Don Quichotte  (Massenet)  (Andre Huc-Santana, Edith Jacques, Perre Herry)  (2-Malibran 709)
Item# OP1816
Availability: Usually ships the same business day

Product Description

Don Quichotte  (Massenet)  (Andre Huc-Santana, Edith Jacques, Perre Herry)  (2-Malibran 709)
OP1816. DON QUICHOTTE (Massenet), recorded 1957, Charleroi, w.André Huc-Santana, Edith Jacques & Perre Herry. (France) [Massenet identified personally with his comic-heroic protagonist as he was in love with Lucy Arbell who sang Dulcinée at the first performance. He was then 67 and died just two years later. The role of Don Quichotte was one of the most notable achievements of the Russian bass Feodor Chaliapin, for whom the role was specifically conceived. The opera, 1910, was one of six commissioned from Massenet by Raoul Gunsbourg for the Opéra de Monte-Carlo] 2-Malibran 709. Very long out-of-print, Final Copy! - 3760003777091


“André Huc-Santana was born 11 Oct., 1912 in Toulouse. In France, he studied with Vanni-Marcoux, and earned a meagre living singing Chansonette and Tango in cabaret, and then appeared for the first time in opera in Marseille in a small role in Charpentier's LOUISE. He continued to perform in cabarets during the war, but met a friend of Countess Lili Pastré who was president of an association of young artists. She organized a concert where she invited Paul Bastide, current Marseille Opéra's director. He immediately engaged Huc Santana for his début as Phanuel in Massenet's HÉRODIADE.

He returned to Paris in 1943, where he encountered Gustave Cloëz, conductor in Paris’ Salle Favart. Cloëz was so impressed by Huc Santana's voice that he obtained for him an audition with Paris Opéra director, Jacques Roucher. He sang Flégier's ‘Le Cor’, and was engaged for RIGOLETTO's Sparafucile. After this, he sang there as Ramfis and the Commendatore. He then moved to Monte Carlo's Opéra where he débuted as the four villains of LES CONTES D'HOFFMANN, conducted by Raoul Gainsbourg, then continuing with Boris, Mephisto in FAUST, and the title roles of MEFISTOFELE and DON GIOVANNI. Due to those successes, Paris’ Palais Garnier also offered him these rôles, also Mephisto in LA DAMNATION DE FAUST. In 1946, he sang his first Basilio in the Salle Favart. But he enjoyed his greatest successes in Brussels, where he sang during seven years, with the chance to choose the roles he wanted to perform for each season's opening, thus he sang Galitzky in Borodine's PRINCE IGOR, appearing also in operetta, especially those of Offenbach. His performances in this theatre as Boris (1954) and Don Quichotte were advantageously compared to those of Feodor Chaliapine. During this period in Brussels he participated in the creation of Carl Orff's DIE KLUGE, in the role of the King.

He was then regularly invited to Buenos Aires’ Teatro Colón (as Padre Gardiano in LA FORZA DEL DESTINO), and one time in Aix en Provence in 1956, as Jupiter in Rameau's PLATÉE. Among other roles, he sang Flambeau in L'AIGLON, Blue-Beard in Dukas’ ARIANE ET BARBE-BLEUE, and the creation of the father in Vladimir Kosma's CANUTS.”

- Z. D. Akron