Charles Rousselière Vídeos
Tenor operístico francés
Conmemoraciones 2025 (Nacimiento: Charles Rousselière)
- Heldentenor
- Francia
- cantante de ópera
Última actualización
2024-05-09
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Paul Franz Georges Bizet Gauthier Louis Delaquerrière Jean Reszke Dyck Charles Rousselière Reyer Lucien Muratore Massenet Charpentier Gounod Nellie Melba Indy Dupont Rabaud Roussel Bruneau Gunsbourg Halévy Berlioz Covent Garden Scala Teatro Colón 1876 1908 1909 1910 1911 1913 1914 1915 1918 1920 1922 1930 1938 1950
Georges Bizet CARMEN "La fleur que tu m'avais jetée"- disco acustico Gramophone, Parigi - matrice 02234v - numero di catalogo 032239 - data dell'incisione 28 novembre 1911. Tenore francese François Gauthier in arte - PAUL FRANZ - (Parigi 30.11.1876 - Parigi 20.4.1950) Inizialmente era un dipendente del ferrovie francesi, e non fu avviato all'apprendimento del canto fino all'età di quasi 30 anni (!). Rivelatosi nel marzo 1908 in un concorso per tenori dilettanti organizzato dai periodici Musica e Comoedia , studia a Parigi con Louis Delaquerrière. Dopo essersi esibito a Nantes nel gennaio 1909 ottenendo un notevole successo, ha subito attirato l'attenzione del direttore del Grand Opéra di Parigi, scritturato, vi debutta l'1 febbraio 1909 vi rimane come membro fino al 1938. Egli è stato molto ammirato, non solo rispetto a Jean de Reszke, ma anche ai grandi Ernest van Dyck e Charles Rousselière. Come Lohengrin, cui fanno seguito Sansone e Dalida e Sigurd di Reyer; nel settembre del 1909 canta nel Faust e Roméo et Juliette, rivaleggiando col giovane tenore Lucien Muratore; vi rimane come primo tenore fino al 1938. Tra il 1910 e il 1914 è impegnato fra Parigi e Londra, dove interpreta il repertorio tenorile più difficoltoso Radamès, Otello, Raoul degli Ugonotti, Giovanni di Leyda nel Profeta, Rodrigo nel Cid di Massenet, continuando però ad esibirsi nel genere lirico francese come Louise di Charpentier, Roméo et Juliette di Gounod, che al Covent Garden cantò al fianco di Nellie Melba. Si avvicina al repertorio wagneriano, e la sua affermazione è notevole, di fatto ebbe un grande successo sempre all'Opéra di Parigi nel marzo del 1911 quale Walter nei Maestri Cantori e poi nel Tristano e Isotta, nella Tetralogia e finalmente nel primo Parsifal (4 febbraio 1913), dove assicura anche le prime locali di, Les Troyens e Hérodiade di Massenet Canta poco lontano da Parigi e Londra: 1910-14 Bruxelles; Monte Carlo 1922-27. Tra il 1920 e il 1930 cantò molte prime assolute di compositori francesi come: d'Indy, Dupont, Rabaud, Roussel, Bruneau Gunsbourg e altri. All'Opéra cantò anche in La Juive di Halévy, e La Damnation de Faust di Berlioz. Diede l'addio alle scene il 12 luglio 1938 all'Opéra di Parigi. Paul Franz fu una delle più grandi voci del secolo; famoso per la sua dizione e presenza scenica, e l'esempio più indicativo di un grande cantante francese che non ha mai ambito a una carriera internazionale. Il suo repertorio francese include ruoli come ad esempio Eléazar in La Juive, Roméo, Faust, Sansone, Don José, Sigurd, Jean, Roderigue a Le Cid ed Enée de Les Troyens. Per il repertorio italiano sono stati Radames e Otello. Il suo repertorio wagneriano comprendeva Tannhäuser, Parsifal, Stolzing, Siegmund, Siegfried e Tristan. È stato molto acclamato al Covent Garden, dove ha cantato tra 1910 - 1914 (Raoul, Julien in Louise, Radames e Otello). Nel 1915 apparve alla Scala e nel 1918 al Teatro Colón di Buenos Aires. Dopo il suo addio alle scene, è stato nominato professore presso il Conservatorio Nazionale di Parigi.
