CD 1 (79:02) | ||
HIS MASTER’S VOICE, FRANCE, 1924-1925 | ||
1. | LA JUIVE: Dieu, que ma voix tremblante (Halévy) | 2:27 |
10 July 1924; (BT851-2) P660 | ||
2. | LE PROPHÈTE: Pour Bertha (Meyerbeer) | 3:20 |
10 July 1924; (BT850-2) P591 | ||
3. | LE PROPHÈTE: Roi du ciel (Meyerbeer) | 3:03 |
10 July 1924; (BT852-2) P591 | ||
4. | LE TROUVÈRE: Supplice infâme (Di quella pira) (Verdi) | 2:24 |
11 July 1924; (BT857-2) P582 | ||
5. | LE TROUVÈRE: Mère tu dors!… Oui, la fatigue (Madre, non dormi… Ai nostri monti) (Verdi) | 7:07 |
with Marie Charbonnel, contralto | ||
23 February 1925; (CT1264-2/CT1265-1) W706 | ||
6. | RIGOLETTO: Qu’une belle (Questo quella) (Verdi) | 2:01 |
20 February 1925; (BT1257-2) P600 | ||
7. | RIGOLETTO: Comme la plume au vent (La donna è mobile) (Verdi) | 2:09 |
20 February 1925; (BT1256-2) P600 | ||
8. | AIDA: O céleste Aida (Celeste Aida) (Verdi) | 3:29 |
18 February 1925; (CT1239-1) W755 | ||
9. | OTELLO: Tout m’abandonne (Ora è per sempre addio) (Verdi) | 1:21 |
19 February 1925; (BT1248-1) P660 | ||
10. | OTELLO: Dieu, tu pouvais m’infliger (Dio, mi potevi) (Verdi) | 2:31 |
19 February 1925; (BT1250-2) P609 | ||
11. | OTELLO: Que nul ne craigne (Niun mi tema) (Verdi) | 3:35 |
19 February 1925; (BT1249-2) P609 | ||
12. | CAVALLERIA RUSTICANA: Sicilienne (O Lola) (Mascagni) | 2:06 |
11 July 1924; (BT858-1) P615 | ||
13. | CAVALLERIA RUSTICANA: Moi seul ai tous les torts … Ah, servez de mère (Lo so che il torto è mio… Mamma, quel vino e generosa) (Mascagni) | 5:42 |
26 February 1925; (BT1283-1/BT1284-1) P607 | ||
14. | MANON LESCAUT: Parmi vous, ô belles brunes (Tra voi, belle, brune e bionde) (Puccini) | 1:55 |
16 February 1925; (BT1224-2) P610 | ||
15. | MANON LESCAUT: Oh! Manon de nouveau tu trahis ta pensée (Ah! Manon, mi tradisce) (Puccini) | 1:58 |
11 July 1924; (BT860-1) P610 | ||
16. | MANON LESCAUT: Ah, ne m’approchez pas (Ah, non vi avvicinate… Guardate come io piango ed imploro) (Puccini) | 1:56 |
11 July 1924; (Bt859-2) P588 | ||
17. | Mattinata (Leoncavallo) | 1:59 |
20 February 1925; (BT1259-2) P615 | ||
18. | SAMSON ET DALILA: Arrêtez, ô mes frères (Saint-Saëns) | 1:59 |
11 July 1924; (BT861-2) P614 | ||
19. | SAMSON ET DALILA: Israël, romps ta chaîne (Saint-Saëns) | 1:58 |
19 February 1925; (BT1247-1) P614 | ||
20. | CARMEN: La fleur que tu m’avais jetée (Bizet) | 3:26 |
20 February 1925; (BT1255-2) P644 | ||
21. | LA NAVARRAISE: O bien aimée (Massenet) | 2:11 |
23 February 1925; (BT1266-2) P634 | ||
22. | GISMONDA: Oui, vous étiez l’enjeu splendide (Février) | 2:11 |
26 February 1925; (BT1286-1) P634 | ||
23. | SIGURD: Esprits gardiens (Reyer) | 3:15 |
18 February 1925; (BT1240-2) P624 | ||
24. | SIGURD: J’ai gardé mon âme ingénue (Reyer) | 1:48 |
20 February 1925; (BT1258-2) P624 | ||
25. | LOHENGRIN: Ah, respirons tous deux (Atmest du nicht) (Wagner) | 2:20 |
16 February 1925; (BT1223-2) P641 | ||
26. | LOHENGRIN: Ma confiance en toi (Höchstes Vertraun) (Wagner) | 2:53 |
16 February 1925; (BT1222-1) P641 | ||
27. | LA WALKYRIE: O glaive promis par mon père (Ein Schwert verhiess) (Wagner) | 4:14 |
26 February 1925; (CT1285-2) W755 | ||
28. | MANON: Toi…Vous (Massenet) | 3:56 |
with Rose Heilbronner, soprano | ||
Odeon Paris 1912-1914; (XP 6074-2) X111594 | ||
CD 1 (78:19) | ||
HIS MASTER’S VOICE, FRANCE, 1930-1933 | ||
1. | LA FAVORITE: Un ange, une femme inconnue (Donizetti) | 3:33 |
15 September 1931; (OW469-1) DA4863 | ||
