Description

JEAN-ÉMILE DIOGÈNE MARCOUX (TURIN, 12 JUNE, 1877 – PARIS, 22 OCTOBER, 1962)

 

 

 

 

He made his operatic debut in 1894, at the age of 17, as Sparafucile in Verdi’s Rigoletto, in Turin. After further studies in Paris with Frédéric Boyer, he made his first stage appearance in France, at Bayonne, as Frère Laurent in Gounod’s Roméo et Juliette, in 1899. Thereafter he toured a number of provincial theatres, which led to his debut at the Royal Opera House in London, as Basilio in Rossini’s The Barber of Seville, in 1905, and at La Monnaie in Brussels, as Bertram in Meyerbeer’s Robert le diable, in 1906. Vanni Marcoux made his Paris Opéra debut in 1908 as Méphisto in Gounod’s Faust, and at La Scala in 1910, as the Old Hebrew in Saint-Saëns’ Samson and Delilah. The same year, 1910, he sang for the first time Massenet’s Don Quichotte at the “Gaieté Lyrique”” in Paris, a part that would soon become his signature role. For nearly 40 years, Vanni Marcoux was a familiar and much admired figure in Parisian musical life, mainly at the Opéra and the Opéra-Comique, where he created a number of roles in contemporary operas such as Raoul Gunsbourg’s Lysistrata, Max d’Ollone’s L’Arlequin, Henry Février’s Monna Vanna and La Femme nue, Massenet’s Panurge, and Honegger’s and Ibert’s L’Aiglon. Word of his many successes crossed the Atlantic, and he was invited to join the Boston Opera Company, where he made his debut in 1912 as Golaud in Debussy’s Pelléas et Mélisande. This was followed by his debut at the Chicago Grand Opera Company in 1913, as the four villains in Offenbach’s The Tales of Hoffmann, which is considered one of his greatest histrionic achievements. His success in America was partly due to the soprano Mary Garden, who had popularized French opera in Chicago, thus laying the groundwork for his visit. In October 1914, in the early stages of World War I, it was erroneously reported in the press that he had been killed on active service as a member of the French Army. In 1919, Vanni Marcoux appeared at the Teatro Colón in Buenos Aires, the most important opera house in South America. Among his more notable interpretations were Philippe II in Don Carlos, Rafaele in The Jewels of the Madonna, Iago in Otello, and the title character in Gianni Schicchi. Vanni Marcoux began teaching at the Paris Conservatory in 1938. He retired from the stage in 1948 and became director of the Grand Théâtre de Bordeaux. He held that post from 1948 to 1951. Vanni Marcoux’s career was impressive for its longevity and the remarkably wide variety of operatic roles which it embraced. He possessed a clear, although not especially large voice, with a characteristic vibrato and a weight and timbre of almost tenor quality (see Scott, Record of Singing 1979). His French diction was praised for its clarity, and he was also acclaimed by music critics for the quality of his musicianship and his outstanding dramatic intelligence.

 

Chronology of some appearances

 

1894 Turin Opera

1905 London Royal Opera

1906 Brussels La Monnaie

1908 Paris Opéra

1910 Milan La Scala

1912 Boston Opera

 

TRACKLIST

 

 

1. Jongleur de Notre-Dame (Massenet)  La vierge entend fort bien… Fleurissait une sauge DA1159 30-5074 DA1159 30-5075 HMV, Paris 1930-09-23
2. La Habanera (Laparra) Et c’est à moi que l’on dit ”Chante”… Le sort m’a désigné (w. NN (soprano)) DA4818 50-2133 DA4818 50-2134 HMV, Paris 1931-10-05
3. Le secret (Fauré) DA4814 50-1952 HMV, Paris 1931-06-26
4. Louise (Charpentier) Reste, repose-toi (Berceuse) DB4950 2LA141 HMV, Paris 1934-11-12
5. L’ultima canzone (Tosti) DB1473 CG839-2 HMV, Paris 1930-09-24
6. Ma Lola (Film Sans Famille) (Yvain) K7372 HMV, Paris 1934-11-07
7. Ma poupée chérie (de Séverac) DB4916 2PG1253-1 HMV, Paris 1933-11-22
8. Monna Vanna (Février) Ce n’est pas un vieillard DB809 2-032087 HMV, Paris 1924-10-06
9. Panurge (Massenet) Chanson de la Touraine DA1124 BF3316-2 HMV, Paris 1930-05-28
10. Pelléas et Mélisande (Debussy) Ah! tout va bien DA902 7-32120 HMV, Paris 1927-10-06
11. Pelléas et Mélisande (Debussy) Une grande innocence DA902 7-32119 HMV, Paris 1927-10-06
12. Plaisir d’amour (Martini) DB4916 2PG1254-1 HMV, Paris 1933-11-22
13. Romance orientale (Glazunov) DA990 BT4096-2 HMV, Paris 1928-06-18
14. Segreto (Tosti) DB1473 CG842-1 HMV, Paris 1930-09-24
15. Soupir (Coppola) DA990 BT4097-2 HMV, Paris 1928-06-18
16. Tu lo sai (Scarlatti) DA690 BL232-1 HMV, Paris 1925-02-06
17. Voi dormite, signora (Tosti) DA690 BL231-1 HMV, Paris 1925-02-06
18. Vous m’avez dit (Castagnaro) K7905 0LA1687-1 HMV, Paris 1937-04-13