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Playlist of Pol Plançon

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  • Vi ravviso, o luoghi ameni - Pol Plançon - La Sonnambula

    3:28

    Such a very elegant rendition of this aria, all done with much grace. He keeps his voice light and mobile and doesn't sound like a Bulgarian... The great French operatic bass and one of the giants of the Golden Age of Opera, Pol Plançon (1851-1914) in Vi ravviso, o luoghi ameni from Bellini's opera La Sonnambula. The recording was made in 1903 for Victor Talking Machine & Co. (New York).

    Plançon was described by W. J. Henderson as one of the greatest masters of vocal technique that ever trod the stage. Renowned for his exquisite legato singing as well as for his limpid tone, precise intonation, and virtuosic mastery of ornaments and fioriture, Plançon has an ease and fluidity of delivery which remains unrivaled. His interpretation of Méphistophélès in Gounod's Faust was legendary; he sang over 100 times during his 10 seasons at the Paris Opéra. Plançon was also a member of New York's Metropolitan Opera where he remained until his retirement in 1908.

    Is the pronunciation sometimes careless, often blurred and abandoned, with typical mannerisms of the singers of the era, such as the shuffling of the consonants in words like gioven(e)tù, non(e)trovo più ?

    For more substantial biographical notes, please see:


    -------------------------------------

    La Sonnambula (The Sleepwalker). Act 1. A village, a mill in the background. A stranger (Count Rodolfo) arrives, asking the way to the castle. Lisa points out that it is getting late and he will not reach it before dark and offers him lodging at her inn. The newcomer, who surprises the villagers by his familiarity with the locality, asks about the celebrations and admires Amina, who reminds him of a girl he had loved long ago. He admits to having once stayed in the castle: Vi ravviso, o luoghi ameni.

    -------------------------------------

    Questa è a mio parere una delle più belle incisioni di Plançon. Intollerabile il difetto di non ruttare come certi suoi bulgari colleghi, vero?

    Pol Plançon è esempio contrario di quella che fu ed è la tendenza ad adombrare la propria natura risolvendo la cosa nella proverbiale emissione con la patata o castagna in bocca.
    Personalmente penso che un certo grado di contraffazione del suono sia dilagato così bene tra le voci gravi che è difficile oggi rendersene conto, complice la convinzione che una voce grave debba necessariamente essere scura, errore temo generato da una confusione tra colore e altezza del suono. Anzi, ho paura che addirittura si insegni questo make up della propria voce. Ciò accade in particolare per il basso.

    Lo stereotipo attuale della voce di basso è ben diverso. Quello che non mi è chiaro è quale sia stato il modello che ha inciso in questa mutazione di gusto e di aspettative su come dovrebbe suonare un basso. Per i tenori è evidente l'influenza carusiana (tra l'altro, uno che dichiaratamente idolatrava Plançon) e per i baritoni quella di Titta Ruffo. Probabilmente la tendenza all'oscuramento (quasi sempre artificioso) delle altre vocalità ha portato anche i bassi a cercare una differenziazione timbrica rispetto a baritoni e tenori post Ruffo e post Caruso. Va anche detto che la voce di vero basso è rara, per cui molti semplicemente fingono una vocalità che non sarebbe la loro. Comunque questa tendenza a creare voci finte, artificiose appunto, con questo innaturale oscuramento del suono è a mio parere un elemento che rende spesso caricaturale il canto lirico (che dovrebbe invece semplicemente essere la massima espressione delle potenzialità naturali di una voce sana), contribuendo anche ad allontanare il pubblico.

  • x
  • Pol Plançon, bass Le Caïdair du Tambour-Major 27/3/1907 G&T

    4:10

    Le Caïd Ambroise Thomas (it seems I am the first to upload this gem???)

