Marie-Louise Debierre

Marie-Louise Debierre
Marie-Louise Debierre at the age of 42
Born(1910-01-31)31 January 1910
Paris, France
Died15 October 1988(1988-10-15) (aged 78)
Gaillon, France
OccupationsOpera singer, Falcon soprano
Years active1932–1958

Marie-Louise Debierre, born on 31 January 1910 in Paris and died on 15 October 1988 in Gaillon, was a French opera singer, mezzo-soprano and contralto.

Active during the 1940s and 1950s, she pursued a career at the Paris Opera, the Opéra-Comique, as well as on French and international opera stages. She became distinguished in dramatic roles from the French, Italian and Wagnerian repertoire, performing in Bordeaux, Lille, Lyon, Nancy, Nice, Algiers, Tunis and Barcelona.

Biography

Born into a modest family, Marie-Louise Debierre began working at the age of fourteen for the Maison Pouyanne luxury dye works before studying singing under Eugène Marcel Picheran, former chorus master of the Opéra-Comique, Salle Favart. Before making her professional debut, she appeared under the stage name Mme Pradat. In November 1932, she performed works by Léo Delibes and Alexandre Georges during a charity event organized in Paris's 14th arrondissement.

In June 1933, she performed the role of Mme Duponceau in Premier prix de piano, a one-act comedy by Eugène Labiche and Alfred Delacour.

On 31 January 1941, she joined the chorus of the Paris Opera. In 1946, she left the Paris Opera chorus to be a soloist at the Grand Théâtre de Bordeaux.

In 1951, she was engaged for solo roles at the Paris Opera under the direction of Georges Hirsch. She is listed in the Encyclopédie des Cantatrices de l'Opéra Garnier de Paris.[1]

She took vocal training under the tenor and singing teacher Georges Jouatte. After 1960, she ended her operatic career and retrained in the fields of social assistance and personal care.

Career

Debut at the Opéra-Comique in Paris

On 3 February 1943, at Villiers-sur-Marne, Marie-Louise Debierre performed her first leading role, Toinette in Le Chemineau by Xavier Leroux. The title role of the Wayfarer was performed by her singing teacher Eugène Marcel Picheran, former chorus master of the Opéra-Comique.[2]

On 28 February 1948, Marie-Louise Debierre made her debut at the Opéra-Comique in the role of the Mother in Louise by Gustave Charpentier, conducted by André Cluytens. She subsequently performed this role on several occasions, notably alongside baritone André Pernet in the role of the Father.[3]

Marie-Louise Debierre is listed in the Encyclopédie des Cantatrices de l'Opéra-Comique.[4]

Debut in the Paris Opera Chorus

On 2 June 1945, she made her debut at the Paris Opera in a performance of Pénélope by Gabriel Fauré.

Following the Liberation of Paris in August 1945, she performed La Marseillaise and patriotic songs on a stage erected in front of the Hôtel de Ville in duet with Charles Cambon, accompanied by the Paris Opera Orchestra and Chorus.

Grand Théâtre de Bordeaux

From 1945 onward, Marie-Louise Debierre was engaged by the Grand Théâtre de Bordeaux, where she performed several leading roles from the French and Wagnerian repertoire.

She notably sang Fricka in Die Walküre, a role in which critics praised the quality of her diction, the warmth of her voice and her dramatic abilities.[5]

On 26 November 1946, she performed Dulcinea in Don Quichotte.[6]

On 22 January 1947, she performed the role of Gertrude, Queen of Denmark and Hamlet's mother, in Hamlet.[7]

On 17 May 1947, she performed the title role in Hérodiade.[8]

Paris Opera

At the Paris Opera, she appeared in numerous productions from the French, Italian and German repertoires. Her roles included Dame Marthe in Faust, Gertrude (Juliet's Nurse) in Roméo et Juliette, Giovanna (sometimes spelled Johanna) in Rigoletto, and Schwertleite in Die Walküre.[1]

