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Marie Delna Great French Contralto Marie Delan with Albert Alvarez in her first Paris Pathe sessionIRCC 3145 10? Prophète, Le (Eugène Scribe; Giacomo Meyerbeer): A la voix de ta mereAlvarez, Albert - tenor; Delna, Marie - contralto; Piano (NL) Paris #1700235; 1905; Transcribed;Pathé disc: 0235IRCC 3145 10? Werther (Édouard Blau; Paul Milliet; Georges Hartmann; Jules Massenet): Air des lettresDelna, Marie - contralto; Orchestra Paris #1704879; 1907; Transcribed and reissued on vinylite;Pathé disc: 4879; 0315Paris Pathe recording issued on IRCC 10" 78 rpm record Condition Record: EXCELLENT close to PRISTINE faintest scuffs, plays E+ EXCEPTIONALLY quiet A Superb COPY from www.marstonrecords.com MARIE DELNA BIOGRAPHY The life of Marie Delna is surrounded with so many legends that truth cannot easily be separated from fiction. Her real name was Marie Ledant, of which her stage name, proposed by LTon Carvalho, is a near-anagram. She was born in the Marais section of Paris on 3 August 1875 to a working-class family. Her mother died when she was 15 months old. Her father was physically handicapped. Marie was first raised by her maternal grandmother who was remarried to a Belgian stonecutter, in Longjumeau, the city Adolphe AdamÆs Postillon has put on the operatic landscape. From 1881 on, Marie lived with her paternal grandparents, who ran a small restaurant, the CafT du Panorama, next to the Rive-Gauche train station of Meudon, the Parisian suburb where Rodin had his atelier. Contrary to later rumors depicting her as a semi-illiterate waitress, she received a conventional education at a convent school. That she possessed an exceptional voice cannot have remained a secret for long. An habituT of the restaurant, the Montpellier-born landscape painter EugFne Baudouin, persuaded MarieÆs grandmother to let her study singing. Through the intercession of his friend Paul Ferrier, the librettist of Louis VarneyÆs Les mousquetaires au couvent, she was accepted as a pro bono student of Rosine Laborde, one of the famous teachers of the day who also trained Emma CalvT. Launched at LabordeÆs public auditions, first in the soprano repertory, Delna was also heard at various private concerts in Paris, accompanied by Chabrier among others. She was soon recruited by Carvalho for the OpTra-Comique performing in the old ThTGtre-Lyrique building on the place du ChGtelet following the 1887 fire of the Salle Favart where, in June 1892, she made a sensational stage debut, before her 17th birthday, as Dido in Les Troyens a Carthage. Massenet chose her as the first French Charlotte in Werther, in which she partnered Guillaume Ibos in January 1893. In November 1893, she was the old servant Marcelline in Alfred BruneauÆs LÆattaque du Moulin, which became one her major roles. In April 1894, she sang the role of Quickly in the first French Falstaff, supervised by Verdi, who pronounced her ôuniqueö. In April 1895, Delna was Marionùher other major roleùin Benjamin GodardÆs posthumous military opera La vivandiFre. In 1896, she added the role of OrphTe in the Berlioz-Viardot version of GluckÆs opera, and in the same year, she sang Zerlina in MozartÆs Don Giovanni with Victor Maurel and Edmond ClTment as her co-stars. Other parts she sang during her first OpTra-Comique years were the African servant NTala in MassTÆs Paul et Virginie, +ros in Ambroise ThomasÆs PsychT, and Jeanne in the Paris premiere of LaloÆs La Jacquerie, a role created by Blanche Deschamps-JThin at Monte Carlo earlier in the same year. Having taken part in the Covent Garden premiere of LÆattaque du moulin in 1894 with Henri Albers and Zina de Nuovina, Delna made her Italian debut at the Teatro Lirico in Milan in 1897. The following year, she left the OpTra-Comique for the OpTra, where she appeared in MeyerbeerÆs Le prophFte opposite Albert Alvarez, in the Paris premiere of BerliozÆs La prise de Troie with Maurice Renaud as her ChorFbe, in DonizettiÆs La favorite, and in Saint SadnsÆs Samson et Dalila. Her last role there was as Queen GuinFvre in Victorin JonciFresÆs Lancelot. Yet she does not seem to have enjoyed the working atmosphere of the Palais Garnier and was happy to return to the Salle Favart in 1900, when she reprised OrphTe and, in October of that year, sang her first Carmen with Adolphe MarTchal and Hector Dufranne. Along with OrphTe, Carmen was the part she sang most often during the