RECORDED MUSIC

Northern Advocate, 4 October 1930, Page 14

RECORDED MUSIC

NEWS OF THE WEEH

COLUMBIA.

Iva Pacetti —Soprano,

Pae etti, from all reports, took Lon

don, or at least, the London opengoing public, by storm; and that n .spite of the fuel that Col. Birds on

deavoured to resuscitate a number ir long-dead operas that had no particular virtue" even when alive. Ilo.vevor, as a reminder of her brilliant supplement, two new records by the ad mired Pacetti. The first, a twelveinch disc, brackets. “ La Mamma Morta” (My .Mother Dead), from “Andrea Chenier,” and “Puce miu Dio’ (God Grant. Me Peace), from “Tie Force of Destiny.” The latter, ol

course, early Verdi, and the former by the still living Giordano. Both of these numbers are replete witih the fiorilure so beloved by operatic soprani —but how magnificently they are managed! One Forgets the uselessness of

fhe ornamentation in the pure joy of tills s|nger’s amazing vocalism. (Columbia LOXIS.) A ten-inch Columbia (LOl) is given up to a famous passage, “Victims, Then You Would Not,” from Bellini’s “Noma.” Pacetti’s singing in this number rises to very groat heights of emotional intensity. Never for a moment does she forgo her technical mastery to serve the end of melodrama. Lovers of Italian opera will revel in both of these records.

Ivar Andresen —Bass,

The magnificence of

Andresen’s

voice is ’well known to enthusiasts —even in this country, far removed from the musical centre of the ’world.. His recent engagement at.

Covent Garden was, of course, to exploit his wonderful Wagnerian sinking, and on Columbia LOXIO we hear him in the number “Unpardonable Crime! ” from “ Tannhauscr. ’ ’ On the reverse is “Fin Feste Burg,” from Meyerbeer's “Huguenots.” .No lover, cither of fine singing or of Wagnerian music drama, will bo able to pass this disc bv.

Georges Thill and Mile. Teraldy. These two well-known, well-loved and well-equipped artists have recorded the “Tomb Scene” from Gounod’s “Faust” (Columbia LOX2O-21). It is a pleasure to have this favourite scena sung toy two of the finest operatic singers France has produced. Only one comment is needed —hear them.

Overture to “Norma.”

Once again the Milan Symphony Orchestra gives us a favourite overture — a favourite at least wdth our grand-

parents. For this swaggering and florid music, the Milan Orchestra, is undoubtedly a splendid . choice. The amount of verve and technical excellence they put into this gay and popular music is worthy almost of greater things. The recording equals the

usual standard of Columbia, and

ui' predict, this disc to lm one of the best sellers of the month. (Columbia DO 1.13.)

A Selection of Ancliffe Waltzes.

Charles Anclifl'e lias (fathered to himself an orehestra of adequate dimensions and recorded a pot-pourri of his more popular waltz tunes. The selection includes “Nights of Gladness,”

“■Smiles, then Kisses,” “Fairest in the Laud,” “For Valour,” “The Dream Princess,” “Irish Whispers,” “Shy Glances, ” “ Un forgotten Hours,” “Temptation,” and “Thrills.” These pleasant trifles are welded together with considerable skill, and should

provide hours of enjoyment to those who put down their money and say: “Columbia, D0X29.”

“Rio Rita” Selections,

Dobroy Somers and his bam] provide

yet further delightful gramophone fodder for the musical comedy fan. This “Rio Rita” selection is by a long way the best fantasia on the following

popular tunes yet offered on a twelveineb disc: “Following the Hun

Around,” “If You’re In Love You’ll Waltz,” “I’d Rather Have a Memory of You,” “The ITinkajou,” “Rio Rita,” “You’re Always in -My Arms, ■Sweetheart,” “We Need. Each Other,” and the Ranger’s Song. If there are any who are so benighted that they do not yet know these tunes, here is their opportunity. Those who do know them will not need any urging; the name of Debroy Somers will see to that! (Columbia D0X24.)

