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Andre Bauge

Andre Bauge

Ref: MR539

01 - La Veuve joyeuse: Entrée de Danilo (F. Lehar)
02 - La Veuve joyeuse : Heure exquise (avec Ninon Vallin) (F. Lehar)
03 - Les cloches de Corneville « C’est’ la salle de mes ancêtres... » (Planquette)
04 - Si j’étais roi : « Dans le sommeil l’amour, je gage... » (Adam)
05 - Monsieur Beaucaire : couplets de la rose (Messager)
06 - Robert le Pirate :« L ’amour nous vient ... » (Romberg)
07 - Paganini : « J’ai toujours cru qu’un baiser...» (F. Lehar)
08 - Rêve de Valse : « Oui, c’est une valse de Vienne... » (Oscar Straus)
09 - Les Noces de Jeannette : « Enfin, me voilà seul...» (Victor Massé)
10 - Les Noces de Jeannette « Margot, lèvre ton sabot... »
11 - Nina Rosa : « Combien perfides sont les femmes... » (Romberg)
12 - Nina Rosa : « Nina Rosa...» marche de Nina Rosa
13 - La Mascotte « Ces envoyés du paradis... » (Audran)
14 - Les dragons de Villars . « Quand le dragon a bien trotté...» (Maillart)
15 - Les mousquetaires au couvent « pour faire un brave mousquetaire » (Varney)
16 - Les mousquetaires au couvent « Gris, suis-je gris vraiment... » (Varney)
17 - Le pays du sourire « Je t’ai donné mon cœur... » (F. Lehar)
18 - La Fille de Madame Angot « Certainement, j’aimais Clairette » (Lecocq)
19 - Les Saltimbanques « C’est l’amour… » (Louis Ganne)
20 - L’anneau d’argent (Cécile Chaminade)
21 - Les cloches de Corneville « J’ai fait trois fois le tour du monde... »
22 - Fragonard : « Ah, non, tu ne peux pas savoir... » (Pierné)
23 - Fragonard : « On sait ce que c’est qu’une femme... » (Pierné)
24 - Véronique: Couplets de la grisette (Messager)
25 - Véronique: Entrée de Florestan : « Vrai Dieu, mes bons amis... » (Messager)
26 - Rose-Marie : O ma Rose-Marie... » (Friml)
27 - Rip: Couplets de la paresse (Planquette)

It is as futile as it is difficult to try and define the frontier that divides comic opera from its “misguided daughter” operetta. Published scores indeed testify to the confusion. Veronique or La Fille de Madame Angot are true comic operas. On the other hand are Chabrier’s L’Etoile or Ambroise Thomas’ Le Caid not true operettas? Indeed, should one not consider the wonderful Viennese Fledermaus as a light form of opera equivalent to our French “Opera-Comique”?
One thing remains certain; this deliciously ambivalent genre requires a particular type of interpreter - like the spanish “Zarzuela” or the pieces of Gilbert and Sullivan in Britain. Richard Tauber for example, was magnificent champion of the Viennese formula and in France this important part of our musical heritage was chiefly defended by Andre Bauge, a master and a model.
He left numerous testimonies of his talent on records which perpetuate or rather resuscitate - a style. and here are two key-words; it is a style insofar as it implies a way of life, of thinking, breathing, breathing, saying, insinuating; and a resuscitation because this particular type of vocal and physical expression has been lost.
Born in toulouse, this typical Parisian was child of the the stage. His mother was the well-known singer Anna Tariol-Bauge who created the role of Agathe in Veronique. As a young boy, he used to paly under his mother’s piano when she was rehearsing. He thus became immediately familiar with this popular idiom - verses by Audran, Planquette, Offenbach and Messager.
As a young man he was briefly tempted to become a painter but decided instead to follow a musical career. Having made his debut in Grenoble (Vitellius in Herodiade) he was wounded during the slaughter at Verdun. Though demoralized and handicapped through having lost a lung, he was taken on by the Opera-Comique where he sang all the baritone roles for a number of years. however his talent as an actor ( he excelled as Marouf) his varied and imaginative diction and the example of his seniors - Lucien Fugere for one - convinced him to specialise in operetta. He excelled in the genre, where the baritone generally has the main part and his light “baryton Martin” did wonders with rubato, half shades and acrobatic top notes, along with a precise yet expertly suggetive diction; he indeed possessed the art of expressing, understanding and suggesting, to the full.
His triumphs were innumerable. He revived Ciboulette, created Monsieur Beaucaire in Paris and Gabriel Pierne’s delightful Fragonard. He was the glory of the theatres of Porte Saint-Martin and of the Chatelet for over twenty years. His ease on stage was incomparable and his vocal example revived today on CD, should serve as model for the enterprising young men who without mentors or valid teachers launch themselves into careers for which they are quite unprepared.

Guy Dumazert ( traduction de Patrick Bade)

Prix : 13.00 (Including TVA at 20%)

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