André D’Arkor was a highly expressive Belgian tenor. There is great freedom in the voice. He sings without tension in the swallowing muscles or in the throat, and the sound is very resonant. Consequently, the breath is not constrained, and we hear a bright sound. I am very happy to have found his recordings.
Franck, “Panis Angelicus”
Panis angelicus
Fit panis hominum
Dat panis coelicus
Figuris terminum
O res mirabilis
Manducat dominum
Pauper, pauper
Servus et humilis
Franck, “The bread of angels”
May the Bread of Angels
Become bread for mankind;
The Bread of Heaven puts
All foreshadowings to an end;
Oh, thing miraculous!
The body of the Lord will nourish
the poor, the poor,
the servile, and the humble.
Godard, Jocelyn, Berceuse
Cachés dans cet asile où Dieu nous a
conduits
Unis par le malheur, durant les longues nuits
Nous reposons tous deux endormis sous les voiles
Ou prions aux regards de tremblantes étoiles.
Oh ne t’éveille pas encore
Pour qu’un bel ange de ton rêve
En déroulant son long fil d’or,
Enfant, permette qu’il s’achève.
Dors, dors, le jour à peine à lui.
Vierge Sainte, veillez sur lui.
Godard, Jocelyn, Lullaby
Hidden in this sanctuary where God led us
United by misfortune during the long nights
We both rest asleep under their veils
Or pray under the gazes of the trembling stars
Oh! do not wake up yet
So that a beautiful angel in your dream,
by unwinding its long golden thread
Child, allows it to come to an end
Sleep! Sleep! the day just barely his
Holy Virgin, watch over him.
Lalo, Le roi d’ys, “Vainement, me bien aimée”
Puisqu’on ne peut fléchir ces jalouses gardiennes
Ah ! Laissez-moi conter mes peines
Et mon émoi
Vainement, ma bien aimée,
On croit me désespérer :
Près de ta porte fermée.
Je veux encore demeurer !
Les soleils pourront s’éteindre,
Les nuits remplacer les jours,
Sans t’accuser et sans me plaindre,
Là je resterai toujours !
Je le sais, ton âme est douce,
Et l’heure bientôt viendra,
Où la main qui me repousse.
Vers la mienne se tendra!
Ne sois pas trop tardive
A te laisser attendrir !
Si Rozenn bientôt n’arrive,
Je vais, hélas mourir!
Lalo, The king of Ys”, “In vain, my beloved”
Since we can’t bend these jealous guards
Ah! Let me talk about my sorrows
And my emotion
In vain, my beloved,
do they think they can put me off:
close by your shut door
I am determined to stay!
The stars may fade,
nights replace days,
without blaming you and without complaining
I shall stay here forever!
I know what a sweet soul you are,
and the hour will soon come
when the hand which now pushes me away
will reach out towards mine!
Do not take too long
to allow yourself to melt;
If Rozenn does not appear soon,
Alas, I shall die!
Massenet, Werther, “Pourquoi me réveiller?”
Pourquoi me réveiller,
ô souffle du printemps?
Pourquoi me réveiller?
Sur mon front je sens tes caresses,
et pourtant bien proche est le temps
des orages et des tristesses!
Pourquoi me réveiller,
ô souffle du printemps?
Demain dans le vallon
viendra le voyageur
se souvenant de ma gloire première.
Et ses yeux vainement
chercheront ma splendeur.
Ils ne trouveront plus que deuil
et que misère! Hélas!
Pourquoi me réveiller,
ô souffle du printemps!
Massenet, Werther, “Why awaken me?”
Why do you awaken me?
o breath of Spring?
Why do you awaken me?
On my brow I feel your caresses,
and yet very near is the time
of storms and sorrows!
Why do you awaken me,
o breath of Spring?
Tomorrow, into the valley
will come the traveller
remembering my early glory
And his eyes in vain
will look for my splendor.
They will find no more than mourning
and misery. Alas!
Why do you awaken me,
o breath of Spring!
André D’Arkor
February 23, 1901 – December 19, 1971
André D’Arkor was a Belgian tenor who began his career in the mid twenties and sang publicly to about the end of World War II. He toured the United States during the Thirties and received very good notices. D’Arkor had an enormous repertoire, and was extremely versatile, singing with great style and intelligence in both opera and operetta. Like his more famous tenor countryman Fernand Ansseau, who preceded D’Arkor, the tenor sings heroic roles without strain – at least on record – D’Arkor wisely abstained from tackling parts like Rossini’s Tell in the opera house.
After his singing career ended D’Arkor ran the opera at Liège for two decades, and finished up his career in the world of opera as director of the Théâtre de la Monnaie, a house where he had enjoyed his greatest success.