THE GRAMOPHONE

Southland Times, Issue 21089, 22 May 1930, Page 15

THE GRAMOPHONE

RECORDS OF THE RECORDINGS

(By

Vox Populi.)

Columbia. The mid-month Columbia records received from Begg and Co. comprise a very fine selection with an emphasis on lighter numbers. The vocal section is particularly strong and interesting since it covers work ranging from two airs by Purcell and Loewe's “Tom der Reimer” to Tosti’s “Beauty’s Eyes” and “Tiptoe Through the Tulips.” Norman AUin sings Purcell’s numbers with splendid, effect in its “Arise Ye Subterranean Winds’ and the hearty “See the Heavens Smile” (Neptune’s Song) from the “Tempest.” For some time I had thought Allin was recording works which were not suited to his powers but here is music which gives him very fine opportunities and of these he takes full advantage. They will be numbered, I think, amongst his best gramophone performances (05085). Another bass is Ivar Andresen who sings “Tom der Reimer” (Tom the Rhymer). This, with the better known “Edward,” represents the best expression of Loewe’s dramatic compositions and it has more subtle*” than its more sombre companion. Andresen has a very fine voice, rich in quality and admirably controlled and it is backed by thorough goine histrionism which enables the singer to make “Tom the Rhymer” an impressive characterization. This is indeed a very fine record. (04386.) Francis Russell, the English tenor, is new to me in records but I hope to hear more of him. His singing of the “Prize Song” from Wagner’s “The Meistersingers” is, I think, the best version I have yet heard in English, and he certainly acquits himself nobly in “Sound the Alarm” from “Judas Maccabaeus” in which the trumpet part is so effective. He sings fervently without over-emphasis and the tone reproduces excellently. (05082.) Two lyrics by Leslie are sung by Hubert Eisdel with whom all gramaphonist must be pleasantly familiar. He does “Best of All” and “Mary, my Mary,” (01913.) Another tenor sure of a good reception is William Heseltine who has , a b'ric voice of an appealing character, and he is admirable in “Mountain Lovers” by Squire and “Ailsa Mine” by Newton. (05081). Edgar Coyle, the baritone, takes us back to the old days with “For Ever and For Ever” and “Beauty’s Eyes” both by Tosti. The ’cello obligato to the second song is decidedly effective. It is good to hear these old sentimental ballads sung so well and I feel sure they will have a popular appeal. (01916.) And then we have Raymond Newell, who did that remarkable recording of “The Trumpeter.” He sings "The Little Grey Church on the Hill” and “Just Keepin’ On’’ and in this a chorus is used to supply background and give atmosphere, to the singing. A very interesting record. (01914.)

Probably the success of “The Trumpeter” inspired the recording of "The Village Blacksmith” by the Columbia Dramatic Players. The idea is to fill out the scene of Longfellow’s poem and one may almost call this record a talking picture without the screen. Weiss’ well known arrangement of the song is the basis of the scene which is divided into two parts, the smithy and the church. One hears the anvil clanging in the smithy, the murmur of the children's voices, the church choir and the smith's daughter singing the solo as he sits in the pew among his boys. This is a very realistic piece of work which gives new life to the well known poem. (01908.)

There is a -ood deal of popular music among the Columbia records. Dinicu’s Orchestra, which has enjoyed quite a rage on the Continent and in Britain, plays "A Hungarian Potpurri” and “Hora Stacato.” The second is really a brilliant violin solo with orchestral accompaniment; this is a fine piece of string fireworks and makes it possible to understand why Dinicu has won his popularity. (01911.) Sandler’s Orchestra, from the Park Lane Hotel, London, has a very attractive recording of Elgar’s “Salut du Mort” and “For You Alone” by Geehl. (01912.) The Bournemouth Municipal Orchestra, under Sir Dan Godfrey, gives us “Zip Zip” a solo by W. W. Bennet and “Whispering Pines” a zylophone solo bv W. Byrne. (01910.)

W. H. Squire has added to his list of attractive ’cello recordings the “Adagietto” from Bizet’s "L’arlesienne” suite accompanied by the organ and Popper’s brilliant "Tarantelle Op. 33.” The Popper number is an extremely brilliant piece of work enhanced by the expressive interpretation of the slow movement in the middle part of it. (04385.) Irene Scharrer is a pianiste of almost masculine power and she is able to give a dramatic performance of Listzs “Twelfth Rhapsodv in C Sharp Minor.” One of the best of Liszt’s fourteen Rhapsodies, though not the best known. The Twelfth is an exacting work demanding much of the technical equipment of the performer. Miss Scharrer is equal to all these demands and the reproduction of her tone is beyond reproach. (05079.) Albert Sammons, the English violinist, is well suited in “Estralita” and “Through the Cane Brake.” Of quite a different character but equally interesting is the further recording of some of the “Songs of the Hebrides.” Miss Margaret Kennedy, the daughter of Margery Kennedy Frazer who collected these songs, sings (a) “Bens of Jura,” (b) “Heart o’ Fire Love,” (c) “Diedres’s Farewell to Scotland,” and (d) “An Eriskay Lullaby.”

Irene Bordoni, who will be seen here shortly in a “talkie” called “Paris,” sings two numbers from that screen success—“l Wonder What is Really On His Mind” and “My Love.” Irene Bordoni is a very popu-

lar artist, who has been the rage in Pans and in New York, and these recordings have therefore an unusual interest. (01836.) We go to another country and another age in Horry Forde’s • “Old Time Medley.” Florry Forde, the well-known English variety artist, revives some of the old popular songs of the halls and puts, these over in the style that is associated with her name. (05073.)

In the middle of February there appeared in The Times, of London, a most unusual phenomenon, in the shape of a leading article headed “Operatic Production.” I found on reading it (observes Mr Herman Klein, in “The Gramophone”) that the immediate motive thereof lay in another column of the same issue of the paper, to wit, a long contribution from its Milan correspondent all about the “Economic and Artistic Difficulties” of “Opera in Italy.” It appeared that the well-known journal, the “Corriere della Sera,” had sent round a questionnaire to the composers, conductors, critics, singers, impresarios, and music publishers, asking what they thought about operatic affairs generally; and the answers had in the main afforded rather unpleasant reading. The three great opera houses of Milan, Rome, and Naples were in the same boat as 24 other first-class opera houses in Italy; for “All these theatres, although in the past they have never made great profits, are now run at a loss.” The causes of this common deficit were said to be various; yet the explanation was practically the same in every case. Expenses were largely in excess of income, thanks to the high fees that had nowadays to be paid to artists, the heavy cost of mounting new operas which did not attract the public, the costliness of the mise en scene generally, and the Government taxes on entertainments; and thanks also to counter-attractions like the kinema, the wireless, etc. The remedies proposed were, like the grievances, “various.” But, as The Times leader pointed out, “Genius is not to be commanded,” and composers like Verdi and Puccini, who can fulfil their own artistic aspirations while proving that they merit the big expenditure, are not forthcoming very often either in Italy or in any other country. The composers of to-day have little or no sense of responsibility toward their audiences”; yet they claim their right of a hearing where there is really no right in the matter. The remainder, of this sensible article was devoted to an appeal for further subscribers in support of Sir Thomas Beecham's Imperial League of Opera; nor is it to be denied that the two branches of the subject—opera abroad and at home—have enough in common, despite their different conditions, for us to be able to profit by the mistakes of others. Financial difficulties are being encountered at the great operatic establishments of Berlin, Vienna and even Paris. The only country that escapes entirely, because it can afford to spend what it pleases, is wealthy America.