Marie-Louise Debierre, born on 31 January 1910 in Paris and died on 15 October 1988 in Gaillon, was a French opera singer, mezzo-soprano and contralto.
Active during the 1940s and 1950s, she pursued a career at the Paris Opera, the Opéra-Comique, as well as on French and international opera stages. She became distinguished in dramatic roles from the French, Italian and Wagnerian repertoire, performing in Bordeaux, Lille, Lyon, Nancy, Nice, Algiers, Tunis and Barcelona.
Biography
Born into a modest family, Marie-Louise Debierre began working at the age of fourteen for the Maison Pouyanne luxury dye works before studying singing under Eugène Marcel Picheran, former chorus master of the Opéra-Comique, Salle Favart. Before making her professional debut, she appeared under the stage name Mme Pradat. In November 1932, she performed works by Léo Delibes and Alexandre Georges during a charity event organized in Paris's 14th arrondissement.
In June 1933, she performed the role of Mme Duponceau in Premier prix de piano, a one-act comedy by Eugène Labiche and Alfred Delacour.
On 31 January 1941, she joined the chorus of the Paris Opera. In 1946, she left the Paris Opera chorus to be a soloist at the Grand Théâtre de Bordeaux.
In 1951, she was engaged for solo roles at the Paris Opera under the direction of Georges Hirsch. She is listed in the Encyclopédie des Cantatrices de l'Opéra Garnier de Paris.
She took vocal training under the tenor and singing teacher Georges Jouatte. After 1960, she ended her operatic career and retrained in the fields of social assistance and personal care.
Career
Debut at the Opéra-Comique in Paris
On 3 February 1943, at Villiers-sur-Marne, Marie-Louise Debierre performed her first leading role, Toinette in by Xavier Leroux. The title role of the Wayfarer was performed by her singing teacher , former chorus master of the Opéra-Comique."Toinette in at Villiers-sur-Marne", Marie-Louise Debierre's first leading role.
On 28 February 1948, Marie-Louise Debierre made her debut at the Opéra-Comique in the role of the Mother in Louise by Gustave Charpentier, conducted by André Cluytens. She subsequently performed this role on several occasions, notably alongside baritone André Pernet in the role of the Father.
Marie-Louise Debierre is listed in the Encyclopédie des Cantatrices de l'Opéra-Comique.
Debut in the Paris Opera Chorus
On 2 June 1945, she made her debut at the Paris Opera in a performance of Pénélope by Gabriel Fauré.
Following the Liberation of Paris in August 1945, she performed La Marseillaise and patriotic songs on a stage erected in front of the Hôtel de Ville in duet with Charles Cambon, accompanied by the Paris Opera Orchestra and Chorus.
Grand Théâtre de Bordeaux
From 1945 onward, Marie-Louise Debierre was engaged by the Grand Théâtre de Bordeaux, where she performed several leading roles from the French and Wagnerian repertoire.
She notably sang Fricka in Die Walküre, a role in which critics praised the quality of her diction, the warmth of her voice and her dramatic abilities."This is the first time we have heard Marie-Louise Debierre. The role of Fricka is ungrateful and technically extremely demanding. The artist displayed undeniable class through her excellent stage presence, impeccable diction, and beautiful vocal line, supported by a pleasant, warm-toned voice." Review of Die Walküre at the Grand Théâtre de Bordeaux, Le Courrier Français du Sud-Ouest, 1945
On 26 November 1946, she performed Dulcinea in Don Quichotte.
On 22 January 1947, she performed the role of Gertrude, Queen of Denmark and Hamlet's mother, in Hamlet.
On 17 May 1947, she performed the title role in Hérodiade.
Paris Opera
At the Paris Opera, she appeared in numerous productions from the French, Italian and German repertoires. Her roles included Dame Marthe in Faust, Gertrude (Juliet's Nurse) in Roméo et Juliette, Giovanna (sometimes spelled Johanna) in Rigoletto, and Schwertleite in Die Walküre.
