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Thread: Vocal recitals.

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    Senior Member Barbebleu's Avatar
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    Quote Originally Posted by Tsaraslondon View Post
    The Icon box has a lot more music on it, but it doesn't seem to have much from that 1953 recital disc on it, which is complete on Disc 1 of the Great Moments box, and was my main reason for acquiring the set. I hate to tell you this, but you do really need to hear it.
    I've ordered this too!!
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    Senior Member wkasimer's Avatar
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    Quote Originally Posted by Tsaraslondon View Post
    The Icon box has a lot more music on it, but it doesn't seem to have much from that 1953 recital disc on it, which is complete on Disc 1 of the Great Moments box, and was my main reason for acquiring the set. I hate to tell you this, but you do really need to hear it.
    Before either of these sets, EMI issued "Les Introuvables de Nicolai Gedda":

    gedda.jpg

    I don't have the sets handy to compare, but I suspect that most if not all of this material has appeared on other Gedda compilations. If I remember correctly, that early EMI opera recital LP is included on this Nimbus set:

    gedda_nimbus.jpg

    Gedda also made some recordings for Swedish EMI very early in his career, most of which haven't made it to CD, as far as I know.

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    Senior Member Tsaraslondon's Avatar
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    Although we may seem to be suffering a dearth of great Verdi and Wagner singers in recent years, Handel singing has gone from strength to strength over the last twenty years or so. However, even amongst the wealth of excellent Handel recital discs that have appeared, this one, recorded in 2004, stands out.

    The programme itself is varied, with a nice sprinkling of arias from lesser known works amongst the more well known excerpts from such as Giulio Cesare in Egitto, Rodelinda and Orlando, whilst there is a good selection of different moods represented.

    Sandrine Piau is the equal of everything Handel throws at her. The needle-fine precision with which she executes the florid music is breathtaking, as she tosses off stratospheric pyrotechnics with insouciant ease, but she is also adept at sustaining the long lyrical line. Furthermore she encompasses the full range of mood from quiet introspection to dramatic declamation. This is a real tour de force of Handel singing.

    She is wonderfully supported by Christophe Rousset and Les Talens Lyriques and the recording cannot be faulted.

    Warmy recommended.
    Last edited by Tsaraslondon; Aug-02-2019 at 10:59.
    "It's not enough to have a beautiful voice." Maria Callas

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  7. #124
    Senior Member Tsaraslondon's Avatar
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    Is it churlish to point out that, though this collection includes much that is desirable, there is also a great deal of material one might consider "essential" on EMI, for whom Gheorghiu recorded for the lion's share of her career? First contracted to Decca, she soon switched to EMI in order to be with the same label as her husband, Roberto Alagna, with whom she made many now well known complete opera sets. However it was Decca who first signed her up after her sensational debut as Violetta at the Royal Opera House, Covent Garden, and here they pay tribute to her with a well filled disc of excerpts from the few recordings she made for the label before she left them.

    There are two excerpts from that 1994 Covent Garden La Traviata, a reflective Ah, fors è lui, technically assured Sempre libera and an affecting Addio del passato. Solti's conducting is, as always in Verdi, a bit rigid but it is easy to understand why Gheorghiu had such a success in the role.

    Next chronologically are five arias from her first recital disc made in 1995; Wally's Ebben? Ne andro lontana, Marguerite's Jewel Song from Faust, Il est doux, il est bon from Massenet's Hérodiade and Vive amour qui rêve from his Chérubin. The Wally piece is beautifully sung, though she doesn't quite capture its aching loneliness and the Jewel Song sparkles lightly as it should. The Aubade from Chérubin is also lovely, and I am reminded that I first saw her in the secondary role of Nina in the production of the opera which the Royal Opera, Covent Garden mounted with Susan Graham in the title role. She made quite an impression too. Probably the best of all these selections is the aria from Hérodiade, which is both gorgeous and gorgeously sung.

    From the 1996 Lyon production of L'Elisir d'Amore we have Adina and Nemorino's Chiedi all'aura lusinghietta, in which I find her, as I did in the theatre, just a mite too sophisticated.

    There are so many good recordings of La Boheme that Chailly's 1999 recording with Gheorghiu and Alagna is quite often forgotten, which is a pity as it's actually very good indeed. From this set we have Gheorghiu's touchingly sincere Si, mi chiamano Mimi through to the end of the act, and also her moving rendition of Donde lieta usci.

