RECORDED MUSIC

Manawatu Standard, Volume XLV, Issue 101, 30 March 1925, Page 10

RECORDED MUSIC

THE WEEK'S NEW RECORDS. Notable recordings of lute include the excerpts from Boito’s secret opera “Nerone,” niado by the artists associated witli the premiere of tho work of La Scala in May last. As all the world knows, tho production was an immediate success, and “Nerone’’ now takes its place with the best in classical opera. Boito’s masterpiece is described as a series of pageants rather than a dramatic tale, its dramatic appeal being expressed in the vivid contrasts drawn by tho differen’. scenes. In the main it is a picture of decadent Home, the Rome of Nero, against which is thrown tho da.wn of Christianity. The recorded excerpts by tho La Scala artist afford an excellent glimpse of the character of the work. There aro three records. In the first, Luise Bertrana, mezzo-soprano, sings tho “Padre Nostro che sei Cieli,” from Act I. This is a lovely setting of the Lord’s Prayer. The following note gives a picturesque idea of tho number: Rubric, a former vestal, now of the new Faith, conies to pray at a Christian tomb in the Appiun Way. She lights the funoral lamp, and then, falling on her knees, recites the prayer. In the music a sustained high note, pianissimo, gives a spiritual atmosphere to the prayer, and the clash of the world without is expressed in a faint disonunce. Tho prayer is intoned, to ail expressive orchestral accompaniment.

On the reverse side of the “Pater Nostcr” wo have tho famous French bass, Marcel Journet, in “Eeco lo Magico Speechio,” from the second act of “Nerone.” The scene is tlie temple of Simon Mago, with its garish display of gods, goddesses, alturs, oracles, serpents and insense-burners. Nero has corne to request the magician’s aid in placating the spirit of the Emperor’s murdered mother, Agrippina. Simon Mago brings to Nero a magic mirror. In mystic solemn music he sings of its power. If Nero will look at its bright surface he will see his mother’s spirit and can address it. This is a splendid record. To Carlo Galeffi, the fine baritone of the La Scala performance of “Nerone,” . is given the lion’s share of the recording. Both sides of his record are devoted to a magnificent reproduction, in two parts, of the animated first scene of Act 111., “Addis di Funnel.” Simon Mago has come to spy upon the Christiana and deliver them to Nero. Fanuel’s disciples aro incensed at the betrayal. They seize the magician and would kill him. But Funnel intervenes and preaches to them the Christian duties of forgiveness and the avoidance of violence. It is God’s will that evil should be powerful; it is not for them to judge. So Simon Mago is set free. Fanuel’s exhortation is delivered to music of serene beauty, the chief musical idea being an exquisite little theme softly introduced by the violins, played in the upper register. Then follows a lovely benediction, finely sung by Galeffi, in association with the grand opera chorus. Continuing his farewell to the flock, Funnel speaks of his love for them all. He will never see them again, lie knows. His followers reply in sorrowful phrases. Fnnuel gives them a final benediction, to which they respond witli soft aniens,’ sung with simple but expressive harmonics. He exhorts them to follow his example and they are led away singing a joyful song. The third record of the “Nerone” trio presents a glimpse of finale of the opera. It is a duet in which Luise Bertnna and Galeffi are associated (Act IV, Scene 2). On tile first side is the scena, “Or tutto e eonfessaito.” Fanuel and Asteria. have found the dying Rubria, in the Spolinrum. Rublia is overjoyed at tho sight of her beloved leader. Sin tells hirn Hint she had committed sin in outwardly remaining a vestal, although a Christian believer. Fanuel bestows Christ’s forgiveness upon her, and blesses the dying girl. Tho principal musical theme here is a simple melody beginning with four ascending notes. Its long-drawn-out sweetness produces an effect of soft ecstasy, the two voices taking up the melody in turn, the delicate orchestration adding un ethereal utmosphele of spiritual exaltation. Bertuna and Galeffi then sing “Luggia, fra i guinclii di Genezareth.” Here Rubria asks Fanuel to repeat once again to her the story of Jesus on the Lake of Genezareth. Fanuel describes the scene —the little ship on the waters, the sublime figure of Christ calling men to him. Appropriately the music here takes on a barcarole-like rhythm, with _ an exquisito lulling effect. Rubria dies with the sound of Fanuel’s voice still in 1 1 is ears. The recording all through is excellent, and the w’liole a welcome addition to the opera section of the enthusiast’s collection. Now that a largo majority of the women in Great Britain have the vote, the agitation of the Panklnirsts, mother amt daughter, seems to belong to- a remote and almost incredible past —but it is a past worth recording. Some day tile recorded utterances of Miss Christabel Pankhurst muy be historically valuable, and for that reason the “mnsterplate” of a speech delivered in 1909 by that determined advocate of votes for women is, with records of other notabilities in war, politics and other social activities, being carefully preserved. The record, by the way, was made a few hours after Miss Pankhurst’s release from Holloway Prison, in which she had been imprisoned under what was then euphemistically described as “The Cat and Mouse Act.” Copies are obtainable.

