OP3363. TOSCA (in French) - Excerpts, recorded 1963, w.Dervaux Cond. Suzanne Sarroca, Guy Chauvet, Roger Bourdin, etc. (France) Malibran AMR 199. [AMR titles are issued without rear tray-cards]
“Born in Carcassonne, Sarroca studied singing at the Conservatoire de Toulouse, 1946–1948. She began her career as a mezzo-soprano in the role of Charlotte in Massenet's WERTHER in Carcassonne, a role she revived the same year at the Capitole de Toulouse. In 1951 she sang Bizet's Carmen at la Monnaie of Brussels. She then addressed the great roles of lyrico-dramatic soprano: in 1952, she made a remarkable debut at the Paris Opéra where she sang at both the Opéra Garnier and the Opéra-Comique:
Rezia in Weber's Oberon
Senta in Wagner's The Flying Dutchman
Santuzza in Mascagni's Cavalleria Rusticana the title role of AIDA, Musetta in La Bohème and Elisabeth in Don Carlos.
She created Henri Rabaud's NUMANCE, interpreted the title role of Charpentier's LOUISE, Blanche de la Force in Poulenc's Le Dialogue des Carmélites, Tatiana in EUGENE ONEGIN, and also Octavian in DER ROSENKAVALIER alongside Régine Crespin or Elisabeth Schwarzkopf. She triumphed as Tosca, Aida and Elisabeth in Don Carlos in Buenos Aires, Brussels, Geneva, Rome, Rio, Naples, London (Covent Garden in 1958-59 and 1964–65). She appeared as Rachel in Halévy's LA JUIVE in a concert at Carnegie Hall with Richard Tucker in 1964.
French tenor Guy Chauvet in 1954 he was co-winner of a tenor competition in Cannes, along with Alain Vanzo, Gustave Botiaux, Tony Poncet, and Roger Gardes - a pretty impressive assemblage of talent! Chauvet made his Paris OpÃ©ra debut in 1959, starting with comprimario parts, finally advancing to lead roles. He soon established himself as an important presence, both in France and, ultimately, in many of the world's other major opera houses. He sang numerous roles in the French and Italian repertoire, and became particularly well-known for such heroic parts as Aeneas and Samson.
Guy Chauvet was without question a talented singer, and one who filled a pressing need during a time when the grand tradition of the French heroic tenor was in decline. Typical of this singer's work in general, the diction is idiomatic and crystal-clear....Chauvet displays all of the other qualities that are the heart and soul of great French tenor singing - a seamless legato, a masterful application of the mixed voice, and an ideal balance between elegance and passion. It's also quite impressive to hear Chauvet demonstrate an ease and mastery of style and technique in music ranging from the 18th century to verismo. And if all of these attributes inspire comparison to Chauvet's great predecessor, Georges Thill, the singing on this disc justifies such comparisons. We hear some absolutely first-rate French tenor singing. Highly recommended."
- K. M., classicalcdreview, Sept., 2004
"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