  • x
  • The Great Pol Plançon Sings Elle ne maime pas From Verdis Don Carlo 1907

    3:53

    Pol Plançon (1851-1914) is one of the most admired of early basses who made recordings. He is an almost pure exemplar of 19th century singing technique, based largely on bel canto refinements. Even though verismo extends back into the 19th century, operas commonly called verismo operas were often sung by bel canto trained singers. Plançon remains greatly admired even today, 161 years after his birth, largely for his elegance, which was remarkable.
    Don Carlos, as the opera is known in the French version, was originally conceived of and presented as a French grand opera. We now know this aria from the Italian version, Don Carlo, as Ella giammai m'amo

  • T. Foster Why - Vulcans song - Philémon et Baucis Two Takes #RARE

    6:11

    Thomas Foster Why
    bass-baritone
    b. 1884, Philadelphia

    Couplets de Vulcain
    Au bruits des lourds marteaux d'arain
    Sung in English
    The sparks fly though the smithy door


    From EDISON PHONOGRAPH MONTHLY
    April 1916

    T. Foster Why, bass-baritone, is an American by birth, born in Philadelphia, where he first began his career as singer in several of the well-known churches of that city. After several years of successful singing in and about Philadelphia and the East, in both concert and opera work, he decided to go abroad and further continue his studies. Since that time Mr. Why has had the good fortune to study under such masters as the late Pol Plançon, Lapierre and others of the world's best teachers. Mr. Why had most unusual success in concert, oratorio and opera in many of the large musical centers of Europe. During the past two seasons he has spent his time in America singing in oratorios concerts and recitals, and has appeared with many leading organizations, as New York Oratorio Society. Mendelssohn Club, Philadelphia; Brooklyn Institute of Art and Sciences and many others. Mr. Why's voice is of the type so seldom found, that is, a decided basso-profundo, which at the same time has the high singing range of the baritone.

    .....................................

    This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school.

    Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs):

  • x
  • Pol PLANCON ~ Piff, Paff ~ 1902

    2:53

    Pol Plancon (1851-1914) Piff, Paff from Les Huguenots (Meyerbeer) - 1902 rec.

  • Pol Plançon

    43:03

    Dedicated to dearest best friend & great artist: Laetita Hahn:

    • Flotow - Martha: Chi mi dirà R.1907 03 27 USA
    • Gounod - Roméo et Juliette: Allons jeunes gens R.1904 01 29 USA
    • Adam - Le Châlet: Arretons nous ici R.1904 02 27 USA
    • Berlioz - Damnation de Faust: Devant la maison R.1906 01 23 USA
    • Gounod - Faust: Le veau d'or R.1906 03 08 USA
    • Godard: Embarquez-vous? R.1902 London
    • Gounod - Faust: Vous qui faites l'endormie R.1904 01 29 USA
    • Rossini - Stabat Mater: Pro peccatis R.1904 01 29 USA
    • Thomas - Caïd: Air du tambour major R.1902 London
    • Thomas - Caïd: Air du tambour major R.1907 03 27 USA
    • Meyerbeer - Robert le Diable: Nonnes qui reposez R.1908 04 14 USA
    • Meyerbeer - L'étoile du Nord: O jours heureux R.1908 04 14 USA
    • Schumann: Les deux grenadiers R.1906 03 14 USA
    • Verdi - Don Carlos: Elle ne m'aime pas R.1907 03 27 USA
    • Gounod - Roméo et Juliette: Allons jeunes gens R.1902 London

  • x
  • pol plancon ,air du toreador

    2:37

    basso francese , registrazione del 1902

  • Pol PLANCON ~ Les Rameaux ~ 1902

    2:32

    Pol Plancon (1851-1914) Les Rameaux (J.B.Faure) 1902.

  • Pol Plançon - Carmen: Votre toast Couplets du Toréador - Recorded 1903 #RARE

    2:38

    Plançon, the star basse chantante near the turn of the 20th century, sang Escamillo a handful of times, usually resulting in less critical enthusiasm for this part than for any other role he essayed. Critics complained that his interpretation was too cool, too refined and elegant—less the fiery Latin temperament and declamatory singing style to which they had grown accustomed in their on-stage Toreadors.

    Nevertheless, the ease with which he tosses off the notes (transposed a half step down as they are), the clarity of the diction, the finesse of the tiny but essential ornaments, paint a picture of the Toreador contento. Never has this been sung in such way that feels so... *Spanish.*

    Indeed Herman Klein said:

    It is not with the swinging march refrain, however, that the singer finds any difficulty, but rather the extended compass, the swift, sudden contrasts, the whirl and animation of the descriptive narrative depicting the bull-fight in song. The nature of the task is proved by the fact that although the crowd loves and applauds and encores it, the Toreador's Song very seldom creates the impression of being sung with ease and elegance by a true espada, a typical Spaniard, a man to whom the danger of a pretty face is far more serious than the rush of an Andalusian bull. That was how Del Puente and Lassalle and PLANÇON contrived to make you feel. But not very often, I am sorry to say, can you feel so nowadays[.]