remainder of her career. In April 1901, she was Marianne in BruneauÆs LÆouragan, a part tailored for her and probably one of her greatest artistic creations. Zola and Bruneau also had her in mind for the part of Madeleine in LÆenfant roi, but was eventually premiered by Claire FrichT in 1905. Also in 1901, she repeated her Quickly at the revival of Falstaff in VerdiÆs memory and sang the witch in HumperdinckÆs Hansel und Gretel. Her new role the following season was Margared in the revival of Le roi dÆYs, with LTon Beyle and Julia Guiraudon. In 1903, while singing Carmen at the ThTGtre de la Monnaie, Delna was courted by a rich Belgian admirer, the marquis Prier de Sa(ne, an industrialist. She married him, putting a temporary end to her career. She returned to the stage three years later for a gala performance of La vivandiFre and a few concerts, before being signed by the Isola brothers for more VivandiFres and new productions of OrphTe and LÆattaque du moulin with a new scene composed for her, at the ThTGtre-Lyrique de la GaetT in 1907û1908. The following season, still at the GaetT, she sang FidFs in Le prophFte, again with Alvarez, and LTonore in La favorite. On 29 January 1910, she made her Met dTbut as GluckÆs Orfeo under Toscanini, with Johanna Gadski as her Euridice. She was to have appeared in Le prophFte, La favorite, Werther, and even as La Cieca in La Gioconda, a role new to her, but various obstacles intervened: Caruso was unavailable for La favorite; Slezak sang Le prophFte only in German; Farrar refused to relinquish any of her Charlottes; and La Gioconda was scheduled on the same day as another of DelnaÆs appearances. A second performance of Orfeo turned to near-disaster over tempi disagreements with Arturo Toscanini. She did, however, premiere LÆattaque du moulin, not in the old Met but at the New Theater at 61st Street and Central Park West, with ClTment as Dominique and Dinh Gilly as the miller Merlier, but the work itself got mixed reviews. When the Met came to Paris in May of the same year, an article in Gil Blas, evidently inspired by her, denounced the Italian artistic direction for their treatment of French singers and the French repertory, and the opening performance of Aida with Destinn, Homer, and Caruso was disrupted by protesters, though it ended in triumph for Toscanini and his singers. This mini-scandal dashed DelnaÆs hopes for a return to the United States. Her career resumed only sporadically afterwards: more performances of the Bruneau opera at the GaetT in 1910, the impressive character role of the old Tilli in Silvio LazzariÆs La lTpreuse in 1912, and further performances in Brussels. During the war, she appeared at various concerts and benefit performances, including three of act 3 of LÆouragan at the Palais Garnier in 1916. Also in 1916, she appeared in the soprano role of Toinette (premiered in 1907 by FrichT) in Xavier LerouxÆs Le chemineau. By the end of the war, DelnaÆs career was virtually over. She made occasional appearances on the concert and even cabaret stage and had her operetta dTbut in LTo PugetÆs Maurin des Maures at the Folies-Dramatiques in 1925. Financial difficulties forced her to move out of her luxurious ôVilla Delnaö in Montmorency into a small house in the less prosperous Villemomble. Having separated from her husband, she supported herself by teaching and was also helped by a benefit organized for her in 1928 at the initiative of Albert CarrT and the journal Com£dia. Her death in 1932, following a brief illness, was not free of controversy: while the press expressed dismay at her dying in a hospital for the poor, it appears that the specialists who treated her had simply arranged for her to be where they had their residency. She was first buried in Thiais but her remains were moved to the PFre Lachaise cemetery in Paris the following year. MARIE DELNA RECORDINGS Delna made her first recordings in the London PathT studios in 1903, the year of her marriage and retirement from the stage, temporarily as it turned out, at the age of 28. By the time she made her last ones, in 1918, she was only 43, but her operatic career was nearly over. Vocally, she was captured at her peak by Edison in March 1910, perhaps thanks to under-employment at the Met that winter, with only nine appearances in more than two months. Generally described as a contralto, Delna was rather, as Louis Schneider has perceptively argued, a mezzo-soprano in the 