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Also available MASSENET Manon

E LO A D S A RI NG O E T L C E I S V

8.110203-04

1 g 955 Recordin

Victoria de los Angeles • Henri Legay • Michel Dens Chorus and Orchestra of the Théâtre National de l’Opéra-Comique 8.110061-62 Pierre Monteux

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Great Opera Recordings latter’s immediate anger. Threatening them, Guillot sing as they march. Des Grieux is for attacking them, leaves, to return later with the police. but Lescaut prudently bribes the sergeant to allow a ™ The Comte Des Grieux arrives, assuring his son of brief interview with Manon. The rest of the troop moves Jules release, while Manon, for whom he refuses to intervene, on and Lescaut leads the remaining guard aside, giving is taken away, now separated from her lover. the lovers a moment together. MASSENET 2 Manon, now weak with illness, reproaches herself (1842-1912) CD 3 for her behaviour to Des Grieux. He has only forgiveness for her, as they sing of their love and Act V remember their past happiness. Manon 3 Now too weak to go on, Manon can only give her 1 On the road to Le Havre Des Grieux waits for Manon lover a kiss, before dying in his arms. He tries to revive Libretto by Henri Meilhac and Philippe Gille to pass, with the women arrested and condemned to her, but in vain, and with a cry he falls on her lifeless aided by the composer transportation to Louisiana. Lescaut admits he has been body. after the novel L’Histoire de Manon Lescaut by the Abbé Prévost unable to find men to attack the guards. The soldiers Keith Anderson

Manon Lescaut ...... Victoria de los Angeles (soprano) Chevalier Des Grieux ...... Henri Legay (tenor) Count Des Grieux ...... Jean Borthayre (bass) Lescaut ...... Michel Dens (baritone) Guillot de Morfontaine ...... René Herent (tenor) De Brétigny ...... Jean Vieuille (baritone) Poussette ...... Liliane Berton (soprano) Javotte ...... Raymonde Notti (soprano) Rosette ...... Marthe Serres (soprano)

Chorus and Orchestra of the Théâtre National de l’Opéra-Comique (Marcel Picheran, chorus master) Pierre Monteux, conductor

1955, unknown location of venue (CD 1 Track 1) 30th April - 22nd June 1955 (Manon), Salle de la Mutualité, Paris First released on RCA Victor SRL-12-28 (“Showcase in Sound”) (CD 1 Track 1) HMV ALP 1394 through 1397 (Manon)

Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn

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CD 2 Grieux. Guillot is flabbergasted at her behaviour, but CD 1 66:59 Act II 26:30 the festivities of the crowd continue. Act III 1 Introduction by Pierre Monteux 0:56 $ Manon!… Avez-vous peur que mon visage 6:57 Scene 2 (Des Grieux, Manon, Maid) Scene 1 Act I 39:33 ! The service is ending at St Sulpice. Ladies from the % Enfin, les amoureux 6:57 1 A Minuet is heard. congregation enter the seminary parlour, moved by the 2 Prélude 3:44 (Lescaut, De Brétigny, Des Grieux, Manon) 2 It is a holiday on the Cours la Reine, with vendors of sermon of the Abbé Des Grieux, whom they greet, as he (Orchestra) all sorts, among the crowds in the street. Poussette and comes in. ^ C’est parfait 2:23 Javotte, as well as Javotte, come out of a music hall and @ The Comte asks his son if he is resolved to continue 3 Holà! Hé! Monsieur l’hôtelier 2:34 (Lescaut, De Brétigny, Manon, Des Grieux, Maid) soon find men for company, escaping for the moment in the church, and Des Grieux expresses his distaste for (Guillot, De Brétigny, Poussette, Javotte, Innkeeper) & Allons! … il le faut! … Adieu, notre petite table 3:40 from the attentions of Guillot. the world. His father advises him to find a wife, but Des 4 Hors-d’oeuvre de choix… 2:20 (Manon) 3 Lescaut is tempted to buy everything from the Grieux is adamant. (Innkeeper, Guillot, De Brétigny, Poussette, Javotte) hawkers for his Rosalinde. The girls run away from # Alone, Des Grieux admits that he cannot forget * C’est lui!… Instant charmant… Guillot, who is following them and is now warned by Manon. He leaves for another service. 5 Entendez-vous la cloche 3:54 En fermant les yeux 6:32 De Brétigny not to steal Manon from him; she has $ Manon enters. (Townspeople, Lescaut, Guards, Travellers, Porter, (Manon, Des Grieux) demanded a private performance of the opera, which he % Hearing the sounds of the Magnificat, she prays for Postilion, Manon) has refused her, suggesting a possible course of action forgiveness. to Guillot. ^ Des Grieux returns and when he sees Manon tells her 6 Eh! J’imagine… Je suis encore tout étourdie 4:53 CD 2 80:13 4 The crowd admires the elegance of the women they to go. She pleads with him, admitting her cruelty, but at (Lescaut, Manon) see, including Manon, who must at least be a duchess, first he will not listen to her. Act III 57:28 they think. & She pleads further, asking if her hands, voice and 7 Partez! On sonne 1:50 Scene 1 5 (Postilions, Travellers, Townspeople) Manon, in her pursuit of pleasure, arouses the eyes no longer have any charms for him. The bells are 1 admiration of everyone, as she walks, leaning on De heard, but Des Grieux can resist no longer, and leaves Entr’acte 2:45 8 Hôtelier de malheur! Il est donc entendu 2:43 (Orchestra) Brétigny’s arm. Her philosophy is one of pleasure, with her. (Guillot, Manon, De Brétigny, Poussette, Javotte, while she is young. Rosette) 2 Voyez! Mules à fleurettes 4:11 6 To the music of a gavotte Manon resolves to profit Act IV (Vendors, Chorus, Poussette, Javotte, Rosette, from her beauty and youth. 9 Il vous parlait, Manon?… Lescaut) 7 Manon leaves De Brétigny for a moment, going into * There is gambling at the Hotel Transylvanie, where Regardez-moi bien dans les yeux! 3:34 a shop, and as she comes out she hears the Comte Des sharpers are active. Lescaut is there, addicted to (Lescaut, Manon, Guards) 3 A quoi bon l’économie 5:04 Grieux, father of her old lover, telling De Brétigny that gaming, as ever. There is always something for (Lescaut, Guillot, Poussette, Javotte, De Brétigny) his son has entered the seminary of St Sulpice, to Poussette, Javotte and Rosette here. [Lescaut sings in 0 Restons ici… Voyons, Manon, plus de chimères! 3:37 become a priest, and will preach that evening. praise of his love, the Queen of Spades, and Guillot (Manon) 4 Voici les élégantes! 2:18 8 He sees Manon and asks if she is the one that his son sings a satirical song about the Regent.] (Chorus, Strollers, Women Vendors, De Brétigny, loved. She approaches the Comte, pretending that she is ( Guillot exclaims on the arrival of Des Grieux and ! Quelqu’un!… J’ai marqué l’heure du départ… 4:29 Manon, Gentlemen) (Manon, Des Grieux) a friend of Manon, seeking to know the present feelings Manon, which causes general interest and excites 5 of Des Grieux. The Comte assures her that his son has Guillot’s jealousy once more. Manon urges her lover to Je marche sur tous les chemins 2:13 @ Ah! Parlez-moi! 3:03 (Manon, De Brétigny, Gentlemen) forgotten Manon. gamble, as their resources are now exhausted. (Des Grieux, Manon) 9 Guillot tells De Brétigny that he has engaged the ) He yields and accepts the challenge of Guillot, to the 6 Obéissons quand leur voix appelle (Gavotte) 3:18 ballet for Manon. The general opinion is that the excitement of the actresses, who are looking on, while # Nous vivrons à Paris tous les deux 2:53 (Manon, Chorus) expense will be ruinous. Manon expresses the fascination that gold, love, beauty (Des Grieux, Manon, Poussette, Javotte, Rosette, 0 The dancers arrive, to general wonder and and material things have for her. Lescaut) 7 Et maintenant restez seul un instant 2:09 amazement, and perform, but Manon has been ¡ Des Grieux and Guillot play, the latter losing and (Manon, De Brétigny, Chorus, Vendor, Count) thoughtful and resolved to go to St Sulpice to find Des eventually accusing Des Grieux of cheating, to the 8.111268-70 10 3 8.111268-70 111268-70 bk Manon EU 10/15/07 2:08 PM Page 4

