Louis Morrisson

Louis Morrisson (pseudonym for Ludovicus Moyson) was born in Antwerp, Belgium, on May 11th, 1888, into a middle-class family, which gave him the opportunity to study in the French language at the Malonne College (Belgian Ardennes). Predisposed to music and aspiring to a career in that field, he became a pupil of the well-known composer Edgard Tinel at the Lemmens Institute, Malines, from 1901 to 1907, learning fugue, counterpoint and composition, as he wished to become an organist. It was his professor, Tinel, who discovered his beautiful tenor voice, which had completely formed at the age of thirteen; at that time, he regularly sang at the Christmas services in the cathedrals of Malines and Antwerp.

Completing his musical studies in 1907, he was due to leave for London, where he had a contract as organist at Westminster Abbey, when family circumstances obliged him to retract. His father, a diamond merchant, was opposed to the idea of Morrisson pursuing a musical career. He insisted that his son join him as a diamond cutter in Antwerp. While working and singing at the same time, and encouraged by his friends, Morrisson finally decided to follow up the possibility of a vocal career and sang in some concerts in Antwerp and in Amsterdam, where he aroused the interest of the artistic director of the Rembrandt Theatre. At that time, the Rembrandt Theatre was a house devoted entirely to opera, directed by an old Belgian tenor, Désiré Pauwels, who engaged Morrisson, and his debut as an operatic tenor took place on October 1st, 1909. There his name was changed from Moyson to Morrisson. The role was Manrico in Verdi's Il trovatore, and he sang it on eight successive nights, with co-artists Cato Engelen-Sewing, soprano, Irma Lozin, mezzo, Carl Butter, baritone and Joseph Orelio, baritone.

During his years at that theatre, Morrisson sang a varied repertory apart from Trovatore: Martha, Quinten Massijs, Evgenij Onegin, Le jongleur de Notre-Dame, I gioielli della Madonna, Cavalleria rusticana and Pagliacci, two works he customarily sang on the same evening throughout his career.

During his Amsterdam engagement, Morrisson sang (in 1913 and 1914) several performances at the Antwerp Opera, where a very enthusiastic public cheered him in Martha, Der Freischütz, Les contes d'Hoffmann, Quinten Massijs, Evgenij Onegin, Cavalleria rusticana and Pagliacci, etc., and where he created in the Dutch language Alpenlied, Le jongleur de Notre-Dame and I gioielli della Madonna.

During the same season as the performances of that beautiful work by Wolf-Ferrari at the Flemish Opera, Léon Campagnola was singing the same role at the Antwerp Opéra Français. In consequence, opera lovers went from one theatre to the other, making comparisons, and despite the great and undoubted merit of M. Campagnola, at that time at the peak of his glorious career, both the critics of the time and the public were even more favourable to "this young tenor with his prodigal voice", as several wrote at the time. The two tenors went to see and hear each other. Fortunately they got acquainted and eventually became good friends. This friendship between two exceptional artists grew during the 1914–18 war and remained as long as they lived.

One day, after a performance of I gioielli della Madonna, at which Campagnola was present to hear and cheer his young rival, Campagnola said, in an admiring and convinced voice, "My friend, if I had your voice and my experience, which is so much greater than yours can be by now, at this time my fame would be as great as Caruso's and, believe me, I'm convinced of what I'm telling you". This was in January 1914, a few months before the great disaster which not only had such dramatic consequences for the entire world, but seriously affected the career of our young tenor, who a few weeks later, through a Berlin impresario, signed a five-year contract for the Chicago Opera, then managed by Dippel. This contract bound Morrisson for the seasons 1914 to 1919 in the tenor roles of Il trovatore, Guillaume Tell, La Juive, La favorite, Cavalleria rusticana and Pagliacci, La forza del destino, Aida and Lucia di Lammermoor. Unfortunately due to the outbreak of the Great War, that contract had to be cancelled.

Morrisson made his first recordings, commencing in 1910 in Berlin for Favorite Records, then in London for Columbia in 1911 and in 1913 in Paris for Pathé. The six vertical cut records he made there appeared first on 35 cm discs, then they were cut on 25 cm and still later they were re-recorded on to 25 cm needle-cut. From 1918 to 1920 some recordings were made for the Polydor company (Reneyphone-Polyphon-Musola).

In 1919 Morrisson returned to Antwerp, then had a concert tour covering London, Manchester and other British cities, following which he visited the voice pedagogue Edmond Delit, another Belgian. At a much later press interview Morrisson stated, "Monsieur Delit gives his singing lessons following the old Italian methods (There is a good method of singing and the others are bad, an Italian method only is a myth.) of Emanuel Garcia, Pauline Viardot-Garcia and Blanche Marchesi. He has now settled as a singing master in Paris and today – here inserting shyly "thanks to the successes I have everywhere I'm singing in France" – he is the professor who is consulted by almost all the artists of L'Opéra and the Opéra-Comique for instruction and for his wide knowledge of the science of voice placement." Delit was not only Morrisson's teacher, but as an impresario he managed all of Morrisson's contracts during his stay in France. In fact he settled in Paris from July 1919 – at Neuilly-sur-Seine – and made his French opera debut in the part of Éléazar in La Juive on January 16th, 1920, at Le Havre. There is an interesting press interview report given the day following the performance. To a question of one of the reporters Morrisson answered, "What you were told, dear Sir, is quite correct. The manager of your Lyric Theatre really was afraid about me, because at the 'Italienne' (short piano accompanied rehearsal) yesterday afternoon I sang in half voice and by-passed the long passages. So when I had returned to my hotel this gentleman said about me, 'But good heavens, our first falcon soprano will certainly strike this gentleman, who doesn't even dare to let us hear his voice. Whatever will happen tonight!' At the beginning of the performance last night, on hearing the baritone-like notes of my first act entree as Éléazar he cried 'et pourquoi pas, et pourquoi pas?'. 'Do you hear, they have sent me a baritone, it's the biggest disaster of my life!' But I can assure you, after my encore of 'Ô ma fille chérie' he came to me and kissed me, tears of joy and emotion in his eyes and told me what his first thoughts had been. I am not at all angry about this for he is not the first who made this error, misled by the baritonal center of my voice, but this way I can always save a lot for the performance, which generally comes as a great 'surprise'..."

