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029I-HMVNX1915X12-0000A0.Pdf This list is Supplementary to the Mein Record Catalogue 66 ýn11o wffiavýmDl©OO nzz 479 Orchestral NEW SYMPHONY ORCHESTRA (conducted by LANDON RONALD) :z-inch records 5s. 6d. 2-0571 Zampa Overture, Part I Herold 2-0572 Zampa Overture, Part II Herold IKE "Egmont" L and "Leonora,"' which retain their concert-platform popularity through the ages despite the fact that the operas to which they are the preludes are no longer per- formed, " Zampa " is undying in its appeal to lovers of orchestral music. The extra- ordinary vitality of the music of Herold's overture at every bar, and can even be said to stimuate. Many are the interpretations of the work : none more strikingly original and vital than Landon Ronald's.The Press has shown great interest in Landon Rouald's return to the theatre for the first per- formance in English of " Carmen " at the Shaftes- bury Theatre, since this the greatest of English con- ductors has not wielded the bdton in a theatre for twenty years. It was, of course, in the theatre that Landon Ronald began to climb the ladder of fame. From solo pianist he rose to conductor, thence to a similar position with an operatic touring company. Becoming Melba's accompanist for a term, he also showed outstanding ability as a composer. There followed a conductorship at Covent Garden Royal Opera, and ultimately the formation of what is now London's supreme orchestral body, the New Symphony Orchestra. Yes, back to the . theatre for a night's performance, after twenty years of concert work (which the maestro holds to be immeasurably loftier than theatre activities) -this must claim our sentimental interest. To return to the current record-issue, " Zampa " forms a glowing addition to the New Symphony Orchestra's reproductions. The verve of the open- ing, the elusive pastoral episode that follows, the lilting, unceasing, rhythmic, march-like melodies that bring one to a convincing finale-all are delivered with the precision and feeling that invest every performance of this renowned combination. (Speed 79) Mr. JOHN McCORMACK (tenor) ,with orchestral accompaniment) xo-inch record 4s. 6d. Mother o' mine Tours MONG the shorter A ballads of recent years none has attained more lasting suc- cess than Tours' "Mother o' mine." A song of this kind demands the acme of sustained vocalization, as well as real fervency, for a perfect performance is one way of Underwood -which saying that no man in the world can sing it so well as John McCormack. The characteristic way in which the dulcet McCormack tones give out the haunting air seems to be the only possible one, you think, when under the spell of the rendition. Yet how different to the average unconvincing performance of "Mother o' mine" is this inspired singing of our great tenor. The record is haunting, right tip to the throbbing final note. (Speed 77) Published by Chabpell & Co Ltd. , NEW ENGLISH SINGER with a GOD-GIVEN VOICE Mr. WILLIAM SAMUELL (baritone) (with orchestral accompaniment conducted by Mr. Hubert Bath) xz-inch record ss. 6d. 2-032019 Vision Fugitive "Herodiade" Massenet HE Promenade Con- certs, and subse- T quently the Shaftes- bury Opera Season, will go down to history if only for serving to reveal amongst us a native singer of talents compar- able with those of world- renowned artists of foreign birth. In Mr. William Samuell we have an operatic baritone who, at a bound, has entered the first rank. The critics have been so amazed that they have thrown oft their prejudices and welcomed an English singer as a master. Samuell's baritone voice is of immense range and flexibility, of the most silken quality and the loveliest "colour." But the voice is not his all ; he has temperament, style (that rare attribute), emotional feeling. These features are strikingly reproduced in his first record, Massenet's " Vision Fugitive," delivered with sublime artistry. 'Naturally, Samuell has become an exclusive " His Master's Voice " collaborator. (Speed 76) Mr. HUBERT EISDELL (tenor) (with pianoforte accompaniment) :o-inch records 3s. 6d. 4-2622 Thank God for a garden Teresa del Riego (with orchestral accompaniment) 4-2623 Blue I love Clarke Published by Chappelleyes & Co., Ltd. T CVO impressive little songs whose appeal will be lasting. "Thank God for a garden" shows the song-writing muse of Teresa del Riego in its most enthralling vein. The serenely pure voice of Hubert Eisdell delivers the sweet verses with a distinctive loveliness of tone that belongs to the art of this polished young tenor. The passionate utterance is also remarkable for its clearness of enunciation. Thank God for a garden, "Blue I love" lie it ever so small, eyes will Thank God for the sunshine heart 't'hat conies flooding it all capture every with 'thank God for the flowers, its rocking For the rain and the dew, gentle, cadence. 