CD 1 (78:29) | ||
L’ÉTOILE DU NORD | ||
Act 1 | ||
1. | Enfants de l’Ukraine | 2:01 |
Hector Dufranne as Gritzenko; 1907; G&T (6569o) 3-32688 | ||
2. | Veille sur eux toujours [Prière et barcarolle] | 3:26 |
Lise Landouzy as Catherine; 1911; ODEON (Xp 5531-2) 56230 | ||
Act 2 | ||
(No recordings from this act exist) | ||
Act 3 | ||
3. | Pour fuir son souvenir … Ô jours heureux | 4:45 |
Paul Payan as Pierre; ca. 1910; EDISON FOUR-MINUTE CYLINDER (17083) 17083 | ||
4. | La, la, la, air chéri! (La, la, la, aria cara!) | 4:16 |
No extant recording of the aria sung in French. Luisa Tetrazzini as Catherine; 26 September 1913; HMV (Ho522af) 2-053094 | ||
5. | La, la, la, air chéri! [Cadenza only] | 2:08 |
Ellen Beach Yaw as Catherine; 18 March 1899; BERLINER (1657) 33105 | ||
LE PARDON DE PLOËRMEL (also known as DINORAH) | ||
Act 1 | ||
6. | Bellah! ma chèvre chérie! ... Dors, petite, dors tranquille (Bellah, capretta adorata … Sì carina, caprettina) | 3:35 |
No extant recording sung in French. Giuseppina Huguet as Dinorah; 1906; G&T (627c) 053082 | ||
7. | Je suis chez moi … Dieu nous donne à chacun en partage (Sto in casa alfin … Dava il cielo a ciascuno in retaggio) | 5:43 |
No extant recording sung in French. Gaetano Pini-Corsi as Corentin (Corentino);1906; ODEON (Xm 744/5) 37407/8 | ||
8. | Ô puissante magie | 2:53 |
Gabriel Soulacroix as Hoël; July 1900; G&T (1097G) 32674 | ||
9. | Ô puissante magie … Enfin l’heure est venue … De l’or, de l’or | 6:01 |
Henri Albers as Hoël; mid-1912; PATHÉ (0792/0792 bis) 29 cm paper label disc 022 | ||
Act 2 | ||
10. | Dites-moi, dites vite … Depuis lors, quand la nuit gagne (Ditemi, buona gente ... Da quel di che a lei narrata) | 4:15 |
No extant recording sung in French. Carolina Lazzari as the Goatherd; 1917; EDISON DIAMOND DISC (6646-B) 82567 | ||
11. | Ombre légère qui suis mes pas [Valse de l’ombre] | 4:34 |
Jane Mérey as Dinorah; December 1904; PATHÉ (2002/2002 bis, transfer number 22841R and 19121BC) 29 cm etched label disc 2002/2002 bis | ||
12. | Ombre légère qui suis mes pas [Valse de l’ombre] | 2:04 |
Cécile Merguillier as Dinorah; early 1905; PATHÉ (3640, transfer number 16577BC) 29 cm etched label disc 3640 | ||
13. | Ombre légère qui suis mes pas [Valse de l’ombre] | 3:33 |
Gabrielle Ritter-Ciampi as Dinorah; late 1924; PATHÉ (0077) 29 cm paper label disc 0453 | ||
14. | Ah! que j’ai froid! Ah! que j’ai peur! (Ah! che tremor! Ah! che terror!) | 2:27 |
No extant recording sung in French. Gaetano Pini-Corsi as Corentin (Corentino); 1906; ODEON (Xm740) 37401 | ||
Act 3 | ||
15. | En chasse, en chasse, piqueurs adroits! [Chant du chasseur] | 3:07 |
Hippolyte Belhomme as Le chasseur; early 1908; PATHÉ (0383, transfer number 28109G) 29 cm etched label disc 0383 | ||
16. | Les blés sont bons à faucher [Chant du faucheur] | 2:54 |
César Vezzani as Le faucheur; ca. 1912-1913; ODEON (XP 5971) X.111482 | ||
17. | Ah! mon remords te venge | 2:12 |
Max Bouvet as Hoël; March 1903; PATHÉ (2593, transfer number 10534) black wax cylinder 2593 | ||
18. | Ah! mon remords te venge | 3:15 |
Daniel Vigneau as Hoël; 1907; G&T (7281o) 2-32707 | ||
L’AFRICAINE | ||
Act 1 | ||
19. | Adieu, mon doux rivage | 3:51 |
Berthe Auguez de Montalant as Inès; 24 March 1909; GRAMOPHONE (0930v) 033105 | ||
20. | Dieu, que le monde révère | 3:18 |
Paul Payan as Don Pédro, Eugène Fréville as Don Diégo, Bernard Boussagol as the Grand Inquisitor, and chorus as Évêques; 23 December 1910; GRAMOPHONE (16193u) 34707 | ||