8 C’est elle?… Oui, c’est Manon! 4:30 Act IV 22:46 Synopsis # Together they will take the coach that Guillot is (Count, De Brétigny, Manon) providing and live together in Paris. The actresses in the * Faites vos jeux, messieurs! 6:12 CD 1 summerhouse call to Guillot, as Manon still admires 9 Répondez-moi, Guillot!… (Croupiers, Gamblers, Lescaut, Sharpers) their finery. Lescaut, who has lost his money, returns to L’Opéra! Voici l’Opéra! 3:22 Act I find Manon gone. He turns angrily to Guillot, who ( Mais, qui donc nous arrive… (De Brétigny, Guillot, Manon, Lescaut, enters the courtyard, only to find that Manon has left in Nobles, Townspeople) Manon, sphinx étonnant 5:48 2 The Prélude includes festive music from the Cours (Guillot, Poussette, Javotte, Rosette, Des Grieux, de Reine in Paris, the song of the soldiers taking Manon Guillot’s coach, together with a young man. [Guillot 0 Ballet - C’est fête au Cours la Reine 5:10 Lescaut, Croupiers, Manon) to Le Havre for transportation and the confession by demands revenge, while Lescaut regrets the stain on the (Manon, Lescaut, Guillot, Chorus) Des Grieux of his love for Manon. honour of his family.] ) Un mot, s’il vous plait, chevalier! 3:13 3 The nobleman Guillot and tax collector De Brétigny Scene 2 (Guillot, Javotte, Poussette, Des Grieux, Rosette, come from the summerhouse of a hostelry in Amiens Act II Lescaut, Manon, Chorus) into the courtyard, calling for the innkeeper, joined in $ ! Quelle éloquence! 3:08 their shouts by the girls Poussette, Javotte and Rosette. In their Paris apartment Manon looks over the (Ladies, Noblewomen, Pious Laywomen) ¡ Au jeu! Au jeu! 4:52 shoulder of her lover, Des Grieux, who is writing a (Gamblers, Lescaut, Guillot, Des Grieux, Manon, The innkeeper appears at last. 4 Waiters follow with various dishes that the letter to his father, telling him of Manon and his wish to @ Bravo, mon cher 3:38 Poussette, Javotte, Chorus, Gamblers, A Voice, marry. He is about to go when he catches sight of a (Count, Des Grieux) Count) innkeeper indicates to his guests, who go back to the summerhouse, followed by the waiters. The Chevalier bouquet of flowers, and asks where they came from. Manon tells him that someone threw them through the ™ Oui, je viens t’arracher à la honte 2:40 Des Grieux has asked the innkeeper to reserve him a # Je suis seul!… Ah! Fuyez, douce image 4:39 window. A servant announces the arrival of Lescaut and (Des Grieux, Porter) (Count, Des Grieux, Manon, Guillot, Chorus) place on the coach. 5 Townspeople gather, awaiting the arrival of the De Brétigny, the latter her neighbour and admirer, but in $ CD 3 67:29 disguise. Monsieur, je veux parler 1:45 coach. Lescaut enters, with two other guardsmen, whom % (Manon, Porter) he tells to go to find a drink. He is waiting for the arrival Lescaut is at first for revenge, but, when challenged Act V 17:29 of his cousin and will later join them in their drinking. by Des Grieux, is advised by his companion to try % Pardonnez-moi, Dieu de toute puissance 1:27 6 politeness. Des Grieux shows Lescaut the letter he has 1 Manon arrives, excited at her journey, almost (Manon) Manon! Pauvre Manon!… Capitaine, au gué 6:43 forgetting that she was on the way to a convent. written to his father, evidence of his good intentions. (Des Grieux, Lescaut, Soldiers, Sargeant) 7 Meanwhile De Brétigny tells Manon that Des Grieux is ^ There is some commotion as the travellers prepare to Toi!… vous!… 3:51 leave again. Lescaut goes to seek Manon’s luggage, to be abducted by his father; if she warns him, they will (Des Grieux, Manon) 2 Ah! Des Grieux! 4:24 lose everything, but if she remains silent, everything (Manon, Des Grieux) leaving her alone for a moment. 8 will be hers. Manon is moved by De Brétigny’s offers. & N’est-ce plus ma main 3:59 Guillot appears on the balcony and approaches her, ^ 3 her laugh echoed by De Brétigny and the girls. He Lescaut, seemingly satisfied by the letter Des Grieux (Manon, Des Grieux) Ah! Je sens une pure flame 6:22 has written, leaves with his companion. Des Grieux, (Manon, Des Grieux) offers her love and riches, and tells her that a coach will reassured of Manon’s love for him, goes to post his letter. soon be there for her. & 9 Lescaut returns, as Guillot withdraws. His friends Manon is left alone to muse on her situation, her love suggest gaming, and, pleading important business, he for Des Grieux, but the material possibilities that now lie leaves Manon, advising her how to behave. before her. Tearfully she bids farewell to the little table 0 and the place where she and her lover had been happy. Manon reproaches herself for her fancies, which she * should leave at the convent door, but when she sees the Des Grieux returns and as they take their dinner he three actresses, Poussette, Javotte and Rosette, she tells her of the vision he has had of a little house in an cannot help but admire their dresses and jewellery. idyllic landscape, that would be Paradise, but yet was ! Des Grieux comes out from the inn. He is at once not so without her. There is a knock at the door and Des captivated by Manon. Grieux, in spite of her attempts to prevent him, goes @ He asks her name. She tells him that she is intended down to open it, only to be seized by his father’s people. for a convent, but he swears he will never allow it. Manon watches as the carriage is heard leaving.

