Regarding the French accents, again, I agree with you which is why despite overall recommending the Prêtre recording, I remark that "the British comprimarios do not sound as authentically French as Fournet’s" and for purists would still default to that wholly authentic 1956 version.
For me, though, although I care about accents, opera is primarily about singing which is why I did not feel I could endorse the Rudel recording over the Sony one.
I was grateful that Ralph reminded readers of an opera which, like him, I consider "the first 20C opera": dealing with ordinary people depicting them in the context of their social environment. However, its 2 February 1900 premiere was preceded by a much more frequently played opera. On 14 January Tosca had its first night. In spite of many efforts by directors to "update" it to more modern times, Tosca is more like a belated "last 19C opera", isn't it?
Although Sills and Gedda are no longer fresh in the CBS recording, I prefer their insights to their rivals in the EMI version - both from 1976/77. And more importantly: apart from a few foreigners in the lead roles (with good knowledge of French style), the numerous small parts were taken by French speakers. Maybe even Ralph who seems to have good French is less sensitive to accents when it comes to English speakers, like I know I often forgive Swedes singing in foreign tongues? But the relative "Frenchness" of Rudel's cast made me keep his recording rather than Prêtre's.
Even better of course is the 1956 Philips recording. The notes which come with early copies of the LPs remind readers that Charpentier had died only the same year, and that Louise was just reaching 1000 continuous performances at the Opéra-Comique. So it was a last gasp of a living tradition, with the composer on hand until recently.
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