THE WEEK’S RADIO Callas As A French Mezzo

Press, Volume CI, Issue 29776, 20 March 1962, Page 18

THE WEEK’S RADIO Callas As A French Mezzo

For some years now, critics of both her recordings and stage appearances, have been united in finding Maria Callas’s soprano voice—but not her art —in decline.

The faults which had marked Callas’s voice from the beginning—the strident and wobbly top notes, the separation of registers—were becoming increasingly evident and Callas’s future in the roles that had first made her famous —Lucia, Norma, Violetta, etc.,—was being questioned. Late last year, however, a new record seemed to indicate Callas’s new direction. After being all sorts of Italian soprano, she has turned her attention to French opera, but the greatest surprise was caused by the fact that she has ventured into mezzo-soprano roles, singing arias from Bizet’s “Carmen.” Gluck’s “Orphee et Eurydice” and Saint-Saens' “Samson et Dalila.”

The results of this venture Into new territory may be heard from the YCs at 8 o’clock tonight, in John Gray’s “New Records” programme. Critics everywhere have been enthusiastic about this record, especially the

mezzo-soprano arias. “If ever a record was designed to display the amazing gifts as well as the vocal faults of this great artist, this is it,” said “Opera” magazine. The soprano arias revealed “the now familiar wobble on top notes and some other ugly sounds. The mezzo-soprano anas, however, are superbly well done and show the beauty of Callas’s middle voice.”

“One can make legitimate reservations, most of them vocal, about several selections on this programme.” said Conrad L. Osborne, a leading American critic, “but the fact is that, taken as a whole, it is a spectacular success. . . . The implications of this recording are almost limitless. Examples: Could Callas effect for French romantic opera the sort of revival she has already set in motion for neglected Donizetti and Bellini? Could she give us not only an intriguing Carmen, but a Charlotte, a Mignon? Could she now pull out the Italian works neglected for want of a grand mezzo—“La Favorita.” “Lucrezia Borgia?” Would die be willing to extend herself ■till further—as far as Salome, let us say? Too much to ask of one woman? Certainly. But if Maria Callas is of such a turn ot brain, who are we to discourage her?” Folk Songs Another vocal recording on the programme is of Canteloube’s famous arrangments of folk songs of the Auvergne. The new version of these haunting and insinuating songs by the Israeli soprano, Netania Davrath, is said by one American reviewer to be a worthy successor to the famous set made 30-odd years ago by Madeleine 'Grey. The third item is the adagio from Bruckner’s Ninth Symphony, with the Columbia Symphony Orchestra conducted by Bruno Walter. This was one of the last recordings made by the great conductor, who had an. affinity for and understanding of Bruck-

ner's music that is unequalled in this era. Shakespearean Comic "The Two Gentlemen of Verona.” a BBC World Theatre producton at which will be heard from 3YC at 8 pm. on Friday, is one of ShakMgt are’s early comedies, belonging to the same period as “Love’s Labour Lost” and “A Comedy of Errors." In it. Julia is the first of his heroines to adopt boy’s clothing for the purpose of the plot, in th* fashion that was so popular in the plays of the time. la a 8.8. C World Theatre production of “The Two Gentlemen of Verona.” to be heard from 3YC at 8 pm. on Friday, the radio and television comedian, Frankie Howard, plays his second Shakespearean role—be first played Bottom the Weaver at the Old Vic. He writes about his experience as a “straight” actor in the “Radio Times”: “As a starring comic I found that the whole show tended to be written round me But now. bating played a number of parts—none of which was written for me—l realise that

this isn’t necessary; a good part is a good part, whoever plays it I now prefer being funny in a situation, rather than just telling Jokes.” As Launce, servant of Protheus, one of the two gentlemen, he has good opportunity for being funny in a situation —a situation usually shared by Launce’s dog. Crab. Spanish Poem The Spanish poet, Frederico Garcia Lorca, wrote his most famous poem, “Lament for the Death of a Bullfighter." in 1935. only a year before he was killed by a Fascist firing squad. The poem is a tribute to Lorca’s friend, Ignacio Sanchez Mejias, an Andalusian bullfighter who retired from the bull-ring a wealthy man but who returned when he had lost some of his psysical fitness. It is said he wanted to escape a slow death from illness or old age. He was killed by a bull and Lorca was very deeply affected by his death. In his tribute to Mejias, which will be heard from 3YC at 7.30 p.m. on Monday, the poet used the rhythm of the gypsy lament, combined with both lyrical and. narrative devices He divided the poem into four parts. A. L. Lloyd's English translation of the poem is read by the eminent actor, Stephen Murray The first of the four sections is then read in Spanish by R M. Nadal, who was a friend of Lorca, and a repeat of the poem in English follows, this time accompanied by Roberto Gerhard’s electronic music Gerhard also introduces the programme. describing how he set about composing the music He knew Lorca well from the days when they were both students In Madrid Since 1938 he has lived in England.