In a distinguished 43-year recording career that began with the
recording of two duets by Blangini and Leguerney in 1944, this
remarkably versatile artist recorded more than 750 titles in at
least 15 languages. These recordings, appearing on nearly 50 labels
(more than 535 different catalog numbers) on 78s, 45s, LPs,
prerecorded open reel tapes, 8-track cartridges, cassettes, and
CDs, earned Souzay numerous awards. Souzay won the prestigious
French Grand Prix du Disque on three separate occasions for
performances of a Handel aria, Ravel songs, and classical arias
with orchestra. Except for operas and cantatas, Souzay rarely
recorded joint programs: his only recorded duets were with his
sister, soprano Genevieve Touraine, Germaine Lubin, and Elly
Ameling. This three-section discography has been meticulously
researched and organized by Manuel Morris and includes
cross-referenced indices to facilitate easy access to needed
information. Separate sections present a chronological list of all
Souzay's recordings; an alphabetical list by composer and title of
work; and a list of all the recordings that have been assigned
catalog numbers. Recordings of an archival nature such as radio
broadcasts and privately recorded concert performances that were
not released for sale are not included in the discography but
virtually all information relating in any way to a listed recording
has been included. Following the work's introduction, the
discography is organized into principal sections: Chronology,
Composers and Titles, Recordings, and Indices. The Chronology lists
all of Souzay's recordings, including, when known, recording dates
and matrix and take numbers. When located, data on rejected takes
has been included here. The Composers and Titles section provides
an alphabetical list by composer of the title of the recorded work.
All recordings that have been assigned catalog numbers, including
those not published, are listed in the main entries of the
Recordings section; this is divided into four subsections based on
recording companies. Within groups, recordings are listed
alphabetically by label. Data on the availability of the recording,
its release, and deletion are usually provided with each listing.
Two indices consist of an alphanumeric listing of all known labels
and catalog numbers (cross-referenced to the recording section) and
a listing of all artists who appear in recordings with Souzay.
Morris's systematic and comprehensive discography will make this an
indispensable resource in the musical reference section of
libraries at universities and conservatories. It should also prove
useful for professional singers, vocal teachers and their students,
collectors, and musicologists.
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