DISC MUSIC

Stratford Evening Post, Issue 19, 17 August 1928, Page 8

DISC MUSIC

GRAMOPHONE NOTES, SOMETHING ABOUT RECORDS. “My Treasure” (waltz) coupled “La Spagnola” (waltz) and “Ramona” and “Ramona 'Waltz,” are now obtainable and are very popular indeed. Peter Dawson in “Two Old .Tramps” (Holloway, and “Captain Stratton’s Fancy” (Mullock),. “Captain Stratton’s Fancy is a delightfully quaint song in a hearty view. It has a most charming companion piece of attractive sentiment. Peter Dawson sings both songs with that extraordinary sincerity and enthusiasm which have made , him a very popular artist. One of Dav, sou’s best discs, without a doubt. -—x — Amelia Galli-Curd (soprano), m Parla! Valse (in Italian Arditi) and “The Gypsy and the Bird” (m English) (Benedict, with tlute obligato by C.. Barone. There i s something very spring-like iu Galli-Curci s record of “The Gypsy and the Bird.” She sings it with such extraordinary grace and limpid tone that the performance gives, you the impression of thistledown floating on a wayward breeze, On the other side the great prima-donna has given ,u s a brilliant vocal waltz which affords the singer, an effective vehicle for the display of the exceptional ability of her famous voice. Probably one of the best records. • * .x — John Henry and “Blossom,” in “The Story of Lady Godiva” (J. Henry). John Henry’s delightful and humour has won him a tremendous following. His “His Master’s Voice records which include some oi his pest pieces, are really funny, all the more funny, perhaps, because you never have reason to feel that he is trying to amuse you. “The Story, of Lady Godiva” is on e of Lis most amusing dialogues with “Blossom. ’ It is a “scream. —x — Fanny Heldy (soprano) and Fernand Ansseau (tenor, in “Carmen” -D’Parlsmoi de ma mere” (Speak to Me of My Mother), Dust, part 1); “Qui salt de quel demon,” (I Might, perhaps, have been of a False Friend the Prey), (Duet, pant 11) (Bizet). This is Madame Fanny Heldy’s first His Master’s Voice record to be issued. Mine. Heldy is probably the. greatest French dramatic soprano of her day- She is well known a* Covent Garden, in London, and her recent performance of the role of “Concepcion,” in Ravel’s “L’Heure Espagnole,” was one °£ tLe high lights of the season. On her first record her name appears with that of Fernand Annseau, who i s without question the finest of French present-day tenors, so that the record may he said to present two of the finest singers France can offer to-day. The duet between “Don Jose” and “Miciiaela” in Act 1 of “Carmen” is one of the most graceful moments of the opera, and its simple charm is emphasised # by the vigour and animal spirits of the more deliberately “Spanish” music which surrounds it. “Michaela” has sought out “Don Jose” to give him a messr/ge that his mother has entrusted to her. But she is very shy, and hesitates to give him the complete message, which included a kiss “by proxy.”

“Faust—Soldiers’ Chorus” (Gounod), and “La Sonnambula—Ah! fosco cielo”. (Bellini). The interest with which the recently issued choral numbers from “Ernani,” and form Verdi’s'early operas, “Lombardi” anc, “Nabucco”, were received, ha s resulted in another release by the same famous operatic chorus. The attractive chorus, “With Sombre Sky,” from “Sonnambula,” will prove quite a novelty, whilst the “Soldiers’ Chorus” from “Faust” is ever a favourite number. The singing and recording are excellent. Fernand Ansseaut (tenor, iir “Hecondita armonia” and “E lucean le stelle” (Puccini) (“La Tosca”). Fernand Ansseau, the famous Belgian tenor, sings Cavaradossis well-know u arias from the first and last act of Puccini’s “Tosca.” The recording realistically brings out the tenor's fine and resonant voice. ♦ * Toti Dal Monte (soprano), in “La Figlia del Reggimento—Convien partii (Donbetti), and Lucia di Lammermoor—Rsgava el silezio (Donizetti). Toti Dal Monte, whose Melbourne and Sydney triumphs with the J . C. Williamson Grand Opera Co. have further established her as a great favourite with Australian audiences, has added another magnificent record to the memorable number already made for “His Master’s Voice.” She sings two arias which had not been previously recorded. The delightful aria from “The Daughter of the Regiment” will prove new to most hearers, and the Cavatina, “Regnava nel silenzio” (“Silence O’er All”) is a melodious gem of rare beauty, and ..which is rendered with great feeling. Her admirers will be delighted with this exceptionally fine record.