Track Listing
CD 1 (78:59) | ||
French Odeon, 1929-1932 | ||
| 1. | LES PÊCHEURS DE PERLES: Nadir doit expirer … L’orage s’est calmé (Bizet) | 4:09 |
| 30 November 1929; Hall of the Paris Conservatory, (xxP 6960-2) 123022 | ||
| 2. | LE ROI DE LAHORE: Aux troupes du sultan … Promesse de mon avenir (Massenet) | 4:08 |
| 30 November 1929; Hall of the Paris Conservatory, (xxP 6961-2) 123021 | ||
| 3. | LA TRAVIATA: Lorsqu’à de folles amours (Di Provenza il mar) (Verdi) | 4:19 |
| 30 November 1929; Hall of the Paris Conservatory, (xxP 6962-1) 123021 | ||
| 4. | RIGOLETTO: Tous deux égaux (Pari siamo) (Verdi) | 4:20 |
| 10 December 1929; Hall of the Paris Conservatory, (xxP 6971-1) 123022 | ||
| 5. | HAMLET: Spectre infernal (Thomas) | 3:57 |
| 10 December 1929; Hall of the Paris Conservatory, (xxP 6972-2) 123023 | ||
| 6. | Endrèze commenting briefly on the role of Hamlet and on soprano Eidé Norena with French Radio commentator Henry Jacqueton | 1:29 |
| 7. | HAMLET: La fatigue alourdit mes pas … Comme une pâle fleur (Thomas) | 4:07 |
| 10 December 1929; Hall of the Paris Conservatory, (xxP 6973-2) 123023 | ||
| 8. | HÉRODIADE: Salomé, demande au prisonnier (Massenet) | 3:36 |
| 21 July 1930; (xxP 7106-2) 123033 | ||
| 9. | THAÏS: Voilà donc la terrible cité (Massenet) | 4:01 |
| 21 July 1930; (xxP 7107-2) 123033 | ||
| 10. | PATRIE!: Pauvre martyr obscur (Paladilhe) | 3:06 |
| 21 July 1930; (Ki 3538-1) 188064 | ||
| 11. | BENVENUTO CELLINI: De l’art splendeur immortelle (Diaz) | 3:10 |
| 21 July 1930; (Ki 3539-2) 188064 | ||
| 12. | ROMÉO ET JULIETTE: Ô présage alarmant! … Mab, la reine des mensonges (Gounod) | 3:16 |
| 22 October 1930; (xxP 7140-2) 123720 | ||
| 13. | ROMÉO ET JULIETTE: Quoi, ma fille! … Que l’hymne nuptial succède aux cris d’alarmes! (Gounod) | 4:00 |
| 22 October 1930; (xxP 7142-1) 123720 | ||
| 14. | HÉRODIADE: Divine volupté … Vision fugitive (Massenet) | 4:09 |
| 22 October 1930; (xxP 7141-1) 123725 | ||
| 15. | Nocturne (Franck; Fourcaud) | 4:32 |
| 22 October 1930; (xxP 7143-2) 123726 | ||
| 16. | La procession (Franck; Brizeux) | 4:40 |
| 24 December 1930; (xxP 7215-2) 123726 | ||
| 17. | Rondel de l’adieu (de Lara; Hugo) | 3:01 |
| 28 October 1930; (Ki 3718-2) 188771 | ||
| 18. | RIGOLETTO: Courtisans, race vile (Cortigiani, vil razza) (Verdi) | 4:38 |
| 24 December 1930; (xxP 7216-2) 123725 | ||
| 19. | MESSALINE: Ô nuit de mon cœur … Ô nuit d’amour (de Lara) | 2:37 |
| 29 April 1931; (Ki 4409-1) 188771 | ||
| 20. | CARMEN: Votre toast [Air du Toréador] (Bizet) | 4:25 |
| 14 May 1931; (xxP 7273-2) 123776 | ||
| 21. | CARMEN: Je suis Escamillo (Bizet) | 3:17 |
| with Gaston Micheletti, tenor 9 May 1931; (xxP 7271-2) 123776 | ||
CD 2 (76:47) | ||
French Odeon, 1929-1932 (continued) | ||
| 1. | Endrèze commenting briefly on the role of Iago in Verdi’s Otello with French Radio commentator, Henry Jacqueton | 0:35 |
