HIS MASTER'S VOICE."

Shannon News, 24 September 1929, Page 3

HIS MASTER'S VOICE."

Wagner's Wonderful "Parsifal." A notable issue of "His Master's Voice" this month i 3 the third act of Wagner's famous i'' Parsifal.'' Collectors will remember the previous issue of "Parsival" records, which embraced the leading features of Act I, and tlu "Good Friday Music." One of the most beautiful of that series was "Klingsor's Magic Garden," and "The Flower Maidens' Scene," while the Good Friday Music is well worth a place in the Wagner section of one's library.

Act 111 is virtually complete. The soloists are Gotthelf Ristor (Parsifal —tenor), Ludwig Hofmann (Gurnemanz —bass), Comelis Bronsgust (Amfortis —baritone), and the work is recorded for H.M.V. by the Berlin State Opera House .Chorus and "Orchestra under Dr. Karl Muck. There are eight double discs. On the whole, a splendid set, which should be heard by all opera enthusiasts. Best Sellers. ,-T.= ' The following is a list of H.M.Y. be3t sellers, compiled from the latest returns from retailers: — "Wedding of the Painted Doll," sung by Charles King. (E.A. 552). "Broadway Melody" (fox-trot), played by Nat Shilkret and his orchestra. (E.A. 525). "Louise," sung bv Maurice Chevalier. (E.A. 542). "Symphony in D Minor" (Cesar Franck), played by the Philadelphia Symphony Orchestra. "Parade of Wooden Soldiers," played by the International Novelty Orchestra. (Zonophone' 5221). Dusolina G-iannini. After a long break New Zealand is again to hear an international artist. Next month the famous operatic soprano, Dusolina Giannini, is to visit this country, and if her gramophone records are to be taken as a criterion, her concerts should be big events in the musical life of the Dominion. Giannini is a singer imbued with an earnest zeal for chaste musical expression, and she never fails to communicate the composer's mood to her audience. The immaculate vocalisation of the artist, combined with poetic fervour, has made her a foremost figure on the operatic and concert platforms, Giannini's interpretations united a defhiiteness of expression with carefully regulated tonal qualities measured by the emotional content of her song. In her record, "Voil lo Sapete, o mamma," from "Cavalleria Eusticana," Santuzza's agonised confession of Turridu's betrayal of herself and desertion for Lola are poignantly expressed. It is grouped with the "most beautiful air in modern Italian opera," "Vissi d'Artc," from "Tosca." Vital, are her interpretations of "Eitorna Vincitor" and "0■ Patria Mia," from "Aida," perhaps her greatest role, and the singer has a iine range of English and German ballads and folk songs, which are presented with an intimate beauty and charm. (H.M.V.) .