DOCSLIB.ORG

Creative Technology!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creative Technology! and Jacob Avshalomov leads his young play- mille ; others. Ambrosian Opera Chorus; New bombast and all artificiality, characters that ers in vigorous performances that come off PhilharmoniaOrchestra,GeorgesPretre are recognizably human and real, and a pas- better in the sharper and more refined Trom- cond.COLUMBIAM3 34207threediscs sionate tribute to Paris-at least the. Paris of bone Symphony than in the massive sonori- $20.94. 1900-and its irresistible magic. ties and intricate polyphony demanded in the Columbia's new recording, the opera's first suite. The sound is good, considering what Performance:A -minus Recording:Good in stereo, supersedes the classic but incom- seems to have been a somewhat limited plete and sonically dated version by Ninon acoustic ambiance. D.H. Charpentier's Louise, something of a shocker Vallin and Georges Thill and a long -deleted in 1900 with its exultant praise of "free love" good mono set under Jean Foumet (Epic in the face of bourgeois values, is hardly more 6018). Both older sets were Paris -made prod- RECORDING OF SPECIAL MERIT "modern" today than Puccini's La Boheme, ucts,imperfect but thoroughly idiomatic. CHARPENTIER:Louise. Ileana Cotrubas (so- which depicts the same Paris milieu without Those challenges are only partly met by Co- prano), Louise; Placido Domingo (tenor), Ju- any crusading undertones. And yet there is lumbia's otherwise fine and thoughtful effort. lien; Jane Berbie (mezzo-soprano), the Moth- something about the conflict of generations I certainly have no objection whatever to er; Gabriel Bacquier (bass -baritone), the Fa- that lends Louise a certain timeliness. It is an the Louise of Ileana Cotrubas, who is a sensi- ther; Michel Senechal (tenor), Noctambulist opera that lacks the musical magic of La tive and musicianly artist, whose singing is and King of the Fools; Lyliane Guitton (so- Boheme, but it yields riches of its own kind: a pure in tone and affecting throughout, and prano), Irma; Eliane Manchet (soprano), Ca- libretto of considerable literary merit, free of whose command of French ought to please all but the most chauvinistically inclined. Placido Domingo brings his characteristic ardor to the role of Julien, but his rich tenor sound is Ital- ian, not French, despite a satisfactory way with the language. A leaner, more pointed, more Gallic timbre would have been a better Creative Technology! match with Miss Cotrubas' tones-but then operas are cast with at least one eye firmly The MXR Compander and Stereo Graphic Equalizer provide you with the ultimate fixed on sales potential. The Gallic ingredi- in creative sounds. ents, however, are abundant in the richly characterized Mother of Jane Berbie, who is The MXR Compander is a noise reduction device capable of doubling the dy- just about perfect, and in Gabriel Bacquier's namic range of most open reel and cassette tape decks, allowing professional moving portrayal of the Father. Equally con- results in home recording. In operation the Compander compresses the dynamic vincing in anger and tenderness, Bacquier range of the signal going onto the tape and expands the dynamic range upon hereaccomplishesa triumphantsinging - playback. With the MXR Compander noise is reduced enabling the softest sounds acting feat, a few effortful notes in the top to be heard, while musical peaks can be reproduced without distortion. register notwithstanding. Michel Senechal excels in his double role. The MXR Stereo Graphic Equalizer, a natural companion, is a two channel fre- The numerous supporting characters repre- quency equalizer that offers ten bands of discrete adjustment on each channel. senting the fanciful Charpentier creations of The primary function of the MXR Equalizer is to provide precise compensation Parisian night life are done with varying de- for aural tone quality discrepancies that may be caused by room acoustics, speaker grees of competence by what I presume to be inadequacies, or program sound quality. With a touch of the slide control the members of the Ambrosian Chorus, but the MXR Equalizer will tailor your playback to suit any number of variables and seasoned hand of Georges Pretre assures a smoothly flowing performance. The recorded develop the mood you want to hear. sound is good and atmospheric, though the The MXR Compander is attractively priced at $129.95 and its companion the MXR guitar accompaniment in Julien's Serenade is Stereo Graphic Equalizer at $199.95. virtually inaudible. G.J. For more information on MXR products, see your nearest MXR dealer or direct DANIEL-LESUR: Andrea del Sarto (excerpts). inquiries to MXR Innovations Inc., 277 N. Goodman Street, Rochester, New Gabriel Bacquier (baritone), Andrea; Andree York 14607 (716) 442-5320. Esposito (soprano), Lucrece; Daniele Perriers (mezzo-soprano), Spinette; Alain Vanzo (ten- Consumer or), Cordiani; others. Ensemble des Choeurs Products