| 2. | OTELLO: Je crois en un Dieu cruel (Credo in un Dio crudel) (Verdi) | 4:22 |
| 15 May 1931; (xxP 7279-4) 123777 | ||
| 3. | OTELLO: Seigneur, calmez votre âme ... La nuit dernière (Signor frenate l’ansie … Era la notte) (Verdi) | 4:00 |
| 8 October 1931; (xxP 7306-2) 123777 | ||
| 4. | OTELLO: Vous avez vu, sans doute, aux mains de votre femme … Par le ciel (Talor vedeste in mano di Desdemona … Si pel ciel) (Verdi) | 4:07 |
| with René Verdière, tenor 15 May 1931; (xxP 7280-2) unpublished | ||
| 5. | LES PÊCHEURS DE PERLES: C’est toi, toi qu’enfin je revois … Au fond du temple saint (Bizet) | 7:26 |
| with Paul-Henri Vergnes, tenor 6 October 1931; (xxP 7302-1 and 7303-1) 123803 | ||
| 6. | LAKMÉ: C’est un pauvre qui mendie … Lakmé, ton doux regard se voile (Delibes) | 4:18 |
| 6 October 1931; (xxP 7304-2) 123802 | ||
| 7. | PAGLIACCI: Bonjour, c’est moi (Si può?) [Prologue] (Leoncavallo) | 4:17 |
| 6 October 1931; (xxP 7305-1) 123802 | ||
| 8. | MANON: Les grands mots que voilà … Épouse quelque brave fille (Massenet) | 2:49 |
| 29 January 1932; (Ki 5236-1) 188864 | ||
| 9. | LA BOHÈME: Ô défroque si chère (Vecchia zimarra) (Puccini) | 2:23 |
| 29 January 1932; (Ki 5237-1) 188864 | ||
TOSCA (excerpts) (Puccini) | ||
French Odeon | ||
| French translation by Paul Ferrier | ||
| Ninon Vallin, soprano; Enrico di Mazzei, tenor; Arthur Endrèze, baritone; Paul Payen, baritone; Gustave Cloëz, conductor | ||
| Note: Presenting all fourteen sides as originally recorded; Paul Payen, the baritone, should not be confused with the famous bass, Paul Payan. | ||
| 10. | Notre Dame! Son portrait! ... Ô de beautés égales (Sante ampolle! Il suo ritratto! … Recondita armonia) | 4:18 |
| Payen and di Mazzei 8 June 1932; (xxP7325-2) 123810 | ||
| 11. | Mario, tu t’enfermes (Mario, perchè chiuso) | 8:35 |
| Vallin and di Mazzei 8 June 1932; (xxP7326-2 and xxP7327-2) 123810 | ||
| 12. | Ce vacarme à l’église! (Un tal baccano in chiesa!) | 4:25 |
| Endrèze and Vallin 8 June 1932; (xxP 7328-2) 123811 | ||
| 13. | Gloire à toi, Tosca (Tosca è un buon falco!) | 4:21 |
| Endrèze and Payen 9 June 1932; (xxP 7329-2) 123812 | ||
| 14. | Où est l’Angelotti? (Dov’è Angelotti) | 4:16 |
| Endrèze, Vallin, and di Mazzei 9 June 1932; (xxP 7330-2) 123812 | ||
| 15. | Mario! ... Permets que je parle! (Mario! ... Consenti ch’io parli!) | 8:07 |
| Endrèze, Vallin, and di Mazzei 9 June 1932; (xxP 7331-1 and xxP 7332-2) 123813 | ||
| 16. | D’art et d’amour (Vissi d’arte, vissi d’amore) | 2:54 |
| Vallin 10 June 1932; (xxP 7333-2) 123814 | ||
| 17. | Grâce! Les mains jointes j’implore encore! (Vedi, ecco, vedi, le man giunte io stendo a te!) | 5:32 |
| Vallin and Endrèze 10 June 1932; (xxP 7333-2 and xxP 7334-2) 123814 | ||
CD 3 (78:00) | ||
TOSCA (excerpts) (Puccini) (continued) | ||
French Odeon | ||
| 1. | Mario Cavaradossi? À vous! ... Le ciel luisait d’étoiles(Mario Cavaradossi? A voi … E lucevan le stelle) | 4:01 |
