Yvonne Printemps

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Yvonne Printemps (25 July 1894 – 19 January 1977) was a French singer and actress who rose to fame on stage and film in France and around the world. Printemps appeared on stage in Paris at the age of 12, and director and playwright Sacha Guitry named her as a leading lady at 21 years old.

They were married in 1919 and worked closely together until 1932, when they separated.

Printemps never remarried, but he had a personal and career relationship with actor Pierre Fresnay that lasted until his death in 1975. Printemps was known for the beauty of her singing voice and her personal charm as a performer.

André Messager, Reynaldo Hahn, Nol Coward, and Francis Poulenc were among those who wrote about her.

Her voice may have led her to an operatic career, but Guitry's direction, along with non-musical plays and films, concentrated on operette and other aspects of musical performance.

In addition to her many triumphs in Paris, she gained acclaim in London's West End and New York's Broadway.

Early years

Printemps was born in Ermont, a northern suburb of Paris, as Yvonne Wigniolle. Despite the misgivings of what she later described as "my bourgeois family," she made her debut as a performer in a revue at La Cigale in Paris at the age of 12. J. Donnelly, a music critic, was impressed by his reviewer. "A career at the Opéra-Comique seemed improvable," B. Steane writes about her experience as a woman with exceptional breath control."

The possibility of an operatic career did not arise. At the age of 13, Printemps was dancing at the Folies Bergère. Because of her sunny disposition, she was given the sobriquet Printemps (springtime) by her fellow chorus members and used it as her stage name. She appeared in small roles in light musical revues such as Les Contes de Perrault (1913). Louis Verneuil was in one of them when he was writing a revue in 1915 and insisted on casting her in the leading role. "Spry irreverence" was her parody of actor-playwright Sacha Guitry, "whose demeanor she imitated with spry irreverence" in the revue. Charlotte, Guitry's wife, was greatly amused and invited her husband to see it shortly after.

In November 1915, Guitry produced Printemps in his latest revue, but did not appear in it. Jean de la Fontaine, a year later, appeared together in his latest film, Jean de la Fontaine. Printemps was rumored to be having an affair with Guitry's father, the eminent actor Lucien Guitry; regardless of the truth, it is undisputed that she became romantically involved with Sacha. Charlotte Guitry, who discovered the marriage, divorced her husband in 1918 and married Printemps in April 1919.

Guitry wrote several plays for her, some dramatic and others straight comedies. Both he and his father appeared in several of them, including Mon Père durant raison and Comment on ecrit l'histoire. They appeared together in Paris, not just in Paris, but also in London's West End. In 1920, the three three actors appeared at the Aldwych Theatre for a four-week season. Printemps and her husband "returned... many times to delight London in several pieces that were deliberately contrived by him to bring them both together to their best possible advantage," Sir John Gield wrote.

He described her thus:

When in Paris in the 1770s, Guitry entertained the possibility of writing a musical comedy based on the life of Johann Amadeus Mozart. André Messager, with whom he had successfully collaborated in 1923 on a show for Printemps, L'amour masqué, was approached to compose the score. Messager was out of time and recommended Reynaldo Hahn, a young composer who had accepted the commission. The resulting work, Mozart, took some liberties with historical accuracy, but it was also very popular. Printemps performed and performed the teenage Mozart in a breeches role, with Guitry as the composer's patron, Baron Grimm. "She seemed stunningly youthful and touching in her powdered wig, black knee breeches, and buckled shoes," Gield said, as Sacha hovered over her with avuncular power, not trying to sing himself, but instead providing a kind of flowing, rhythmic accompaniment to his talks in a deep caressing voice." After performing well at the Théâtre Edouard VII, the troupe presented the work in London for a three-week season in 1926. "It is not exaggerating to say that people were heard to scream on Monday evening, and by that I mean shed tears, as the heavenly child of Music appeared at the top of the stairs." This exquisite artist made conquest of the house at the time of her entrance and then held it in thrall until the final curtain." Guitry took the show to Broadway, Boston, and Montreal in late 1926 and early 1927, following the London show.

Printemps' marriage to Guitry in 1932 broke up. Guitry remarried soon; Printemps never did so, but instead became the actor's personal and career partner of actor Pierre Fresnay. In February 1934, Nol Coward's Conversation Piece, a personal success, had a personal success in London. Melanie was written with Printemps in mind, and she learned the role of her mother, who spoke literally no English. "I'll follow my dark heart," the singer of the big romantic number was a hit of the performance.

The Times said of her performance:

"The best dialogue in this piece, not the one that takes place on the stage, but the one that flashes across the footlights between Miss Yvonne Printemps and her curious audience," the Observer noted. Coward himself appeared on the premiere, but he had usually avoided long stage appearances and hand over his duties to Fresnay in April 1934. Fresnay's stage relationship with Printemps was also highly praised. In Abel Gance's La dame aux camélias, Printemps and Fresnay had a screen match. She appeared in eight films with him between 1956 and 1951.

Printemps' 1937-19th Century Printemps had another great success in musical comedy, with Oscar Straus's Drei Waltzer, who was also awarded in French as Trois valses. (Les trois valses) starred her and Fresnay in the film and on film in the Parisian stage. Richard Traubner said in 2006 that the film "hangs over anyone who dares revive the operetta on stage" due to Printemps and Fresnay's performances. Printemps had another blast in Marcel Achard's Auprès de ma blonde in 1946. In Achard's film La Valse de Paris, she appeared as Hortense Schneider with Fresnay as Jacques Offenbach. She continued to perform on stage well into her sixties and remained active in Fresnay, co-directing the Teatr de la Michodière in Paris with him until his death in 1975.

Printemps died in Neuilly, France, at the age of 82. In the Neuilly-sur-Seine community cemetery, she is interred with Fresnay.

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