RECORDED MUSIC.

Timaru Herald, Volume CXXXIV, Issue 18820, 7 March 1931, Page 18 (Supplement)

RECORDED MUSIC.

Archer Gibson, at the organ, gives us "The Perfect Day” and “The Old Refrain.” A perfect day—and a perfect record —what more can one want? “Faust" (Gounod), conducted by Sir Thomas Beecham. Here is the first complete English version of “Fauat,” Gounod’s most successful and one of the world’s most popular operas. Sixten 12-inch records comprise the work, in addition to which is an art album (6/-) and a booklet of Chorley’s words in English. Sir Thomas Beecham conducts the work, and under his genius of direction the whole opera takes on a new vitality and exaltation. The title role in sung by Heddle Nash, and his fine lyric tenor, combined with a perfect enunciation and an admirable sense of the drama, makes him an ideal Faust. His rendering of “All Hall, Thou Dwelling Pure and Lowly” is an example of faultless legato singing. In the Finale, when “Faust” is imploring Margarita to escape with him, he displays a magnificent vocal artistry. “Margarita” is in the capable hands of Miriam Licette. Her voice has all the breadth and warmth of a dramatic soprano, and with it a coloratura’s range and flexibility. The Jewel Song is brilliantly sung, with just the simple delight and gay surprise of “Margarita” discovering the tempting casket. In the Church Scene she is exquisite—in fact the whole record is exquisite—with its lovely grand organ solos, its solo vocalists, full orchestra, and impressive male chorus. The Prison Scene (Finale) provides Miss Licette with those difficult top notes that few singers can master at all well; her high C is a marvel of effortless ease and clarity. Robert Easton is the ideal “Mephistopheles,” a veritable volcano of sardonic rascination. His ‘‘‘Calf of Gold ' and the demoniac chuckle in the great Serenade are but two illustrations of the clarity of his diction, and the enthusiasm and sincerity of his rendering. Harold Williams is a splendid “Valentine.” Muriel Brunskill is an admirable “Dame Martha.” Doris Vane as "Siebel” (who in the opera is a boy) and Robert Carr as “Wagner” give excellent support, while the 8.8. C. Choir furnish some amazingly fine choral work, especially in “The Fair,” “The Waltz,” the “Church Scene" and “Soldiers’ Chorus.” (1) Mephisto Valse (Liszt), Parts 1-3 ■ (2) “Fervaal” —Introduction to Act 1 (Vincent d'lnty). Played by the Brussels Royal Conservatoire 1 under Desire Defauw. This comes very appropriately after the recording • of “Faust.” Liszt, that extraordinary 1 man, was also attracted to the Faust 1 legend.. He went so far as to write • a Faust Symphony, and also to set one • or two scenes to music. This Me--1 phisto Waltz is one of the fragments. ' xt’s a wonder it has never been record--1 ed before. Its diabolic excursions into • the macabre are just the thing to rouse 4 jaded musical palates. Its rich tune- ‘ fulness as well as its gruesome patches. 1 and its superb recording, coupled with s faultless playing, are sure to make 0 these two discs real best sellers everyr where they are heard. On the odd e side we have the prelude to d’lndy's 3 opera “Pervaal"—unless we are mise taken, the first piece of music by this great Franck disciple yet recorded.