This album is included in the following sets:
This set contains the following albums:
- Producer's Note
- Full Track Listing
- Cover Art
When the French branch of the Gramophone Company recorded Charles Gounod’s Faust in Paris during 1930, it preserved far more than a celebrated opera. Conducted by Henri Büsser with the orchestra and chorus of the Paris Opéra, this recording captures an entire performing tradition at its height: the supple diction, conversational elegance and stylistic poise of French opera between the wars. Nearly a century later, it remains one of the most idiomatic and compelling recorded accounts of Faust.
Recorded between February and November 1930, the original issue occupied forty sides of 78 rpm discs. Although not absolutely complete, it presented a remarkably substantial version of the opera for its time, including the Walpurgis Night music and ballet, and was described by a contemporary reviewer as “practically complete.” At a time when the limitations of the 78 rpm disc usually demanded extensive cuts, this was an ambitious undertaking that preserved not only Gounod’s score but also a performing tradition already beginning to disappear.
Henri Büsser (1872-1973) brought unique authority to the project. A pupil of both Charles Gounod and Jules Massenet, he belonged to the last generation with direct personal links to the composer. Throughout a long career as conductor, composer and teacher, Büsser became one of the foremost custodians of the French operatic tradition.
His conducting avoids heaviness and theatrical excess, favouring clarity, flexibility and close attention to the natural accents of the French language. The result is a performance of remarkable continuity, despite having been assembled over many recording sessions. Büsser’s spacious pacing favours the long-spun melody while allowing Gounod’s orchestral colours to emerge with unusual transparency.
As Faust, César Vezzani (1888-1951) brings heroic ardour and unmistakable vocal glamour. One of the leading French dramatic tenors of his generation, he combines lyrical warmth with ringing power, qualities heard to memorable effect in Salut! demeure chaste et pure and the final prison scene. His performance preserves one of the fullest surviving documents of a remarkable artist whose career was centred largely within France.
Mireille Berthon (1889-1955) sings Marguerite with refinement and emotional restraint rather than overt sentimentality. Her poised phrasing, clear diction and finely focused tone exemplify the distinctive virtues of French singing between the wars. From the sparkle of the Jewel Song to the pathos of the church scene and the serenity of the final redemption, Berthon creates a Marguerite whose character develops naturally through the drama rather than serving simply as a showcase for vocal display.
The dominant dramatic personality of the set, however, is Marcel Journet (1868-1933) as Méphistophélès. By 1930 he was already celebrated at Covent Garden, La Scala, the Metropolitan Opera and the Paris Opéra. His Devil is urbane rather than grotesque, seductive rather than merely sinister. In Le veau d’or, temptation is conveyed through elegance and intelligence rather than brute force, while throughout the opera his superb command of both voice and language creates one of the most compelling assumptions of the role ever preserved on disc.
The supporting cast, together with the orchestra and chorus of the Paris Opéra, contribute immeasurably to the performance’s authenticity. Modern listeners may initially be surprised by its elegance and intimacy, yet these very qualities give the recording its enduring value. Rather than treating Faust as grand spectacle alone, Büsser and his singers reveal a work of wit, tenderness, sensuality and psychological subtlety.
The Paris Opéra Orchestra plays with a refinement and pliancy characteristic of the French school, from the pearly woodwinds to the burnished strings and sensitive balances. The chorus, too, is notable for the unity of its French diction and the natural flow of its ensembles, essential in an opera where choral comment and atmosphere are so integral to the drama.
Far from being merely a historical document, this 1930 Faust remains a vivid window into a vanished French operatic tradition, preserved with extraordinary vitality by artists who understood its language and style from within. Its historical importance is matched by its enduring musical conviction, qualities that continue to make it one of the finest French opera recordings of the 78 rpm era.
GOUNOD Faust
CD 1 (77:20)
ACT ONE
01. Introduction (4:29)
2 October 1930; CG 869-3 (Disque Gramophone L 806)
02. Rien! En vain j’interroge (4:46)
1 April 1930; CF 3122-1 (Disque Gramophone L 806)
03. Ah! Paresseuse fille qui sommeille encor! (1:33)