    .....................................

    This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school.

    Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs):

  • x
  • Pol Plançon; Le veau dor; FAUST; ; Charles Gounod

    2:00

    Pol Henri Plançon (1851-1914)--bass
    1904
    =================================
    A distinguished French operatic bass (basse chantante). He was one of the most acclaimed singers active during the 1880s, 1890s and early 20th century—a period often referred to as the Golden Age of Opera.

    In addition to being among the earliest international opera stars to have made recordings, he was a versatile singer who performed roles ranging from Sarastro in Mozart's The Magic Flute to the core bass roles by Meyerbeer, Gounod, Verdi and Wagner, among others.

    He was renowned for his exquisite legato singing as well as for his crisp diction, limpid tone, precise intonation, and virtuosic mastery of ornaments and fioriture. While not huge, his voice was of penetrating character, making a consistently positive impression in such large theatres as the Metropolitan Opera in New York City. It always moved with exemplary suppleness, allowing him to execute flawless trills and rapid scale passages with remarkable precision and suavity. Wikipedia

  • Pol Plançon; Cantique de Noël; Adolphe Adam

    2:47

    Pol Henri Plançon (1851-1914)--bass
    1904
    =================================
    A distinguished French operatic bass (basse chantante). He was one of the most acclaimed singers active during the 1880s, 1890s and early 20th century—a period often referred to as the Golden Age of Opera.

    In addition to being among the earliest international opera stars to have made recordings, he was a versatile singer who performed roles ranging from Sarastro in Mozart's The Magic Flute to the core bass roles by Meyerbeer, Gounod, Verdi and Wagner, among others.

    He was renowned for his exquisite legato singing as well as for his crisp diction, limpid tone, precise intonation, and virtuosic mastery of ornaments and fioriture. While not huge, his voice was of penetrating character, making a consistently positive impression in such large theatres as the Metropolitan Opera in New York City. It always moved with exemplary suppleness, allowing him to execute flawless trills and rapid scale passages with remarkable precision and suavity. Wikipedia

  • pol plancon o isis un osiris

    3:39

    I took all the pictures of differente url in the web, even I improved some of them.
    If somebody feels has rights over this pictures, please tell me and I will changed it or them.

  • Pol Plançon - Au pays bleu - Recorded 1903 #RARE

    2:44

    Pol Plançon, the superb French basse chantante sings a song written for him (and dedicated to him) by his contemporary and friend, composer Cécile Louise Stéphanie Chaminade (1857-1944).

    Though her piano pieces and songs are mostly forgotten today, they were tremendous favorites of the American public. And her work was no less because of her gender. Ambroise Thomas, the celebrated French composer and writer, once said of Chaminade: This is not a woman who composes, but a composer who is a woman.

    .....................................

    This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school.

    Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs):

  • Pol Plançon - Le lac - Recorded 1904 #RARE

    3:41

    Pol Plançon
    basse chantante

    Composed by
    Louis Niedermeyer (1802--1861)

    Text from Alphonse de Lamartine's 'Méditations poétiques' (1820)

    .............

    Saint-Saëns, in the preface of Niedermeyer's biography:

    Niedermeyer was above all a precursor. He was the first to break the mold of the antiquated and insipid French romance; taking his inspiration from the beautiful poems of Lamartine and Victor hugo, he created a new type of song of a superior artistry, analagous to the German Lied. The resounding success of Le lac paved the way for Gounod and all those that followed this path.

    .....................................

    This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school.

    Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs):

  • Faust: Le veau dor

    1:59

    Provided to YouTube by The Orchard Enterprises

    Faust: Le veau d'or · Pol Plançon

    Favorite French Excerpts

    ℗ 2009 Opera d'Oro

    Released on: 2009-07-23

    Composer: Charles Gounod

    Auto-generated by YouTube.

  • Pol Plançon - Qui sdegno - Recorded 1905

    2:48

    Pol Plançon (1851--1914)
    basse chantante

    Il flauto magico (Die Zauberflöte)
    Wolfgang Amadeus Mozart

    .....................................

    This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school.

    Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs):

  • 100 Greatest Singers: POL PLANCON

    4:20

    THIS PROJECT IS RESERVED ONLY FOR THE GREATEST! Do you agree having Pol Plancon in this collection? Please comment!

