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2024-04-28
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Hector Dufranne Demest Charles Gounod Vincent Indy Indy Richard Wagner Jan Blockx Christoph Willibald Gluck Engelbert Humperdinck Ermanno Wolf Ferrari Alfred Bruneau Henri Rabaud Gustave Doret Xavier Leroux André Messager Raoul Laparra Maurice Ravel Giacomo Puccini Richard Strauss Jules Massenet Léandre Sergei Prokofiev Manuel Falla Edmond Polignac Polignac Sachs Opéra Comique Opéra Monte Carlo Covent Garden Notre Dame Théâtre Champs Élysées Manhattan Opera Company Chicago Grand Opera Company 1870 1896 1897 1898 1900 1901 1902 1904 1906 1907 1908 1909 1910 1911 1912 1913 1914 1921 1922 1923 1924 1935 1939 1951
Hector Dufranne Manon A quoi bon l'économie Pre dog 3 32767 enregistré en 1907 Hector Dufranne (25 October 1870 – 4 May 1951) was a Belgian operatic bass-baritone Dufranne was born in Mons. He studied at the Brussels Conservatory with Désirée Demest before making his professional opera debut in 1896 at La Monnaie as Valentin in Charles Gounod's Faust. He returned to that opera house several times to sing such roles as Grymping in Vincent d'Indy's Fervaal (1897), Alberich in Richard Wagner's Das Rheingold (1898), Thomas in Jan Blockx's Thyl Uylenspiegel (1900), Thoas in Christoph Willibald Gluck's Iphigénie en Tauride (1902), the Innkeeper in Engelbert Humperdinck's Königskinder (1912), and Rocco in Ermanno Wolf-Ferrari's I gioielli della Madonna (1913). Dufranne sang at the Opéra-Comique in Paris from 1900 to 1912, making his first appearance as Thoas. He appeared in several world premieres with the company including creating the roles of Saluces in Griselidis (1901), the title role in Alfred Bruneau's L' Ouragan (1901), Golaud in Pelléas et Mélisande (1902), Amaury-Ganelon in La Fille de Roland by Henri Rabaud (1904), Koebi in Gustave Doret's Les Armaillis (1906), the title role in Xavier Leroux's Le Chemineau, Clavaroche in Fortunio by André Messager (1907), the fiancé in Raoul Laparra's La Habanéra (1908), and Don Iñigo Gomez in Maurice Ravel's L'Heure espagnole (1911). He also sang Scarpia in the Opéra-Comique’s first production of Giacomo Puccini's Tosca (1909). Dufranne also appeared periodically at the Paris Opera beginning in 1907. He notably portrayed the role of John the Baptist in their first production of Richard Strauss's Salome (1910). He also sang at the Opéra de Monte-Carlo in 1907 where he took part in the creation of two world premieres, the role of André Thorel in Jules Massenet's Thérèse and the title role in Bruneau's Naïs Micoulin. In 1914 he sang the role of Golaud in his only appearance at the Royal Opera, Covent Garden in London. In 1908 Dufranne went to the United States for the first time to sing with the Manhattan Opera Company in the American premiere of Pelléas et Mélisande. He returned for several more productions through 1910, appearing as le Prieur in Le jongleur de Notre-Dame (1909), Caoudal in Sapho (1909), Rabo in Jan Blockx's Herbergprinses (performed in Italian as La Princesse d'Auberge, 1909), John the Baptist in Richard Strauss's Salome (1910), and Saluces in Massenet's Griselidis (1910). He also sang with the Chicago Grand Opera Company and the Chicago Opera Association from 1910 to 1922, creating there Léandre in The Love for Three Oranges (in French) by Sergei Prokofiev, in 1921. In 1922, Dufranne returned to Paris where he continued to appear in operas in all the major houses in addition to appearing in other opera houses in France. He also spent a brief time performing in Amsterdam in 1935. In 1923 he created the part of Don Quixote in the stage première of El retablo de maese Pedro under the baton of the composer, Manuel de Falla. The performance was for a private audience and was held in the private theatre of Winnaretta Singer, Princess Edmond de Polignac. In 1924, he appeared at the Théâtre des Champs-Élysées in the world premiere of Léon Sachs's Les Burgraves. With the outbreak of World War II in 1939, Dufranne retired from the stage, with his last performance being the role of Golaud at the opera house in Vichy. He lived in Paris where he taught singing for many years before his death in 1951. Source Wikipedia
