RECORDS Prima Donna?—Ah, Si

Press, Volume CI, Issue 29906, 21 August 1962, Page 16

RECORDS Prima Donna?—Ah, Si

JOAN SUTBEKLAND (soprano) with Francesco MoUnari-PradeUi conducting the Covent Garden Chorus and Orchestra: Artaxerxes—The soldier tir’d (Arne); Samson—Let the bright Seraphim (Handel); Norma—Casta diva . Bello a me retomo; I Puritan!—Son vergin vex-

soia; Qui la voce . . . Vien dlletto; La Sonnambula— Come per me . . . Sovra U sen (Bellini); Semiramlde— Bel ragglo (Rossini); Faust —Jewel song; Romeo et Juliette—Waltz song (Gounod); Otello—Willow song; La Traviata—Ah. fors e lul . . Sempre libera; Rigoletto—Caro nome (Verdi); Die Entfuhrung aus dem Serai]—Martern aller Arten (Mozart); Hamlet—Mad scene (Thomas); Lakme— Bell song (Delibes); Les Huguenots—O beau pays (Meyerbeer). Decca stereo SXLMJ2M/7 (two 121 n, 85s). Mono also available.

The first thing to be said about these two records is that they are essential to any record collector with an interest in vocal music, for they contains the finest coloratura singing recorded for some 30 years. The two discs are entitled ‘‘The Art of the Prima Donna,” and they are said to be a homage to 16 great sopranos, from Mrs Billington (1765-1818) to Galli-Curci (still living at 80), each aria being associated with one of them. This is a rather obscure and unnecessary gimmick, for Sutherland’s own merits entitle her to stake a claim for a place in the company of Melba. Tetrazzini, Hempel, etc. She does not in any way attempt to recreate the styles of these great singers; in fact, she actually goes as far as to omit the very part of the “Hamlet” mad scene for which Melba was most celebrated —the composer even wrote it out in Melba’s album.

The eight dedicatees of the second disc all made records themselves and we can compare them with Sutherland. Just as they all differed from each other, so she differs frsm them, though all nine have in common a mastery of vocal technique—evenness of scale, purity and steadiness of tone and great command of coloratura. All of them were, however, more assured in their legato singing than Sutherland. Some of the best items in this collection are the aria by the neglected Englishman, Arne—a brilliant piece brilliantly sung; a delicate but intense “Casta diva” in the original high key; a sparkling “Bel raggio,” with superb runs in the cabaletta; a spirited, bigtoned “Martern aller Arten;” a “Hamlet” mad scene that challenges Melba; a beautifully delicate and atmospheric Bell Song and a brilliant account of the Page’s song from “Les Huguenots.”

On the other hand, the two Gounod songs are sung rather tamely and fussily and the Verdi numbers are all in some degree unid ioma tic. She uses too much portamento in the Willow Song from “Othello;” her "Ah, fors e

lui" is insipid and “Sempre libera" lacks fire and power <how unlike Marcella Sembrich (to whom it is dedicated). “Caro nome” suffers mainly from alterations to the cadenza which only confirm the rightness of what Verdi wrote. On the whole Sutherland does not have much grasp of the Verdi style and she sings his music as thought it were Donizetti. The Bellini group is rather mixed too. The much-abbreviated “Puritani" polonaise is done with spirit, but she does not keep the long phrases moving in “Qui la voce.” “Come per me” is better in this respect, but suffers from a vulgar decoration decoration is called for in this music, but it need not be tastelesswhile “Sovra il sen” is limp and tame. Sutherland seems to be at her best in music with straightforward, strongly - marked rhythms. Even in this collection, recorded in 1960, there can be detected the incipience of her recent habit of applying the same accents of pathos to every role—critics have been unanimous in condemning her for limping behind the beat in a new “Rigoletto.” Here she is not much helped by Molinari-Pradelli, who is merely a dutiful accompanist. The recorded sound is acceptable without being Decca’s best. The chorus is used somewhat fitfully. For instance, it does not appear in the introduction of “Bel raggio,” but comes in to chant “Ah, si” later. “Ah. si,” incidentally, is a sort of Sutherland trademark. Not one to give much force to the words anyway, she frequently departs from the text to vocalise, ending her floriture with the affirmative “Ah, si.” It is usually meaningless and can become tiresome.

But when all objections are made. Sutherland remains a wonderful vocalist and a good artist. It is only hoped that she does not become artistically fossilised in the restricted repertory her sudden fame seems to have forced on her. If she can develop her music and dramatic understanding to the same brilliance as her trills and roulades she will be a phenomenal artist as well as a prima donna.