Charles Rousselière Huchet Vergnet Achard Gabriel Fauré Isaac Camondo Lamoureux Pietro Mascagni Camille Saint Saëns Xavier Leroux Raoul Gunsbourg André Messager Opéra Comique Scala Concerts Lamoureux Metropolitan Opera 1875 1899 1900 1901 1905 1906 1907 1909 1913 1914 1926 1950
Charles Rousselière - Nuit devant la mer - E.Norini - J. Lahor Polydor 561022 enregistré ca 1926 Charles Rousselière ténor français (11.Saint-Nazaire-d'Aude, 17 janvier 1875 – 37.Joué-lès-Tours, 11 mai 1950*) Fils d'Antoine ROUSSOULIÈRE et de Jacquette ARTHOZOUL. Epouse à 75009.Paris le 16 novembre 1901* Jeanne Suzanne HUCHET, dite Jeanne ROUSSELIÈRE, cantatrice ; parents de Jean ROUSSELIÈRE, chanteur d'opérette. Après avoir fait ses études classiques dans sa ville natale, il vint à Paris et entra au Conservatoire national de musique, où il eut pour professeurs Vergnet (chant), Girardot (opéra) et Achard (opéra-comique). En 1899, il obtint un second accessit de chant et un second prix d'opéra. Il fut aussitôt engagé à l’Opéra et débuta dans Samson et Dalila avec un succès qui le plaça d’emblée au nombre des artistes en vue et qui, ensuite, ne s’est pas démenti. Le 26 août 1900, il a participé à la création de Prométhée (Andros) de Gabriel Fauré aux Arènes de Béziers, et le 26 avril 1906, à celle du Clown (le Clown) d'Isaac de Camondo au Nouveau-Théâtre, à Paris. Cet excellent ténor s’est également produit brillamment aux Concerts Lamoureux à Paris. Il a fait une carrière internationale qui le conduisit notamment à la Scala de Milan et au Metropolitan Opera de New York. A Monte-Carlo, il participa aux créations d'Amica (Giorgio) de Pietro Mascagni le 16 mars 1905 ; de l'Ancêtre (Tebaldo) de Camille Saint-Saëns le 24 février 1906 ; de Théodora (Andréas) de Xavier Leroux le 19 mars 1907 ; du Vieil Aigle (Tolaïk) de Raoul Gunsbourg le 13 février 1909 ; de Pénélope (Ulysse) de Gabriel Fauré le 04 mars 1913 ; de Béatrice (Lorenzo) d'André Messager le 21 mars 1914. Il faut noter qu'avant d'entrer à l'Opéra, Rousselière se produisait principalement au café-concert. Il était à ce titre l’une des vedettes du Petit Ramponneau, établissement de Montmartre, tenu à cette époque par Théophile Pathé, frère de Charles Pathé, le directeur de la maison Pathé frères pour qui il enregistrait alors des cylindres. Source: (http•••)
Charles Rousselière Edmond Vergnet Achard Fauré Mascagni Geraldine Farrar Gounod Charpentier Camondo Gunsbourg Leroux Massenet Messager Odeon 1875 1899 1900 1901 1903 1905 1906 1914 1920 1930 1950
Charles Rousselière +••.••(...)) was a French dramatic tenor whose 20-year career took him to major theaters on both sides of the Atlantic. Born into poverty in the village of Saint-Nazaire-d'Aude in the south of France, Rousselière moved with his family to Algeria as a young boy. Initially, it was expected that he would pursue his father’s trade of a blacksmith, but this profession held little interest for him. After his impressive singing voice caught the attention of friends and family, Rousselière was encouraged to audition for the Paris Conservatory. Landing in Paris at age 19, he was overwhelmed by the fast pace of the city and quickly returned to his family in Algeria. In spite of this disappointing start, Rousselière gathered his courage and tried his luck again the following year. To make ends meet, the young tenor began working the Parisian Café-Concert network. He also auditioned for the Paris Conservatory and won a scholarship. As was