Jacques Urlus
The most versatile tenor in vocal history
A selection of his opera repertory: Lohengrin, Parsifal, Die Meistersinger von Nürnberg, Rienzi, Der fliegende Holländer, Das Rheingold, Die Walküre, Siegfried, Götterdämmerung, Tristan und Isolde, Iphigenie auf Tauris, Der Freischütz, Die Rose vom Liebesgarten, Der arme Heinrich, Fidelio, Der Barbier von Bagdad, Oberon, Euryanthe, Salome, Tiefland, Carmen, Joseph (Méhul), La Juive, La Navarraise, Le Cid, Samson, Les Huguenots, L’Africaine, Le Prophète, 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, Mahler’s Symphony No. 8, St. Matthew Passion (Evangelist), Die vier Jahreszeiten, Beethoven’s Symphony No. 9...
Lauritz Melchior and Jacques Urlus are considered the greatest “Heldentenors” in history of records. Remarkable is Urlus’ 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 Melchior’s 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 Wagner’s 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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