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Victor Capoul Alphonse Révial Gounod Drury Charles Lecocq Angot Pierre Gailhard Hammerstein Meyerbeer Méhul Offenbach Godard Camondo Opéra Comique Covent Garden Metropolitan Opera Manhattan Opera Company 1810 1839 1861 1871 1877 1879 1883 1891 1892 1896 1900 1905 1906 1924
Victor Capoul +••.••(...)) was a French lyric tenor whose thirty-five-year career spanned the latter part of the 19th century. Born Joseph Victor Amédée Capoul in Toulouse, he received his musical education at the Paris Conservatory, where he studied with renowned French tenor Alphonse Révial +••.••(...)). Following his graduation, Capoul made his debut at the Opéra-Comique as Daniel in Adam’s Le Châlet in 1861. The young tenor became a popular artist with the theater and remained a regular member of the company for the next nine seasons. In 1871 he made his first appearance in London as Gounod’s Faust at Drury Lane and made his American debut later that year at the New York Academy of Music as Wilhelm Meister in Mignon. In 1877, Capoul made his Covent Garden debut as Auber’s Fra Diavolo, also singing Almaviva in Barbiere di Siviglia, Ernesto in Don Pasquale and Elvino in La Sonnambula that same season. Capoul returned to New York in 1879 to sing the role of the poet Ange-Pitou in Charles Lecocq’s La Fille de Madame Angot at Grau’s French Opera Company. The tenor’s Metropolitan Opera debut occurred during the company’s inaugural season, on October 27, 1883 as Faust. Capoul sang 25 performances of six roles during his first season with the Met…the aforementioned Faust, Wilhelm Meister, Almaviva, Alfredo in La Traviata, Edgardo in Lucia di Lammermoor and (although one wonders how he negotiated the demands of the role) Enzo in La Gioconda. Although his acting and stage deportment were praised, critics complained of the tenor’s “almost inaudible half voice” and remarked that “ his singing was often short of the enjoyable.” It is not surprising that when Capoul returned to the Met for the 1891/92 season, he was relegated to the secondary roles of Tybalt in Roméo et Juliette and Cassio in Otello. His final appearance with the company was a concert on April 24, 1896. During a Testimonial Performance to Henry E. Abbey and Maurice Grau, Capoul sang as part of the Soldiers’ Chorus from Gounod’s Faust. Considering that he had made his debut with the company in the title role of this same opera some thirteen years previously, this seems something of a sad comedown. Capoul remained in New York for several years, having been appointed opera coach and professor of voice at The National Conservatory of Music of America in 1892. His singing days now behind him, Capoul returned to Paris in January of 1900, making a bid for the position of General Director of the Opéra-Comique. When he was declined, his old friend and colleague Pierre Gailhard appointed him Director of Theatrical Studies at the Opéra de Paris. Now regarded as one of the leading stage directors for French and Italian opera, Capoul returned to New York in 1906 to direct productions for Hammerstein’s Manhattan Opera Company. Sadly, he was plagued by increasing deafness that greatly hampered his artistic activities. He retired to the south of France and lived quite comfortably until wartime investments stripped him of his fortune. To raise a bit of capital, the tenor tried to auction off some of the mementos from his career. When there were no takers, he angrily burned all of his costumes, scores and photographs. Capoul lived out his final years on his little farm near the village of Pujaudran-du-Gers, subsisting on a small pension. Penniless, bitter and forgotten, he passed away on February 18, 1924, just a week shy of his 85th birthday, a tragic end for such a great artist. Victor Capoul boasted a diverse repertoire of nearly 40 roles in opera and operetta, including Tonio in La Fille du Régiment, Georges in La Dame Blanche, The Duke in Rigoletto, des Grieux in Manon, Lionel in Martha and the title roles in Meyerbeer’s Robert le Diable and Méhul’s Joseph. He created the tenor leads in a number of works such as Gounod’s La Colombe and Offenbach’s Vert-Vert. In addition to Paris, London and New York (the cities where he spent most of his career), Capoul travelled to Monte Carlo, Brussels, Moscow, St. Petersburg, Vienna and Quebec. He also co-authored the librettos for Godard’s opera Jocelyn and Camondo’s operetta Le Clown. Although the tenor never possessed an extraordinary voice, he did cultivate a remarkable technique and built his reputation on artistry, musicality and magnetism. His recorded legacy consists of a single aria, “Oh! Ne t'éveille pas encore” from Godard’s Jocelyn. Four takes were recorded for Fonotipia in Paris in 1905, two of which are known to survive. Although Capoul’s vocal resources are greatly diminished…not to mention the fact that he was nearly stone deaf…he manages to give a fascinating performance, leaving us something of a time capsule from the world of 19th century French opera. This recording is the 4th and final take that has been in circulation for many years. It differs from take 2 in that it contains the preceding recitative.
