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Great Recordings ADD 8.110203-04 Also available:

MASSENET Manon

Germaine Féraldy Louis Guénot Joseph Rogatchewsky Georges Villier

Chorus and Orchestra of the Opéra-Comique, Paris Elie Cohen 8.110238-39 Recorded in 1928-29

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Great Opera Recordings Ward Marston

In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on Jules BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him MASSENET ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, (1842-1912) honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov Manon recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four Opera in 5 Acts decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Manon Lescaut ...... Germaine Féraldy In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is Le Comte Des Grieux ...... Louis Guénot to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm Le Chevalier Des Grieux ...... Joseph Rogatchewsky recordings. His aim is to promote the importance of preserving old recordings and make available the works of great Lescaut ...... Georges Villier musicians who need to be heard. Poussette ...... Andrée Vavon Javotte ...... Jeanne Rambert Javotte (side 31) ...... Mme. Ravery Rosette ...... Andrée Bernadet Rosette (sides 29, 32) ...... Marguerite Julliot Rosette (side 33) ...... Marinette Fenoyer Guillot ...... Émile de Creus De Brétigny ...... Jean Vieuille De Brétigny (sides 17, 20, 21) ...... André Gaudin L’Hôtelier ...... Paul Payan

Chorus and Orchestra of the Opéra-Comique, Paris Conducted by Elie Cohen Recorded on 36 sides by French Columbia, December 1928-March 1929 The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best Matrices: WLX 655, 656, 661, 676-80, 683-87, 689-93, 723-31, 740, 741, 823, 824, 827-29, 835, 836 and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards Catalogue: D 15156-73 in the field of historical recordings.

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Producer’s Note CD 1 76:08

Massenet’s Manon was the second complete opera to have been recorded by French Columbia, the first having been Act I 33:37 Act II 22:58 Bizet’s Carmen. Both recordings were released in Europe as well as America and remained in the catalogue until the close of the 78rpm era. By the year 1932, three additional recordings of Carmen had become available to the 1 Prélude 3:26 ! Manon! Avez-vous peur que mon visage 6:49 record buying public but this version of Massenet’s most popular opera remained unchallenged for more than (Orchestra) (Manon, Des Grieux) twenty-five years. The sound of this recording is extremely good for its time possessing an excellent balance between the singers 2 Holà! Hé! Monsieur l’hôtelier? 2:18 @ Enfin, les amoureux 8:15 and the orchestra. Its major flaw, however, is the fact that it was recorded in an acoustically dead studio with the (Poussette, Javotte, Rosette, Guillot, De Brétigny, (Lescaut, De Brétigny, Manon, Des Grieux) singers placed a bit too close to the microphone. I have taken the liberty of adding a small amount of artificial L’hôtelier) reverberation which will, hopefully, give the performance a more pleasant sound without detracting from its # Allons! Il le faut!... 2:31 immediacy. I have transferred the recording from two sets of French and two sets of American pressings, all in mint 3 Hors d’oeuvre de choix! 2:06 Adieu, notre petite table condition. I compared all copies of each side and chose the one which yielded the quietest surface without (L’hôtelier, Guillot, De Brétigny, Poussette, (Manon) compromising the recorded sound. In fact, some of the American pressings, though quieter, occasionally lacked Javotte, Rosette) sonic vividness. In such cases, I opted to use the slightly noisier French pressings. I also used several stylus sizes $ C’est lui!... Instant charmant... 5:23 to achieve optimum reproduction. 4 Entendez-vous la cloche... 4:49 En fermant les yeux...Oh! Ciel! déjà! It took several months to complete this recording, and consequently, it possesses certain inconsistencies that I Allez à l’auberge voisine... Les voilà! (Des Grieux) should mention. First, glancing at the cast list, one can’t help but notice that several minor rôles were shared by (Lescaut) two or even three different singers depending upon the particular side. This is probably due to the fact that Columbia used whoever might have been available on any particular day. So long as the important singers were 5 Je suis encore tout étourdie 3:21 Act III 19:34 present, the others were left to chance. The second inconsistency concerns the recorded sound. Considering the fact (Manon) that the performance heard here was recorded over a number of sessions, the actual sound is remarkably consistent Scene 1 19:34 from one side to another. It should be noted, however, that two sides in Act I were defectively recorded. The first 6 Hôtelier de malheur! Il est donc entendu 2:37 of these is side two (matrix WLX730) which begins with the words “Allons Messieurs.” The sound here is (Guillot, Manon, De Brétigny, Poussette, Javotte, % Entr’acte 2:21 extremely distorted and strident, resisting my best efforts at improvement. The same sonic flaw afflicts side five Rosette, Lescaut) (Orchestra) (matrix WLX729) beginning “Hôtelier de malheur.” Finally, I should mention that there is an inconsistency in speed, not only from one side to another but also within particular individual sides. In remastering this recording, 7 Il vous parlait, Manon?... 3:08 ^ Voyez mules à fleurettes! 4:06 I have attempted to correct the pitch whenever necessary. Regardez-moi bien dans les yeux! (Street Trader) (Lescaut) & A quoi bon l’économie... Bonjour, Poussette! 4:55 8 Restons ici... 2:54 (Lescaut) Voyons, Manon, plus de chimères! (Manon) * Voici les élégantes!... Suis-je gentille ainsi? 2:20 (Manon) 9 Quelqu’un... J’ai marqué l’heure du départ... 6:36 Et je sais votre nom ( Je marche sur tous les chemins 2:25 (Des Grieux, Manon) (Manon)