During the 1951–1952 season at the Paris Opera, she performed the role of Schwertleite in Die Walküre, with Suzanne Juyol as Brünnhilde, under the baton of conductor André Cluytens.
Nancy, Lyon and Tunis
On 15 February 1950, she performed Ortrud in Lohengrin at the Grand Théâtre de Nancy, alongside Régine Crespin as Elsa of Brabant."Mrs Régine Crespin was an extraordinary Elsa of Brabant; beside her, one could fully appreciate the outstanding qualities of Mrs Marie-Louise Debierre." Review of Lohengrin at the Grand Théâtre de Nancy,
On 16 October 1950, she performed Margared in Le Roi d'Ys at the Grand Théâtre of Saint-Quentin."Alongside the great singer (Mrs RUSCART in the role of Rozenn), Miss Marie-Louise Debierre captivated the audience through her singing and the assurance of her acting... [...] Miss M.-L. Debierre of the Paris Opera was remarkable." Review of Le Roi d'Ys at the Grand Théâtre of Saint-Quentin, Journal OPERA, 27 October 1950
On 29 and 30 November 1950, she performed the Mother in Louise at the Grand Théâtre of Tourcoing."Mr Adrien Legros of the Opéra-Comique and Mrs Marie-Louise Debierre of the Paris Opera formed a truly engaging couple, both as actors and singers... [...] Mrs Marie-Louise Debierre (the Mother) was in no way overshadowed by her distinguished partner. She is a first-class dramatic mezzo whose compelling tone and commanding presence reveal a true Wagnerian interpreter." Review of Louise at the Grand Théâtre of Tourcoing, Nord Matin, 30 November 1950
On 12 January 1951, she sang Amneris in Aida at the Opéra de Lyon.
On 24 January 1951, she performed Mallika in Lakmé at the Municipal Theatre of Calais, followed by performances at the Monsigny Municipal Theatre in Boulogne-sur-Mer and the Municipal Theatre of Lille."Mallika was sung by Miss Debierre... During the duet in the first act, Lakmé's voice blended most pleasantly with Miss Debierre's warm voice. This artist, who possesses remarkable diction, sang the duet perfectly. What a beautiful velvety and resonant timbre!" "Mrs Debierre (Mallika) offered a glimpse—far too brief—of a type of voice that has become rare: such depth, such velvet tone, such artistry of expression! Her first-act duet with Georgette Plessis was deeply moving. One would have to rewrite Lakmé simply to give her role greater importance." Reviews of Lakmé at the Municipal Theatre of Lille, two Lille newspapers
On 16 and 18 October 1951, she performed Dame Marthe in Faust at the Municipal Opera of Algiers."At last, a Dame Marthe who can sing and be heard (Miss M.-L. Debierre of the Paris Opera)." Review of Faust at the Municipal Opera of Algiers, Dernière Heure d'Alger, 18 October 1951"The cast assembled by Mr Gustave Grangheon deserves only praise. No role was neglected, least of all Dame Marthe, sung by an authentic mezzo from the Paris Opera, Mrs M.-L. Debierre." Review of Faust at the Municipal Opera of Algiers, Echo d'Alger, 18 October 1951"Rarely, if ever, have we had occasion to congratulate a performer in the role of Dame Marthe. It is therefore only fitting to emphasize the presence of Mrs L. Debierre of the Paris Opera in this brief role, usually sacrificed, whose performance suddenly gives real substance to the 'Marguerite's Garden' scene." Review of Faust at the Municipal Opera of Algiers, La Dépêche Quotidienne d'Alger, 18 October 1951"Finally! A Dame Marthe (Marie-Louise Debierre) with a real voice." Review of Faust at the Municipal Opera of Algiers, Journal d'Alger, 17 October 1951"Although the entire cast excelled, special mention must be made of the exceptional triumph achieved by Huc Santana as Mephistopheles, and of Dame Marthe, portrayed by the excellent singer and accomplished actress M.-L. Debierre." Review of Faust at the Municipal Opera of Algiers, Alger Républicain, 18 October 1951
Marseille
