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Vanni Marcoux Bamberg Verdi Boyer Gounod Rossini Meyerbeer Massenet Raoul Gunsbourg Max Ollone Henry Février Arthur Honneger Jacques Ibert Debussy Offenbach Hoffmann Mary Garden Scala Opéra Comique Teatro Colón Lyric Opera Chicago 1515 1877 1894 1899 1905 1906 1908 1910 1912 1913 1914 1919 1931 1938 1948 1951 1962 1979
Vanni-Marcoux - Chant Hindou - Bamberg - Ocampo - Gramophone DB 1515 enregistré le 14 avril 1931 Jean-Émile Diogène Marcoux (June 12, 1877, Turin, Italy – October 22, 1962, Paris, France) 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 Il barbiere di Siviglia, 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 et Dalila. 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 Arthur Honneger's and Jacques Ibert's L'Aiglon. Word of his many successes crossed the Atlantic, and he was invited to Boston, where he made his debut in 1912 as Golaud in Debussy's Pelléas et Mélisande. This was followed by his debut at the Lyric Opera of Chicago in 1913, as the four villains in Offenbach's Les contes d'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 more notable interpretations were Philippe II in Don Carlos, Rafaele in 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.
Hugues Cuénod Jacques Offenbach Hoffmann Richard Bonynge Marton Guillaume Machaut Igor Stravinsky Chabrier Poulenc Auric Debussy Couperin Mozart Werner Hollweg Heinz Zednik Karajan Schwarzkopf Seefried Schock Gedda Raymond Leppard Correas Colin Davis Berlioz Krenek Metropolitan Opera Scala Covent Garden 1300 1377 1882 1902 1928 1930 1937 1943 1950 1954 1971 1972 1974 1987 2010
Part III: Rare and unknown voices. Please discuss this artist with your comments! Hugues Cuénod, Tenor +••.••(...)) Jacques Offenbach - LES CONTES D´HOFFMANN Jour et nuit je me mets en quatre (Couplet of Frantz) Conducted by Richard Bonynge (Recorded 1971) My personal opinion: Maybe you know or even own the 1987 TURANDOT-Video with Eva Marton and Placido Domingo from the Metropolitan Opera. Franco Zeffirellis as usual traditional staging was amazing, Marton and Domingo also as usual were of reliable quality. But unusual was the man who sang the emperor: Swiss tenor Hugues Cuénod, who holds the record as the oldest person to make a debut at the Metropolitan Opera - as Altoum at the age of 84! In his biography you can read that he is a singer who has sung almost everything, from Guillaume de Machaut +••.••(...)) to Igor Stravinsky +••.••(...)). In 1974 I read his name for the very first time in the cast list of LES CONTES D´HOFFMANN conducted by Bonynge. Cuénod (at that time age 68 with an amazing fresh voice) sang the four servants: I´ve never heard better interpretations. As an outstanding artist with a flair for unusal things, Hugues Cuénod left an impressive discographic heritage of the first order. He was one of the finest singers of Mélodies (Chabrier, Satier, Menasce, Poulenc, Auric and a wonderful Debussy-Album with accompanist Martin Isepp). His 1950-recording of Couperin´s LAMENTATONS prompted Igor Stravinsky to ask him to sing in the premiere of RAKE´S PROGRESS the part of Sellem. One critic wrote, that he was the best of all Don Basilio´s in Mozart´s NOZZE DI FIGARO: "With the pictorial dimension of his singing, he even was better than Renato Ercolani, Werner Hollweg and the sublime Heinz Zednik". Karajan gave him the part of the dancing-master in his 1954 production of ARIADNE AUF NAXOS with Schwarzkopf, Seefried and Schock as Bacchus (Schock substituted Gedda, which rejected the offer). Hugues Cuénods voice wasn´t a sensual instrument; sometimes his singing was even unmanly. It was a voice without masculine dynamic, but it was a voice with the gift of a distinctive and significant sound. No wonder he became one of the