Jean Marny;  Gall, Feraldy, Bauge, Heldy & Vallin   (Malibran 166)
Item# V0449
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Jean Marny;  Gall, Feraldy, Bauge, Heldy & Vallin   (Malibran 166)
V0449. JEAN MARNY: Songs by Hahn, Goublier, Derewsky & Wenzel; Arias & Duets (w.Gall, Féraldy, Baugé, Heldy & Vallin) from La Rôtisserie de la Reine Pédauque, Werther, Fortunio, Carmen, Lakmé, Le Roi d’Ys, Roméo, Mireille, Jocelyn & Manon. (France) Malibran 166, recorded 1919-28. Long out-of-print, Final Copy! - 3760003771662


“On 9 August 1917, Marny had made his Opéra-Comique debut in the title role in WERTHER. He remained at this theater for a number of years. On 12 January 1920, he created the role of Jacques Ménétrier in Charles Levadé’s opera LA RÔTISSERIE DE LA REINE PÉDAUQUE, which was based on a work by Anatole France. The critic Raymond Charpentier reviewed the dress rehearsal and wrote in COMOEDIA (12 January 1920, p. 12) that ‘M. Marny has always his beautiful voice which he uses with competency’. A critic in LE MÉNESTREL (16 January 1920, p. 19) noted that ‘.... Marny is excellent in the exquisite role of Jacques, which he tends to bring to light’….Charles Tenroc in LE COURRIER Musical (15 January, p. 34) [noted that] ‘he sings with skill, with lovely nuance’.

During the 1920 season he also sang Gérald in LAKMÉ with Yvonne Brothier as the heroine and Henri Albers as Nilakantha (7 February). He then performed the role of Des Grieux in MANON at a special matinee performance on 16 February with Hilde Roosevelt. During the same year (12 March) he sang in TOSCA with Raymonde Visconti and Albers, and on the 17th Werther with Alice Raveau. About a month earlier he had sung the role of Werther in the Théâtre Municipal in Rennes. The undated performance is reviewed by an unnamed critic in LE MÉNESTREL (20 February 20 1920, pp. 85–86) which is of considerable interest:

‘We have just participated in a gala evening which will certainly count as one of the most beautiful of the season and will remain in our memory. The auditorium - fully packed with very elegant public [heard] the tenor Marny [who] possesses a warm, supple voice of good color, and, moreover, he is a faultless actor. He triumphed. His shadings were very much observed’.

According to most reports, Marny was a fine actor and was one of the greatest Werthers of his era. His voice, like that of Friant, was the type that the French call a ténor démi-caractère, a cross between a lyric and a dramatic tenor.

Marny’s most interesting records were made for Pathé, including the first complete MANON (1923). He made a recording of his creation from LA RÔTISSERIE DE LA REINE PEDAUQUE: the ‘Rêverie de Jacques’.

A...true exemplar of the now almost lost French style of singing.”

- Lewis Morris Hall