L'Ile de Tulipatan; La Jolie Parfumeuse   (Denise Duval, Dachary, Deva Dassy, Peyron, Balbon, Lenoty)  (Malibran 780)
Item# OP3044
Availability: Usually ships the same business day

Product Description

L'Ile de Tulipatan; La Jolie Parfumeuse   (Denise Duval, Dachary, Deva Dassy, Peyron, Balbon, Lenoty)  (Malibran 780)
OP3044. L��LE DE TULIPATAN � Excerpts, Broadcast Performance, 30 March, 1958, w.Carivan Cond. RTF Ensemble; Lina Dachary, Deva Dassy, Joseph Peyron, Andr� Balbon & Ren� Lenoty; LA JOLIE PARFUMEUSE � Excerpts, Broadcast Performance, 1 Jan., 1956, w.Carivan Cond. ORTF Ensemble; Christiane Harbell, Denise Duval, Jean Giraudeau, Jacques Luccioni & Jacques Mars (both Offenbach). (France) Malibran 780. - 7600003777805


"L'LE DE TULIPATAN (The Island of Tulipatan) is an opra bouffe (a form of operetta), in one act by Jacques Offenbach to an original French libretto by Henri Chivot and Alfred Duru. It was first performed at the Theatre des Bouffes Parisiens, Paris, on 30 September 1868.

LA JOLIE PARFUMEUSE is an opra comique in three acts of 1873 with music by Jacques Offenbach. The French libretto was by Hector Cr�mieux and Ernest Blum. The opera was premiered at the Theatre de la Renaissance, Paris on 29 November 1873, where it ran for 200 performances, marking Offenbach's first major success after the fall of the Empire. The piece, which owes something to the 1850 op�ra comique LES PORCHERONS by Sauvage and Grisat, enjoys a 'farcical libretto of sexual quiproquos'.

The piece, written in seven weeks, derived much of its success from the performance of Tho in the title role; she returned, along with Daubray, for a revival in 1875 at the Theatre des Bouffes Parisiens."

- Wikipedia

Denise Duval didn't set out to be a muse. In 1947, as a freshly engaged contract singer, she was rehearsing MADAMA BUTTERFLY at Paris Opra-Comique when a voice bellowed from the darkened auditorium, Thats the soprano I need! It was Francis Poulenc, in search of a leading lady for his new comic opera, LES MAMELLES DE TIRSIAS. In his frustrated state, hed likely have settled for almost any suitable singer; instead, hed just found his ideal. For the next sixteen years - until the end of his life - Denise Duval was his colleague, his friend, his inspiration.it was with the Bordeaux Opra that she made her professional stage dbut in 1943 as Lola in CAVALLERIA RUSTICANA. Over her next two years there, she graduated to Santuzza and to a wide range of roles better suited to her lean, pointed, typically Gallic lyric soprano - Marguerite in FAUST, Mim, Micaela, Mlisande, Thas, and the one that became an early calling-card, Cio-Cio-San. In 1945, Duval traveled to Paris for an audition at the Opra - and wound up, through a chain of fortuitous connections, with a years contract at the Folies-Bergre, where night after night, discreetly costumed, she sang Un bel d and a Chopin song. My parents were thunderstruck, and my teacher nearly had a stroke, she recalled years later.

The Opra and the Opra-Comique finally beckoned, and she made her dbut at the bigger house, as Salom in HRODIADE, and at its smaller sibling in that career-changing BUTTERFLY. When the frothy, satirical MAMELLES had its premiere, in June 1947 - incongruously, after an already full evening of TOSCA - it was booed, insulted and hissed, Duval remembered. But like so many other Parisian theatrical scandals, it quickly became an event, and Poulenc soon was writing to a friend, I have an unbelievable Thrse who is stunning Paris with her beauty, her gifts as an actress and her voice.Her career blossomed further at both the Opra and the Comique, where in 1949 she created another role, Francesca in Reynaldo Hahns posthumously staged LE OUI DES JEUNES FILLES. In 1952 and 1953, for EMI, she made her first recordings, as Concepcin in LHEURE ESPAGNOLE and as Thrse in MAMELLES. Her professional itinerary broadened its reach to Monte Carlo, Milan, Aix, Cologne and Florence. But she didnt hit full stride until 1957, when, at the Opra, she sang in the French-language premiere of DIALOGUES DES CARMLITES, as Blanche, a role Poulenc wrote for her and one she memorably committed to disc on EMIs still unsurpassed original-Paris-cast recording. In 1959, she scored a still more indelible success as Elle in the premiere (at the Comique) of LA VOIX HUMAINE, the Jean Cocteau monodrama couture-tailored to her talents by Poulenc. In 1960, she repeated that triumph for the operas British dbut (at Edinburgh, with Glyndebourne forces) and its American premiere, as half of an American Opera Society double bill with MAMELLES at Carnegie Hall. The latter stirred the Timess Howard Taubman to write, It is difficult to imagine a more convincing and more affecting performance than Miss Duvals. It led, too, to her Dallas Civic Opera dbut in 1961, in an elaborate THAS directed by Franco Zeffirelli, just as the Edinburgh engagement prompted a two-summer run at Glyndebourne as Mlisande. A broadcast of the second-year revival, from 1963, was issued on official Glyndebourne CDs.

