OP1791. MADAME FAVART (Offenbach), recorded 1953, w.Ellis Cond. Radio Lyrique Ensemble; Fanély Revoil, Liliane Berton, Michel Dens, Gilbert Moryn, René Lenoty, René Hérent, etc.; FANELY REVOIL: Arias from La Périchole, Le Domino Noir, La Coeur et la Main, Madame Favart, Fragonard, Gillette de Narbonne, Monsieur Beaucaire, Les Saltimbanques, Le Petit Duc, Virginie Déjazet & La Petite Fonctionnaire. (France) 2-Malibran 698. - 3760003776988
"Fanély Revoil was a French singer who had a major career in opera and operetta between 1950 and 1989. In 1933, she made her first appearances in Paris, at the Theatre de la Porte Saint-Martin in small roles before creating Madame Dubarry in the French premiere of LA DUBARRY. Following this success, others followed including Paris premieres of creations in VALSES DE VIENNE (1933), LE TZAREWITCH (1935), UN COUP DE VEINE (1935), AU SOLEIL DU MEXIQUE (1935) and LA BELLE TRAVERSEE (1937).
After the Porte Saint Martin she made her debut at the Opéra-Comique (creating the role of Lucine in LE TESTAMENT DE LA TANTE CAROLINE), and although never a member of the company she sang regularly with them for ten years, including Lazuli in L'ETOILE, la Guimard in FRAGONARD and the title role in CIBOULETTE. Revoil appeared many times at the Theatre du Chatelet, in SOLEIL DU MEXIQUE, NINA ROSA, ROSE-MARIE, and created the title role in LA MARÉCHALE SANS-GÊNE there in 1948. At the Theatre des Champs-Elysées she performed in the premiere of VIRGINIE DEJAZET in 1946.
She made many foreign tours (Portugal, Netherlands, Italy, Britain) often alongside Willy Clément. After retiring from the stage she taught operetta singing at the Paris Conservatoire. As well as the 1941 recording of excerpts from L'ETOILE under Roger Désormière and the complete 1948 recording of THE TALES OF HOFFMANN under André Cluytens, Revoil sang in many French radio recordings of operettas and opéra-comiques during the 1950s, and appeared in the film LES DEUX GAMINES in 1936."
"With a graceful physique and a voice that enchanted the audience, Liliane Berton began a dazzling career at Opéra-Comique in 1952, subsequently moving to l’Opéra. In 1957, she sang Sister Constance in the creation of Poulenc’s DIALOGUES DES CARMÉLITES. In his tribute to the singer, André Tubeuf declared that in this role she was incomparable.
In 1962, at l’ Opéra she sang Sophie to Elisabeth Schwarzkopf’s Marschallin. Although she rarely sang outside France, in 1963 she at the Glyndebourne Festival, she appeared as Susanna, NOZZE DI FIGARO.
Around 1966, nearing retirement, she began teaching in Paris, continuing to sing a lighter repertoire, especially the title role in Massé’s LES NOCES DE JEANNETE, plus many other operettas.”
- Ned Ludd
“Michel Dens ranks with Robert Merrill and Pavel Lisitsian as one of the great lyric baritones of the period after the Second World War. Born in Roubaix, he studied the violin as a boy and planned to go into the textile business, but was urged to take his singing seriously, studied at the local Conservatoire and made his début in 1934 at Lille as Wagner in FAUST. After learning his craft in such cities as Bordeaux, Grenoble, Toulouse, Marseille and Monte Carlo, he arrived in 1947 at both the Opéra and the Opéra-Comique in Paris. As a guest artist he sang at many opera houses in France, Belgium, Switzerland, Canada and North Africa. Gifted with a high-lying voice of great beauty and flexibility, he was equally at home in the French repertoire and in such Italian roles as Rigoletto and Figaro. He was also a wonderful singer of both French and Viennese operetta, and could even handle Tauber’s roles in Lehár’s works convincingly. Dens had a long career and was still singing well at the age of eighty. Fortunately he made a vast quantity of recordings.”
- Tully Potter
“Liliane Berton made her debut, in 1952, at the Opéra-Comique, in Michel Maurice Lévy’s DOLORES. Her talent was immediately noticed and she was engaged by the Paris Opéra.
With a graceful physique and a voice that enchanted the audience, she began a dazzling career. In France, she was heard as Sophie (WERTHER) and Poussette (MANON), Rosina (THE BARBER OF SEVILLE), Siebel (FAUST), Eurydice (ORPHÉE), and Cherubino or Suzanna (LES NOCES DE FIGARO).
In 1957, she was Sister Constance at the creation of Poulenc's DIALOGUE DES CARMÉLITES. In his tribute to the singer, André Tubeuf declares that, ‘in this role, she was incomparable and irreplaceable... this song of bird and source, this laughing and melancholy grace, this natural in the supernatural’ (review Musicological Classica, June 2009).
In 1962, at the Paris Opéra, she sang Sophie alongside Elisabeth Schwarzkopf, the legendary marshallin. In 1963, at the Glyndebourne Festival, she was invited to sing the role of Suzanna, LE NOZZE DI FIGARO.
In 1963 she played Jacqueline in FORTUNIO, during the inauguration of the Grand-Théâtre de Limoges (the current Opera-Theatre of Limoges).”