    Pol Plancon, Bass (1851, other source 1854-1914)

    Ambroise Thomas Le Caid
    Enfant chéri, des dames, des grisettes (Air du Tambour-Major)
    (Recorded 1903)

    My personal opinion: E la solita storia, it´s the same old story: The old school singers were much better. A prejustice or simply the truth?
    It´s not easy to give an accounted answer. Many of these singers came to the record studios when they were far beyond their peak, for instance Patti recorded her first arias when she was over 60! With this in mind I listened to her and Lilli Lehmann. For this project I choose none of them, because I believe their sound legacy is insuffcicient.
    Well, what about Pol Plancon? His recordings are surprising freshly. Most basses I know are inflexible. Their voices are dark, sometimes right black, but not really alive... That´s the reason, most basses have exactly the same sound. It´s difficult to differentiate and recognize them.
    Plancon de facto was different. Here is his most famous showpiece. He begins with a dark, heavy tone and than, when the music speeds up, it seems we hear another singer. He possessed more than one voice.
    He certainly was not the greatest bass, but a very flexible one and I believe his sophisticated way of singing was a pattern for many of his successors, Samuel Ramey and José von Dam for example.

  • French Basse Chantante Pol Plancon ~ Vallons de lHelvetie

    3:11

    By request from meltzerboy/ French Basse Chantante Pol Plancon (1851-1914) / Vallons de l'Helvetie / Chalet (Adam) / Recored: March 27, 1904 --

  • Pol Plançon; Emma Eames; Alerte! Alerte!; FAUST; ; Charles Gounod

    2:54

    Pol Henri Plançon (1851-1914)--bass
    Emma Eames--soprano
    Charles Damorès--tenor
    1904
    =================================
    A distinguished French operatic bass (basse chantante). He was one of the most acclaimed singers active during the 1880s, 1890s and early 20th century—a period often referred to as the Golden Age of Opera.

    In addition to being among the earliest international opera stars to have made recordings, he was a versatile singer who performed roles ranging from Sarastro in Mozart's The Magic Flute to the core bass roles by Meyerbeer, Gounod, Verdi and Wagner, among others.

    He was renowned for his exquisite legato singing as well as for his crisp diction, limpid tone, precise intonation, and virtuosic mastery of ornaments and fioriture. While not huge, his voice was of penetrating character, making a consistently positive impression in such large theatres as the Metropolitan Opera in New York City. It always moved with exemplary suppleness, allowing him to execute flawless trills and rapid scale passages with remarkable precision and suavity. Wikipedia

  • French Basse Chantante Pol Plancon ~ Vous qui faites lendormie

    3:04

    By request from meltzerboy/ French Basse Chantante Pol Plancon (1851-1914) / Vous qui faites l'endormie / Faust (Gounod) / Recorded: January 29, 1904 --

  • x
  • Pol Plançon; Pro pecatis; STABAT MATER; ; Gioachino Rossini

    4:00

    Pol Henri Plançon (1851-1914)--bass
    1904
    =================================
    A distinguished French operatic bass (basse chantante). He was one of the most acclaimed singers active during the 1880s, 1890s and early 20th century—a period often referred to as the Golden Age of Opera.

    In addition to being among the earliest international opera stars to have made recordings, he was a versatile singer who performed roles ranging from Sarastro in Mozart's The Magic Flute to the core bass roles by Meyerbeer, Gounod, Verdi and Wagner, among others.

    He was renowned for his exquisite legato singing as well as for his crisp diction, limpid tone, precise intonation, and virtuosic mastery of ornaments and fioriture. While not huge, his voice was of penetrating character, making a consistently positive impression in such large theatres as the Metropolitan Opera in New York City. It always moved with exemplary suppleness, allowing him to execute flawless trills and rapid scale passages with remarkable precision and suavity. Wikipedia

  • Faust: Le Veau Dor

    2:02

    Provided to YouTube by IIP-DDS

    Faust: Le Veau D'or · Pol Plancon

    A Golden Treasure Of The Past, Vol. 3

    ℗ Maestoso

    Released on: 2000-01-01

    Composer: Charles Gounod
    Composer: Georges Bizet
    Artist: Pol Plancon

    Auto-generated by YouTube.

  • Pol Plançon - Le flibustier - Recorded 1905

    1:29

    Pol Plançon (1851--1914)
    basse chantante

    Alexandre Georges (1950--1938)
    composer

    .....................................

