Arthur Endreze;  Reynaldo Hahn   (VAI 1128)
Item# V0373
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Product Description

Arthur Endreze;  Reynaldo Hahn   (VAI 1128)
V0373. ARTHUR ENDRÈZE: Songs by Franck, Paladilhe & Hahn (the latter Accompanied by the Composer); Arias from Benvenuto Cellini, La Favorita, La Damnation de Faust, Faust, Roméo, Samson et Dalila, Hamlet, Lakmé, Hérodiade, Thaïs & Guercoeur (Magnard). VAI 1128, recorded 1929-37, PATHÉ AND ODÉON. Long out-of-print, Final Copy! - 089948112822

CRITIC REVIEWS:

"A pupil of Jean de Reszke, [Endrèze] made his début in 1925 in Nice; and by 1929, he had ascended to the Paris Opéra where, with a gap during the Occupation, he sang major roles until 1946….The voice is light in colour, with an easily available top; there is a slight hint of accent in his otherwise perfectly enunciated French….Together with the opera’s first conductor, François Ruhlmann, he is heard in two creator selections from Albéric Magnard’s posthumously premièred GUERCOEUR, while Reynaldo Hahn (a longtime colleague) accompanies him in his own song ‘Phyllis’, as well as Paladilhe’s ‘Psyché’.”

- George Hall, INTERNATIONAL CLASSICAL RECORD COLLECTOR, Summer, 1998





"Arthur Endrèze was born Arthur Endres Kraeckmann in Chicago where the conductor Walter Damrosch discovered his beautiful voice and recommended him to study singing. It was not until 1928 when he came to France by way of the American Academy at Fontainebleau. While there, he took instruction from Jean de Reszké and began a career as a recitalist. He made his opera début in 1925 as Don Giovanni at the Nice Opera House. It was the composer and baritone Reynaldo Hahn, who invited Endrèze to appear in some opera performances at Cannes and Deauville. He débuted as Karnack in Lalo’s LE ROI d’YS at the Opéra-Comique in 1928, followed by the first appearance at the Grand Opéra as Valentin, where he created a variety of roles of French contemporary operas. The most successful creation was the title role in Magnard’s GUERCOEUR. In 1937 he took part in the first performance of Honegger/Ibert’s L’AIGLON. Endrèze was the leading baritone at the Grand Opéra for almost 20 years where he enjoyed a remarkable success in the title-role of Méhul’s JOSEPH. During his entire career he was also a frequent guest at the operas of Nice, Brussels and Monte Carlo (he never appeared in the United States).

The greatest French tenor of the latter part of the 19th century, Jean De Reszke, in fact the greatest French singer of his day, was Arthur Endrèze’s teacher for three years. De Reszké began as a baritone and restudied as a tenor. Arthur Endrèze and Jean de Reszke were not French by birth, but ‘we should remember that vocal style is the product of cultural identification, not the accident of birth - a baby born in a stable is not a horse’, as Michael Scott explained. Endrèze found his artistic temperament destined for the serious and tragic incarnations. He never appeared in Mozart and Rossini (except DON GIOVANNI)

There is neither roundness nor brilliance in his voice (as we know from Italian baritones), but his is a warm and highly individual instrument of a velvety quality in the upper register. Particularly in the lyrical parts, you can hear his perfect mezza voce and his great ability to sing with inner emotion. He articulates each phrase with a feeling for the particular color that helps to illuminate its meaning. Endrèze had a perfect French pronunciation (all the more remarkable for a native American) and, when listening to him, you will know what French diction is about. His Hérode, Hamlet and Athanaël - not to forget his song recordings - are wonderful examples of French singing art. Arthur Endrèze is a favorite baritone of mine because of his entirely personal and sensual approach to music.”

- Andrea Shum-Binder, subito-cantabile





“On records, Endrèze projects a romanticism that supports his image. His voice is velvety and sensual. He articulates each phrase with a feeling for the particular color that helps illuminate its meaning. As a singing actor, Arthur Endrèze was the heir to Jean de Reszké's legendary magic; he also deserves recognition as one of the greatest American baritones.”

- Harold Bruder



“A pupil of Jean de Reszke, a young American baritone, Mr. Endrèze did unusually good work in the difficult rôle of Guercoeur. He has the best voice which has been heard for some years on the Opéra boards. His voice has, in reality, the characteristic timbre of a tenor and he is able to reach both the upper and lower extremes with ease. The power of his voice is unusual. He is, moreover, an artist who is full of intelligence and one who has proved himself to be an excellent actor. His success was great.”

- Henry Prunières, THE NEW YORK TIMES