Ciboulette  (Hahn)  (Geori Boue, Roger Bourdin, Michel Hamel, Camille Maurane, Germaine Corney)    (2-Malibran 757)
Item# OP2675
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Product Description

Ciboulette  (Hahn)  (Geori Boue, Roger Bourdin, Michel Hamel, Camille Maurane, Germaine Corney)    (2-Malibran 757)
OP2675. CIBOULETTE (Hahn), Broadcast Performance, 17 Oct., 1958, w.Gressier Cond. ORTF Ensemble; Géori Boué, Roger Bourdin, Michel Hamel, Camille Maurane, Germaine Corney, Madeleine Drouot, Lucien Lovano, etc.; CIBOULETTE - Excerpts, recorded 1952, w.Cariven Cond. Géori Boué, Roger Bourdin, Raymond Amadé & Gaston Rey; CIBOULETTE - Excerpts, w.Liliane Berton, Louis Railland & Gabriel Bacquier. (France) 2-Malibran 757. Very long out-of-print, Final Copy! - 7600003777577

CRITIC REVIEWS:

"CIBOULETTE is a French opérette in three acts, music by Reynaldo Hahn, libretto by Robert de Flers and Francis de Croisset, first performed at the Theatre des Variétés, in Paris, on 7 April, 1923. One of the most elegant and refined compositions of Hahn, CIBOULETTE is considered as one of the last masterpieces of French operetta.

Geori (Georgette) Boue made her Paris debut at the Opera-Comique in 1939, as Mimi in LA BOHEME (singing in the 1,000th performance at the Salle Favart on 3 May 1951), and other roles there included: Lakme, Manon (singing in the 2,000th performance on 18 January 1952), and Ciboulette (first performance at the Opera-Comique). In her HERODIADE, Louise, Gilda, Violetta, Desdemona, Tosca, Madama Butterfly, Tatiana, etc. Boue had a clear voice of considerable power, renowned for her impeccable diction, she was widely regarded as one of the greatest French sopranos of the 1940s. She was married to French baritone Roger Bourdin in May 1944, with whom she can be heard in two recordings, FAUST under Thomas Beecham, and THAIS. She retired from the stage in 1970, then died 5 January, 2017, at age 98."

- David Salazar, operawire.com, 6 Jan., 2017





"Roger Bourdin studied at the Paris Conservatory, where he was a pupil of André Gresse and Jacques Isnardon. He made his professional début at the Opéra-Comique in 1922, as Lescaut in MANON. His début at the Palais Garnier took place in 1942, in Henri Rabaud's MÂROUF, SAVETIER DU CAIRE. The major part of his career was to be spent between these two theatres, where he created some 30 roles.

Bourdin seldom performed outside France, but did a few guest appearances at the Royal Opera House in London, La Scala in Milan, and the Teatro Colón in Buenos Aires. He also sang in the first performance of surviving fragments of Chabrier's VAUCOCHARD ET FILS IER on 22 April 1941 at the Salle du Conservatoire with Germaine Cernay, conducted by Roger Désormière.

His most memorable roles were: Clavaroche in André Messager's FORTUNIO, Metternich in Arthur Honegger and Jacques Ibert's L'AIGLON, Duparquet in Reynaldo Hahn's CIBOULETTE, Lheureux in Emmanuel Bondeville's MADAME BOVARY, the lead in Darius Milhaud's BOLIVAR, but also standard roles such as Valentin, Athanael, Onegin, and Sharpless. In all he sang an estimated 100 roles throughout his long career.”

- Ned Ludd





“One can hear why Maurane was so admired in France. His beautiful baritone, never forced, caresses the words and the vocal line. Camille Maurane was a stalwart member of the ensemble at the Opéra-Comique in the 1940s and 1950s. His roles ranged from Marcello in LA BOHEME and Nicklausse in HOFFMANN to parts in such now forgotten works as Marcel Dellanoy's GINEVRA, Reynaldo Hahn's LE OUI DES JEUNES LILIES and Antoine Mariotte's NELE DOORYN. His greatest success was as Pelléas, which he first sang in 1949 and subsequently recorded twice - with Jean Fournet (Philips, 4/93) and for Ansermet's second version. He also participated in a French radio broadcast of the opera under Inghelbrecht in 1963.

A pupil of Claire Croiza, he was a baryton martin with a light, fluent voice. [His] obvious comparisons are with Bernac and Souzay. While he does not have the dramatic weight of the latter, nor the playful charm of the former, Maurane's singing is constantly pleasing."

- GRAMOPHONE, Dec., 1995