    Perhaps most impressive of all are the items taken from her Verdi recital with Chailly. She might not quite match the breezy insouciance of Callas or Sutherland in Elena's Merce, dilette amiche, but she seems almost perfectly cast as Amelia in her Come in quet'ora bruna. Both Leonoras are beautifully sung too, and there is a dark loveliness to her tone, which reminds me, surprisingly perhaps, of Leontyne Price.

    The disc finishes, fittingly enough, with the fifth take from her first album, a piece from Romanian composer George Grigoriu's Muzika, slight in musical value, but charmingly delivered.
    "It's not enough to have a beautiful voice." Maria Callas

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  9. #125
    Senior Member Tsaraslondon's Avatar
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    One of the greatest interpreters of French song, Chalres Panzéra was actually Swiss, born in Geneva in 1896. Although he did perform in opera and was particularly renowned for his Pelléas, he became ever more in demand as a recitalist, especially for his performances of French song, and Fauré dedicated his last song cycle, L'horizon chimérique to him. His repertoire extended to Monteverdi, Lully, Schubert and Schumann and, included here is his recording of Dichterliebe with Alfred Cortot a highly individual accompanist at the piano. Panzéra was married to the pianist Magdaleine Baillot, and they had a long and fruitful partnership, all of the French songs on this disc beng accompanied by her. Aside from the Dichterliebe, this disc includes complete performances of Fauré's La bonne chanson, L'horizon chimérique and a selection of songs by Duparc.

    After World War II, he taught at the Juilliard School in New York and at the Paris Conservatoire, and wrote invaluable works on the interpretation of French song.

    He had a voice of great beauty, admirably firm and seamless from top to bottom, allied to a wonderful sensitivity and refinement of style, and many of his performances are deservedly considered classics. Everything he does sounds totally spontaneous and yet one knows the amount of care that has gone into each interpretion. This is surely the art that conceals art.

    Both the Fauré cycles are superbly sung, as are the Duparc songs, though his wife's spreading of the chords in Lamento won't be to everyone's taste. He totally avoids the tendency to over-sentimentalise a song like the Wagnerian inspired Extase and delivers a marvellously detailed but unselfconscious L'Invitation au voyage.

    Panzéra's German sounds as natural as his French and his recording of Duchterliebe has long been considered a classic, though Cortot's playing is highly idiosycratic. It may not delve as deeply as some more recent versions by the likes of Fischer-Dieskau or Schreier, but it captures beautifully something of the essence of Schumann.

    A wonderful disc well worth seeking out.
    "It's not enough to have a beautiful voice." Maria Callas

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  11. #126
    Senior Member Tsaraslondon's Avatar
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    "Heroes", the title of this disc proclaims, though in honesty only two of the characters represented here (the Marquis de Posa and Simon Boccanegra) might be considered to fall into that category. The rest (Figaro, Enrico, Rigoletto, Germont, Renato, Tonio, Scarpia, Iago and Falstaff) hardly qualify, and some of them are downright villains.

    What we do get however (and this is not always evident in compilation or recital records) is eleven sharply differentiated voice characters. Like Callas, Gobbi, though his voice is always recognisable, was adept at the art of vocal make-up and there is a world of difference between his genial, but venal Figaro and his blackly evil Ernesto, which follows. Gobbi's may not always be the most beautiful voice you will hear in his chosen repertoire, nor the most graceful (though he could indeed sing with both beauty and grace) but it is the one I often hear in my mind's ear in the roles I have heard him sing. To the characters included here, I could add his Amonasro, his Michele and Schicchi, his Don Giovanni and his Nabucco.

    All but Iago's Credo on this compilation are taken from complete recordings of the operas, and we also hear the voices of Victoria De Los Angeles in the duet from Simon Boccanegra and Callas in part of the Act II duet from Tosca from La povera mia scena fu interrotta, both a locus classicus of Gobbi's art.

    The last item here is Falstaff's Honour monologue, and I can do no better than quote here John Steane in The Record of Singing

    Play, for example Falstaff's Honour Monologue in a succession of recordings (Scotti, Ruffo, Stabile, Fischer-Dieskau, Gobbi) and Gobbi's is quite markedly the most satisfying, partly because he attends to what Verdi has written and sees the point of it. The phrase 'voi coi vostri cenci' is marked with a crescendo on the first word, followed by three staccato syllables. Scotti takes no notice, Ruffo and Stabile take little; Fischer-Dieskau observes the markings, as ever, but it is Gobbi who sees the pictorial force, the crescendo carrying a comical menace and the staccatos punching or flapping at the despised company as with a broom handle.
    Steane's prose is as ever quite pictorial itself, but he also understands that, as with Callas, Gobbi's genius is not just to execute the notes, but to understand the point of [them].

