V1226. LÉON ESCALAÏS: Songs by Granier & Flégier; Arias from L’Africaine, Le Cid, Les Huguenots, Le Mage, La Juive, Polyeucte, Hérodiade, Le Prophète, Robert le Diable, Guillaume Tell, Jérusalem, I Lombardi, Aïda, Il Trovatore & Otello. (France) Malibran 665, recorded 1905-06. - 3760003776650
“Léon Escalaïs is the prototypical French heroic tenor, a French Tamagno with penetrating power, flawless registration, and pealing high notes, all produced with little apparent effort…his voice was undoubtedly the most voluminous in his category….”
- Gary A.Galo, ARSC Journal, Vol. 41, #1 , Spring 2010
"For the collector, his are some of the most exciting of tenor records left to posterity….Little surprise then that, a century after he made many of his recordings, Escalaïs remains one of the most sought after of all collectors’ singers."
- Larry Lustig, THE RECORD COLLECTOR, 2004
“Escalaïs’ Paris Opéra début was in GUILLAUME TELL (Arnold) on 12 October 1883, just three months after graduating from the Conservatory, where he had won first prize in song and second prize in opera. Also in 1883 at the Paris Opéra, he sang Eléazar in LA JUIVE, and in 1884 he sang the title role in ROBERT LE DIABLE (opposite his soon-to be-wife and fellow-Conservatory graduate, Marie-Antoinette Lureau, who sang Alice), and Raoul in LES HUGUENOTS. Escalaïs made his La Scala début in LA JUIVE (Eléazar) on 31 January 1881 to poor reviews; created the role of Lusignan in Paul Vérange’s ZAÏRE (28 May 1890, Paris Opéra); and also at the Paris Opéra on 16 March 1891, he sang in Massenet’s LE MAGE (Zarastra.) After 1892, he left the Paris Opéra following a falling out with the management. He then sang at a number of the major French provincial houses, Marseilles being chief among them. He made an important début at the Teatro de São Carlos in December 1905, again singing Eléazar in LA JUIVE. He returned to the Paris Opéra during the 1907–1908 season, where he sang in GUILLAUME TELL (Arnold) and in AÏDA (Radames.) For the 1909–1910 season, Escalaïs performed numerous roles at the French Opera House at New Orleans to ecstatic acclaim; this marked the opera house’s 50th anniversary as well as his own. He was a well-liked figure in the opera world whose voice will be remembered for its trumpet-like brilliance. His stunning high notes are unique on records. He recorded exclusively for Fonotipia.”
- Vincent Giroud, Marston Program Notes