Germaine Cernay (Recital);  Gaston Micheletti, Arthur Endreze - Cavalleria Rusticana  (Malibran AMR 110)
Item# V0131
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Germaine Cernay (Recital);  Gaston Micheletti, Arthur Endreze - Cavalleria Rusticana  (Malibran AMR 110)
V0131. GERMAINE CERNAY: Songs by Lalo, Berlioz & Saint-Saëns; Arias from Le Cid, Samson et Dalila & Le Roi d’Ys; CAVALLERIA RUSTICANA – Excerpts (in French), recorded 1934, w.Cloez, Cond. Germaine Cernay, Gaston Micheletti, Arthur Endrèze, etc. (France) Malibran AMR 110. AMR titles are issued without rear tray-cards] Final Copy!


“Germaine Cernay was born Germaine Pointu in Le Havre, studied at the Paris Conservatory with Henri Albers and Émile Engel, making her début at the Opéra-Comique in 1927 in the Paris première of Alfano’s RESURREZIONE, opposite Mary Garden and René Maison. Her Salle Favart roles included Charlotte (WERTHER), Margared (LE ROI D’YS), Mignon, Suzuki (MADAMA BUTTERFLY), and Mallika (LAKMÉ). Outside of France she appeared in Belgium and Switzerland, as well as in North Africa. In 1942 she sang the role of Geneviève in the first complete recording of PELLÉAS ET MÉLISANDE under the baton of Roger Désormière. Cernay died prematurely a year later in Paris.”

- Vincent Giroud, Program Notes to Marston's FIREBIRDS OF PARIS

“Cernay made her début at the Opéra-Comique in Paris on 16 May 1927 as la Bossue in the Paris premiere of Alfano’s RISURREZIONE (in French). Other creations at the Salle Favart were Floriane in ÉROS VAINQUEUR (de Bréville), la Tour in LE FOU DE LA DAME (Delannoy), a fairy in RIQUET A LA HOUPPE (Hue), and Léonor in LE SICILIEN (Letorey). Her other principal roles at the Opéra-Comique included Sélysette (ARIANE ET BARBE-BLEUE), a sister (BÉATRICE), Gertrude (LE ROI DAGOBERT), la fantôme (LES CONTES D'HOFFMANN), Mallika (LAKMÉ), Javotte (MANON), title role in MIGNON, Souzouki (MADAMA BUTTERFLY), Vincenette/Taven (MIREILLE), Geneviève (PELLÉAS ET MÉLISANDE), Cléone (PÉNÉLOPE), Charlotte (WERTHER) and one of the voices in MASQUES ET BERGAMASQUES. She was invited to many provincial centres in France and also appeared in North Africa, Switzerland, Belgium, England, Ireland and Italy. Broadcasting on French radio allowed Cernay to enlarge her repertoire to roles in CARMEN, LE ROI D’YS, LE CHEMINEAU, LA DAMNATION DE FAUST, DON QUICHOTTE and LA LÉPREUSE. She also sang in the first performance of surviving fragments of Chabrier's VAUCOCHARD ET FILS on 22 April 1941 at the Salle du Conservatoire. Cernay was one of best-known concert altos of her generation and highly considered as a Bach interpreter. She appeared regularly with the Orchestre de la Societé des Concerts du Conservatoire from 1931 to 1942. Her first and last appearances with the orchestra were as alto soloist in the Bach MAGNIFICAT, and in 1936 she sang in two performances of the Mass in b minor. She retired in 1942 to become a nun. A year later she died of status epilepticus."

- Ned Ludd

“Micheletti was contracted to the Opéra-Comique, where his first rôle was Des Grieux. This opera house became the centre of his activities until his retirement in 1946. He sang in a wide range of rôles, including Don José, Turiddu, Hoffmann, Gérald, Pinkerton, Canio, Dimitri in Alfano’s RÉSURRECTION, Mylio, Werther, Rodolfo, Cavaradossi and Roméo. He created numerous rôles in premieres of forgotten French operas. His career was largely restricted to French and Belgian opera houses. He is a lirico-spinto tenor of remarkable subtlety. The timbre of his voice is attractive, warm and velvety, with a slightly baritonal tinge."

-Zillah Dorset Akron

“On records, Endrèze projects a romanticism that supports his image. His voice is velvety and sensual. He articulates each phrase with a feeling for the particular color that helps illuminate its meaning. As a singing actor, Arthur Endrèze was the heir to Jean de Reszké's legendary magic; he also deserves recognition as one of the greatest American baritones.”

- Harold Bruder

“A pupil of Jean de Reszke, a young American baritone, Mr. Endrèze did unusually good work in the difficult rôle of Guercoeur. He has the best voice which has been heard for some years on the Opéra boards. His voice has, in reality, the characteristic timbre of a tenor and he is able to reach both the upper and lower extremes with ease. The power of his voice is unusual. He is, moreover, an artist who is full of intelligence and one who has proved himself to be an excellent actor. His success was great.”

- Henry Prunières, THE NEW YORK TIMES