19th century sense, in the tradition of Maria Malibran and Pauline Viardot. Delna had a large voice, the size of which is apparent in these recordings, and a range of three octaves, for which we only have her testimony and that of her contemporaries. Trained by her teacher to become a soprano, she could hit a top D and did sing a low D in public (in the orchestral version of SchubertÆs Tod und das MSdchen). The color, warmth, evenness of her timbre, and the eloquence of her delivery are also much in evidence in her recorded legacy. FidFs, one of the most taxing parts of the mezzo repertory, was ideally suited to her voice and reportedly impulsive stage temperament. Of her three recordings of ôAh, mon fils,ö both the Edison cylinder and 1913 Diamond disc must rank among the most impressive ever made of the aria, the voice gleaming seamlessly throughout its range with ringing, organ-like tones. The abridged version of the Prison Scene duet with Albert Alvarez, her partner at the OpTra in 1898 and at the GaetT-Lyrique ten years later, is sung by both parties with admirable firmness. Next to Emma CalvT, Delna was the most celebrated Carmen of her generation. The three extracts she recorded are all from her early PathT sessions with piano accompaniment. A more serious, less flirtatious Bohemian than her rival, she does particular justice to the doom-laden ôAir des cartes.ö DelnaÆs recording of DidoÆs entrance aria in Les Troyens a Carthage, gives us the opportunity to hear an extract of her debut role in which she dazzled the OpTra-Comique audiences that included Sarah Bernhardt and Marietta Alboni; DelnaÆs vocal radiance and interpretive authority are both much in evidence here. LTon GlaizeÆs contemporary portrait of Delna as Dido is preserved at the BibliothFque-musTe de lÆOpTra. Other than FTlia LitvinneÆs recording of the same aria, no other recordings were made until 1929 when Georgette Frozier Marrot recorded it for French HMV. In fact, this great opera was almost totally neglected during the early years of recording. The two extracts from Werther, recorded three years apart, are invaluable testimonies of an interpretation for which Delna was coached by Massenet himself over several months. The role of Charlotte is not attached to any particular vocal typeùthe first edition specifies ô1re chanteuse dÆopTraöùand had been premiered in Vienna by Marie Renard, who sang both mezzo and light soprano parts. Incidentally, she was the first Viennese Manon, opposite Ernest Van Dyck. DelnaÆs recordings of both Werther arias have been aptly described by Lord Harewood as showing her exemplary ôinstrumental-like control.ö (The ôAir des lettresö is cruelly shorn of its middle section due to the time constraints of the recording.) MassenetÆs ôLes enfantsö (1882), one of his most celebrated songs, on a text by Georges Boyer, the librettist of Le portrait de Manon, shows how effectively Delna could lighten her tone. The part of Marion in La vivandiFre was written with DelnaÆs voice in mind, even though Godard died while the work was in rehearsal with the orchestration being completed by Paul Vidal. Henri CainÆs libretto, set during the French Revolution, had everything to appeal to the nervously nationalistic audiences of the Dreyfus Affair years. DelnaÆs recruiting song, ôViens avec nous, petitö (also known as the ôChanson patriotique,ö with its characteristic snatches from La Marseillaise) is interrupted after the first verse by spontaneous applause from the studio audience. The grander ôHymne a la libertT,ö which closes the work, shows her higher register to great advantage. The ôBerceuseö from GodardÆs 1888 opera Jocelyn, an adaptation by Victor Capoul and Armand Silvestre of LamartineÆs popular verse novel on a the life of a priest, soon acquired a popularity of its own. Of DelnaÆs two recordings, the 1904 PathT is a fine example of her legato and breath control; the 1913 Edison more relaxed and tonally opulent. La favorite remained a staple of the repertory of French opera theaters until the First World War. DelnaÆs appealing interpretation is preserved both in French, with the act 3 aria and the end of the act 4 duet again with the admirable Alvarez, and in Italian from the American Edison sessions, imbued with a touching femininity and capped with an exciting cabaletta. Another souvenir of DelnaÆs American experience is the extract from GluckÆs OrphTe, which she recorded first in French