In the pantheon of great French singers sits the bass Vanni-Marcoux.
Born in Turin in 1877 of a French father and an Italian mother
he was christened Giovanni Emilio Diogenio Marcoux, but on becoming
a French citizen he hyphenated the Italo-French elements of
his name to form a wholly memorable new one. His first stage
appearance was in 1894, though his official debut came six years
later after further vocal studies. By 1902 he was singing alongside
Tamagno, and in 1905 he made his Covent Garden debut. He performed
there in the premiere of Pelléas et Mélisande,
earning Debussy’s warm approval for the ‘true and
profound beauty’ he brought to the role of Arkel. His
Paris Opera debut only came in 1908, but it was in Faust
with Mary Garden. His roles embraced a wide range, especially
Massenet’s Don Quichotte and roles one also associates
with his contemporary Chaliapin. He sang at La Scala, and at
Boston and Philadelphia; he never performed with the Met, though
he did perform with a company at the Met. He continued
his career garlanded with critical acclaim, weathered a somewhat
dubious position during the Second World War, and made his farewell
stage performance in his warhorse, Don Quichotte, in
1947, dying fifteen years later in 1962.
The extensive booklet notes, beautifully illustrated, are the
source for this brief summary, and they go into exhaustive detail
about Vanni-Marcoux’s career and roles; they make for
fascinating, finely researched reading. And we have here his
whole body of recordings, contained in six well-filled discs,
all housed in a blood red and sepia, dramatically illustrated,
box. The role on the box cover, by the way, is Guido in Février’s
Monna Vanna.
In addition to his relatively late Paris Opera debut he didn’t
start recording until 1924. This is peculiar, given his stature
even before the First World War. And the majority of recordings
were compressed into a decade between 1924 and 1934 with many
of the later sessions being devoted to lighter French repertoire
and largely avoiding swathes of his operatic repertoire. There
is also a significant amount of repertoire duplication. Partially
this is because he began recorded on late acoustics and on the
introduction of electric recording, which seems to have been
a little later in Paris than New York or London, he was asked
to re-record in better conditions.
His first session, however, captured his Boris Godunov
in three excerpts, with an orchestra conducted by Piero Coppola,
the house conductor for French HMV. He was a frequent collaborator
with the bass in the recording studios, often, too, as piano
accompanist. One notices immediately the superb diction, the
well calibrated scale and the bass-baritonal quality of Vanni-Marcoux’s
voice. It lacks the histrionic quality so powerfully calculated
by Chaliapin, instead being an example of subtle actorly conviction.
He had given the first French language performance of Boris
in 1922, with Koussevitzky conducting, as well as performing
it with Toscanini at La Scala, and so these outstanding excerpts,
recorded just two years later, offer an important insight into
his Franco-Italian style.
The next session captured seven minutes or so of his Pelléas,
equally central repertoire, tinged with the importance of his
association with Debussy, and providing powerful evidence not
only of the suitability of his timbre, but the sensitive and
assured sense of characterisation which he brought to it. Only
the lumbering pre-electric brass bass reinforcements in the
orchestra weigh things down, but that’s hardly the singer’s
fault. Clearly French HMV wanted to document his operatic roles
as quickly as possible, making up for lost time, and next was
Don Quichotte. Thus three of his most famous and important
roles were documented in a three week period in Paris. His sang
this role for nearly forty years, making his farewell with it
in 1947. He is the perfect Massenet singer, never forcing, articulating
clearly and colouring the voice with imagination and refinement.
Many of these excerpts were repeated from 1927 on, and the recording
company took the opportunity to fill out the excerpts with others,
now captured via the microphone, not the horn. There is no diminution
in artistry or vocal production. Interspersed are songs, including
a lot of Tosti, chansons, arie antiche, and lighter material.
The first disc captures some examples of his singing Cras in
1925 - two pieces from Fontaines which the singer had
premiered the previous year. He communicates their Duparc-like
freshness with great affection. There is also a song each by
Glazunov and Borodin to show his stylistic breadth. As we move
down the years we encounter two Mozart arias - Madamina
is quite slow and very genial - and some Puccini (La Bohème)
and Berlioz (The Damnation of Faust). There are also
single extracts, representative one assumes, from his Don
Carlos, Thomas’s Hamlet and a couple from the
same composer’s Mignon, as well as one from Charpentier’s
Louise. But something seems to have happened after the
early initial concentration on his core operatic repertoire.
