V1605. VANNI-MARCOUX: Arias from Don Giovanni, La Damnation de Faust, Mignon, Hamlet, Cléopätre, Don Quixote, Panurge, Pelléas, Monna Vanna, Louise, Le Jongleur de Notre-Dame, La Boheme, Don Carlos & Boris Godounov. (Austria) Preiser 89728, recorded 1924-34. Very long out-of-print, Final Copy! - 7172818972890
“There is a brief aria from Charpentier’s LOUISE and, rarity of rarities, an aria from Février’s MONNA VANNA. I enjoyed that one the most. It is the single selection from 1924, and Marcoux’s voice then was wonderfully beautiful, delicate and elegant.”
- Charles H. Parsons, AMERICAN RECORD GUIDE, July/Aug., 2010
"[Vanni-Marcoux's] voice and diction were considered by many to be the epitome of the French language. He compensated for lack of raw vocal power with impressive control over an unusually broad range, perfect musical manners and inexhaustible dramatic resource.”
- C.J. Luten, OPERA NEWS, Feb., 1996
“Vanni-Marcoux is generally regarded as a ‘singing actor’ or ‘an actor who sang’ (Scott). It is an instrument of rather a dry quality, but its color is characteristically French. His enunciation is a model of literal quality of the French language. His voice sounds very little like a bass, sounding high even when well down on the bass stave. It is because of this brightness, that the voice presents a much younger character than most basses, and it is remarkable to hear a King Philip, performed with almost a tenoral timbre.
Another great record is the death scene of Boris; I will always return to Vanni-Marcoux’s rendition. He gives a truly touching portrait of the dying Boris, neither sentimental nor exaggerated, but with fine and almost tender expression. Vanni-Marxoux’s recordings of Monna Vanna, Pelléas et Mélisande and Don Quichotte (La Mort de Don Quichotte) show this highly interesting artist as his best.”
- Andrea Shum-Binder, subito-cantabile