File:Vanni Marcoux - The grand opera singers of to-day (1912).jpg

Identifier: grandoperasinger02lahe (find matches)
Title: The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises
Year: 1912 (1910s)
Authors: Lahee, Henry Charles, 1856-1953
Subjects: Singers Opera
Publisher: Boston : L. C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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sed. It was vitalized to an extraordinary degree. The character of the old husband . . . was little by little revealed until thevery soul of the man was bared. Mr. Marcouxs employment of his tones was as finely dramaticas his facial expression, the sobriety and seriousness of his gestures, the authoritative bearing, the dominating individuality. . . . All in all it was one of the most striking performances that I have seen on the operatic stage during the last thirty years. On January 26, Marcoux appeared as Mephistopheles in "Faust" and again surprised his audience by his unique and marvellous characterization. Again quoting the same critic: Mr. Marcoux gave a remarkable impersonation of Mephistopheles last night, probably th emost subtly composed and adroitly acted since Jamet visited this city. Edouard de Reszkesin comparison was commonplace, and while Plangon was indisputably superior to Mr. Marcoux as a singer, his dramatic conception was not so vivid, picturesque and varied. The
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VANNI MARCOUX The Boston Opera-House 399 Mephistopheles of Marcoux is at first friendly, companionable. He is evidently a man of the world, gay, witty, as full of devices as Casanova, only too conscious of the weakness of mortals. ... In the garden scene his business, whether it were wholly original or derived in part from that of Faure, for years the great French Mephistopheles, was singularly effective. . . . His invocation was not roared, nor was he melodramatic in his handling of the hesitating Faust. . . . His finesse in vocal nuances was fully displayed in the serenade. . . .Mr. Marcouxs mockery was sinister, not boisterous. . . . The features indicated were only a few in a performance that should be carefully studied. Perhaps they were the most salient in an impersonation that was engrossing from beginning to end. Mr. Marcoux's voice is not robust; it is not sensuous; but it was used with rare skill for dramatic effect. Mr. Marcoux appeared also in the performances of "Tosca", when

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