It’s a little disappointing that the opera extracts trailed
off rather, and that much more focus was given to light French
material.
This repertoire includes works written by the antiquarian and
librarian at the Paris Conservatoire, Jean-Baptiste Weckerlin
(1821-1910), and also a big swathe of music by Paul Delmet (1862-1904)
who was a composer and chanteur of note, associated with Montmartre
cabaret. These are delightful, and none too serious.
He sings Plaisir d’amour three times. The 1928
recording has a ropey piano, the final recording is the slowest,
and the middle one is the best. He re-recorded Coppola’s
Soupir as well but one of his loveliest records is surely
Séverac’s Ma poupée chérie,
of which the second recording, made in June 1928, is possibly
the best. Then there is a fascinating excursion into the world
of American composer John Alden Carpenter; with Coppola on hand,
Vanni-Marcoux sings the Four Negro songs, to words by
Langston Hughes. His English is almost wholly unintelligible
but the renditions are spirited indeed, and he was very quick
off the mark; they’d only recently been written.
Of his art songs his Schubert has a fresh, outdoorsy quality,
but there’s isn’t much of it, and only one example
of Schumann. Rather more idiomatic is his Hahn - the noble seriousness
of Je me mets en votre mercy is exemplary. There’s
also only a single example of his Fauré - Le Secret.
If only he’d set down more. His Delmet recordings are
charming, the music-hall selections equally so and the Belle
Époque charmers rendered with real avuncular quality
and an avoidance of any operatic mannerisms. This was a voice
that knew when to lighten, to cajole, to seduce and to smile.
The final disc gives us some of the socialist songs he recorded
in 1931-32 composed by Victor Larbey, and then we have the set
of Coppola songs in which the bass masqueraded as ‘Marni’.
His last recordings on 78s were made in 1936, and he had long
since retired when, in 1955, he was tempted to sing the Nouvelles
Chansons of Delmet with that fine musician Irène
Aïtoff at the piano. It was perhaps appropriate that his
last venture in the studios was with a composer whose works
he had so memorably performed and recorded. By now his voice
was old, and he has quite a bit to do to shepherd it through
the two dozen or so brief songs.
They end a box that celebrates a singer of real importance,
whose voice may not have had the sepulchral fire of others,
or indeed their bass extensions, that may not have utilised
histrionic gestures - gulps, catches in the throat, sobs, easy
portamenti and the like - but which was instead devoted to clarity,
appropriate express gestures, and a sure and sovereign command
of every idiom it portrayed, whether it was operatic, chanson,
lieder, popular song or cabaret. Of how many can that really
be said?
Jonathan Woolf
FULL CONTENTS LIST
CD 1 (79:34)
Gramophone Company, Paris, Acoustic Recordings
26 September 1924 / with orchestra, Piero Coppola conducting
1. BORIS GODUNOV: J’ai le pouvoir suprême (Mussorgsky)
4:33
(CL 26-1) DB 967
2. BORIS GODUNOV: Sous les murs de Kazan (Mussorgsky) 2:39