And a current critic wrote, "We have often heard La Juive but never felt the same emotions as we did last night, when we heard and saw the new tenor Louis Morrisson in the role of Éléazar. Have our senses played a trick on us? We don't think so and have the firm conviction that Mr. Morrisson is a genuinely superior artist. How many famous tenors have we cheered in this role? Yet nevertheless, when we compare – and this is what we do instinctively – all those great artists did not reach the same peak of perfection. Mr. Morrisson possesses the required voice and musical science, and even if other singers have the same qualities, Morrisson has something the others usually lack, a real acting ability: a real scenic science. This science he translates through his voice, his facial play, his gait and costume. His voice is really of a marvellous purity, very homogeneous with a splendid and easy attack. He portrays the role in an original manner and the character of his Shylock-like Jew is a remarkable one, growing from the first note to the end. Starting from his 'Ô ma fille cherie', the audience was in a really delirious mood and one 'encore' after another sounded. The Passover scene of the second act was of dramatic sobriety. Concerning the fourth act, we can only say that it brought the warmest 'bravos', so that our tenor was absolutely obliged to sing a second time the famous, and so difficult, 'Dieu m'éclaire, fille chère'."

Morrison sang La Juive more than 1,200 times (most probably untrue) during his career, with the famous falcon Mme. Mathilde Comes and the basses Paul Aumonier, Paul Payan, Albert Huberty, Henri Bloemgarten and M. Raybaud. In that role he was acclaimed at the Gaîté-Lyrique where he conquered all Paris on November 21st, 1921 (Not on November 21st as Il barbiere di Siviglia was given on that day.) The Press wrote the following morning: "The Gaîté-Lyrique has discovered a new tenor, Monsieur Louis Morrisson. This is an heroic tenor: he sings La Juive. After the fourth act he brought the whole audience to its feet! It was the enthusiasm of a great night. The curtain was raised again and again and we had the honour to hear an encore. So M. Morrisson began again and could have sung for a third time his famous 'grand-air', as he did not give the least impression of tiredness or effort. He really is made for singing in large houses, because he has an astonishing, easy emission and his tones, every tone, really fill the house. He certainly will be acclaimed at the Opéra-Comique, but his real scene of action should be L'Opéra.(He never sang at those houses.) Let us hope the managers of our lyric theatres will go to hear M. Morrisson, for we do not possess many heroic tenors and this one ranks amongst the greatest." The remainder of the cast that night were Mme. Madesky (Rachel), the bass Emil Roque (Brogni), Vina Bovy (Eudoxie) and M. Burdino (Léopold).

On December 21st, same year, the following review appeared in a Paris newspaper: "Last night there was a performance at L'Opéra of Pagliacci with a new Belgian tenor in the title role, M. Morrisson. (He never sang there and on December 20th the Opéra was closed.) Here he was as good as Canio as he was last month at the Gaîté-Lyrique a good Éléazar. In this role he again displays his fine vocal and scenic gifts, portraying in a perfect manner the painful and fatal jealousy, bringing maximum effects to the pathetic situations. His vocal power and ease over the whole register from the highest to the lowest tones made of the grand air a 'lamento' of breathtaking dimensions; further M. Morrisson makes of the other famous and difficult pages really unique compositions, convincing by the life-like outbursts of passion. M. Morrisson gave an encore and won a very warm and intense ovation and the warmth of this increased in strength at the end of the opera."

A few months later Morrisson made his debut at the Opéra-Comique (He officially never sang there.) on May 15th, 1922, in Cavalleria rusticana (Werther with Devriès and Cavalleria rusticana with Moisson were given that evening. Was Moisson Morrisson?), and this was another triumphant success for him. He carried the title of this institution for the remainder of his life. The following day's report ran: "The main interest of the audience was especially excited by the appearance of the new tenor, Morrisson, making his debut on our big lyrical stage. His mighty voice, incredibly easy in the highest notes, his acting intelligence as well as a young and warm conviction have given us a splendid and vibrant interpretation of Turiddu. The fullness of his notes throughout his entire register, as well as their long duration made us think immediately of the 'souvenir' of our most outstanding tenors. Considering the fact that he is not a Frenchman, there is not a trace of foreign accent when he sings, articulating very intelligibly. Every word is understandable for the public, which brought him, of course, an enthusiastic ovation, almost without comparison, at the end of the night, making him repeat 'Vive le vin qui petille', given in a really splendid manner, the high notes pealing above the chorus with an astonishing ease. After this night we are convinced that M. Morrisson has conquered all the real Parisian connoisseurs, and we hope to see him often on the stage of our National Academy of Music."

During that period Morrisson appeared on all the great stages of France. Look what the critics wrote at Toulouse, to every great singer a most redoubtable town, after a performance of II trovatore: "M. Morrisson, the tenor who was so appreciated by our citizens some time ago in La Juive, Guillaume Tell and Les huguenots naturally got an enthusiastic welcome in the part of Manrico. We will not say again that M. Morrison has found a role that suits him, no, it was much better than that. By singing this part his stature has increased, if possible, because his Manrico, with its high notes, trumpeted with ease, sureness and unbelievable suppleness has filled the lovers of Grand Opéra with joy. His easy, mighty, full, warm and well-limbered voice has astonished everybody once again. First in his 'Serenade' in the first act, then in the second act duet with Azucena. He was obliged to sing 'Mal reggendo' and the famous 'Ah! che la morte ognora' of the Miserere scene twice; and as far as 'Di quella pira', this grew into a delirious success with no less than three encores. An unforgettable night for lovers of grand opera and heroic tenors."

