Phonograph Monthly Review, Vol. 5, No. 7 (1931-04)

220 The Phonograph Monthly Review OPERATIC CHORAL Mozart: II Seraglio—“Che Pur Aspro al Coro,” sung in German by Felice Huni-Mihacsek, with orchestral accom- paniment conducted by J. Heidenreich. Brunswick 90139 (D12, $1.50). Still another excellent record of a Mozart aria sung by Huni-Mihacsek marks the new Brunswick list. In this, as in the others, good recording reveals a lovely voice and lovely music. The aria, more familiar by its German title “Mar- tern aller Arten,” is in the opera sung by Constanze, assert- ing her determination to suffer tortures or death rather than yield where she does not love. The warmth and color of the voice are admirable in this record—the dramatic quality ap- pears at once if the words are followed as the record is played. It is a pity that the long but charming orchestral introduc- tion to the aria is almost completely omitted in this record- ing. It is included in an Electrola disc, sung by Maria Ne- meth, in which the rendering is less dramatic and the voice harder, but in which the clarity of the whole effect is per- haps greater than in this Brunswick version. The Electrola record, though, is less easily available, and for most hearers the Brunswick, because of the quality of the voice, will prove more satisfactory. It is a worthy addition to the splendid list of Polydor repressings which Brunswick has offered Ameri- can buyers in the past few months. K. B. M. Bizet: Pearl Fishers—De mon amie, fleur endormie, and Massenet: Werther—Le lied d’Ossian, sung in French by Joseph Rogatchewsky, with orchestral accompaniments. Columbia 2410-D (DIO 75c). A gloriously beautiful tenor voice sings arias from two semi-familiar French operas. The pseudo orientalism of the Bizet aria is an excellent contrast to the romantic style of Massenet in one of his most charming operas. Rogatschewsky gives one a legitimate thrill by his singing and it is a pleasure to call attention to it. SONGS Rotte-Jurman : Deine Mutter Bleiht Immer Bei Dir, and Krome-Rotte: Uhers Meer Griiss Ich Dich Heimatland, from the Sound-Film “Das Dimenlied,” sung in German by Rich- ard Tauber with accompaniments by the Dajos Bela Kunst- ler Orchestra. Columbia (German list) G-55230-D (D12, $1.25). Two songs in popular vein similar to numbers from the reigning success Zwei Herzen in % Takt. Tauber is at his best with the inspiring background of Dajos Bela’s fine con- cert orchestra. Hugo Wolf: Biterolf and Der Tambour, sung in German by Heinrich Schlusnus, with piano accompaniments by Franz Rupp. Brunswick 85000 (D10, $1.25). The heavy foundation rhythm of Biterolf, the song, indi- cates the basic strength of soul of Biterolf, the man. Each phrase of the accompaniment carries out the slightest nuance of feeling expressed in the poem and in the vocal line it- self. Der Tambour (The Drummer) is one of Wolf’s songs in lighter vein. It is a little tone picture showing the dream of an army drummer set in the frame of one humorous mo- tive. . As the dream grows he begins to believe in it, but as he sinks back to sleep again its unsubstantiality breaks in upon him as he dreamily reiterates the last phrase. The two songs are admirably contrasted and afford one more example of the type of interpretation and tonal beauty that have made Heinrich Schlusnus unique in the lieder field. Franz Rupp’s accompaniments provide a worthy background. Franck: Panis Angelicus, sung in Latin with Theodora Ver- steegh, mezzo-soprano; and Hande: Ombre Mai Fu from “Xerxes” (Largo), sung in Italian by Van Yzer-Vincent, so- prano, both with organ and violin accompaniment. Colum- bia 50282-D (D12 $1.25). The contralto aria is sung by the soprano with the un- pronouncable name and vice-versa. However, if you can reconcile yourself to the change, the clear sweetly expressive voice of Mile. Vincent adds an element of novelty to the famous Handel melody, while the darker voice of Mile. Ver- steegh adds a new interest to the equally famous one of Franck. Therefore we have that curiosity, a record of hack- neyed numbers which is off the beaten track. Strauss, Johann: Geschichten aus dem Wienerwald, two parW, sung in German by the Sieber Chorus of Berlin, with orchestra. Columbia G 50279-D. (D12, $1.25). I cannot say that I find the vocal arrangements of this waltz in any way superior to the simple orchestral version. The interpretation of the waltz is over-brilliant and some- what coarse, and the chorus likewise specializes in vigour. The recording is clear, but rather hard. Barnby: When Morning Gilds the Skies, and F. J. Haydn: O Worship the King, sung by the Trinity Choir with pipe organ accompaniments Victor 22626 (D10, 75c). Two fine hymns sung with familiar enthusiasm and tonal quality by Trinity Choir. Newman-Dykes : Lead, Kindly Light and Bonar-Haynes : A Few More Years Shall Roll sung by the Temple Quartet with organ accompaniments. Columbia 2412-D (D10, 75c). The surprisingly clear reproduction of the voices lends a new interest and added value to these excellent versions of well-known hymns. Finds from the Columbia export lists The Columbia International lists of recent months present a rather bewildering array of Italian music, both old and new, trite and unique, by a wide variety of artists. Place aux dames: we refer to Conchita Velasquez who has made several numbers. The aria Condotta ell’era in ceppi from Trovatore (4125-X), the Gypsy Song and Seguidilla from Carmen, in the unfamiliar Italian (4124-X) and a coup- ling of Massenet’s Elegy and a song by one Ranzato, L’uome E’ fumatore (a plug for Lucky Strikes?) with ’cello and piano accompaniment (4080-X). Madame is a distinctive artiste. Although her light mezzo-soprano is not adequate for the more robust measures of Azucenar nor the suaver Elegy but she is most brilliant in the Spanish number and the Carmen numbers. Mercedes Capsir, already familiar to the record public through her coloratura flights in the sets of the Barber and Traviata continues them in routine versions of Quando rapita and Regnava nel silenzio from Lucia (4083-X). The sole exception to the prevailing Italian mood of these releases is that of Maria Barrientos as she sines the first three of De Fallas Sept Chansons Espagnoles,(52079-X) which will be a welcome surprise to her many American admirers. These songs constitute the only time that the comooser has quoted literallv from the Spanish folk-song. He has. how- ever, made piano accompaniments that are at once highly pianistic and personal to his style, which he, himself, plays on these records with characteristic dash and fire. The first of the songs treats of a rare Moorish cloth which a stain has rendered valueless. The second, a Spanish variation of the proverb that those who live in glass houses etc. Faithless- ness is compared to a sixpence worn smooth—ironical—with an exceptionally brilliant accompaniment. The third is a mournful soliloquy dealing with relief from pain and weeping pine trees, etc. Although it is impossible for a soprano leggiere to encom- nass the range of tone that the deeper voice of a Conchita Supervia would, nevertheless the present performance is fas- cinating and Madame Barrientos’ voice is extremely lovely. A recording that should not be neglected. Richardson Brown