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Click this link for more great Opera and Vocal Records in my other listings! SUPERB French Basso Pol Plancon here in his first 1904 - 05 Victor Sessions with Piano: The great aria of the High Priest Sarastro from Mozarts MAGIC FLUTE Invocation Grand Isis Zauberflöte. O Isis und Osiris Wolfgang Amadeus Mozart (composer) Pol Plançon (vocalist : bass vocal) Description: Bass vocal solo, with pianoCategory: VocalLanguage: Italian1/24/1905 New York, New York VICTOR 85042 Early Issue Victor 5 line patent12 " 78 rpm RecordCondition: EXCELLENT PRISTINE, has typical Matrix hiss of 1905 Victors, plays best with a 4.0 Mil Stylus: plays very quietA SUPERB COPY Pol Planton studied with Duprez, the greatest living teacher of diction at the time, and Sbriglia. He made his debut at Lyons in 1877 and first sang at the Paris OpTra in 1883 as GounodÆs MephistofTlFs. In his ten seasons at Paris, he took part in the premieres of MassenetÆs Le Cid and Saint-SadnsÆ Ascanio. He appeared at Covent Garden for 14 consecutive seasons (1891-1904). His Met debut was in 1893, and he returned as leading bass for the 12 following seasons, bidding the house farewell in 1908.Planton was a popular and polished singer. His beautiful basse chantante had been admirably schooled, and his style was extremely elegant. His flawless trills and rapid scales as well as his cantabile and pure legato are exemplary. Pol-Henri Planton (June 12, 1851 û August 11, 1914) was a French operatic bass (see basse chantante) and one of the most acclaimed singers during the 1890s and early 1900s, a period often referred to as the "Golden Age of Opera". In addition to being one of the earliest international opera stars to have made recordings, he was a versatile singer, who performed roles ranging from Sarastro in Wolfgang Amadeus Mozart's Die Zauberfl÷te through to parts in several late 19th century works. He was renowned for his exquisite legato, as well as his crisp diction, limpid tone, precise intonation, and virtuosic mastery of ornaments and fioriture. While not huge, his voice was of more than ample volume. It always moved with exemplary suppleness, allowing him to execute flawless trills and rapid scale passages with remarkable precision and suavity. BiographyPlanton was born in Fumay, in the Ardennes dTpartment of France, near the Belgian border. "Pol" is a pet form of Paul. [edit] EducationHe began learning to sing with the pivotal French tenor Gilbert Duprez (the originator of the "chest voice high C"), who had turned to teaching after his retirement from the stage. Duprez had enjoyed a distinguished career in Italy, where he created Edgardo in Donizetti's Lucia di Lamermoor in 1835. Planton followed his studies with Duprez with lessons from Giovanni Sbriglia, who taught many outstanding opera singers at his Parisian studio, most notably the brothers Jean de Reszke and +douard de Reszke, with whom Planton would sing quite often in future years. [edit] Early careerHe debuted in Lyon in 1877 in the r(le of Saint-Bris in Meyerbeer's Les Huguenots and remained there until May 1879. In 1880, he took on the role of Colonna in Hippolyte Duprat's opera Petrarque at the ThTGtre de la GaetT-Lyrique de Paris and finally received his first engagement at the Grand OpTra in 1883, singing MTphistophTlFs in Charles Gounod's Faust. He spent 10 years at the Paris Opera, participating in the premiere of Jules Massenet's Le Cid in 1885, in the role of Don Gormas (alongside the brothers de Reszke). Another premier that he participated in was that of Camille Saint-Sadns's Ascanio on March 21, 1890, in the role of King Francis I. Appearing with him in Ascanio was another soon-to-be frequent partner, the American soprano Emma Eames. Eames' rival, the great Australian soprano Nellie Melba, also partnered him on many occasions. [edit] Success at Covent GardenHe performed on the European scene from 1891 to 1904, most importantly at the Royal Opera House, Covent Garden, where he participated yet again in numerous premieres, such as occurred on June 11, 1892, when he appeared in the first staging of the The Light of Asia, by Isidore de Lara. Other operatic first performances that he graced with is presence included: on June 20, 1894, La Navarraise, by Massenet; on June 30, 1901, the operatic adaptation of Shakespeare's Much Ado About Nothing, by Sir Charles Stanford; in 1901, Le Roi d'Ys, by Edouard Lalo; and in 1904, HTrodiade, by Massenet. English critics were enthusiastic about his contribution to these premieres, as well as his singing in the standard repertory roles, including Rocco in Ludwig van Beethoven's Fidelio, MTphistophTlFs in Faust, Ramfis in Giuseppe Verdi's Aida, Pogner in Richard Wagner's Die Meistersinger von Nnrnberg or Jupiter in Gounod's PhilTmon et Baucis. Only his portrayal of Mefistofele in the eponymous opera by Arrigo Bonto, essayed in 1895, was received with some reservations by the critics. Planton's true home was in the bel canto bass repertory and Bonto's snarling demon seemed less suited to him than the urbane devil of Gounod's Faust. [edit] The Metropolitan Opera Years It was in the height of his glory at Covent Garden that Planton was brought to the Metropolitan Opera in New York by the impresario Maurice Grau. He debuted there on November 29th 1893, in the role of Jupiter in Gounod's PhilTmon et Baucis. All told, he appeared in the seasons of 1893-97, 1898-1901 and 1903-08. He participated in a total of 612 performances with the