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the major Verdi baritone rôles, in addition to those of viola and played in the Opéra-Comique Orchestra. He Appendix: Hector Berlioz: Les nuits d’été 30:39 the French repertoire. He retired at the age of seventy to conducted for Dyagilev’s Ballet Russes from 1911 to Montmorency where he died aged 83. 1914, when he gave the première of Ravel’s Daphnis et (Text: Théophile Gautier) 5 Michel Dens (1911-2000) was one of nine children Chloé (1912) Stravinsky’s Le sacre du printemps and Claude Debussy: Villanelle 2:21 born in Roubaix. At the age of seven he began violin Debussy’s Jeux (both 1913). Monteux first conducted in 4 La damoiselle élue 19:21 6 Le Spectre de la rose 6:23 studies but some years later began vocal training at the London in 1913 and made his New York début in (Text: Dante Gabriele Rossetti; 7 Sur les lagunes 7:03 local conservatoire. Following an audition at Lille November 1917 and conducted French operas for the French translation by Gabriel Sarrazin) 8 Absence 5:09 Opéra in 1936 with an engagement as second baritone, following two seasons. He was musical director of the Victoria de los Angeles (soprano) 9 Au cimetière 5:50 he was later engaged in Bordeaux, followed by Boston Symphony Orchestra (1920-24) and associate Carol Smith (mezzo-soprano) 0 L’Île inconnue 3:51 Grenoble where he became the first baritone of the director of the Concertgebouw Orchestra in Amsterdam Radcliffe Choral Society Victoria de los Angeles (soprano) Opéra-Comique. Taken prisoner in 1940, he was held in (1924-34) in addition to founding the Paris Symphony Director: G. Wallace Woodworth Boston Symphony Orchestra • Charles Munch Germany, but succeeded in escaping and joining the Orchestra, which he directed from 1929 until 1938. He Boston Symphony Orchestra • Charles Munch Recorded 12th-13th April 1955 in Symphony Hall Toulouse Company (1942). His Parisian début in June was also conductor of the San Francisco Symphony Recorded 11th April 1955 in Symphony Hall First issued on RCA Victor LM-1907 1947 was as Albert in Werther, followed by Rigoletto, Orchestra (1936-52). He returned to the Metropolitan in First issued on RCA Victor LM-1907 Iago, Valentin (Faust), Athanæl (Thaïs) and Rossini’s New York in 1953 for three seasons. At the age of 84 Figaro. His rôles at the Opéra-Comique included Monteux was appointed chief conductor of the London Escamillo, Frederic (Lakmé), Lescaut, Ourrias Symphony Orchestra, stipulating a 25-year contract. He (Mireille) and Zurga (Les pêcheurs de perles). From also held conducting classes at his home in Hancock, 1951 Dens began to appear more regularly in the field Maine, from 1941 until his death. He was universally of opérette to which his high bariton-martin voice was respected and loved by orchestral musicians the world ideally suited. He also sang in North Africa, Canada and over, as well as being a superb interpreter of French, Switzerland in addition to all the major French operatic German and Russian music. He left a vast legacy of venues. He continued to appear until his late seventies, recordings but only three operas, one being this Manon. eventually dying at the age of 89. A prolific recording Charles Munch (1891-1968) was born in artist, Dens appeared in many operatic and operetta Strasbourg, then part of Germany. He studied the violin recordings. in his native city before moving to Paris. He became a René Herent (1897-1966) made his début as French citizen after 1918 and later taught his instrument Guillot de Morfontaine in 1918 at the Opéra-Comique and played in the Leipzig Gewandhaus Orchestra until in Paris and would remain a member of that company 1929. His conducting career began in 1932, when he for over forty years. He sang a wide range of second directed a number of orchestras in the Parisian capital tenor parts, always displaying excellent taste allied to an until appointed to the Paris Conservatoire Orchestra in admirable stage presence. 1938, a position he held until 1946. Munch’s American Liliane Berton (born 1924) made her début at the début in 1946 eventually led to him succeeding Opéra-Comique in 1952 and later became one of the Koussevitzky as music director of the Boston leading soubrettes of her generation. She sang the rôle Symphony Orchestra in 1949. His thirteen-year tenure of Sister Constance in the French première of Poulenc’s with this orchestra included the first-ever visit by an Les dialogues des carmélites in 1957 which she later American ensemble to the Soviet Union in 1956. In recorded. She was equally adept in the field of operetta, 1967 he was appointed conductor of the newly formed appearing with Michel Dens on many occasions. Orchestre de Paris but died in the United States while on Pierre Monteux (1875-1964) was Parisian born tour with them. A noted conductor of French music, he and studied at that city’s Conservatoire from the age of also was highly rated in German repertoire as well. nine, eventually sharing first prize for his violin playing with Jacques Thibaud in 1896. He then changed to the Malcolm Walker