in 1907, and a second time, defiantly, for Edison, three weeks after her fiasco with Toscanini. One can see at once how her very personal tempi (the final verse almost twice as fast as the first) could have come into conflict with ToscaniniÆs stricter vision; yet there is much to admire in the tonal stability and dignity of utterance. The same qualities are present in the extract from BruneauÆs LÆattaque du moulin, the passage at the end of act 1 where Marcelline, at the declaration of war, launches into an impassioned denunciation of warfare to a text largely written by Zola himself. While Orfeo and Marcelline were parts particularly associated with Delna, she did not sing in Alexandre GeorgesÆs Miarka (premiered in 1905 when she was in retirement), though the gipsy theme of Jean RichepinÆs libretto calls Carmen to mind; nor did she appear in Cavalleria rusticana, but the popularity of the work amply justified her recording ôVoi lo sapeteö (in French). In PonchielliÆs La Gioconda, which Delna learned and rehearsed for the Met but never sang, she displays her magnificent contralto in a way that would surely have brought the house down. With her beautiful timbre and even projection, Delna was a natural Dalila and the two arias are among her most treasured, the three versions of ôMon c£urö different and admirable in their own way, her seductive lower tones used to particularly magical effect on the 1913 Edison disc. Like most operatic stars of her day, Delna was impressive in semi-character music. ClTriceÆs ôVierge a la crFche,ö a song on a poem by Alphonse Daudet, premiered by the tenor Albert Vaguet, and in which she is accompanied by the Argentine composer, is done with taste and charm, while ôO sole mioö has irresistible vocal allure. Similarly, it would be a pity to ignore the two war songs by the obscure Rohand. ôEspTrance,ö in particular, her last recording, is remarkable both for her undiminished expressive powers and the eerie, quasi-androgynous color of her chest tones. Nothing can console us for the absence of mementos of DelnaÆs Quickly and Zerlina (to which one could add LÆouragan and Le roi dÆYs). Yet, such as it is, her recorded output conveys much of the magnetic vocal presence of a legendary artist. extensive, including operas by Mozart, Wagner, Verdi, Donizetti, and Rossini, as well as the more common works by Berlioz, Meyerbeer, Gounod, Thomas, Massenet, and Saint-Sadns encountered on stages in France and Belgium. His influence extended well into our century. Renaud's interpretations of French music must have served as a model for younger singers. One can hear stylistic echoes in many performances by later French baritones. The recordings that exist of Lassalle and Maurel are fascinating. Lassalle's big, velvety voice is modulated expressively and envelops the listener with warmth. Maurel, at this point in his career, was more calculating, and with very limited means, still manages to produce magical effects. These recordings were made when both singers were in their mid-fifties and their careers were behind them. Conversely, Maurice Renaud was around forty years old when he first recorded, in 1901, and could be described as in his prime. His career in the United States had yet to begin. He therefore does represent that great French tradition, but was a highly individualistic artist as well, who transformed familiar arias and songs so that they could be heard anew. Maurice Arnold Renaud was born on 24 July in Bordeaux. The year of his birth varies in different sources, ranging from 1860-1862. He studied for a year at the Paris Conservatoire, and then proceeded to the Brussels Conservatoire where he worked with Joseph Cornelis and Henri Warnots. His early career was made in Brussels. Renaud made his debut at the ThTGtre Royal de la Monnaie in 1883 and remained with that company, singing leading baritone roles until 1890. He participated in the premiere of Ernest Reyer's Sigurd in 1884, and in his Salammb( in 1890. Rose Caron was his co-star in both performances. In October of 1890 he joined the OpTra Comique in Paris, making his debut in Lalo's Le Roi d'Ys. The following year he became a member of the Paris OpTra, making his debut as Nelusko in Meyerbeer's L'Africaine. He remained a leading baritone at the OpTra until 1902, performing Wagner's Telramund, Beckmesser, and Wolfram; Verdi's Rigoletto, Iago and Amonasro; and Mozart's Don Giovanni, as well as numerous