Victor Capoul Alphonse Révial Gounod Drury Charles Lecocq Angot Pierre Gailhard Hammerstein Meyerbeer Méhul Offenbach Godard Camondo Opéra Comique Covent Garden Metropolitan Opera Manhattan Opera Company 1810 1839 1861 1871 1877 1879 1883 1891 1892 1896 1900 1905 1906 1924
Victor Capoul +••.••(...)) was a French lyric tenor whose thirty-five-year career spanned the latter part of the 19th century. Born Joseph Victor Amédée Capoul in Toulouse, he received his musical education at the Paris Conservatory, where he studied with renowned French tenor Alphonse Révial +••.••(...)). Following his graduation, Capoul made his debut at the Opéra-Comique as Daniel in Adam’s Le Châlet in 1861. The young tenor became a popular artist with the theater and remained a regular member of the company for the next nine seasons. In 1871 he made his first appearance in London as Gounod’s Faust at Drury Lane and made his American debut later that year at the New York Academy of Music as Wilhelm Meister in Mignon. In 1877, Capoul made his Covent Garden debut as Auber’s Fra Diavolo, also singing Almaviva in Barbiere di Siviglia, Ernesto in Don Pasquale and Elvino in La Sonnambula that same season. Capoul returned to New York in 1879 to sing the role of the poet Ange-Pitou in Charles Lecocq’s La Fille de Madame Angot at Grau’s French Opera Company. The tenor’s Metropolitan Opera debut occurred during the company’s inaugural season, on October 27, 1883 as Faust. Capoul sang 25 performances of six roles during his first season with the Met…the aforementioned Faust, Wilhelm Meister, Almaviva, Alfredo in La Traviata, Edgardo in Lucia di Lammermoor and (although one wonders how he negotiated the demands of the role) Enzo in La Gioconda. Although his acting and stage deportment were praised, critics complained of the tenor’s “almost inaudible half voice” and remarked that “ his singing was often short of the enjoyable.” It is not surprising that when Capoul returned to the Met for the 1891/92 season, he was relegated to the secondary roles of Tybalt in Roméo et Juliette and Cassio in Otello. His final appearance with the company was a concert on April 24, 1896. During a Testimonial Performance to Henry E. Abbey and Maurice Grau, Capoul sang as part of the Soldiers’ Chorus from Gounod’s Faust. Considering that he had made his debut with the company in the title role of this same opera some thirteen years previously, this seems something of a sad comedown. Capoul remained in New York for several years, having been appointed opera coach and professor of voice at The National Conservatory of Music of America in 1892. His singing days now behind him, Capoul returned to Paris in January of 1900, making a bid for the position of General Director of the Opéra-Comique. When he was declined, his old friend and colleague Pierre Gailhard appointed him Director of Theatrical Studies at the Opéra de Paris. Now regarded as one of the leading stage directors for French and Italian opera, Capoul returned to New York in 1906 to direct productions for Hammerstein’s Manhattan Opera Company. Sadly, he was plagued by increasing deafness that greatly hampered his artistic activities. He retired to the south of France and lived quite comfortably until wartime investments stripped him of his fortune. To raise a bit of capital, the tenor tried to auction off some of the mementos from his career. When there were no takers, he angrily burned all of his costumes, scores and photographs. Capoul lived out his final years on his little farm near the village of Pujaudran-du-Gers, subsisting on a small pension. Penniless, bitter and forgotten, he passed away on February 18, 1924, just a week shy of his 85th birthday, a tragic end for such a great artist. Victor Capoul boasted a diverse repertoire of nearly 40 roles in opera and operetta, including Tonio in La Fille du Régiment, Georges in La Dame Blanche, The Duke in Rigoletto, des Grieux in Manon, Lionel in Martha and the title roles in Meyerbeer’s Robert le Diable and Méhul’s Joseph. He created the tenor leads in a number of works such as Gounod’s La Colombe and Offenbach’s Vert-Vert. In addition to Paris, London and New York (the cities where he spent most of his career), Capoul travelled to Monte Carlo, Brussels, Moscow, St. Petersburg, Vienna and Quebec. He also co-authored the librettos for Godard’s opera Jocelyn and Camondo’s operetta Le Clown. Although the tenor never possessed an extraordinary voice, he did cultivate a remarkable technique and built his reputation on artistry, musicality and magnetism. His recorded legacy consists of a single aria, “Oh! Ne t'éveille pas encore” from Godard’s Jocelyn. Four takes were recorded for Fonotipia in Paris in 1905, two of which are known to survive. Although Capoul’s vocal resources are greatly diminished…not to mention the fact that he was nearly stone deaf…he manages to give a fascinating performance, leaving us something of a time capsule from the world of 19th century French opera. This recording (take 2) was not known to exist until relatively recently. Capoul's performance here is actually superior to the issued take, demonstrating the 66 year old tenor's artistry and breath control.