(BL 27-2) DA 778
3. BORIS GODUNOV: Oh, je meurs … Adieu mon fils, je me
meurs
(Mussorgsky) 6:43
(BL 24-2 and BL 25-2) DA 678
6 October 1924 / with orchestra, Piero Coppola conducting
4. PELLÉAS ET MÉLISANDE: Ah, tout va bien cela
ne sera rien (Debussy) 3:47
(BL 50-2) DA 677
5. PELLÉAS ET MÉLISANDE: Une grande innocence
(Debussy) 3:20
(BL 51-2) DA 677
6. MONNA VANNA: Ce n’est pas un vieillard (Février)
4:38
(CL 52-1) DB 809
13 October 1924 / with orchestra, Piero Coppola conducting
7. DON QUICHOTTE: Quand apparaissent les étoiles (Massenet)
3:33
(BL 76-2) DA 631
8. DON QUICHOTTE: Écoute, mon ami (Massenet) 4:30
(CL 77-2) DB 809
9. DON QUICHOTTE: Je meurs (Massenet) 2:30
(BL 78-3) DA 631
6 February 1925 / with piano, Piero Coppola
10. Voi dormite, signora (Tosti) 3:36
(BL 231-1) DA 690
11. Tu lo sai (Torelli) 2:49
(BL 232-1) DA 690
12. Soupir (Coppola) 2:30
(BL 233-1) DA 689
13. FONTAINES: L’antique fontaine (Cras) 2:39
(BL 234-2) DA 689
14. FONTAINES: De bon matin (Cras) 0:42
(BL 234-2) DA 689
15. Ma poupée chérie (Séverac) 3:51
(CL 235-2) DB 925
24 September 1925 / with piano, Piero Coppola
16. Romance orientale (Vostochnyi romans) (Glazunov) 2:55
(BT 1860-2) DA 778
17. La princesse endormie (Spyashchaya knyazhna) (Borodin) 3:54
(CT 1861-2) DB 967
18. Plaisir d’amour (Martini) 4:08
(CT 1862-1) DB 925
Gramophone Company, Paris, Electric Recordings
6 October 1927 / with orchestra, Piero Coppola conducting
19. DON QUICHOTTE: Quand apparaissent les étoiles (Massenet)
3:30
(BTR 3142-1) DA 934
13 October 1927 / with orchestra, Piero Coppola conducting
20. DON QUICHOTTE: Seigneur, reçois mon âme (Massenet)
1:54
(BTR 3197-1) DA 936
21. DON QUICHOTTE: Je suis le chevalier errant (Massenet) 2:54
(BTR 3198-1) DA 936
7 October 1927 / with orchestra, Piero Coppola conducting
22. DON QUICHOTTE: Écoute, mon ami (Massenet) 5:10
(BTR 3153-2 and 3154-1) DA 935
6 October 1927 / with orchestra, Piero Coppola conducting
23. DON QUICHOTTE: Je meurs (Massenet) 2:49
(BTR 3143-1) DA 934
CD 2 (77:14)
Gramophone Company, Paris, Electric Recordings (continued)
12 October 1927 / with orchestra, Piero Coppola conducting
1. DON GIOVANNI: Deh, vieni alla finestra (Mozart) 2:25
(BTR 3190-2) DA 937
2. LA BOHÈME: Vecchia zimarra (Puccini) 2:37
(BTR 3189-2) DA 937
7 October 1927 / with orchestra, Piero Coppola conducting
3. BORIS GODUNOV: J’ai le pouvoir suprême (Mussorgsky)
4:33
(CTR 3151-2) DB 1112
4. BORIS GODUNOV: Ah, j’étouffais. Le souffle me
manquait [Scène du
carillon] (Mussorgsky) 3:24
(CTR 3151-1) DB 1112
5. BORIS GODUNOV: Ah, j’étouffais. Le souffle me
manquait [Scène du
carillon] (Mussorgsky) 3:27
(CTR 3151-2) Issued on later pressings of DB 1112
13 October 1927 / with orchestra, Piero Coppola conducting
6. BORIS GODUNOV: Oh, je meurs … Adieu mon fils, je me
meurs
(Mussorgsky) 7:19
(CTR 3195-1 and 3196-2) DB 1114
6 October 1927 / with orchestra, Piero Coppola conducting
7. PELLÉAS ET MÉLISANDE: Ah, tout va bien cela
ne sera rien (Debussy) 3:26
(BTR 3140-2) DA 902
8. PELLÉAS ET MÉLISANDE: Une grande innocence
(Debussy) 3:05
(BTR 3141-1) DA 902
