THE GRAMOPHONE

Southland Times, Issue 20537, 13 July 1928, Page 5

THE GRAMOPHONE

RECORDS OF THE RECORDINGS

(By

Vox Populi.)

Columbia has just released a fine selection of ten-inch operatic records, some of them made by noted artists with the MelbaWilliamson Grand Opera Company. A group of these records reached me this week from Begg’s. In addition there are some names with which I am not familiar. Arangi Lombardi’s records are very fine. She comes from La Scala, Milan, Verona and principal Italian theatres, and is considered one of the world’s greatest dramatic sopranos. She has sung with tremendous success at La Scala Theatre, Milan, and at the Colon Theatre, Buenos Aires. She is one of the most popular artistes in Italy to-day, and last summer sang “Aida” at the vast open-air Stadium at Verona, which was built by the early Romans, and which, in many respects, resembles the famous Coliseum. It accommodates 30,000 people, and despite the fact that Signora Lombardi sang in the open, her voice was heard to perfection. Her record of “0 Cieli Azzuri” from “Aida” (O 3518) and the “Aida” duets with Merli are extraordinarily good.

Francesco Merli, principal dramatic tenor at La Scala, Milan, has had the honour of tilling the leading engagements there three seasons in succession and Covent Garden has also witnessed his triumphs, notably in “Turandot.” His recording of the “Flower 8ong” from “Carmen” is very fine (0 3519), and the “Turandot” records, including “Nessum Dorma” and “Non piangere Liu” (D 1571) should not be absent from any opera shelf. Enzo de Muro Lamonto, who is in Australia in opera, was engaged for Williamson’s before he was secured for La Scala in “La Sonnambula” and “The Barbiere di Siviglia.” He has a voice of lighter quality than Merli’s, but he sings with fine power, and is pleasing in ballads as we 11,.. His “Se il mio nome” and “Ecco ridente in cielo” from “11 Barbiere di Siviglia” (0 3534) and the aria “Giunto sul passo” from Boito’s “Mefistofele” (0 3537) stamp him as a tenor with a bright future.

Lina Scavizzi, a dramatic soprano who has made many friends in Australia with her splendid work in “Tosca,” Andrea Chenier,” “Cavelleria Rusticana” and Montemezzi’s “L’Amore dei tre Te,” has sung with success in opera at Budapest, Zurich, Verona and Monte Carlo. On my machine her voice sounded a trifle shrill, but undoubtedly she is a very impressive linger in dramatic roles, especially in “La Tosca,” Boito’s “Mefistofele” and “Tacea la notte placida” from “Trovatore.” Umberto di Lielo is a fine vigorous bass who has sung often at La Scala. He was in Australia in 1924 and again this year. His “Faust” record (O 3531), and the well-known “Aria del Fischio” (the Whistling Song) from ‘Mefistofele” are fine, and so is “In the Town of Kazan.” Varlaam’s song from “Boris Godonnov” (0 3532). Augusto Beuf, after making a name as a ’cellist, became a singer and made his debut in “Pagliacci.” He is a baritone of first-class quality, a resonant voice and a good sense of the drama. His singing of “Dio possento” from “Faust” is excellent (D 1020) and so is his duet with Beavea Scacciali from “Aida.” Irene Menghini Cattaneo, a pleasing mezzosoprano, is very good in the Habanera from “Carmen” and “Non conosci il bel soni” from “Mignon” (D 1022). A number of ten inch H.M.V.’s from Bege’s included “Kingdom Coming” and “Bohunkers” by Frank Crumit, a further example of his excellence in restrained parody (EA323). Johnny Marvin’s records “Is she my girl friend?” and “Keep Sweeping the cobwebs off the Moon” (E.A.321) are both enjoyable and so also is “Bungalow of Dreams” by the Crescent Trio (E.A.324). Finally I can recommend every one of these dance items: EA 317.—“ Stay out of the South” by the Coon-Sanders Orchestra, and “Everywhere you go” by Frankie Masters’s Orchestra. EA 318.—“ Here comes the Show Boat” and “Just a little kiss from a little miss” by Jean Goldkette’s Orchestra. EA 319.—“ Four Walls” by Johnny Johnson and his Statler Pennsylvanians and “Keeping the Cobwebs off the Moon” by Waring’s Pennsylvanians. EA 320.—“1n the sing-song Sycamore Tree” and “After My laughter came tears” by the Virginians. EA 322.—“ Ramona” by Paul Whiteman’s Orchestra, and “What are we waiting for?” by Edwin J. McEnelly’s Orchestra. EA 326.—“ Maybe I’ll baby you” and “If I can’t have you” by Waring’s Pennsylvanians. EA 327.—“ Away down South in Heaven” by The Virginians, and “My Stormy Weather Pal,” waltz by Johnny Johnson and his Statler Pennsylvanians. EA 328. —“Auf Wiederseh’n,” waltz, by Jacques Renard and his Coconut Grove Orchestra, and “Let your smile be your umbrella” by Roger Wolfe Kahn’s Orchestra. EA 329.—“ The Beggar” by Nat Schilkret’fj Orchestra and “The Sunrise” by Johnny Vamp’s Kentucky Serenaders. E.A. 320.—“ Little Mother,” waltz and “Without you Sweetheart” by Nat Shilkret’s Orchestra.