Group de l'O.R.T.F.; Orchestre National, Manuel Rosenthal cond.INgDITSORTF 995 037 $7.98 (from HNH Distributors Ltd., P.O. Box 222, Evanston, Ill. 60204). Performance:Impressive Recording:Excellent Daniel-Lesur-the hyphenated form is cor- rect, and the composer never uses his actual given names, Jean Yves-is almost unknown in this country. Born in Paris in 1908, he was with Messiaen and Jolivet in the group called Jeune France. Like so many of his confreres he is (or was) an organist. He has also been associated with French radio and television for many years. These credentials might suggest some sort of modernism, possibly ultra. Nothing of the sort. Andrea del Sarto is an operatic version of a highly fictionalized account of the life of the Italian painter by the French Romantic playwright Alfred de Musset, and it is-in both words and music-heart-on-sleeve thud - and -blunder Romanticism of the most una- bashed sort. The tragic intensity is a little overbearing but otherwise effective in this ex- cellent performance and recording from the archives of French radio. No texts. E.S. CIRCLE NO. 31 ON READER SERVICE CARD 116 STEREO REVIEW.
Load more

Recommended publications
  • [Collection Title]
    1 New Orleans Opera Association Archives 99 boxes/68 linear ft Special Collections & Archives J. Edgar & Louise S. Monroe Library Loyola University New Orleans Collection 74 2 Contents Collection Summary ....................................................................................................................... 3 Series Description .......................................................................................................................... 7 Container List ................................................................................................................................. 8 Series I: Administrative Files ..................................................................................................... 8 Subseries I-A: Artist Fees ...................................................................................................... 8 Subseries I-B: Awards and Grants ......................................................................................... 8 Subseries I-C: Board of Directors 1943-1999 ........................................................................ 9 Subseries I-D: Budgets ........................................................................................................ 10 Subseries I-E: Clubs and Guilds .......................................................................................... 10 Subseries I-F: Correspondence ............................................................................................ 10 Subseries I-G: Facilities and Sets ........................................................................................
    [Show full text]
  • 07 – Spinning the Record
    VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo.
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]
  • Mona Lisa LEON BOTSTEIN, Conductor
    Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence.
    [Show full text]
  • Preliminaries: Saturday, March 6, 2021 Finals
    Preliminaries: Saturday, March 6, 2021 The Preliminaries will be held for competitors and judges only. Finals: Saturday, March 20, 2021 Live-Streamed Event - 1-5 p.m. The objective of the Denver Lyric Opera Guild is the encouragement and support of young singers and the continuing education of members in the appreciation and knowledge of opera. For more information on DLOG Membership and Member Events www.denverlyricoperaguild.org Denver Lyric Opera Guild Denver Lyric Opera Guild is a non-profit membership organization of over 180 members. DLOG was founded in 1965 to help support the Denver Lyric Opera Company. The opera company was forced to close in 1968, but the Guild pursued other programs in keeping with its purpose to encourage and support young singers and provide continuing education to the members in the appreciation and knowledge of opera. Competition for Colorado Singers In 1984, the Guild inaugurated its signature event, the Competition for Colorado Singers, to support singers ages 23-32 in pursuing their operatic careers. Since then, the Guild has awarded over $850,000 to Competition winners. Hundreds of young singers have successfully launched their operatic and musical careers since winning the Competition. Grants The Guild provides grants to Colorado’s colleges and universities for vocal scholarships, and to apprentice opera programs. Over the years, these grants have totaled over $812,000 from the earnings on our endowment. Grants are given to the voice performance programs at Colorado State University, Metro State University of Denver, University of Colorado, University of Denver, University of Northern Colorado, and young artist apprentice programs of Central City Opera, Opera Colorado, Opera Fort Collins, and Opera Theatre of the Rockies in Colorado Springs.
