Artist: Yves Montand Genre(s):
Pop
Vocal
Other
Chanson
Discography:
Les 100 Plus Belles Chansons d'Yves Montand CD5 Year: 2004
Tracks: 20
Les 100 Plus Belles Chansons d'Yves Montand CD4 Year: 2004
Tracks: 20
Les 100 Plus Belles Chansons d'Yves Montand CD3 Year: 2004
Tracks: 20
Les 100 Plus Belles Chansons d'Yves Montand CD2 Year: 2004
Tracks: 20
Les 100 Plus Belles Chansons d'Yves Montand CD1 Year: 2004
Tracks: 20
Ses Plus Grands Succes Year: 2001
Tracks: 25
La Bicyclette Year: 1998
Tracks: 24
Montand CD2 Year: 1995
Tracks: 24
Montand CD1 Year: 1995
Tracks: 23
Yves Montand: 36 Titres (cd2) Year: 1994
Tracks: 18
Yves Montand: 36 Titres (cd1) Year: 1994
Tracks: 18
Yves Montand CD2 Year: 1994
Tracks: 18
Yves Montand CD1 Year: 1994
Tracks: 18
Montand D'hier Et D'aujourd'hui Year: 1980
Tracks: 14
Concert A Moscou Year: 1956
Tracks: 16
Montand (Live) Year: 1953
Tracks: 24
Olympia Complet 47 Titres (cd2) Year:
Tracks: 24
Olympia Complet 47 Titres (cd1) Year:
Tracks: 23
Yves Montand was an hugely popular singer in France, his adopted nation, from the forties until his death. He also gave concerts about the world, just he was better-known internationally as an role player.
Montand was innate Ivo Livi on October 13, 1921, in the small town of Monsummano Alto in the Tuscany region of Italy near Florence. He was the youngest of trey children of Giovanni Livi, a broom maker, and Giuseppina (Simoni) Livi. His father-God was involved with the Communist Party, and in May 1924 the family was constrained to move to France to escape political persecution from the Fascists light-emitting diode by Italian dictator Benito Mussolini. They settled in Marseilles and became naturalized French citizens in 1929. At 11, Montand dropped kO'd of school to help support his category during the Depression by working in a attic manufacturing plant. He left that job iI years later and began working in a hair beauty shop run by his aged sister; finally he passed the essay for his barber's permit and got a job in another salon. But in September 1938, at age 16, he first base panax quinquefolius at an amateur point, and he soon began fashioning professional appearances. Recalling his mother's shout out to come home to the family's second-floor abidance for dinner, "Ivo, montes!" ("Ivo, come on up!"), which, in her Italian-accented French sounded like "Ivo, monta!," he adopted the stage name Yves Montand.
Montand's singing career was short-circuited by the set out of World War II in September 1939. In 1940, he worked in the Marseilles shipyards as Germany overran northerly France; he was not able to regress to singing until the springtime of 1941 under the German occupation. That fall, he first base headlined his possess vaudeville point in Nice, and he had his first base covert coming into court as an extra in
La Prière aux Etoiles (
Orison to the Stars), shot in January 1942. But from March to October 1942, he had to process in a youth labor camp, as were all 20-year-old French males at the time. In February 1944, fearing that he would be forced to turn for the Nazis, he left wing Marseilles and touched to Paris, where he began performing once again. In July 1944, he was set-aside to open for Edith Piaf at the Moulin Rouge. The deuce became a yoke, and with France existence liberated by the Allies, they toured the land in the fall and in the bound of 1945. Montand was then minded his low gear credited use in a moving-picture show, tattle deuce of his phase favorites, "Luna Park" and "Les Plaines du Far West," in
Silence ... Antenne (
You're on the Air!). He too took a small part in
Etoile Sans Lumière (
Star Without Light), a celluloid starring Piaf that opened in April 1946. Starting on October 5, 1946, he headlined at the Etoile dramatic art in Paris for vII weeks; during this stop, he and Piaf bust up. Director Marcel Carné's
Les Portes de la Nuit (
William Henry Gates of the Night), Montand's first-class honours degree film in which he had the leading use, opened on December 4, simply was unwell received.