    This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school.

    Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs):

  • Devant la maison • Pol Plançon

    2:00

    Bass Pol Plançon sings Devant la maison (from Damnation de Faust by Hector Berlioz) on Victor batwing record 81034, played on an EMG Mark IX gramophone with a Meltrope III soundbox and a Burmese Colour Needle. Acoustically recorded January 23, 1906 in New York City, take one.

  • pol plancon , letolie du nord

    3:49

    basso francese,registrazione del 1908

  • Pol Plançon - Chi Mi Dira - 1907

    2:49

    Pol Plançon sings Plunkett's aria 'Chi Mi Dira' (Porter-Lied)/'Lasst Mich Euch Fragen' from Flotows 'Martha'.

    Recorded: 27th March, 1907

  • Pol Plançon - Schumanns Wanderlied - Recorded 1903 #RARE

    2:35

    The great basse chantante Pol Plançon, according to his niece Marthe, had a special affinity with Schumann's music. He was famous for his rendition of Schumann's Die beiden Grenadiere (and recorded it no less that seven times), but he also often sang Wanderlied in concert.

    With the exception of his Wagner roles, Plançon tended to sing German works in French or Italian. Nevertheless, the vivacity and youthful ardor are there in the crispness of the attack and enunciation, coupled with the legato and velvety tone, bring the text to life as well as any German interpreter could.

    .....................................

    This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school.

    Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs):

  • Pol Plançon; Schon eilet froh der Ackersmann; ; DIE JAHRESZEITEN; Joseph Haydn

    3:24

    Pol Henri Plançon (1851-1914)--bass
    1904
    =================================
    A distinguished French operatic bass (basse chantante). He was one of the most acclaimed singers active during the 1880s, 1890s and early 20th century—a period often referred to as the Golden Age of Opera.

    In addition to being among the earliest international opera stars to have made recordings, he was a versatile singer who performed roles ranging from Sarastro in Mozart's The Magic Flute to the core bass roles by Meyerbeer, Gounod, Verdi and Wagner, among others.

    He was renowned for his exquisite legato singing as well as for his crisp diction, limpid tone, precise intonation, and virtuosic mastery of ornaments and fioriture. While not huge, his voice was of penetrating character, making a consistently positive impression in such large theatres as the Metropolitan Opera in New York City. It always moved with exemplary suppleness, allowing him to execute flawless trills and rapid scale passages with remarkable precision and suavity. Wikipedia

  • Victor DeLuxe Record 1904 - M. Pol Plancon - Les Deux Grenadiers - 1907 Victor VTLA

    4:32

    Victor's Early 12 Records both Poplular and Red Seal issues were called DeLuxe Records. and this designation was dropped very shortly. These early DeLuxe records very seldom come up for sale so here is one of two I have been able to find over the years, for your enjoyment on the Victrolaman Channel. It is done by the Great French Basso M. Pol Plancon, and the selection is 'Les Deux Grenadiers composed by Schumann, and recorded in January of 1904. The Victrola is an early Victor VTLA from 1907, and featuring and original Pooley Cabinet. The VTLA was the very first internal horn Talking Machine, mfg. by Victor beginning in 1906.

  • Le caïd: Enfant chéri... Le Tambour-Major

    4:17

    Provided to YouTube by The Orchard Enterprises

    Le caïd: Enfant chéri... Le Tambour-Major (Recorded 1907) · Pol Plançon · Ambroise Thomas

    Emma Eames and Pol Plançon (Recorded 1903 - 1911)

    ℗ 1994 Nimbus Records Limited

    Released on: 1994-01-01

    Auto-generated by YouTube.

  • Le cor

    3:59

    Provided to YouTube by NAXOS of America

    Le cor · Pol Plancon

    The Symposium Opera Collection, Vol. 5 (1902-1908)

    ℗ 2011 Symposium

    Released on: 2011-08-02

    Artist: Pol Plancon
    Composer: Ange Flegier

    Auto-generated by YouTube.

  • Basso POL PLANÇON - Le Caïd Enfant chéri des dame, des grisettes

    4:30

    Ambroise Thomas - LE CAÏD “Enfant chéri des dames, des grisettes” (Air du Tambour-major)
    Basso francese POL PLANÇON
    (Fumay, Ardenne 12 giugno1851 - Parigi 11 agosto 1914)

  • Pol Plancon - Devant la Maison from Damnation of Faust

    2:06

    One of the highest-regarded baritone of 19th century, Pol Plancon (1851.6.12 1914.8.11) sings 'Devant la Maison' from Berlioz's Damnation of Faust, for Victor in 1906. This is a release from His Master's Voice Catalogue No.2 pressing.