    [Show full text]
  • Louise Alder Soprano Benson Wilson Baritone Joseph Middleton Piano
    Louise Alder soprano Benson Wilson baritone Joseph Middleton piano Friday 30 October 2020 6.00pm Leeds Town Hall Programme Howells King David Finzi Who is Sylvia? Fear no more the heat o’ the sun It was a lover and his lass Trad Samoan Folk song ____________________________ Grieg Sechs Lieder (op. 48) Gruß Dereinst, Gedanke mein Lauf der Welt Die verschwiegene Nachtigall Zur Rosenzeit Ein Traum Rachmaninov 6 songs (op. 38) Noch’yu v sadu u menya (In my garden at night) K ney (To her) Margaritki (Daisies) Krisolov (Pied Piper) Son (A Dream) A-u! (Your tender laughter) Strauss Vier letzte Lieder Frühling September Beim Schlafengehen Im Abendrot Herbert Howells (1892-1983) King David King David was a sorrowful man: King David lifted his sad eyes No cause for his sorrow had he; Into the dark-boughed tree -- And he called for the music of a hundred "Tell me, thou little bird that singest, harps, Who taught my grief to thee?" To ease his melancholy. But the bird in no-wise heeded; They played till they all fell silent: And the king in the cool of the moon Played and play sweet did they; Hearkened to the nightingale's But the sorrow that haunted the heart of sorrowfulness, King David Till all his own was gone. They could not charm away. He rose; and in his garden Walked by the moon alone, A nightingale hidden in a cypress tree, Jargoned on and on. Gerald Finzi (1901-1956) Who is Sylvia? Who is Silvia? what is she, Then to Silvia let us sing, That all our swains commend her? That Silvia is excelling; Holy, fair, and wise is she; She excels each mortal thing The heaven such grace did lend her, Upon the dull earth dwelling: That she might admirèd be.
    [Show full text]
  • Louise Page 1 of 3 Opera Assn
    San Francisco War Memorial 1967 Louise Page 1 of 3 Opera Assn. Opera House Louise (in French) Opera in four acts by Gustave Charpentier Libretto by Gustave Charpentier Conductor CAST Jean Périsson Julien John Alexander Stage director Louise Arlene Saunders Louis Erlo Her mother Sona Cervena Chorus Director Her father Nicola Rossi-Lemeni Vincenzo Giannini A young rag-picker Margery Tede Choreographer A coal picker Marcelle Mignot Strong Thomas Andrew A noctambulist Stuart Burrows Costumers A newspaper girl Louise Corsale Goldstein & Co. A junk man Clifford Grant A milk woman Willene Gunn A rag picker Ara Berberian First policeman Allan James Monk Second policeman John Beauchamp A street arab Marija Kova A street sweeper Carol Kirkpatrick A painter James Tarantino A sculptor Eugene Lawrence A song writer L. D. Clements A student William Booth A poet William Tredway First philosopher Winther Andersen Second philosopher Richard Styles A chair mender Ann Graber A rag vendor Rod McWherter An artichoke vendor Sheila Marks A carrot vendor Robert Glover A bird food vendor Sylvia Davis A green pea vendor Rod McWherter Blanche Jeanine Liagre Marguerite Sally Winnington Suzanne Norma Bruzzone Gertrude Donna Petersen Irma Delcina Stevenson Camille Sylvia Davis An apprentice Marija Kova Elise Ann Graber Madeleine Dolores San Miguel A watercress vendor Donna Petersen Old clothes man Raymond Manton A forewoman Walda Bradley The king of fools Stuart Burrows *Role debut †U.S. opera debut PLACE AND TIME: About 1900, in Paris San Francisco War Memorial 1967 Louise Page 2 of 3 Opera Assn. Opera House Saturday, September 30 1967, at 8:00 PM Act I -- An apartment in a workingman's tenement Tuesday, October 3 1967, at 8:00 PM Act II, Scene 1 -- A street-crossing at the foot of Montmartre Friday, October 13 1967, at 8:00 PM Scene 2 -- A sewing room in a dressmaking establishment Act III -- A garden on the hills of Montmartre Act IV -- The same as Act I San Francisco War Memorial 1967 Louise Page 3 of 3 Opera Assn.