| Payen and di Mazzei 14 June 1932; (xxP 7335-1) 123815 | ||
| 2. | Franchise à Floria Tosca … Ô douces mains (Franchigia a Floria Tosca … O dolci mani) | 4:21 |
| Vallin and di Mazzei 14 June 1932; (xxP 7336-2) 123815 | ||
| 3. | C’est par toi que la mort m’était triste (Amaro sol per te) | 8:01 |
| Vallin and di Mazzei 14 June 1932; (xxP 7337-2 and xxP7338-1) 123816 | ||
CAVALLERIA RUSTICANA (excerpts) (Mascagni) | ||
French Odeon | ||
| French translation by Paul Milliet | ||
| Germaine Cernay, mezzo-soprano; Gaston Micheletti, tenor; Arthur Endrèze, baritone; Mady Arty, contralto; Alice Héna, soprano; Gustave Cloëz, conductor | ||
| Note: Presenting all twelve sides as originally recorded. | ||
| 4. | Prelude | 1:57 |
| 5. | Ô Lola, blanche fleur à peine éclose (O Lola, ch’ai di latti la cammisa) | 2:18 |
| Micheletti 13 March 1933; (xxP7345-1) 123817 | ||
| 6. | Dites, mère Lucie … Piaffe, mon cheval fringant (Dite, Mamma Lucia … Il cavallo scalpito) | 4:01 |
| Cernay, Arty, Endrèze, and chorus 13 March 1933; (xxP 7340-1) 123817 | ||
| 7. | Regina coeli [Chœur de l’Église] | 3:59 |
| Cernay, Arty, and chorus 13 March 1933; (xxP 7272-3) 123818 | ||
| 8. | Vous le savez, ma mère (Voi lo sapete, o mamma) | 4:06 |
| Cernay and Arty 13 March 1933; (xxP 7343-1) 123818 | ||
| 9. | C’est toi, Santuzza? (Tu qui, Santuzza?) | 10:57 |
| Cernay, Micheletti, and Héna 13 March 1933; (xxP 7275-2, xxP 7274-2, and xxP 7276-2) 123819 and 123820 | ||
| 10. | Ah! Vous venez à propos vous, Maître Alfio (Oh! Il Signore vi manda, comprar Alfio) | 3:44 |
| Cernay and Endrèze 13 March 1933; (xxP 7344-1) 123820 | ||
| 11. | Intermezzo | 3:24 |
| Orchestra 13 March 1933; (xxP 7348-1) 123821 | ||
| 12. | Commère Lola, vous vous en allez … Vive le vin qui pétille (Comare Lola ve ne andate via … Viva il vino spumeggiante) | 3:16 |
| Chorus, Héna, and Micheletti 13 March 1933; (xxP 7348-1 and xxP 7341-1) 123821 | ||
| 13. | Le bonjour, camarades! (A voi tutti, salute!) | 4:48 |
| Endrèze and Micheletti 13 March 1933; (xxP 7341-1 and xxP 7342-1) 123822 | ||
| 14. | Mère, ce vin est généreux (Mamma, quel vino è generoso) | 4:57 |
| Micheletti and Arty 13 March 1933; (xxP 7342-1 and xxP 7277-1) 123822 | ||
Pathé, 1932-1938 | ||
| 15. | GUILLAUME TELL: Mon fils … Sois immobile (Rossini) | 2:48 |
| July 1932;(250 276-MC1) X 90060 | ||
| 16. | LA FAVORITE: Jardins de l’Alcazar … Léonor, viens ... Léonor, mon amour brave (Donizetti) | 4:21 |
| 1932; (250 233-MC1) X 90038 | ||
| 17. | LA FAVORITE: Pour vous, qui vous taisiez … Pour tant d’amour ne soyez pas ingrate (Donizetti) | 4:13 |
| 1932; (250 232-MC1) X 90038 | ||
| 18. | LA DAMNATION DE FAUST: Voici des roses (Berlioz) | 2:48 |
| July 1932; (250 277-MC1) X 90073 | ||
CD 4 (78:14) | ||
Pathé, 1932-1938 (continued) | ||
| 1. | UN BALLO IN MASCHERA: Oui, c’est toi (Eri tu che macchiavi quell’anima) (Verdi) | 4:24 |
