Phonograph Monthly Review, Vol. 3, No. 12 (1929-09)

September, 1929 The Phonograph Monthly Review 401 Emma Calve, whose performance in this part has never been equalled. When that intrepid genius, Oscar Hammer- stein, gave “Herodiade” its first American per- formance at the Manhattan Opera House, in 1909, the role of Salome was sung by Mile. Lina Cava- lieri, one of the most famous beauties of the nine- ties. Of course America never saw Cavalieri at her most delicate period of perfection—the sort of thing that kept Paris awake daytimes, and made fifteen beauty-bored Croesuses ask her to a dinner-party with no other women, so they could stare at her in unhampered appreciation. Singing had done regrettable things to her throat, chest and jaw . . . she is not nice looking “in ac- tion”, but there are her wonderful eyes of two souls—the soul of a fawn and that of a circe. Cavalieri had wide-set-apart eyes. That alwa* means one of two things. It was the other on with her. And, perhaps most remarkable of all is the woman’s superb poise; where she picked it up, between the streets of Rome and the boule- vards of Paris, all things considered, is curious. Reutlinger has photographed innumerable poses of Cavalieri—each more beautiful than the other—that are veritable miracles of loveliness. “Herodiade” is more in the accepted style ot grand opera than most of Massenet’s other works. The composer’s great admiration for Wagner is well known, and in certain scenes his employment of the “Leit-Motif,” or guiding theme, reaches an almost symphonic level. “Herodiade” con- tains much of the best music that Massenet has ever written, and abounds in splendid tunes; in- deed, only “Le Roi de Lahore,” and “Manon” exhibit such a spontaneous flow of beautiful melody. Massenet excelled as a musical colorist, but he is equally great as a melodist. He often declared that melody was the basis of all music, “as the good earth is beneath everything.” Oscar Hammerstein evidently agreed with this view, for he wrote to the New York Times:— “Massenet is the last of the great melodists. While other composers of the day are striving for unusual orchestral effects and strange combina- tions of instruments he was writing melody. It seems to me that most opera composers write for musicians: Massenet wrote for the public, and he will always rest near to their hearts.” Said one eminent writer:— “One of the most individual qualities of Mas- senet’s music is the marvellous blending of his harmonies with the melodies they accompany.” It is this rare and mysterious quality that give the master’s compositions their indefinable ap- peal and allure. Singers have always loved Massenet’s music, for he thoroughly understood writing for the voice; he never allowed his orchestration to hide the vocal timbre. Rather did he always blend voice and orchestra in such a manner that each special color could be dis- tinguished. Some of the most fascinating pages of “Hero- diate” have been recorded on the disks, and many of the songs are conveniently detachable from the score. Act I is enriched with the famous air, “II est doux, il est bon”, one of the inspirations of the opera that must ever be treasured by all music- lovers | Mme. Calve’s exquisitely trained voice, always remarkable for its beautiful timbre and emotional quality, is shown at its best in this record. (Victor, 88130.) Sir Landon Ronald tells how Mme Emma Calve, then at the height of her fame as “Car- men,” was induced, to sing for the records. She had been hard to win, and Sir Landon had great difficulty in overcoming her prejudices. He lured her as far as the door of the gramophone com- pany’s offices, and then she refused to go in. In agitation, he implored her to wait at least a mo- ment in the cab. Meanwhile he dashed upstairs and had the check for the woman’s fee hastily written out. Tins he then flaunted in her face. She was won. A fine record of this same aria is sung by Mme. Jeritza (Victor, 6604). I freely admit her beauty and magnetism—even if the latter is of a cer- tain German hoyden type, more familiar in the Music Hall than in the Opera-House. Her high notes are powerful, but the lower and middle registers too often lack resonance. She was in especially good voice, however, when this aria was recorded, and, with two exceptions, it seems to me to be the best record she has made. It has points of much beauty. There is also, from act I, the splendid duett with Herod, in which Hero- dias, infuriated, demands the head of the Prophet, John, saying that he has called her vile names. Herod, distraught and irritated, impatiently re- fuses her request. His former favorite is amazed. She recalls to him how she had abondoned hus- band, child and all else, for his sake. She fights desperately to regain her former power over Herod, but to no avail; he desires only Salome. 1. “NE ME REFUSE PAS, TOI, MON SEUL BIEN” 2. “SALOME, DEMANDE UN PRISONER.” This record, 12-inch, Parts I and II, is sung by Mile. Suzanne Brohly, a mezzo-soprano of the Opera-Comique, and M. Rouard, a baritone of the Opera. (F.G.Co. W 383). In act 2 is the familiar “Vision Fugitive”, one of the most famous airs in the baritone repertory. The Victor Co. lists two fine interpretations of this great aria; de Gogorza (88153), and Werren- rath—the finer of the two, (74610). This great number is sung with all imaginable artistry by the incomparable Battistini. This record is al- ways looked upon as a model of style. (English Gramophone Co., DB. 149.) The first scene of act 3 passes in the house of Phanuel, a young Jewish astrologer. He is gaz- ing at the city, which lies silent under a starry