Phonograph Monthly Review, Vol. 5, No. 9 (1931-06)

June 1931, Vol. V. No. 9 273 OPERATIC Mozart: Die Zauberflote—Bei Maennern welche Liebe fuhlen, and Don Giovanni—Reich mir die Hand (“La ci darem la mano”), sung in German by Elisabeth van Endert and Gerhard Pechner, with the Berlin State Opera Or- chestra. Victor (German list) V-56060. (D12, $1.25). Although these two duets are frequently heard (the one from the Zauberflote is, of course, “La dove prende” in the Italian version, they are so delightful that an inexpensive and artistic coupling is to be welcomed. In contrast to the render- ings by Italians to which one is more accustomed, this aims less at smoothness and finish, than at a slower and more romantic interpretation. One probably unintentional result of this is that the music is made to appear a trifle jerky in places. Although there is much to be said for this more German view, especially in the case of Die Zauberflote, it nevertheless involves the sacrifice of something which I had regarded as typically Mozartean. The vocal competence of the two singers is already known, and, while they are not performers of the highest calibre, their rendering is here very good. The orchestra also is nicely balanced. R. H. S. P. Handel: Xerxes — Largo, and Cantat con stromenti — Aria, “Dank” Sei Dir, Herr” sung by Em mi Leisner, the first sung in Italian with orchestral accompaniment, the second in Ger- man with organ and orchestral accompaniment. Brunswick 90160 (D12 $1.50). I have the feeling that Handel would have been amused if he could know that the aria which he placed in the mouth of a slightly intoxicated old Persian monarch to praise the shelter of a plane tree after sampling gustatory delights with rather too much enthusiasm would have become the most widely known religious air of all time, a favorite with every contralto worthy of the name, as well as for assorted voices of all varieties and qualities. The reverse side is another of the noble melodies which Handel above all others seemed to be able to write, and one which has escaped the too great popularity of the Largo. Madame Leisner sings them both with fine authority and breadth of style while her voice seems to have deepened and grown richer. Perhaps it is the recording which has so notably improved in so many of the foreign releases. It will be in- teresting to compare this record with that of Madame Schu- mann-Heink for this month and decide which you prefer, a fresh young voice lacking some of the tradition and back- ground which go to make up the grand manner or the grand manner in its truest manifestation with the voice itself less fine than it once was. Faust — Salut Demeure, and Carmen— Flower Song sung in French by Giacomo Lauri- Volpi with orchestral accompani- ments. Victor 7389 (D12, $2.00). These selections are the answer to the phonophiles’ prayer for some unhackneyed numbers. I am very much afraid that I am one who will never be convinced that the sale of a rec- ord like this would be greater than the same artist’s rendi- tion of something that hasn’t been sung to death. The Euro- pean lists prove that such a public exists and certainly the American response must be somewhat similar because we have had much cause for gratitude in recent months. These numbers are sung in the tenor’s restrained style which he has used to much advantage in several Metropolitan ap- pearances. I should not, however, consider him in his best voice or mood at the making of these releases but they are well above the general run at that, and whet one’s appetite for more along similar lines (vocally, of course). Donizetti: Favorita—Spirto gentil, and Biz et: Pescatori di Perle—Mi par d!udir ancora. Columbia 50290-D (D12, $1.25). Thomas: Mignon— Ah, non cedevi tu and Addio, Mignon. Columbia 2447-D (D10, 75c), all sung in Italian by Tomma- so Alcaide. Signor Alcaide is possessed of a tenor voice of uncommon beauty, one which he uses with excellent if not rare, effec- tiveness. He does not make the common mistake of present- day tenors by attempting to emulate the late Caruso and thereby forcing his voice out of quality and resonance. The numbers themselves are scarcely new but they wear better than many others and are well worth the re-hearing, although it is doubtful if they make as wide an appeal to record lovers as many other arias which could be so easily recorded. R.B. SONGS Schumann: Es zogen zwei rut’qe gesellen, and Humper- dinck— Am Rhein, sung in German by Heinrich Schlusnus with piano accompaniments by Franz Rupp. Brunswick 85003 (D10, $1.25). Those who have heard former releases by this great bari- tone will need no hint that all his recordings should be pur- chased with as little delay as possible. The Schumann song is typical of the fine vocal line and brilliant pianistic background of the composer’s work and it is interesting to hear Humper- dinck in the role of song writer, a field in which judging from this song he might well have become distinguished. What a pity the Metropolitan failed to revive Konigskinder at Miss Farrar’s request so that the opera goers of the present day might have the memory of that incomparably beautiful per- formance which will live forever in the minds of those who were privileged to witness it! Mendelssohn : St. Paul—For the Lord is Mindful of His Own, and Bach: My Heart Ever Faithful, sung by Ernestine Schumann-Heink with orchestral accompaniment. Victor (Educational list) 7388 (D12, $2.00). Once more the great contralto demonstrates her right for her position among the immortals. The splendid breath of phrasing, the superb attack and the whole-hearted beauty of her song in these famous excerpts command the highest praise. Time has brought occasional shortness of breath, and subsequent loss of quality, but they are much less apparent here than in recent releases in a more popular vein and com- parison with the record just mentioned shows how difficult it is to find any other singer in this day and age who can en- compass the glories of a Titan like Madame Schumann- Heink. Those who love her will prefer to remember her in this vein rather than in recently cruelly disillusioning radio performances and coast-to-coast gaddings with itinerant im- presarios, who like to trade on this very quality which all but vanishes as a consequence. Private Lives Noel Coward: Two Scenes from “Private Lives” —Dialogue and singing—by Gertrude Lawrence and Noel Coward, with Mr. Coward at the piano. Victor 36034 (D12, $1.25). Mr. Coward is truly one of the nine wonders of the world.* He is a playwright of uncommon skill; his music has mel- ody and is often satirically twisted, he is an actor of parts, both tragic and deftly comic; he sings with great charm and effectiveness, and he seems to have the knack of getting others to reflect these sajpe abilities. Miss Lawrence has always, been one of the chief ornaments of the English and American stages and she has done her very best work in “Private Lives.” Both the protagonists have the art of exquisite insincerity at their finger-tips and the present recording catches this feel- ing to perfection. Songs are interspersed skillfully through the dialogue affording the requisite contrast. Since the con- tract for the two artists’ appearances in the New York pres- entation of the play has expired this recording will form the sole means for hearing the delightful performance of these two celebrities. R. B. Band Voelker-Lake: A Hunt in the Black Forest, and Orth: In a Clock Store, played by the Band of the Royal Air Force conducted by Flight Lt. J. H, Amers. Columbia 2442-D (D10, 75c). Such “descriptive novelties” as these bear about as much relation to music as the old fashioned music boxes, while lacking the latter’s charm. The performances here are routine, strongly and coarsely recorded, by no means as effective as the more pretentious concert orchestral versions. I miss the dogs in the hunt. The hunting horns and the “ ’eavy, ’eavy ’ammer of the ’osses’ ’ooves” are there, but not the eager or triumphant chorus of the hunting pack. And what’s a hunt without dogs?