| 1932; (250 268-MC1) X 90066 | ||
| 2. | TANNHÄUSER: En contemplant cette assemblée immense (Blick ich’ umher) (Wagner) | 4:22 |
| 1932; (250 239-MC1) X 90040 | ||
| 3. | TANNHÄUSER: Mortel présage … Ô douce étoile, feu du Soir (Wie Todesahnung … O du mein holder Abendstern) (Wagner) | 4:19 |
| 1932; (250 238-MC1) X 90040 | ||
| 4. | FAUST: Avant de quitter ces lieux (Gounod) | 3:44 |
| 1932; (250 269-MC1) X 90054 | ||
| 5. | FAUST: Écoute-moi bien, Marguerite! [Mort de Valentin] (Gounod) | 4:11 |
| 1932; (250 267-MC1) X 90054 | ||
| 6. | SAMSON ET DALILA: Maudite à jamais soit la race (Saint-Saëns) | 2:26 |
| July 1932; (250 278-MC1) X 90060 | ||
| 7. | HAMLET: Ô vin dissipe la tristesse (Thomas) | 4:11 |
| December 1932; (250 300-MC1) X 90066 | ||
| 8. | HAMLET: J’ai pu frapper le misérable … Être ou ne pas être (Thomas) | 4:24 |
| 1932; (250 225-MC1) X 90035 | ||
| 9. | SIGURD: Et toi, Freia, déesse de l’amour (Reyer) | 3:49 |
| 1932; (250 226-MC1) X 90035 | ||
| 10. | TANNHÄUSER: Je savais bien la trouver en prière (Wohl wusst’ich hier sie in Gebet) (Wagner) | 3:26 |
| December 1932; (250 304-MC1) X 90073 | ||
| 11. | L’AFRICAINE: Fille des rois … Quand l’amour m’entraîne (Meyerbeer) | 6:33 |
| December 1932; (250 305-MC1 and 250 306-MC1) X 90074 | ||
| 12. | THAÏS: L’ardent soleil m’écrase … Baigne d’eau mes mains et mes lèvres [Duo de l’oasis] (Massenet) | 8:34 |
| with Yvonne Gall, soprano December 1932; (250 307-MC1 and 250 308-MC1) X 90072 | ||
| 13. | GUERCŒUR: Où suis-je? Quel murmure me charme (Magnard) | 4:19 |
| March 1933; (250 316-MC1) X 90079 | ||
| 14. | GUERCŒUR: Si cruelle, si touchante! … Le calme rentre dans mon cœur (Magnard) | 4:27 |
| March 1933; (250 315-MC1) X 90079 | ||
| 15. | LE ROI ARTHUS: Pommiers verts … Ne m’interroge plus, ô Roi [Prophétie de Merlin] (Chausson) | 6:26 |
| December 1934; (CPT 1688-1 and CPT 1689-1) PD 6 | ||
| 16. | DIE WALKÜRE: Adieu superbe, adieu, chère enfant [Leb wohl, du kühnes, herrliches Kind] (Wagner) | 8:42 |
| December 1934; (CPTX 100-1 and 101-1) PGT 12 | ||
CD 5 (79:49) | ||
Pathé, 1932-1938 (continued) | ||
| 1. | DER FLIEGENDE HOLLÄNDER: L’heure a sonné … Ange du ciel (Die Frist ist um … Dich frage ich, gepriesener Engel Gottes) (Wagner) | 9:02 |
| October 1936; (CPTX 275-1 and 276-2) PGT 26 | ||
| 2. | FAUST: Le veau d’or (Gounod) | 2:07 |
| October 1936; (CPT 2874-1) PG 77 | ||
| 3. | FAUST: Vous qui faites l’endormie (Gounod) | 2:52 |
| October 1936; (CPT 2875-2) PG 77 | ||
| 4. | Psyché (Paladilhe; Corneille) | 2:44 |
| February 1937; (CPT 3137-1) PG 88 | ||
| 5. | ÉTUDES LATINES: Phyllis (Hahn; Leconte de Lisle) | 3:19 |
| February 1937; (CPT 3138-2) PG 88 | ||
| 6. | L’enamourée (Hahn; Banville) | 3:21 |
| February 1937; (CPT 3139-3) PG 89 | ||
| 7. | CHANSONS GRISES: L’heure exquise (Hahn; Verlaine) | 2:52 |
| February 1937; (CPT 3140-1) PG 89 | ||
