V1227. ARTHUR ENDRÈZE: Arias from Le Roi de Lahore, Roméo, Faust, Les Pêcheurs de Perles, Hérodiade, Lakmé, Guercoeur (Magnard), Le Roi Arthus (Chausson), Sigurd, Samson et Dalila, Thaïs, La Damnation de Faust & Patrie; w.Yvonne Gall: Thaïs - Duo de l'oasis. (France) Malibran 643. Long out-of-print, Final Copy! - 3760003776438
"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 Dauville. 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 later part of the 19th century, Jean De Reszké, 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 Reszké 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
"After graduating from the Paris Conservatoire, Yvonne Gall made her début as a Rhinemaiden in a performance of LE CRÉPUSCULE DES DIEUX (GÖTTERDÄMMERUNG) at the Opéra-Comique in 1908. Her first leading role was Mathilde in Rossini’s GUILLAUME TELL opposite Léon Escalaïs. She took part in a number of novelties. She sang in Bachelt’s Scemo in 1914, in Magnard’s GUERCOEUR opposite Marthe Chenal and Maria Kuznetsova. It was not until after the war that she became a principal at the Opéra-Comique. Her first appearance was as Marguerite. In due corse she sang Manon, Antonia, Tosca, Louise, Donna Anna, Juliette and Daphne in Busser’s LES NOCES CORINTHIENNES. In 1918 she was invited to the Teatro Colon at Buenos Aires, where she was heard as Thaïs, Juliette and Salomé in Massenet’s HÉRODIADE. She made her début at the Chicago Opera as Thaïs the same year. There, she was called to undertake whatever the great Diva Mary Garden was unwilling or unable to sing. She was very successful in the first American performance of Ravel’s L’HEURE ESPAGNOLE. She greatly pleased as Tosca, Manon, Salomé and Mathilde. The remarkable Russian impresario Raoul Gunsbourg brought her to Monte Carlo for Thaïs, a French TRISTAN with Paul Franz and Ariane in Dukas’s ARIANE ET BARBE-BLEU. Gall made Pathé and Columbia recordings.
Hers is a bright sounding lyric soprano voice of a typically 'gallic' sound and full of dramatic energy."
- Andrea Shum-Binder, subito-cantabile