An outstanding baritone, he could learn his part almost photographically in one day in a gallery of more than 140 roles. When his life-size portrait as “Hamlet” by Alfred Bastien was presented to him during an official ceremony at the Monnaie, he fainted, overcome by emotion. He left a recording legacy.
This distinguished bass scored great successes throughout the world. Belgian tenor Fernand Ansseau (1890-1972) recalled that “his voice was as powerful as an organ”.
A born actor, he could tackle comic and dramatic parts alike, which all gave rise to long standing ovations and encores. He left a recording legacy.
Born into a musical family, he had a hefty but surprisingly supple lyric voice which was compared to “a violin” by composer and violinist Armand Marsick (1877-1959). An accomplished and refined musician (he had a perfect ear), he became a distinguished voice teacher and author. He left a recording legacy.
Clément exemplified tonal beauty and phrasing, with a voice ideally tailored to opéra-comique, but in New York, his appearances were challenged by those of Enrico Caruso. Wounded during WW1, he reduced his operatic appearances and taught at Nice. He left a recording legacy.
Hailed as the “intellectual tenor”, his talents were manifold: sculpture and painting, violin, composition, writing, publishing and teaching.
A stern and sometimes distant man, he became an editor and operatic tour impresario, a staunch defender of French opera. He left a recording legacy.
A dramatic tenor, reputed for his instinctive musicality and pathos, singing in five languages. After an illustrious career, he taught in Brussels.
Almost blind, he fell down the stairs of his home and died soon after! Author of an informative autobiography: « Souvenirs de Théâtre et de Coulisses”. He left a recording legacy.
Endowed with an extended voice and an infectious ‘vis comica’, this versatile bass mastered a repertoire of more than 125 roles. A fixture at the Opéra and a respected musical figure, he taught at the Paris Conservatoire, forming many leading singers. He left a recording legacy.
An Opéra-Comique top star, she sang with the best artists of her generation and premiered several operas, including “Sapho”. An admired and poignant “Carmen”, she sang Bizet’s opera 220 times! An iconic and beloved Belle-Epoque artist, she left a scarce recording legacy.
As the wife of composer Léon Xanrof (1867-1953), she exploited his influential relations to promote her subdued career. Her lovely figure and handsome looks were the talk of the town in Paris as she posed as a fashion model; to her husband’s dismay. She left a recording legacy.
Her companion, Belgian writer Maurice Maeterlinck (1862-1949), author of “Pelléas et Mélisande”, tried to convince Claude Debussy to let her create “Mélisande” in 1902, to no avail: a quarrel ensued and Mary Garden won.
Leblanc’s voice was rather conventional, but she was a remarkable actress. She left a recording legacy.