Giovanni Sbriglia Vidéos
ténor italien
- ténor
- royaume d'Italie, France
- artiste lyrique
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2024-05-02
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Pol Plançon Enrico Caruso Théodore Ritter Ritter Gilbert Duprez Giovanni Sbriglia Bris Meyerbeer Gounod Massenet Bettini Opéra Lyon Opéra Garnier Scala Covent Garden Metropolitan Opera 1830 1851 1878 1880 1883 1885 1890 1891 1893 1897 1904 1908 1914 1977
Pol Plançon - Faust - Sérénade de Méphisto - Victor GP 04 81040 enregistré le 29 janvier 1904 « Plançon sang like a cello, I try myself to imitate the legato of a cello » Enrico Caruso Pol Plançon, né le 12 juin 1851 à Fumay (Ardennes) et mort le 12 août 1914 à Paris, était un chanteur d'opéra (basse) français. Son père le destine à une carrière de commerçant mais lui donne la passion de la musique. C'est dans la boutique parisienne de son père où il travaille qu'il rencontre le musicien Théodore Ritter. Ce dernier, découvrant ses dons de chanteur, le fait entrer à l'école de chants de Gilbert Duprez (ténor inventeur de "l'ut de poitrine" qui a fait frémir tant de mélomanes au tournant des années 1830). Il poursuit ensuite son apprentissage auprès de Giovanni Sbriglia, un autre ténor. Il débuta à l'Opéra de Lyon en 1878 en interprétant Saint-Bris dans les Huguenots de Meyerbeer. En 1880, il se produit au Théâtre de la Gaîté-Lyrique de Paris dans le rôle de Colonna de l'opéra Pétrarque de Duprat, et reçoit enfin son premier engagement à l'Opéra Garnier en 1883, où il tient le rôle de Méphistophélès dans le Faust de Gounod qu’en dix ans il y incarnera plus de cent fois. Il participe aussi aux premières du Cid de Massenet en 1885 dans le rôle de Don Gormas, d'Ascanio de Saint-Saëns en 1890, dans le rôle du roi Franz Ier. De 1891 à 1904, il se produit sur plusieurs scènes européennes, comme la Scala de Milan, Bruxelles ou Nice, Covent Garden à Londres où il fut le chanteur favori de la Reine Victoria qui le gratifia, entre autres, de la décoration du Jubilé. C'est en pleine gloire à Covent Garden qu'il est appelé au Metropolitan Opera de New York. En 1893, il y débute en Jupiter dans Philémon et Baucis de Gounod. Il y resta jusqu'en 1908, participant à 612 représentations, sur New York, ou en tournée avec la troupe à travers les États-Unis De retour à Paris, il met un terme à 54 ans à sa carrière pour exercer comme professeur. La maladie l'emporte le 12 août 1914. Source: Wikipedia Le critique Herman Klein écrivait après ses débuts londoniens : ” Plançon is among the most accomplished and distinguished artists that France has ever sent here. He is a basse-chantante with a superb voice trained by Duprez, allied to a style that is at once elegant and impeccable, a splendid actor who adorns every part he plays” Plançon fit 87 enregistrements entre 1897 ( cylindres Bettini) et 1908 ( dernière session Victor) ,” all of them testifying to the beauty of his voice and its purity of tone , and to his mastery of every facet of his art vocal; they also reveal considerable and often subtle interpretive gifts. The most stunning, and perhaps the best known, is the air of the Drum-Major from Thomas’s Le Caïd where he fires off a whole fusillade of effects …” Source: Michael Scott – The record of singing - 1977
Hector Berlioz Plançon Gilbert Duprez Giovanni Sbriglia Jean Reszke Fauré Lyons Gounod Emma Eames Nellie Melba Massenet Isidore Lara Metropolitan Opera 1835 1877 1880 1883 1885 1890 1891 1892 1893 1894 1897 1898 1901 1903 1904 1905 1906 1907 1908
THIS IS THE SUCCESSOR CHANNEL TO "liederoperagreats" WHICH WAS RECENTLY TERMINATED. Pol Plançon--bass Orchestra 1907 / "Plançon (first name Paul-Henri, Pol being a familiar version of Paul) was first taught by the tenor Gilbert Duprez, who had created the role of Edgardo in Lucia di Lammermoor in 1835, and later studied with Giovanni Sbriglia, who also taught the brothers Édouard and Jean de Reszke, with whom he was to sing frequently. In an interview given in 1905 Plançon himself said he had modelled his singing on that of a Parisian idol of the 1860s and 1870s, the baritone Jean-Baptiste Fauré. He made his operatic stage debut in 1877 as St