in New York, where he also became a favorite performer, frequently appearing on the national Saturday broadcasts.
In his fifties, Bacquier notably improved, gaining power and expressivity in his voice. At the same time he refined his acting technique, becoming known for avoiding the stock operatic gestures meant to portray villainy, or the buffoonery used in comic roles. His characters thus had a quality of realism that made their evil, heroism, wit, or foolishness seem natural and thus more effective. This particularly showed itself in his four, differentiated portrayals in the ‘adversary’ roles of Offenbach's LES CONTES D'HOFFMANN.
In addition to his Mozart roles (especially the Count), his ‘signature rôle’ was that of Scarpia in TOSCA, which he played with suave, even charming, external manners that made his underlying evil even more frightening. He was the leading baritone for French opera and for Italian operas written originally in French, such as Rossini's GUILLAUME TELL and Meyerbeer's LES HUGUENOTS.
He was also a fine interpreter of French chanson in recital, particularly the songs of Satie, Ravel, and de Severac. In the 1990s, when he was in his seventies, he scored a notable success as the King of Clubs in the Lyons Opera's French production of Prokofiev's LOVE OF THREE ORANGES under the baton of Kent Nagano, a production also made into a highly acclaimed recording.”
- Joseph Stevenson, allmusic.com