OP2889. MIREILLE - La vraie MIREILLE de Gounod, recorded 11 June, 1941, w.Reynaldo Hahn Cond. Géori Boué, Marguerite Pifteau, Jean Gulheim, etc.; Reynaldo Hahn speaks about 'la nouvelle MIREILLE', 1941; Géori Boué, Marguerite Pifteau, Adrien Legros: Hahn mélodies. (France) Malibran 137. Very long out-of-print, Final Copy! - 3760003771372
"Géori (Georgette) Boué made her Paris debut at the Opéra-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: Lakmé, Manon (singing in the 2,000th performance on 18 January 1952), and Ciboulette (first performance at the Opéra-Comique). In her Hérodiade, Louise, Gilda, Violetta, Desdemona, Tosca, Madama Butterfly,Tatiana, etc., Boué 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 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
"The dominating feature is Hahn's voice, self-accompanied of course in the manner of George Henschel, and one that has occasioned more than a fair share of critical bewilderment over the years. The register is sometimes uncertain - is it a baritone or a low tenor? - and its actual usage has generated a range of responses, from admiration to frigid contempt via speculative amusement. Hahn, of course, was not a professional singer; he did appear at suitably elegant Parisian soirées but his recording career as a singer is quite out of proportion to any public career in the role though clearly not out of proportion to his contemporary musical celebrity. His first recordings date from 1909 and Hahn returned to the studios two years later for a further session. After the end of the First World War, during which he served in the French Army, he was back for more recordings and there are later examples, including those provisionally dated to May 1928, as well as the 1930 and 1937 recordings. But of course we shouldn't judge him against professional singers, but strictly on his own terms, as a sort of inspired salon one-off, and yet still one of the most attractive exponents of one current in Parisian music making in the early part of the twentieth century."
- Jonathan Woolf