Ninon Vallin

The range of roles which she undertook was unusually varied in their vocal requirements: Manon, Charlotte (in Werther), Juliette (in Roméo et Juliette), Marguerite (in Faust), Mignon, Zerlina (in Don Giovanni) and Mélisande. She also sang the trio of heroines in The Tales of Hoffmann.

Vallin had a great affection for French operetta, and performed works by Lecocq, Massé, and Chabrier; she even ventured into music hall during the 1930s, singing at the Alhambra in Paris. Such was her popularity in her native country that she also appeared in a 1937 film, La fille de la Madelon.

Vallin worked with most of the leading French singers of her era, including the renowned tenor Georges Thill, whom she disliked. Her voice was that of a good-sized lyric soprano, well balanced but strongest in its middle and lower registers; but, at her peak, she was also capable of singing high coloratura, as recordings of arias by Bellini and Donizetti illustrate. Her tone was cool and clear, with exemplary enunciation. Louise, Charlotte and Manon became her signature roles. Her performances were described by the critic André Tubeuf as the "epitome of good singing but also of good taste". Sound technique supported both her versatility and the durability of her career; as late as 1946, when she was 60, she sang the Countess (in Le nozze di Figaro) and she continued singing and recording into the 1950s. Between 1953-59, she was a guest professor at the Conservatory in Montevideo.

Roi d"Ys,Pearl Fishers,Louise,Enfant Prodigue,Fortunio(Messager),Chanson Georgienne (Balakirev)

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