During the 1951–1952 season at the Paris Opera, she performed the role of Schwertleite in Die Walküre, with Suzanne Juyol as Brünnhilde, under the baton of conductor André Cluytens.[9]

Nancy, Lyon and Tunis

On 15 February 1950, she performed Ortrud in Lohengrin at the Grand Théâtre de Nancy, alongside Régine Crespin as Elsa of Brabant.[10]

On 16 October 1950, she performed Margared in Le Roi d'Ys at the Grand Théâtre of Saint-Quentin.[11]

On 29 and 30 November 1950, she performed the Mother in Louise at the Grand Théâtre of Tourcoing.[12]

On 12 January 1951, she sang Amneris in Aida at the Opéra de Lyon.

On 24 January 1951, she performed Mallika in Lakmé at the Municipal Theatre of Calais, followed by performances at the Monsigny Municipal Theatre in Boulogne-sur-Mer and the Municipal Theatre of Lille.[13]

On 16 and 18 October 1951, she performed Dame Marthe in Faust at the Municipal Opera of Algiers.[14]

Marseille

In 1951, she performed the role of the Nurse in Boris Godunov at the Opéra municipal de Marseille,[15] Toinette in Le Chemineau at the Municipal Theatre of Tourcoing,[16] and Ortrud in Lohengrin at the Lyon Opera.[17] In November 1951, she once again performed Amneris in Aida at the Grand Théâtre de Nancy and[18] she repeated the role at the Théâtre municipal de Tunis, where the press praised the dramatic power of her interpretation.[19]

Lille

She appeared in the Opéra de Lille programme for the 1951–1952 season.[20]

On 13 December 1951, she performed Delilah in Samson et Delilah.[21]

On 17 January 1952, she performed the title role in Hérodiade.[22]

On 21 January 1952, she performed Ortrud in Lohengrin at the Eden Theatre in Saint-Étienne.[23]

On 21 February 1952, she sang Margared in Le Roi d'Ys at the Lille Opera.[24]

Nice

At the Nice Opera, on 6 and 8 March 1952, she performed Ortrud in Lohengrin alongside Berthe Monmart, Raoul Jobin, Pierre Nougaro and Ernest Blanc.[25]

On 15 and 16 March 1952, she performed the title role of Delilah in Samson et Dalila at the Municipal Theatre of Orléans (1951–1952 season).[26]

She sang Amneris in Aida on 12 July 1952 at the Théâtre antique de Vienne and on 4 and 8 November 1952 at the Opéra d'Avignon.[27]

She sang Taven in Mireille on 20 November 1952 at the Municipal Theatre of Calais.[28]

In December 1952, she performed the title role in Hérodiade at the Opéra de Lyon.[29]

In November 1954, she performed Ortrud in Lohengrin at the Opéra de Lyon.[30]

In November 1954, she performed the role of Suzuki in Madama Butterfly at the Municipal Theatre of Calais.[31]

Wagnerian repertoire

Marie-Louise Debierre was especially admired in the works of Richard Wagner. Critics regularly praised the power of her lower register, the quality of her French diction, and her dramatic temperament, particularly in the roles of Ortrud, Fricka and Schwertleite.

Algiers Opera

During the 1954–1955 season of the Algiers Opera, she appeared in performances of Boris Godunov, singing the roles of the Hostess and the Nurse.[32]

Final years of her career

In October 1956, she performed Léonor de Guzman in La Favorite at the Opéra de Lille.[33]

Barcelona

During the 1957–1958 season, Marie-Louise Debierre was engaged at the Gran Teatre del Liceu in Barcelona.[34]

She appeared in several performances of:

Principal repertoire

Role

Opera (work)

