Gabriel Bacquier

Gabriel Bacquier

출생 : 1924-05-17, Béziers, Hérault, France

사망 : 2020-05-13

약력

Gabriel Bacquier (17 May 1924 – 13 May 2020) was a French operatic baritone. One of the leading baritones of the 20th century and particularly associated with the French and Italian repertoires, he was considered a fine singing actor equally at home in dramatic or comic roles and gave regular song recitals. He was a long-term member of the Opéra-Comique and the Paris Opera, but forged a long career internationally at leading opera houses in Europe and the U.S. His large discography spans five decades, and he was considered as “the ambassador of French song”. Born Gabriel Augustin-Raymond-Théodore-Louis Bacquier in Béziers, France, on 17 May 1924, he was the only child of railway employees. As a young boy, he was fascinated by everything to do with singing: records, broadcasts and photos of singers. Leaving school aged 14, he worked at his uncle's print-shop, while studying in Montpellier to become a commercial artist, but during the Vichy regime, to avoid the round-ups and deportations by the Service du travail obligatoire, his parents arranged for him to do national service in the Chantiers de Jeunesse on the railways during the Occupation. As a teenager he took voice lessons with a Madame Bastard in Béziers in his free time and made his operatic debut during the war as Ourrias in Gounod's Mireille in the town arena. After World War II, he entered the Paris Conservatoire, receiving a scholarship because of his family's modest means, and graduated in 1950. He was a contemporary of, and shared his student life with, future leading French singers Régine Crespin, Xavier Depraz, Michel Sénéchal and Michel Roux. In his final year, the director of the Conservatoire, Claude Delvincourt, allowed him leave to work at the Opéra de Nice in the 1949–50 season, singing small roles in operas and operettas; this along with regular singing spots in cinemas gave him important experience and income before his next career steps. Having already gained a first prize for opéra comique in his penultimate year, he won first prize for singing and second prize for opera at the conclusion of his formal studies. Around this time he also took a course in dramatic art. He joined the opera company of José Beckmans in 1950, and was a member of La Monnaie in Brussels from 1953 until 1956, making his debut in the title role of Rossini's Il barbiere di Siviglia. There he sang the French repertory, both in opera (Gounod's Faust, Delibes' Lakmé, Massenet's Manon and Werther) and in operetta (Angélique, La belle Hélène, Les cloches de Corneville, Miss Heylett, Monsieur Beaucaire). He also appeared there in Puccini's La bohème and Madama Butterfly, and in Smetana's The Bartered Bride. While at the Monnaie, the French soprano Martha Angelici, whose husband was François Agostini, director of the Opéra-Comique at the time, sang in Les pêcheurs de perles with him; she suggested that he audition for the Paris company, which accepted him. ... Source: Article "Gabriel Bacquier" from Wikipedia in English, licensed under CC-BY-SA 3.0.

