Gramophones

Sun (Auckland), Volume 1, Issue 25, 21 April 1927, Page 14

Gramophones

GRAMOPHONE SOCIETY TO-NIGHT’S CONCERT A VARIED PROGRAMME In the programme to be given by Mr. Cyril Towsey under the auspices ot the Auckland Gramophone Society at the Operatic Society’s Hall this evening a choice selection from the latest recordings should result in a very enjoyable entertainment. Instrumental and vocal solos have been pleasing! - ' interspersed with orchestral items, in strumental trios, dramatic recitations and full operatic choruses. Variety shauld certainly not be lacking. Included in the programme are such artists as Galli Curci, Marcel Dupre, the organist: Lawrence Tibbit, who sings the “Pagliacci” prologue: Percy Grainger, pianist; Bransby Williams, and Joseph Hislop and Apollo Granforte. Hislop and Granforte will be heard in the duet, “O Mimi, tu piu

non torni,” from La Boheme, in which as Rudolf and Marcelle respectively, they are recorded to excellent advantage in this plaintive and very melodious duet. The final scene from “Aida,” “O terra, Addio,” sung by Rosa Ponselle and Martinelli. assisted by the Metropolitan Grand Opera Chorus and Orchestra, will prove of unusual interest in view of the fact that Verdi's work will shortly be sung in Auckland for the first time by the Choral Society. The magnificent Schubert trio “No. 1. Op. 99,” played by Cortot, Thiband and Casals, will conclude the recital.

Two rousing numbers are provided by Harry Dearth with “Ben Backstay” and “Dorothy’s a Buxom Lass,” two old favourites which make a very entertaining record. Harry Dearth’s name is particularly associated with this type of song, and his singing ot these two numbers leaves no doubt as to why this should be so. His ringing voice and hearty delivery are recorded to excellent advantage. TACK SMITH THE WHISPERING BARITONE What’s in a name? As names go there is nothing very unusual about Jack Smith’s, but when you add the words “whispering baritone,’ ’it is quite another matter; Jack Smith is the last word in originality. In the theatrical world, as in other spheres of life, merit alone often has to accomplish years of persistent endeavour before it is recognised—originality appears to come to the fore overnight. Jack Smith’s success was almost instantaneous. The gramophone public are constantly demanding something new and when Mr. Smith made his appearance the world indeed sat up and took notice. From out of the countless numbers of Smiths he at once rose from obscurity to fame, and

Jack Smith is now a household name. The way he does it appears delightfully easy—so much so that one wonders why it has not been done before. Perhaps it has, but probably the wrong man tried it. So far no imitators have appeared on the scene, and probably none ever will. So strikingly original is his work that np copyright is needed. Sometimes he sings and sometimes he whispers, but always very pleasingly. When he sings it is with a deep baritone voice—almost of bass quality—perfect control and meticulous enunciation converting it at will to a whisper. He is the pioneer of a new type—“Whispering”—and in exploiting it he has opened up a new avenue in the art of the singer.

He sings popular songs of a tuneful nature, sometimes wistful, sometimes glad. Sentiment is his “strong suit,” and even although he does sing to please his public—a heinous offence in the eyes of the critics, in emphasising the value of soft voice singing, he indeed serves a very useful purpose. “When the Red Red Robin,” “Some Other Bird,” and “Are You Sorry,” are among his latest. They are unique records, and if only for the sake of variety are worthy of a place in any cabinet.

For the home dance music is now in great demand and the records b - ing made by some of the famous orchestras engaged by the recording companies are indeed of a very high standard. “On the Road to Mandalay ’ and “What about Me,” which have recently been done by the Savoy Orpheans for H.M.V., are splendid examples of the work being done by this inimitable dance orchestra. The Light Opera Company has given a very sprightl'y bracket in gems from “Sunny” and “Tiptoes.” Although the music is of the well-known revue order, quite a number of intriguing melodies are presented. Two splendid Chaliapin records, “Song of the Flea” (Moussorgsky) and “La Columina E un Venticello” (“Barber of Seville”), should find a

place in every cabinet. These two recording's for H.M.V. are among Chali apin’s bes*. nd in case they have been overlooked are worth recall ing to the no tice of gram-'v phonists. The assertion that Chal ia pi n never repeats himself is amply confirmed in these rerecordings- of

his two great popular successes. The world’s greatest singer has immortalised Mephisto’s “Song of the Flea*’ (by Mcussorgsky), which he sings will' inimitable sarcasm and realism, and his sardonic laugh is quite unique. Jt is not generally known that Chaliapin has made an outstanding success as Don Basilio in Rossini’s “Barber of Seville/' In this aria the teacher of music describes how slander spreads and gathers weight on i s way, comparing it to a wind, which, gradually getting up force, breaks into storm. Chaliapin’s subdued voi' e admirably suggests the gradual change and terminates in a magnificent climax

“Ih a Persian Garden” and “In a Chinese Temple Garden” are two very excellent readings of Ketelby’s characteristically picturesque orchestra! writings. Each has a subtle line of Oriental mysticism, with voluptuous melodies and bizarre incidents in weird contrast. It is recorded by the International Orchestra for H.M.V.

“Patience,” from a musical point of view, is one of the most delightful of the immortal Gilbert and Sullivan series. This selection as recently recorded by Coldstream Guards is all that could be desired.

Laurence Tibbetts does not sound a very promising name in a world of grand opera inhabited mostly by Italian singers, or singers with conveniently substituted Italian names—the old story, you know, of the prophet in his own country. But Tib betts, beyond all doubt, is one of the greatest baritones who have yet recorded for His Master’s Voice. In his first disc we are given the muchrecorded “Prologue” from Leoncavallo’s “I Pagliacci,” complete with the long orchestral opening. Tibbetts lias a wonderful reserve of vocal strength, his voice has a fine resonant quality, and there is no doubt about his interpretative powers. Both singer and orchestra are splendidly recorded. This, eminently, is a disc to possess and boast about. This record was mentioned in a former note, but deserves a fuller and more adequate praise.

Among the successful recording sopranos in the higher flights of the

vocal art is undoubtedly Miss Rosina Buckman, whose delightful record of Alfred Hill’s “Waiata Pci” won her many friends among gramophon--ists. Here in a charming ballad,

Rosina Buckman and an excerpt from Puccini’s popular opera, we have another disc which does her credit and increases our liking for her. “At Dawning” (Cadman) and ‘(At the Midnight Hour” (Cowen) are two very charming songs, and as sung by the favourite tenor, Sydney Collham, make a bracket well worth adding to one’s song collection.

Two delightful examples of male quartette singing are provided by the De Reszke singers with “My Lady Chlo” (H. C. Leighter) and “Absent” (Metcalf). The former, which is accompanied by the pianoforte, forms an attractive contrast to the famous

“Absent,” which is to be found on the reverse side. The latter is sung without accompaniment. The appealing quality always to be found in the singing of a male voice quartette is present and the reproduction is excellent in the perfect balance between the parts.