't'hank God for summer, It serves to show the That brings me you! 't'hank God for the sunrise, roundness and power of For the new morning In ight, Eisdell's lower 'T'hank God for the sunset rarely used That is "Shepherd's delight"; register. " Blue eyes" is 'T'hank God for the cornfields In the moonlight of blue, a really exquisite record. Thank God for summer, Thank God for you. (Speeds (Teresa del Riego) 78) Words Printed by permission cf the publishers, Chappell & Co., Ltd. "Opera In English" Madame KIRKBY LUNN (with orchestral accompaniment) za-inch record zas. 6d. 03440 0 Righteous God (Gerechter Gott) " Rienzi " Wagner NOTHER page is added to our series of " A Opera in English " records by the aid of Madame Kirkby Lunn, our greatest English contralto, whose triumphs in the Grand Season at Covent Garden have been such a supreme feature these many years. In the impressive aria," 0 Righteous God," from "Rienzi," we hear Kirkby Luau at the zenith of her matchless powers. The ease of delivery is remarkable. The velvety quality of voice betokens the contralto of peer- less vocal production. Against the wandering orchestral accompaniment the voice rises and falls with devo- tional stateliness. At the close there is a grand cadenza, showing off the control of the celebrated singer. (Speed 79) Photo Dover Street Studio, "Opera in English" Miss VIOLET ESSEX (soprano) (with orchestral accompaniment) rz-inch record 5s. 6d. Jewel Song-" Faust" Gounod accomplished bliss Violet Essex FROAIwe garner the Jewel Song in English, to add to our operatic repertoire. Her per- formance is a sparkling one. Gounod's master- piece, it is said, is now sung throughout the world more than any other five operas com- bined. At the Paris Opera alone it has been given 1,500 times. Such lovely music can never die. It is in the Garden Scene, Act Ill., that the present morceau is sung. In no humour to spin, Marguerite moves towards the house : she catches sight of the box of jewels. Opening it, she expresses her childish glee in the scintillating jewel Song. This coloratura air is attacked brilliantly by Violet Essex, who overcomes the difficulties of the song with conspicuous ease. A highly interesting record. "Opera in English" Mr. STEWART GARDNER (baritone) (with orchestral accompaniment conducted by Mr. Hubert Bath) is-inch record 5s. 6d. 02604 Prologue-" Pagliacci " Leohcavallo O more popu- lar operatic N record could be offered than an English version of the famous Pro- logue. The singing is by Stewart Gardner, an earnest of sterling work. The masterfully- constructed libretto of " Pagliacci," its compelling and moving story, the skilful orchestration, and, finally, the intensely dramatic plot, always hold an audience rapt. During the orchestral prelude, Tonio, in clown costume, suddenly appears in front of the curtain and begs leave to revive the ancient Greek pro- logue. He then comes forward as Prologue and explains that the subject of the play is taken from real life-observing that actors are but men and that the author has tried to express the passions and sentiments of the characters he will introduce. He then orders up the curtain. Stewart Gardner acquits himself with splendid ability, his virile voice being heard with great expressiveness. (Speed 78) "Opera in English" THE GRAND OPERA COMPANY (with orchestral accompaniment) xz-inch record ss. 6d. 04575 Gems from "11 Trovatore" Verdi opera to be treated this month by the Grand Opera Company is Verdi's "Il Trovatore," THEor, as we ought to term it for all English version, The Troubadour. At the first production in English, however, the title used was The Gipsy's Vengeance, under which name the play met with success at Drury Lane nearly sixty years ago. This tragic work is permeated with an atmosphere of romance and mystery. The many melodious numbers contained in it have endeared it to all nations. All the familiar airs, sung in English, are woven into this exhilarating record. The voices are rarely blended and the ensembles perfectly managed. One relishes especially the Soldier's Chorus, Tempest of the Heart (Il Balen), and Home to our Mountains. To wind up, we have the undying Miserere with its dramatic climax. A record for every collection. (Speed 78) RECORDS for XMAS You are recommended to the complete " His Master's Voice" Catalogue for a wide selection of records, vocal and instru- mental, suitable for Christmas. All the old hymns, devo- tional solos, choral numbers, bell reproductions, descriptive pieces, etc., are to be found on our Catalogue. These records will add two-fold to the enjoyment of Christmas parties. Miss FLORA WOODMAN (soprano) (with orchestral accompaniment) io-inch record 3s. 6d. 2-3124 Shepherd, thy demeanour vary Brown, arr.
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