RECORDED MUSIC

Evening Star, Issue 21636, 3 February 1934, Page 6

RECORDED MUSIC

[By Eeato.Q

By the same wonderful process by which the records of the late Enrico Caruso were re-created a new recording has been made of the voice of Tetrazzini, perhaps the most famous coloratura soprano of all time. It seems almost incredible, but such is the case. After twelve years of experimenting in America experts have at last successfully re-recorded the famous soprano’s voice with a modern orchestral accompaniment. There it is again the matchless voice, the like of which has not been replaced. Tetrazzini has just made her farewell appearance at the Albert Hall, London —a grey-haired woman who is still beloved by English operagoers, but this record of her voice was originally made when the great diva was in her prime, when every note had the clarity, the purity, and the brilliance of a bead of dew glistening in the morning sun. It is a priceless gift of science. Luisa Tetrazzini was born in Florence, and comes of a family of musicians. Her early training was gained at the hands of her sister, and slio also studied at the Licero Musicale, Florence. In 1895 she made an appearance at the Teatro Pagliani as Inez in ‘ L’Africana.’ Her real debut, however, took place later in Rio de Janeiro as Violetta in ‘La Traviata.’ Then followed ten years or more of continued triumphs in Brazil, Argentina, Italy, Spain, Portugal, and Russia. It remained for San Francisco to introduce her to the English-speaking world, and on November 2, 1907, came her sensational first appearance at Covent Garden, which made her a star of the first magnitude and established her name and fame. The tumultuous receptions

given, lier during the next few years are now matters of musical history. She visited New York in January, 1908, meeting with extravagant success there, and up to the war she appeared regularly every season both in England and America. During the war Tetrazzini remained in Italy, working and singing for the war charities of her native country. In September, 1919, she made her reappearance in London at the Albert Hall, and since that time has appeared intermittently on the concert platform in various parts of the world. Prior to the present season her last appearance i London was made in. October, 1929. The original discs from which the record under review is a re-creation was amongst tho first that Tetrazzini made, and this new record is as true to its original and as lovely as “ the reflection of white rose in a mirror of silver.” The two numbers recorded are 1 Caro Nome ’ (‘Dearest Name ’), from Verdi’s ‘ Rigoletto,’ and ‘ Una Voce '’oco Fa ’ (‘ A Little Voice I Heard ’), from Rossini’s ‘ Barber of Seville.’ The Verdi aria is one of the great moments of the opera. Gilda, alone in her garden, dreams of the handsome young man who just left her. In this famous and brilliant aria we have of the great display pieces to be found in the repertoire of every coloratura soprano. Its delightful staccato melody is familiar to millions. The cavatina from The Barber of Seville ’ is the best known number in the whole opera. Rosma m her little room things of the handsome young man who has just serenaded her. From his song she learns that his name is Lindoro. She declares it shall have a place next her very heart. The second part of the aria, beginning lo sono docile, is a striking example of the legitimate use of fiori.turi in a melody. Rossini’s genius for sprightly melody is well illustrated here. Brilliant though the vocal part is, it has always been customary for the prima donna to add a cadenza designed to display her own particular vocal attainments, and the cadenza sung bv Tetrazzini is of dazzling brilliance. This record enables us to hear the Tetrazzini who was the sensation of the operatic stage twenty-five years ago. She is supported by a full orchestra of excellent texture.

Two of the most famous airs from Wagner’s operas, ‘ Morning was Gleaming, 3 from * Tho Mastorsingers, aiicl ‘ The Forging Song,’ from ‘ Siegfried, are recorded by Lauritz Melchior, the celebrated Wagnerian tenor, who is accompanied by the London Symphony Orchestra. Melchior is perhaps the outstanding German operatic tenor at the present time, and has for some years taken the principal Wagnerian roles in England and Europe. The great “ Prize Song ” from ‘ The Mastersingers ’ was written by Wagner while he was in Paris on exile fsom his native land. It is the most populai aria from the opera, which tells of the customs and manners of the Mastersingers of Nuremberg in the sixteenth century. In the last act of the opera takes place the song contest, which occurs on the banks of the River Pegnitz, outside of the town of Nuremberg. By singing this song the voung Walter von Stolzmg wins the contest and the hand of Eva, the girl he loves. The ‘ Forging Song ’ is most spectacular. In this air Siegfried sings a vigorous, hearty melody to the clanging of the anvil, which is brought out strikingly by the orchestra. Melchior’s voice is cast in an heroic mould and his ringing notes are thrilling. Ho gives a graphic portrayal of the virile young Siegfried and his joyous declamations. The orchestra

gives the eminent tenor worthy sup* port, being adequate in texture and tone, and does full justice to thq beautiful accompaniments.

The name of Amy Woodforde-Finden has earned a permanent place in the history of English song as the composer of the ‘ Indian Love Lyrics,’which have been recorded by the popular bass-baritone, Peter Dawson. These lyrics consist of four numbers taken from the ‘ Garden of Kama 5 (‘ Garden of Love ’) by Lawrence Hope. It seems incredible that the famous ‘ Love Lyrics’ should have gone begging at the hands of publishers, so that Mrs Woodforde-Finden was forced to publish them herself and circulate them among friends. Eventually Mr Hamilton Earle, encouraged by their favourable reception at his concerts, induced Mr Arthur Boosey to reconsider his decision, and the experiment proved an immediate success in all parts or the world. These four songs, ‘ Temple Bells,’ ‘ Less Than the Dust,’ ‘ Kashmiri Love Song,’ and * Till I Wake, • which are recorded on two lOin records, are characteristically Oriental in their words and setting. They have caught the spirit of the East, and Dawson sings them with- sincere' expression. His enunciation is so clear, that not a word is lost, and he portray* faithfully every mood of the songs-