While on the subject of historical records, two recorded speeches which are of great interest .are the late Sir Ernest Shackleton’s description of “A Dash for the South Pole” (made in 1909), and Commander Peary’s on ‘‘The Discovery of the North Pole” (made in 1910). Those are the same double disc, and for the sentimental value of the Shackleton record, ought to appeal to many. A correspondent. has written asking about records of the famous Calve. So fains the writer knows, there are obtainable now only two—“Chaußon Espagnole” (Yradier). sung in Spanish, with piano accompaniment, and its bracket number, “Plaiser d’Amour” (Martini), in French. These were recorded in 1910. Calve, as many will remember, was round here some years ago with a magnificent tenor, whose name escapes the writer's memory. Acknowledged to be one of the greatest Carmens ever seen on the stage, she was a pupil of the famous Marchesi. Her dubut took place at the Nice opera in 1882, and engagements followed at the operas of Paris. Brussels, Milan and Rome. Covent Garden first saw this delightful urtist in 1892, when she charmed audiences as Carmen and Santuzza. For many years Madame Calve was a favourite with Eondoners, and her reappearance at Queen’s Hall in 1918, after a long absence, was quite an event in the musical world, showing the singer in a new role, that of a delightful interpreter of songs such as the two above-mentioned.

The same correspondent also inquires about Charles Gilibert, a fine French baritone, who died in 1913. Gilibert left to posterity four records of his vocal art. In 1907 lie was recorded with Melba in the duets “Un Ange est Venu” (Bomberg), iu French, and ‘‘Per Vulli, per boschi (Blangini), in Italian. This bracket was made in 1907. In 1910 he again visited the recording room, this time as a soloist, to sing “Hois de lent oubli” (from Hendel’s “Serse”), and Grand la flamme de Tumour” (from Bizet’s “Fair Maid of Perth”). A personal nolo concerning Gilibert may be of interest. Gilibert was in his time regarded in his hojday as one of the most accomplished of operatio singers, and was for years a favourite artist at Covent Garden during the summer “grand” season. Of French nationality, M. Gilibert was liorn in 1866, and received his musical training at the Paris Conservatoire. On leaving that institution he wus engaged by the directors of the Opora Comique, Ivhere his success resulted, a little later, in an important engagement at the Brussels Opera House. M. Gilibert made his first appearance at Covent Garden in 1900, where his versatile gifts at once established him in public favour, resulting in engagements yearly until bis death in 1913. A baritone with n voice of charming quality, and greatly gifted as an actor, M. Gilibert was equally at homo iii French and Italian opera, especially in buffo roles. In addition, ho was an accomplished concert singer. A record of great historical and histrionic interest was made of the famous English actress. Miss Julio Neilson (Mrs

Fred Terrj), in 1907. This is a dramatic scone in “The Scurlet Pimpernel,”, in which she is associated with F. Terry, A. Kendrick und M. Cherry, a play, by the way, which brought great honour and emolument to tho actress and her husband. Backing it, on the reverse side, is an excellent recitation of “the Charge of the Light Brig sde,” by Canon Fleming.