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]
  • Photo © Philip Newton from the GENERAL DIRECTOR
    Photo © Philip Newton Photo FROM THE GENERAL DIRECTOR Thank you for welcoming Seattle Opera into your home for this digital performance of Wolfgang Amadeus Mozart’s Don Giovanni, one of three great operas (The Marriage of Figaro, Così fan tutte) he created with librettist Lorenzo Da Ponte. Their handling of operatic storytelling is without equal. And in the hands of our creative team, led by conductor Lidiya Yankovskaya, stage director Brenna Corner, video director Ken Christensen, and lighting designer Connie Yun, this production takes on added layers of musical prescience, dramatic interpretation, and visual Photo © Philip Newton Photo dynamics. As the title makes clear, Don Giovanni, the seducer, is the center of this daylong tale. But the surrounding characters are the ones who drive the intrigue and passion. Giovanni’s behavior sparks all kinds of reactions—from revenge and anguish to curiosity and compassion to disgust and envy. Leporello, Giovanni’s manservant, is a reluctant loyalist. Donna Anna, Giovanni’s accuser, is vengeful to the point of conspiring to have him murdered. Zerlina, the newlywed, is torn between Giovanni’s panache and her husband. Then there is Donna Elvira, who believes herself his wife. At first she risks public humiliation to accuse him of treachery. But in the end, she pleads for Giovanni to repent and to save his soul from the depths of hell. Musically, Don Giovanni is without question a work of genius. It’s elegant and powerful, musically depicting each character’s personality and social standing. The brilliance is the combination of differing emotions and vocal lines by each of the four characters all held together by an elegant musical arc that belies those very feelings.
    [Show full text]
  • Don Pasquale’S House Scene 2 Norina’S Terrace Act II Don Pasquale’S House Act III Scene 1 Don Pasquale’S House Scene 2 Don Pasquale’S Garden
    Synopsis Rome, mid-19th century Act I scene 1 Don Pasquale’s house scene 2 Norina’s terrace Act II Don Pasquale’s house Act III scene 1 Don Pasquale’s house scene 2 Don Pasquale’s garden Act I The old bachelor Don Pasquale plans to marry in order to punish his rebellious nephew, Ernesto, who is in love with the young widow Norina. Pasquale wants an heir so he can cut the young man off without a penny. He consults Dr. Malatesta, who suggests as a bride his own beautiful younger sister. Feeling rejuvenated, the delighted Pasquale asks Malatesta to arrange a meeting at once. When Ernesto arrives and again refuses to marry a woman of his uncle’s choice, Pasquale not only tells him that he will have to leave the house, but also informs his nephew of his own marriage plans. With no inheritance, Ernesto sees his dreams evaporating. To make matters worse, he learns that his friend Malatesta has arranged Pasquale’s marriage. On her terrace, Norina laughs over a silly romantic story she’s reading. She is certain of her own ability to charm a man. Malatesta arrives. He is in fact plotting on her and Ernesto’s behalf and explains his plan: Norina is to impersonate his (nonexistent) sister, marry Pasquale in a mock ceremony, and drive him to such desperation that he will be at their mercy. Norina is eager to play the role if it will help her and Ernesto be together. Act II Ernesto, who knows nothing of Malatesta’s scheme, is desperate about the apparent loss of Norina and imagines his future as an exile.