2. | LA FAVORITE: Ange si pur, que dans un songe (Donizetti) | 2:52 |
14 September 1931; (OW457-2) DA4863 | ||
3. | L’AFRICAINE: Pays merveilleux…O paradis (Meyerbeer) | 3:02 |
2 April 1930; (BF3125) P854 | ||
L’AFRICAINE: Duo Act II (Meyerbeer) | ||
4. | C’est de là que mon canot fragile…Combien tu m’es chère | 4:33 |
with Odette Ricquier, soprano | ||
22 November 1932; (2PG306) DB4901 | ||
L’AFRICAINE: Duo Act IV (Meyerbeer) | ||
5. | Erreur fatale | 4:24 |
with Odette Ricquier, soprano | ||
22 November 1932; (2PG308) DB4901 | ||
6. | LES HUGUENOTS: Ah! Quel spectacle…Plus blanche que la blanche hermine (Meyerbeer) | 3:23 |
2 April 1930; (CF3127) W1087 | ||
LOHENGRIN: Duo Act III (Wagner) | ||
7. | Déjà se perd leur voix (Das süße Lied verhallt) | 6:36 |
8. | Ah, respirons tous deux (Atmest du nicht) | 3:28 |
9. | Ma confiance en toi (Höchstes Vertraun) | 6:24 |
with Mireille Berthon, soprano | ||
13 October 1933; (2PG 1162-2, 2PG 1163-1, 2PG 1164-1, 2PG 1165-1) DB 4920 DB 4921 | ||
10. | LOHENGRIN: Aux bords lointains… (In fernem Land) (Wagner) | 4:28 |
10 September 1931; (2W 441-2) DB4828 | ||
11. | LOHENGRIN: Mon cygne aime (Mein lieber Schwan) (Wagner) | 4:31 |
10 September 1931; (2W 440-1) DB4828 | ||
12. | LA WALKYRIE: O glaive promis par mon père (Ein Schwert verhiess) (Wagner) | 4:23 |
28 January 1932; (2W 1219-1) DB 4857 | ||
13. | LA WALKYRIE: Plus d’hiver, déjà le printemps commence (Winterstürme) (Wagner) | 3:01 |
27 January 1932; (2W 1218-1) DB 4857 | ||
14. | SIEGFRIED: Nothung! Nothung! (Wagner) | 2:50 |
21 November 1932; (OPG 302-2) DA 4847 | ||
SAMSON ET DALILA: Duo Act II, Scene III (Saint-Saëns) | ||
15. | En ces lieux, malgré moi | 9:18 |
16. | Mon cœur s’ouvre à ta voix | 5:43 |
17. | Mais!…non! que dis-je, hélas! | 6:01 |
with Marie Duchene, contralto | ||
15 September 1931; (2W 470, 2W 471) DB 4845 16 September 1931; (OW479-4, 480-1, 481-1, 482-2) DA4819, DA4820 |
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Producer: Scott Kessler and Ward Marston
Audio Conservation: Ward Marston
Audio Assistance: J. Richard Harris
Photographs: Charles Alessandri and Rudi Van den Bulck
Booklet Design: Takeshi Takahashi
Marston would like to thank J. Neil Forster, Lawrence F. Holdridge, Andreas Schmauder, and Milt Weiss for providing excellent copies of Vezzani discs.
Marston would like to thank Georges Cardol, Vincent Giroud, David Mason, and François Nouvion for editorial and research assistance.
The Complete César Vezzani, Vol. 2
Complete HMV Acoustics 1924-1925
Selected Electric Recordings 1930-1933
César Vezzani (1888-1951) was one of those rare tenors who had nearly everything: a large and gorgeous voice, a ringing top, a high degree of intelligence, ability to sing with great sensitivity, and excellent musicianship. And yet, so little was known about Vezzani that it took a great deal of detective work to put together a brief biography for our first volume released early in 2003. An international career may have eluded Vezzani during his lifetime, yet his recordings leave a legacy that demonstrates an artist of the highest caliber. This second volume contains the remainder of his French HMV acoustics and a selection of French HMV electrical recordings. These include a complete Act 2, Scene 3 from Samson et Dalila of Saint Saëns with Maria Duchêne and a Bridal Chamber Scene from Wagner's Lohengrin with Mireille Berthon.