’NEATH THE NEEDLE

Nelson Evening Mail, Volume LXVI, 11 August 1934, Page 4

’NEATH THE NEEDLE

Delightful Overture The charming overture to Humperdinck’s delightful opera “Hansel and Gretel” has been recorded by the 8.8. C. Orchestra, under the conductorsliip of Adrian Boult. “Hansel and Gretel” is one of the most beautiful folk operas ever written, and the overture is really an epitome of the work itself. At the opening a lovely theme is heard in the French horns, which is later used in the opera when the two children kneel together in the woods and say their evening prayers. Their “prayer theme is o-ivcn a short contrapuntal development which is of rare beauty, after which the second subject is heard. This is an exceedingly bright and eneigetic phrase, which is designed as the “coun-ter-cliarm” theme because it is heard as a formula with which the spell of the old witch is later overcome. The middle section of the overture is given over to the music heard in the opera at the beginning of the third act, wlicic the children are awakened by the dew fairy. The final theme is one of rejoicing. and is taken from the last act when "the ginger -bread children are released from the spell of the witch, and join in a dance with Hansel and Gietcl. The interpretation by the 8.8. C. Orchestra and its famous conductor is entirely in accord, with the spirit of the music and the tonal quality of the lecording is up to the highest standard.

Rich Baritone Voice. The rich and resonant voice of the Gorman baritone, Rudolph Bockelmann, takes one captive immediately. He is recorded in the “Toreador Song” from Bizet’s “Carmen,” and the rarely-heard “Mirror Song” from Offenbach’s “Tales of Hoffman,” with the Berlin State Opera House Orchestra and chorus, conducted by Clemens Schmalsticli. The “Toreador Song” recording is unique in that it includes the passage between soprano and baritone, and then the 10petition of the refrain by the chorus, lii other words, this latest rendciing, which is sung in German, is a slice out of the opera itself and not just a concert number. The delicate phrases tot' the “Mirror” song are given with an artistic appreciation of the beauties of the music. The well-coloured tones of the voice arc at home in both numbers and Bockelmann is indeed an acquisiy tion to the gramophone.

Rosa Ponselle Rosa Ponselle, avlio lias been hailed as the finest dramatic soprano in the Avorld, sings tAVO arias from tAvo operas by Verdi. In the beautiful prayer, “Pace, pace mio Dio” (“Peace, peace, oh God”), from the “Force of Destiny,” the lovely quality of her middle register and her matchless loav notes, which are always vibrant Avitli emotion and sincerity, are evident. Very feAV sopranos, indeed, can sing two sueli divergent excerpts as Ponselle, who, on the reverse side, is heard in the coloiatura aria, “Ernoni involami,” from the opera “Ernani.” This Cavatina, presents many difficulties, and requites a oTeat vocal agility, all of which the sino'er overcomes with the greatest ease, as if she sang all her life nothing but florid music, which is not the case, because her repertoire consists entirely of dramatic parts, such as Aida, Norma, G'ioconda, and others.

Gilbert and Sullivan A brilliant complete recording or “The Pirates of Penzance” has been made under the personal supervision of Rupert D’Oyley Carte, and conducted by Dr. Malcolm Sargent. The cast has been carefully chosen, and comprises several favourite .artists, who have made their names in the Savov operas at Home, and are also well knoAvn to the gramophone publicIt is amazing the way these records convey all the charm and vitality of this melodious and delightful opera. The Avicked gusto of Peter Davvson in “It is, it is a Glorious Thing—to be a Pirate King” is very realistic. The beautiful soprano voice of Elsie Gnlten makes “Poor Wandering One a song of exquisite freshness. Nothing could be more appealing than Derek Oldham’s “Oh! Is There Not One Maiden Breast?” His tenor voice is singularly suited to G. and S. operas. Another avlio is thoroughly at home in this work is George Baker, whose I am the Very Model of a Modern MajorGeneral” has a chuckle in every bar. Leo Sheffield as the Sergeant leads a splendid male chorus m When a Felon’s not Engaged” and When the Focman Bares His Steel,” and the balance of men’s and women s voices in the full choruses is excellent. liaise is also due to the orchestra. ihc tone is always crystal clear.

G Thc pianoforte and violin recitals by ■Miss Una Bourne and Miss Marjou Hayward-have been for some time one of To outstanding of the London concert seasons. These two artiste are poetic interpreters both equally skilled in the technique of ttjeii respective instruments. Abo\ e aii jgrtu.’WSS* u.°y Sm S 1V ° fc n,it allegro molto ed apassionTT sh oy, but it is only the ato, « a s ‘ ,ec performance that holds °l, ‘ nvuvessivc alia romanze, is full of Sate passages, but it never loses character or becomes insipid, and m C Playing there is a sensitive an accurate sensibility to ’'JTthirdTl in the allegro animate, the tlnia a

final movement, there is the same grace and discrimination in tone colour. The whole is a gorgeous picture of the awakening of spring. Peter Dawson With the assistance of organ, orchestra, and chorus, Peter Dawson records .two of Ketelbey’s most popular numbers, “In a Monastery Garden” and “The Sacred Hour.” The first snog is a lovely musical picture of monastic life. It is morning within the garden avails, birds sing among the trees, sunshine is poured and scattered between the leaves. The brothers come forth, chanting the solemnly beautiful Kyrie Eleison, the organ and chimes blending with their voices. “The Sacred Hour” is also an impression of religious life that is a musical inspiration. Dawson sings both numbers with moving sincerity. His resonant bass-baritone ■voice is heard at its best. The beauty of both music and words is fully revealed, and the organ, orchestra, and chorus create a fitting atmosphere which rounds off the performance.