’NEATH THE NEEDLE

Nelson Evening Mail, Volume LXVI, 7 April 1934, Page 3

’NEATH THE NEEDLE

“Parsifal” Recording An exceptionally interesting release takes the form of a, practically complete version of the third act of “Parsifal” performed by the principals, chorus, and orchestra of the Berlin Opera, directed by the distinguished Wagnerian authority, Dr. Karl Mack. There are many exalted moments in this recording, particularly in the first part of the Good Friday music. The singers, arc not only fine vocally, but clear in diction and expressive. There are many pages in the score of this act where the orchestral work is delicate in texture and their beauty has inspired soloists and chorus. When the orchestra and voices are in full tide there is a lovely balance of tone. On the intimate side nothing could outdo Herr Pistor in tenderness where he says to Ivundry “Thou weopcst.” The whole production shows a high standard of recording, and is a welcome addition to the Wagnerian recordings. Great Contralto The voice of the great contralto, Rig-rid Onegin, is one of captivating beauty and remarkable range. Her head notes have the qualities of a soprano, and the lower register is of a lovely rich quality that is full of expression. Xo more completely satisfying voice has been heard on the gramophone. Even on the fullest notes there is not the slightest suspicion of heaviness, and the half-tones and mezza voce never lose their intensity or purity. Onegin, too, realises to the* full the dramatic context of the music she is singing. There is conspicuous merit in her recording of the aria “Che faro senza Eurydice” from Gluck's “Orfeo.” The interpretation of the poignant music has none of that academic dreariness which in less imaginative performers masquerades under the title of tradition. Her second number is “Ah mon fils” from Meyerbeer’s “Le Prophete.” The wonderful top notes flow golden and flawless to the appointed end. If all contraltos had voices like Onegin Melodies from “Dubarry” A potpourri of the beautiful melodies of the popular operetta “Dubarry” has been recorded by the Xew Light Symphony Orchestra. This work created a sensation when it was produced in London last year, and there are hopes that it will this year reach Xew Zealand. The numbers’ introduced on the record

under review are “If I’m Dreaming,” “Jeanne,” “Without Your Love,” “Pantalettes,” “I Give My Heart,” “Beauty,” “To-day,” “Summer Night,” and “The Dubarry.’ The music supplies ample, reason for the operetta’s success.. It, is tuneful and lyrical and its charm has been fully brought out by the orchestra. Vivacious Overture There is a wonderful vivacity in the overture to Cimarosa’s opera “The Secret Marriage,” which has been recorded by the Berlin Philharmonic Orchestra under the eonduetorship of Dr. Leo Blacli. This opera has long been widely popular on the Continent, and its gay themes are epitomised in the delightful overture. Domenico Cima-l-osa (1740-1801) was a successful member of the old Italian school of opera writers, and his successes attracted the attention of two bf the' patrons of music of his time, Catherine H. Empress of Russia, and Leopold 11. Emperor of Austria. At Leopold's invitation he went to Austria in 17t>2, and there produced his masterpiece, “The Secret Marriage,” which ranks among the highest achievements of light opera music. The performance by the Berlin Orchestra brings out all the tunefulness and high spirits of the overture, and the record is distinctly fascinating. Rosa Ponselle The singing of Rosa Ponselle is a. thing of beauty that should not be missed. Few sopranos of the present day have that rich quality that can convey emotion without seeming to strive for it. She has made a notable recording of the “Casta Diva” aria from Bellini’s opera “Norma,” which was especially revived at Covent Garden for the prinui donna’s benefit. In this aria. Norma, as is her right as High Priestess, refuses to declare war on the Romans. She sings this very number to the Queen of Heaven, calling upon her to bring peace on earth and to guard them against war. Norma also prays for her lover, the Roman proConsul. The melody is one of the most remarkable in all opera, developing from the first notes to the final without once repeating. There are extreme difficulties for the. singer in the rippling coloratura passages that call for perfect breathing, but Ponselle ascends into the higher registers with the same ease that she descends to the contralto scale. The soprano is supported by the full orchestra, and chorus of the Mctronolitan Opera House, and the martial finish by the orchestra is particularly fine. 9

John McCormack Two numbers, simple and yet moving, beautiful in melody, “Since First I Saw Your Face,” an old English song arranged by Somerville, and “La Maison Guise” (“Fortunio”), by Messager, are sung by John McCormack. Such mellifluous singing as this remains a wonderful filing, even in these days of virtuosity and richness of tone, and easeful ness of. production makes every note musical, whether lie wills it or not. His naive singing of these ballads is fascinating without vocal tricks. His legato phrasing is broad and smooth.