    [Show full text]
  • Adelina Patti and Clara Louise Kellogg in the Chicago Tribune, 1860-1876
    DOCUMENTING DIVAS: ADELINA PATTI AND CLARA LOUISE KELLOGG IN THE CHICAGO TRIBUNE, 1860-1876 Kathryn Jancaus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC December 2020 Committee: Eftychia Papanikolaou, Advisor Ryan Ebright © 2020 Kathryn Jancaus All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor When Swedish soprano Jenny Lind (1820-1887) came to the United States in 1850, the ecstatic craze surrounding her arrival belied a larger trend which was taking root among the American press and public: a fascination with the lives of celebrity opera singers. One of the Lind enthusiasts was a college student named George P. Upton (1834-1919), who later became the music critic for the Chicago Tribune. In his work over the following decades, Upton continued to take a vivid interest in the lives, careers, and personalities of prima donnas, writing about them with an intensely personal style that was common in newspapers of his time. As journalists for the Tribune provided news about opera stars to their readers in Chicago, they not only shaped the public images of these singers but also promoted the appreciation of classical music as a cause for civic pride in their relatively young city. In this study I examine how George P. Upton and other journalists published in the Chicago Tribune wrote about two star sopranos of the mid to late nineteenth century: Adelina Patti (1843-1919) and Clara Louise Kellogg (1842-1916). I bring together newspaper articles from the years 1860 through 1876 and use secondary literature to place the critics’ approach in context.
    [Show full text]
  • L'opéra De Paris—Une Histoire Sonore
    L’Opéra de Paris—Une Histoire Sonore (1900-60) so many of the men, especially the Excerpts from operas by Auber, Berlioz, Borodin, Bourgault-Ducoudray, Büsser, leading tenors—not just Léon Escalaïs, Canteloube, Chabrier, Cherubini, d’Indy, d’Ollone, Donizetti, Dukas, Dupont, Paul Franz and Thill, but also singers Duvernoy, Enesco, Fauré, Février, Georges, Gluck, Gounod, Hahn, Halévy, Honegger, familiar only to collectors, among them Hue, Ibert, Lalo, Leroux, Magnard, Massenet, Meyerbeer, Milhaud, Mozart, Agustarello Affre, Léon Beyle, Fontaine, Paladilhe, Poulenc, Puccini, Rabaud, Rameau, Reyer, Rimsky-Korsakov, Rossini, and Emile Marcelin. Baritones, Rousseau, Roussel, Saint-Saëns, Sauguet, Strauss, Thomas, Tomasi, Verdi, Wagner, beginning with such legends as Maurice Wolf-Ferrari. With various artists. Malibran CDRG 215 (ten CDs) Renaud, Jean Lassalle and Jean-François Delmas, continue strongly over years This set offers limitless pleasure to Gigli and Mario Del Monaco, all true to before a final burst of talent in the 1950s anyone interested in historically form—and three other singers heard here with the group I’ll refer to henceforth as important French singing. More than 100 in exceptionally authentic, meaningfully the ‘Five Bs’: Bacquier, René Bianco, singers are heard in repertoire produced inflected French: Marjorie Lawrence Ernest Blanc, Jean Borthayre and Roger at the Opéra de Paris during the first six (sublime in Brünnhilde’s plaint to Bourdin. Another baritone, recorded in decades of the 20th century. Many of the Wotan), Eidé Norena (an enchanting 1947, provides the single most performances are live, some actually Gilda, technically immaculate) and remarkable display of vocal opulence in recorded at the Palais Garnier.
    [Show full text]