We find M. Morrisson in Guillaume Tell by Rossini at Marseille, back on January 30th, 1921, when the press wrote the following about him: "He arrived here in Marseille yesterday afternoon from Le Havre. In that town he had sung La Juive the night before, and last night he had to sing the part of Arnold. It was a real revelation, with each act his success grew, and it is true that yesterday's performance of this Rossini work was one that our stage had never seen previously. M. Morrisson is not the traditional heroic tenor, he is a real 'mixed tenor' who must be marvellous in Les huguenots or Faust, in which we should love to hear him. He triumphed in the 'forte' and all the top notes. The power of his voice unleashed stormy ovations, and in the proper passages this brilliant tenor presented some sublime mezzo-voce phrases, with which he imbues his hearers with ecstasy. Right from the first act, after 'Ah Mathilde', sung with love and emphasis, loud ovations resounded. The same was true for the duet with Mathilde, Mlle. Marguerite Charpentier, and the famous trio, Arnold, Guillaume, Walter, with Messrs Weber and Aumonier, caused a long continued ovation. The crown to this work was without doubt the encore given by M. Morrisson to the famous act 4 air 'Asile héréditaire', and the stretta 'Amis, amis' brought an ovation lasting for minutes. At no time did the actor Morrisson give way to the singer. Natural acting, expressive facial play, the artist portrayed all the emotions of the character as well as possible. M. Morrisson is incontestably one of the most remarkable artists we have seen here at Marseille."

And a newspaper excerpt from Bordeaux, January 20th, 1922: "The superior talents of M. Morrisson, a singer we have heard up to now in his successes as heroic tenor – La Juive, Les huguenots, Guillaume Tell etc. – gave in yesterday's performance of Rigoletto real life to the personage of the Duke of Mantua. The strength, purity and stamina of his beautiful voice added to the beauty of the famous pages of this work. Especially the love-duet and 'Comme la plume au vent', which he had to repeat of course. The interpreter of Rigoletto was Jean Noté and Gilda was sung by Mlle. Duffan." "M. Morrisson in Les huguenots" is the heading to an article from an Avignon paper in 1922. "The Raoul of M. Morrisson alone justifies mounting the opera. With a tenor of such capacities and well-established fame, success was assured in advance. Not only was it a success, but a genuine triumph. To begin with, 'Plus blanche que la blanche hermine' was sung in such a way, such a homogeneous voice, such superb high notes, that M. Morrisson had to repeat it. 'Ô mon épée' in the third act was a triumph, but the climax we had all been waiting for was certainly in the fourth act, 'Ou vas-tu? – Laisse-moi' and the 'Oui, tu l'as dit', which brought the most frenetic response from the public. The 'demi-teintes' were magnificent and the high notes brilliant and of exactitude and purity; the stage acting was sober, measured and natural. Let us mark this night with a little white cross, because it was a brilliant one. In one word – unforgettable. M. Morrisson is certainly one of the most beautiful Raouls we have ever heard."

The immortal work by Massenet was also one that he much liked to sing: I mean Werther, on which I reproduce an article, one amongst many, from the town of Nîmes in 1924. "It really happens very seldom that we can hear a voice like the one of M. Morrisson, so strong, so homogeneous, as good in the low tones as in the medium and the high ones. Nevertheless this heroic tenor with his trumpet-like high notes makes this mighty voice slender in the marvellous melodical fioriture of Werther. Last night M. Morrisson sang it for us, it is the first time we have heard him here in this part, in which he can vocally translate the melancholic psychology, with a voice that gave itself in an astonishing manner to the passages of tenderness and charm, but sounded like a trumpet in the 'Invocation à la nature' and the 'Couplets d'Ossian'. This really prodigal tenor will never cease to carry us from one surprise to another, and at each of his appearances, in each new part, he will keep us under his spell; for his sober, fine acting, full of contained passion, enveloped by a veil of melancholic sadness had kept us so during all this performance. The least we can say is that it was an immense success and the cheers at the end of the night were endless."

So nobody will be astonished to learn that this prodigal "mixed tenor" won brilliant success in Faust, this is what "Le Marseillais" wrote in 1923: "Last night there was a full house for the repetition of the ever-young masterwork by Gounod, with Messrs. Morrisson and Huberty in the parts of the Doctor and Mefistofeles. The talented tenor Louis Morrisson ... sang this work for us; with his splendid, gripping and powerful voice obtaining, of course, the lion's share of the night's success. From the first scene the bravos sounded, and grew, if possible, after the masterly interpreted duet. On hearing the famous cavatine by this singer, one is moved to the soul and the 'encores' obliged the great tenor to repeat this difficult aria. In the final trio 'Anges purs, anges radieux' his brilliant and prodigal voice was marvelously beautiful; this voice that by its smoothness, in the high as well as the low register is one of the most beautiful we know and is fascinating to the most discerning of listeners."

And a comment on La favorite at Toulouse, May 1923: "Last night we had La favorite on the playbill, with M. Morrisson, the famous tenor of the Opéra-Comique. This part, one of the most difficult that exist, requires a vocal sumptuousness that very few tenors have at their disposal. The air of the first act 'Un ange, une femme inconnue' sung in a perfect mezza-voce, finished in such a brilliant manner, unleashed such enthusiasm from the public that a repeat was an obligation, as well as the air from the fourth act 'Ange si pur' that was sung in a marvellous manner. M. Morrisson is not distinguishing himself solely by his voice with the prodigal timbre, but also by his acting, always adapted to the situation and by his facial expression. Numerous calls at the end of the evening confirm our personal opinion: M. Morrisson is an exceptional heroic tenor, in the full meaning of the word; a tenor, we hope, we will hear again very soon in our town of Toulouse."

