Gérard Souzay

Contrary to the imaginative view offered by many commentators, Fauré’s Requiem had nothing to do with the death of Fauré’s parents. ‘My Requiem was written for nothing,’ the composer confided to Maurice Emmanuel, ‘it was written, if I may say so, for fun.’ Ernest Ansermet recorded the piece with two stellar artists – Suzanne Danco and Gérard Souzay – whose stylistic solos are completely in keeping with the music’s sentiments. Ansermet also recorded three of Fauré’s orchestral works for Decca in 1961, originally coupled with Debussy’s Petite Suite. They are included on this anthology, thereby presenting the sum of Ansermet’s Fauré recordings for Decca. Previously issued on Decca’s ‘Classic Sound’ series, the CD will be welcomed back into circulation by many collectors and the cover reproduces the original illustration used on the Decca LP of the orchestral works.

Gérard Souzay was one of the really great singers of the 20th century and was admired for his sense of style and musicality. His Lieder interpretations are considered as legendary. This is one of the few recordings of Souzay available on the international market and was recorded when the singer was in his prime in 1960.

Berganza and Souzay – a unique document!

Gérard Souzay (1918–2004) was born into a musical family – his father was a cellist, and his two brothers and his sister all singers. Souzay chose to study philosophy at university, and it was only after a meeting with Pierre Bernac in Paris in 1942 that he was persuaded to enter the Paris Conservatoire to study singing. He entered the concert circuit shortly after the end of the Second World War, and soon displayed the qualities that would make him one of the great voices of the 20th century – a love of words and a superb technique that combined a fine tone with a natural gift for expression.

His obituaries in 2004 all commented on the qualities of his voice, and were full of epithets such as ‘warm’, ‘lyrical’, ‘supple’, ‘sensual’ and ‘vibrant’. He was keen not to be pigeonholed as a singer of French repertoire, and this 2 CD set vividly illustrates his mastery of Schubert’s lieder. The coupling of the composer’s freshest and most immediately appealing song-cycle, Die schöne Müllerin, with a generous selection of other, universally known lieder, is sure to have wide appeal beyond historical enthusiasts: the recordings are in excellent stereo.

New booklet notes by Lieder authority Richard Stokes.

‘Souzay’s interpretation makes a less virile figure of the miller’s apprentice than either of the others and perhaps, because of this, makes more credible the girl’s jilting of him for the black-bearded hunter (I’m sure his beard was black!), but there is plenty of passion in his singing and a smooth treatment of the two-note quaver groups. The climactic ends of the verses “Dein ist mein Herz”, etc. ring out as well in “Ungeduld” as in “Mein!”, and at all times one is aware of a carefully thought-out presentation, an expressive treatment of the words and a sensitive response to the changing moods. The many strophic songs have plenty of nuance, and Souzay holds the interest through the five verses of “Des Baches Wiegenlied”.’ Gramophone, June 1965

This series features outstanding live performances by the Vienna Symphony Orchestra’s extensive tape archive. This performance took place in the Large Concert Hall of Vienna’s Konzerthausgesellschaft in April 1955.