Romeo et Juliette - Excerpts (Ruhlmann;  Yvonne Gall, Agustarello Affre, Marcel Journet, Henri Albers, Alexis Boyer)  (Malibran AMR 200)
Item# OP3364
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Product Description

Romeo et Juliette - Excerpts (Ruhlmann;  Yvonne Gall, Agustarello Affre, Marcel Journet, Henri Albers, Alexis Boyer)  (Malibran AMR 200)
OP3364. ROMÉO ET JULIETTE - Excerpts, recorded 1911, w.Ruhlmann Cond. Yvonne Gall, Agustarello Affre, Marcel Journet, Henri Albers, Alexis Boyer. (France) Malibran AMR 200. [AMR titles are issued without rear tray-cards]


"After graduating from the Paris Conservatoire, Yvonne Gall made her début as a Rhinemaiden in a performance of GÖTTERDÄMMERUNG at the Opéra-Comique in 1908. Her first leading role was Mathilde in Rossini’s GUILLAUME TELL opposite Léon Escalaïs. She took part in a number of novelties. She sang in Bachelt’s Scemo in 1914, in Magnard’s GUERCOEUR opposite Marthe Chenal and Maria Kuznetsova. It was not until after the war that she became a principal at the Opéra-Comique. Her first appearance was as Marguerite. In due corse she sang Manon, Antonia, Tosca, Louise, Donna Anna, Juliette and Daphne in Busser’s LES NOCES CORINTHIENNES. In 1918 she was invited to the Teatro Colon at Buenos Aires, where she was heard as Thaïs, Juliette and Salomé in Massenet’s HÉRODIADE. She made her début at the Chicago Opera as Thaïs the same year. There, she was called to undertake whatever the great Diva Mary Garden was unwilling or unable to sing. She was very successful in the first American performance of Ravel’s L’HEURE ESPAGNOLE. She greatly pleased as Tosca, Manon, Salomé and Mathilde. The remarkable Russian impresario Raoul Gunsbourg brought her to Monte Carlo for Thaïs, a French TRISTAN with Paul Franz and Ariane in Dukas’s ARIANE ET BARBE-BLEU. Gall made Pathé and Columbia recordings.

Hers is a bright sounding lyric soprano voice of a typically 'gallic' sound and full of dramatic energy."

- Andrea Shum-Binder, subito-cantabile

“Agustarello Affre held his own with Escalaïs, de Reszke, Van Dyck, Alvarez, Saléza, Scaremberg, Muratore and Franz in a career that lasted two decades. Affre made his début at the Paris Opéra in 1890 as Edgardo in LUCIA with Nellie Melba. At the Opéra, he created roles in operas by Massenet and Saint-Saëns and also sang Canio and Belmonte for the first time. Affre never sang at the Opéra-Comique, but during his career he made guest appearances in Lyon, Marseille, Brussels, London, New Orleans, Havana and San Francisco.”

- Robert Baxter, Program Notes for Marston’s CARMEN

“Journet’s voice, unlike any other voice I know, aged like a great wine. It is truly a unique, and therefore thrilling, experience to hear an artist who after thirty intensive years of career has preserved his voice virtually intact and who can then use this voice as an instrument of expression. While some listeners may find hearing Hans Sachs sung in French or Italian somewhat disconcerting, for me there is no more sympathetic and melancholy Sachs on record; there is no more desperately crazed Athanaël on record. His two recordings from Boito’s NERONE - that magnificent and ignored masterpiece - are stunning. Even the musically undistinguished Luce songs, among his last recordings, are transfigured…. And I now can fully understand Max de Schauensee who, having heard Journet during the 1920s, wrote that Journet’s voice '... sparkled like a great red jewel'.”

- Victor Girard, Marston Program Notes