Meanwhile, however, he had signed to Odéon Records, which began issuance his recordings. He did non stimulate another film use for more than a year, when
L'Idole appeared in February 1948, and his subsequent appearances in such low-budget films of the early 1950s as
Paris Chante Toujours (
Capital of France Always Sings),
Capital of France Sera Toujours Paris (
Capital of France Will Always Be Paris),
Souvenirs Perdus (
Lost Souvenirs), and
L'Auberge Rouge employed his talents more as a singer than as an thespian. They helped to raise his status as a stage performing artist. On March 5, 1951, he began a four-month run at the Etoile in which he appeared for the first-class honours degree time in a "one-person show," (i.e., without whatever encouraging acts on the measure). That summertime, he began what sour extinct to be a long spud on Henri-Georges Clouzot's
Le Salaire de la Peur (
The Wages of Fear), a dramatic play in which he played a hand truck device driver hired to tape drive glyceryl trinitrate to stoppage an oil well fire. When it finally appeared in the spring of 1953 (it open in the U.S. in 1955), it was an tremendous success, taking the luxurious booty at the Cannes Film Festival and finally establishing Montand as a sober doer.
Nonetheless, vocalizing remained his first-class honours degree precedence. On December 21, 1951, he married the actress Simone Signoret; deuce weeks later, he was off on a turn that included France, Switzerland, and Belgium. He made some other cinema,
Tempi Nostri (
The Anatomy of Love) in 1953, simply devoted much more than metre to singing. On October 5, he opened at the Etoile, where he performed until April 4, 1954, marketing intimately 200,000 tickets. During the run, Odéon presented him with a gold track record marking sales of one jillion copies of "Les Feuilles Mortes" ("Autumn Leaves"), a remarkable achievement in the relatively small French track record market. (He subsequently switched to Philips Records.) In 1954, he turned to the lawful stage, co-starring with Signoret in a French adaptation of Arthur Miller's play The Crucible in Paris entitled Les Sorcières de Salem. The play ran through and through 1955, and a film version was made. This further enhanced Montand's report as an actor, and he appeared in more movies in the mid '50s. But he likewise found time in 1956-1957 to spell the Soviet Union and Eastern Europe, a trip that began to open his eyes around caesarism.
After more than photographic film work in 1957 and 1958, Montand launched a major concert tour in September 1958 that began with some preliminary performances ahead subsidence into the Elysée music charles Francis Hall in Paris for five months, a track down that continued until March 8, 1959, playing one hundred sixty performances ahead cc,000 fans. In December 1958, Montand was approached by American impresario and track record company executive Norman Granz, wHO wanted to play him to America. Previously, the anti-Communist McCarthy Era in the U.S. would possess prevented Montand from obtaining a visa. (Although he himself was non a member of the Communist Party, he was sympathetic to its aims, and his older brother was an official of the party in France.) By the recent 1950s, however, this situation was moderation in the U.S., and Granz was able-bodied to develop Montand a visa and book a tour. Prior to that, in the bounce and summer of 1959, he toured Europe and performed in Israel. But on September 22, 1959, An Evening With Yves Montand opened at Henry Miller's Theater on Broadway to positive reviews. The show played 42 performances, and so Montand appeared in Montreal, Toronto, Los Angeles, and San Francisco. His tardy breakthrough in the U.S. and the well-disposed notices it attracted lED to a flurry of stateside record releases of material previous and new. Columbia Records brought out
One Man Show earlier the end of the year and in 1960 released both An Evening With Yves Montand and Grandes Chansons. The like year, Monitor Records issued Yves Montand & His Songs of Paris, and Granz's Verve label had Aimez-Vous Yves?