At Bordeaux the same year we find in a newspaper article about Carmen: "Too many tenors confound des Grieux, Werther and Don José. There is nevertheless a vast difference between them and we could easily find all the depths of this difference in the interpretation by M. Morrisson of this legendary personage, the 'bandit for love', this wild and sad human being. The conception of Mr. Morrisson remains very close to reality. First he is the simple plebeian, full of distrust for Carmen, the seductress, and it is only by the carnal desire that overwhelms him completely that he will be vanquished and follow her. His mimic art completely renders all the feelings that made him act so, consequently it was a very convincing Don José we had the opportunity to cheer, rousing, conquering his public in a really extraordinary manner. The voice of M. Morrisson is of a purity, a warmth and an exactness in all the registers, in the Flower Song it unleashed an unparalleled ovation and the following encore ended in a real storm of applause. It was an immensely successful opera night thanks to the participation of this magistral tenor M. Morrisson."

Again in a Toulouse newspaper dated December 1923 I find an eulogy of his Radamès interpretation: "After a few months absence we meet again on our playbill – and this with great pleasure – the name of Louis Morrisson of the Opéra-Comique, the tenor who is so highly appreciated by our Toulouse public and who, certainly, is one of the very few tenors holding the attention of the world of the theatre. After 'Ô céleste Aida' a tremendous ovation obliged him to repeat this famous aria which he gave with his large and vibrant voice, this voice of incomparable suppleness and stamina that borders on the impossible, and which he projects very easily, from the lowest to the very brilliant, thrilling highest tones, with a style and exactness which compel unlimited admiration and show possession of a most sure singing method. It is true that after having pampered us here in La Juive, Les huguenots and Guillaume Tell, we didn't expect less in this part. But once again his success was immense, a real triumph, and the calls at the end of the night were unique in the annals of our theatre."

At San Sebastián, Spain, in August 1921, where some days earlier he had sung Pagliacci with Marcel Journet in the part of Tonio and Mme. Rizzini as Nedda, a description of La bohème reads: "The performance of La bohème, which was given last night with the same interpreters as in Pagliacci last Thursday, was one that will certainly linger long in the memory. The tenor Louis Morrisson, of Belgian origin, drew us the personage of Rodolfo in a manner that was excellently true to life, with all the ardent passion as well as the necessary tenderness of love, infinitely poignant and human. It is an impersonation in flesh and bones, as was his Canio some days ago, in a different manner. After his great aria of the first act the ovations broke forth and he was obliged to repeat. M. Morrisson possesses a very rare solid and caressing 'timbre' at the same time. His notes are produced with perfect purity. His register is one of the widest we know and he moves within it with unusual ease. Yes, M. Morrisson is really a beautiful tenor and a great artist, I should even say: 'a perfect artist, a complete one'."

And so we can say that the great reputation of Louis Morrisson triumphed on all the great French lyrical stages, from Paris to Marseille and from Biarritz to Strasbourg, via Toulouse, Bordeaux, Montpellier, Le Havre, Avignon, Grenoble, Monte Carlo, Nancy and many other towns. It is in France, in the part of Éléazar in La Juive that this singer obtained a world-wide reputation in record time. In Spain, at Madrid, Barcelona and San Sebastián he roused public enthusiasm in La Juive, Pagliacci, Cavalleria rusticana, La bohème, Les huguenots, Guillaume Tell and many other roles.

In northern Italy, at Turin, Genoa, Aosta, Biella and Asti during a gala cycle of French performances he went from one triumph to another in La Juive, Les huguenots, Faust, Hérodiade, Roméo et Juliette, Carmen, Sigurd, Lakmé, Werther, Les pêcheurs de perles and Louise.

In Switzerland, at Geneva and Lausanne, where he returned every season during his stay in France, he had, as everywhere else, lasting success in his specialities – those mentioned above for Italy and Spain, plus Rigoletto, Tosca, Werther, Il trovatore and La favorite.

In Belgium, at Antwerp's Opera Français, Liège, Verviers (La Juive 1925, 1928, 1929, 1931, 1933, Les huguenots 1925, Il trovatore 1925, Pagliacci 1925, Tosca 1925, Werther 1925), Namur, Gand, Mons, Charleroi, he sang all his great operatic successes. A proverb has it "No man is a prophet in his own country", but Morrisson was the exception that proves the rule. The least we can say is that he was carried on people's shoulders in triumph.

In Germany our singer received ovations everywhere he appeared during his concert tours: Berlin, Düsseldorf, Munich, Hamburg, Frankfurt, Dresden and Leipzig. In England he sang in London, Manchester, Liverpool, Birmingham, Northampton, Nottingham and Southampton.

In the Netherlands, where he had made his debut and had stayed during the Great War, the public continued to acclaim him in La Juive, II trovatore, Faust, Carmen, etc. etc. but at the same time he created, in Dutch, a great number of operettas of French and Viennese origin: Les saltimbanques, Gri-Gri, Rip-Rip (which ran for months), La mascotte, Les 28 jours de Clairette, Der Bettelstudent, Der Rastelbinder, The geisha, Vendetta and many others. Morrisson had, and still has, numerous enthusiastic admirers there, and faithful friends who clamoured continuously for him, and so, even during his Paris sojourn, he returned regularly to Amsterdam, to win triumphs at each opera evening in La Juive, Les huguenots, Pagliacci, Cavalleria rusticana etc.

In 1918, during the time he stayed in Holland, Morrisson signed a very advantageous "exclusive" contract for a period of five years with the Homocord Company, but during the time of his great triumphs in France, the recordings were made in both French and Dutch. In this way a double clientele could be satisfied. During this five-year period several other recording companies asked for Morrisson, but had to remain unsatisfied because of the contract. However, at the end of 1923 the Gramophone Company (HMV) made a proposition, but not very satisfied with the contract offered, with the assistance of a legal adviser, he made counter offers to that company that wanted him. The discussions were long and difficult and lasted until January 12th, 1925, as evidenced by voluminous correspondence, and on that date a first five-year contract was signed. Morrisson obtained what he desired, the contract fixing certain advantageous conditions, and specifically obliging the company:
1. (a) to pay a high and fixed remuneration for each piece recorded, and (b) to pay 5 percent on the sale of each record for the duration of his life.
2. Should Louis Morrisson die during the five-year period of the contract, the company would continue to pay that percentage, under the same conditions, to his heirs and successors, for a period of ten years commencing at the date of decease.

