Records “The Gondoliers” From Glyndebourne

Press, Volume XCVIII, Issue 28822, 17 February 1959, Page 15

Records “The Gondoliers” From Glyndebourne

SULLIVAN: “Tbc Goadellen." sir Malcolm Sargent conducting the Glyadebourn. Festival Chorus, the Pro Arte Orchestra. Elsie Morrison and ESna Graham (sopranos), Marjorie Thomas and Monica Sinclair (contraltos), Richard Lewis and Alexander Vonns (tenors); John .Cameron (baritone), Owen Brannigan and' James MUUgan'(basses), and other soloists. H.M.V. MAU*. 1504/S. This- recording contains the whole musical score but none of the dialogue, which is- still covered by copyright. For a long time the Savoy operas have been the exclusive property of the D’Oyley Carte Company, which has regarded itself as an upholder Of the true tradition of their performance, at times lending support to Mahler’s view that "tradition -is slovenliness.” Certainly D’Oyley Carte performances have rarely been as satisfying from a purelymusical viewpoint as this one. Sir Malcolm Sargent conducts with wit and great understanding; the Glyndebourne chorus sings splendidly, and the orchestral playing is excellent.

Reactions to the soloists are likely to be mixed; Exaggerations are avoided; but there is a certain lack of characterisation, mainly with the women. Geraint Evans, as the Duke of Plaza-Toro, sings with great gusto and evident enjoyment. Owen Brannigan as the Grand Inquisitor is splendidly ripe and sonorous, and James Milligan is very good in two small parts. As Marco and Giuseppe, Richard Lewis and John Cameron sing together particularly well. (There is an amusing moment when they exchange recitative in perfect Handel oratorio style—due no doubt to the background of the composer as well as of the singers.) Lewis’s “Take a pair of sparkling eyes” is delightful. Edna Graham and Alexander Young

have difficulty with the high tessitura of the love duet, but elsewhere are fairly good. Monica Sinclair, as the Duchess, is not quite enough the “heavy contralto.”

The enunciation of most of the singers, particularly the men, is very good, and Gilbert’s words can generally be beard with ease. But the emphasis is where it belongs—on the music—and as a result the whole set is delightful and refreshing. The recording is very good. CHOPIN: Waltzes Nos. 1 to 14. Artur Rubinstein (piano). R.C.A. R51..3527. Rubinstein is in his best form on this record and he gives astonishingly fine performances of these waltzes. They are not among Chopin’s - most profound works but when they are played well as this they are among the most charming things he ever wrote. Rubinstein is never in the least perfunctory'or sentimental in his approach. His slight variations of rhythm are marvellously subtle and the changes of tempo are never exaggerated. The piano tone is clear and translucent and the contrasts of dynamics are .handled so that a warm, romantic veil over the music is never broken. The recording is rich and realistic, without a trace of distortion. MOZART: Serenade N 0.13 in G major (“Elne Kleine Nachtmuslk). Serenade No. 6 in D major (“Serenata Notturna”). Rudolf Moralt conducting the Vienna . Symphony Orchestra. Philips A.OO6SS.R. This 10-inch disc is a very sensible coupling of perhaps the most popular of all Mozart’s serenades. Unfortunately the recording was made in a hall mqch too reverberant for these intimate works. It sounds as if too large an orchestra has been employed, but the recording is so boomy that it is

impossible to be sure.' Much greater clarity of texture is needed for these works. Little detail can be heard and the tympani sound like distant thunder. Recording apart, Moralt’s performance is sound, if rather heavy and graceless. The “Eine Kleine Nachtmusik" side has been issued separately on an EP 45 (400 005 AE) as a memorial to Moralt, who made some excellent records tor Philips. . STRAVINSKY: Le Sacre 4e Prlntempz. Pierre Monteux conducting the Paris Conservatoire Orchestra. RjCA. RSLASIS. In the first place, this recording is an important historical document, for it was Monteux who conducted the work’s riotous first performance in 1913. It is also one of the most exciting performances of the work on record. Monteux uses an amalgam of the original ballet and the concert versions and he gives the score a vivid, intense reading. The orchestral playing is first class. -At times speeds seem to be on the fast side, but become convincing with 'repeated hearing. The recording is extremely good, although the first few bars of the quiet, weird opening are marred by surface roughness. but this may not be on all, pressings. The sleeve note, by, Monteux himself, gives a delightful account of the uproar at the first performance. VERDI: E ztrano . . . Ah, tors e lui . . . Sempre libera; Addio del passato (“La Travlata”). Tutte le teste al templo (“Rlgoletto”). Gwen Catley (soprano) with Stanford Robinson conducting the ' Pro Arte Orchestra. Pye CEC-- ' 32000. Gwen Catley has the right type of light soprano voice for these pieces, which she sings most pleasantly; and without deviating from the score. In “Sempre libera” she strikes just the right note; of desperate gaiety. The pathos of the others is well brought out, although there could have been greater feeling in the letter-read-ing which precedes “Sempre libera.” The recording is reasonably good. , '