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Obeissons quand leur voix appelle

Opera details:

Opera title:

Manon

Composer:

Jules Massenet

Language:

French

Synopsis:

Manon Synopsis

Libretto:

Manon Libretto

Translation(s):

English Deutsch

Aria details:

Type:

aria

Role(s):

Manon Lescaut

Voice(s):

Soprano

Act:

3.09

Previous scene: Je marche sur tous les chemins
Next scene: Profitons bien de la jeunesse

Claudia Muzio, 'Gavotte', Massenet: Manon (Pathé, 1918)

Singer: Claudia Muzio

The great Italian soprano Claudia Muzio (1889-1936) in one of her earlier recordings, "Obéissons, quand leur voix appelle" ('Gavotte') from Massenet's Manon, recorded for Pathé in 1918.

The following biographical notes comes from Subito-cantabile: A Site for Collectors of Great Singers of the Past ("Her father was a stage director at Covent Garden and the Met, her mother a chorus singer. Among her teachers was Annetta Casaloni, Verdi's first Maddalena in Rigoletto, who probably helped her to obtain engagements at Turin in 1911/13/14. She made her debut in Massenet's Manon (Arezzo 1910). In the Covent Garden summer season she attracted considerable attraction in some of her best roles as Desdemona, Margherita in Mefistofele, Tosca and Mimì, but was never to return to that theatre. In the USA, however, she quickly became a much admired member, first of the Met company (debut there as Tosca), where she remained for seven seasons and reappeared briefly in 1934 (and where she sang Giorgetta in the premiere of Puccini's Trittico). She also appeared at the Chicago Opera where she made her debut as Aida in 1922 to which she returned for nine seasons. During this period she was also much in demand in the principal South American opera houses. In Italy she made some notable appearances under Toscanini at la Scala in 1926/27, but thereafter sang mostly in Rome. Muzio's repertory embraced all the leading Verdi and Puccini roles, as well as those of the verismo school. Her stage presence must have been most impressive. In private life she was dignified and withdrawn. It was a widely held belief that she had no private life but was devoted wholly to her work. On stage she was the great tragedienne, the Duse of the lyric theatre. Muzio died at an early age of 47. Various sources speak of heart desease, suicide, cancer, kidney-desease and even poison...

The tenor Giacomo Lauri-Volpi wrote of Muzio "singing with that unique voice of hers made of tears and sighs and restrained interior fire." The best years, around 1930, were probably her best, precisely the years in which she did not record! Between 1924 and 1934 there is a ten-year gap. The missing period would seem to be the very one in which her interpretations had matured while her voice was still in prime condition. The early records may lack the intensity and creativeness of her later recordings, and in the famous Columbias one is aware of some physical limitations (uneasy high notes, flatness, mannerisms in style and enunciation, vowels!), but there is a pathos, an inner committment and charm in her singing that is immensely moving and touching. Only a few sopranos equalled her in this aspect of emotional involvement."

Watch videos with other singers performing Obeissons quand leur voix appelle:

Libretto/Lyrics/Text/Testo:

MANON
Obéissons quand leur voix appelle,
aux tendres amours,
toujours, toujours, toujours,
tant que vous êtes belle,
usez sans les compter vos jours, tous vos jours!
Profitons bien de la jeunesse,
des jours qu'amène le printemps;
aimons, rions, chantons sans cesse,
nous n'avons encor que vingt ans!

BRÉTIGNY et JEUNES GENS
Profitons bien de la jeunesse!

MANON
Profitons bien de la jeunesse,
aimons, rions, chantons sans cesse,
nous n'avons encor que vingt ans! Ah! Ah!

JEUNES GENS
Profitons bien de la jeunesse!
Rions! Ah! Ah!

MANON
Le cœur, hélas! le plus fidèle,
oublie en un jour l'amour, l'amour,
et la jeunesse ouvrant son aile a disparu
sans retour, sans retour.
Profitons bien de la jeunesse,
bien courte, helas ! est le printemps!
Aimons, chantons, rions sans cesse,
nous n'aurons pas toujours vingt ans!

JEUNES GENS
Profitons bien de la jeunesse!

MANON
Profitons bien de la jeunesse!
Aimons, chantons, rions sans cesse,
profitons bien de nos vingt ans! Ah! Ah!

JEUNES GENS
Profitons bien de la jeunesse!
Rions! Ah! Ah!

English Libretto or Translation:

MANON
Obey when their voices are calling,
beckoning us to tender loves,
always, always, always;
as long as you are beautiful,
use up your days without counting them, all of your days!
Let's take advantage of youth,
days that spring provides;
let's love, laugh, and sing without stopping,
while we're still only twenty!

BRÉTIGNY and YOUNG NOBLEMEN
Let's take full advantage of our youth!

MANON
Let's take full advantage of our youth,
let's love, laugh, and sing without stopping
while we're still only twenty! Ha! Ha!

YOUNG MEN
Let's take full advantage of our youth!
Let's laugh! Ha! Ha!

MANON
Even the most faithful heart, alas,
forgets love in a day, love,
and youth, spreading its wings to fly away,
disappears, never to return, never to return.
Let's take full advantage of our youth,
the springtime season, alas, is very short!
Let's love, sing, and laugh without stopping,
we won't be twenty forever!

YOUNG MEN
Let's take full advantage of our youth!

MANON
Let's take full advantage of our youth!
Let's love, sing, and laugh without stopping.
Let's take advantage of being twenty! Ha! Ha!

YOUNG MEN
Let's take full advantage of our youth!
Let's laugh! Ha! Ha!

Sheetmusic in our database with this aria

G. Schirmer Opera Anthology: Arias for Soprano Volume 2G. Schirmer Opera Anthology: Diction Coach Arias for Soprano Volume 2Operatic Anthology: Soprano