Phonograph Monthly Review, Vol. 4, No. 10 (1930-07)

354 The Phonograph Monthly Review July, 1930 OPERATIC Richard Strauss: Der Rosenkavglier, Act III: Tnio—“Hab’ mir's gelobt, ihn lieb zu haben” and Duo—“Idt ein Trnwm, gann nicht wirklich sein.” Sung in German by Elisabeth Ohms, Adele Kern and Elfriede Marherr, with orchestra conducted by Julius Pruwer. Brunswick 90051 (D12, SI.50). These two numbers are from the finale of Act III of the opera, beginning as the Princess Werdenberg regards Oktav- ian with his new love, Sophie. It is a continuous excerpt, al- though about five words spoken by the Princess and Faninal on part two are omitted. Also, though I have not had an opportunity to see the score, I believe that this completely filled side does not give the purely orchestral ending during which the Page returns for the handkerchief. Elisabeth Ohms, who sings the part of the Marschallin, is the new German soprano at the Metropolitan. She gives an excellent account of herself here, although one cannot say definitely how she would be in more dramatic roles. There is a splendid orchestral foundation throughout, which is greatly to be commended. The Trio is an outstanding ex- ample of sustained legato singing, in which the three female voices are very , clearly differentiated. The music is a closely-knit and rhapsodic web, contrapun- tal in nature, of which all the voices combine to produce an effect of extraordinary richness and ecstacy. At first, the duet almost verges on the trivial, but at the very end there is a beautifully executed passage for soprano and contralto. This is certainly one of the outstanding operatic discs of the year, in many ways. Brunswick has a great mine of such Polydor treasures to draw upon, and they have begun most auspiciously. It is ardently to be hoped that we shall soon have more from this gay and fascinating drama, per- formed and recorded in like superlative fashion. Wagner: Die Meistersinger, Pogner’s Address—“Nun hort, und versteht mich reefy” and Die Gotterdammerung, Hag- en’s -Watch— u Hier sitz’ ich zur Wacht.” Cung in German by Ivar Andresen, with orchestra. Columbia 50223-D (D12, $1.25). It seems a little odd to have chosen such a basso projun- do for the part of Sachs. The tempo in general seems a little fast, and the singing seems to lack somewhat of the roman- tic warmth proper to the music. The orchestra is far too much in the background. Andresen is best in the broader phrases, but his voice strikes me as a trifle harsh. The grim music of the scene outside the Hall of the Gi- bichung, from Die Gotterdammerung, is done splendidly. Amdresen is here in excellent form and perfectly cast. His magnificent voice is carefully controlled and so intelligently employed as to gain the maximum of effect from the first. The orchestra likewise is much better and really fulfills very adequately the position allotted it in the Wagnerian drama. In fact, this would be hard to surpass, and can be heartily recommended for this side alone. Donizetti: Don Pasquale, Coro dei Sermtori , and Leon- cavallo: I Pagliacci, Coro delle Campane. Sung in Italian by the Chorus of La Scala Theatre, Milan, with orchestra. Columbia 50225-D (D12, $1.25). This is an exceptional operatic choral record—the finest I have heard in a long time. Recorded with excellent clarity and realism, the first selection is sung with exhilarating verve and brilliance. It is charming, sparkling music, and, judging from it, this comedy deserves more adequate representation. Although not so interesting musically, the Pagliacci num- ber has all the above good qualities. The orchestra, in particular, is unusually clear and brilliant, without being over-prominent; the English horn is especially good. Balfe: Bohemian Girl—Vocal Gems. Sung in English by Miriam Licette, Frank Russell, Dennis Noble, Harry Brindle, with chorus and orchestra. Columbia 50228- (D2, $1.25). The selections include Happy and Light, I Dreamt I Dwelt in Marble Halls, When Other Lips, Silence Chorus, The Heart Bowed Down, Thou Who in Might Supreme, In the Gypsy’s Life. The performance is done in routine fashion, but with considerable feeling, so much so indeed as occasion- ally to border on affectation. R. H. S. P. SONGS Herbert: Moonbecms (from “The Red Mill”), and Friml: UAmour — Toujours—U Amour, sung by Jessica Dragonette with orchestral accompaniments. Brunswick 4702 (D10, 75c). Miss Dragonette’s operetta recordings have often been praised in these columns, but again it is impossible to resist commending the warmly colored voice, the unaffected die-, tion, the simple graceful manner, and the effortless delivery. Even in Friml’s highly sentimental piece, with its overtones of The Rosary, Miss Dragonette is able to keep the music from slopping over, while the Herbert air—a pretty little tune—is done delightfully. The accompanying orchestra gives good support. Schuman: Mondnacht and Wanderlied, sung by Alexan- der Kipnis with piano accompaniments by Arthur Bergh. Columbia 2202-D (DO, 75c). Some of Kipnis’s lieder performances give the impression that even this admirable artist cannot overcome the handi- cap a bass labors under for this type of singing. Yet Schu- mann’s delicately drawn little tone picture, Moonlight, is so exquisitely done here that one’s doubts are completely set at rest. The grace and sweetness of the music are matched so happily by the perfectly controlled strength and manly tenderness of the singing that one could not ask for a more musicianly or a more Schumannesque performance. After such restraint the blustering Wanderlied sounds more than a little uncouth for all its fine buoyant spirit, and Kipnis himself tends to shout a little too lustily. Scotch Folk Song: Jock CPHazeldean and Harrison: In the Gloaming, sung by Mary Garden with organ accompani- ments by Dr. Alexander Russell. Victor 7254 (D12, $2.00). After the superb Garden disc of a few months ago, one approaches this record of so-called heart songs rather dub- iously. But Jock O’Hazeldean wins one over at a single hearing. Sentimental to the core, of course, but touchingly simple in its pathos and sung with an unforced beautv of tone and style that are very moving. The quaint little loop in the melodic line that is the characteristic feature of the song is extremely haunting. In the Gloaming is sentiment of a more tutored sort. Miss Garden keeps its emotionalism well in check, which is perhaps all that one can ask. The organ accompaniments (played on the Wanamaker organ of New York) are well subdued. Bicci: E canta il grillo (from “Tizianello”), and Costa: Sei morta ne la vita mia!, sung by Titta Ruffo with or- chestral accompaniments. Victor 1460 (D10, $1.50). Ruffo’s name appears all too infrequently on record release lists. These characteristic Italian songs give him good op- portunity to display his vocal talents, while both are free from the emotional extravagance that is so likely to mark their type. The Tizianello air is a somewhat self-conscious Pastorale, with much bird imitation and rustic piping in the accompaniment, but Ruffo sings it with well restrained sonority. The other piece is broader and more dramatic. In both the voice is well recorded. Tosti: Ideale and Marechiare, sung by Tito Schipa with orchestral accompaniments. Victor 1461 (D10, $1.50). There is a refreshing openess and exuberance to Schipa’s best singing that accounts more than anything else for the extraordinary range of his appeal. I was not surprised to read in Mr. Piper’s article in the last issue of the P. M. R. that in broadcasting records he discovered that Schipa invariably went over, no matter what he sings. This current releases is one of his best discs and one of the best Tosti couplings as well. The selections are well chosen, the swinging lyri-