Gustave Botiaux;  Silvy, Couderc & Cabanel   (2-Malibran 668)
Item# V0139
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Product Description

Gustave Botiaux;  Silvy, Couderc & Cabanel   (2-Malibran 668)
V0139. GUSTAVE BOTIAUX: Arias & Duets (w.Silvy, Couderc & Cabanel) from L’Africaine, Sigurd, La Favorite, Louise, Faust, La Reine de Saba, Roméo, Guillaume Tell, La Juive, Carmen, Hérodiade, Samson et Dalila, Aida, Il Trovatore, Rigoletto, Andrea Chénier, Tosca, Manon Lescaut, Turandot, La Boheme, Madama Butterfly, La Damnation de Faust & Le Pays de Sourire. (France) 2-Malibran 668. Long out-of-print, Final Copy! - 3760003776681


“One of the real super voices in the great French repertoire was Gustave Botiaux. Here a large and luminous tenor voice sings lyrically , at the same time powerfully and resoundingly, without sacrificing vocal beauty. In addition, there is the highly intelligent, role-forming phrasing (which cannot be said of either Chauvet or Poncet). Gustave Botiaux, who was most popular with L'Opéra-Comique, was a splendid lyric tenor but not without some reinforced steeliness when needed.

Gustave Botiaux won first prize at the 1945 Cannes National Singing Competition and was immediately engaged as principal tenor at the Théâtre de la Monnaie in Brussels. The Paris Opéra soon followed in 1956, before that the Comique with Turiddu), where he sang for many years. Botiaux possessed a voice of rare beauty, he was also a handsome man on stage and impressed with his athletic figure and a charisma that quickly brought him to the other theaters in France.

In that period the Opéra-Comique enjoyed some of its post-war finest years, also with a more expansive repertoire such as CAVALLERIA and PAGLIACCI, and in the former opera the highly presentable Botiuax in 1956 made a huge impression.

Of course, in those years the singing was almost exclusively in the national language, and Dick Johnson in Puccini's LA FANCIULLA DEL WEST also became one of his key roles, as did Radamès and Cavaradossi, only later graduating to PAGLIACCI in his 40s. He returned in triumph as Jean in the HÉRODIADE in Aix-en-Provence and then on the radio. He also made a name for himself as Canio. Botiaux has a bright, attractive voice and his Sigurd stands comparison with Guy Chauvet's on the Rosenthal recording- and we would be very lucky to hear the equal of either of them today.

In 1973 he left the theater and retired. His departure exacerbated the acute shortage of large tenor parts in the French repertoire. Botiaux and his recordings are largely forgotten today. One always goes straight back to Georges Thill and forgets the interim singers like Luccioni. And that's why the collection at was all the more welcome.”

- Walter Knoeff,