0 Nous vivrons à Paris tous les deux!... 2:22 ) Obéissons quand leur voix appelle (Gavotte) 3:27 Plus un sous! (Manon) (Manon, Des Grieux) 8.110203-04 10 3 8.110203-04 110203-04 bk Manon EC 30|01|2003 4:36 PM Page 4

CD 2 65:25 Act IV 17:45 comes in. # He yields and accepts the challenge of Guillot, to the excitement of the actresses, who are looking on, Act III 34:38 ! Faites vos jeux, Messieurs!... 2:21 6 The Comte asks his son if he is resolved to continue while Manon expresses the fascination that gold, love, C’est ici que celle que j’aime... in the church, and Des Grieux expresses his distaste for beauty and material things have for her. Scene 1 (continued) 15:41 J’enfourche aussi Pégase the world. His father advises him to find a wife, but Des (Lescaut, Guillot) Grieux is adamant. $ Des Grieux and Guillot play, the latter losing and 1 Et maintenant restez seul 1:59 eventually accusing Des Grieux of cheating, to the (Manon, Le Comte, De Brétigny) @ Mais, qui donc nous arrive... 5:04 7 Alone, Des Grieux admits that he cannot forget latter’s immediate anger. Threatening them, Guillot Manon! Sphinx étonnant Manon. He leaves for another service. leaves, to return later with the police. 2 C’est elle? Oui, c’est Manon! 3:38 (Des Grieux, Manon, Lescaut) (Le Comte, Manon) 8 Manon enters and hearing the sounds of the % The Comte Des Grieux arrives, assuring his son of # Un mot, s’il vous plaît... Ce bruit de l’or 3:01 Magnificat, prays for forgiveness. release, while Manon, for whom he refuses to intervene, 3 Répondez-moi, Guillot!...Voici l’Opéra! 3:07 (Manon, Pousette, Javotte, Rosette, Les Aigrefins) is taken away, now separated from her lover. (Guillot, De Brétigny) 9 Des Grieux returns and when he sees Manon tells $ Au jeu! au jeu! 4:40 her to go. She pleads with him, admitting her cruelty, Act V 4 Ballet...C’est fête au Cours-la-Reine! 6:57 (Les Aigrefins, Lescaut, Guillot, Des Grieux, but at first he will not listen to her. (Manon, Lescaut, Guillot) Manon) ^ On the road to Le Havre Des Grieux waits for 0 She pleads further, asking if her hands, voice and Manon to pass, with the women arrested and Scene 2 18:58 % Oui, je viens t’arracher à la honte 2:40 eyes no longer have any charms for him. The bells are condemned to transportation to Louisiana. Lescaut (Le Comte, Des Grieux, Guillot, Poussette, Javotte, heard, but Des Grieux can resist no longer, and leaves admits he has been unable to find men to attack the 5 Quelle éloquence! 2:57 Rosette, La Foule des Joueurs) with her. guards. The soldiers sing as they march. Des Grieux is (Les Dévotes) for attacking them, but Lescaut prudently bribes the Act IV sergeant to allow a brief interview with Manon. The rest 6 Bravo, mon cher... Epouse quelque brave fille 3:31 Act V 13:01 of the troop moves on and Lescaut leads the remaining (Le Comte, Des Grieux) ! There is gambling at the Hotel Transylvanie, where guard aside, giving the lovers a moment together. ^ Manon! Pauvre Manon!... Capitaine, ô gué 4:41 sharpers are active. Lescaut is there, addicted to 7 Je suis seul!...Ah! fuyez, douce image 4:18 (Des Grieux, Lescaut, Les Archers) gaming, as ever. There is always something for & Manon, now weak with illness, reproaches herself (Des Grieux) Poussette, Javotte and Rosette here. [Lescaut sings in for her behaviour to Des Grieux. He has only & O Manon! Manon! Tu pleures... 8:20 praise of his love, the Queen of Spades, and Guillot forgiveness for her, as they sing of their love and 8 Pardonnez-moi, Dieu de toute puissance 1:06 Ah! Je sens une pure flamme... sings a satirical song about the Regent.] remember their past happiness. Now too weak to go on, (Manon) (Manon, Des Grieux) Manon can only give her lover a kiss, before dying in @ Guillot exclaims on the arrival of Des Grieux and his arms. He tries to revive her, but in vain, and with a 9 Toi! Vous!... Oui! Je fus cruelle et coupable! 3:12 Manon, which causes general interest and excites cry he falls on her lifeless body. (Manon, Des Grieux) Guillot’s jealousy once more. Manon urges her lover to gamble, as their resources are now exhausted. Keith Anderson 0 N’est-ce plus ma main 3:53 (Manon, Des Grieux)

