RECORDS Caruso’s Middle Period

Press, Volume CI, Issue 29972, 6 November 1962, Page 10

RECORDS Caruso ’s Middle Period

ENRICO CARUSO (tenor): Don Pasquale (Donizetti) — Com’e gentil. Pecheura de Perle* (Bizet) —Del tempio al limiter (with Mario Ancona). Madame Butterfly (Puccini) —Love duet (with Geraldine Farrar.) Il Trovatore (Verdi)—Ah, si ben mio. Aida (Verdi)—La fatal pietra . , . O terra addio (with Johanna Gadski). Les Huguenots (Meyerbeer) Bianca al par. Konigin von Saba (Goldmark)—Magiche note. La Danza (Rossini). Guardann’s luna (de Crescenzo). Ballo in Maschera (Verdi)—E scherzo od e follia (with Frieda Hempel, Marie Duchene, Andres de Segnrola and Leon Rothier). Dnca d’Alba (Donizetti)— Angelo casto e bel. HMV mono COLH.I2O (12in, 42s Ed).

Even today, 41 years after his death. Caruso remains for many people the supreme recorded tenor. Certainly his combination of tonal opulence, technical mastery, dramatic conviction and musical artistry has never been equalled in the standard operatic tenor repertory. This collection of beautifully-engin-eered transfers shows Caruso at the height of his power in what may be called his middle period. It begins with the “Don Pasquale” serenade, recorded in 1905, the year of Caruso’s first season at the Metropolitan. At this stage his voice still retained its early lightness and his occasional use of controlled vibrato to spin out a phrase is in the true 19th-century bel canto style. From then on a gradual darken in g and strengthening of the voice is perceptible, although the collection does not show the dark, heroic voice of Caruso's last years A fine selection has been made from Caruso’s records of the middle period: another operatic number might have been preferred to the Neapolitan ditty, but there is not a single unworthy example of his singing. The famous “Pearl Fishers” duet is wonderfully sung by Caruso and the great Mario Ancona (1863-1931), a baritone of immense polish In the “Butterfly” duet Caruso is joined by the gloriously pure tones of Geraldine Farrar. In the tomb scene from “Aida” he sings with Johanna Gadski (1872-1932), a great Wagnerian soprano who also excelled in Verdi. Caruso’s singing here is marvellously smooth. The Italianised “Huguenots” aria is a very forward recording. One of the finest of all Caruso discs is the Goldmark aria, in j which he rises to a high head note of unearthly beautymagic notes, indeed His verson of the Rossini tarantella is incomparably gay and exuberant There is a good deal of gaiety, too, in his part in the “Masked Ball” quintet, although others (notably Bonci) have sung this music with greater elegance Not much is to be heard of the eminent basses, but Frieda Hempel soars clearly above the ensemble. The second Donizetti aria shows Caruso still capable of ravishing bel canto in 1915. There are full details of the dates and numbers of the original recordings, and the disc is accompanied by a booklet containing photographs, a biographical sketch and critical notes on the recordings by John Freestone and wonder of wonders full texts and translations. No-one who enjoys fine singing should miss this one.

VERDI: Don Carlo—lo venco a domandar; Aida— Pur U rivecco; Simon Boccanegra—Vieni a mirar; Ballo in Maschera—Teco Io

sto . . . Non sal tu; Otello —Gai nella notte densa. Eileen Farrell (soprano) and Richard Tucker (tenor) with Fausto Cleva conducting the Columbia Symphony Orchestra. Coronet stereo KLCS.279B (12in 42s 6d). Mono also available.

The high interest of the programme material, most of it not otherwise available here, makes this wellrecorded disc a desirable addition to an operatic collection. The performances are scarcely the last work in interpretative polish or subtlety, yet the singing is intermittently of a high order. Tucker indulges in a few conventional tenor posturings, but largely he suppresses his mannerisms. His clear, ringing voice is most appropriate to the music and sometimes he reaches considerable heights. For example, he sings the first half of the great, tender “Otello” love duet perfectly, but later drops to a lower level of taste and vocalisation. Farrell’s tone is sometimes raw and her phrasing sometimes squally, but she. too, provides some fine singing.

J. S. BACH: Prelude and Fugue in E minor (Wedge) 8WV.548; Toccata and

Fugue in D minor (Dorian), 8WV.538; Passacaglia and Fugue in C minor, BWV.3S2; Prelude and Fugue in D, 8WV.532. Record Society mono RZ.6043 (12in, 30s). The second volume of the Record Society’s three-disc survey of Bach’s organ works is superb. Germani plays with great rhythmic Vitality and he uses the authentic baroque tones of the organ of St. Laurens Church, Alkmaar, Holland, to present a clear and spirited exposition of the structure of these great works. The recorded sound is grand.

BEETHOVEN: Piano Sonatas—No. 8 in C minor. On. 13 (Pathetiqne); No. 14 in C-sharp minor. Op. 27. No. 2 (Moonlight). Rudolf Firkusny (piano). World Record Club mono TZ.176 (121 n 28s Sd).

The Czech pianist gives admirably well-proportioned and intelligent performances

of these two favourite sonatas. His tempo for the allegro section of the first movement of the “Pathetique” is distinctly faster than most pianists favour, but the result is entirely successful Firkusny’s fine playing is reproduced with reasonable clarity.