These conditions granted to him have not been obtained by any other artist, no matter how famous, in that period from the HMV company. On January 12th, 1930, by mutual agreement, the contract was renewed on the same terms for a period of further five years.

An inexplicable and unfortunate sequel was that during the period of the second contract, covering the period January 12th, 1930, to January 11th, 1935, Morrisson died on January 30th, 1934, so during the period of its validity. The heirs found to their surprise that the company put an embargo on his records the day after his death, stopping every delivery and sale. Why so, remains a mystery that has not been explained up to this day.

But to find out what kind of person our artist was, we read in a newspaper: "The short but very brilliant appearance of the beloved tenor gives us the opportunity to chatter for an hour with this great artist, who in spite of his splendid triumphs and ever-increasing fame, remains one of the world's most modest and simple men. He has kept his independent and sincere character intact, a trait of which he can be proud. This outspoken, frank character won him some solid, sympathetic friends, but also some bitter animosity, for the theatrical world tends to prefer those who feign and flatter – hypocrites; and the struggle to reach the top is certainly not less in the case of a world-famous tenor."

In his correspondence, we everywhere find indications of a man who was very sensitive to the misfortunes of others, full of goodwill to everyone he met. Those with whom he was personally acquainted certify that he had a golden heart, always ready to assist his fellow men. He was easily upset, but rapidly gained control of himself. He was a very kind, frank and loyal character. Even at the peak of his career, he remained simple with no trace of condescension to his less gifted colleagues, or others.

And his pastimes? When he had any free days in Paris, his favourite diversion was to make a tour of the antique dealers there, to visit the sale-rooms, as his great passion was the collection of period furniture and paintings by early masters. He possessed a large collection of pictures in his Paris residence, as well as in his villa – called "Il trovatore" in remembrance of his operatic debut – where he spent his annual vacation.

Musical composition, too, was one of his preferred pastimes, he left some very nice pieces, attractive by their musical intensity or most appropriate text; he wrote under the nom-de-plume "Somoye", cf. the following records:
La marche a Venus, Favorite Record, for this he wrote both lyrics and music.
Heil! Heil! Mannen van den Yser, Homocord
and Madeliefke 'n bloemke, HMV, for both of which he wrote only the lyrics alone, but the music in co-operation with Van den Eynde.
L'amour, toujours l'amour, HMV, for which he wrote the French translation of the English lyrics.
Song of songs and Ah! sweet mystery of life, two HMV records for which he wrote the Dutch translation of the English lyrics.
O Scheldestad and Ce sont tes grands yeux noirs, two HMV records for which he wrote the lyrics, and co-operated with Neef for the music.

About 1930, Morrisson retreated with his family to his property "Il trovatore" as he had to undergo very serious and urgent surgery, carried out at Amsterdam by a German specialist. After a slow recovery, as soon as he was able to resume his activities, we find him back in 1931 in his part of Éléazar in La Juive. In the meantime, due to a misunderstanding, the newspapers had announced his death, soon proven wrong, and all agreed that the voice of Louis Morrisson had by no means lost any of its qualities through the surgical intervention; on the contrary, his timbre seemed to have gained in mellowness and range. So his first reappearances in La Juive at Liège, Antwerp and Verviers became triumphs. His enthusiastic public waited for him at the stage door and bore him on their shoulders round the theatre buildings, as they had done with victorious heroes in ancient times. It appeared as if the crowd, full of joy, were replacing an idol, which they had feared to lose forever, on its pedestal, Le Havre, Toulouse, Bordeaux, Marseille and many other towns were again cheering La Juive that season, and he was received wherever he went with enthusiasm and success.

In July the Antwerp Opera asked him to create, for Belgium, Léhar's Das Land des Lächelns in the Dutch language. He agreed and on October 22nd, 1932, the public could admire him in the part of Prince Sou-Chong. A critic: "Nobody will deny that the tenor Louis Morrisson possesses a rare magnificent voice. A voice that is not bound by the rules for common mortals, for this is a gift of God that penetrates right to the heart of his listeners. The artist has such a convincing faith in everything he brings us that he always manages, without apparent effort, to convince eveb the most sceptical and oblige also them to believe in what he brings, just as we do. The success of M. Morrisson in this new presentation of Das Land des Lächelns was like a whirlwind, breath-taking and grandiose. He makes an admirable composition of the role of Prince Sou-Chong, through his fine acting some scenes were carried to tragic peaks. One cannot find enough words to describe how he sang 'You are my heart's delight', which he was obliged to repeat twice, and how he arrived all alone on this large stage, to fill the vacuum, with all the accents of his sorrow, his love and the fatalism, which found an echoing response in the hearts of all his listeners. His first interpretation was like a prayer; the second was the expression of infinite tenderness and his third an unreserved explosion of a great passion. It was splendid, delirious, a striking unlimited success."

On April 18th, 1933, he re-created this role at Liège, this time in French, and the following day's report read: "Louis Morrisson, the Éléazar of La Juive, Raoul of Les huguenots, Manrico of Il trovatore, through his splendid voice, so rich in subtle nuances, brought us, in the role of Prince Sou-Chong, one of his greatest creations, showing us what a great artist he is and always has been. This great tenor, coupled with his incomparable acting has made of this part a composition one can call unique and remarkable, indicating a very deep study of the type and race. The inexhaustible capabilities of the singer and actor created an intensity of concentrated expressions to which it is impossible to resist. To adopt these accents and attitudes seems childishly easy to him, for M. Morrisson is a complete artist in all the branches of his art, which he must love intensely, to bring out the power he does to reach such rarely attained perfection."

From October 22nd, 1932, to December 12th, 1933, more than two hundred performances followed, with unparalleled success. There were occasions when Morrisson, forced by the innumerable encores, was obliged to sing his famous "You are my heart's delight" six, seven, even eight times and always he submits, without apparent effort, to the demands of his admirers, for his voice never seemed to tire and the disease he suffered had no effect on its extraordinary richness.