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Jules Massenet (1842-1912) whose voice has enough personality on record for those as Strauss’s Ariadne and the Metropolitan, New York as Manon who saw her on stage to recapture those live Marguerite, over three successive years from 1949 performances”. He felt “Henri Legay is a lightweight onwards. De los Angeles’s rôles included Butterfly, Jules Emile Frédéric Massenet wrote nearly forty obviously seen through the eyes of an older man. The but ardent Des Grieux” and said “Jean Borthayre’s Eva, Mélisande, Rosina, Violetta, Desdemona and operas or operettas for the stage of which a number frivolities of the middle three acts must eventually lead experienced, authoritative Count and Michael Dens’s Elisabeth. She later sang at Bayreuth in 1961 but were subsequently lost. Of these only a handful are still to the fall of such a character, however sincere, simple, lively Lescaut are further reason for this set’s success: thereafter began to confine her appearances to the regularly performed outside his native France: these passionate but also mundane she may be. Her cousin the so is the splendid contribution of the Opéra-Comique concert hall. Her voice was one of great lyrical beauty include Hérodiade (1881), Werther (1884), Le Cid Chevalier des Grieux is overwhelmed by her presence forces”. He concluded by saying that “Monteux had the and conveyed infinite tonal contrasts with an unusually (1885), Esclarmonde (1889), Thaïs (1894), La and beauty, so much so that it almost makes him music in his bones and here dispenses it with authority warm lower register. She recorded extensively in both navarraise (1894), Sapho (1897), Cendrillon (1899) renounce the world into taking Holy Orders at Saint and spirit”. opera and song, particularly in the latter area, especially and Don Quichotte (1910), but it is Manon which has Sulpice, despite the words of wisdom from his father. Berlioz’s Les Nuits d’été is a work with a Spanish music of many centuries, which she did much survived above all the others. The elegant, wealthy and polished De Brétigny is the considerable range of emotions assisted by a wide to promote. She continued to appear in concert Based on the Abbé Prévost’s novel, the libretto for complete opposite to Manon’s younger true lover. The variety of coloration so it is little wonder that a singer throughout the world until her mid-sixties. She can be Manon was prepared by Henri Meilhac and Philippe smaller rôles of the roué Guillot de Morfontaine and his with so warm and committed an approach as Victoria de heard as Nedda in Pagliacci (Naxos 8.110258). Gille to embrace the then current Parisian requirement three young lady friends form a lighter contrast to the los Angeles should have been drawn to the six songs to Parisian-born Henri Legay (1920-1992) won first of five acts. The story is set in 1721 in Amiens where passion and excitement of the two young lovers. Even words by Théophile Gautier. Originally composed with prize at the Conservatoire in 1947 but began his career Manon first comes across Des Grieux, Paris where the that committed Wagnerian Ernest Newman once piano and first issued in 1841, the composer later singing in musical shows before making his operatic main body of the plot is centred, and is concluded at the remarked that Manon was “undeniably a masterpiece in orchestrated the accompaniment in masterly style. début in Brussels in 1950. He made his first major port of Le Havre where the heroine is to be deported its own genre”. Villanelle is a shepherd’s song, Le Spectre de la rose Parisian appearance as Gérald (Lakmé) in April 1952. from France. An opéra-comique based on the story had This recording of Manon was made in Paris from describes the flower, Sur les lagunes is a lament for a His career was predominately a French-based one and been composed by Auber and first heard in 1856: the April to June 1955 in the acoustically perfect Palais de dead sweetheart, Absence tells of lost love, Au cimetière centred at the Opéra-Comique and the provincial work was not a success. Massenet had been aware of la Mutalité which EMI’s French engineers particularly (Clair de lune) describes the poet lingering in a theatres, where he sang a wide range of rôles including this earlier work but held back from writing another liked at that time. It was also one of the last to use artists churchyard in the moonlight, and L’île inconnue recalls Nadir (Les pêcheurs de perles), Julien (Louise), opera on the same story. It was not