the custom, he studied three different musical disciplines…voice, opera and comic opera…which were taught to him by a trio of celebrated tenors, Edmond Vergnet, Adolphe Girardot and Léon Achard, respectively. Following his graduation in 1899, Rousselière sang roles with a few minor companies in France and Belgium. He created the role of Andros in the world premiere of Fauré’s Prométhée at the Arènes de Béziers on August 27, 1900 and six weeks later made his Opéra de Paris debut in the title role of Samson et Dalila. Although he would eventually be overshadowed by other tenors, Rousselière managed to gain a foothold at the Opéra, making an impression in such operas as Faust, Roméo et Juliette, Sigurd and Pagliacci. He created the role of Le Veilleur in the world premiere of Saint-Saëns’ Les Barbares at the Opéra in October of 1901 and Boris in the premiere of Marty’s opera Daria in January of 1905. He also created the role of Giorgio in the premiere performance of Mascagni’s Amica in Monte Carlo in March of that same year. Rousselière’s Met debut came about on November 27, 1906 as Roméo to Geraldine Farrar’s Juliette in Gounod’s opera. Unfortunately, the tenor failed to catch on with New York audiences and only sang 25 performances of six roles during his one season with the company. In February, he left New York, never to return. In spite of his less than stellar showing in North America, Rousselière was still quite popular in Europe and South America. He appeared in Orange, Rome, Palermo, Milan, Madrid, Berlin, Montevideo and Buenos Aires. However, Paris and Monte Carlo were the sites for the tenor’s most important work during the bulk of his career. Rousselière built a repertoire of more than 30 roles including Eléazar in La Juive, Gérald in Lakmé, Don José in Carmen, Énée in Les Troyens, Manrico in Il Trovatore, Pollione in Norma, Canio in Pagliacci, and the title roles in Otello, Don Carlo, Siegfried, Parsifal, Faust and Damnation de Faust. The tenor also created roles in the world premieres of such works as Charpentier’s Julien, Saint-Saëns’ L’Ancêtre, de Camondo’s Le Clown, Gunsbourg’s Le Vieil Aigle, Leroux’s Theodora, Fauré’s Pénélope, Massenet’s Cléopâtre and Messager’s Béatrice. Rousselière’s career experienced an interruption with the onset of the First World War in 1914. Although it is possible that the tenor’s hiatus from the stage was due to his having been conscripted into military service, there are no surviving records to support this theory. He did resume his career following the war, but his return to the stage was short lived. He retired from performing in 1920 at the early age of 45 and devoted his energies to teaching. Rousselière spent his final years in a nursing home in Joué-lès-Tours where he died in 1950. Charles Rousselière left a remarkable legacy of nearly 140 recordings. The majority of these recordings…well over 90 titles…were made during his first sessions for G&T in 1903. The last were recorded for Polydor in 1930, a decade after his retirement. In between, the tenor recorded for Odeon, Dutreih, Disque Ideal, Beka and Pathé. With the exception of a few early discs that are marred by musical errors (probably due to nervousness on the tenor’s part), Rousselière’s recordings provide today’s listener with a fascinating historical legacy. Here, Rousselière sings "Ah, fuyez, douce image" from Massenet's Manon. This recording was made in Paris for The Gramophone & Typewriter Company in 1903.