In 1951, she performed the role of the Nurse in Boris Godunov at the Opéra municipal de Marseille, Toinette in at the Municipal Theatre of Tourcoing,"Marie-Louise Debierre, who had made a great impression the previous year in the role of the Mother in Louise, fully confirmed the excellent impression she had left. Combining a powerful and harmonious voice with natural yet highly expressive acting, she brought to the character of Toinette all the sensitivity of which she is capable." Review of at the Municipal Theatre of Tourcoing, Nord Matin, 31 October 1951"For Le Chemineau, the cast was outstanding in every respect. How captivated we were by the consummate artist that is Mrs Marie-Louise Debierre, who gave a triple lesson in singing, diction and acting. One is tempted to say: this is how such a demanding and imposing role should be interpreted—without weakness or flaw." Review of at the Municipal Theatre of Tourcoing, Nord Éclair, 31 October 1951 and Ortrud in Lohengrin at the Lyon Opera."Germaine Hoerner, the regular interpreter of Elsa, found in such a brilliant partner the means to display all her qualities, while Mrs Marie-Louise Debierre endowed Ortrud with the savage grandeur appropriate to the role. The two artists were particularly remarkable in the second act." Review of Lohengrin at the Lyon Opera, Le Soir, 9 November 1951"The vocal demands accumulated in the role of Ortrud can only be overcome by a seasoned artist such as Mrs Debierre, who negotiates this formidable role without difficulty." Review of Lohengrin at the Lyon Opera, La République, 9 November 1951 In November 1951, she once again performed Amneris in Aida at the Grand Théâtre de Nancy and she repeated the role at the Théâtre municipal de Tunis, where the press praised the dramatic power of her interpretation."Marie-Louise Debierre was an Amneris of tragic power and exceptional fire." Review of Aida at the Théâtre municipal de Tunis, Le Petit Matin, 29 November 1951
Lille She appeared in the Opéra de Lille programme for the 1951–1952 season.
On 13 December 1951, she performed Delilah in Samson et Delilah."Mrs Marie-Louise Debierre possesses a rich Falcon-type voice, with ringing high notes and broad, ample lower notes. Of commanding stature, she portrayed a majestic and sovereign Delilah." Review of Samson et Dalila at the Opéra de Lille, La Voix du Nord, 14 December 1951"Mrs Marie-Louise Debierre (Delilah) knows how to give velvety warmth to a broad and well-controlled voice." Review of Samson et Dalila at the Opéra de Lille, Nord Matin, 14 December 1951"Mrs Marie-Louise Debierre is a powerful contralto whose richly coloured voice retains its warmth throughout the entire register." Review of Samson et Dalila at the Opéra de Lille, Nord Éclair, 14 December 1951
On 17 January 1952, she performed the title role in Hérodiade."Marie-Louise Debierre was fierce and dramatic as Herodias, displaying proud intensity." Review of Hérodiade at the Lille Opera Nord Matin, 18 January 1952"Madame Marie-Louise Debierre, a Falcon voice of warm and ample sonority, gives Herodias all the tragic dimension that characterizes the role." Review of Hérodiade at the Lille Opera La Voix du Nord, 18 January 1952"Marie-Louise Debierre portrayed Herodias with all the resources of a consummate professional." Review of Hérodiade at the Lille Opera Nord Éclair, 18 January 1952
On 21 January 1952, she performed Ortrud in Lohengrin at the Eden Theatre in Saint-Étienne."Marie-Louise Debierre, like Georgette Camart, fully mastered her role and performed it with talent." Review of Lohengrin at the Eden Theatre, Saint-Étienne, Le Patriote, 22 January 1952"The character of Ortrud requires a highly expressive stage portrayal—which Marie-Louise Debierre certainly provides—as well as convincing vocal experience." Review of Lohengrin at the Eden Theatre, Saint-Étienne, Saint-Étienne, 22 January 1952