Date

• Albine – Thaïs (1957–1958[35])
• Amneris[37] – Aida (1951[18] · ,[19] 1952[27])
• Delilah – Samson and Delilah (1951,[21] 1952[26])
• Dulcinea – Don Quichotte (1946[6])
• Fricka – Die Walküre (1945[5])
• Gertrude (the Nurse)[38] – Roméo et Juliette (1951)
• Gertrude – Hamlet (1947[7])
• Giovanna – Rigoletto (1951)
• Herodias – Hérodiade (1947,[8] 1952[22] · [29])
• The Mother – Louise (1948,[3] 1950[12])
• Léonor de Guzman – La Favorite (1956[33])
• The Nurse – Boris Godunov (1951,[15] 1954–1955[32])
• Mallika – Lakmé (1951[13])
• Margared – Le Roi d'Ys (1950,[11] 1952[24])
• Marthe – Faust (1951,[14] 1957–1958[36])
• Ortrud[39] – Lohengrin (1950,[10] 1951,[17] 1952[23] · ,[25] 1954[30])
• Schwertleite – Die Walküre (1951–1952[9])
• Suzuki – Madama Butterfly (1954[31])
• Taven – Mireille (1952[28])
• Toinette – Le Chemineau (1943,[2] 1951[16])

Critical reception

Specialized press praised the richness of Marie-Louise Debierre's lower register, the warmth of her tone, her diction, and her dramatic interpretation. Her performances in the Wagnerian repertoire, particularly as Ortrud in Lohengrin, received particular acclaim (1950,[10] 1951,[17] 1952[23] · ,[25] 1954[30]).

