Max d'Ollone Video
compositore francese
Commemorazioni 2025 (Nascita: Max d'Ollone)
- opera
- Francia
- compositore, coreografo, insegnante di musica, librettista
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2024-04-27
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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.
André Pernet Jacques Ibert Maurice Emmanuel Louis Dumas Joseph Canteloube Maximilien Darius Milhaud Marchand Reynaldo Hahn Hahn Georges Enesco Max Ollone Georges Thill Vanni Marcoux Massenet Gustave Charpentier Charpentier Grace Moore Moore Opéra Comique Palais Garnier 1875 1894 1921 1928 1931 1939 1948 1962 1966
André Pernet - Boris Godounov - Scène du carillon - Odéon 123 723 « André Pernet est né à Rambervilliers (Vosges) le 8 janvier 1894, mort le 17 juin 1966. Il travailla au Conservatoire de Paris avec André Gresse , débuta à Nice en 1921 et se produisit pendant 7 ans dans les théâtres de province. Jacques Rouché l’engagea à l’Opéra de Paris en 1928. Pernet resta un des premières valeurs de la troupe jusqu’en 1948 et chanta tout le répertoire. : Méphistophélès, Athanael, Wotan, Basile, don Juan etc.… Il mit aussi son talent au service des créations d’œuvres contemporaines et notamment celle de Persée et Andromède ( de Jacques Ibert), Salamine ( de Maurice Emmanuel), La Vision de Mona (de Louis Dumas), La Duchesse de Padoue ( de Maurice Le Boucher), Vercingétorix ( de Joseph de Canteloube de Malaret), Maximilien (de Darius Milhaud ), Le Marchand de Venise ( de Reynaldo Hahn), Œdipe ( de Georges Enesco), La Samaritaine ( de Max d’Ollone). C’est en 1931 qu’il entra à l’Opéra-Comique en campant un Don Quichotte en grand comédien. Son activité s’étendit à l’Europe. Il tint la vedette, aux côtés de Georges Thill, avec qui il tourna le film Louise et enregistra la version abrégée. Il fut frappé par la maladie qui, peu à peu, le paralysa et il mourut à Paris le 17 juin 1966. Il a eu, comme acteur, l’envergure d’un Vanni-Marcoux…Quant à sa voix, elle manqua quelque peu d’ampleur, mais enrichie d’un timbre grave et incisif et, déployée par une diction impeccable, elle lui permit de régner sur sa génération. » Sources : « Nouveau dictionnaire des chanteurs de l’Opéra de Paris du 17ème siècle à nos jours » Jean Gourret « L’Opéra au Palais Garnier +••.••(...)) « Stéphane Wolff André Pernet (1894–1966) was a French bass-baritone opera performer. After serving as a military officer in World War I, Pernet studied at the Paris Conservatory before making his operatic debut in Massenet's Hérodiade at Nice, in 1921. He sang at the Paris Opéra beginning in 1928. He also performed in Amsterdam, Brussels, London and Monte Carlo. He is perhaps best remembered today for his role as the father in the 1939 film version of Gustave Charpentier's Louise, directed by Abel Gance and also featuring Grace Moore and Georges Thill. He was noted for singing the title parts in Mefistofele, Boris Godunov, Don Giovanni and Don Quichotte. Among the operas in which he created roles during the premiere performances were Le marchand de Venise (Hahn), Oedipe (Enesco), Maximilien (Milhaud) and Vercingétorix (Canteloube). Pernet's smooth, elegant, well-produced voice can be heard on a number of recordings which he made between the two world wars. Some of his records are available on CD re-issues. Source : Wikipedia
Max Ollone Simon Zaoui Jules Massenet Opera Comique 1897 1922 1925 1934 1976 2020
00:00 - I. Romance: Andante 02:21 - II. Tarantelle: Allegro vivo / Bassoon: Julien Hardy Piano: Simon Zaoui Year of Recording: 2020 / "Max d'Ollone had a distinguished career as a composer, conductor, administrator, and writer about music and aesthetics. He studied composition at the Paris Conservatory with Jules Massenet. Among d'Ollone's earliest honors was winning the prestigious Prix de Rome in 1897. As a composer, d'Ollone was best known for his operas (10), ballets, orchestral music, and songs. His chamber music catalogue includes several works for solo instrument with piano accompaniment, a string quartet, a piano trio, and a trio for three celli. He taught composition