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

June 1931, Vol. V. No. 9 277 Current Importations Die Fledermaus Strauss, Johann: Die Fledermaus, abridged operetta in twelve parts, arranged by Weigert and Maeder. Conducted by Hermann Weigert (overture by Erich Kleiber). Polydor Album Set. (6 D12s, Alb., Wordbook). To those who have heard even one of the numbers from Die Fledermaus, it will certainly not be necessary to praise the irresistible nature of its music—they will no doubt al- ready long since have procured this album. To those who have not, one can only say that they should take the first opportunity to make its acquaintance. Every quality that charms or elates one in the waltzes is herein contained, and very often it is even more perfect than in them. Fleder- maus may in fact be taken as a typical and concentrated ex- pression of the gayest capital in Europe at the height of its glamour. And yet, this gaiety is never hard, flashily bril- liant, or in any way coarse, but is always tempered by a very delightful sentiment and by a perfect polish and re- finement. Withal, this music can probably never become generally comprehensible or sympathetic to the American or the Englishman. People to whom I have played these records have often remained remarkably obtuse to their charm, and has merely remarked that it was all right, but they liked Gilbert and Sullivan much better. Although for the two different peoples (the continental and the English) the two composers fill approximately the same place, that should not for a moment lead us to attempt to equate them or even scarcely to compare them. Strauss’ chief qualities are esen- tially polite and the product of a very brilliant society, he appeals primarily to the sensibilities, the espirit, even the senses; he is by turns fiery and sentimental, but always irresistible. Gilbert and Sullivan are on the whole, much more natural and robust—they make us laugh, not merely smile— often rather wistfully as does Strauss; the effect is usually obtained either by the direct appeal of sgmi-buffoonery, both in the music and in the words, or by an appeal to the wit as an intellectual faculty rather than the senses. To be sure, the two sometimes attempt the same sort of thing—there is a patter song in the first act of this operetta, and Sullivan frequently gives us a graceful air for soprano, which is, how- ever, always characterized by an almost rural freshness that is essentially English. It would be gratuitous for me to go into any actual details concerning the libretto or its history, since the accompanying word book with its enthusiastic and appreciative introduction (written, by the way, by the conductor Alois Melichor) is most full in this respect, including photographs, manuscript and programme facsimiles, etc. It should be remarked that following the text, as least until one has learned it, is a most important factor in one’s enjoyment of the music, as well as the mere dialogue; for in pursuit of the policy of presenting a chronological and connected version, a great deal of the later is naturally included. The Overture, played by the Berlin State Opera Orchestra, conducted by Erich Kleiber is not regularly sold with the set, but an extra pocket is provided for it. Recorded some two years earlier than the rest of the records, it suffers from a decided hollowness in the tuttis, although otherwise the bal- ance is very good. The chief fault which I have to find with Kleiber’s reading may at first sound rather odd; it appears to suffer from over crispness, and even from a super-abundance of vivacity. If he applied this to Mozart it would be per- fectly suited, but although we certainly would rather hear anything than dullness, Strauss is improved by, in fact de- mands, a certain sensuousness anH sinuous flow, the phrases and separate notes should not be chopped off to suddenly and brilliantly or half the effect is lost. TTie rest of the set is as previously under the direction of Hermann Weigert who again proves that he is more than equal to every occasion. In spite of the exigencies of time, his tempi and rhythms throughout are admirably chosen. As is proner the singer of the role of Adele, Adele Kern, is the best in the cast; although one must regret Elisabeth Schumann who, in the same part, was the chief attraction of the most recent revivals, one is at the same time forced to admit that Fraulein Kern frequently approaches the ideal. The other principals although slightly inferior, are of such equality that it is scarcely possible to single out one among them for especial praise. The same dif- ficulty is met in attempting to speak of excellences in the rec- ords themselves. Certainly, however, Adele’s two songs in the first and second acts (on parts one and four) are almost beyond reproach, although her couplet in the scene in the prison does not seem to measure up to the same standard. The recording throughout is rarely extremely remarkable, al- though the celebrated Finale to act two attains brilliance in this respect, but it is almost always fully adequate, ’though sometimes the singers do not seem to be placed in the most advantageous position, causing the quality as captured by the microphone to change. In conclusion, let me warn any who may have been dis- appointed or disgusted by a recent American stage adaptation, in which the spirit was completely lacking, and the music was treated with even less respect than if it had belonged to a current musical comedy, that they should immediately for- get all they saw and heard on that occasion. The music of Strauss, as no other, requires finesse and a very definite tech- nique and the presence here of these qualities is what makes the set so very praiseworthy. Robert H. S. Phillips Operatic Verdi: Don Carlos —0 Don Fatale, and Trovatore — Condet- ta ElVEra in Ceppi, sung in Italian by Maartje Offers with orchestral accompaniments under !th|D direction of John Barbirolli. H. M. V. DB-1158 (D12). Once in a great while a record discovery like this justifies the ordering of a group sight “unheard” from European sources. Madame Offers is a Dutch contralto who has gained a wide European reputation in the roles such as Amneris, Dalilah, Azucena and Orpheus. She was the Dalilah of the La Scala revival of 1925 when Toscanini himself conducted and mounted the opera for her. The present recording shows her voice to be one of great power, and thrilling resonance and depth throughout its wide range. The voice is of beautiful quality and the arias are sung with splendid style and authority. This release be recom- mended to all those who love a really fine contralto voice, which is becoming more and more difficult to find. Weber: Oberon—Ozean du ungeheuer, sung in German by Maria Nemeth with the Vienna State Opera Orchestra un- der the direction of Karl Alwin. H. M. V. D-1717 (D12). Almost every report of current operatic activities in Eu- rope contain some word of this great Hungarian diva whose success has been so phenomenal. This is the second of her records to come to hand and although it is a trifle disappoint- ing after the magnificence of her Queen of Sheba recordings it is still unusually fine. Since this antedates the former record- ing by many months it is probable that sound engineers have worked intensively upon the problem of recording a voice of such bewildering power and resonance to its great advantage. The current issue of the “Gramophone” contains word of her engagement for fhe present Covent Garden season and states that the gramophone has again brought a hearing of a prima donna before her own actual appearance. Massenet: Thais — 0 messager, de Dieu and Baigne D’eau mes mains et mes Dvres. sung in French by Fanny Heldy and Marcel Journet with orchestral accompaniments under the direction of Piero Coppola, H. M. V. DA -940 (DIO). An ingratiating performance of the finest portion of Massen- et’s music for the story of the sainted courtesan which will al- ways bring forth in this country the image of Mary Garden Fanny Heldy’s voice is well suited to this music and blends har- moniously with that of Journet. If you like this music you will certainly want to acquire this record because it is a model of French singing, sung by two of the finest French voices. This is the sort of recording that the Victor might have done with Miss Garden instead of letting her waste her talents on uncharacteristic material. R. B.