André Mallabrera
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He made his debut as Almaviva at the Opéra-Comique on December 14th, 1958. Almaviva was to become his most important role; he sang it,
according to himself, about 250 times, and it was also his farewell from the stage at the Théâtre des Arts in Rouen in December
1988. At the Opéra-Comique, he sang continuously from his debut to 1973; other than Almaviva, he was Wilhelm Meister there, Comte Ory,
Nadir, Vincent, Ernesto, Alfred (Fledermaus), Gonzalve (L'heure espagnole), Léndre (Le médecin malgré
lui), Pomponnet (La fille de Madame Angot) or Paolino (Il matrimonio segreto); he also sang several comprimario parts.
Comprimario only was his fare at the Paris Opéra, where he sang a few times between 1962 and 1972.
After 1973, he sang at the important French provincial theaters as well as abroad (Rome, Bologna, Madrid, Geneva, Monte Carlo...); more and
more often in comprimario parts, though. He also sang a lot in operetta and concert. The last of the great French tenors...
Reference 1: Kutsch & Riemens; reference 2 and picture source: www.artlyriquefr.fr (alas defunct)
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Le postillon de Lonjumeau (both Chapelou and Saint-Phar) La mascotte (Fritellini) Das Dreimäderlhaus (Schubert) Les Troyens (Hylas) Les pêcheurs de perles (Nadir) L'école des maris (Valère; composer: Bondeville) Louise (Le noctambule, Le pape des fous) Il matrimonio segreto (Paolino) Lakmé (role?) Don Pasquale (Ernesto) L'elisir d'amore (Nemorino) Mireille (Vincent) Le médecin malgré lui (Léandre) Roméo et Juliette (Tybalt) Die lustige Witwe (Rosillon/Coutançon) La fille de Madame Angot (Pomponnet) Le chemineau (Toinet) Thaïs (Nicias) Isoline (Isolin; composer: Messager) La finta giardiniera (Ramiro) Don Giovanni (Don Ottavio) Die Entführung aus dem Serail (Belmonte) Die Zauberflöte (Tamino) La belle Hélène (Pâris) Les contes d'Hoffmann (Nathanël) La fille de tambour-major (Griolet) Orphée aux enfers (Mercure) Pomme d'api (Gustave; composer: Offenbach) La vie parisienne (Gardefeu) Les cloches de Corneville (Grenicheux) Turandot (Pong, Pang) Mârouf (Un fellah, Le cadi) Hippolyte et Aricie (Hippolyte) Zoroastre (Zoroastre) L'heure espagnole (Gonzalve) Desert song (Sid) Hop Signor! (Aderno) Il barbiere di Siviglia (Almaviva) Le comte Ory (Comte) L'italiana in Algeri (Lindoro) La gageure imprévue (Détieulette; composer: Sauguet) Die Fledermaus (Alfred) Ein Walzertraum (Montschy/Moussy) Mignon (Wilhelm Meister) Les mousquetaires au couvent (Gontran) Falstaff (Fenton) Otello (Cassio) Tristan und Isolde (Hirte) In concert Le domino noir (Horace) La muette de Portici (Alfonso d'Arcos) Ivan IV (Jeune Bulgare) Les voitures versées (de Florville; composer: Boieldieu) Le roi malgré lui (Nangis) Der Barbier von Bagdad (Nureddin) Puck (Quintz; composer: Delannoy) Le muletier (Henriquez; composer: Hérold) Le pré aux clercs (Mergy) Mam'zelle Nitouche (Hector de Champlâtreux) Grisélidis (Alain) La chanson de Fortunio (Valentin) Le soixante-six (composer: Offenbach) Les boréades (composer: Rameau, Calisis) – September 1963, world premiere Un sguardo dal ponte (Rodolfo; composer: Rossellini) Le siège de Corinthe (Néoclès) La contrebasse (Le jeune homme; composer: Sauguet) Capriccio (Italienischer Sänger) I wish to thank Jean-Paul Williart for some biographical information. Many thanks to Matthew Sampson for the Otello recording. |