New Folk Dances.

Stanford Robinson, him so If a. composer of some merit, conducts these performances by th'e National Polk; Dance Orchestra. The arrangement arid scoring of these old airs arc by

that tireless worker of the English Folk Dance Society, the late -Cecil J.

,Sharp. The numbers released this month are “Nonesuch” and “Dick’s

Maggot,” on Columbia DO120; and “Fine Companion,” “Hit and Miss,’’ “Beggar Boy,” and “Heartsease,” all on Columbia DOI2I. Two records that will interest many others than folk dance enthusiasts.

HIS MASTER’S VOICE

‘ ‘ lolanthe ’ ’ Complete,

The series of complete Gilbert and ■Sullivan operas, which already includes “The Mikado,” “The Gondoliers,”i “Tho Pirates of Penzance,”, “The Yeomen of tho Guard,” and “Trial by Jury,” has boon enriched by another important addition, “lolanthe.” This popular opera has been recorded under the direction of Rupert D’Oyly Carte, and is conducted toy Dr Malcolm Sargent. A very carefully chosen cast is responsible for a very fine recording. This east comprises:—Nellie Bricrcliffi-, lolanthe; Leslie Ramis, -Strephou; Bertha Lewis, Queen of the Fairies: Winifred Lawson, Phyllis; George Baker, the Lord Chancellor; Darrell

Eauconrt, Earl of Mounfararat; Do rob Oldham, Earl Tolloiler; and Sydney Granville, I’rivali- Willis. The work m on eleven records (32 parts), with an art album. (His Master’s Voice.)

British Composer

In Gustav Holst’s “Perfect Fool” we have one of the most delieious little burlesques yet written by a British composer, and from this opera the ■Symphony Orchestra, under Albert Coates, has given us one of the tit-bits of the work.” The wizard, is brewing the drink that will give 'him irresistible powers. To his aid he calls upon the spirits of Fire, Water, and Earth m turn. The dance round him is the basis of a weird and extremely vigorous balled. The companion piece is another work by the same eon "poser, Vo. 3 of the “Planets” suite —“Mercury” —is an outstanding example of descriptive musie. iTd'lst is a big figure in the musical world today, and these two pieces are examples of his best work. (H.M.V., Dl.m)

Soprano’s Success.

In view of Margaret Bheridan’s great success at Covent Garden in Puccini’s “Madame Butterfly,” her .records of the principal soprano arias are particularly interesting, and they certainly bear-testimony to the greatness of her voice. From the first act she sings “There is One More Step to Climb,” which.' has been described as a flood of melody, and coupled with this is the pathetic “That Your Mother.” Mias Sheridan rises to wonderful heights in the famous “One Fine Day,” which is very realistic. On the other side of the record is the “Ave Maria” from Verdi’s “Othello,” and here again the simpcl melodic beauty of the aria is enhanced by the voice. (H.M.V., DB981.)

Operatic Gems.

The Italian lyric tenor, Tito Schipa, has an ideal role in Massenet’s “-Man-

on,” and lie makes the aria. “The Dream,” a thing of rare beauty. This

aria is a deserved favourite of all great tenors and of their audiences. A feature is the exquisite accompaniment The sparing use of the .strings and inclusion of tip harp in the important passages very effectively create an atmosphere of dreaming. Schipa’s soft high notes are flawles. On the other side of the record lie sings “Harlequin’s Serenade” from Leon Cavallo’s “I Pagliacci.” This must surely be one of the gems of alk opera. (H.M.V. DA875.)

Vital Personality.

Luctoezia Bori, the famous soprano, has given to gramophone lovers one of Puccini’s most delicious arias, “Musetta’s Waltz'” from “La Boheme.” This is sung by the coquettish Musetta during tne cafe scene, when she endeavours to attract attention. The second number is; the charming “Valse du Colibri,” by Vainoy, and he singqr pours into every"syllable of the song a vital personality. As an example of lyricism, this song would be difficult to surpass. (H.M.V. DA981.)