Hector Dufranne Claude Debussy Demest Charles Gounod Vincent Indy Indy Richard Wagner Jan Blockx Christoph Willibald Gluck Engelbert Humperdinck Ermanno Wolf Ferrari Alfred Bruneau Henri Rabaud Gustave Doret Xavier Leroux André Messager Raoul Laparra Gomez Maurice Ravel Giacomo Puccini Richard Strauss Jules Massenet Léandre Sergei Prokofiev Manuel Falla Edmond Polignac Sachs Opéra Comique Opéra Monte Carlo Covent Garden Manhattan Opera Company Chicago Grand Opera Company 1870 1896 1897 1898 1900 1901 1902 1904 1906 1907 1908 1909 1910 1911 1912 1913 1914 1921 1922 1923 1924 1935 1939 1951
Hector Dufranne - Manon - Regardez-moi bien dans les yeux - Pre-dog 3-32766 enregistré en 1907 Hector Dufranne (25 October 1870 – 4 May 1951) was a Belgian operatic bass-baritone who enjoyed a long career that took him to opera houses throughout Europe and the United States for more than four decades. Admired for both his singing and his acting, Dufranne appeared in a large number of world premieres, most notably the role Golaud in the original production of Claude Debussy's Pelléas et Mélisande in 1902, which he went on to sing 120 times at that house. He had an excellent singing technique which maintained the quality of his voice even into the latter part of his career. His wide vocal range and rich resonant voice enabled him to sing a variety of roles which encompassed French, German, and Italian opera. Voir: (http•••) Dufranne was born in Mons. He studied at the Brussels Conservatory with Désirée Demest before making his professional opera debut in 1896 at La Monnaie as Valentin in Charles Gounod's Faust. He returned to that opera house several times to sing such roles as Grymping in Vincent d'Indy's Fervaal (1897), Alberich in Richard Wagner's Das Rheingold (1898), Thomas in Jan Blockx's Thyl Uylenspiegel (1900), Thoas in Christoph Willibald Gluck's Iphigénie en Tauride (1902), the Innkeeper in Engelbert Humperdinck's Königskinder (1912), and Rocco in Ermanno Wolf-Ferrari's I gioielli della Madonna (1913). Dufranne sang at the Opéra-Comique in Paris from 1900 to 1912, making his first appearance as Thoas. He appeared in several world premieres with the company including creating the roles of Saluces in Griselidis (1901), the title role in Alfred Bruneau's L' Ouragan (1901), Golaud in Pelléas et Mélisande (1902), Amaury-Ganelon in La Fille de Roland by Henri Rabaud (1904), Koebi in Gustave Doret's Les Armaillis (1906), the title role in Xavier Leroux's Le Chemineau, Clavaroche in Fortunio by André Messager (1907), the fiancé in Raoul Laparra's La Habanéra (1908), and Don Iñigo Gomez in Maurice Ravel's L'Heure espagnole (1911). He also sang Scarpia in the Opéra-Comique’s first production of Giacomo Puccini's Tosca (1909). Dufranne also appeared periodically at the Paris Opera beginning in 1907. He notably portrayed the role of John the Baptist in their first production of Richard Strauss's Salome (1910). He also sang at the Opéra de Monte-Carlo in 1907 where he took part in the creation of two world premieres, the role of André Thorel in Jules Massenet's Thérèse and the title role in Bruneau's Naïs Micoulin. In 1914 he sang the role of Golaud in his only appearance at the Royal Opera, Covent Garden in London. In 1908 Dufranne went to the United States for the first time to sing with the Manhattan Opera Company in the American premiere of Pelléas et Mélisande. He returned for several more productions through 1910, appearing as le Prieur in Le jongleur de Notre-Dame (1909), Caoudal in Sapho (1909), Rabo in Jan Blockx's Herbergprinses (performed in Italian as La Princesse d'Auberge, 1909), John the Baptist in Richard Strauss's Salome (1910), and Saluces in Massenet's Griselidis (1910). He also sang with the Chicago Grand Opera Company and the Chicago Opera Association from 1910 to 1922, creating there Léandre in The Love for Three Oranges (in French) by Sergei Prokofiev, in 1921. In 1922, Dufranne returned to Paris where he continued to appear in operas in all the major houses in addition to appearing in other opera houses in France. He also spent a brief time