André Baugé - La Ronde des Heures - 1931
RONDE DES HEURES
du film Rondes des Heures
(René Sylviano - Paroles de Henri Falk)
André Baugé, Baryton de l'Opéra
Disque Pathé n° X.3491 / mx. 202634
Paris, 1931
Bauge (La France) festival
Live recording of Popband in Bauge(France). Friday evening 6 August 2010.
André Baugé - J'ai toujours cru qu'un baiser (De l'opérette Paganini)
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Taken from Various Artists « Vive l'opérette ! (Les plus grands succès, d'Offenbach à Francis Lopez) »
Extrait de Various Artists « Vive l'opérette ! (Les plus grands succès, d'Offenbach à Francis Lopez) »
Production: |
Marianne Melodie
Championnat départemental D1/D2 à Vieil Baugé
Arrivée des D2 au sprint suivi de l'arrivée du groupe de tête des D1 et du contre.
Le Credo Du Paysan
Provided to YouTube by The Orchard Enterprises
Le Credo Du Paysan · Armand Mestral
Chansons Immortelles De France
℗ 2010 Rendez-Vous Digital
Released on: 2010-10-26
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André Dassary - J'ai toujours cru qu'un baiser (Paganini de Franz Lehar)
André Dassary (1912-1987) est un chanteur français.
Titulaire d'un premier prix de chant, d'opérette et d'opéra-comique au Conservatoire de Bordeaux, il commence véritablement sa carrière au sein des Collégiens de Ray Ventura.
Captif en Allemagne au début de la Seconde Guerre mondiale, il est libéré et atteint véritablement la notoriété sous l'Occupation, notamment avec l'opérette « L'Auberge qui chante» (1941) et une chanson tout à la gloire de « Pétain, Maréchal, nous voilà ! », devenue emblématique du régime de Vichy — et qui, après guerre, lui attire quelques critiques, bien que son succès n'ait pas faibli par la suite (disque d'or pour un million d'albums vendus en 1952).
Parmi ses succès on retiendra particulièrement « Ramuntcho » (1944). Il a été la vedette de l'opérette « La Toison d'or» créée au Théâtre du Châtelet en 1954.
La veuve joyeuse, Act III: Le jour qu'Ève écouta le serpent (Finale)
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La veuve joyeuse, Act III: Le jour qu'Ève écouta le serpent (Finale) · Serge Bessière Orchestra, Serge Bessière, Paulette Merval, Rolande Riffaud, Marcel Merkès, René Bourbon, Serge Bessière Chorus
Lehár: La veuve joyeuse, extraits (Mono Version)
℗ 1960 - BNF Collection 2015
Released on: 1960-01-01
Author: Victor Léon
Author: Léo Stein
Author: Robert de Flers
Author: Gaston de Caillavet
Composer: Franz Lehár
Music Publisher: D.R
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Marny Jean e André Baugé, Elle avait pour amant (Bizet - Carmen)
matrice 1117 registrazione del 1926
con André Baugé
Jean Marny, tenore. (Parigi, 2 novembre 1885 - ? Vaundricourt dopo 1949).