Bris / Les Huguenots at Lyons, remaining there for two years, after which he appeared in several French provincial theatres and made his Parisian debut in 1880 as Collona in Duprat’s opera Pétrarque at the Théâtre Gaîté-Lyrique. At the Paris Opera Plançon’s first appearance was in 1883, when he sang Méphistophélès in Gounod’s Faust. During his ten years with the Opera, where his partners included the sopranos Emma Eames and Nellie Melba, he created the roles of Don Gormas in the first performance of Massenet’s Le Cid (1885) and of François I in Saint-Saëns’s Ascanio (1890). From 1891 to 1904 Plançon was a welcome guest in London at the Royal Opera House. Here he made his debut as Méphistophélès and took part in several premieres of note: Isidore de Lara’s The Light of Asia (1892), Massenet’s La Navarraise (1894) and Stanford’s Much Ado About Nothing (1901), as well as the first local performances of Lalo’s Le roi d’Ys (1901) and Massenet’s Hérodiade (1904). Of the traditional repertoire he sang Rocco / Fidelio, Ramfis / Aida, Pogner / Die Meistersinger von Nürnberg and Jupiter / Philémon et Baucis (Gounod). Plançon first appeared at the Metropolitan Opera, New York in 1893 as Jupiter, going on to sing over six hundred performances in the seasons 1893–1897, 1898–1901 and 1903–1908, of which eighty-five were as Méphistophélès. Operas that were common to both Paris and later London and New York included Faust, La Favorite, Les Huguenots, Lohengrin and Roméo et Juliette. Later operas that Plançon added to his repertoire included La sonnambula and Norma (both ideally suited to his voice) and Die Zauberflöte; and in 1906 he sang Méphistophélès in the first American performance of Berlioz’s La Damnation de Faust. His final appearance at the Met took place in 1908, when he sang Plunkett / Martha. On his return to Paris, Plançon taught a number of select pupils, having retired from the stage with his voice in good shape, although the top was beginning to weaken. He had been with a group of singers from the Met who were caught up in the great earthquake of San Francisco in 1906, and survived shaken but unhurt; but died just as Europe entered the cataclysm of World War I. For many Plançon’s singing represents the peak of the fabled ‘golden age’. His was a voice of great range, characteristed by its light tone and flawless trill. He was able to use it with great skill, whether singing with a pure legato or alternatively in rapid scales."; naxos
Charles Gounod Plançon Gilbert Duprez Giovanni Sbriglia Jean Reszke Fauré Lyons Emma Eames Nellie Melba Massenet Isidore Lara Berlioz Metropolitan Opera 1835 1877 1880 1883 1885 1890 1891 1892 1893 1894 1897 1898 1901 1903 1904 1905 1906 1908
THIS IS THE SUCCESSOR CHANNEL TO "liederoperagreats" WHICH WAS RECENTLY TERMINATED. Pol Plançon--bass Piano 1904 / "Plançon (first name Paul-Henri, Pol being a familiar version of Paul) was first taught by the tenor Gilbert Duprez, who had created the role of Edgardo in Lucia di Lammermoor in 1835, and later studied with Giovanni Sbriglia, who also taught the brothers Édouard and Jean de Reszke, with whom he was to sing frequently. In an interview given in 1905 Plançon himself said he had modelled his singing on that of a Parisian idol of the 1860s and 1870s, the baritone Jean-Baptiste Fauré. He made his operatic stage debut in 1877 as St Bris / Les Huguenots at Lyons, remaining there for two years, after which he appeared in several French provincial theatres and made his Parisian debut in 1880 as Collona in Duprat’s opera Pétrarque at the Théâtre Gaîté-Lyrique. At the Paris Opera Plançon’s first appearance was in 1883, when he sang Méphistophélès in Gounod’s Faust. During his ten years with the Opera, where his partners included the sopranos Emma Eames and Nellie Melba, he created the roles of Don Gormas in the first performance of Massenet’s Le Cid (1885) and of François I in Saint-Saëns’s Ascanio (1890). From 1891 to 1904 Plançon was a welcome guest in London at the Royal Opera House. Here he made his debut as Méphistophélès and took part in several premieres of note: Isidore de Lara’s The Light of Asia (1892), Massenet’s La Navarraise (1894) and Stanford’s