roles in both familiar and unfamiliar French operas. He continued to perform as a guest artist at the OpTra until 1914. Renaud first traveled to the United States in 1893, appearing initially with the French Opera in New Orleans and on a tour that included Boston and Chicago. Renaud's debut in London occurred during the Diamond Jubilee Gala at Covent Garden in June 1897. He performed in the Second Act of TannhSuser with Emma Eames and Ernest Van Dyck; and in the Fourth Act of Les Huguenots with Albert Alvarez and Pol Planton. Further performances at Covent Garden in 1897 included Don Giovanni with Ada Adini, Zelie de Lussan, and Marcel Journet. Renaud performed regularly in London until 1904 and afterwards continued to make guest appearances. The casts for these performances were often extraordinary: Carmen with Emma CalvT, Emma Eames, and Albert SalTza; Don Giovanni with Lilli Lehmann, Lillian Nordica or Emmy Destinn, Suzanne Adams, Zelie de Lussan, and Edouard de Reszke; Manon with Mary Garden; Rigoletto with Nellie Melba or Selma Kurz, Enrico Caruso, and Marcel Journet. Renaud toured extensively, making guest appearances in St. Petersburg, Berlin, and Monte Carlo, where he sang in the premieres of Massenet's Le Jongleur de Notre-Dame (1902) and ChTrubin (1905). In 1902 he sang MTphistophTlFs in Raoul Gunsbourg's operatic version of Berlioz's La Damnation de Faust, both in Monte Carlo and at La Scala with Arturo Toscanini conducting. Henry Krehbiel of the New York Tribune wrote of a later performance of this role at the Hammerstein Opera House "... with due respects to Planton, MTphistophTlFs never had an adequate performance here until last night." Maurice Grau, Manager of the Metropolitan Opera House, had signed a contract with Renaud, but various international conflicts prevented the baritone from making his debut at New York's first opera house before the turn of the century. When Heinrich Conried succeeded Grau, he voided Renaud's contract. Renaud sued and received a substantial settlement. In 1906 Oscar Hammerstein signed Renaud for the new Manhattan Opera House, supposedly at the urging of Nellie Melba, but his greatest triumphs with the Mannhattan company were associated with Mary Garden. Renaud's debut there was in December 1906 in Rigoletto with Melba and Alessandro Bonci as his co-stars. In November 1907 Mary Garden made her debut at the Manhattan in Massenet's Thans with Renaud as Athanael. W. J. Henderson, the dean of New York critics, wrote that "His Athanael has never been rivaled. No one else succeeded in creating the same impression of intensity." Renaud's great roles at the Manhattan Opera included Don Giovanni, Scarpia, Germont, HTrode in HTrodiade, and the three villains in Tales of Hoffmann. Garden, herself, described Renaud as "one of the greatest artists in the world." While all the New York critics praised Renaud, Henry T. Finck idolized him. He had seen them all, beginning his career as a music critic in 1876, writing about Wagner's first Bayreuth Festival. He was the music critic of the New York Evening Post for more than forty years, retiring in 1924. After almost fifty years of witnessing the greatest operatic performances of that golden age, Finck described Maurice Renaud as "one of the greatest, if not the greatest, opera singer." After Hammerstein was bought out in 1910, Renaud finally joined the Met, making his debut as Rigoletto on 25 November with Nellie Melba, Florencio Constantino, and Adamo Didur. He sang with the company for two seasons, making his final appearance in March 1912 as Valentin in Faust. Maurice Renaud occasionally performed with the Boston and Chicago-Philadelphia companies during his final years. On 21 November 1910, he appeared as Scarpia with the fiery Carmen Melis, prompting the local Boston critic H. T. Parker to write, "Oh, this was as vivid and racking a performance of Tosca since it first came to the stage!" In his final London performances in 1911 at Hammerstein's London Opera House he sang in HTrodiade, Rigoletto, Tales of Hoffmann and Quo Vadis. During World War I, Renaud gave concerts for the allied troops and was wounded at the front when he and four others in a trench took a hit from a projectile - his wounds left him an invalid. After the War he was awarded the Legion of Honor by the French government. In April 1919, appearing at the Paris OpTra in a gala performance of Offenbach's Monsieur Choufleuri Restera