Massenet par ces Createurs  (2-Malibran 829)
Item# V2638
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Massenet par ces Createurs  (2-Malibran 829)
V2638. MASSENET par ses Créateurs, incl. Georgette BRÉJEAN-SILVER, Jean LASSALLE, Henri ALBERS, Emma CALVÉ, Léonce ESCALAÏS, Maurice RENAUD, Charles ROUSSELIÈRE, Marguerite CARRÉ, Edmond CLÉMENT, Maria LUREAU, Dinh GILLY,Léon BEYLE, Ernest van DYCK, Marie DELNA, Jeanne MARIÉ-DE-L'ISLE, Hector DUFRANNE, Mary GARDEN, Adolphe MARÉCHAL, Jean SOULACROIX, Lucien FUGÈRE, Fédor CHALIAPINE & Lucy ARBELL. (France) 2-Malibran 829. [Sheer enchantment in these marvelous displays of the now extinct French style.] - 7600003778291


“If there is a composer who cannot be said to have neglected singing in his work, it is Jules Massenet. His catalogue in fact gives a very large part to vocal compositions (27 lyrical works, 4 oratorios, nearly 300 mélodies, motets ...) and it is with an undeniable concern for tessitura, vocal colors, prosody, meaning of the text and its correlation with the instrumental fund that Massenet wrote with so much passion. In his operas even more than in the rest of his repertoire, any vocal indication is therefore indicative of the sound result expected by the composer. It therefore seemed interesting to us, through this set, to compare the current conception of the main roles of these works with the authentic testimonies of their creators. Some were only performers by default, like Escalaïs or Ibos, after the defection of the expected creator, but most of these artists have in some way received the approval of Massenet, when they were not directly chosen by him. The question of tailor-made writing leads us to underline here the exceptional presence of three of the five unpublished extracts recorded by Lucy Arbell. These very rare and precious archives of the composer's ultimate muse, dedicatée of no less than eight of his main roles.”

- Hervé Oléon

“Lucy Arbell played an important role in Massenet’s compositional process and output. From 1901 he composed several mélodies for her, including the celebrated cycle Expressions lyriques (1909–1911); then, beginning with ARIANE in 1906, he wrote principal or secondary roles for the singer in all of his operas. Massenet’s collaboration with Arbell was much longer than his better-known partnerships with Sibyl Sanderson (1887–1894) and Emma Calvé (1894–1897).”

- Jean-Christophe Branger, Cambridge Opera Journal, 2019