After studies in the literary and scientific fields (bachelier en lettres et en sciences), Imbart de la Tour went to
the military academy of Saint-Cyr. Due to illness, he
could not complete his course to become an officer. He studied singing at the Paris conservatory in 1887 with maestro de Bax de Saint-Yves.
In 1889, Imbart de la Tour graduated with a first prize for singing and a second prize
for Opéra-Comique.
After making his debut at Geneva (Grand Théātre) in Les huguenots in 1890, singing there in the first performances of
Werther, Winkelried by 
Louis Lacombe
(1818–1884, see picture left), premiered posthumously on 17 February 1892, and Die Walküre.
After Geneva,
Imbart de la Tour made his his debut at
the Opéra-Comique in Paris. There he sang roles like José (debut role 19 September 1894) and Gérald.
Noël et Soullig in Les annales du théâtre et de la musique wrote:
Mr. Imbart de la Tour made quite a good debut as José in Carmen.
The following season (1895), Imbart de la Tour sang in Monte-Carlo, Nice and Marseille.
In 1897, he was hired by the Théātre de la Monnaie in Bruxelles.
Imbart de la Tour developed his career at the Monnaie until 1904 singing Tannhäuser, Lohengrin, Walter, Radames,
Roméo, Samson and Jean. There he took part in the first Monnaie performances of Fervaal (12 March 1897),
Rheingold, Jean-Michel by 
Albert Dupuis (1 March 1877 – 19 September 1967, picture right) in 1903
with Claire Friché, Henri Dangès, Édouard Cotreuil; and Tijl Ulenspiegel by 
Jan Blockx
(25 January 1851 – 26 May 1912, picture left) on 18 January 1900.
A critic wrote, regarding the premiere of Jean-Michel: Mr. Imbart de la Tour, whom Bruxelles
stole already for eight years
from Paris, created a sensitive and simple character, an important role; he sang with a sure ample voice with consummate art and
conversational warmth.
Imbart de la Tour made guest appearances at the Opéra-Comique (first perfomance there of Fervaal on 10 May 1898 with Jeanne Raunay, Gaston Beyle, Daumbel, Messager), 1900 at
Covent Garden (Radames, José, Faust and Tannhäuser).
Regarding Fervaal, the critic Adolphe Julien wrote: Mr Imbart de la Tour, who created the role in Brussels, sings it in Paris
and will be, we must say, difficult to replace. He sings the
difficult role of Fervaal with incredible stamina.
For the 1900/01 season, he was hired by the Met, but sang only Radames in Aida and two Sunday Night Concerts.
In 1901 and 1909, Imbart de la Tour sang highlights of Die Walküre at the Concerts Colonne with
Jeanne Rauney. In 1901, he sang, with the conductor Camille Chevillard, highlights from act 3 of Siegfried with Alba
Chrétien-Vaguet and Gerville-Réache.
Imbart de la Tour sang also in the French provinces, creating for example the role of Messour in Maïda by André Bloch (14 January 1873 Wissembourg – 7 August 1960 Paris)
in September 1909 with Geneviève Vix,
Georgette Bréjean-Silver and Henri Dangès at Aix-les-Bains.
Félicien Grétry in Musica wrote, regarding the creation of
Maïda: Monsieur Imbart de la Tour as Messour was perfection for his singing and artistic intelligence.
What a powerful, clear, flexible voice!
Here is a true fort ténor, whose high notes are nowadays incomparable for their strength and purity.
The famous creator of Fervaal, the professor at the conservatory is one of the great artists of today.
He just proved it beyond doubt.
In 1910, Imbart de la Tour sang the final scene of Siegfried with Agnès Borgo at the Camille Chevillard Concerts.
He was appointed professor at the Paris conservatory in 1909, a post he only kept for two years, as he died suddenly at his château at Bouillon in the
Belgian Ardennes in September 1911.
References: Kutsch and Riemens
Le Théâtre Royal de la Monnaie, Rubini Records RS 302, liner notes
Jules Martin Nos artistes du théâtre & concerts, 1895 & 1901/02 editions (both editions
give different dates for his Opéra-Comique debut)
Serge Chèze & Ramiro Dos Santos 80 ans d'opéra en France 105 biographies de chanteurs, private issue
In RA format
In RA format
In RA format
In RA format
In RA format
In RA format
I wish to thank Gilles Bresciani for the recordings (Muette, Huguenots, Iphigénie).
Discography
Pathé cylinders & discs, Paris 1903?
0268 Pensée d'automne (Massenet) 0268
0269 Manon (Massenet): Ah fuyez, douce image 0269
0270 Heureux vagabond (Bruneau) 0270
0271 Iphigénie en Tauride (Gluck): Unis dès la plus tendre enfance 0271
0272 Die Meistersinger von Nürnberg (Wagner): L'aube vermeille 0272
0273 Tannhäuser (Wagner): Reine d'amour 0273
0277 La muette de Portici (Auber): Du pauvre seul ami fidèle 0277
Pathé, Paris, 1906
4580 Die Walküre (Wagner): Plus d'hiver 4580
4581 Lohengrin (Wagner): Aux bords lointains 4581
4582 Werther (Massenet): Pourquoi me réveiller 4582
4583 Le Cid (Massenet): Ô souverain 4583
4584 Hérodiade (Massenet): Ne pouvant réprimer 4584
4585 Les huguenots (Meyerbeer): Plus blanche que la blanche hermine 4585
4586 Sigurd (Reyer): Esprits gardiens 4586