MUSICAL RECORDS.

New Zealand Herald, Volume LXII, Issue 18996, 18 April 1925, Page 8 (Supplement)

MUSICAL RECORDS.

Those who like opera ill English should ( bo grateful to Mr. Tudor Davies, who continues to add to tho repertoire of arias in that tongue. These two are sung by Don Ottnrio, a flabby sort of pel son in the opera, to whom, however, Mozart has given some lovely music. With a halftone needlo tho effect of them is excellent. Mr. Davies' voice has never sounded better, and his breath control in the first song, a great test in that, respect, is all that can bo required. This is the Mozart of tho best traditions of the "Old Vic." "0 that it were so" is pleasant music, but a bad song, for the composer deliberately "hangs up" the words to make a purely musical effect—thus: "it sometimes comes—into my head"; further, ho repoats tho poet's thoughts "that wo may dream, may dream," and "Oh that it were so, olv that it were so," cither in obedienco to the nusic or to make tho song of sufficient length to he effective. Carmen ■ Ilill negotiates tho difficult word "dream" 1 on a high note easily, and, generally, sings tho song well. Maliinson's two songs are ] very welcome, as ho has been far too much neglected by the present, younger, generation of singers. " Four by the Clock" is ' one of his best efforts. It would lie nice to have " Eldorado" and "Slow, Horses, I Slow." Beale lived in tho eighteenth ceni tury, a skilful imitator of tho sixteenth century madrigals, as this delightful j example shows. The reverse side is of no ! great account. I wish I could get over my dislike of the male alto, but it seems to be ingrained. The singing is up to this quartet's usual high standard. Selections from comic operas one has never seen are rarely of great interest, but Lchar's charming tunes go far to fill up the deficiency. Tho second side contains a luscious waltz. Had ho chosen, this composer might havo proved a serious rival to Puccini. Two nice little restaurant pieces make up Miss Hayward's contribution. Among the records listed in tho Zonophono "3000" (1925) are somo excellent discs. Beginning with the grand opera numbers, there is that capable soprano, Boldini, in two fine numbers from Meyerbeer's " L'Afrieana" —" Gia 1' odio M'Abbandona," and La bianco Nuvoletta." Gregorio (tenor) and Solari (soprano) arc associated in two dramatic numbers from Massenet's opera. "Manon" —"Oh Sogno incantator," and "La mia, non e la mano"—an excellent disc. Also worth while is the recorded duet by Blinat (mezzo-soprano) and Garcia (tenor), from Verdi's "II Trovatore" —"Perigliarti ancor languente"—to which is bracketed "D'Amor Sull'ali rosee" (Leonora's song in the fourth act of tho same opera). Zonophone orchestral selections are invariably worth while. Among the "30C0" is the Victor Symphony Orchestra's " Semiramide" overture (Rossini), in two parts, the delightful overture to Mozart's "Magic Flute," and Flotow's melodious overture to " Martha." The Victor String Orchestra's " In the Mill," to which is bracketed an "Entr'acte," is a very charming number, dolightfully played. A very good orchestra also is" the Apollo, which gives us a popular selection from "Faust," in two parts. ! The well-known Black Diamonds Band has a miscellaneous list in the Zonophono "5000." This includes "New Year's Eve in Scotland," " Peg o' My Heart," and Adrian Hope's "Autumn Memories." Sousa's Band and tho Victor Military Band between them furnish an interesting Sousa revival, which includes such marches as " Comrades of the Legion March," " Bullets and Bayonets," " On tho Campus," "Gallant Seventh," "High School Cadets," "Dauntless Battalion," and " Nobles of tho Mystic Shrine." All these aro splendidly recorded. Wagner's wellknown "Under the Double Eaglo March," as played by the Victor Military Band, is a winner. Another excellent band combination is VessQlla's Italian Band, which gives us "Finiculi-Finicnla" "(with chorus). "Pasadena Day March," "Adieu to Naples," and "Mana, Mai'i," all good records. In light opera work tho Zonophone "3000" is quite up-to-date with "Gems" from "Sybil," " Very Good, Eddie," "Goin' Up," " Oli, Lady, Lady," and "Irene," all of which are quite acceptable. Four good songs from Peter Dawson have appeared in Zonophone records—"The Drover," "Kangaroo and Dingo," " Tho Bridge," and " The V reck." In the same scries we have from Derek Foster (baritone), " Boys of the Dardanelles" arid " Eyes of Irish Blue"; Leslie Gage (baritone), "Something Seems Tinglc-lingle-ing" (from "High Jinks"), and "A Little Love—A Little Kiss," Silesu's "Un Pen d' Amour." Recorded pipo organ music is somewhat rare. Two recent examples are "Neaier My God to Thee'" and "Abide With Me," played by Mark Andrews. More attention than ever before appears to be paid by recording companies to what may be called the. lesser known features of giand -opera. The great arias for tenors and sopranos have received splendid ti catmerit; so have somo of the duets, and the " Bella figlia " quartets, and the gieat sextet in " Lucia " have been liberally dealt with. Now attention is being turned more and more to other and less familiar details from works than those referred to. Complete operas, of course, are available for the gramophone, but they arc not always within the means of everyone. One of the latest operatic records coming to Now Zealand is the duet between Otello (Fiank Mullings) and lago (Harold Williams) from Verdi's " Otello," sung in English. It is called " I Lay With Cassio," and " Witness, Yonder Marble He;.veil," the latter being in tho original Italian, " Si per del." In this rccoid " Cassio's dieani " is narrated by lago to the passionate and susceptible Moor, and Otello falls an easy victim to the poisonous whisperings and innuendos against his wife. The duet is an impressive example of operatic singing and acting for the gramophone, for although the performers are unseen, yet it is easy to picture them, as if they were on the stage, from the intensity of the dramatic feeling imparted by Frank Mullings, and he subtlely suggested by the manner in which the dream is sung by Harold ' Williams. " Ah, fors'o lui," " Parigi o cara," " Di Provenzr il mar," and the Brindisi, gems in " Traviata," receive most competent and musicianly treatment at the bands of the National Military Band, conducted bv Albert Ketelbey. 'For all the progress made by modem writers and the undoubted influences that were exerted by Wagner on grand opera coming after him, tho music of tho Verdi of tho early fifties continues his spell. He is still ] sung and hummed all over Italy, and travelling musicians, mainly Italian, who pitch in sido streets of London, arc always sure of appieciative audiences—even if the collection is in inverse ratio to their number—when t hoy play selections from "Traviata" or " Trova'tor." The fact is these so-called " old-fashioned " operas aro abovo all tuneful, and that accounts, perhaps, for their populaiity 70 years or so after their first performances.