Raoul Gunsbourg Vídeos
compositor, escritor y director de ópera
Conmemoraciones 2025 (Muerte: Raoul Gunsbourg)
- ópera
- Rumania
- compositor, escritor, ejecutivo de empresa, director de orquesta
Última actualización
2024-04-28
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Paul Franz Forge Gauthier Louis Delaquerrière Richard Wagner Vincent Indy Indy Gabriel Dupont Hector Berlioz Albert Roussel Raoul Gunsbourg Meyerbeer Charpentier Siegfried Wagner Bayreuth Schubert Schumann Opéra Monte Carlo Covent Garden Bayreuth Festival Scala Teatro Colón 1876 1908 1910 1914 1915 1918 1919 1920 1921 1922 1923 1938 1950 2015
Paul Franz - Siegfried - Chant de la Forge - Pathé X0095 enregistré en 1919-1920 Paul Franz , (Paris le 30 novembre 1876 -20 avril 1950). His real name was François Gauthier. First he became a railroad employee, then studied singing at the Conservatoire in Paris. Privately he perfected his vocal technique under Louis Delaquerrière in Paris. In 1908 he won a competition for amateur singers and immediately attracted the attention ot the director of the Grand Opéra in Paris. His debut that same year as Lohengrin in Nantes was a remarkable success and he subsequently joined the ensemble of the Grand Opéra, where he remained as an admired member until 1938. Here he appeared in several opera premieres: 1914 Parsifal (Richard Wagner) 1920 La Légende de Saint Christophe (Vincent d'Indy) 1921 Antar (Gabriel Dupont) 1921 Les Troyens (Hector Berlioz) 1923 Padmâvati (Albert Roussel) In 1922 he had at the Grand Opéra a special success as Walther von Stolzing in ‘’Die Meistersinger von Nürnberg’’. At the Opéra de Monte-Carlo he made guest appearance in 1922. The next year he sang there in the premiere of Raoul Gunsbourg’s ‘’Lysistrata’’. He also sang in Brussels. In the 1910-1914 he appeared with great success at Covent Garden, London. Here his repertoire included the Samson in C. Saint-Saën's ''Samson et Dalila'', Radames in ''Aida'', Raoul in ''Les Huguenots'' of G. Meyerbeer, José in ''Carmen'' and Julien in ''Louise'' of G. Charpentier. Siegfried Wagner intended him for the Bayreuth Festival of 1915, but the outbreak of the First World War prevented these plans. In 1910 he performed at La Scala, in 1918 at the Teatro Colón in Buenos Aires, also he guested at the Opera in Antwerp After his stage farewell he was appointed a professor at the Conservatoire National de Paris. He was also active as a composer (ballet ''L'Orchestre en liberté'') and translated German song texts of Schubert and Schumann. Source : (http•••)
Paul Franz Georges Bizet Gauthier Louis Delaquerrière Jean Reszke Dyck Charles Rousselière Reyer Lucien Muratore Massenet Charpentier Gounod Nellie Melba Indy Dupont Rabaud Roussel Bruneau Gunsbourg Halévy Berlioz Covent Garden Scala Teatro Colón 1876 1908 1909 1910 1911 1913 1914 1915 1918 1920 1922 1930 1938 1950
Georges Bizet CARMEN "La fleur que tu m'avais jetée"- disco acustico Gramophone, Parigi - matrice 02234v - numero di catalogo 032239 - data dell'incisione 28 novembre 1911. Tenore francese François Gauthier in arte - PAUL FRANZ - (Parigi 30.11.1876 - Parigi 20.4.1950) Inizialmente era un dipendente del ferrovie francesi, e non fu avviato all'apprendimento del canto fino all'età di quasi 30 anni (!). Rivelatosi nel marzo 1908 in un concorso per tenori dilettanti organizzato dai periodici Musica e Comoedia , studia a Parigi con Louis Delaquerrière. Dopo essersi esibito a Nantes nel gennaio 1909 ottenendo un notevole successo, ha subito attirato l'attenzione del direttore del Grand Opéra di Parigi, scritturato, vi debutta l'1 febbraio 1909 vi rimane come membro fino al 1938. Egli è stato molto ammirato, non solo rispetto a Jean de Reszke, ma anche ai grandi Ernest van Dyck e Charles Rousselière. Come Lohengrin, cui fanno seguito Sansone e Dalida e Sigurd di Reyer; nel settembre del 1909 canta nel Faust e Roméo et Juliette, rivaleggiando col giovane tenore Lucien Muratore; vi rimane come primo tenore fino al 1938. Tra il 1910 e il 1914 è impegnato fra Parigi e Londra, dove interpreta il repertorio tenorile più difficoltoso Radamès, Otello, Raoul degli Ugonotti, Giovanni di Leyda nel Profeta, Rodrigo nel Cid di Massenet, continuando però ad esibirsi nel genere