’NEATH THE NEEDLE

Nelson Evening Mail, Volume LXIV, 21 February 1931, Page 3

’NEATH THE NEEDLE

A Great Caruso Record An almost forgotten opera from the point of view of performance, Verdi’s “La Forza clel Deslino,” is rich in re-* corded gems. One of the most attractive of Caruso’s records is “O tu che in seno agli angeli.” The recitative is intoned smoothly, and there is dignity and sincerity, and pealing high notes, in the aria. This record, and those which follow, says a critic, make it clear why the Caruso revival of this opera in New York, in the last years, of his life, was so popular. Temple Choir’s Best Recent Record Of the recording of Haydn’s line chorus, “The Heavens arc Telling’’ (“The. Creation”), by the Choir of the Temple Church, London, a critic says: I think this is the best record yet issued by this choir —largely because it is the best music they have yet done, “The Heavens are Telling” (from Haydn’s “The Creation”). One misses tho orchestra, of course. As a muchneeded record this may decidedly be recommended, unless wo may look for a complete recording of this splendid, lovely work.

Artistic Taste Derek Oldham is a serious-minded artist, with a decided liking for songs of the better type. A feature of his latest record is his marvellously clear enunciation, enabling every word to he understood without the slightest effort. Rachmaninoff’s “In the Silent Night” is a typical Russian song, impassioned and beautiful. As in tho case of most of this composer’s songs, the accompaniment is very difficult and it is enhanced by an arrangement for violin, ’cello, and piano. Grieg’s “I Love Thee” is a simple, sincere, straightforward song. Botii these are (interpreted with feeling and artistic taste.

“The Death of Nelson” Following the triumphal issues of “The Trumpeter," “The Village Blacksmith,” and “To Meet tho King,” there lias now been dramatised, synchronised and freshly vitalised a version of Brahms’s olcl song, “The Death of Nelson.” The various stanzas are sung by Francis Russell, interpolated with warlike “noises off,” and the voice of Stuart Hibberd, the ‘narrator.’ Snatches of old tunes are hummed or sung by off-stage jack tars, and we presently hear Lord Nelson (Lewis Casson) and Captain Hardy (Robert Carr) making arrangements for running up the famous flag signal. Nelson —most convincingly acted—dies in the cockpit of tho Victory, and Hardy takes the last farewells home to Lady Hamilton (Sybil Thorndike). We leave the “miserable, miserable Emma” and are whisked to London, huzza-ing madly to the victorious pealing of clamouring bells. This last touch is most realistically managed.

A Vivid Recording of “Raymond” Those who are looking out for a really good performance of “Raymond” Overture need look no longer. Here it is—champion of a whole pile of “Raymonds,” and just off the press. This Overture of Thomas’s has always been a favourite with the public at large—its light Parisian tunefulness captivating all alike. The supplement calls this a “super-recording” of “Raymond,” and the epithet is more than just.

A Brilliant New Medley The London Regal Cinema Orchestra, under the accomplished baton of Emanuel Starkey, comes to light this month with one of the finest medleys yet fitted together. It is called “A Musical Jig-Saw”—a very, apt title, for every tune fits in perfectly, and one tune leads on to another in a way that seems quite inevitable. Scan the following list of the. 31 titles that make up the “jig-saw.” Ilymn tunes rub shoulders with Viennese waltzes, and Schumann’s lovely “Traumorci” glides into a vodei.' Part 1: Martini; Crown Diamonds; William Tell; Bohemian Girl; Yankee Doodle; Turkish Patrol; Life on the Ocean Wave; Rendez-vous; Martha; Prelude (Rachmaninoff); Tannhanscr; Obcrouj Come Back to Erin; Wedding March; Rienzi; The Merry Peasant; Trau merei; Swiss Yodelling Song; Traviata. Part 2: In a Persian Market; There You Are Then; Hungarian March; Chanson Triste; Now the. Day is Over; Blue Danube; Don’t Be Cross; Who Killed Cock Robin?; Tannliauser; Faust— Calf of Gold; Raymond Overture; 1812 Overture.

New Maori Items The Rotorua Maori Olioir records have been added to this/ month by a disc containing four charming little love ditties. These are “Nga Hilii 0 Tc Ra”; “Pikiatna”; “lie Toroporo Aki” and “Poupou te Marama.” The same features that have made the previous Maori releases so popular arc part of this new recording—a disc that works out at a shilling a song. Other Rotorua releases that arc proving wonderfully popular arc “Makurikuri” and “Moe Mai clline”; “Mate Koe i to Aroha” and “Talii Nci Taru Kino”; and “E Pare Ra and “Haere Tonu.” The Month’s Dance and Film Song Successes ' Gil Dech and his orchestra play a brilliant “Monte Carlo” selection. The numbers introduced are Beyond the Blue Horizon; Give Me a Moment, Please; Triminin’ the Women; She’ll Like Me and Love It; Always in All Ways; Beyond the Blue Horizon. Ben Salvin and his orchestra and Guy Lombardo and his Royal Canadians combine on one record. The former gives us a splendid version of “Why Have You Forgotten Waikiki?” (fox-trot) on one side of the disc, and Lombardo does “Confession” on the other. Dance Records There are sever.-vl most attractive dance records in the February catalogue, and the following have been selected. for their tunefulness and rhythm: “Beyond the Blue Horizon” (fox-trot), and “Always in all Ways” (fox-trot), both from the film “Monte Carlo,” and played by George Olsen’s orchestra; “Little White Lies” (foxtrot), played by Waring’s Pennsylvanians, and “Dancing with Tears in My Eyes” (waltz), played by Nat Shilkret and his orchestra; “Dixiana” (fox-trot), and “Mr and Mrs Sippi” (fox-trot), both from the film “Dixi-

ana’ ’and played by Nat Shilkrett and his orchestra; “Beware of Love” (foxtrot), from the film “Women Everywhere,’ ’and “Good-bye to All That” (fox-trot), played by Ambrose and his orchestra; “You Took Advantage of Me” (fox-trot), from the film “Leatherneckers,” played by Paul Whiteman and his orchestra, and “Moonlight on the Colorado” (waltz), played by Nat Shilkrct and his orchestra; “On a Little Street in Honolulu” (waltz), and “All Through the Night” (waltz), played by Hilo Hawaiian Orchestra. In each item there is a vocal refrain.

“Lily of Killarney” The Light Opera Company, which Jias now a long list of successful recordings of vocal “gems” from famous musical works, adds to its reputation this month with the vocal gems from, Benedict’s light opera,- “The Lily of Killarney,’ ’in which John McCormack scored one of his finest stage successes. The opera abounds in lyric melodies, which remind one at times of “The Bohemian Girl.” The calibre of the voices in both solos and choruses is uniformly excellent. Among the numbers selected are “Andante” from overture, the duet “The Moon Hath Raised her Lamp Above,” “I’m Alone,” “It’s a Charming Girl I Love,” “Cruiskecn Lawn,” “Lily Mavournccn,” “Colleen Bawn,” and Finale of Act 11. Several of these songs are well known to those who have not heard opera, for the airs have been popular concert platform items for years.