04. Aux champs l’aurore nous rappelle (1:09)
2 April 1930; CF 3123-3 (Disque Gramophone L 807)
05. Mais, ce Dieu, que peut-il pour moi? (3:37)
06. À moi les plaisirs (5:31)
3 April 1930; CF 3128-2 & 3129-2 (Disque Gramophone L 807 & L 808)
ACT TWO
07. Vin ou bière, bière ou vin (4:46)
20 February 1930; CF 2963-2 & 2964-2 (Disque Gramophone L 808 & L 809)
08. O sainte médaille (1:35)
09. Avant de quitter ces lieux (4:35)
15 October 1930; CG 951-2 (Disque Gramophone L 809)
2 October 1930; CG 882-2 [part] (Disque Gramophone L 810)
10. Le veau d’or est toujours debout (1:55)
2 October 1930; CG 882-2 [part] (Disque Gramophone L 810)
11. Merci de ta chanson! (2:33)
12. De l’enfer qui vient émousser nos armes (2:05)
31 March 1930; CF 3115-2 (Disque Gramophone L 810)
13. Nous nous retrouverons, mes amis! (1:26)
14. Ainsi que la brise légère (2:40)
3 April 1930; CF 3132-2 (Disque Gramophone L 811)
15. Ne permettrez-vous pas ma belle demoiselle (3:55)
3 April 1930; CF 3133-2 (Disque Gramophone L 811)
ACT THREE
16. Faites-lui mes aveux (2:55)
17. C’est ici? (2:01)
31 March 1930; CF 3118-1 (Disque Gramophone L 812)
18. Quel trouble inconnu . . . Salut! Demeure (4:34)
1 April 1930; CF 3120-1 (Disque Gramophone L 812)
19. Alerte! La voilà (0:38)
10 November 1930; CG 859-4 [part] (Disque Gramophone L 813)
20. Je voudrais bien savoir . . . Il était un roi de Thulé (4:44)
10 November 1930; CG 859-4 [part] (Disque Gramophone L 813)
31 March 1930; CF 3117-2 [part] (Disque Gramophone L 813)
21. Un bouquet! . . . Ah, je ris de me voir si belle (5:27)
31 March 1930; CF 3117-2 [part] (Disque Gramophone L 813)
1 April 1930; CF 3121-2 (Disque Gramophone L 814)
22. Seigneur Dieu, que vois-je! (2:59)
10 November 1930; CG 860-4 [part] (Disque Gramophone L 814)
23. Prenez mon bras un moment (6:01)
10 November 1930; CG 860-4 [part] (Disque Gramophone L 814)
10 November 1930; CG 870-2 (Disque Gramophone L 815)
24. Il était temps! (1:18)
19 November 1930; CG 877-2 [part] (Disque Gramophone L 815)
CD 2 (78:56)
ACT THREE - continued
01. Il se fait tard, adieu! (3:44)
19 November 1930; CG 877-2 [part] (Disque Gramophone L 815)
02. O nuit d’amour, ciel radieux (5:03)
31 March 1930; CF 3119-3 (Disque Gramophone L 816)
15 October 1930; CG 950-2 [part] (Disque Gramophone L 816)
03. Tête folle! . . . Il m’aime! (3:12)
15 October 1930; CG 950-2 [part] (Disque Gramophone L 816)
ACT FOUR
04. Seigneur, daignez permettre (4:48)
20 March 1930; CF 3078-1 (Disque Gramophone L 817)
05. Quand du Seigneur le jour luira (4:12)
20 March 1930; CF 3079-3 (Disque Gramophone L 817)
06. Déposons les armes! (3:03)
20 March 1930; CF 3080-1 (Disque Gramophone L 818)
07. Gloire immortelle de nos aïeux (3:05)
20 March 1930; CF 3081-1 (Disque Gramophone L 818)
08. Allons, Siebel! Entrons dans la maison (0:48)
09. Qu’attendez-vous encore? (1:09)
10. Vous qui faites l’endormie (2:45)
13 October 1930; CG 934-2 (Disque Gramophone L 819)
11. Que voulez-vous, messieurs? (3:54)
13 October 1930; CG 935-2 (Disque Gramophone L 819)
12. Par ici, par ici, mes amis! (2:00)
31 March 1930; CF 3116-2 (Disque Gramophone L 820)
13. Écoute-moi bien, Marguerite (4:15)
2 April 1930; CF 3124-1 (Disque Gramophone L 820)
ACT FIVE
14. Dans les bruyères (3:06)
3 April 1930; CF 3134-2 (Disque Gramophone L 821)
15. Jusqu’aux premiers feux du matin (3:23)
3 April 1930; CF 3135-2 (Disque Gramophone L 821)
16. Les Nubiennes (2:05)
13 March 1930; CF 3061-2 [part] (Disque Gramophone L 822)
17. Adagio (3:36)
13 March 1930; CF 3062-2 (Disque Gramophone L 822)
18. Danse antique (1:26)
13 March 1930; CF 3061-2 [part] (Disque Gramophone L 822)
19. Variation de Cléopâtre (1:19)
20. Les Troyennes (2:08)
13 March 1930; CF 3063-1 (Disque Gramophone L 823)
21. Variation du miroir (1:26)
22. Danse de Phryné (2:35)
13 March 1930; CF 3064-1 (Disque Gramophone L 823)
23. Que ton ivresse, ô volupté (1:52)
3 April 1930; CF 3130-1 [part] (Disque Gramophone L 824)
24. Va-t’en! (3:56)
3 April 1930; CF 3130-1 [part] (Disque Gramophone L 824)
2 October 1930; CG 883-1 [part] (Disque Gramophone L 824)
25. Mon cœur est pénétré d’épouvante! (5:24)
2 October 1930; CG 883-1 [part] (Disque Gramophone L 824)
13 October 1930; CG 936-2 [part] (Disque Gramophone L 825)
26. Alerte, alerte, ou vous êtes perdus (2:50)
13 October 1930; CG 936-2 [part] (Disque Gramophone L 825)
3 April 1930; CF 3131-2 [part] (Disque Gramophone L 825)
27. Sauvée! Christ est ressuscité! (1:39)
3 April 1930; CF 3131-2 [part] (Disque Gramophone L 825)
Performers
Faust - César Vezzani, tenor
Marguerite - Mireille Berthon, soprano
Méphistophélès - Marcel Journet, bass
Valentin - Louis Musy, baritone
Dame Marthe Schwertlein - Jeanne Montfort, mezzo-soprano
Wagner - Michel Cozette, baritone
Orchestra and Chorus of the Paris Opéra
conducted by Henri Büsser
Producer and Audio Restoration Engineer: Mark Obert-Thorn
Total duration: 2hr 36:16