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•••)
Charles Rousselière Edmond Vergnet Achard Fauré Mascagni Geraldine Farrar Gounod Charpentier Camondo Gunsbourg Leroux Massenet Messager Odeon 1875 1899 1900 1901 1903 1905 1906 1914 1920 1930 1950
Charles Rousselière +••.••(...)) was a French dramatic tenor whose 20-year career took him to major theaters on both sides of the Atlantic. Born into poverty in the village of Saint-Nazaire-d'Aude in the south of France, Rousselière moved with his family to Algeria as a young boy. Initially, it was expected that he would pursue his father’s trade of a blacksmith, but this profession held little interest for him. After his impressive singing voice caught the attention of friends and family, Rousselière was encouraged to audition for the Paris Conservatory. Landing in Paris at age 19, he was overwhelmed by the fast pace of the city and quickly returned to his family in Algeria. In spite of this disappointing start, Rousselière gathered his courage and tried his luck again the following year. To make ends meet, the young tenor began working the Parisian Café-Concert network. He also auditioned for the Paris Conservatory and won a scholarship. As was the custom, he studied three different musical disciplines…voice, opera and comic opera…which were taught to him by a trio of celebrated tenors, Edmond Vergnet, Adolphe Girardot and Léon Achard, respectively. Following his graduation in 1899, Rousselière sang roles with a few minor companies in France and Belgium. He created the role of Andros in the world premiere of Fauré’s Prométhée at the Arènes de Béziers on August 27, 1900 and six weeks later made his Opéra de Paris debut in the title role of Samson et Dalila. Although he would eventually be overshadowed by other tenors, Rousselière managed to gain a foothold at the Opéra, making an impression in such operas as Faust, Roméo et Juliette, Sigurd and Pagliacci. He created the role of Le Veilleur in the world premiere of Saint-Saëns’ Les Barbares at the Opéra in October of 1901 and Boris in the premiere of Marty’s opera Daria in January of 1905. He also created the role of Giorgio in the premiere performance of Mascagni’s Amica in Monte Carlo in March of that same year. Rousselière’s Met debut came about on November 27, 1906 as Roméo to Geraldine Farrar’s Juliette in Gounod’s opera. Unfortunately, the tenor failed to catch on with New York audiences and only sang 25 performances of six roles during his one season with the company. In February, he left New York, never to return. In spite of his less than stellar showing in North America, Rousselière was still quite popular in Europe and South America. He appeared in Orange, Rome, Palermo, Milan, Madrid, Berlin, Montevideo and Buenos Aires. However, Paris and Monte Carlo were the sites for the tenor’s most important work during the bulk of his career. Rousselière built a repertoire of more than 30 roles including Eléazar in La Juive, Gérald in Lakmé, Don José in Carmen, Énée in Les Troyens, Manrico in Il Trovatore, Pollione in Norma, Canio in Pagliacci, and the title roles in Otello, Don Carlo, Siegfried, Parsifal, Faust and Damnation de Faust. The tenor also created roles in the world premieres of such works as Charpentier’s Julien, Saint-Saëns’ L’Ancêtre, de Camondo’s Le Clown, Gunsbourg’s Le Vieil Aigle, Leroux’s Theodora, Fauré’s Pénélope, Massenet’s Cléopâtre and Messager’s Béatrice. Rousselière’s career experienced an interruption with the onset of the First World War in 1914. Although it is possible that the tenor’s hiatus from the stage was due to his having been conscripted into military service, there are no surviving records to support this theory. He did resume his career following the war, but his return to the stage was short lived. He retired from performing in 1920 at the early age of 45 and devoted his energies to teaching. Rousselière spent his final years in a nursing home in Joué-lès-Tours where he died in 1950. Charles Rousselière left a remarkable legacy of nearly 140 recordings. The majority of these recordings…well over 90 titles…were made during his first sessions for G&T in 1903. The last were recorded for Polydor in 1930, a decade after his retirement. In between, the tenor recorded for Odeon, Dutreih, Disque Ideal, Beka and Pathé. With the exception of a few early discs that are marred by musical errors (probably due to nervousness on the tenor’s part), Rousselière’s recordings provide today’s listener with a fascinating historical legacy. Here, Rousselière sings "Ah, fuyez, douce image" from Massenet's Manon. This recording was made in Paris for The Gramophone & Typewriter Company in 1903.
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