The baritone Pierre Bernac was probably one of the most important People from france singers from the twentieth century. His performing was seen as a a processed, high, and light baritone tone of voice with impeccably obvious and mild enunciation and a delicate and flexible method of phrasing. His close associations to several main composers, especially Francis Poulenc, produced him the definitive interpreter of a big repertoire of mélodies. After early research with André Caplet and Yvonne Gouverné, Bernac produced his recital debut in Paris in 1925. In 1926, he offered his 1st Poulenc premiere with Chansons gailliardes. In the first 1930s, he also analyzed lieder with Reinhard von Wahrlich. Bernac fulfilled Poulenc in 1934 when he asked Poulenc to accompany him for a few Debussy mélodies, and on Apr 3, 1935, they offered their 1st recital together, including the first overall performance of Poulenc’s Cinq poèmes de Paul Eluard. They toured the globe collectively until Bernac’s pension in 1960. Poulenc published 90 tunes for Bernac and Bernac’s interpretations of the works together with the composer on the piano have already been documented on disk (his full recordings had been reissued in 1999) and talked about in his two books: The Interpretation of French Tune (London, 1970) and Francis Poulenc: THE PERSON and His Tracks (London, 1977). Bernac also collaborated with various other important composers from the twentieth hundred years, including Hindemith, Berkeley, Barber, Jolivet, Sauguet, and Françaix. He considered teaching in afterwards life; his most well-known pupil was Gérard Souzay. Bernac’s just performances for the opera stage had been in the function of Pelléas in Debussy’s Pelléas et Mélisande (in 1933 on the Théâtre des Champs-Elyséha sido and in 1936 in Geneva beneath the baton of Ernest Ansermet).