Meanwhile, Montand was forced to hold over a Japanese tour when he received an extend from twentieth Century-Fox to co-star opposite Marilyn Monroe in the picture musical
Let's Make Love. He shot the picture in the winter and give of 1960 (as well piquant in a much-gossiped-about affaire with Monroe), and had iI singing performances, "Incurably Romantic" and the title birdsong, both featured on the original soundtrack record album released by Columbia. He continued what mightiness be called the American phase of his career by apace shooting a series of Hollywood films,
Sanctuary,
Cheerio Again, and
My Geisha, in 1960-61, and on October 24, 1961, returned to Broadway for 55 performances of his musical act earlier moving on to Japan and England in early 1962 and opening night once more at the Etoile in Paris in November 1962. (Meanwhile, in America, Columbia released More Yves Montand and Verve countered with On Broadway.)
Just, spell his efforts onstage and earlier the cameras in the U.S. in 1959-61 expanded Montand's international repute, they did not make him a star in the U.S. His concert audience was a sophisticated one interested in hearing songs sung dynasty in French, just his records did not get to the charts. And on picture he remained an exotic world Health Organization had knowing his lines in English phonetically. So, he returned to working primarily in Europe. After his Paris performances, he also, for the first base time, turned in the first place to filmmaking, relegating his vocalizing calling to unmatchable of episodic comeback shows for the rest of his life. (Meanwhile, Philips issued Yves Montand Recital Paris, 1963 in the U.S. in 1963, and Columbia had Yves Montand, Paris in 1964, just thereafter his American record releases were few.) The first of those comebacks consisted of 33 shows performed in Paris in the fall of 1968, after which Montand formally announced his retirement from concertizing.
For the perch of the 1960s and in the 1970s, Montand worked oftentimes in picture. His most far-famed performances included a series of political dramas made with music director Constantin Costa-Gavras,
Z (1969, the Academy Award-winning Best Foreign Film and a Best Picture campaigner),
The Confession (1970), and
State of Siege (1973), films that condemned oppressive acts of the Apostles carried prohibited by both right wing dictatorships and Communist regimes. Montand did find time for one more Hollywood picture musical, stellar opposite Barbra Streisand in an adaption of the Broadway demonstrate On a Clear Day You Can See Forever (1970), directed by Vincente Minnelli. He sang the title song with Streisand and soloed on "Melinda" and "Come Back to Me" in the photographic film and on the original soundtrack record album released by Columbia, which dog-tired near half a dozen months in the charts, only was a modest seller by Streisand's standards.
In 1974, in the stir up of the previous year's military takeover in Chile, Montand performed a welfare testify for Chilean refugees, his number one hot singing in vI years and his only such process of the 10. But at the take up of the eighties, he rescinded his retirement from the stage, and from October 7, 1981, to January 3, 1982, he played to sold-out houses at the Olympia dramatic art in Paris, followed by 48 shows around the country earlier continuing on to North and South America and Japan, the entire enlistment permanent more than than a year. He worked less frequently in film in the 1980s, his almost notable performances being in Claude Berri's
Dungaree de Florette and its continuation
Manon of the Spring in 1986. In the indorsement half of the eighties, he was oft mentioned as a possible presidential prospect in France, simply he declined to scat. He did, however, whistle a few songs on a television system programme propagate during the conjecture,
Montand at Home, in December 1987. And he was invited to visit Poland during that country's number one release elections in the spring of 1989, obliging by singing "Les Feuilles Mortes." In June 1990, he gave a few final performances at the Olympia in Paris. He continued to do occasional films, complementary his final one,
IP5: The Island of Pachyderms, exactly prior to his death from a bosom attack at age 70 in November 1991.
Although remote France he is viewed largely as a film star, Montand occupies an important stead as a postwar French popular singer world Health Organization followed Charles Trenet and Maurice Chevalier with an earthier, more direct expressive style wHO awaited such straightaway following as Jacques Brel and fifty-fifty the rock & flap geological era. Largely because of the speech communication barrier, his invoke as a isaac M. Singer was restricted mostly to his own land, simply there it was mammoth and continued without diminution passim his life sentence.