Il suo vero nome era Jean Cèbe, nasce a Parigi il novembre 1885, e tra le sue prime apparizioni canta tra il 1911 e il 1912 al Grand Théâtre de Marseille, cantando nell'ottobre dell'11 nel Romeo e Juliette e bel gennaio del '12 la parte di Blancardin nell'opera Carlo Magno di Boch. Altri ruoli di questo periodo sono stati Orlando in Proserpina di Saint-Saëns il ruolo di Ivan nella prima mondiale del Annette opera, anche da Durand Boch, con il tenore Altchewsky russo e il baritono François Mézy. Nel 1919 è al Teatro d'Opera di Montecarlo e il 9 agosto 1917, Marny debutta all'Opéra-Comique nel ruolo del titolo nel Werther, e grazie alla sua aura aristocratica, al suo timbro piacevole ed alla voce chiara ha un grande ed immediato successo. Infastti resterà legato al teatro parigino per moltissimi anni. Il 12 gennaio 1920, crea il ruolo di Jacques Menetrier in Charles Levade dell'opera La Rôtisserie de la Reine Pedauque, che era basato su un lavoro di Anatole France. Durante la stagione 1920 canta Gérald in Lakmé con Yvonne Brothier poi interpretata il ruolo di Des Grieux in Manon con Hilde Roosevelt. Nel corso dello stesso anno canta in Tosca con Raymonde Visconti e Albers, e nuovamente Werther con Alice Raveau. Nel febbraio del 1920, canta il ruolo di Werther al Teatro Comunale di Rennes ed il critico de Le Menestrel cita: abbiamo appena partecipato ad una serata di gala che sarà sicuramente da ricordare come una delle più belle della stagione e rimarrà nella nostra memoria. Il teatro completamente esaurito ha ascoltato l'esibizione dei cinque artisti del Opéra-Comique... su tutti il tenore Marny ha trionfato, possiede una voce calda e morbida, di buon colore, ed inoltre, è un attore impeccabile. Marny eseguì altri ruoli all'Opéra-Comique: Don José, Pinkerton, Canio, Mylio (Le Roi d'Ys), Julien (Louise), Rodolfo (La Bohème) , Jean (Le Jongleur de Notre-Dame), Lorenzo (Messager di Béatrice) e Jean Gaussin (Saffo), e canta prettamente in teatri d'opera francesi quali Nizza, Marsiglia, Monte Carlo.Secondo la maggior parte dei critici, Marny è stato un bravo attore ed uno dei più grandi Werther della sua epoca. La sua voce veniva definita dai critici francesi tenore démi-caractère, un incrocio tra una lirica e un tenore drammatico. Quando nel 1945 si ritira Marny viene nominato Direttore Artistico dell'Opera di Marsiglia, carica che lascia nel 1949, ed in questi quattro anni rilancia il teatro distrutto dalla guerra, riaprendolo ed effettuando più di 234 spettacoli di sua ideazione. Sua figlia, anch'essa cantante, sposò il direttore d'orchestra francese Georges Prêtre. Al termine della sua carriera come direttore de l'Opera di Marsiglia si ritira nel suo castello natale di Vaudricourt nel Tarn.
The Market in Baugé, France
Xavier takes an intrusive look at a small town's market early on a Saturday morning. I'm just happy to hanging around all of those vegetables, really.
Le petit duc (La leçon de chant)
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Le petit duc (La leçon de chant) · Fanely Revoil, André Noël
Anthologie de l'opérette, vol. 1 (1850-1899)
℗ Umip-france
Released on: 2010-08-02
Author: C. Lecoq
Music Publisher: D.R
Composer: Halevy
Composer: Meilhac
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La Mascotte: Duo des Dindons
Provided to YouTube by IIP-DDS
La Mascotte: Duo des Dindons · Edmond Audran, Robert Massard and Genevieve Moizan
Chivot: La Mascotte
℗ Maestoso
Released on: 2000-01-01
Artist: Edmond Audran
Artist: Genevieve Moizan
Artist: Robert Massard
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LA VIE PARISIENNE de Jacques Offenbach - Version 1931 - Hélène Regelly, Henri-Laverne - PART 1
Pour la Fête de la Musique, voici en 30 minutes des extraits de l'opéra-bouffe La Vie Parisienne de Jacques Offenbach, créé en 1866.