    That said, isolated excerpts don't really represent Gobbi at his best, and really one needs the complete sets from which these excerpts are taken.
    "It's not enough to have a beautiful voice." Maria Callas

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  13. #127
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    Quote Originally Posted by Tsaraslondon View Post


    "Heroes", the title of this disc proclaims, though in honesty only two of the characters represented here (the Marquis de Posa and Simon Boccanegra) might be considered to fall into that category. The rest (Figaro, Enrico, Rigoletto, Germont, Renato, Tonio, Scarpia, Iago and Falstaff) hardly qualify, and some of them are downright villains.

    What we do get however (and this is not always evident in compilation or recital records) is eleven sharply differentiated voice characters. Like Callas, Gobbi, though his voice is always recognisable, was adept at the art of vocal make-up and there is a world of difference between his genial, but venal Figaro and his blackly evil Ernesto, which follows. Gobbi's may not always be the most beautiful voice you will hear in his chosen repertoire, nor the most graceful (though he could indeed sing with both beauty and grace) but it is the one I often hear in my mind's ear in the roles I have heard him sing. To the characters included here, I could add his Amonasro, his Michele and Schicchi, his Don Giovanni and his Nabucco.

    All but Iago's Credo on this compilation are taken from complete recordings of the operas, and we also hear the voices of Victoria De Los Angeles in the duet from Simon Boccanegra and Callas in part of the Act II duet from Tosca from La povera mia scena fu interrotta, both a locus classicus of Gobbi's art.

    The last item here is Falstaff's Honour monologue, and I can do no better than quote here John Steane in The Record of Singing



    Steane's prose is as ever quite pictorial itself, but he also understands that, as with Callas, Gobbi's genius is not just to execute the notes, but to understand the point of [them].

    That said, isolated excerpts don't really represent Gobbi at his best, and really one needs the complete sets from which these excerpts are taken.
    Thanks for this excellent review of that disc. This was part of a series that EMI released featuring various male singers and I had the Corelli disc (I seem to remember there being Gigli and Bjorling ones too). I believe the 'Heroes' refers to the singers in the series rather than the roles being sung. (There was a similar series with female singers called 'Divas' and I had the De los Angeles disc.)

    I'm surprised you have this in your collection as I expect you have the complete opera sets that the excerpts come from. I never bought this release for that reason and ditched the Corelli when I got the Icon box set. I also got rid of the De los Angeles as I now have all the complete sets or recital discs that the excerpts come from. Coming back to Gobbi, I must have everything he recorded (almost - I don't have his second Gianni Schichi recording on RCA) and so I have the 4 disc Icon set as that has a lot of (if not all) of the material on his studio recitals.

    N.

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  15. #128
    Senior Member Tsaraslondon's Avatar
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    Quote Originally Posted by The Conte View Post
    Thanks for this excellent review of that disc. This was part of a series that EMI released featuring various male singers and I had the Corelli disc (I seem to remember there being Gigli and Bjorling ones too). I believe the 'Heroes' refers to the singers in the series rather than the roles being sung. (There was a similar series with female singers called 'Divas' and I had the De los Angeles disc.)

    I'm surprised you have this in your collection as I expect you have the complete opera sets that the excerpts come from. I never bought this release for that reason and ditched the Corelli when I got the Icon box set. I also got rid of the De los Angeles as I now have all the complete sets or recital discs that the excerpts come from. Coming back to Gobbi, I must have everything he recorded (almost - I don't have his second Gianni Schichi recording on RCA) and so I have the 4 disc Icon set as that has a lot of (if not all) of the material on his studio recitals.

    N.
    You’re right I do have all the complete sets already, except Traviata, because it’s rather let down by the Violetta. I’m not sure why it’s in my collection either. The 4 disc Icon set is on my wish list.

    I also have the second Gianni Schicchi, as I rather like Maazel’s Trittico. I prefer the earlier Schicchi, but Gobbi is amazingly consistent.
    Last edited by Tsaraslondon; Aug-11-2019 at 18:49.
    "It's not enough to have a beautiful voice." Maria Callas

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    Senior Member Tsaraslondon's Avatar
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    The Czech soprano Jarmila Novotna made few recordings but had a long and illustrious career. She made her debut in 1925 at the age of 17, in no less a role than that of Violetta and retired in 1956 at the age of 49. No doubt some will remember her for her appearance in the Hollywood movie The Great Caruso in which she played the diva Maria Selka.