Chez Lui, Renaud finally retired from the stage. Like numerous other opera singers Renaud was attracted by the new media and appeared in a silent film in 1920. Maurice Renaud made fifty-two discs for the Gramophone and PathT companies from 1901 to 1908, but many of these were duplicates. He recorded only sixteen arias and five songs. With one exception, everything is sung in French. There are no duets or ensembles. Many of his most famous roles are not represented. Renaud's records are what you would expect from a great French baritone at the turn of the century. The singing is smooth, the words are articulated clearly without breaking the phrase, and a sense of elegance is intrinsically part of the whole. What is surprising is how idiosyncratic a singer Renaud was. His voice was a "central baritone," not as heavy as Lassalle's or as light as Armand CrabbT's. It was often described as powerful and one can hear that it was resonant and evenly produced. Renaud's timbre does not change throughout his range. While he sings musically, observing dynamics, there is not an excessive use of messa di voce (artful swelling and diminishing of notes) or sfumatura (artful fading away of notes) as in certain other singers of this period. But this is not to say that Renaud is a particularly direct singer. He enjoys slowing down the tempo to allow for an expressive rubato. This tendency is heard over and over again in these recordings. We can hear numerous singers taking slower tempos than we hear today on early recordings. Questions arise about the composer's intentions and Renaud certainly knew several of the great French composers. The question should be... what has the singer achieved by taking a slow tempo? The most controversial Renaud recording is probably Don Giovanni's "Serenade." He sings both verses in French and then repeats the second verse in Italian. Renaud stretches the vocal line, heightening the romantic atmosphere. He truly makes it a love song, rather than an elegant piece of vocal display. Further, he retains the traditional appogiaturas and expressively ornaments the vocal line. All heresy... but what an extraordinary performance! Renaud is seductive and cunning as he swells in and out rhythmically with the music. How could this Don Giovanni be resisted? In "Vision fugitive" from Massenet's HTrodiade, we hear a similar approach used more idiomatically, no question about appropriate style here. The tempo creates space within which Renaud modulates the vocal line to intensify the mood. After almost a century Renaud's interpretation still remains the definitive performance on records. More surprising is Renaud's Wagner. He recorded two excepts from TannhSuser and a brilliant scene from The Flying Dutchman. His versatility is demonstrated on these three recordings. The 1902 "Evening Star" is approached gently, with lengthy pianissimos smoothly drawing out Wolfram's dreamy lyricism. This would be expected, but in contrast the Dutchman's declamatory phrases are projected with great passion. Renaud makes expressive use of marcato to stress certain words within the phrase and build to a climax. Maurice Renaud's imaginative artistry is communicated vividly through these recordings. His eloquence and sense of style is what we would expect from a classic exponent of the French school. Even without costume or makeup, his ability to create a realistic portrayal of a character, with voice alone on these primitive recordings, sets him apart. As Henry Krehbiel once wrote, "where Renaud sits, there is the head of the table." 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Price: 16.99 USD
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End Time: 2024-11-09T00:21:13.000Z
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Artist: CLICK RIGHT ARROW > FOR CONDITION, MARIE DELNA, Albert Alvarez
Release Title: Prophète A la voix de ta mere/ Werther Air des lettres
Genre: Classical, Opera
Record Label: IRCC
Record Size: 10"
Style: Aria, Ars Nova, Cantata, Canzona, Chorale, Elegy, Film Score/Soundtrack, Lied, Lullaby, Madrigal, Mass, Motet, Musical/Original Cast, Oratorio, Vocal, A Capella, Ballad, Barcarolle, Canon, Duet, Eastern European Music, France & Belgium, French Music & Chansons, Germany & Austria, German music, Italian Music, Requiem, Russian Music, Spanish Music, Traditional & Vocal
Speed: 78 RPM
Catalog Number: 3145
Language: Italian, French
Format: Record
Material: Shellac
