Jean Fournet

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Jean Fournet (born 14 April 1913) is a French conductor. After having established himself in his native country, he proved a welcome addition to opera companies in America, where the French style had become something of a lost art. Beyond stage work, he proved, both early and late, a persuasive interpreter of the French symphonic literature. Jean Fournet's career extended over an extraordinarily long period.

Biography

After studies at the Paris Conservatoire, Fournet made his debut in his native city in 1936; two years later, he was engaged by Rouen on a permanent basis. In 1940, he moved to Marseilles and, beginning in 1944, presided over the Paris Opéra-Comique as music director, simultaneously offering instruction in the art of conducting at the École Normale. In the 1950s, he was involved in several recording projects that enhanced his reputation considerably, notably Fauré's Requiem and Bizet's "Les pêcheurs de perles". Two further appointments awaited him in Europe before he turned to a regimen of guest conducting: in 1961 he became conductor of the Netherlands Radio Philharmonic, and from 1968 to 1973, he served as artistic director of the Rotterdam Philharmonic Orchestra.

Fournet made his American opera debut with the Chicago Lyric Opera in 1965 directing a double bill consisting of a staged "Carmina Burana" and Ravel's magical "L'heure espagnole", the latter with Teresa Berganza, Alfredo Kraus, and Sesto Bruscantini. The conductor impressed immediately as one who could imprint elegance and respect for French style on his casts. His success led to further assignments, each helping re-establish the French wing in a city that had known great French artists in decades past. Among the productions were "Les pêcheurs de perles" in 1966, another double bill (Stravinsky's "Le Rossignol" and "Oedipus Rex") in 1968, Massenet's "Werther" in 1971, Debussy's "Pelléas et Mélisande" in 1972, Massenet's "Manon" in 1973, and Don Quichotte in 1974.

In 1987, Fournet made his Metropolitan Opera debut conducting a production of Saint-Saens' "Samson et Dalila". In addition to a number of orchestral discs, Fournet recorded "Les pêcheurs de perles" for Philips Records with Léopold Simoneau and Pierrette Alarie, still unsurpassed.

One of his most distinguished recordings was the first ever of the Requiem of Berlioz, made in Paris during the World War II Nazi occupation.

He was methodical, unflappable, and he is said to have seldom raised his voice).

Jean Fournet is married to Miriam Hannecart-Jakes, an English horn player who formerly occupied the post of solo English Horn with the Netherlands Radio Philharmonic Orchestra.

Recordings

*Arthur Honegger: Pacific 231 recorded with The Netherlands Radio Philharmonic (Jean Fournet)
*Camille Saint-Saëns: Samson et Dalila recorded with The Netherlands Radio Philharmonic (Jean Fournet, Jon Vickers, Dominguez)
*Ernest Chausson: Symphony in B-flat Major, Op. 20; Gabriel Fauré: Pelléas et Mélisande, Op. 80 recorded with The Netherlands Radio Philharmonic (Jean Fournet)
*Georges Bizet: Les pêcheurs de perles recorded with Lamoureux Concert Association Orchestra, Pierrette Alarie, Léopold Simoneau, René Bianco, Xavier Depraz)
*French Orchestral Favorites: Claude Debussy: Prelude to the Afternoon of a Faun; Maurice Ravel: La Valse; Jacques Ibert: Escales; Georges Bizet: L'Arlesienne Suites (excerpts) recorded with Tokyo Metropolitan Symphony Orchestra (Jean Fournet)

External links

* [http://www.brainyhistory.com/events/1913/april_14_1913_75495.html Biographical information]