    One of my YouTube friends, merrihew just uploaded 1904 version of this aria with Piano accompaniment. But since I always prefer the recordings accompanied by orchestra, I just uploaded this for comparison. Speaking about Plancon's voice, the 1904 version is much better, but this 1906 version has its own merits.

    Played on my Numark machine.

  • Chant du Chasseur sung by Pol Plancon Victor Record C 1908

    3:43

    The Great Pol Plancon 1855 - 1914

  • Serenade Mephistopheles from Faust - M. Pol Plancon 1903 Victor Record

    4:56

    Here is an early domestically recorded Red Seal Victor Monarch Record from late 1903 or early 1904 featuring the great French Bass M. Pol Plancon with a Selection from Gounod's Faust, Mephistopheles Serenade. This is Monarch Red Seal # 81040.

  • Faust, Act II: Le veau dOr

    2:14

    Provided to YouTube by IIP-DDS

    Faust, Act II: Le veau d'Or · Pol Plancon · New Philharmonia Orchestra · Richard Bonynge

    Pol Plancon: Vol. 2

    ℗ Maestoso

    Released on: 2000-01-01

    Composer: Hermann Bemberg
    Artist: New Philharmonia Orchestra
    Artist: Pol Plancon
    Artist: Richard Bonynge

    Auto-generated by YouTube.

  • Pro Peccatis sung by Pol Plancon In Latin Red Berliner C 1908

    3:40

    A Most unusual Berliner Concert record (Canada) of the Great Pol Plancon

  • Pol Plançon, Emma Eames, Charles Dalmorès - Faust finale trio - Recorded 1907

    2:55

    Faust
    by Charles Gounod

    Recorded March 25, 1907
    New York, NY


    Act V, Scene III

    Scène III

    Les Mêmes, Méphistophélès
    Méphistophélès
    Alerte! alerte! ou vous êtes perdus!
    Si vous tardez encor, je ne m'en mêle plus!

    Marguerite
    Le démon! le démon! -- Le vois-tu?... là... dans l'ombre
    Fixant sur nous son oeil de feu!
    Que nous veut-il? -- Chasse-le du saint lieu!

    Méphistophélès
    L'aube depuis longtemps a percé la nuit sombre
    Le jour est levé;
    De leur pied sonore
    J'entends nos chevaux frapper le pavé.
    [Cherchant à entraîner Faust]
    Viens! sauvons-la. Peut-être il en est temps encore!

    Marguerite
    Mon Dieu, protégez-moi! -- Mon Dieu, je vous implore!
    [Tombant à genoux]
    Anges purs! anges radieux!
    Portez mon âme au sein des cieux!
    Dieu juste, à toi je m'abandone!
    Dieu bon, je suis à toi! pardonne!

    Faust
    Viens, suis-moi! je le veux!

    Marguerite
    Anges purs, anges radieux!
    Portez mon âme au sein des cieux!.

    Méphistophélès
    Hâte-toi! l'heure sonne!

    Marguerite
    Dieu juste, à toi je m'abandonne!
    Dieu bon, je suis à toi! -- pardonne!

    Faust
    Viens, Marguerite, je le veux!
    Viens!... le jour envahit les cieux

    Méphistophélès
    Hâte-toi de quitter ces lieux!
    Fuis!... le jour envahit les cieux!

    Marguerite
    Anges purs, anges radieux!
    Portez mon âme au sein des cieux!

    .....................................

    This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school.

    Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs):

  • Vi Ravviso from Bellinis La Sonnambula - M. Pol Plancon - 1903 Victor Red Seal

    4:59

    Here is one of the first Domestic 12 Red Seal Records produced by Victor and also featuring the Large Image of Nipper looking down into the Horn of the Gramophone. It is Victor Grand Prize #85018 Vi Ravviso from Bellini's La Sonnambula, sung by the great French Basso M. Pol Plancon. This is from 1903 or early 1904.