But, alas, the illness undermined his physique and finally the singer was obliged on December 12th, 1933, to interrupt the run of an exceptional career during its full success. After a few weeks of painful suffering he died at his Antwerp residence on January 30th, 1934.

The funeral service of the tenor had to be delayed as so many friends and admirers wanted to come and pay final respect to this admirable singer, who in his forty-five years had achieved so much and died at the peak of his career. The cortege was so large that the tramway services had to be stopped to let it pass, and in the hushed atmosphere, one could sense the sincerity and regret of everybody present.

Carmen, Amsterdam, Hollandsche Schouwburg, 14 December 1914 (sharing with Chris de Vos), with Robert van Aart/Eduard van der Ploeg, Louise Diels/Leitha Demare/Irma Lozin, Cato Engelen-Sewing/Wilhelmina van den Hoeck

Cavalleria rusticana, Amsterdam, Hollandsche Schouwburg, 23 December 1914, with Cato Engelen-Sewing, Marie Nagel, Eduard van der Ploeg, Louise Diels/Bertha Mathijse-Isaac, Anton Peers

Pagliacci, Amsterdam, Hollandsche Schouwburg, 23 December 1914, with Cato Engelen-Sewing, Eduard van der Ploeg, Willem Kooper, Mario Cordone, Anton Peers

La bohème, Amsterdam, Hollandsche Schouwburg, 14 January 1915, with Eduard van der Ploeg, A. Alexanders, Robert van Aart, Esther Cosman, Louise Diel, J. Richard Heuckeroth

Cavalleria rusticana, Amsterdam, Theater Carré, 8 July 1916, with Marie Nagel/Esther Cosma, Luigi Mazzoleni/Henri Dons, Marie Ditma, Eugène Beeckman/Anton Peers

Pagliacci, Amsterdam, Theater Carré, 8 July 1916, with Marie Nagel/Esther Cosma, Luigi Mazzoleni/Henri Dons, August van den Hoeck, Eugène Beeckman/Anton Peers

La bohème, Amsterdam, Theater Carré, 22 July 1916, with Luigi Mazzoleni, Esther Cosman, Nora Giesen-Hoos/Wilhelmina de Ley-de Val, Eugène Beeckman

Faust, Amsterdam, Theater Carré, 30 July 1916, with Wilhelmina van den Hoeck, Joseph Orelio, Luigi Mazzoleni/Henri Dons, Irma Lozin/Bertha Mathijse-Isaac, Karel Philip Mönch/Anton Peers

Guillaume Tell, Amsterdam, Theater Carré 12 August 1916, with Joseph Orelio, Wilhelmina de Ley-de Val, Anton Peers

Pagliacci, 's-Gravenhage, Scala, 16 August 1917, with Wilhelmina de Ley-de Val, Eduard van der Ploeg, Hendrik Drost, Robert Berger, Eugène Beeckman

Tosca, 's-Gravenhage, Scala, 17 August 1917, with Wilhelmina de Ley-de Val, Eduard van der Ploeg, Israël J. Olman

Pagliacci, Amsterdam, Theater Carré, 10 August 1917 (apparently Morrisson was singing Tonio), with Dister, Wilhelmina van de Hoeck, de Vos, August van den Hoeck

Die Csárdásfürstin, 's-Gravenhage, Scala, 1 September 1917, with Beppie de Vries, Piet Köhler, Johan Boskamp, Adriaan Blokland

La Juive, Amsterdam, Theater Carré, 1 October 1917, with Wilhelina de Ley-de Val, Henri Bloemgarten, Hendrik Drost, van Beek/Robert Berger, Ben Geijsel

Cavalleria rusticana, Amsterdam, Theater Carré, 13 October 1917 (sharing with Hendrik Drost), with Dina Diependaal/Zorah Dorly/Catharina Geijsel-Gestman, Greta de Hartogh, Emile van Bosch, Edith Buyens/Mies Rogmans, Eugène Beeckman

Pagliacci, Amsterdam, Theater Carré, 13 October 1917, with Wilhelmina van den Hoeck/Zorah Dorly/Wilhelmina de Ley-de Val, Emile van Bosch, Hendrik Drost, Jan Blok/Robert Berger, Eugène Beeckman

Tosca, Amsterdam, Theater Carré, 18 November 1917, with Wilhelmina de Ley-de Val, Emile van Bosch

Carmen, Amsterdam, Theater Carré, 20 November 1917, with Jan Blok/Emile van Bosch, Zorah Dorly, Wilhelmina van den Hoeck, Ben Geijsel

Madama Butterfly, Amsterdam, Theater Carré, 8 December 1917, with Zorah Dorly, Greta de Hartogh, Robert Berger, I. Polak, Jan Blok

Carmen, Amsterdam, Thater Carré, 16 November 1919 (sharing with Louis Dister who sang the premiere, with Chris de Vos and Silvano Isalberti), with Paul Pul/Emile van Bosch/Romain Carbelly, Zorah Dorly/Faniëlla Lohoff-Poons, Wilhelmina van den Hoeck/Cato Engelen-Sewing, Jacobus J. van Amerom/Henri Zeldenrust

Cavalleria rusticana, Amsterdam, Theater Carré, 3 December 1919 (sharing with Louis Dister who sang the premiere, and with Chris de Vos), with Romain Carbelly/Emile van Bosch/Eduard van der Ploeg, Paula Bos-Nix/Truus de Bruin, Bertha Mathijse-Isaac, Zorah Dorly/Faniëlla Lohoff-Poons/Wilhelmina van den Hoeck/Cato Engelen-Sewing

Pagliacci, Amsterdam, Theater Carré, 8 February 1920 (sharing with Louis Dister who sang the premiere/Chris de Vos), with Zorah Dorly/Fani&eum;lla Lohoff-Poons/Wilhelmina van den Hoeck, Romain Carbelly/Emile van den Bosch/Eduard van der Ploeg, Iwan Monarch, Martin van Reen

