Phonograph Monthly Review, Vol. 1, No. 12 (1927-09)

The Phonograph Monthly Review 492 /snrr- intimacy of French songs, as well as he. His engagement at the Metropolitan some years ago was most successful. No one has ever sung his roles there since with the artistry and compre- hension that he evinced. His loveliest records are: Ca fait peur aux oiseaux, L'Adieu Matin, Sonnet Matinal, and the popular French folk song Au clair de la lune, exquisitely sung by Geraldine Farrar; and his perfect rendition of the Reve from Manon, and the air from Roi d'Ys. Julia Culp's contribution to the phonograph contains some lovely songs. Most of them are veritable gems; her artistic interpretations are familiar to all concert goers. Charles Dalmores was one of the greatest singing actors of his day. His voice was richly resonant. Every disc he made is worthy of con- sideration, as the same careful artistry is re- corded in each. His Samson and his Romeo were the greatest of his day. Emma Eames—a beautiful woman and a beau- tiful memory. Her recording was uneven, but I can recommend her airs from Carmen, Cavalleria, and Tosca; and her record of Gretchen am Spinn- rade which is still the finest one of that song that has ever been made. Geraldine Farrar was an American idol, once cherished and beloved. (Is her memory for- gotten?) But who that knew her could ever forget her! Those records of her early voice are poignant with lyric beauty, greatness of soul and splendid artistry. They include, Don Giovanni, two airs from Konigskinder, Donne Curiose, Mefistofele, Mignon, Secreto di Susanna, and Tosca. Johanna Gadski, the German soprano whose reliable performances for so many years made her a favorite at the Metropolitan. Her voice was an unusually fine one, but unfortunately all her records do not do her justice. Amongst those to recommend would be, Auf Flugeln des Gesanges, two airs from Ballo in Maschera, Im Herbst, Im Treibhaus, Oberon (first record), and the Tristan and Isolde Love Death. Jeanne Gerville-Reache—I must pause here, there is no tribute great enough for this woman. Her lamentable death some years ago removed the greatest singer of her type from our midst. Such a voice, such generosity, such spirit, such soul, and such artistry. Her attributes are seldom bestowed twice in a generation. Every record is worthy of appreciation. They are revelations :n the art of a contralto singer. Charles Gilbert is well remembered from both the Manhattan and Metropolitan Opera Compan- ies. His work was marked by sincerity. What records he left are good. George Hamlin was a native singer, who won laurels in oratorio, opera and concert. Amongst his best records are the Minnelied, Im Kahne, and the Walkure' Liebeslied. Pol Plancon belongs to the period of the de Reszkes. His singing was always perfect. His art is the art of another generation. It would be difficult to recommend his records. I have not heard them all, but those that I have heard are splendid examples of his art. Mario Sammarco was a gifted singer. His suc- cess in the Manhattan days was tremendous. All those records I have heard are fine examples of a rich, resonant baritone voice. To lovers of Schumann-Heink, I would say, there are some fine records of her early voice listed in this unique catalogue. The same thing can be said about Antonio Scotti. Two very famous singers who left records that I have not spoken of, are Adelina Patti and Ta- magno. Of the former I will say she was over sixty when she decided to record, the result is not the celebrated Patti. I must say this, even though it contradicts a statement recently made to the contrary. Tamagno’s recording was done in the earliest days of the phonograph. The records listed here only faintly demonstrate his rare voice. He was around fifty-three when he recorded but his voice was fresh and youthful still. The best records of his that I have heard were the twelve inch Otello records on sale in England. T HE eyes of some enthusiasts—among whom we must class ourselves—have been fixed so intently upon our own particular demi-gods in the recording world that they have failed to see other “divinities” whose following was not only as whole-hearted, but hundreds of times as large. When we orchestral “fans” point with ad- miration to the long list of works by a Coates, a Stokowski, a Morike, we fail to realize that these lists are almost imperceptible if placed beside those of certain artists whom it has been our condescension to term “popular.” But are we right in ignoring this other world? Are we cor- rect in contemptuously dismissing these “popu- lar vocal and instrumental” works so coolly? Aren't there artists in this field as well as the other? These were some of the thoughts that flooded upon us the other day when Mr. James A. Frye, the Boston representative of the Victor Company called up to enquire whether we would- n't like the opportunity of talking with Franklyn Baur, in Boston for a time as a star of the cur- rent Ziegfeld Follies. Mr. Baur records regular- ly, multitudinously, and indefatigably for all three of the leading companies; his records sell (literally) by the millions; and in the field of the lighter vocal music he has won a place for himself that is truly unique. Certainly it would be both interesting and instructive to profit by this opportunity to learn something more about a side of recorded music of which we were per- haps not giving due justice. Gracefully declin-