until 1881 that he under contract to RCA before their fifty years matrix a seascape in a tragic vein. Wilhelm Meister (Mignon), Alfredo (La traviata), and first broached the subject with Meilhac who was joined licensing agreement expired in 1956. In fact the rôle of Debussy’s less well-kown La damoiselle élue (The the title parts in Werther, Gounod’s Faust, and Les by Gille. They worked hard to reduce the Abbé’s rather Des Grieux was originally offered to the Swedish tenor Blessed Damozel) was composed in 1886-87 to a well contes d’Hoffmann. As a composer he is credited with sprawling novel into a manageable libretto. They also Jussi Björling but he declined. The sessions were spread known poem of Dante Gabriel Rossetti in a French over three hundred songs. His recordings include Le Roi changed the finale of the opera, having Manon die on over quite a period of time in order to allow the elderly translation by Gabriel Sarrazin. It was re-orchestrated in d’Ys, Les pêcheurs de perles and Maurouf. He retired the roadside before Le Havre where Prévost has the conductor time to cat-nap in between, at various points 1902. The work was first given in this later form by the during the 1970s. heroine dying in America. Massenet wrote some of his in the day. Victoria de los Angeles spent the early part Scottish soprano Mary Garden, who had created the rôle Jean Borthayre (1901-1984) was born near score while in The Hague in 1882 in the very house of June recording a collection of early Spanish music of Mélisande earlier that year. This is an early work Mauleon near the Spanish border and spent his youth as where the Abbé Prévost (1697-1793) had once lived. and her contribution was recorded towards the end of which reveals the composer’s debt to Massenet. It is for a shepherd in the Basque area. He was rejected by the The orchestration continued during the early part of the allotted period. She herself recalled that during the soprano, mezzo-soprano and female chorus. Conservatoire in the French capital in 1926 but 1883. The première took place at the Opéra-Comique in Cours la Reine scene at the start of Act 3 there is a Victoria de los Angeles (1923-2005) was born in continued his vocal studies, working in a variety of Paris on 19th January 1884. The occasion was a great single top D which until that time she had not Barcelona and later studied in that city with Dolores different jobs, including that of Parisian taxi-driver. In success so that the new work was heard in London in attempted. The tenor, Henri Legay, explained to the Frau. Aged eighteen, she sang Mimì in a student 1934 he appeared at the Casino de Paris singing Basque May the following year and New York in December soprano that he was expecting that note as it had performance of La bohème. Her formal début was in songs, alongside Tino Rossi. The outbreak of war in that year. By the time of Massenet’s death in 1912 become a tradition in France. She said she did not have 1945 as the Countess in Le nozze di Figaro. After 1939 interrupted Borthayre honouring a contract with Manon had been given over seven hundred that note in her voice. The leader of the orchestra winning the Geneva International Singing Competition the Opéra in Algiers. He appeared in small parts at performances and by 1950 the total had reached two encouraged her to attempt that top D and with his in 1947 she was invited the following year by the BBC Toulouse in 1941 and later sang in Bordeaux, Lyon, thousand. connivance the soprano sang the note. She later claimed in London to take part in two studio broadcast Marseille and Strasbourg. He enjoyed his first Massenet’s musical realisation of the character of she always had the note but never used it in public. performances of Falla’s La vida breve, an event which significant success singing Verdi at Strasbourg in 1946. his heroine is certainly a touching and vivid portrait. In his chapter on the work in Opera on Record aroused great interest and critical acclaim. She then He first sang at the Opéra-Comique in 1951, making his The way the character develops from the innocent girl (Hutchinson, 1979), the late Alan Blyth remarked that appeared at the Paris Opéra as Marguerite (Faust), debut in Bizet’s Les pêcheurs de perles. His large into a cunning and shrewd woman of the world is “Victoria de los Angeles [is] an enchanting Manon, Covent Garden in London as Mimì, La Scala in Milan repertoire included Herod (Hérodiade), Rigoletto, and 8.111268-70 67 8.111268-70 111268-70 bk Manon EU 10/15/07 2:08 PM Page 6