La Juive, Amsterdam, Theater Carré, 16 June 1920, with Faniëlla Lohoff-Poons

Carmen, Amsterdam, Theater Carré, 16 November 1921 (sharing with A. Massonat-Collard who sang the premiere), with Tilkin-Servais/Jean Janaur, Faniëlla Lohoff-Poons, Emma Decary, Charles Strony

La Juive, Amsterdam, Theater Carré, 19 November 1921 (sharing with Louis de Lérick who sang the premiere), with Alice Bérelly, Marthe Darney, Jean Morello, A. Massonat-Collard, Léo Marco, Charles Strony

Il trovatore, Amsterdam, Theater Carré, 27 November 1921, with Tilkin-Servais/Jean Janaur, Marthe Darney, Edith de Brésy, Henri Bloemgarten, Charles Strony

Les huguenots, Amsterdam, Theater Carré 7 Decmber 1921 (sharing with Louis de Lérick, who sang the premiere), with Alice Bérelly, Marthe Darney, Jeanne Béhon, Jean Janaur, Léo Marco, Jean Morello, Charles Strony

Cavalleria rusticana, Amsterdam, Theater Carré, 10 December 1921, with Faniëlla Lohoff-Poons/Marthe Darney, Jeanne Béhon, Tilkin-Servais, Lyse Alfieri, Charles Strony

Pagliacci, Amsterdam, Theater Carré, 10 December 1921, with Emma Decary, Jean Janaur, Octave van Aerschot, Louis Belmont, Charles Strony

Carmen, Amsterdam, Theater Carré, 26 February 1922 (sharing with Louis Dister), with Tilkin-Servais/Luigi Mazzoleni, Faniëlla Lohoff-Poons/Zora Dorly, Cato Engelen-Sewing

Cavalleria rusticana, Amsterdam, Theater Carré, 10 April 1922 (sharing with Louis Dister), with Frans Meermans, Zorah Dorly/Faniëlla Lohoff-Poons, Tilkin-Servais

Les huguenots, Amsterdam, Theater Carré, 20 May 1922, with Andrine Savelli, Faniëlla Lohoff-Poons, Céline van Leeuwen, Anton Dirks, Richard van Helvoirt Pel, Henri Bloemgarten, Jacobus J. van Amerom

Il trovatore, Amsterdam, Theater Carré, 21 May 1922, with Tilkin-Servais/Anton Driks/Ricahrd van Helvoirt Pel, Faniëlla Lohoff-Poons/Andrine Savelli, Dina van Wely, Henri Bloemgarten

La Juive, Amsterdam, Theater Carré, 27 May 1922, with Caro Engelen-Sewing, Faniëlla Lohoff-Poons, Henri Bloemgarten, A. Massonat-Collard, Jacobus J. van Amerom

Carmen, 's-Gravenhage, Gebouw voor Kunsten en Wetenschappen, 22 October 1922 (sharing with Heinz Arensen who sang the premiere/Carl Clewing/Hendrik Drost/Sante Montelauri/Hendrik Appels), with Richard van Helvoirt Pel/Emil van Bosch, Greta Santhagens-Manders/Lola Artôt de Padilla/Aline Sanden/Faniëlla Lohoff-Poons, Mien Bowmeester-Verheijdt/Wilhelmina de Ley-de Vol/Magda Litef, Ben Geijsel/Henri Zeldenrust

Carmen, Amsterdam, Theater Carré, 17 November 1922 (sharing with Antonio Rocca who sang the premiere), with Tilkin-Servais/Eduard vsn der Ploeg

Cavalleria rusticana, Amsterdam, Theater Carré, 20 November 1922, with Wilhelmina de Ley-de Val, Tilkin-Servais

Pagliacci, Amsterdam, Theater Carré, 20 November 1922, with Wilhelmina de Ley-de Val, Tilkin-Servais

La Juive, Amsterdam, Theater Carré, 23 November 1922, with Cato Engelen-Sewing, Faniëlla Lohoff-Poons, Henry Garden, Johan Reindert-Schulze

Les huguenots, Amsterdam, Stadsschouwburg, 25 November 1922, with Wilhelmina de Ley-de Val, Faniëlla Lohoff-Poons, Richard van Helvoirt Pel, Henry Garden

Cavalleria rusticana, Rotterdam, Groote Schouwburg, 9 December 1922 (sharing with Jos Besselink/Emanuel Giletta), with Greta Santhagens-Manders, Mien Bouwmeester-Verheijdt, Paul Pul/Tilkin-Servais/Emile van Bosch, Gust Scheepmaker, Ben Geijsel/Rudolf Tissor

Pagliacci, Rotterdam, Groote Schouwburg, 9 December 1922 (sharing with Johan Reindert-Schulze/Antonio Bonini/Hendrik Appels), with Wilhelmina de Ley-de Val/Rinalda Pavoni, Emile van Bosch/Richard van Helvoirt Pel/Tilkin-Servais/Renzo Conati, Jos Besselink, Henk Angenent, Ben Geijsel/Rudolf Tissor

Il trovatore, Amsterdam, Stadsschouwburg, 12 December 1922 (sharing with Alexander Kirchner/Antonio Bonini/Sante Montelauri), with Emile van Bosch/Tilkin-Servais/Renzo Conati, Greta Santhagens-Manders, Maartje Zoffers, Henri Bloemgarten/Joahn Iseke, Rudolf Tissor/Ben Geijsel

Faust, 's-Gravenhage, Gebouw voor Kunsten en Wetenschappen, 25 December 1922 (sharing with Emile Gallins/Louis van Tilder/Emanuele Giletta), with Aline Sanden/Emma Decary/Zinaïda Jurjewskaja/Wilhelmina de Ley-de Val, Rinalda Pavoni/Annie Ligthart/Faniëlla Lohoff-Poons, Magda Litef, Cornelius Bronsgeest/Paul Pul, Emile van Bosch/Henk Angement/Martin van Reen, Elize de Haas/Magda Litef, Ben Geijsel