21. | J’ai vu, nobles seigneurs (Ho veduto, o signori) | 2:48 |
No extant recording sung in French. Antonio Aramburo as Vasco; 1901; ARAMBURO CONCERT CYLINDER 1 | ||
22. | Oui, fallût-il perdre la vie … D’impie et de rebelle [Act 1 Finale] | 5:24 |
Agustarello Affre as Vasco, Eugène Fréville as Don Alvar, Lucien Rigaux as Don Pédro, Henri Lequien as Don Diégo, and Armand Narçon as the Grand Inquisitor; 1908; ODEON (xP 4355/4455) 97061/97141 | ||
CD 2 (70:58) | ||
L’AFRICAINE (continued) | ||
Act 2 | ||
1. | Sur mes genoux [Air du sommeil] | 2:42 |
Félia Litvinne as Sélika; 1912; ODEON (XP5161) X.56226 | ||
2. | Sur mes genoux … Ah! je succombe, hélas! (Wie immer voll Unruh sein Schlaf … Er schlummert fest. Weh mir!) [Schlummerlied] | 7:09 |
Sabine Kalter as Sélika; 13 April 1923; ODEON (XXB 6854-II/XXB 6855) Rxx 80151/80152 | ||
3. | Fille des rois … Quand l’amour m’entraîne | 4:19 |
Louis Lestelly as Nélusko; 14 January 1914; HMV (02890 1/2v) 032305 | ||
4. | En vain leur impuissante rage … Combien tu m’es chère | 7:19 |
Marie Lafargue as Sélika and Léon Beyle as Vasco; 5 December 1912; HMV (02612v/02613v) 034179/80 | ||
5. | Moi seule il m’aime … Dans les soupirs de la ramure [Septet] | 5:32 |
Lise Landouzy as Inès, Amélie Talexis as Sélika, Gaston Dubois as Vasco, with Tina Dubois-Lauger as Anna, Georges Régis as Don Alvar, Lucien Rigaux as Nélusko, and Étienne Billot as Don Pédro; 1907; ODEON (XP 3642/43) 56132/56148 | ||
Act 3 | ||
6. | Debout, matelots! [Quatuor des matelots] | 2:49 |
Gaston de Poumayrac, Louis Nansen, Henri Dangès, and Hippolyte Belhomme; mid-1909; PATHÉ (0838, transfer number 43738GR) 29 cm etched label disc 0838 | ||
7. | Ô grand saint Dominique | 4:26 |
Berthe Auguez de Montalant as Inès with chorus; 2 December 1908; HMV (0867v) 033078 | ||
8. | Hola, matelots | 1:31 |
Pierre Gailhard as Nélusko; December 1904; FONOTIPIA (XPh 517) 39093 | ||
9. | Adamastor, roi des vagues profondes | 3:15 |
Léon Melchissédec as Nélusko; 1907; APGA (1625) 1625 | ||
10. | Adamastor, roi des vagues profondes | 3:43 |
Hector Dufranne as Nélusko and chorus; 1907 G&T (6611p) 032056 | ||
11. | Je viens à vous malgré ma haine (Io vengo a voi, malgrado l’odio) | 3:39 |
No extant recording sung in French. Gino Martinez-Patti as Vasco and Cesare Preve as Don Pédro; 1905; G&T (552c) 054066 | ||
Act 4 | ||
12. | Pays merveilleux … Ô paradis! | 3:25 |
Léon Escalaïs as Vasco; 1905; FONOTOPIA (XPh 491) 39426 | ||
13. | Conduisez-moi vers ce navire | 3:09 |
Agustarello Affre as Vasco; 1906; ODEON (XP 2475) 36672 | ||
14. | L’avoir tant adorée … Écrase-moi, tonnerre! | 4:07 |
Louis Lestelly as Nélusko; 18 April 1916; GRAMOPHONE (393af) 032325 | ||
15. | Brama! Wichnou! Shiva! [Invocation du Grand Brahmine] | 3:25 |
Pierre d’Assy as Le Grand Brahmine and chorus; 1909; GRAMOPHONE (0926v) 032153 | ||
16. | Jamais nulle mortelle … Ô transports, ô douce extase … Ô ma Sélika | 7:43 |
Marie Lafargue as Sélika and Léon Beyle as Vasco; 18 December 1912; GRAMOPHONE (02614v/02633v) 034181/82 | ||
17. | Remparts de gaze [Chœur dansé] | 2:47 |
Antoinette Laute-Brun as Inès and chorus as maidens; 1905; G&T (4564o) 34681 | ||
CD 3 (79:46) | ||
L’AFRICAINE (continued) | ||
Act 5 | ||
1. | D’ici je vois la mer … Ô temple magnifique … La haine m’abandonne | 8:22 |
Odette Carlyle as Sélika; 3 July 1911; HMV (01962v/01963v) 033123/24 | ||
Appendix | ||