18 June 1928 / with piano, Piero Coppola
9. Plaisir d’amour (Martini) 4:08
(CT 4094-2) DB 1175
10. Voi dormite, signora (Tosti) 3:47
(CT 4095-2) DB 1176
11. Romance orientale (Glazunov) 2:59
(BT 4096-2) DA 990
12. Soupir ((Coppola) ) 2:45
(Sung a whole tone lower than CD 1, Track 12)
(BT 4097-2) DA 990
28 June 1928 / with piano, Piero Coppola
13. Jazz boys (Alden Carpenter) 1:23
(BT 4145-1) DA 988
14. Cryin’ blues (Alden Carpenter) 1:38
(BT 4146-2) DA 988
15. Ma poupée chérie (Séverac) 4:20
(CT 4147-1) DB 1175
16. Il volontario (Brogi) 3:44
(CT 4148-2) DB 1176
17. La truite (Die Forelle) (Schubert) 2:12
(BT 4149-2) DA 989
18. Les rires et les pleurs (Lachen und Weinen) ((Schubert)
) 2:02
(BT 4150-2) DA 989
28 May 1930/ with piano, Piero Coppola (recorded in Salle Chopin)
19. Le manoir de Rosemonde (Duparc) 2:57
(BF 3315-1) DA 1123
20. PANURGE: Chanson de la Touraine (Massenet) 2:43
(BF 3316-2) DA 1124
21. Le noyer (Der Nussbaum) (Schumann) 3:05
(BF 3317-2) DA 1123
22. Le beau séjour (Anon. , 18th century) 1:39
(BF 3318-2) DA 1124
23. Dans notre village (Anon. , 17th century) 1:46
(BF 3318-2) DA 1124
23 September 1930 / with orchestra, Piero Coppola conducting
(recorded in
Salle Chopin)
24. LE JONGLEUR DE NOTRE-DAME: La Vierge entend fort bien (Légende
de la
sauge) (Massenet) 5:52
(BG 819-1 and 820-1) DA 1159
CD 3 (73:54)
Gramophone Company, Paris, Electric Recordings (continued)
23 September 1930 / with orchestra, Piero Coppola conducting
(recorded in
Salle Chopin)
1. LA DAMNATION DE FAUST: Maintenant . . . Devant la maison
(Berlioz) 2:28
(BG 821-2) DA 1158
2. LA DAMNATION DE FAUST: Vrai Dieu, messieurs . . . Une puce
gentille
(Berlioz) 2:36
(BG 822-2) DA 1158
24 September 1930 / with orchestra
3. L’ultima canzone (Tosti) 4:34
(CG 839-2) DB 1473
4. Segreto ((Tosti) ) 4:25
(CG 842-1) DB 1473
14 April 1931 / with orchestra, Piero Coppola conducting
5. Offrande (Hahn) 2:47
(0G 588-2) DA 1201
6. Je me mets en votre mercy (Hahn) 2:57
(0G 589-2) DA 1201
7. Ninon (Tosti) 4:24
(2G 590-1) DB 1515
8. Chant hindou (Bemberg) 4:00
(2G 591-2) DB 1515
23 June 1931 / with piano, Piero Coppola (recorded in Salle
Chopin)
9. Je pleure (Tosti) 3:18
(0G 919-1) DA 4838
10. Le mal d’aimer (Tosti) 2:42
(0G 920-1) DA 4838
11. Le tilleul (Der Lindenbaum) (Schubert) 4:10
(2G 921-2) DB 4821
12. Le myosotis (Des Müllers Blumen) (Schubert) 3:17
(2G 923-2) DB 4821
13. Il était jadis un berger (André, traditional
Breton) 1:43
(0G 924-2) DA 4812
14. Chanson de Marie (traditional) 1:42
(0G 924-2) DA 4812
15. Cantatille (Lancel) 2:58
(0G 925-2) DA 4804
26 June 1931 / with piano, Piero Coppola (recorded in Salle
Chopin)
16. Vivons heureux (Weckerlin) 2:36
(0G 948-2) DA 4812
17. Chanson normande (Weckerlin) 2:29
(0G 949-2) DA 4804
18. Le secret (Fauré) 2:41
(0G 950-1) DA 4814
19. Chanson de l’adieu (Tosti) 2:40
(0G 951-2A) DA 4814
5 October 1931 / with orchestra, Piero Coppola conducting (recorded
in
Salle Chopin)
20. LA HABANERA: Et c’est à moi que l’on
dit (Laparra) 6:19
with anonymous soprano
(0W 592-2/0W 593-1) DA 4818
21. HAMLET: J’ai pu frapper … Être ou ne pas
être (Thomas) 4:27