Les huguenots, Rotterdam, Groote Schouwburg, 10 March 1923, with Citena/Greta Spoel, Faniëlla Lohoff-Poons, Elize de Haas, Cornelis Bronsgeest, Richard van Helvoirt Pel/Paul Pul, Henri Bloemgarten, Uriel Nespoli

Carmen, 's-Gravenhage, Gebouw voor Kunsten en Wetenschappen, 7 December 1923 (sharing with Remo Andreini who sang the premiere), with Marino Emiliani, Gemma Bellincioni, Ines de Giacomi, Selmar Meyrowitz

Tosca, 's-Gravenhage, Gebouw voor Kunsten en Wetenschappen, 24 January 1924 (sharing with Hans Bohnhof), with Gemma Bellincioni, Marino Emiliani, Selmar Meyrowitz

La Juive, Amsterdam, Theater Carré, 30 December 1923, with Nora Gieen-Hoos, Aurélia Thiesset, Gerard Leenders, Johan Reindert Schulze, Eduard van der Ploeg, Jacobus J. van Amerom

Faust, Amsterdam, Theater Carré, 8 January 1924 (sharing with Jean Rubeau), with Greta Santhagens-Maders/Emma Decary, Paul Pul/Richard van Helvoirt Pel, Richard van Helvoirt Pel/Emile van Bosch, Céline Alberts, Jacobus J. van Amerom

Cavalleria rusticana, Amsterdam, Theater Carré, 20 January 1924 (sharing with Jules Moes), with Greta Santhagens-Manders, Truus de Bruin, Léopold Roosen/Eduard van der Ploeg/Emile van Bosch, Gusta Sheepmaker

Pagliacci, Amsterdam, Theater Carré, 20 January 1924, with Annie Ligthart, Léopold Roosen

Carmen, Amsterdam, Theater Carré, 11 November 1923 (sharing with Louis Dister/Manfredo Polverosi), with Paul Pul/Emile van Bosch/Carlo Togliani, Greta Santhagen-Manders, Wilhelmina van den Hoeck/Letizia Cairone, Jacobus J. van Amerom

Faust, Amsterdam, Paleis voor Volksvlijt, 28 September 1924 (sharing with Louis van Tulder who sang the premiere), with Greta Santhagens-Manders, Paul Pul, Richard van Helvoirt Pel, Céline Alberts, Gaeteano Comelli

La Juive, Amsterdam, Paleis voor Volksvlijt, 28 January 1925, with Nora Giesen-Hoos, Gérard Leenders, Jules Moes, Jacobus J. van Amerom

Les huguenots, Amsterdam, Theater Carré, 14 August 1926, with Emma Decary, Faniëlla Lohoof-Poons, Henri Bloemgarten

La Juive, Amsterdam, Theater Carré, 15 August 1926, with Faniëlla Lohoff-Poons, Henri Bloemgarten

Faust, 's-Gravenhage, Gebouw voor Kunsten en Wetenschappen, 4 November 1928 (sharing with Louis Dister who sang the premiere), with Emma Decary/Emma Luart/Sophie Haase-Pieneman, Paul Pul/Anton Dirks, Willem Herckenrath/Corry Couvreur, Jules Dreese/Henri Zeldenrust

Faust, 's-Gravenhage, Koninklijke Schouwburg, 25 October 1929 (sharing with Evert Miedema who sang the prmiere/Edmond Fraikin), with Anton Dirks/Scapini Leorux, John de Nocker, Margaretha Adriani, Sophie Haase-Pienenman/Aennchen Perizonius/Lea Fuldauer, Henri Zeldenrust

Carmen, 's-Gravenhage, Gebouw voor Kunsten en Wetenschappen, 12 November 1929, with Anton Dirks, Alice Plato, Corry Couvreur, Henri Zeldenrust

La Juive, 's-Gravenhage, Gebouw voor Kunsten en Wetenschappen, 25 December 1929, with Magda Litef, Faniëlla Lohoff-Poons, Scapini Leroux, Kees, Smulders, John de Nocker, Henri Zeldenrust

Source, also for the below introduction to the discography: The Record Collector, June 1970 (linguistic errors corrected)
A weakness of this reference is that it does not give the names of the newspapers quoted.

For Dutch speakers
Korte biografie
Louis Morrisson, eigenlijke naam Ludovicus Moyson werd geboren op 11 mei 1888 te Antwerpen. Hij studeerde aanvankelijk compositie en orgel in Brussel bij Edgar Tinel en werd in 1907 zelfs uitgenodigd voor een reeks concerten in de Westminster Abbey te Londen. Ondertussen had men de kwaliteiten en mogelijkheden van stem ontdekt en na verdere studie te Brussel gaf hij zijn eerste concerten als zanger in Antwerpen en Amsterdam. Hij maakte in Nederland zijn debuut als operazanger op 1 oktober 1909 als Manrico in Verdi's Il trovatore, hiertoe uitgenodigd door de eveneens Belgische tenor Désiré Pauwels. Leonore werd gezongen door Cato Engelen-Sewing, graaf Luna door Carel Butter (van Hulst) en Azucena door Irma Lozin. In 1910 werd hij geëngageerd door de Koninklijke Vlaamse Opera van Antwerpen, waar hij eerste tenor werd. Hij zong in Nederland in 1911 o.a. in de première van Rina (Israël J. Olman) en als Rodolfo in Puccini's La bohème, maakte in 1919 een tournee door Engeland, zong in 1921 in het Théatre Gaité Lyrique in Parijs in La Juive van Halévy (als Éléazar) en vertolkte grote rollen aan de Grand Opéra in Parijs. Hij zong als gast in de opera's van Bordeaux, Marseille, Toulouse, Brussel en trad in Nederland – waar hij bijzonder geliefd was – in vele honderden producties op gedurende de periode 1910–1929. Zijn laatste voorstelling hier was Halévy's La Juive op 25 december 1929. Tot zijn dood op 30 januari 1934 was hij verbonden aan de opera van Antwerpen.