| 8. | Les berceaux (Fauré; Sully-Prudhomme) | 3:07 |
| December 1937; (CPT 3638-1) PA 1986 | ||
| 9. | Automne (Fauré; Silvestre) | 3:21 |
| December 1937; (CPT 3639-1) PA 1986 | ||
| 10. | Passing by (Purcell-Cockram; Herrick) | 2:41 |
| December 1937; (CPT 3640-2) PA 1377 | ||
| 11. | Drink to me only with thine eyes (Traditional; Johnson) | 2:53 |
| December 1937; (CPT 3641-2) PA 1377 | ||
| 12. | DICHTERLIEBE: Wenn ich in deine Augen seh’, Op. 48, No. 4 (Schumann; Heine) | 2:03 |
| July 1938; (CPT 3982-1) PA 1545 | ||
| 13. | DICHTERLIEBE: Ich grolle nicht, Op. 48, No. 7 (Schumann; Heine) | 2:40 |
| May 1938; (CPT 3885-2) PA 1497 | ||
| 14. | DICHTERLIEBE: Am leuchtenden Sommermorgen, Op. 48, No. 12 (Schumann; Heine) | 2:18 |
| May 1938; (CPT 3886-2) PA 1497 | ||
| 15. | DICHTERLIEBE: Ich habe im Traum geweinet, Op. 48, No. 13 (Schumann; Heine) | 2:52 |
| July 1938; (CPT 3981-1) PA 1545 | ||
RADIODIFFUSION, undated broadcast | ||
| Odette Pigault, piano | ||
| Note: The discs containing this broadcast are undated. Since Endrèze’s voice sounds similar here to his last Pathé sessions, this broadcast has been placed in the late 1930s or early 1940s. | ||
| 16. | Introductory announcement | 0:25 |
| 17. | PAYSAGES TRISTES: Soleils couchants (Bordes; Verlaine) | 2:56 |
| 18. | PAYSAGES TRISTES: Chanson d’automne (Bordes; Verlaine) | 1:44 |
| 19. | PAYSAGES TRISTES: L’heure du berger (Bordes; Verlaine) | 3:25 |
| 20. | PAYSAGES TRISTES: Promenade sentimentale (Bordes; Verlaine) | 3:44 |
| 21. | Hébé, Op. 2, No. 6 (Chausson; Ackermann) | 2:47 |
| 22. | Nanny, Op. 2, No. 1 (Chausson; Leconte de Lisle) | 3:05 |
| RADIODIFFUSION: NORTH AMERICAN SERVICE, undated broadcast | ||
| 23. | Rolling down to Rio (Edward German; Kipling) | 1:18 |
| 24. | Endrèze greets his American listeners | 0:43 |
| RADIODIFFUSION: ARTISTES DE RENOM, 30 April 1956 | ||
| 25. | SEMELE: Where’er you walk (Handel) | 4:36 |
| 26. | DICHTERLIEBE: Wenn ich in deine Augen seh’, Op. 48, No. 4 (Schumann; Heine) | 1:30 |
| 27. | DICHTERLIEBE: Ich will meine Seele tauchen, Op. 48, No. 5 (Schumann; Heine) | 0:52 |
| 28. | DICHTERLIEBE: Im Rhein im heiligen Strome, Op. 48, No. 6 (Schumann; Heine) | 2:36 |
| 29. | DICHTERLIEBE: Ich grolle nicht, Op. 48, No. 7 (Schumann; Heine) | 1:56 |
CD 1: | ||
CD 2: | ||
CD 3: | ||
CD 4: | ||
CD 5: | ||
Translations: | ||
CD 1, Track 6: Announcer. – And now, my dear friends, before getting to the fifth and last act of Hamlet and listening finally to Endrèze singing the famous arioso “Comme une pâle fleur,” let us ask the great baritone, who tonight agreed to come round to our microphone, to say a few words, first about this fearsome part of Hamlet in which he distinguished himself, then about his colleague, Mme Eidé Norena. Dear maestro, we are listening to you. Endrèze. – It is superfluous to mention the attraction that the role of Hamlet exercised for centuries on