Arthur Endreze              (5-Marston 55001)
Item# V2162
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Product Description

Arthur Endreze              (5-Marston 55001)
V2162. ARTHUR ENDREZE: The Complete Arthur Endrèze, incl.unpublished broadcast performances, plus an interview. 5-Marston 55001. Specially priced, 5-CDs for the price of 3. - 638335500126


“This noble voice, effortlessly produced with a fine, forward sound, is a tribute to his background and surely reflects assiduous study and discipline. The seamless legato is an object lesson and aids the refined phrasing [Endrèze] repeatedly demonstrates. He never makes a harsh sound and, while the lower register is comparatively weak, the top is secure, with for some the hint of a tenor sound. His long phrases show remarkable breath control….He later came under the wing of the consummate musician, singer and composer Reynaldo Hahn and emerged encrusted with honours….The transfers are, as is usual with Marston, very good indeed and the voice reproduces well on a variety of sound systems….Of great importance are his arias from Magnard’s GUERCOEUR. It boasts long phrases sung with amazing control….The Hahn songs, as you would expect, are beautifully sung with an enviable legato and honour his mentor….I must make reference to his recordings of the Wagner excepts. How I wish we had a Dutchman of his calibre today. Endrèze demonstrates that Wagner can be sung lyrically and yet have all the drama the music requires. Wotan’s Farewell is also nobly moving, and you can understand why [Endrèze] was such a valuable member of the Paris opera scene from the mid twenties until the War interrupted his career….This meticulously presented Marston set has all the characteristics of his previous issues: good transfers, and CDs (five this time), neatly packed with a most informative booklet in a compact box, easy to use. This set deserves a place in every vocal music collector’s library.”

- Khushroo Suntook, THE RECORD COLLECTOR, 2013

"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 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

“A pupil of Jean de Reszké, 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

“As for the twelve songs [Endrèze] recorded with piano, they give one the opportunity to hear him, for once, in languages other than French—and dare one say that he impresses more in German than in his native tongue? The gems are, nevertheless, the two Faurés, the delightful Paladilhe, and the three Hahns, with the considerable bonus of having the composer as accompanist. Among the songs he recorded for the French radio in the late 1930s or early 1940s, particularly interesting, on account of their relative rarity, are the Chaussons, Nanny and Hébé, and the even rarer 'Paysages tristes', the cycle on Verlaine poems composed in 1886 by Charles Bordes a disciple of César Franck, chiefly remembered for being, along with Vincent d’Indy, one of the founders of the Schola cantorum in 1894.”

- Vincent Giroud, Program Notes