1915 JACQUES URLUS RIENZI Allmacht'ger Vater / HEMPEL Strauss REger EDISON DD 78

$

20

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A series of great EDISON DIAMOND DISC recordings:

The great Dutch-man, Jacques Urlus was considered the greatest Wagner Heldentenor of his time (and a fine one, no barking!) and one of the greatest tenors ever. / Frieda Hempel in one of her greatest records in two German Songs

SUPERB PAPER LABEL PRESSING

EXCELLENT close to pristine, faint rubs

Plays very very quiet A CHOICE COPY

Dutch tenor, 1867 - 1935

Biographical notes:

He was born in Hergenrath near Aix-la-Chapelle (German-Belgium border), to Dutch parents. Urlus spent his early years in Tilburg and Utrecht where he worked in a steel mill and sang in a local choir. When doing his military service, his voice was discovered by an Officer who offered to cover the costs for his vocal-training which, Urlus to his regret, was unable to accept since it would have left him without any regular income. 1892 was the turning point when Urlus met the director of the Dutch National Opera House. Without having received any regular vocal training  he made his debut in Amsterdam, as Beppe in I Pagliacci on September 20, 1894. Afterwards he was taught interpretation by Cornelie van Zanten, Anton Averkamp and Hugo Nolthenius. As far as his vocal technique was concerned, he was largely self-taught! In 1898 Jacques Urlus was invited to Bayreuth to restudy his repertory of Wagner operas in German (he had previously sung all his roles in Dutch), but he left Bayreuth prematurely and Siegfried Wagner did not re-engage him until 1914!  Nevertheless, by the turn of the century he had become the leading heroic tenor at the Leipzig Opera House where he was contracted until 1914. During this period his fame started to spread. He appeared in Berlin, Vienna and London. In 1912 he made his debut as Tristan at the Met (the first performance was a nightmare for him because he had to sing despite a severe cold). In the following performances he was tremendously successful and also appeared as Adolar, Samson and Tamino. He sang all his roles in at least three languages; Dutch, German and the actual original language! He was among those few Wagner singers who were able to preserve their international fame throughout the War years. In 1922 he returned to the United States with HurokÆs German Opera Troupe, his comeback at Covent Garden took place in 1924. At the age of 63, he appeared for the first time at the Teatro Liceo in Barcelona, as Tristan! His performances at the Amsterdam Opera House were celebrated gala-events. He was one of the first singers at the Zoppot Wagner Festival where he was heard as Tristan opposite an outstanding cast including Helene Wildbrunn, Margarethe Arndt-Ober and Otto Helgers. In Berlin he was not only celebrated as an opera singer but also as an accomplished concert singer. He appeared in concerts conducted by Willem Mengelberg, Arthur Nikisch and Erich Kleiber among others. When Jacques Urlus died in Noordwijk the Dutch Nation mourned for him like for a national hero. The most versatile tenor in vocal history

A selection of his opera repertory: Lohengrin, Parsifal, Die Meistersinger von Nnrnberg, Rienzi, Der fliegende HollSnder, Das Rheingold, Die Walknre, Siegfried, G÷tterdSmmerung, Tristan und Isolde, Iphigenie auf Tauris, Der Freischntz, Die Rose vom Liebesgarten, Der arme Heinrich, Fidelio, Der Barbier von Bagdad, Oberon, Euryanthe, Salome, Tiefland, Carmen, Joseph (MThul), La Juive, La Navarraise, Le Cid, Samson, Les Huguenots, LÆAfricaine, Le ProphFte, La Muette de Portici, Faust, Aida, Otello, I Pagliacci (Canio and Beppe), Il Trovatore, Cavalleria rusticana, Mme Butterfly, Louise...

A small selection of his concert repertory: Das Lied on der Erde, Lieder eines fahrenden Gesellen, Das klagende Lied, MahlerÆs Symphony No. 8, St. Matthew Passion (Evangelist), Die vier Jahreszeiten, BeethovenÆs Symphony No. 9... ôThe new tenor, Jacques Urlus, scored a triumph as Siegfried, and his splendid reception was fully justified. Not since the vanished days of Jean de Reszke has any artist at the Metropolitan conveyed the illusion of the hero so successfully. When he demanded of its full power, as in the song of the forge in the first act, it was brillant and vibrant...there were passages that were sung with greatest beauty of tone and  justness of declamation.ö

Musical Courier - New York American - The New York Times (after a performance of Siegfried in February, 1913)

Jacques Urlus was a contemporary of Enrico Caruso, a personal friend and colleague with whom he shared a dressing room at the New York Metropolitan for five years.

Comment:

Lauritz Melchior and Jacques Urlus are considered the greatest ôHeldentenorsö in history of records. Remarkable is UrlusÆ declamation with the right intensity yet without sacrificing a good legato style. In my opinion, he is unique in this respect. What he did not possess was the heroic ring of MelchiorÆs top notes, and his singing may not have been of a simular passion and spontaneity compared to that of the Danish tenor (on records, at least).

His voice was a fully developped dramatic tenor. The dark, almost baritonal quality of the lower range predestined him for WagnerÆs heros, but as we know, he suceeded in many other roles from the German, French and Italian repertoire.

Jacques Urlus made about 150 recordings from 1903 - 1924. All of them are impressing and instructive models of their kind. Because of this very rare combination of vocal power and refinement, Jacques Urlus ranks among the greatest singers.

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