    This disc collects together recordings selected by Novotna herself and taken from her own collection, and shows the voice still firm and true in 1956, when the recording of Rusalka's Song to the Moon (with piano) was recorded.

    The disc doesn't, however, get off to the best of starts as, to my ears, the voice sounds strained in the upper reaches of Smetana's Lark Song from The Kiss (also with piano), which was recorded in 1926. Nor do I find her Cherubino particularly characterful, though the voice itself is quite lovely here and sounds more comfortoble in this tessitura, as it is in Pamina's arias, though she dosen't quite find the pathos needed for Ach ich fühls.

    For me the most treasurable items are the piano accomapanied Songs of Lidice (Czech Folk Songs) which exploit her rich middle voice. The voice is also beautifully captured in a 1945 recording of the the folk song, Umrem, umrem, this time with orchestra and chorus, but arguably best of all is the vocal arrangement of Fibich's Poème, a piece I know from my teenage years, when I used to play it on the piano, which is deeply felt and eloquenty performed.
    "It's not enough to have a beautiful voice." Maria Callas

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    Senior Member Tsaraslondon's Avatar
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    The Trinidadian/British soprano Jill Gomez was a mainstay of my early opera going life, and I heard her on more than one occasion. I particularly remember seeing her as the Countess in Le Nozze di Figaro and Elizabeth in Henze's Elegy for Young Lovers with Scottish Opera, as Ilia in Idomeneo and the Governess in the The Turn of the Screw with English Opera Group and as Tytania in A Midsummer Night's Dream at the Royal Opera House, Covent Garden. The voice was not large, but she was a strikingly good looking woman with a great stage presence and also a good actress. She is probably best known for creating the role of Duchess of Argyll in Thomas Adès's Powder Her Face and singing the title role in William Alwyn's Miss Julie.

    I have known and loved this recital since I bought the original LP soon after it was first released in 1974, and was delighted to find that it had been reissued on CD. The programme is attractive and Gomez has a lovely voice, which she uses imaginatively and musically. Indeed one wonders why such accomplished singing has received so little attention.

    We start with a group of songs by Bizet, possibly of slight musical value but direct and charming in their appeal. Gomez is delectably light and airy but also delivers a deliciously sensuous and coquettish Adieux de l'hôtesse arabe, which is probably the most well known of the group. The Berlioz items, especially La belle voyageuse, are also sung with distinction and charm.

    The Debussy Proses lyriques are not performed as often as some of Debussy songs, and they are quite hard to bring off. Gomez is fascinating and vividly personal, superbly seconded by John Constable's realisation of the tricky piano part. In many places I was reminded of Mélisande's music in Pelléas et Mélisande. A superbly characterised Noël des enfants qui non plus de maisons brings ths superb recital to a close.

    Gomez brings something personal to all that she does and John Constable provides estimable support throughout. Highly recommended if you can get hold of a copy.
    Last edited by Tsaraslondon; Aug-15-2019 at 12:05.
    "It's not enough to have a beautiful voice." Maria Callas

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    Senior Member Tsaraslondon's Avatar
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    Claudia Muzio had a patchy recording career. She made her first recordings in 1911 when she was around 21 (there is some doubt as to her year of birth), an aria and a duet, then from 1917 to 1918 she recorded plentifully for Pathé. In the early 1920s she made recordngs for Edison, but then there was nothing between 1924 and 1934 when she made what are her most famous recordings for Columbia. It would seem that the years of her greatest glory were probably when she was performing in Chicago in the early 1930s, and this is precisely the time she was silent to the gramophone. The Columbias were made a couple of years before her early death from an unspecified illness in 1936, when she was not in the best of health or in very happy circumstances.

    Save for the 1911 recording of Si, mi chiamano Mimi (the first recording made by Muzio) this issue concentrates on the recordings on the Columbias. Occasionally we are aware this is not a voice in perfect health, of a shortness of breath and the inability to swell the tone at climaxes, but the voice is still unfailingly lovely and, in any case, what really singles her out is her interpretive ability. She brings something personal to all that she does. One sees the face and every fleeting change of expression. These are the qualities that make Muzio special.

    Even in that very first recording of Mimi's Si mi chiamano Mimi, though the artistry is still unformed, one registers a change of expression when she sings the phrase ma quando vien lo sgelo. Already she is doing more than simply singing the notes. That said, coming, as it does, at the end of all the later recordings, one also notes how much she developed in the interim, as we actually have a direct comparison with her 1935 version of the aria, an altogether more detailed and moving rendition.