프로필 사진

Gabriel Bacquier

참여 작품

Salzburg Marionette Theatre: The Tales of Hoffmann
In Luther's beer-cellar, lusty singing extols the virtues of beer and wine. For this evening, the Muse decides to deflect the poet Hoffmann's attention from amorous escapades, so that he will devote himself entirely to his art. Hoffmann tells of the three unhappy loves of his life: Olympia, Antonia and Giulietta.
Les Contes d'Hoffmann
Spalanzani / Crespel / Schemil
Live performance from the Opéra National de Lyon.
The Love for Three Oranges
Le Roi de trèfle
With neat, plain building-block designs by Jacques Rapp, Louis Erlo's energetically-staged production of Prokofiev's surreal fairy-tale for the Lyon Opera is full of cartoon characters and swift farce. Based on a play by Carlo Gozzi, "L'Amour des Trois Oranges" tells the story of a doleful, hypochondriac Prince, who can only be cured through laughter. When he breaks into hysterics at the expense of the evil witch Fata Morgana, she curses him. His fate is to fall in love with three oranges
마농의 샘 2부
Victor
양치기로 혼자 살아가는 마농은 아버지를 죽음으로 몰고 간 소베랑과 위골랭, 그리고 방관자였던 마을 사람들에게 복수한다. 샘물의 원천을 아는 마농이 물줄기를 바꿔버리자 마을은 가뭄 때문에 고통받는다. 주민들이 과거를 반성하며 기우제를 지내자 마농은 원한을 풀고 샘물을 열어준다. 복수와 화해를 거치면서 소베랑은 장이 자기 아들이고 마농이 손녀임을 알게 되는데... 아버지의 죽음에 대한 어린 마농의 절규를 뒤로하고 10년을 뛰어 넘는다. 세자르(이브 몽땅 )와 위골랭(다니엘 오떼유)은 카네이션 재배에 성공하고, 그곳에 홀로남아 양치기 처녀로 성장한 마농(엠마뉴엘 베아르)은 마을 주민들까지 아버지를 죽게한 공범으로 여긴다. 위골랭은 우연히 마농의 목욕하는 모습을 보고 반하게 된다. 위골랭은 세자르에게 자신이 마농을 사랑한다고 말하고, 그녀에게 구애를 하지만 마농은 그를 피한다. 우연히 마을 사람들이 말하는 대화 속에 아버지가 샘을 파다 죽게 된 경위까지도 알게 되고, 마을 사람과 위골랭, 빠뻬에 대해 복수를 다짐한다. 어느날 그녀는 염소를 구하려다, 샘의 근원을 발견해 그곳을 막아버려, 아버지가 당했던 그대로 그들에게 돌려준다. 갑자기 물이 말라버렸음에 놀란 마을 주민들과 위골랭은 다급해져만 가고, 기도회에 몰린 그들에게 사제는 마을 주민들에게 꾸짖는다. 전부터 마농이 은근히 좋아하고 있던 학교 선생인 베르나르(히프폴리떼 지라르도)의 생일 잔치에서, 그녀는 세자르와 위골랭의 죄를 밝힌다. 계속 발뺌하는 세자르에게 목격자로 에리아신(디디어 페인)이 나타난다. 마농에게 청혼을 거절당한 위골랭은 자살하게 되고, 세자르는 허무함을 느끼는데...
Falstaff
Falstaff
This performance, and the film that documents it, is superb! From its comically vulgar opening in the Garter Inn, where we are introduced to a rotund (and slightly pathetic) Falstaff - in a richly nuanced performance by baritone Gabriel Bacquier cocooned in prosthetic girth (his face is too thin for the enormity to be real) - to the supremely beautiful nocturnal magic of the Finale in Windsor Park, Solti is lovingly accompanied by the sublime Vienna Philharmonic. They play with such delicacy and elan what is an undeniably delicate score, that I lost myself in the instrumentation, forgot it was Verdi, thought it was Mozart, and couldn't remember which Mozartean Opera this was. The woodwinds and strings are singled out for special praise: perfect intonation and phrasing doesn't begin to do them justice. They breathe life into this score, propel it forward, act as a Chorus commenting on the action.
Don Pasquale
Pasquale da Corneto
This John Dexter production, designed by Desmond Heeley, was a parting gift to the great American soprano Beverly Sills, who bid farewell to the Met as Norina, the smart young widow at the center of Donizetti’s comedy. The sensational Alfredo Kraus sings her beloved Ernesto. Håkan Hagegård, in his Met debut role and season, is Dr. Malatesta, the man who helps the young couple trick the crusty old bachelor of the title (Gabriel Bacquier at his comical best) into a fake marriage. This being a Donizetti comedy, it all turns out perfectly well at the end—and getting there is pure operatic fun.
The Metropolitan Opera: Don Giovanni
Leoporello
Imbuing the familiar Don Juan myth with a captivating combination of comedy, seductiveness, danger, and damnation, Mozart created an enduring masterpiece that has been a cornerstone of the repertory since its 1787 premiere. An early entry in the Met’s series of PBS telecasts, this 1978 performance captures a young James Morris in a smooth portrayal of the title role, with the legendary Joan Sutherland showing off her unsurpassed technique as Donna Anna and Gabriel Bacquier as a masterful Leporello.