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Chorus and Orchestra of the Théâtre National de l’Opéra-Comique (Marcel Picheran, chorus master) Pierre Monteux, conductor

Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn

8.111268-70 211 8.111268-70 111268-70 bk Manon EU 10/15/07 2:08 PM Page 12

Also available MASSENET Manon

E LO A D S A RI NG O E T L C E I S V

8.110203-04

1 g 955 Recordin

Victoria de los Angeles • Henri Legay • Michel Dens Chorus and Orchestra of the Théâtre National de l’Opéra-Comique 8.110061-62 Pierre Monteux

8.111268-70 12 NAXOS Historical De los Angeles • Legay • Dens • Monteux 8.111268-70 0:56 19:21 30:39 Time Playing 3:34:41 ADD Act IAct 1IAct 1I IAct 1V 39:33 26:30 Act V Debussy: élue La damoiselle 57:28 Berlioz: d’été Les nuits 22:46 17:29 & * # ™ 3 0 Introduction by Pierre Monteux Pierre by Introduction ------8.111268-70 CD 11 2 $ CD 21 * 66:59 CD 31 4 5 80:13 67:29 ) Jules (1842-1912) Manon Pierre Monteux Pierre Opera on Record Opera MASSENET Salle de la Mutualité, Paris Recorded 30th April - 22nd June 1955 1955 April - 22nd June 30th Recorded Manon Lescaut ...... Victoria . . Angeles de los Des GrieuxChevalier ...... Henri Legay Count Des Grieux ...... Borthayre Jean Lescaut ...... Michel Dens Guillot de Morfontaine...... René Herent De Brétigny ...... Vieuille Jean www.naxos.com Orchestra and Chorus of the Théâtre National de l’Opéra-Comique Théâtre and Chorus of the Orchestra Made in Paris in the acoustically perfect Palais de la Mutualité, perfect Made in Paris in the acoustically Pierre under the great this classic 1955 recording Angeles as Manon, National de l’Opéra- Théâtre Victoria de los the supported a fine cast from by Monteux features as 1918).‘Victoria as early with the Company of de Morfontaine had first sung the rôle Comique (René Herent de los Angeles [is] an enchanting Manon, her on stage to who saw those for on record has enough personality whose voice it with authority dispenses bones and here in his Monteux had the music Pierre performances… those live recapture and spirit’. (Alan Blyth, Reissue Producer and Restoration Engineer:Reissue Producer Obert-Thorn Mark Angeles (Private Collection) photo:VictoriaCover de los

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NAXOS Historical MASSENET: Manon 8.111268-70