(2W 594-1) DB 4822
22. CLÉOPÂTRE: A-t-il dit vrai? … Solitaire
sur ma terrasse (Massenet) 4:39
(2W 595-2) DB 4822
CD 4 (73:56)
Gramophone Company, Paris, Electric Recordings (continued)
7 October 1931 / with orchestra, Piero Coppola conducting (recorded
in
Salle Chopin)
1. DON GIOVANNI: Madamina, il catalogo è questo …
Nella bionda (Mozart) 5:55
(0W 610-2 and 611-2) DA 4811
2. DON CARLOS: Elle ne m’aime pas … Je dormirai
seul (Verdi) 8:42
(2W 612-2 and 613-2) DB 4823
2 May 1932 / with piano, Lucien Petitjean
3. À la pêche des moules (trad. from Saintonge)
1:28
(0W 1576-1) K6955
4. Trop aimable Sylvie (18th century melody, arr. Weckerlin)
1:58
(0W 1576-1) K6955
5. Les trois princesses (Chanson de la Franche-Comté,
arr. Weckerlin) 3:14
(0W 1577-1) K6991
6. Roussignoulet (Chanson béarnaise, arr. Weckerlin)
3:05
(0W 1578-1) K6991
7. L’étoile du matin (Weckerlin) 2:33
(0W 1579-1) K6955
8. Un doux baiser, Lisette (Weckerlin) 2:38
(0W 1580-1) DA 4813
9. Mes belles amourettes (Weckerlin) 2:58
(0W 1581-1) DA 4813
3 May 1932 / with piano, Lucien Petitjean
10. Envoi de fleurs (Gounod) 2:36
(0W 1584-1) DA 4829
11. Prière (Gounod) 3:20
(0W 1585-1) DA 4829
12. La belle Marion (arr. of old Piedmontese song, Sinigaglia)
3:29
(0W 1586-1) K 6912
13. Le menuet d’Exaudet (arr. of 17th century song) 1:59
(0W 1587-1) K 6912
14. L’amour au mois de mai (Weckerlin) 1:22
(0W 1587-1) K 6912
3 November 1932 / with piano, Lucien Petitjean
15. Vous êtes si jolie (Delmet) 3:17
(0PG 231-1) K 6750
16. Le vieux mendiant (Delmet) 3:21
(0PG 232-2) K 6750
17. Mélancolie (Delmet) 3:05
(0PG 233-1) K 6882
18. L’étoile d’amour (Delmet) 3:14
(0PG 234-2) K 6882
12 October 1933
19. PARIS MUSIC HALL: Sans un mot (Longás Torres) 3:19
with orchestra
(0PG 1066-1) K 7084
20. PARIS MUSIC HALL: Havanais (Longás Torres) 2:38
with orchestra
(0PG 1067-1) K 7084
21. Fanfreluches (Delmet) 1:40
with Federico Longás Torres, piano
(0PG 1068-1) K 7076
22. Petit chagrin (Delmet) 1:34
with Federico Longás Torres, piano
(0PG 1068-1) K 7076
23. Chanson libertine (Delmet) 1:58
with Federico Longás Torres, piano
(0PG 1069-1) K 7076
24. Fermons nos rideaux (Delmet) 1:18
with Federico Longás Torres, piano
(0PG 1069-1) K 7076
25. Tout simplement (Delmet) 3:15
with Federico Longás Torres, piano
(0PG 1070-1) K 7203
CD 5 (78:08)
Gramophone Company, Paris, Electric Recordings (continued)
17 October 1933 / with piano, Lucien Petitjean
1. Envoi de fleurs (Delmet) 2:04
(0PG 1089-1) K 7183
2. Charme d’amour (Delmet) 1:24
(0PG 1089-1) K 7183
3. Stances à Manon (Delmet) 3:06
(0PG 1090-1) K 7183
4. Les petits pavés (Delmet) 3:24
(0PG 1091-1) K 7203
22 November 1933 / with piano, Lucien Petitjean
5. Le temps des cerises (Renard) 3:07
(0PG 1251-1) K 7148
6. Chanson des heures (Privas) 3:09
(0PG 1252-1) K 7148
7. Ma poupée chérie (Séverac) 4:31
(2PG 1253-1) DB 4916
8. Plaisir d’amour (Martini) 4:36
(2PG 1254-1) DB 4916
7 May 1934 / with piano, André Lermyte
9. Quand les lilas refleuriront (Désiré Dihau)
3:21
(0PG 1550-1) K 7326
10. Reviens (Fragson and Christiné) 3:24
(0PG 1551-1) K 7326
11. La lettre de Jean-Pierre (Leroux) 3:34
(0PG 1552-1) K 7343