all tragic actors and for years on all baritones. Besides, Hamlet represents not only the beginning of my years of study with Jean de Reszke, but also the beginning of my career under Reynaldo Hahn’s conducting. With these two great masters I learned the traditions of Faure, the role’s creator. I remember that Reynaldo Hahn gave a series of performances of Hamlet during which, in the same week, I alternated with Titta Ruffo, he singing the part in Italian, I in French. Announcer. – Would you like now to say a few words about Eidé Norena? Endrèze. – But of course. I first sang Hamlet at Cannes with Eidé Norena, an admirable singer and touching Ophelia. Later, I had the great pleasure to sing at the Opéra with this artist in Faust, Roméo et Juliette, Les Huguenots, and Othello. | ||
CD 2, Track 1: Announcer. – Now Mr. Endrèze, tell us about the sinister and oh so dangerous character that is Iago. Endrèze. – Iago is one of the finest roles in the baritone repertoire, one of the most difficult as well, because one has to give him so many faces. I conceived him under the aspect of a charmer, not that of a too obvious villain; deceitful, yes — but under an appearance of sincerity. Before singing this role at the Opéra, I asked the great artist Salignac for advice, and he encouraged me to follow the path I had chosen. Translations provided by Luc Bourrousse | ||
Producer: Ward Marston
Audio Conservation: Ward Marston
Audio Assistance: J. Richard Harris
Booklet notes: Vincent Giroud
Photographs: Gregor Benko, Luc Bourrousse, Rudi van den Bulck, Roger Gross, Lawrence F. Holdridge, Charles Mintzer, Jacques Primack, and André Tubeuf
Booklet Design: Takeshi Takahashi
Marston would like to thank the estate of John Stratton, Stephen R. Clarke, Executor, for its continuing support.
Marston would like to thank the sponsors of this set, the Pauls Foundation and Fabrice Pilato, whose generous contributions made this five CD-set a reality.
Marston would like to thank Luc Bourrousse, Lawrence F. Holdridge, John Humbley, Peter Lack, David Mason, Eugene S. Pollioni, and Jacques Primack for their help in the production of this CD release.
The Complete Arthur Endrèze
Arthur Endres Kraeckmann was born in Chicago on 28 November 1893. He won a scholarship to study at the American Conservatory in Fontainbleau for the summer of 1921, yet Kraeckmann remained in France. He studied with no less than Jean De Reszke and Reynaldo Hahn, and established himself (under the name of Arthur Endrèze) as one of the great "French" baritones. Endrèze rarely visited the United States, and his career was almost entirely in France. Endrèze returned to Chicago in 1974, where he died less than a year later. The recorded output of Arthur Endrèze is historically important and has never been issued in its entirety. Endrèze is firmly footed in the French style of singing, an art that is lost today.