Met, including both operatic performances and concerts, whether in New York or in various US cities as part of the touring company's ensemble. One should take particular note of his 85 appearances as MTphistophTlFs in Faust, as well as his participation in the American stage premiere of Hector Berlioz's La Damnation de Faust in 1906, singing the role of that other famous French Mephisto. In 1899, he appeared in the inaugural performance of Macinelli's opera Ero e Leandro 1899 (in the role of Ariofarne). He left the Met in 1908, following a final Plunkett in Friedrich von Flotow's Martha at the Met. Incidentally, during the winter of 1896-1897, the Swiss-born American artist Adolfo Mnller-Ury (1862-1947) had painted a portrait of him for Emma Raymond, which was subsequently exhibited in March 1897 at the Durand-Ruel Galleries in New York. It is now lost. [edit] Private Life"The New York Critic Hunekar disliked his 'mincing gait' and complained of a 'lack of virility in his impersonations.' Whether this was fair comment or merely a Puritan critic's reaction to what was then hot gossip, is hard to know; it was widely rumoured that Planton had been caught in his dressing room with the composer Herman Bemberg in flagrante delicto." (Michael Scott, Record of Singing 1978, page 84). [edit] Retirement, Death and Historical SignificanceUpon his return to Paris at the age of 57, he retired from the stage although still in good voice, and gave lessons to select pupils. He was 63 years old when he died in the French capital, just before the outbreak of World War I. From a musicological standpoint, his singing is of considerable historical interest, because the refined vocal method that he employed was shaped prior to the advent of passionate, slice-of-life Verismo opera in the 1890s. (To perform the Verismo repertoire effectively, 20th Century singers were required to adopt a more forceful, 'beefier', less elegant style of operatic vocalism than had hitherto been the norm.) Indeed, Planton is considered to be one of the last important figures in a long line of great, Romantic-era, French basses and baritones stretching back to the early 1800s. His predecessors in this grand bel canto tradition included such celebrated artists as Nicolas Levasseur, Luigi Lablache, Jean-Baptiste Faure and Jean Lassalle. During the height of his 30-year career, he was confronted with stellar competition from a host of superlative operatic basses, including his fellow countrymen Jean-Francois Delmas, Pedro (Pierre) Gailhard, Juste Nivette, Hippolyte Belhomme and Marcel Journet. Other rivals of his included Polish-born Edouard de Reszke, Bohemian-born Wilhelm Hesch, the Italians Francesco Navarrini and Vittorio Arimondi and, from a younger generation, the Russians Lev Sibiriakov and Feodor Chaliapin and the Pole, Adamo Didur. He more than held his own in this exalted company, remaining, then as now, the paragon of sophisticated vocalism. [edit] More Great Records on sale right now: CLICK ON THIS LINK TO SEE MORE GREAT RECORDS CLICK ON THIS LINK TO SEE ALL ITEMS - VINTAGE BOOKS, VICTROLA and TURNTABLE ITEMS, CDs, Books and DVDs http://shop.ebay.com/carsten_sf/m.html ==== A Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS. If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING. Quick note on grading: The Grade (Excellent to Poor, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separately When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise."EXCEPTIONALLY QUIET" is close to noiseless, like a vinyl pressing."VERY QUIET" is an above average quiet record for a given pressing."Quiet" is a record that is a great example with some noise. These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment. Multiple item shipping: I am happy to combine items for shipment in one parcel. Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment. Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost. I charge actual postage plus a small handling fee for packing materials As always, I guarantee your satisfaction. If you don't like the item, just return it, and I will refund the full purchase price. If you are in the San Francisco area, I welcome pick-up in person. I am very happy to ship records worldwide. Please use the EBAY shipping cost as a guideline. As always, I would appreciate any suggestions and corrections from you, pls contact me with any question. Thank you very much, and enjoy these great records!!! Powered by SixBit's eCommerce Solution
Price: 18.99 USD
Location: San Francisco, California
End Time: 2024-12-01T02:26:35.000Z
Shipping Cost: 7.49 USD
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Item Specifics
Restocking Fee: No
Return shipping will be paid by: Buyer
All returns accepted: Returns Accepted
Item must be returned within: 30 Days
Refund will be given as: Money Back
Artist: CLICK RIGHT ARROW > FOR CONDITION, POL PLANCON
Format: Record
Material: Shellac
Genre: Classical, Opera
Record Label: Gramophone Company
Record Size: 12"
Style: A Capella, Aria, Ars Nova, Ballad, Barcarolle, Canon, Cantata, Canzona, Chorale, Duet, Eastern European Music, Elegy, Film Score/Soundtrack, France & Belgium, French Music & Chansons, German music, Germany & Austria, Italian Music, Lied, Lullaby, Madrigal, Mass, Motet, Musical/Original Cast, Oratorio, Requiem, Russian Music, Spanish Music, Traditional & Vocal, Vocal
Speed: 78 RPM
Release Title: Zauberflöte. O Isis und Osiris/ In diesen heil'gen Hallen
Language: French, German, Italian
Catalog Number: 85042
Sub-Genre: Opera