But Poulenc had died earlier that year, and Duval never quite rallied. Following what turned out to be the last of her dozens of performances of Blanche, in Buenos Aires in 1965, she collapsed from a cortisone overdose and essentially retired from singing. After a lengthy recovery, she taught at the cole Franaise de Musique and occasionally directed. But she left two treasured mementi of those latter years - a 1970 film (by director Dominique Delouche) of LA VOIX HUMAINE, in which she gives a riveting lip-synched performance to her own classic recording of a decade earlier; and a master class captured by Delouche in 1998, in which, still trs soigne at seventy-seven, she remains the Elle with whom all her successors must reckon.

Im proud that my name will always be connected with [Poulencs], she once said. The man who called her my Duval would surely have returned the compliment.

-Patrick Dillon, OPERA NEWS, 26 Jan., 2016

"Deva-Dassy was a French opera and operetta diva who was the second female in Paris that created Laya in FLEURS D'HAWAII (by the composer Paul Abraham), in which she sang 'Ni toi, ni moi' and a duet with Emile Rousseau called 'La plus belle perle du monde', where, in return, Max Bussy sang to her 'Fleur d'Hawaii'. She also sang Charlotte in Werther, Mignon in Mignon and Suzuki in Madama Butterfly."

- Ned Ludd

Andr Balbon was a French bass opera singer, born in 1902. He was principally active in France in character roles. In 1924 he appeared in LES BURGRAVES by Lo Sachs at the Thtre des Champs-lyses, before working in the French provinces for several years.

Balbon made his dbut at the Paris Opra-Comique on 1 November 1928 as un Officier in LORENZACCIO by Moret. From then until the 1940s he was a regular member of the Opra-Comique company with an extensive repertoire. He sang in the Paris premieres of BOURGEOIS DE FALAISE by Thiriet (Sottencourt), COMME ILS S'AIMENT by Lavagne (Lustrac), ESTHER DE CARPENTRAS by Milhaud (Cacan), FOU DE LA DAME by Delannoy (Cavalier noir), FRASQUITA by Lehar (Aristide), GEORGES DANDIN by dOllone (Sottenville), NUIT EMBAUME by Hirschmann (Ali), MON ONCLE BENJAMIN by Bousquet (Pontcass), RAYON DE SOIERIES by Rosenthal (Monsieur Loyal), RIQUET LA HOUPPE by Hue (Marquis de Carabas), LE ROI D'YVETOT by Ibert (Renaud), LE TESTAMENT DE TANTE CAROLINE by Roussel (Matre Corbeau), TOUT ANK AMON by Prez (Hapousend), VIEUX GARONS by Urgel (von Petersboom), and ZADIG by Duperrier (Arimage).

In 1933 Balbon created the title role in Marc Berthomieus oprette ROBERT MACAIRE, at the Grand Thtre in Le Havre. For two seasons, from 195355, Balbon sang at the Thtre de la Monnaie, Brussels, appearing as Calchas (LA BELLE HLNE), Pomarel (LA CHASTE SUZANNE by Jean Gilbert), Gaspard (LES CLOCHES DE CORNEVILLE) and the Baron de Gondremark (LA VIE PARISIENNE).

In 1934 he appeared as Popoff in the Meilhac version of DIE LUSTIGE WITWE (La Veuve Joyeuse) at the Thtre de la Gat-Lyrique in Paris and returned to the role in Geneva in February 1954 in a Grand Thtre de Genve production starring Jacques Jansen as Danilo.

Balbon participated in FEU D'ARTIFICE by Erik Charell and JURG AMSTEIN with music by Paul Burkhard starring Suzy Delair at the Thtre Marigny in 1952. He sang Robinet in the premiere of the comdie lyrique COLOMBE by Jean-Michel Damase and Jean Anouilh on 5 May 1961.

- Wikipedia