lirico francese come Louise di Charpentier, Roméo et Juliette di Gounod, che al Covent Garden cantò al fianco di Nellie Melba. Si avvicina al repertorio wagneriano, e la sua affermazione è notevole, di fatto ebbe un grande successo sempre all'Opéra di Parigi nel marzo del 1911 quale Walter nei Maestri Cantori e poi nel Tristano e Isotta, nella Tetralogia e finalmente nel primo Parsifal (4 febbraio 1913), dove assicura anche le prime locali di, Les Troyens e Hérodiade di Massenet Canta poco lontano da Parigi e Londra: 1910-14 Bruxelles; Monte Carlo 1922-27. Tra il 1920 e il 1930 cantò molte prime assolute di compositori francesi come: d'Indy, Dupont, Rabaud, Roussel, Bruneau Gunsbourg e altri. All'Opéra cantò anche in La Juive di Halévy, e La Damnation de Faust di Berlioz. Diede l'addio alle scene il 12 luglio 1938 all'Opéra di Parigi. Paul Franz fu una delle più grandi voci del secolo; famoso per la sua dizione e presenza scenica, e l'esempio più indicativo di un grande cantante francese che non ha mai ambito a una carriera internazionale. Il suo repertorio francese include ruoli come ad esempio Eléazar in La Juive, Roméo, Faust, Sansone, Don José, Sigurd, Jean, Roderigue a Le Cid ed Enée de Les Troyens. Per il repertorio italiano sono stati Radames e Otello. Il suo repertorio wagneriano comprendeva Tannhäuser, Parsifal, Stolzing, Siegmund, Siegfried e Tristan. È stato molto acclamato al Covent Garden, dove ha cantato tra 1910 - 1914 (Raoul, Julien in Louise, Radames e Otello). Nel 1915 apparve alla Scala e nel 1918 al Teatro Colón di Buenos Aires. Dopo il suo addio alle scene, è stato nominato professore presso il Conservatorio Nazionale di Parigi.
Vanni Marcoux Puccini Piero Coppola Verdi Boyer Gounod Rossini Barber Meyerbeer Massenet Raoul Gunsbourg Max Ollone Henry Février Honegger Ibert Debussy Offenbach Tales Hoffmann Mary Garden Scala Opéra Comique Teatro Colón Boston Opera Company Chicago Grand Opera Company Opera Chicago 1877 1894 1899 1905 1906 1908 1910 1912 1913 1914 1919 1927 1938 1948 1951 1962 1979
Vanni Marcoux sings 'Vecchia zimarra,' with orchestra conducted by Piero Coppola, recorded in Paris on 12 October 1927. From Wikipedia: Jean-Émile Diogène Marcoux (June 12, 1877 – October 22, 1962) was a French operatic bass-baritone, known professionally as Vanni Marcoux (sometimes hyphenated as Vanni-Marcoux). He was particularly associated with the French and Italian repertories. His huge repertoire included an estimated 240 roles and he won renown as one of the most memorable singing-actors of the 20th century. Jean-Émile Diogène Marcoux was born to a French father and an Italian mother in Turin, Italy. His mother gave him the nickname 'Vanni,' short for Giovanni, the Italian equivalent of Jean. After completing law studies, he decided to devote himself to music. He studied with Collini at the music conservatory in his hometown. He made his operatic debut in 1894, at the age of 17, as Sparafucile in Verdi's Rigoletto, in Turin. After further studies in Paris with Frédéric Boyer, he made his first stage appearance in France, at Bayonne, as Frère Laurent in Gounod's Roméo et Juliette, in 1899. Thereafter he toured a number of provincial theatres, which led to his debut at the Royal Opera House in London, as Basilio in Rossini's The Barber of Seville, in 1905, and at La Monnaie in Brussels, as Bertram in Meyerbeer's Robert le diable, in 1906. Vanni Marcoux made his Paris Opéra debut in 1908 as Méphisto in Gounod's Faust, and at La Scala in 1910, as the Old Hebrew in Saint-Saëns' Samson and Delilah. The same year, 1910, he sang for the first time Massenet's Don Quichotte at the 'Gaieté Lyrique' in Paris, a part that would soon become his signature role. For nearly 40 years, Vanni Marcoux was a familiar and much admired figure in Parisian musical life, mainly at the Opéra and the Opéra-Comique, where he created a number of roles in contemporary operas such as Raoul Gunsbourg's Lysistrata, Max d'Ollone's L'Arlequin, Henry Février's Monna Vanna and La Femme nue, Massenet's Panurge, and Honegger's and Ibert's L'Aiglon. Word of his many successes crossed the Atlantic, and he was invited to join the Boston Opera Company, where he made his debut in 1912 as Golaud in Debussy's Pelléas