RECORDED MUSIC.

Manawatu Standard, Volume LI, Issue 117, 18 April 1931, Page 7

RECORDED MUSIC.

An Excellent Operatic Tenor. — “Alessandro Valente” is an excellent tenor, who declaims well without shouting. ' His fine voice does easy justice to the “Si Fui Soldato” (“Anrea Chenier”), and lends a certain charm to Mascagni’s “Serenata,” which is not the one heard from behind the curtain in the “Prelude” to “Cavalleria Rusticana.” The orchestra of La Seala, under Carlo Sabajno, plays the accompaniments.

Magnificent Complete Recording of Rigoletto.-—This is a splendid achievement and worth any amount of praise. The company of singers and players is of real eminence. Straceiari himself is in the title role, and makes a vividly, tragic jester. Dino Borgioli is the Duke; Mercedes Capsir is Gild.a, and tTie other singers are Guido Uxa, Ida Mannarini, Aristide Bnracchi, Dulio Baronti and Eugenio Dali ’Argine. The Chorus and Orchestra are of the La Seala, Milan, under Cav. ~' lajoli. A Fault , ' Performance. —Elisabeth Retliberg ..uprano) and Friedrich Schorr (baritone) have given up “Sieli’ Ev’cben! Dacht’ ich Docli” and “Hat Mann Dem Schuliwerk,” from Act 3, Scene 1, of “Die Meistersinger” (Wagner) in German. Here is something superlatively excellent. No less could fairly be said of this fautlelss rendering of the “footstool duet” front the third act of “Die Meistersinger.” It brings out in full glory one of the loveliest inspirations that Wagner ever put into a score; in other words, it is a perleet musical realisation of the scene, with the clear, silvery tones of the impulsive Eva and the sly humour of the mischievous Sachs everywhere intact. Both voices fall gratefully on the ear; the melodious repartee is a joy throughout. Popular Basso.—Foster Richardson is a bass singer who always “goes down” well with gramplione listeners. A good voice, sound artistry and a fine sense of atmosphere makes him an exceptionally attractive interpreter of such numbers as Pinsuti’s “Bedouin Love Song” and “The Trumpeter” (Dix), recently recorded by him. These songs have a well-sustained popularity.

Favourite Duets.—Esther Coleman and Foster Richardson are very happily associated when in duet numbers. There is a pleasant blending of the voices; each, so to speak, “plays up” to the other. This pleasing adaptability is delightfully expressed in their singing of Goring Thomas’s “Dear Love of Mine” and Schubert’s “Serenade.” Orchestral Trifles.—Between the negroid cacophonies of the cabaret band and the conventional music with which the great contemporary orchestras delight the ear and the intellect, there is a sphere of instrumentation which never fails to charm-—the dainty trifles, built on a definite melody motif, such as Finck’s “Vivienne” and HaydnWoods’ “Longing,” just recorded by the London Palladium Orchestra. Finck’s “In the Shadows” achieved immense popularity some years ago. His “Vivienne” is as fascinating in its way.

Harold Williams in Grand Opera.— Quite the finest English version of the “Credo” from Verdi’s “Otello” is this April release by Harold Williams. The “Credo” is paired with the famous “Eri Tu” (“It was Thou the Destroyer” from “The Masked Ball.”) Here on one disc we have samples of both the late and early styles of Verdi. They form a most interesting contrast, and provide an opportunity for some magnificent dramatic singing. There is little doubt that Harold Williams is now the finest operatic baritone in England. So thrilling is his singing of the wicked lago’s creed, and so vivid is his diction, that we can almost see the cynical twist of his countenance.

“Veronique.”—The older generation well remembers that melodious light opera of Messager’s “Veronique.” It should be good news, therefore, to them to know that the vocal gems from this delightful work have been recorded. The selection includes: “His Military Mein,” “Sweet Lisette,” “The Swing Song,” “Take Estelle and Veronique,” “The Letter Song,” “Ah, Well, We’ll Try to be Precise,” “Hush, Hush,” “Auntie, Please Tell Me,” “Finale,” Act 11. Old Time Dances. We are indebted to the International Novelty Quartet for recording five delightful discs, containing favourite old time dances such as “Daisy Bell” and “After the Ball,” “The Veleta” and “Merry Widow” waltz, “Over the Waves” waltz and “See Me Dance the Polka,” “Three Blind Mice” and “Perfection Polka,” “The Skaters’ waltz and “Teddy Bear’s Picnic.” * Harry Dearth iii Two Popular Ballads. —Harry Dearth is one of the most popular baritones in England. His brilliant tour throughout New Zealand some years ago will still be remembered by many, and should help materially in the popularity of this pairing of “Old Bartv” and “The Bulls won’t Bellow.” His rich, rolling tones and cheerful humour are splendidly evidenced in both of these highly successful ballads. Musical Novelties. —A musical novelty of sorts is presented by the Novelty Orchestra in a “Tap Dance’ medley, which includes “Strolling Through the Park,” “Skirt Dance,” “Cuddle Up a Little Closer,’ “Swanee River.” On the other side is a tap dance, “By Heck.”. Two Goods Songs.—Here is a good bracket, by Megan Thomas, a pleasing soprano, who sings German’s “Waltz Song” from “Tom Jones” and Forster’s “I Wonder if Love is a Dream.” These are just of the light melodious kind that please 'all and sundry.