Much Ado About Nothing (1901), as well as the first local performances of Lalo’s Le roi d’Ys (1901) and Massenet’s Hérodiade (1904). Of the traditional repertoire he sang Rocco / Fidelio, Ramfis / Aida, Pogner / Die Meistersinger von Nürnberg and Jupiter / Philémon et Baucis (Gounod). Plançon first appeared at the Metropolitan Opera, New York in 1893 as Jupiter, going on to sing over six hundred performances in the seasons 1893–1897, 1898–1901 and 1903–1908, of which eighty-five were as Méphistophélès. Operas that were common to both Paris and later London and New York included Faust, La Favorite, Les Huguenots, Lohengrin and Roméo et Juliette. Later operas that Plançon added to his repertoire included La sonnambula and Norma (both ideally suited to his voice) and Die Zauberflöte; and in 1906 he sang Méphistophélès in the first American performance of Berlioz’s La Damnation de Faust. His final appearance at the Met took place in 1908, when he sang Plunkett / Martha. On his return to Paris, Plançon taught a number of select pupils, having retired from the stage with his voice in good shape, although the top was beginning to weaken. He had been with a group of singers from the Met who were caught up in the great earthquake of San Francisco in 1906, and survived shaken but unhurt; but died just as Europe entered the cataclysm of World War I. For many Plançon’s singing represents the peak of the fabled ‘golden age’. His was a voice of great range, characteristed by its light tone and flawless trill. He was able to use it with great skill, whether singing with a pure legato or alternatively in rapid scales."; naxos
Pol Plançon Théodore Ritter Ritter Gilbert Duprez Giovanni Sbriglia Bris Meyerbeer Gounod Massenet Opéra Lyon Opéra Garnier Scala Covent Garden Metropolitan Opera 1830 1851 1878 1880 1883 1885 1890 1891 1893 1904 1905 1908 1914 1977
Pol Plançon - Le Cor - Victor GP 85076 enregistré le 25 février 1905 Pol Plançon, né le 12 juin 1851 à Fumay (Ardennes) et mort le 12 août 1914 à Paris, était un chanteur d'opéra (basse) français. Son père le destine à une carrière de commerçant mais lui donne la passion de la musique. C'est dans la boutique parisienne de son père où il travaille qu'il rencontre le musicien Théodore Ritter. Ce dernier, découvrant ses dons de chanteur, le fait entrer à l'école de chants de Gilbert Duprez (ténor inventeur de "l'ut de poitrine" qui a fait frémir tant de mélomanes au tournant des années 1830). Il poursuit ensuite son apprentissage auprès de Giovanni Sbriglia, un autre ténor. Il débuta à l'Opéra de Lyon en 1878 en interprétant Saint-Bris dans les Huguenots de Meyerbeer. En 1880, il se produit au Théâtre de la Gaîté-Lyrique de Paris dans le rôle de Colonna de l'opéra Pétrarque de Duprat, et reçoit enfin son premier engagement à l'Opéra Garnier en 1883, où il tient le rôle de Méphistophélès dans le Faust de Gounod qu’en dix ans il y incarnera plus de cent fois. Il participe aussi aux premières du Cid de Massenet en 1885 dans le rôle de Don Gormas, d'Ascanio de Saint-Saëns en 1890, dans le rôle du roi Franz Ier. De 1891 à 1904, il se produit sur plusieurs scènes européennes, comme la Scala de Milan, Bruxelles ou Nice, Covent Garden à Londres où il fut le chanteur favori de la Reine Victoria qui le gratifia, entre autres, de la décoration du Jubilé. C'est en pleine gloire à Covent Garden qu'il est appelé au Metropolitan Opera de New York. En 1893, il y débute en Jupiter dans Philémon et Baucis de Gounod. Il y resta jusqu'en 1908, participant à 612 représentations, sur New York, ou en tournée avec la troupe à travers les États-Unis De retour à Paris, il met un terme à 54 ans à sa carrière pour exercer comme professeur. La maladie l'emporte le 12 août 1914. Source: Wikipedia Le critique Herman Klein écrivait après ses débuts londoniens : ” Plançon is among the most accomplished and distinguished artists that France has ever sent here. He is a basse-chantant with a superb voice trained by Duprez, allied to a style that is at once elegant and impeccable, a splendid actor who adorns every part he plays” Source: Michael Scott – The record of singing - 1977
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