Supplementary Meyerbeer recordings of particular interest | ||
L’ÉTOILE DU NORD | ||
Act 1 | ||
2. | Veille sur eux toujours (Ognor sovr’essi vigile ... Vascel sulla tua sponda) [Prière et barcarolle] | 2:11 |
Rosalia Chalia as Catherine; 1900; U.S. ZONOPHONE (9136) 9136 | ||
Act 3 | ||
3. | Pour fuir son souvenir … Ô jours heureux | 3:45 |
Pol Plançon as Pierre; 14 April 1908; VICTOR (C-6111-2) 85124 | ||
4. | La, la, la, air chéri! [La, la, la, aria cara!] | 4:24 |
Yvonne de Tréville as Catherine; 1916; EDISON TONE TEST (4717-A) 80374 | ||
LE PARDON DE PLOËRMEL (also known as DINORAH) | ||
Act 2 | ||
5. | Ombre légère qui suis mes pas (Ombra leggiera non te n’andar) [Valse de l’ombre] | 5:36 |
Elvira de Hidalgo as Dinorah; 20 and 22 March 1924; COLUMBIA (AX 378/386) L 1580 | ||
6. | Ombre légère qui suis mes pas (Du leichter Schatten) [Schattentanz] | 4:28 |
Margarethe Siems as Dinorah; 1903 G&T (238y) 043029 | ||
Act 3 | ||
7. | En chasse, en chasse, piqueurs adroits! [Chant du chasseur] | 3:20 |
Juste Nivette as Le chasseur; 1908; ODEON (XP 3884) 60645 | ||
8. | Ah! mon remords te venge (Sei vendicata assai) | 4:31 |
Mario Ancona as Hoël; 20 March 1908; VICTOR (C-6044) 88169 | ||
L’AFRICAINE | ||
Act 2 | ||
9. | Sur mes genoux … Ah! je succombe, hélas! | 3:42 |
Rosa Ponselle as Sélika; 14 January 1925; VICTOR (C-31710-2) unissued on 78 r.p.m. format | ||
10. | Fille des rois | 1:56 |
Gabriel Soulacroix as Nélusko; 1904; Dutreih (150002) 21 cm etched label disc D-002 | ||
11. | Combien tu m’es chère | 2:45 |
Amélie Talexis as Sélika and Gaston Dubois as Vasco; 1907; ODEON (XP 3711) 60493 | ||
Act 3 | ||
12. | Ô grand saint Dominique | 3:44 |
Antoinette Laute-Brun as Inès; 1905; G&T (4505 o) 34675 | ||
13. | Hola, matelots ... Adamastor, roi des vagues profondes (All’erta marinar ... Adamastor, re dell’acqua profonde) | 3:10 |
Ricardo Stracciari as Nélusko; 23 March 1925; ENGLISH COLUMBIA (AX962) D 14651 | ||
Act 4 | ||
14. | Pays merveilleux … Ô paradis … Conduisez-moi vers ce navire | 4:23 |
Paul Dangély as Vasco; 1910; EDISON CYLINDER 27097 | ||
15. | Pays merveilleux … Ô paradis … Conduisez-moi vers ce navire | 4:47 |
Léon Beyle as Vasco; 1905; G&T (4500o) 34673 | ||
16. | Two fragments from Ô paradis! | 2:46 |
a. Ô paradis, sorti de l’onde … | ||
b. Salut! Monde nouveau … | ||
Jean de Reszke as Vasco; 15 March 1901; MAPLESON CYLINDER originally issued on IRCC 183-B | ||
17. | Two fragments from Sélika/Vasco Duet | 3:32 |
a. Vasco: Ô transports | ||
b. Sélika: Sois ma femme! | ||
Lucienne Bréval as Sélika and Jean de Reszke as Vasco; 15 March 1901; MAPLESON CYLINDER originally issued on IRCC 183-B | ||
18. | Ô transports, ô douce extase | 2:25 |
Amélie Talexis as Sélika and Gaston Dubois as Vasco; 1907; ODEON (XP 3713) 60496 | ||
Act 5 | ||
19. | D’ici je vois la mer … Ô temple magnifique … La haine m’abandonne | 7:00 |
Barbara Kemp as Sélika; 1917; ODEON (xxb 6348/6349) XX76598/99 | ||
20. | Ô riante couleur … Quels célestes accords! (O ridente color … Quai celesti concenti!) | 3:00 |
Celestina Boninsegna as Sélika; 1905; G&T (7324 1/2b) 53418 | ||
CD 1: | ||
CD 2: | ||
CD 3: |
Producers: Ward Marston and Scott Kessler
Audio conservation: Ward Marston
Audio assistance: J. Richard Harris, Aaron Z Snyder, and Christian Zwarg
Booklet Design: Takeshi Takahashi
This set is dedicated to the memory of Richard Arsenty, whose discographic research was invaluable in selecting the recordings chosen for this set.
