THE GRAMOPHONE.

Shannon News, 12 February 1929, Page 3

THE GRAMOPHONE.

THIS WEEK’S RECORDS,

La Soala Chorus of Milan.

Otello (Verdi); (1) “La Tempesta”;. ; (2). Fuoeo di gioia.” Sung by La Scala Chorus of Milan. Col. 02723.

■Here is an amazing record by the La Scala Chorus of Milan. The thrilling magnificence of the voices,. the dramatic intensity of the music and the spirited playing of the orchestra have made this a gloriously outstanding recording achievement. Some of the most striking of Verdi’s “Otello” music was written for the chorus at the commencement of the opera, and “La tempesta” and “Fuoco cle gioia” (tempest and fire) choruses are wonderful examples of his genius. The raging of the storm is marvellously pictured in choral and orchestral colours, and the singing is of an extraordinary fine character. . An astonishingly realistic record. George Parker.

(1) “Communion Hymn” (Mary Baker Eddy); (2) “Mother’s Evening Hymn” (Mary Baker Eddy). (Sung by George Parker (Baritone). Columbia 02723,

It would be impossible to imagine more sincere and impressive singing than these two records of. Christian Science hymns, rendered with lovely vocal quality and great effect by Geo. Parker, with organ accompaniment. All the songs have sincerity apparent in every line and are splendidly recorded. His sympathetic voice and perfect diction maintain their smoothness and quality throughout, and impeccable recording makes the best of each. The •words are by Mary Baker Eddy, and are specially valued by her followers on that account.

J. H. Squire Celeste Octet. (1) “Evensong At Twilight” (J. H. Squire); (2) “Evening Lullaby” (J. H. 'Squire). Played by the J. H. Squire Celeste Octet-. Columbia 01322. iSome characteristically fine playing is provided in the latest J. H. Squire Octet numbers. All the beauty of the instrumental combination and all the artistry of 'the (instrumentirilists are again shown in two most charming pieces by J,. 11. Squire himself. These arc decidedly welcome for his original comnositions are even more enchanting "than many of his finest arrangements of well-known melodies, and will add to the long list of big successes by the famous Octet. Ukulele Ike. (1) “Anita” (Pollack and Clare); (2) “I Can’t Give You Anything but Love” (McHugh and Fields). Columbia 01276.

“Ukulele Ike” is America’s greatest ukulele artist whose fame . has spread to this country. His voice is clear, sympathetic and varied in expression, and lie plays his own accompaniments in a perfect welding of two .parts under one guidance, each /part supplementing the other, and making it the more pleasing. His recent success “Chiquita” and “That’s My Weakness Now” (No. 01205) has proved a sensational seller.

Elsa Alsen. 1 ‘ Isolde’s Lie'bestqd” —In 2 Parts (Tristan and Isolde) (Wagner). Sung by Elsa. Alsen, Soprano. Columbia 04191. Elsa Alsen’s rendition of this great Wagner air is most brilliant. It ivas of this that Wagner wrote, “I have put into this music all that I have ever dreamed or imagined of love,” and a truly glorious theme he made it> The dramatic incident of Isolde’s death when she sings this song has provided some of the most affecting moments of music. Dolores Del Rio as a Singer.

Dolores Del Rio, the Mexican film artist, is also a distinguished singer. This month’s issue contains a record of two songs sing by her, which gives as good an idea of her vocal abilities as a first-class American film does of her acting abilities. On one side is the popular number “Ramona,” while on the other is a Spanish song, composed by Tata Madia, called “Ya Ba Gavendo.” This is sung in Spanish. Her singing of “Ramona” is especially interesting, for a little while ag > she apeared in the film of that name. She has a good mezzo-soprano voice and, although there is an orchestral accompaniment to both songs, her voice can be clearly heard above the music. Her enunciation is unusually clear, and she siligs with fluent elasticity. (H.'M.Vu E.A. 399). Young English Basso.

Two of the finest examples from the modern English composers, who as song writers arc the equal of any in the world to-day, “Sea Fever” (Ireland) and “In Summertime on Bredon” (Graham Peel) have been chosen bv the young basso Stuart Robertson. * The voice is full and resonant. The Ireland song is sung with strength and virility, and the descriptive nature of “In Sunur- -time on Bredon” is admirably expressed. (H.M.Y. 82594). A Work of Great Beauty.

Judged by the “His Master’s Voice” records of the Cesar Franck “Symphony in D Minor,” played by the Philadelphia Symphony Orchestra, the symphony is a work of singular beauty. It is the sole example in this form which Franck has left us. It is also an exceptionally popular work; a paradox in itself for its essential qualities are just those which, you would imagine, are not likely to make a wide appeal to the general public. It would not be any exaggeration to say that this work# is “all beauty,” for there i? such a variety that the

question of a surfeit of beauty never arises.