Charles Rousselière Edmond Vergnet Achard Fauré Mascagni Geraldine Farrar Gounod Charpentier Camondo Gunsbourg Leroux Massenet Messager Augusta Holmès Odeon 1875 1899 1900 1901 1903 1905 1906 1914 1920 1930 1950
Charles Rousselière +••.••(...)) was a French dramatic tenor whose 20-year career took him to major theaters on both sides of the Atlantic. Born into poverty in the village of Saint-Nazaire-d'Aude in the south of France, Rousselière moved with his family to Algeria as a young boy. Initially, it was expected that he would pursue his father’s trade of a blacksmith, but this profession held little interest for him. After his impressive singing voice caught the attention of friends and family, Rousselière was encouraged to audition for the Paris Conservatory. Landing in Paris at age 19, he was overwhelmed by the fast pace of the city and quickly returned to his family in Algeria. In spite of this disappointing start, Rousselière gathered his courage and tried his luck again the following year. To make ends meet, the young tenor began working the Parisian Café-Concert network. He also auditioned for the Paris Conservatory and won a scholarship. As was the custom, he studied three different musical disciplines…voice, opera and comic opera…which were taught to him by a trio of celebrated tenors, Edmond Vergnet, Adolphe Girardot and Léon Achard, respectively. Following his graduation in 1899, Rousselière sang roles with a few minor companies in France and Belgium. He created the role of Andros in the world premiere of Fauré’s Prométhée at the Arènes de Béziers on August 27, 1900 and six weeks later made his Opéra de Paris debut in the title role of Samson et Dalila. Although he would eventually be overshadowed by other tenors, Rousselière managed to gain a foothold at the Opéra, making an impression in such operas as Faust, Roméo et Juliette, Sigurd and Pagliacci. He created the role of Le Veilleur in the world premiere of Saint-Saëns’ Les Barbares at the Opéra in October of 1901 and Boris in the premiere of Marty’s opera Daria in January of 1905. He also created the role of Giorgio in the premiere performance of Mascagni’s Amica in Monte Carlo in March of that same year. Rousselière’s Met debut came about on November 27, 1906 as Roméo to Geraldine Farrar’s Juliette in Gounod’s opera. Unfortunately, the tenor failed to catch on with New York audiences and only sang 25 performances of six roles during his one season with the company. In February, he left New York, never to return. In spite of his less than stellar showing in North America, Rousselière was still quite popular in Europe and South America. He appeared in Orange, Rome, Palermo, Milan, Madrid, Berlin, Montevideo and Buenos Aires. However, Paris and Monte Carlo were the sites for the tenor’s most important work during the bulk of his career. Rousselière built a repertoire of more than 30 roles including Eléazar in La Juive, Gérald in Lakmé, Don José in Carmen, Énée in Les Troyens, Manrico in Il Trovatore, Pollione in Norma, Canio in Pagliacci, and the title roles in Otello, Don Carlo, Siegfried, Parsifal, Faust and Damnation de Faust. The tenor also created roles in the world premieres of such works as Charpentier’s Julien, Saint-Saëns’ L’Ancêtre, de Camondo’s Le Clown, Gunsbourg’s Le Vieil Aigle, Leroux’s Theodora, Fauré’s Pénélope, Massenet’s Cléopâtre and Messager’s Béatrice. Rousselière’s career experienced an interruption with the onset of the First World War in 1914. Although it is possible that the tenor’s hiatus from the stage was due to his having been conscripted into military service, there are no surviving records to support this theory. He did resume his career following the war, but his return to the stage was short lived. He retired from performing in 1920 at the early age of 45 and devoted his energies to teaching. Rousselière spent his final years in a nursing home in Joué-lès-Tours where he died in 1950. Charles Rousselière left a remarkable legacy of nearly 140 recordings. The majority of these recordings…well over 90 titles…were made during his first sessions for G&T in 1903. The last were recorded for Polydor in 1930, a decade after his retirement. In between, the tenor recorded for Odeon, Dutreih, Disque Ideal, Beka and Pathé. With the exception of a few early discs that are marred by musical errors (probably due to nervousness on the tenor’s part), Rousselière’s recordings provide today’s listener with a fascinating historical legacy. In this recording, Rousselière sings Augusta Holmès' "Soir d'hiver". This was recorded in Paris for The Gramophone & Typewriter Company in 1903.
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): R...