The scope of Meyerbeer in Paris is such that it not only required the assistance of many specialized collectors and scholars, it also required substantial funding. Therefore, Marston would like to thank the Pauls Foundation and the estate of John Stratton, under the guidance of its Trustee, Stephen Clarke for their substantial contributions, which have subsidized the cost of this set.
Photographs: Marston would like to thank Girvice Archer, Gregor Benko, Luc Bourrousse, Harold Bruder, Rudi van den Bulck, Ramonia Fasio, the estate of Roger Gross, Lewis M. Hall, R. W. Hornbeck, Charles Mintzer, John Pennino, André Tubeuf, Robert Tuggle, Peter van der Waal, and Richard A. Williams for their help in providing photos for our booklet. Marston would also like to thank and recognize the Metropolitan Opera Archives for providing the photo of Pol Plançon on page 39 and for the photo of Rosa Ponselle on page 40.
Original recordings: Marston would like to thank the following for making their record collections available for the production of this CD release: Alain Bacquet, The Estate of Richard Bebb with help from Alan Bilgora and Owen Williams; Gregor Benko; William Breslin; Lewis Hall; Lawrence F. Holdridge; John Humbley; Peter Lack; and Larry Lustig.
The following selections are re-recorded from copies in the collection of Mr. and Mrs. Laurence C. Witten II in the Yale Collection of Historical Sound Recordings, Yale University Library:
CD 1: Track 21
CD 2: Track 10
CD 3: Tracks 12 and 14
Research: Marston would like to extend special thanks to Luc Bourrousse, Vincent Giroud, and Robert Letellier, for sharing their knowledge, research, and time.
Marston would like to thank Christian Zwarg for providing discographic help with Odeon and Pathé recordings and Rudi van den Bulck.
Meyerbeer On Record, Volume 2
1899-1925
Giacomo Meyerbeer was one of the greatest composers of his time, though his operas have virtually disappeared from the repertory. There are several possible explanations. It is postulated that Meyerbeer’s tradition of grand opéra fell out of favor. With the rise of verismo, there was a move away from the heroic tradition and a decline in the art of bel canto singing required for the proper rendition of his roles. Negative attitudes toward Meyerbeer are an aspect of this negativity toward bel canto in general, which emerged in the third part of the 19th century. This pro-German movement, focused on Richard Wagner, became entrenched in academic circles, with enduring effects. It has also been proposed that the adoration of Wagner, whose rise coincided with Meyerbeer’s fall, helped push Meyerbeer into obscurity; it is cited that a climate of anti-Semitism (fanned by Wagner and promoted by National Socialism) accelerated Meyerbeer’s eclipse. It has also been less convincingly observed that there are nearly insurmountable obstacles needed to produce a Meyerbeer opera today, and this leaves his works languishing. For whatever the reason, one must depend on recordings to understand the greatness that is Giacomo Meyerbeer.
Meyerbeer on Record, volume 2 chronicles his last three operas: L’ÉTOILE DU NORD, LE PARDON DE PLOËRMEL (also known as DINORAH), and L’AFRICAINE. Every effort has been made to provide the definitive recorded example of all sung portions of these operas, giving preference to those excerpts performed in Meyerbeer’s chosen language of French and recorded by some of the greatest voices of our musical past. In addition to three discs is a booklet containing biographies and rare photographs of the singers; plot summaries of the operas; and essays by highly respected Meyerbeer scholars. For the present, this set is one of the few ways to experience Meyerbeer, though it is hoped that this will be a bridge leading to the time when his enthralling operas will be performed again.