at the Ecole Normale de Musique and the Paris Conservatory. In addition to spending eleven years as an inspector of music education for the French government, he was also appointed Director of the Fontainebleau Conservatory and later the Director of the Opera-comique. The Romance et Tarantelle was composed in 1925 as a contest piece for the annual examinations at the Paris Conservatory that year. The Romance features an expressive solo line for the bassoon over a fairly conventional accompaniment. The Tarantelle is cast as a lively 6/8 dance with the bassoon occasionally serving in an accompaniment capacity and sometimes switching from compound to simple meter. This portion is more chromatic than the opening section. The Romance returns briefly followed by a short reference to the Tarantelle which concludes the piece. D'Ollone dedicated the Romance et Tarantelle to Leon Letelier, professor of bassoon at the Paris Conservatory from 1922-1934." (Bruce Gbur) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
André Pernet Jacques Ibert Maurice Emmanuel Louis Dumas Joseph Canteloube Maximilien Darius Milhaud Marchand Reynaldo Hahn Hahn Georges Enesco Max Ollone Georges Thill Vanni Marcoux Massenet Gustave Charpentier Charpentier Grace Moore Moore Opéra Comique Palais Garnier 1875 1894 1921 1928 1931 1934 1939 1948 1962 1966
André Pernet Don Giovanni Serenade Gramophone DA 4850 enregistré le 27 mars 1934 « André Pernet est né à Rambervilliers (Vosges) le 8 janvier 1894, mort le 17 juin 1966. Il travailla au Conservatoire de Paris avec André Gresse , débuta à Nice en 1921 et se produisit pendant 7 ans dans les théâtres de province. Jacques Rouché l’engagea à l’Opéra de Paris en 1928. Pernet resta un des premières valeurs de la troupe jusqu’en 1948 et chanta tout le répertoire. : Méphistophélès, Athanael, Wotan, Basile, don Juan etc.… Il mit aussi son talent au service des créations d’œuvres contemporaines et notamment celle de Persée et Andromède ( de Jacques Ibert), Salamine ( de Maurice Emmanuel), La Vision de Mona (de Louis Dumas), La Duchesse de Padoue ( de Maurice Le Boucher), Vercingétorix ( de Joseph de Canteloube de Malaret), Maximilien (de Darius Milhaud ), Le Marchand de Venise ( de Reynaldo Hahn), Œdipe ( de Georges Enesco), La Samaritaine ( de Max d’Ollone). C’est en 1931 qu’il entra à l’Opéra-Comique en campant un Don Quichotte en grand comédien. Son activité s’étendit à l’Europe. Il tint la vedette, aux côtés de Georges Thill, avec qui il tourna le film Louise et enregistra la version abrégée. Il fut frappé par la maladie qui, peu à peu, le paralysa et il mourut à Paris le 17 juin 1966. Il a eu, comme acteur, l’envergure d’un Vanni-Marcoux…Quant à sa voix, elle manqua quelque peu d’ampleur, mais enrichie d’un timbre grave et incisif et, déployée par une diction impeccable, elle lui permit de régner sur sa génération. » Sources : « Nouveau dictionnaire des chanteurs de l’Opéra de Paris du 17ème siècle à nos jours » Jean Gourret « L’Opéra au Palais Garnier +••.••(...)) « Stéphane Wolff André Pernet (1894–1966) was a French bass-baritone opera performer. After serving as a military officer in World War I, Pernet studied at the Paris Conservatory before making his operatic debut in Massenet's Hérodiade at Nice, in 1921. He sang at the Paris Opéra beginning in 1928. He also performed in Amsterdam, Brussels, London and Monte Carlo. He is perhaps best remembered today for his role as the father in the 1939 film version of Gustave Charpentier's Louise, directed by Abel Gance and also featuring Grace Moore and Georges Thill. He was noted for singing the title parts in Mefistofele, Boris Godunov, Don Giovanni and Don Quichotte. Among the operas in which he created roles during the premiere performances were Le marchand de Venise (Hahn), Oedipe (Enesco), Maximilien (Milhaud) and Vercingétorix (Canteloube). Pernet's smooth, elegant, well-produced voice can be heard on a number of recordings which he made between the two world wars. Some of his records are available on CD re-issues. Source : Wikipedia
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