OP3351. LE TROUVÈRE (IL TROVATORE) (in French), Broadcast Performance, 1954, w.Gressier Cond. Geneviève Moizan, Denise Scharley, Raphael Romagnoni, Charles Cambon, Adrien Legros, etc. (France) 2-Malibran 785. [A thrilling performance without a single weak link; Moizan certainly will not erase Milanov, etched in our sub-conscious, but she is a notable contender; Gressier's contribution is magnifique. Highly recommended!] Very long out-of-print, Final Copy! - 7600003777850
"It was in 1945 Salle Favart that Denise Scharley was offered the role of Carmen which she performed countless times until 1968. Immediately the critics raved – ‘Denise Scharley is an ideal Carmen. Her voice without a hole nor broken pieces, without white notes, is a model of vocal equilibrium. In addition, this great singer who continues to play true, gives his character a striking relief. For once we saw evolving on stage the sensual and cruel Bohemian that Merimée had dreamed. She was admirable in the seduction scenes of the first act. Denise Scharley, if life does not spoil her too much, should make a sensational career’."
- Martial Bardinez
“Denise Scharley was a French contralto who débuted at the Opéra-Comique on 29 November, 1942, in the role of Geneviève in PELLÉAS ET MÉLISANDE, and then at the Paris Opéra, 23 Nov., 1953, as Maddalena in RIGOLETTO. On 21 June, 1957, she created the role of the Prioress in Poulenc’s DIALOGUES DES CARMÉLITES. Denise Scharley occupied a place in the forefront of French singers. Two key roles, however, have particularly distinguished her: that of Madame de Croissy, First Prioress (DIALOGUES DES CARMÉLITES) and Mme Flora in Menotti’s THE MEDIUM. In 1951 she appeared as Carmen at the Monnaie in Brussels. She is particularly remembered for performances of SAMSON ET DALILA at the Palais Garnier in 1960. With Crespin and Gorr, she was one of the Norns in GÖTTERDÄMMERUNG, Fricka in DIE WALKÜRE and Erda in SIEGFRIED in 1958, under Knappertsbusch. In Weber’s OBERON she became Puck, under the baton of André Cluytens (1954), and young David, at the stage presentation of Arthur Honegger's KING DAVID in October 1960. In 1972, she again sang Madame de Croissy in the new production of DIALOGUES DES CARMÉLITES. In Geneva, she also had the opportunity to perform the Russian repertoire in PIQUE DAME and KHOVANSHCHINA.”
- Z. D. Akron
“Raphael Romagnoni, who in the course of a long career would become one of those 'essential tenors' who are regarded as 'pillars' of our Parisian opera houses, made his début at the Grand Théâtre in 1931 in CAVALLERIA RUSTICANA. His beautiful voice with its generous top notes led to many engagements in the provinces and North Africa until World War II. In his first year at the Opéra, he sang Roméo, the Duke of Mantua, Mylio and Faust, a role that he performed with great success for several years. There followed the creations at the Palais Garnier of JEANNE d’ARC AU BUCHER in which he sang the rôle of Bishop Cauchon in all 93 performances with Claude Nollier and six times with Ingrid Bergman (Jeanne), and successively with Jean Vilar, Henry Doublier and Robert Vidalin (Frère Dominique). Later would come LES CONTES D'HOFFMANN in which he sang the title role and, at the end of his career, Spalanzani. He made his début at the Salle Favart in 1947 where he sang Don José, Des Grieux, Werther, Gérald, Hoffmann, Nadir, Pinkerton, Turiddu and Rodolfo in LA BOHEME and Alfredo in LA TRAVIATA. At the same time as his Parisian activities, he toured the big provincial towns and also abroad."
“In the firmament of model French singers, Charles Cambon figures amongst the greatest. Thanks to the good instincts of certain artistic directors, this voice of exceptional timbre, power and range has been preserved for us in all its splendour.
Charles Cambon joined the chorus at l’Opéra in 1923, making his solo début a year later in a small role in BORIS GODUNOV. He would remain thirty years in this illustrious theatre, making an impression as Amonasro, Valentin, Ottokar in DER FREISCHÜTZ, as Sylvio in PAGLIACCI and as the Dutchman. He appeared only once at l’Opéra-Comique as a memorable Zurga in LES PÊCHEURS DE PERLES. But it was radio and records that brought him fame. True opera-lovers never missed the broadcasts in which he starred, admiring his diction, his fearlessness, his fabulous top notes but also his sensibility and his dramatic instincts in the greatest roles: Rigoletto, Luna in IL TROVATORE, Athanaël, Iago and of course Hamlet.
Charles Cambon died in Paris on 17 September, 1965. He lives on, thanks to recordings, as one of the most admired baritones of the French vocal tradition.”
- Jean Ziegler (for both Romagnoni & Cambon)