12. Le soldat de Marsala (Gustave Nadaud) 3:45
(0PG 1553-1) K 7343
8 June 1934 / with orchestra, Piero Coppola conducting
13. BORIS GODUNOV: Mon cœur est triste (Mussorgsky) 2:58
(2PG 1648-1) DB 4950
14. DON QUICHOTTE: Écoute, mon ami… Prends cette
île (La mort de Don
Quichotte) (Massenet) 6:38
with Odette Riquier, soprano and Michel Cozette, baritone
(0PG 1650-1 and 0PG 1649-1) DA 4857
7 November 1934 / with orchestra, E. Bervily conducting
15. LA BELLE TRAVERSÉE: Un soir, une heure (Marc Berthomieu)
3:35
(0LA 134-1) K 7796
16. ROBERT MACAIRE: À la belle étoile (Marc Berthomieu)
3:27
(0LA 135-1) K 7796
17. SANS FAMILLE (film) : Les loups (Yvain) 2:04
(0LA 136-1) K 7372
18. SANS FAMILLE (film) : Ma Lola (Yvain) 2:55
(0LA 137-1) K 7372
12 November 1934 / with orchestra, Piero Coppola conducting
19. LOUISE: Reste, repose-toi (Berceuse) (Charpentier) 4:13
(2LA 141-1) DB 4950
20. MIGNON: Fugitif et tremblant (Air de Lothario) (Thomas)
3:42
(0LA 142-1) DA 4867
21. MIGNON: De son cœur j’ai calmé la fièvre
(Berceuse) (Thomas) 3:41
(0LA 143-1) DA 4867
30 September 1935 / with orchestra, Henri Goublier conducting
22. LA NUIT EST BELLE: La nuit est belle (Goublier) 2:57
(0LA 635-1) K 7578
23. LA NUIT EST BELLE: Une robe qui tombe (Goublier) 2:33
(0LA 637-1) K 7578
CD 6 (68:25)
Gramophone Company, Paris, Electric Recordings (continued)
7 December 1936 / with orchestra, Marcel Cariven conducting
1. Jamais (Lewinnek-Havos) 3:14
(0LA 1375-1) K 7905
13 April 1937 / with orchestra, Marcel Cariven conducting
2. Vous m’avez dit (Lola Castagnaro) 3:22
(0LA 1687-1) K 7905
LA VOIX DES NÔTRES ‘CHANTES DES MÉTIERS,’
PARIS 1931-1932
with piano, Janine Houssaye
3. Le chant du forgeron (Victor Larbey) 3:14
DR XI
4. Le chant des dactylos (Victor Larbey) 3:09
DR XI
5. Le chant des charpentiers (Victor Larbey) 2:56
DR XII
6. Le chant des demoiselles de magasin (Victor Larbey) 3:23
DR XII
RECORDINGS UNDER THE PSEUDONYM ‘MARNI’
[NOVEMBER/DECEMBER 1932]
with orchestra, Piero Coppola conducting
7. Pour un baiser (Piero Coppola) 3:15
(0PG 298) K 6913
8. Le meilleur de nous deux (Piero Coppola) 3:17
(OPG 299-2) K 6956
9. Grace au tango (Piero Coppola) 2:54
(OPG 300-2) K 6956
10. À quoi bon vous aimer (Piero Coppola) 3:24
(0PG 301-2) K 6913
LONG-PLAYING RECORD, PARIS, 1955
Paul Julien Delmet: Nouvelles chansons
with piano, Irène Aïtoff
(2XLA 221-2) Voix de son Maître FALP 358
11. Tout simplement2:49
12. Le Vieux mendiant3:30
13. Vous êtes si jolie2:49
14. Fanfreluches2:09
15. Mélancolie2:47
16. Envoi de fleurs2:53
17. Petit chagrin2:25
18. Fermons nos rideaux2:06
19. Ton nez1:38
20. Charme d’amour2:04
21. Chanson libertine2:46
22. L’étoile d’amour3:28
23. Stances à Manon2:33
24. Berceuse d’amour2:22
CD 1:
Languages: All selections sung in Italian
CD 1:
Languages: French [1-9, 12-23]; Italian [10-11]
CD 2:
Languages: Italian [1-2, 10, 16]; French [3-9, 11-12, 15, 17-24];
English
[13-14]
CD 3:
Languages: French [1-2, 5-23]; Italian [3-4]
CD 4:
Languages: Italian [1]; French [2-25]
CD 5:
Languages: All sung in French
CD 6:
Languages: All sung in French
Emile Vanni-Marcoux (bass) 