MOZART: Nottutao for Four Orchestras, K. 286; Serenata Notturna, K. 239; Lucio Sills—Overture, K. 135; Thanios. Konlg in Aegypten —four interludes. Peter Maag conducting the London Symphony Orchestra. Decca stereo SXLM.2I96 (12in. 42 S 6d).

The solecism committed by first releasing this collection only in its mono form is now atoned for. If ever music needed stereo it is the Notturno for Four Orchestras, a charming piece which echoes back and forth between four widely - spaced orchestras, each comprising two horns and ■ strings. In stereo each band can be located in its

rightful place, whereas in mono only an echo effect was apparent. Maag is one of the finest Mozart conductors of the day and he is on form everywhere. The most interesting pieces on the disc are the interludes from “King Thamos,” which foreshadow the style of "The Magic Flute.”

SULLIVAN: Trial by Jury. Elsie Morison (soprano),

Richard Lewis (tenor), George Baker, John Cameron, Bernard Turgeon (baritones), Owen Brannigan (ban) with Sir Malcolm Sargent conducting the Glyndebourne Festival Chorus and the Pro Arte Orchestra. H.M.V. mono MALP.IBSI (12in, 42s Sd>.

“Trial by Jury,” the first fruit of the Gilbert and Sullivan collaboration, stands apart in the Savoy operas, not only for the fact that it has no dialogue but also for unique comic verve and satire that has lost none of its point. Similarly, this new recording is the finest G. and S. disc to reach this reviewer. Everything about the production is a delight, from the superlative recording and Sargent's splendidly buoyant conducting to the fine singing of all the principals. Outstanding among the latter are Owen Brannigan, a magnificently sonorous usher, and the 77-year-old George Baker as the learned Judge. Baker—who sang the Usher in a 1927 recording of the piece—shows little sign of vocal decay and the unction and sparkle of his singing are unfailingly delightful.

ROBERT IRVING conducting the Royal Philharmonic Orchestra: Pas de deux from Giselle (Adam); Lea Sylphides (ChopinDouglas); Sylvia (Delibes); Don Quixote (Mlnkvs); The Nutcracker: The Sleeping Beauty (Tchaikovsky); La Boutique Fantasque (Ros-sini-Respighi); Romeo and Juliet (Prokofiev). H.M.V. stereo CSDM.I2B6 (12in, 39s 6d).

Robert Irving has been called (by an American critic) the world's best conductor of ballet music, and the claim certainly seems reasonable on the evidence of this disc; he is at least a contender for the title. His direction of these famous excerpts is immensely stylish and vital, and the R.P.O. plays finely. Add to this fullbodied stereo sound and the result is a record which should delight any balletomane.

HAYDN: String Quartet No. 39 in C major. Up. 33, No. 3 (‘ - The Bird”). String Quartet No. 78 in B-flat major. Op. 76 No. 4 (“Sunrise”). The Quartetto Italiano. Record Society mono RZ.6035 (12in, 30s).

Haydn’s quartets have received somewhat scant attention from the recording companies and only one or two are available here, so chamber music lovers should welcome this issue. The recorded sound has a few years behind it, but it wears them well,

and the Italian Quartet’s playing is splendidly alert and stylish.

OWEN BRANNIGAN (bass) and Ernest Lush (piano): Song of the Flea (Mussorgsky); Leanin’ (Bennett); On the Road to Mandalay (Speaks); Silent Worship (Handel); The Plough Boy (Shield); Father O’Flynn (Stanford); Yarmouth Fair (Warlock); Border Ballad (Cowen); Lancas ire Slumber Song (Jackson); Linden Lea (Vaughan Williams): Drinking; Riding down from Bangor; Clementine; My Bonny; Viliklns and his Dinah; Mr Maguire; My love she's but a lassie yet; Yorkshire Coortin’ Song; Ten Green Bottles (traditional). H.M.V. mono

MCLP.I446 (12in, 39s 6d). This collection of chestnuts is accompanied by a certain amount of corn and ham. but it is all served up with so much relish that the result is enjoyment. The Northumbrian bass is in splendidly robust voice and his use of it is so rumbustious and full of gusto that criticism is largely disarmed. Ernest Lush is an excellent accompanist and the recording is first-class. The Mussorgsky song which starts side one is the least satisfactory item; the traditional songs on the other side are better for sampling. But everyone will have his own favourites, and if you like this sort of thing this is the sort of thing you will like, as Groucho Marx said.