Fernand Ansseau

Ansseau started his research like a baritone but moved in to the tenor repertoire, though usually retaining a solid lower register that served him good in Wagner and heroic jobs afterwards in his profession. He was acclaimed for his wealthy timbre and got a very satisfying stage presence. Sometimes, he lacked solid rhythmic emphasis, which occasionally lessened his dramatic influence, but specific operas, such as for example Massenet’s Werther and Auber’s La muette de Portici, presented his greatest, creating incisive and effective portrayals. His dad was the organist in the cathedral, and Ansseau’s fascination with music was further produced by performing in the choir. He researched on the École de Musique in Dour, and auditioned for the Brussels Conservatory, where he was provisionally recognized being a baritone. After 2 yrs, his instructor, Desire Demest, made a decision that Ansseau’s developing power in his higher runs indicated that he was learning to be a tenor, directing him towards that repertoire also to research with Ernest truck Dyck, himself a retired tenor. Ansseau earned first prize on the Conservatoire and produced his debut in 1913 as Jean in Massenet’s Hérodiade at Dijon. He didn’t sing staged opera through the Globe Battle I years, but following the battle, became a normal lead in the Theater Royal de la Monnaie. His Covent Backyard debut is at 1919 as Des Grieux in Massenet’s Manon, and his Monte Carlo debut adopted two years later on, once again in Hérodiade. 1921 was also the entire year of his Opera-Comique debut in the name part of Massenet’s Werther, and he produced his Paris Opera debut in 1922 in Hérodiade. His USA debut was in the Chicago Opera in 1923, and in the 1925 – 1926 time of year, he continued tour with this organization. He debuted in SAN FRANCISCO BAY AREA in 1925 as Saint-Saëns’ Samson. Through the 1920s, he added heavier functions to his repertoire, including Don José in Bizet’s Carmen, Cavaradossi in Tosca, as well as Wagner’s Tannhäconsumer and Lohengrin. His last staged overall performance was as Canio at La Monnaie in 1939, his last concert appearance in 1940. From 1942 to 1944, he taught in the Brussels Conservatory, and retired from music completely.