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to be abducted by his father; if she warns him, they will see, including Manon, who must at least be a duchess, (1842-1912) lose everything, but if she remains silent, everything they think. Manon will be hers. Manon is moved by De Brétigny’s offers, while Lescaut, seemingly satisfied by the letter Des ( Manon, in her pursuit of pleasure, arouses the Jules Massenet wrote some forty but today only and Alain Vanzo, while among the famed exponents of Grieux has written, leaves with his companion. admiration of everyone, as she walks, leaning on De Manon has a sure foothold on the stage, although Manon have been Geraldine Farrar, Fanny Heldy, Brétigny’s arm. Her philosophy is one of pleasure, is highly esteemed and a few others are Maggie Teyte, Ninon Vallin and Victoria de los # Des Grieux goes to post his letter, leaving Manon while she is young. produced from time to time. The secrets of Manon’s Angeles. alone to muse on her situation, her love for Des Grieux, success are not difficult to discern: it has a strong story, The present recording is a showcase for another and the material possibilities that now lie before her. ) To the music of a gavotte Manon resolves to profit with superb rôles for the prima donna and the leading notable Manon, Germaine Féraldy. It was not the first Tearfully she bids farewell to the little table and the from her beauty and youth. man, and the music is by turns charming, lyrical and notable set to appear – Pathé had made one in 1923 with place where she and her lover had been happy. dramatic. Manon herself is given music that is both Heldy – but it was the first in really good sound and two beautiful and memorable, and two of her contributions, generations of record collectors learnt the opera from it. $ Des Grieux returns and as they take their dinner he CD 2 one of them the gavotte that was a late addition to the Even today it has not been surpassed. Inevitably the tells her of the vision he has had of a little house in an score, are often heard on their own. The ’s two 78rpm recording now sounds dated but the performance idyllic landscape, that would be Paradise, but only if she 1 Manon leaves De Brétigny for a moment, going arias also have an even healthier life outside the opera. itself is such a magnificent example of teamwork and were with him. There is a knock at the door and Des into a shop, and as she comes out she hears the Comte The work was the second to be based on the novel style that it can still give more pleasure than any other. Grieux, in spite of her attempts to prevent him, goes Des Grieux, father of her old lover, telling De Brétigny Manon Lescaut by the Abbé Prévost (1697-1763), who Under the baton of Elie Cohen, the superb cast sing in a down to open it, only to be seized by his father’s people. that his son has entered the seminary of St Sulpice, to had been a Benedictine monk but had broken his vows conversational fashion that is a lost art today. The Manon watches as the carriage is heard leaving. become a priest, and will preach that evening. and gone into exile in England and Holland. The 1856 ‘highlights’ are not thrown away but they take their opéra comique by Auber had not been a success, so natural place in the scheme of things, rather than being Act III 2 He sees Manon and asks if she is the one that his Massenet felt able to suggest the topic to the famous emphasized. A good example can be found in Act Two, son loved. She approaches the Comte, pretending that librettist Henri Meilhac in 1881 (later Puccini would where within a few minutes we hear Manon’s ‘Adieu, Scene 1 she is a friend of Manon, seeking to know the present commandeer it for his first great success). With Philippe notre petite table’ and Des Grieux’s ‘En fermant les feelings of Des Grieux. The Comte assures her that his Gille joining Meilhac as collaborator, the sprawling yeux’, both delivered with perfect poise, almost as if % A Minuet is heard. son has forgotten Manon. story was condensed, the major change being that they were being spoken. It is worth noting that, like Manon’s death occurred in France rather than America. several of the galaxy of who graced the Paris ^ It is a holiday on the Cours-la Reine, with vendors 3 Guillot tells De Brétigny that he has engaged the Lescaut was made Manon