Georges Thill;  Germaine Martinelli, Bovy, Cernay   (2-Malibran 105)
Item# V0085
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Product Description

Georges Thill;  Germaine Martinelli, Bovy, Cernay   (2-Malibran 105)
V0085. GEORGES THILL: Album du Centenaire, 1897 - 1997, incl. Arias & Duets (w.Nespoulous, Feraldy, Bovy, Vallin, Cernay, Delprat & Germaine Martinelli) from La Boheme, Rigoletto, Pagliacci, Martha, Aida, Tosca, Andrea Chénier, Turandot, La Traviata, Hérodiade, Faust, Werther, Alceste, Roméo, Parsifal, Lohengrin, Meistersinger, Carmen, Samson et Dalila, Marouf, Manon, Lakmé, Louise, Les Troyens, Guillaume Tell, La Damnation De Faust, Rolande et Le Mauvais Garçon & Les Huguenots. (France) 2-Malibran 105. Long out-of-print, Final Copy! - 3760003771051


"Georges Thill is deservedly considered by many the finest lyrico-spinto among French tenors. A rock-solid tone, superb breath control, and an impression of strength carefully weighed through the sensibility of a first-rate musician: these are the qualities Thill brings to his recordings."

- Barry Brenesal, FANFARE, May/June, 2006

"Georges Thill defines the brilliant all-purpose tenor....The glow and force of his firm timbre, his sympathetic art in so many styles, are the stuff of legendary versatility."

- C.J. Luten, OPERA NEWS, Feb., 1996

"While Thill performed many of the Italian lyric and spinto roles such as the Duke of Mantua, Radames and Don Carlo, the lighter Wagner roles such as Lohengrin, Parsifal, and Meistersinger, and even Sadko from the Russian repertoire, and was a fine art song performer, Georges Thill is best known for his roles in French opera. During his long career he was the embodiment of French style, that combination of suavity, textual expression, delicacy, and vocal technique. His voice was not huge, but it had considerable carrying power, and his high notes were clear and ringing.

After military service during World War I, he entered the Paris Conservatory in 1919, where he studied with De Lucia in 1925 as Nicias in Massenet's THAIS, and thereafter, appeared there every season for the next 15 years, singing the major French tenor roles such as Faust, Werther, Admete in Gluck's ALCESTE, and Enée in Berlioz's LES TROYENS. As his fame spread, he made his Italian debut in 1928 as Calaf in Puccini's TURANDOT in Verona, his Covent Garden debut as Samson (Saint-Saëns) the same year, and repeated the role of Calaf for his 1929 La Scala and Teatro Colon debuts. His Met debut was in 1931 as Gounod's Roméo. He retired from the operatic stage in 1953, his last performance being at the Paris Opéra, oddly enough in the role of Canio in PAGLIACCI, and then from the concert stage in 1956.

He made three films, best known of which is Gustave Charpentier's LOUISE, with Grace Moore, and also made numerous recordings. His complete recording of Massenet's WERTHER is still a benchmark for all others."

- Anne Feeney,