OP1663. LA FILLE DE MME ANGOT (Lecocq) (in Italian), Broadcast Performance,24 Jan., 1952, w.Gallino Cond.
RAI Ensemble, Torino; Lina Pagliughi, Giuseppina Salvi, Tommaso Soley, Giovanni Gazzera, etc.; LINA PAGLIUGHI: Arias by Mozart, Bellini, Donizetti, Rossini, Delibes & Mascagni; Variazioni (Proch). (Portugal) 2-Gala 100.804. - 8712177051632
"Of the fifty or so stage works written by Lecocq he is best remembered for his contribution to opéra-comique. It is to this genre that this disc is dedicated. Of the stage works LA FILLE DE MME ANGOT is the most famous and was the most popular.
The Parisian, Charles Lecocq grew up surrounded by the theatre life of Paris. He studied under Auber and was a contemporary of Bizet and Saint Saëns at the conservatoire there. His music is at times characteristic of Offenbach but with more inventive and less monotonous orchestrations: Lecocq was a first class melodist."
- Raymond Walker, MusicwebInternational
“LA FILLE DE MADAME ANGOT (The Daughter of Madame Angot) is an opéra comique in three acts by Charles Lecocq. The French text was by Clairville, Paul Siraudin and Victor Koning. The opera was first presented at the Théâtre des Fantaisies-Parisiennes, Brussels, on 4 December, 1872, with costumes created by Alfred Grevin. In Paris, in 1873, it enjoyed a run of 411 performances at the Théâtre des Folies-Dramatiques and then toured extensively throughout the country. English-language productions were quickly mounted in London (at the Gaiety Theatre in 1873 in an adaptation by H. B. Farnie for a very successful limited run starring Emily Soldene and Richard Temple and then in other theatres and New York.
Alexandre Charles Lecocq was a French musical composer, active during the latter half of the 19th Century. He studied under François Bazin, François Benoist, and Fromental Halévy, winning the first prize for harmony at the Conservatoire in 1850, and the second prize for fugue in 1852. He first gained notice by sharing with Georges Bizet the first prize for an operetta in a competition instituted by Jacques Offenbach.
His opéra comique, LE DOCTEUR MIRACLE, was performed at the Théâtre des Bouffes Parisiens in 1857. After that he wrote constantly for theatres, but produced nothing especially successful until FLEUR-DE-THÉ (1868), which ran for more than a hundred nights. LES CENT VIERGES (1872) was also favorably received. All his previous successes were cast into the shade by LA FILLE DE MADAME ANGOT (Brussels, 1872), which in Paris in 1873 was performed for more than 400 nights consecutively, and which has since gained and retained enormous popularity. After 1873, Lecocq produced a large number of operettas. Camille Saint-Saëns was a friend of Lecocq's, and never ceased to admire the latter's music.”
- Hans Lick
“A member of the coloratura sorority that enjoyed ascendancy before the emergence of Maria Callas, Lina Pagliughi represented the best of that breed. Declared ‘my successor’ by Luisa Tetrazzini, Pagliughi possessed a clear, beautifully formed instrument that was flexible in passagework and flowing in legato. Unlike the slenderized edition of Callas, however, she was a woman of enormous girth and continued to gain weight during the course of her career. Thus, while vocal display was present in abundance, dramatic verisimilitude was not. On recording, however, Pagliughi's art can be enjoyed without the distraction of physical appearance. Born to Italian immigrant parents in New York, Pagliughi moved to San Francisco before her second birthday. There, she began making public appearances at age seven. Luisa Tetrazzini sought to adopt her, but her parents declined the offer. When Pagliughi moved to Italy at age 15 to study with Manlio Bavagnoli, however, the legendary singer oversaw her training and became close to the young student. Having already graduated from a San Francisco conservatory before her move to Italy, Pagliughi was well prepared musically and could concentrate on vocal polish and learning repertory. For her 1927 début at Milan's Teatro Nazionale, Pagliughi presented herself as Gilda, a rôle with which she would be closely identified thereafter (and which she recorded twice). After an experiment with the rôle of Mimi, Pagliughi vowed to concentrate on the coloratura repertory, even though her voice was substantial enough for lyric rôles. Thus, she kept her instrument supple and trim for the duration of her career, even with having included Violetta among her rôles, a part that grows progressively heavier with each passing act. Pagliughi's equable personality no doubt also contributed to her longevity. A good colleague, one to whom jealousy was an alien emotion, she admired fellow artists of quality and saw in them no threat to her own reputation. In addition to appearances at Italy's major houses, Pagliughi sang at London's Covent Garden in 1938 (her Gilda was regarded as having been beautifully sung) and performed with success at Brazil's São Paulo Municipal Theatre and in Buenos Aires, where she undertook her first Rosina and her first Violetta. Following her formal retirement in 1957, the soprano became a respected teacher.”
- Erik Eriksson, allmusic.com