performing in Amsterdam in 1935. In 1923 he created the part of Don Quixote in the stage première of El retablo de maese Pedro under the baton of the composer, Manuel de Falla. The performance was for a private audience and was held in the private theatre of Winnaretta Singer, Princess Edmond de Polignac. In 1924, he appeared at the Théâtre des Champs-Élysées in the world premiere of Léon Sachs's Les Burgraves. With the outbreak of World War II in 1939, Dufranne retired from the stage, with his last performance being the role of Golaud at the opera house in Vichy. He lived in Paris where he taught singing for many years before his death in 1951. Source Wikipedia
Ernest Chausson Montserrat Caballé Wyn Maurice Boucher Ling Maus Désiré Demest Salabert 1855 1882 1886 1890 1893 1895 1896 1917 1929 1941
Ernest Chausson Poème de l'amour et de la mer, Op. 19 +••.••(...)) I. La Fleur des eaux Ia. Interlude (12:34) II. La Mort de l'amour (15:41) Montserrat Caballé, soprano and the Symphonica of London conducted by Wyn Morris Description by Adrian Corleonis [-] Except in the domain of the mélodie, of which he became a supreme master, Chausson seems to have been more hindered than helped by words. The composition of his grand opera Le roi Arthus, for which he wrote a superb libretto, occupied him from 1886 until 1895. Likewise, he agonized over the setting of his friend Maurice Boucher's verses for the Poème de l'amour et de la mer from 1882 until 1890, visiting revisions upon the work again in 1893. Boucher +••.••(...)) was not a great, nor even a very distinguished, poet. And that's perhaps as well, as his cliché-filled sketch of a seaside summer romance allowed Chausson extended opportunities, unhampered by undue explicitness, for mood and scene painting. The Parnassian inheritance / banal images of a time of lilacs and roses giving way to the metallic rustle of dead leaves as love dies / becomes transfigured in Chausson's music into an exquisite, frantic, almost palpable evocation of both the period (what is now thought of as "the Nineties") and the psychology of Romantic love. Part I, "La fleur des eaux," is a gentle seascape reflecting radiant, sunlit happiness, levitated by sensuous arabesques and fretted with anxious anticipation / "O sky that will reflect the color of her eyes" / to rise in a soaring climax before melting into an entranced, hymn-like, beatific vision of the beloved / "a beautiful girl was there upon the shore...smiling with a tender wildness." Almost at once it is fraught with a premonition of the end / "What wild lament will sound the hour of farewell?" / as exaltation becomes a startled keening, for "my very soul is taken away from me, and the dull booming of the waves muffles my sobs." A brief orchestral interlude rehearses the poignant melody associated with the lost happiness of "le temps des lilas." With the final, extended section / "La mort de l'amour" / the season has turned, the weather has changed, the seascape returns with the tempestuous shimmer of "sauvage" sorcery as black skies and howling winds presage the beloved's sudden coldness / "my blood turned to ice at my love's strange smile....I could read this fatal word in her wide eyes: oblivion." A final spellbinding lament for the irrecoverable, irremediable "time of lilacs and roses" (arranged in 1886 as a mélodie with piano accompaniment) ends on a sustained hush of desolation. Scored with a scintillating sumptuousness according a psychically penetrating prominence to the woodwinds, the Poème de l'amour et de la mer has become something of a Liebestod for mezzos, while the score is marked unequivocally "pour une voix (élevée) et orchestre." Curiously, the first performance was given in Brussels in 1893 at one of the prestigious and distinguished subscription concerts organized by Octave Maus, with the composer accompanying a tenor, one Désiré Demest, in his own arrangement for piano. Publisher info: Paris: E. Baudoux & Cie., 1896. Plates E.B. & Cie. 271-272. Reissue - Rouart, Lerolle & Cie., 1917. Plate A.R. 5271 L. & Cie. Reprinted: Paris: Salabert (after 1941) Copyright: Public Domain
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