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Jacques Offenbach: Les contes d'Hoffmann (The Tales of Hoffmann)
Prologue: Introduction: Glou, Glou, Glou
Prologue: Le Conseiller Lindorf, morbleu...
Prologue: Deux heures devant moi
Prologue: Drig, drig, drig, maitre Luther
Prologue: Vive Dieu, mes amis, la belle creature
Prologue: The legend of Klienzach: Il etait une fois a la cour d'Eisenach
Prologue: Peuh! Cette biere est detestable
Act I: La! dors en paix
Act I: Allons! Courage et confiance...Ah! vivre deux n'avoir...
Act I: Par Dieu!... Une poupee aux yeux d'email
Act I: C'est moi, Coppelius...
Act I: Dis-tu vrais?
Act I: Non aucun hote vraiment non
Act I: The Doll's Song: Les oiseaux dans la charmille
Act I: Ah! mon ami! quel accent!
Act I: Ils se sont eloignes enfin!
Act I: Tu me fuis?
Act I: Voici les valseurs!
Act II: Entr'acte [Barcarolle]: Belle nuit, o nuit d'amour
Act II: Et moi ce n'est ne fete!
Act II: Scintille diamant
Act II: Cher ange!
Act II: Vous me quittez?
Act II: Schlemil!...J'en etais sur
Act II: Helas! mon coeur s'egare encore!
Act II: Ecoutez, messieurs!
Act III: Entr'acte and Romance: Elle a fui, la tourterelle
Act III: Malheureuse enfant...fille bien aimee
Act III: Jour et nuit je me mets en quatre
Act III: Franz! c'est ici
Act III: C'est une chanson d'amour
Act III: Qu as-tu donc?
Act III: Pour conjurer le danger
Act III: Ne plus chanter
Act III: Tu ne chanteras plus?...Chere enfant!
Act III: Mon enfant! Ma fille!
Epilogue: Voila quelle fut l'histoire de mes amours
“In the 1930s in Paris, Raoul Jobin and José Luccioni were the two great opera matinée-idols. Jobin, a French Canadian, made his début in 1930 and was soon singing at both the Opéra, as Faust, Lohengrin and Raoul in Les Huguenots, and at the Opéra-Comique, where he was a favourite Hoffmann and Don José. This recording may perhaps find him just a little late in his career. His years at the Metropolitan (throughout the German occupation) obviously took their toll, when he sang roles that were too heavy for him in such a huge theatre. However, the splendour of this set is the authenticity of the vocal style and the diction of such stalwarts of the Opéra-Comique ensemble as Louis Musy, Roger Bourdin, Fanély Revoil (better known as an operetta singer) and, luxurious casting, Camille Maurane in the small part of Hermann. The three heroines are well inside their roles, but they're afflicted with a little strain in the higher-lying passages. Renée Doria sang all these parts later in her career – when this recording was made she was just at the outset, having made her début in Paris in 1944. Her Olympia is strong on the staccato notes but a bit fragile in the long phrases – this doll broke quite easily, one imagines. In the same act, André Pernet, a great figure from pre-war Paris is a superb Coppélius. In the Venice act, Vina Bovy is dramatically convincing as Giulietta, but hasn't much vocal sheen left (she made her début in 1919). Géori Boué, the Antonia, is one of the great figures from French post-war opera, but one feels that Giulietta would have been her role ideally. As for Jobin, despite some strain, he makes a convincing poet. Although there's such strong competition on CD where Hoffmann is concerned, this historic version is without doubt essential listening for a sense of style if the work absorbs you.”
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