    Lauri-Volpi described her voice as one "made of tears and sighs and restrained inner fire" and certainly some of the most famous tracks here are the tearfully emotional ones, like her Addio del passato, the letter reading almost unbearably moving, the aria almost more felt than sung.

    But she could also smile and charm, as she proves in the the delightful Bonjour, Suzon and Les filled de Cadiz. But hardly a track passes without some distinction. I only wish room had been found for Donaudy's O del mio amato ben, a Muzio speciality, sung without sentimentality or mawkishness, but beautfully shaded and phrased so that the song emerges as a mini masterpiece.

    If you don't know Muzio's work, I urge you to right that wrong.
    Last edited by Tsaraslondon; Aug-19-2019 at 18:52.
    "It's not enough to have a beautiful voice." Maria Callas

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  23. #132
    Senior Member Tsaraslondon's Avatar
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    With a title like "French Operetta Arias" you'd probably be expecting quite a bit of Offenbach and maybe some Lecocq, but what we get is a disc of largely forgotten music from between the two wars. Quite a bit of Messager and Hahn, but also a couple of tracks from the Cuban composer Moises Simons (both great fun), one by Maurice Yvain, probably best known for his song Mon homme, immortalised as My man by Fanny Brice and Barbra Streisand, and one by, of all people, Arthur Honneger, from his operette Les Aventures du roi Pausole. Annoyingly the track listing just gives the titles of the songs so you have to consult the lyrics to find out the composer and work the song is taken from. With so much rare material I'd have welcomed a little more background.

    What we do get, however, is a collection of delicious bonbons, an extravagant melée of delights, all delectably performed by American mezzo-soprano Susan Graham, who has, like her compatriot Frederica Von Stade, made quite a speciality of French music. In fact I remember seeing Graham for the first time in a Covent Garden production of Massenet's Chérubin. Here she captures to perfection the style of the period and is by turns sexy, playful and coy. At one point, due to the magic of overdubbing, she even trios with herself, on Hahn's "O mon bel inconnu" from his operette of the same name, in which three women answer the same lonely-hearts and fall in love with the same man.

    Undemanding music, perhaps, but pure joy and wonderfully performed by Graham with the City of Birmingham Symphony Orchestra uder Yves Abel.
    "It's not enough to have a beautiful voice." Maria Callas

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    Senior Member wkasimer's Avatar
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    Quote Originally Posted by Tsaraslondon View Post
    If you don't know Muzio's work, I urge you to right that wrong.
    I can't help but agree. But I also can't help but suggesting that Nimbus' "Ambisonic" process is not the best way to hear Muzio, or any other singer.

    The Romophone label, now defunct, issued three Muzio releases transferred by Ward Marston. They're easily found on Amazon or eBay, at reasonable prices.

    https://www.amazon.com/Claudia-Muzio.../dp/B000001S38

    https://www.amazon.com/Claudia-Muzio.../dp/B000001S3D

    https://www.amazon.com/Claudia-Muzio.../dp/B000001S3I

    Even cheaper, if not as well transferred as these (albeit preferable to Nimbus), are single disc issues on Preiser and EMI.

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    Senior Member Tsaraslondon's Avatar
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    Quote Originally Posted by wkasimer View Post
    I can't help but agree. But I also can't help but suggesting that Nimbus' "Ambisonic" process is not the best way to hear Muzio, or any other singer.

    The Romophone label, now defunct, issued three Muzio releases transferred by Ward Marston. They're easily found on Amazon or eBay, at reasonable prices.

    https://www.amazon.com/Claudia-Muzio.../dp/B000001S38

    https://www.amazon.com/Claudia-Muzio.../dp/B000001S3D

    https://www.amazon.com/Claudia-Muzio.../dp/B000001S3I

    Even cheaper, if not as well transferred as these (albeit preferable to Nimbus), are single disc issues on Preiser and EMI.
    Thanks. I'd quite like the Romophone Columbias, though they're a bit pricier on Amazon UK. John Steane reviewed the Nimbus and EMI discs at the same time. He also came down in favour of EMI.

    I don't mind the Nimbus process though. I have two Ponselle discs, the Muzio one here and John McCormack in opera.
    Last edited by Tsaraslondon; Aug-20-2019 at 17:15.
    "It's not enough to have a beautiful voice." Maria Callas

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    Quote Originally Posted by Tsaraslondon View Post
    I don't mind the Nimbus process though. I have two Ponselle discs, the Muzio one here and John McCormack in opera.
    I find that the Nimbus process homogenizes everyone, so, for example, all of the sopranos sound too similar. Better transfers bring out each voice's individuality.

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