Il s'agit d'une série de 6 disques Odéon enregistrés en mai 1931 avec Hélène Regelly, Henri Laverne et Oudart, dont voici la liste:
-Odéon 238.377: Quadrille, figure 1, 2, 3, 4, 5 par l'Orchestre du Théatre Mogador
-Odéon 238.378: Je suis veuve d'un Colonel & On va courir on va sortir par Hélène Regelly
-Odéon 238.279: Fermons les yeux & Elles sont tristes les marquises par Henry Laverne
-Odéon 238.280:Vous souvient-il ma belle & C'est ici l'endroit redouté par Hélène Regelly
-Odéon 238.281: En endossant mon uniforme & Rondo du gant Par Laverne, Regelly et Oudart
-Odéon 238.282: Je veux m'en fourrer jusque là & Couplets de major par Laverne
Pour la suite, voire la Partie 2
Plaque école de le Guédeniu
Inauguration du 11 Février 2017 Commune de Le Guédeniau
Véronique : Duo de l'âne - deci-delà (Opérette)
Provided to YouTube by Believe SAS
Véronique : Duo de l'âne - deci-delà (Opérette) · Orchestre de l'Opéra comique, Gustave Cloez, Roger Bourdin, Emma Luart
Anthologie André Messager (1853-1929) (24 succès)
℗ Umip - france
Released on: 2010-12-29
Author: Albert Van Loo
Author: Goerges Duval
Author: André Messager
Composer: Albert Van Loo
Composer: Goerges Duval
Composer: André Messager
Music Publisher: D.R
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André Baugé - Si j'étais le roi : Dans le sommeil
André Gaston Baugé (1893-1966) est un baryton français et acteur de cinéma. Comme sa mère Anna Tariol-Baugé, diva d'opérette, il se dirigea vers le chant, à Grenoble en 1912 sous le nom d'André Grillaud. Mobilisé il fut blessé à deux reprises et gazé eut les poumons abîmés et donc des difficultés respiratoires, cela ne l'empêcha pas convalescent de se remettre à chanter.
En 1917, il débuta en tant que premier baryton à l'Opéra-Comique de Paris. En 1920, il fut chanteur d'opérette au Trianon et au Châtelet. Il est également l'auteur du livret et du texte de l'opéra-bouffe en trois actes et quatre tableaux Beaumarchais, créé au Théâtre des Variétés à Marseille en 1931.
Miguel Villabella & André Baugé - Au fond du temple saint
Miguel Villabella (1892-1954) was a remarkable tenor whose career in the French speaking world spanned the period between the two world wars. Despite his status as a French tenor, Villabella was born in Bilbao in Spain’s Basque region. His father, celebrated zarzuela baritone Eulogio Villabella, did not wish for his son to follow in his footsteps and sent the boy to Paris to pursue studies for a business career. The young man halfheartedly engaged in his studies but had no interest in business. At first, Villabella concentrated on roller skating and actually set the speed record for skating in 1912 when he was not yet twenty years old. Skating was not the only thing on the youth’s mind, however, and he also indulged in his other passion, singing. A chance meeting with legendary French bass-baritone Lucien Fugère (1848-1935) prompted a change of focus. Although Villabella never lost his love for skating (he was still pursuing the sport as a hobby well into his 50s), Fugère’s encouragement and support led to the young man entering a period of vocal study with the intention of making a career on the opera stage.
Villabella made his first public appearance in 1917, singing arias and duets from Rigoletto in a gala concert in San Sebastian. The following year the tenor made his operatic debut as Cavaradossi in Tosca at the Grand Théâtre de Poitiers. Villabella’s first appearance with a major company took place at the Opéra-Comique in 1920. The opera was once again Tosca, but the role was Scarpia’s police agent, Spoletta. It was as a character tenor that Villabella spent his first several months at the Opéra-Comique. It was as the title character in Messager’s Fortunio that he first made his mark as a leading tenor. Villabella went on to essay such roles as Ferrando in Così fan Tutte, Don José in Carmen, Gérald in Lakmé, des Grieux in Manon and, what was to become his favorite role, Georges Brown in La Dame Blanche. In 1928, the Opéra de Paris contracted the tenor, who made his debut there as Pinkerton in Madama Butterfly. Villabella sang a variety of roles with the Opéra during the next eight seasons and created the leads in the Opéra premieres of Ibert’s Persée et Andromède, Bruneau’s Virginie and Laparra’s zarzuela L’Ilustre Fregona.