  • French Basse Chantante Pol Plancon ~ O jours heureux

    3:46

    By request from meltzerboy / French Basse Chantante Pol Plancon (1851-1914) / O jours heureux / Etoile du Nord (Meyerbeer) / Recorded: April 14, 1908 --

  • Pol Plançon , Embarquez-vous

    2:28

    The great French basse chantante (1851-1914) in a musical setting of a poem by French poet and novelist Ulrich Guttinguer, (1785-1866) one of the leading figures of the Romantic Revolution.

  • Don Carlo: Oui, je suis... Je dormirai dans mon manteau régal

    4:02

    Provided to YouTube by The Orchard Enterprises

    Don Carlo: Oui, je suis... Je dormirai dans mon manteau régal (Recorded 1907) · Pol Plançon · Giuseppe Verdi

    The Era of Adelina Patti

    ℗ 1993 Nimbus Records Limited

    Released on: 1993-01-01

    Auto-generated by YouTube.

  • Les Rameaux

    3:59

    French bass Pol Plançon sings Jean-Baptiste Faure's Les Rameaux (The Palms) on Victrola record 85020, played on a 1926 Victor VE8-30X (Credenza) Orthophonic Victrola with a medium tone steel needle. Recorded March 14, 1906 in New York City.

  • Basso POL PLANÇON - Don Carlos Je dormirai dans mon manteau royal

    4:00

    Giuseppe Verdi - Don Carlos Où suis-je?... Je dormirai dans mon manteau royal -
    Basso Francese POL PLANÇON (Fumay 12.6.1851 - Parigi 11.8.1914)

  • Pol Plançon - Devant La Maison - 1906

    2:00

    Pol Plançon sings 'Devant La Maison' from Berlioz's 'La Damnation de Faust'.
    Recorded: 23 January, 1906
    Restored by: MrQwerty88 (Youtube)

    Victor Matrix: B-3024
    Also Recorded as: B-874?

  • Pol Plançon; Les rameaux; ; Gabriel Fauré

    3:48

    Pol Henri Plançon (1851-1914)--bass
    1904
    =================================
    A distinguished French operatic bass (basse chantante). He was one of the most acclaimed singers active during the 1880s, 1890s and early 20th century—a period often referred to as the Golden Age of Opera.

    In addition to being among the earliest international opera stars to have made recordings, he was a versatile singer who performed roles ranging from Sarastro in Mozart's The Magic Flute to the core bass roles by Meyerbeer, Gounod, Verdi and Wagner, among others.

    He was renowned for his exquisite legato singing as well as for his crisp diction, limpid tone, precise intonation, and virtuosic mastery of ornaments and fioriture. While not huge, his voice was of penetrating character, making a consistently positive impression in such large theatres as the Metropolitan Opera in New York City. It always moved with exemplary suppleness, allowing him to execute flawless trills and rapid scale passages with remarkable precision and suavity. Wikipedia

  • Embarquez-Vous ! Sung by Pol Plancon 1904 Monarch 78rpm Record

    2:18

    Here is the Great French Bass, Pol Plancon singing Embarguez-Vous composed by Benjamin Godard and recorded in New York on February 27, 1904, by the Victor Talking Machine Co. and featured on an original Red Seal Monarch Record. The Talking Machine is a Victor type II which was first produced in 1902.

  • Pol Henri Plançon sings Faust-Serenade Mephistopheles Gounod

    3:03

    Pol Henri Plançon Recorded December 1903

  • Pol Plançon - Cantique de Noël - 1906

    2:47

    Le Cantique de Noël d'Adolphe Adam, chanté par Pol Plançon, basse, avec accompagnement d'orchestre.
    Disque 78 tours Victrola 85099, enregistré en 1906.
    Vitesse d'enregistrement : 78tr/min.

  • Pol Plançon Gounod-Philémon et Baucis Au bruit de laurds marteaux

    3:15

    Pol Plançon French Bass
    (1851-1914)
    Gounod-Philémon et Baucis (Opera)
    Au bruit de laurds marteaux

    an operbathosa video
    © Copyright

    Pol Plançon was considered to be the most aristocratic of all basses and incomparable in any part he truly made his own. Pol Plançon made his first appearance in 1877 and came to the Metropolitan some 16 years later, already established as one of the world's foremost basses. He sang at the Metropolitan through 1908, when despite unfailing vocalism, he decided to retire. Pol Plançon's voice was of superb quality and an ability at runs and trills usually associated with a coloratura soprano.

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