Notes and references

  1. 1 2 "Encyclopédie des Cantatrices de l'Opéra Garnier de Paris"
  2. 1 2
    "Toinette in Le Chemineau at Villiers-sur-Marne", Marie-Louise Debierre's first leading role.
  3. 1 2
    "Louise, a musical novel in four acts and five tableaux", at the Opéra-Comique, Une semaine de Paris, 28 April 1948, p. 7
  4. ↑
    "Encyclopédie des Cantatrices de l'Opéra-Comique"
  5. 1 2
    "Fricka in Die Walküre at the Grand Théâtre de Bordeaux", Le Courrier Français du Sud-Ouest, 1945:
    "This is the first time we have heard Marie-Louise Debierre. The role of Fricka is ungrateful and technically extremely demanding. The artist displayed undeniable class through her excellent stage presence, impeccable diction, and beautiful vocal line, supported by a pleasant, warm-toned voice."
  6. 1 2
    "Dulcinea in Don Quichotte at the Grand Théâtre de Bordeaux", Le Courrier Français du Sud-Ouest, 26 November 1946, p. 3
  7. 1 2
    "Gertrude in Hamlet at the Grand Théâtre de Bordeaux", Le Courrier Français du Sud-Ouest, 22 January 1947, p. 3
  8. 1 2
    "Hérodiade at the Grand Théâtre de Bordeaux", Le Courrier Français du Sud-Ouest, 17 May 1947, p. 3
  9. 1 2
    "André Cluytens: itinerary of a conductor", Marie-Louise Debierre is mentioned on page 367 in connection with the performances of Wagner's Die Walküre on 17 August, 3 September and 3 November 1951, with Suzanne Juyol as Brünnhilde.
  10. 1 2 3
    "Ortrud in Lohengrin at the Grand Théâtre de Nancy", L'Est Républicain, 15 February 1950, p. 3:
    "Mrs Régine Crespin was an extraordinary Elsa of Brabant; beside her, one could fully appreciate the outstanding qualities of Mrs Marie-Louise Debierre."
  11. 1 2
    "Margared in Le Roi d'Ys at the Grand Théâtre of Saint-Quentin", Journal OPERA, 27 October 1950:
    "Alongside the great singer (Mrs RUSCART in the role of Rozenn), Miss Marie-Louise Debierre captivated the audience through her singing and the assurance of her acting...
    Miss M.-L. Debierre of the Paris Opera was remarkable."
  12. 1 2
    "The Mother in Louise at the Grand Théâtre of Tourcoing", Nord Matin, 30 November 1950:
    "Mr Adrien Legros of the Opéra-Comique and Mrs Marie-Louise Debierre of the Paris Opera formed a truly engaging couple, both as actors and singers...
    Mrs Marie-Louise Debierre (the Mother) was in no way overshadowed by her distinguished partner. She is a first-class dramatic mezzo whose compelling tone and commanding presence reveal a true Wagnerian interpreter."
  13. 1 2
    "Mallika in Lakmé at the Municipal Theatre of Lille", two Lille newspapers:
    "Mallika was sung by Miss Debierre... During the duet in the first act, Lakmé's voice blended most pleasantly with Miss Debierre's warm voice. This artist, who possesses remarkable diction, sang the duet perfectly. What a beautiful velvety and resonant timbre!"
    "Mrs Debierre (Mallika) offered a glimpse—far too brief—of a type of voice that has become rare: such depth, such velvet tone, such artistry of expression! Her first-act duet with Georgette Plessis was deeply moving. One would have to rewrite Lakmé simply to give her role greater importance."
  14. 1 2
    Dame Marthe in Faust at the Municipal Opera of Algiers:
    • Dernière Heure d'Alger, 18 October 1951:
    "At last, a Dame Marthe who can sing and be heard (Miss M.-L. Debierre of the Paris Opera)."
    • Echo d'Alger, 18 October 1951:
    "The cast assembled by Mr Gustave Grangheon deserves only praise. No role was neglected, least of all Dame Marthe, sung by an authentic mezzo from the Paris Opera, Mrs M.-L. Debierre."
    • La Dépêche Quotidienne d'Alger, 18 October 1951:
    "Rarely, if ever, have we had occasion to congratulate a performer in the role of Dame Marthe. It is therefore only fitting to emphasize the presence of Mrs L. Debierre of the Paris Opera in this brief role, usually sacrificed, whose performance suddenly gives real substance to the 'Marguerite's Garden' scene."
    • Journal d'Alger, 17 October 1951:
    "Finally! A Dame Marthe (Marie-Louise Debierre) with a real voice."
    • Alger Républicain, 18 October 1951:
    "Although the entire cast excelled, special mention must be made of the exceptional triumph achieved by Huc Santana as Mephistopheles, and of Dame Marthe, portrayed by the excellent singer and accomplished actress M.-L. Debierre."
  15. 1 2
    "The Nurse in Boris Godunov at the Opéra municipal de Marseille", Le Soir (Marseille), 25 October 1951, p. 3:
    "A triumphant success, notably for Messrs Huc Santana and Dumoulin, and Miss Régine Crespin. (...) Mrs Marie-Louise Debierre remarkably created, acted and sang the role of the Nurse with great style, while Miss Partis, an exquisite Xenia, displayed the pure crystal quality of her voice."
  16. 1 2
    "Toinette in Le Chemineau at the Municipal Theatre of Tourcoing"
    • Nord Matin, 31 October 1951:
    "Marie-Louise Debierre, who had made a great impression the previous year in the role of the Mother in Louise, fully confirmed the excellent impression she had left. Combining a powerful and harmonious voice with natural yet highly expressive acting, she brought to the character of Toinette all the sensitivity of which she is capable."
    • Nord Éclair, 31 October 1951:
    "For Le Chemineau, the cast was outstanding in every respect. How captivated we were by the consummate artist that is Mrs Marie-Louise Debierre, who gave a triple lesson in singing, diction and acting. One is tempted to say: this is how such a demanding and imposing role should be interpreted—without weakness or flaw."
  17. 1 2 3
    "Ortrud in Lohengrin at the Lyon Opera"
    • Le Soir, 9 November 1951:
    "Germaine Hoerner, the regular interpreter of Elsa, found in such a brilliant partner the means to display all her qualities, while Mrs Marie-Louise Debierre endowed Ortrud with the savage grandeur appropriate to the role. The two artists were particularly remarkable in the second act."
    • La République, 9 November 1951:
    "The vocal demands accumulated in the role of Ortrud can only be overcome by a seasoned artist such as Mrs Debierre, who negotiates this formidable role without difficulty."
  18. 1 2
    "Amneris in Aida at the Grand Théâtre de Nancy" L'Est Républicain, 21 November 1951, p. 3
  19. 1 2
    "Amneris in Aida at the Théâtre municipal de Tunis"
    • Le Petit Matin, 29 November 1951:
    "Marie-Louise Debierre was an Amneris of tragic power and exceptional fire."
  20. ↑
    "Samson et Dalila in the Opéra de Lille programme for the 1951–1952 season, pages 5 and 8."
  21. 1 2
    "Samson et Dalila at the Opéra de Lille"
    • La Voix du Nord, 14 December 1951:
    "Mrs Marie-Louise Debierre possesses a rich Falcon-type voice, with ringing high notes and broad, ample lower notes. Of commanding stature, she portrayed a majestic and sovereign Delilah."
    • Nord Matin, 14 December 1951:
    "Mrs Marie-Louise Debierre (Delilah) knows how to give velvety warmth to a broad and well-controlled voice."
    • Nord Éclair, 14 December 1951:
    "Mrs Marie-Louise Debierre is a powerful contralto whose richly coloured voice retains its warmth throughout the entire register."
  22. 1 2
    "Title role in Hérodiade at the Lille Opera"
    • Nord Matin, 18 January 1952:
    "Marie-Louise Debierre was fierce and dramatic as Herodias, displaying proud intensity."
    • La Voix du Nord, 18 January 1952:
    "Madame Marie-Louise Debierre, a Falcon voice of warm and ample sonority, gives Herodias all the tragic dimension that characterizes the role."
    • Nord Éclair, 18 January 1952:
    "Marie-Louise Debierre portrayed Herodias with all the resources of a consummate professional."
  23. 1 2 3
    "Ortrud in Lohengrin at the Eden Theatre, Saint-Étienne"
    • Le Patriote, 22 January 1952:
    "Marie-Louise Debierre, like Georgette Camart, fully mastered her role and performed it with talent."
    • Saint-Étienne, 22 January 1952:
    "The character of Ortrud requires a highly expressive stage portrayal—which Marie-Louise Debierre certainly provides—as well as convincing vocal experience."
  24. 1 2
    "Margared in Le Roi d'Ys at the Lille Opera"
    • Nord Éclair, 22 February 1952:
    "Marie-Louise Debierre uses her generous voice with consummate skill."
    • Croix du Nord, 22 February 1952:
    "The role of Margared was entrusted to Miss M.-L. Debierre. The richly coloured mezzo of this artist rises above the brass with ease, allowing her to give the character all the grandeur and tragic violence required. She portrayed the role with fierce pride and imposing authority."
    • La Voix du Nord, 22 February 1952:
    "In Margared, we once again admired Mrs Marie-Louise Debierre, with her noble bearing and generous voice."
  25. 1 2 3
    "Ortrud in Lohengrin at the Nice Opera"
  26. 1 2
    "Title role of Delilah in Samson et Dalila at the Municipal Theatre of Orléans (1951–1952 season)"
    • La République du Centre:
    "It fell to Mrs Debierre of the Bordeaux Opera, who retained fond memories of our theatre where she had made her debut a few years earlier as the Witch in Mireille, to lend her powerful contralto voice, accustomed to Wagnerian works of which she is an undisputed specialist, to the treacherous Delilah. It must be said that she made excellent use of a role whose score Saint-Saëns had skilfully conceived for her vocal range."
    • La Liberté d'Orléans:
    "Miss Debierre may not physically correspond to the Delilah one imagines, but what a voice! One cannot but admire such exceptional vocal gifts combined with such perfect technique in this sonorous and wide-ranging contralto."
  27. 1 2
    "Amneris in Aida at the Opéra d'Avignon"
    • La Gazette Provençale, 4 November 1952, p. 2/4: : "Featured are artists of great distinction: André Valto, recently acclaimed as Jean in Hérodiade; Nina Caranda, whose Aïda remains unforgettable; Fernand Lagarde, Michel Taverne, revelation of the season; and Marie-Louise Debierre, a specialist in her role, surrounded by the finest members of the company."
    • La Gazette Provençale, 4 November 1952, p. 3/4: : "André Valto, recently applauded in Hérodiade, and Nina Caranda, who achieved immense success in the same work three seasons earlier, head the cast. They are joined by Fernand Lagarde, Marie-Louise Debierre, Michel Taverne and Devercors as worthy partners."
  28. 1 2
    "Taven in Mireille at the Municipal Theatre of Calais"
    • La Voix du Nord, 21 November 1952:
    "Equally deserved was the success of Mrs M.-L. Debierre, whose portrayal of the witch Taven was entirely convincing and who alone was granted an encore for her showpiece aria 'Voici la saison'."
    • La Voix du Nord, 22 November 1952:
    "Marie-Louise Debierre was the witch Taven, a character she portrayed with entirely personal mastery, earning a well-deserved encore in the famous aria 'Voici la saison, mignonne'."
  29. 1 2
    "Hérodiade at the Opéra de Lyon"
    • Liberté Echo, 12 December 1952:
    "Marie-Louise Debierre is Herodias herself: terrifying and formidable."
  30. 1 2 3
    "Ortrud in Lohengrin at the Opéra de Lyon"
    • Le Progrès, 9 November 1954:
    "If the second act did not this time seem to languish in darkness, much of the credit belongs to Mrs Marie-Louise Debierre. Her mezzo spans a wide range with a richly coloured timbre that she uses with great artistry and an unfailing sense of dramatic situation."
    • Liberté Echo, 9 November 1954:
    "Mrs Marie-Louise Debierre deserves equal praise for the beauty of both her stage presence and her voice, which greatly contributed to the quality of the women's duet in the second act."
  31. 1 2
    "Suzuki in Madama Butterfly at the Municipal Theatre of Calais"
    • La Voix du Nord or Nord Matin, 20 November 1954:
    "Marie-Louise Debierre of the Opéra-Comique, whom we had already admired as Taven in Mireille, possesses a magnificent contralto voice and performed her role with great intelligence."
  32. 1 2
    "The Hostess and the Nurse in Boris Godunov at the Algiers Opera"
    "Mrs Marie-Louise Debierre successfully combined the roles of the Hostess and the Nurse, bringing wit and tenderness to both."
    "Marie-Louise Debierre was equally at ease in the unexpected Song of the Duck as in the lively verses of the 'Mosquito'."
  33. 1 2
    "Léonor de Guzman in La Favorite at the Opéra de Lille"
    • La Voix du Nord, 12 October 1956:
    "Mrs Marie-Louise Debierre of the Paris Opera possesses a beautiful broad and warm voice."
    "The demanding score assigned to Léonor de Guzman presents many challenges. Marie-Louise Debierre overcame every one of them with consummate vocal artistry."
  34. ↑
    Programmes of the Gran Teatre del Liceu, Barcelona:
    Gran Teatro del Liceo – Winter Season 1957–1958
    colour cover – photograph of Marie-Louise Debierre on page 18.
    monochrome cover – photograph of Marie-Louise Debierre on page 17.
    1957–1958 Liceu Season, roles in Thaïs and Faust.
  35. 1 2
    The roles of Myrtale and Albine in Thaïs at the Gran Teatre del Liceu, Barcelona. See cast
  36. 1 2
    The role of Marthe in Faust at the Gran Teatre del Liceu, Barcelona. See cast
  37. ↑ "Amneris, the Pharaoh's daughter in Aida".
  38. ↑ "Gertrude, Juliet's Nurse in Romeo and Juliet".
  39. ↑ "Ortrud, psychological and vocal profile in Lohengrin".

Bibliography

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