Apart from a handful of appearances in Brussels and Monte Carlo, Villabella’s career was a Parisian affair. His schedule of appearances was nothing short of backbreaking and he amassed an impressive repertoire that included Don Ottavio in Don Giovanni, Almaviva in Il Barbiere di Siviglia, Mylio in Le Roi d’Ys, Nadir in Les Pêcheurs de Perles, Wilhelm Meister in Mignon, the Duke in Rigoletto, Alfredo in La Traviata, Rinuccio in Gianni Schicchi, Rodolfo in La Bohème, Daniel in Le Chalet, Zéphoris in Si j'étais Roi, Chapelou in Le Postillon de Lonjumeau and the title roles in Faust, Castor et Pollux, Roméo et Juliette and Les Contes d’Hoffmann. He continued to sing at the Opéra until 1936 and left the stage altogether in 1940. Villabella continued to sing in concerts for a few years, but eventually retired from public life altogether and devoted his time to teaching. The tenor died of complications from surgery in June of 1954 at the age of 61.
Miguel Villabella was the possessor of a lyric instrument of tremendous beauty that he employed with artistry and finesse. His perfectly balanced voix mixte in the softest notes of the upper register was a technique straight out of the 19th century French school. By all accounts, it was not a heroic sized voice. There is even speculation that Villabella’s move from the intimate confines of the Opéra-Comique’s Salle Favart to the larger Palais Garnier of the Opéra de Paris proved too taxing and led to his retirement from the opera stage at the relatively early age of 47. However, the tenor’s later recordings give no evidence of vocal deterioration, indicating that there were other reasons for his withdrawal from the operatic stage.
Miguel Villabella made over 130 recordings for Pathé and Odéon between 1925 and 1935. These recordings give a nearly complete representation of the tenor’s operatic repertoire as well as an impressive listing of art songs and popular standards. In this recording, Villabella is joined by baritone André Baugé (1893-1966) for the celebrated duet, Au fond du temple saint from Bizet's Les Pêcheurs de Perles. This was recorded in Paris for Pathé on April 19, 1935.
Julie Fuchs & Jean-François Lapointe - Nous avons fait un beau voyage (R. Hahn, Ciboulette)
Ciboulette, Reynaldo Hahn
Opéra Comique (2013)
Direction musicale et collaboration artistique : Laurence Equilbey
Mise en scène : Michel Fau
Orchestre symphonique de l’Opéra de Toulon
accentus
Opérette en trois actes et quatre tableaux (1923)
Livret de Robert de Flers et Francis de Croisset
Ciboulette, Julie Fuchs
Duparquet, Jean-François Lapointe
Antonin, Julien Behr
Zénobie, Eva Ganizate
Roger, Ronan Debois
Françoise, Cécile Achille
Monsieur Grenu, Jean-Claude Sarragosse
Madame Grenu, Guillemette Laurens
Auguste – Victor, Patrick Kabongo Mubenga
La patron – Le maire, François Rougier
Grisard, Safir Behloul
Madame Pingret, Bernadette Lafont
La Comtesse de Castiglione, Michel Fau
Le directeur d’opéra, Jérôme Deschamps
Décors, Bernard Fau et Citronelle Dufray
Costumes, David Bélugou
Lumières, Joël Fabing
Collaboration aux mouvements, Cécile Roussat
Maquillage, Pascale Fau
Assistant mise en scène, Damien Lefevre
Assistant musical et chef de chœur, Christophe Grapperon
Chef de chant, Nicolaï Maslenko
Film réalisé par François Roussillon
Nina-Rosa - Tango - Les femmes sont perfides! - André Baugé - 1932
NINA-ROSA
(Musique de Sigmund Romberg)
(Paroles d'Albert Willemetz et Mouezy Eon)
Ah! combien sont perfides les femmes - Tango
chanté par
André Baugé, baryton de l'Opéra
avec accomp. d'Orchestre dir. G. Andolfi
Disque Pathé n° X.91024 / mx. 203.332
Paris, 1932
Célèbre Tango de l'opérette Nina-Rosa, opérette américaine créée en 1930 et reprise en français à Paris en décembre 1931 au Chatelet avec André Baugé. La version originale de ce tango s'appelle Serenade of Love