He also obtained a second prize at the Conservatoire de Paris in 1943. From 1945 to 1953, he performed in French opera houses, including those of Toulouse, Marseille, Lyon, Lille, Nantes, Rennes and Bordeaux.
In 1953, he was in Oran. From 1954 to 1956, he was part of the troupe of the Opéra Royal de Wallonie in Liège before being, for six seasons, the first tenor at La Monnaie in Brussels.
Back in Oran, he sang the title role of Faust. In 1961, he moved to Toulon where he ended his career two years later.
In the 1950s, the breed of great opera tenors seemed to be on the verge of extinction, when lovers of bel canto had the revelation of the extraordinary voice of the young Bordeaux tenor Fouché: ...(he possessed) a charming timbre, a high register of ease and disconcerting power . Fouché's High C, as in Faust, in La Bohème, is one of the most beautiful in the world. In The Damnation of Faust, he is the only protagonist who could record the love duet as it was written by Berlioz with the formidable C sharp from the chest. Finally, as a worthy successor to Nourrit, Giovanni Matteo Mario and Jean de Reszke, Fouché conferred virtue and durability to the heroic repertoire of Auber and Meyerbeer, which was thought to be near extinction for lack of a qualified interpreter.[1]
Verdi's Rigoletto (Duke of Mantoue), with Renée Doria, Ernest Blanc, Denise Scharley, Gérard Bourreli, Maria Valetti, Maurice Faure, André Dumas, Pierre Cruchon director - Pléiade P3076 (33 rpm) - French version
Extracts
Puccini's La Bohème, aria of Rodolphe Que cette main est froide (act I) - Pléiade P45152 (Extended play) - French version
Verdi's Rigoletto, arias of the Duke of Mantoue Qu'une belle (act I) and Comme la plume au vent (act III) - Pléiade P45152 (45 rpm) - French version
.JPG)