most important singers of all time in his own genre - at his very best in the repertory of the 17th and early 18th Century, when the tenor-voice had a different reputation in contrast of today. Unfortunately I have him not heard in Cavallis L´ORMINDO as nurse (!) Erice under Raymond Leppard; I own the Correas-production, but in Leppards L´INCORONAZIONE DI POPPEA, Cuénod is hilarious as the drunken Lucano in the beginning of Act II (and in Colin Davis´ 1972 recording of Berlioz BENVENUTO CELLINI, Hugues Cuénod made the short part of the inn-keeper memorable). Cuénod began his career as a concert singer, he made his stage debut in Krenek´s JOHNNY SPIELT AUF 1928 in Paris. From 1930 to 1937 he was active in Geneva and Paris. At the end of the thirties he made a long tour through North America. Already very early he finished his continual operatic career (1943 in DIE FLEDERMAUS), but subsequently he sang again in the 1950s at La Scala, Glyndebourne and Covent Garden. Hugues Cuénod resided with his long-time life partner in Switzerland in a 18th-century castle that belonged to his ancestors. Asked for his longevity, he once said, "It's not my fault, I didn't do anything for it! I'm in good health, I'm lazy and I have a friend to look after me." In an interview with the New York Times he once said modestly and ironic: "No, I never had fear to lose my voice. I never had a voice, so how could I ever lose it?" At age 108 (!) Hugues Cuénod died on December 3, 2010.
Vanni Marcoux Bamberg Verdi Boyer Gounod Rossini Barbiere Meyerbeer Massenet Raoul Gunsbourg Max Ollone Henry Février Arthur Honneger Jacques Ibert Debussy Offenbach Hoffmann Mary Garden Scala Opéra Comique Teatro Colón Grand Théâtre Bordeaux Lyric Opera Chicago 1515 1877 1894 1899 1905 1906 1908 1910 1912 1913 1914 1919 1931 1938 1948 1951 1962 1979
Vanni-Marcoux - Chant Hindou - Bamberg - Ocampo - Gramophone DB 1515 enregistré le 14 avril 1931 Jean-Émile Diogène Marcoux (June 12, 1877, Turin, Italy – October 22, 1962, Paris, France) 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 Il barbiere di Siviglia, 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 et Dalila. 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 Arthur Honneger's and Jacques Ibert's L'Aiglon. Word of his many successes crossed the Atlantic, and he was invited to Boston, where he made his debut in 1912 as Golaud in Debussy's Pelléas et Mélisande. This was followed by his debut at the Lyric Opera of Chicago in 1913, as the four villains in Offenbach's Les contes d'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 more notable interpretations were Philippe II in Don Carlos, Rafaele in 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.
Offenbach Debussy Hoffmann Hortense Schneider
Ce film est un vrai festival. Un Festival Offenbach. 90 minutes d'extraits des principales oeuvres du génial compositeur, brillamment interprétées par une pléiade d'artistes lyriques endiablés et au sommet de leur art, réunis à Étretat à l'occasion du bicentenaire de la naissance de ce magicien du Second Empire qui, comme l'a dit joliment Debussy « eut le talent de sauver son époque de la chose la plus immorale qui soit au monde, c'est-à-dire l'ennui ». Demandez le programme : bien sûr, La Vie Parisienne, La Belle Hélène, La Perichole, Orphée aux enfers, Les Brigands, Les Contes d'Hoffmann, La Fille du Tambour Major et la célèbre Grande Duchesse de Gérolstein, immortalisée à tout jamais par la pimpante Hortense Schneider qu'Auber allait entendre « pour se gargariser délicieusement les oreilles », mais également des pièces moins connues telles que l'Ile de Turlipatan, Mr Choufleuri, La permission de 10 h, La Jolie parfumeuse et Le Pont des Soupirs. Réalisateur : Armand Isnard
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