Phonograph Monthly Review, Vol. 3, No. 9 (1929-06)

June, 1929 The Phonograph Monthly Review 319 Brunswick 50158 (D12, $1.00) Samson et Delila— Printemps qui commence, and La Favorita—O Mio Fer- nando, sung by Karin Branzell, with orchestral accompani- ments. Two competent examples of Miss Branzell’s singing. In its lower register her voice is strangely fascinating. The recording is good. Columbia 50146-D (D12, $1.25) Delibes: Le Roi d’Ys— Aubade, and Bizet: Le^ Pecheurs de Perles—Je crois entendre encore, sung by Joseph Rogatchewsky, with or- chestral accompaniments. Rogatchewsky is a new recording tenor, at least to this country. The record comes via; the French Columbia Company and I presume that he is a member of the Paris Opera-Comique. His voice is pleasing rather than great; his performances are reserved and engaging. There is something of the frank open quality of the early Mc- Cormack here. The two airs are somewhat similar in mood, reflective and serene, but rising to moments of intensity. The music is simple but moving, and Rogatchewsky’s sin- cerity and feeling make the most of it. A refreshing record and a delightful one, with additional merits of dis- creet, well-balanced accompaniments. Columbia 1793-D (DIO, 75c) Tosca—E lucevan le stelle, and Rigoletto—La donna e mobile, sung by Louis Graveure, with orchestral accompaniments. The best of Graveure’s tenor records so far, but there is room for much further improvement. The Rigoletto aria is very harsh. E lucevan le stelle is much more effective, aided by exceedingly clear recording, but the performance is uncomfortably intense. Columbia (German list) 55157-F (D12, $1.25) Handel: Recit. and Aria (Largo), and Bach-Gounod: Ave Maria, sung by Marion Szekely, with accompaniments by Steve Kautz’ Salon Orchestra. Miss Szekely, a contralto of the Berliner Hoffoper, de- serves a better accompanying orchestra than that of the estimable Steve Kautz, whoever he may be. She possesses a voice not unworthy the designation of lovely, and her performances of even these all-too-familiar airs are re- served and effective. The recording is not very good. I hope to hear her again and given better support. Odeon (German list) 15137 (D12, $1.25) Erwin: Ich kuesse ihre Hand Madam and Die schoenste Augen hat meine Frau, sung by Richard Tauber, with orchestral ac- companiments. This is Tauber’s second record of the great European hit, which has now been taken up enthusiastically by American dance orchestras. On the other side he sings another song by the same composer, Ralph Erwin; a quietly sentimental ditty that is not particularly interesting. Tauber sings this version of Ich kiisse ihre Hand with more care and “concert manner” than the previous one (Odeon 10518), but I find it much less engaging and effective. The tempo drags a bit, the accompaniment is more unctuous, there are moments of strong nasalness in Tauber’s sing- ing. In the previous recording he was at greater ease and gave the song its exact meed of lightness and piquancy. The release of the second version is most happy in that it offers a repeated opportunity to recommend its predecessor! Victor 1372 (DIO, $1.50) Schipa: El Gaucho—Tango, and Schipa-Rose-Longas: Luna Castillana, sung by Tito Schipa, with orchestral accompaniments. Schipa does this kind of thing extremely well, and this is an excellent example of his way with it. The Gaucho tango was written for Douglas Fairbanks and pays the energetic film-star due honor with its catchy tune and buoyant rhythmic life. The other song is more senti- mental and is sung more fervently, but sentimental or no, one cannot help deeming it very nice indeed. A disk that deserves the popularity it unquestionably will win. Victor 1400 (D10, $1.50) Gibbons: A Garden in the Rain, and Romberg: Lover Come Back to Me, sung by John McCormack, with orchestral accompaniments. Whatever else may be said of McCormack’s singing, it at least can never be said that one cannot understand what he is singing. In some respects he is a dangerous model to hold up for young singers, but all singers—young or old—can find it to their advantage to study his splendid enunciation. Here his voice is employed rather effectively in two hits of the day. Both are pleasing, and McCormack polishes them off in neat fashion. Victor 1385 (D10* $1.50) Pagans: Malaguenas (Malaga Love Lament), and Valverde: Clavelitos (Carnations), sung by Lucrezia Bori, with orchestral accompaniments. Both songs are sung in Spanish and about as well as any coloratura pieces recorded during the last few years. Reasoned criticism is quite impossible; this record has everything: vivacity, color* thistledown lightness, deft ac- companiments, and one of the finest recording voices. A sheer a delight to ear and spirit! It can be recommended without reservations. Victor (Spanish list) 4035 (D10, $1.50) Valverde: Clavelitos (Carnations), and Esperon: La Borrachita— Danza Popular (The Little Tippler), sung by Sofia Del Campo, with orchestral accompaniments. This record was released last month with two others by Miss Del Campo, but was not received in time for review with them in the last issue. She also sings Valverde s sprightly Clavelitos. To bear comparison with Miss Bori’s recording is a cruel test, but Miiss Del Campo meets it magnificently. Her version is a little less spirited and the accompaniment hardily as effective, but even so, it is one of which she may well be proud. The other song, more lyrical and sentimental, is far less interesting, although it, too, is well sung. Victor (German list) V-6018 (D10, 75c) Meyer-Helmund: Ballgefluester, and Herrmann: Sag* mir nur einmal ja, sung by Elisabeth van Endert, accompanied by Marek Weber’s Orchestra. Two very nice light German songs given exactly the right kind of performance. Miss Van Endert’s voice is a pleasing one and she uses it discreetly. A first rate record of the lighter class. Victor 8124 (D12, $2.50) Carmen—Chanson du Toreador, and Tosca Te Deum, sung by Lawrence Tibbett, accom- panied by the Metropolitan Opera House Chorus and Or- chestra, under the direction of Giulio Setti. The high musical esteem Tibbett has won in a few short years is soundly rooted. His performances have the genuine ring of sincerity and power. It is an added pleasure to hear him with the full Metropolitan forces under the ever- vigilant hand of Setti. The recording is in every way up to the standard of the Victor Metropolitan series—which is to say that it is magnificent. A big record. The Te Deum side in particular is “not to be missed.” Victor 8111 (D12, $2.50) Aida—Temple Scene, sung by Ezio Pinza and Giovanni Martinelli, accompanied by the Metropolitan Opera House Chous and Orchestra, under the direction of Giulio Setti. This disk was listed in last month’s release list, but was delayed in arriving for review. To say that it marks the highest peak yet of the Victor Metropolitan series is per- haps a presumptuously rash statement, but one that is temptingly easy to make. Martinelli is in good form, but Pinza is the hero of the day, ably abetted by the Metropoli- tan Chorus and superb recording. A performance that is almost overpowering in its impressiveness. Again analysis is superfluous; the record truly has to be heard to be ap- preciated. Choral Columbia G-50136-D (D12 $1.25) Kreutzer: Das ist der Tag des Herrn, and Mendelssohn: Wer hat Dich Du schoener Wald, sung by the Sieber Chorus. Robust Teutonic choral performances, competently re- corded.