et Mélisande. This was followed by his debut at the Chicago Grand Opera Company in 1913, as the four villains in Offenbach's The Tales of Hoffmann, which is considered one of his greatest histrionic achievements. His success in America was partly due to the soprano Mary Garden, who had popularized French opera in Chicago, thus laying the groundwork for his visit. In October 1914, in the early stages of World War I, it was erroneously reported in the press that he had been killed on active service as a member of the French Army. In 1919, Vanni Marcoux appeared at the Teatro Colón in Buenos Aires, the most important opera house in South America. Among his more notable interpretations were Philippe II in Don Carlos, Rafaele in The Jewels of the Madonna, Iago in Otello, and the title character in Gianni Schicchi. Vanni Marcoux began teaching at the Paris Conservatory in 1938. He retired from the stage in 1948 and became director of the Grand Théâtre de Bordeaux. He held that post from 1948 to 1951. His death occurred in 1962. Vanni Marcoux's career was impressive for its longevity and the remarkably wide variety of operatic roles which it embraced. He possessed a clear, although not especially large voice, with a characteristic vibrato and a weight and timbre of almost tenor quality (see Scott, Record of Singing 1979). His French diction was praised for its clarity, and he was also acclaimed by music critics for the quality of his musicianship and his outstanding dramatic intelligence. He married Madeleine Morlay, an actress, in 1914. His wife was portraited by Antonio de La Gandara and one of the two works painted is exhibited in the Beauvais Museum (France) and on display on the website dedicated to La Gandara. I transferred this side from HMV VA 50.
Charles Rousselière Huchet Vergnet Achard Gabriel Fauré Isaac Camondo Lamoureux Pietro Mascagni Camille Saint Saëns Xavier Leroux Raoul Gunsbourg André Messager Opéra Comique Scala Concerts Lamoureux Metropolitan Opera 1875 1899 1900 1901 1905 1906 1907 1909 1913 1914 1926 1950
Charles Rousselière - Nuit devant la mer - E.Norini - J. Lahor Polydor 561022 enregistré ca 1926 Charles Rousselière ténor français (11.Saint-Nazaire-d'Aude, 17 janvier 1875 – 37.Joué-lès-Tours, 11 mai 1950*) Fils d'Antoine ROUSSOULIÈRE et de Jacquette ARTHOZOUL. Epouse à 75009.Paris le 16 novembre 1901* Jeanne Suzanne HUCHET, dite Jeanne ROUSSELIÈRE, cantatrice ; parents de Jean ROUSSELIÈRE, chanteur d'opérette. Après avoir fait ses études classiques dans sa ville natale, il vint à Paris et entra au Conservatoire national de musique, où il eut pour professeurs Vergnet (chant), Girardot (opéra) et Achard (opéra-comique). En 1899, il obtint un second accessit de chant et un second prix d'opéra. Il fut aussitôt engagé à l’Opéra et débuta dans Samson et Dalila avec un succès qui le plaça d’emblée au nombre des artistes en vue et qui, ensuite, ne s’est pas démenti. Le 26 août 1900, il a participé à la création de Prométhée (Andros) de Gabriel Fauré aux Arènes de Béziers, et le 26 avril 1906, à celle du Clown (le Clown) d'Isaac de Camondo au Nouveau-Théâtre, à Paris. Cet excellent ténor s’est également produit brillamment aux Concerts Lamoureux à Paris. Il a fait une carrière internationale qui le conduisit notamment à la Scala de Milan et au Metropolitan Opera de New York. A Monte-Carlo, il participa aux créations d'Amica (Giorgio) de Pietro Mascagni le 16 mars 1905 ; de l'Ancêtre (Tebaldo) de Camille Saint-Saëns le 24 février 1906 ; de Théodora (Andréas) de Xavier Leroux le 19 mars 1907 ; du Vieil Aigle (Tolaïk) de Raoul Gunsbourg le 13 février 1909 ; de Pénélope (Ulysse) de Gabriel Fauré le 04 mars 1913 ; de Béatrice (Lorenzo) d'André Messager le 21 mars 1914. Il faut noter qu'avant d'entrer à l'Opéra, Rousselière se produisait principalement au café-concert. Il était à ce titre l’une des vedettes du Petit Ramponneau, établissement de Montmartre, tenu à cette époque par Théophile Pathé, frère de Charles Pathé, le directeur de la maison Pathé frères pour qui il enregistrait alors des cylindres. Source: (http•••)
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- cronología: Compositores (Europa). Directores de orquesta (Europa).
- Índices (por orden alfabético): G...