HIS MASTER'S VOICE.

Shannon News, 20 December 1929, Page 3

HIS MASTER'S VOICE.

Philadelphia Orchestra Again. Philadelphia Symphony Orchestra, in, "Carmen'' —Prelude to Act 1, and En-tr-acte, Act 4 (Bizet).— H.M.V. E 531. Bizet has a great gift for portraying the colour and movement of a scene and nowhere in his*, work are there more striking examples of this art than in these two excerpts. Ir the Prelude to Act 1 his joyous martial music prepared us for the gay Spanish street scene that will be revealed when.the curtain rises. The "Entr'-acte" coming between acts three and four is full of tense excitement that will -hold us through the last act, which takes place outside the bull ring. Gtsms from "Maritana." Light Opera Company (concerted), in vocal gems from "Maritana" (Wallace), introducing "Angels that Around Us Hover," "Pretty Gitana, Tell Us." "Yes, Let Me Like a Soldier Fall," "In the Name of the King," "Oh, Misfortune," "What Avail," "Scenes that are Brightest," "What Mystery Then. "—H.M.V., C 1693. The ballad opera is practically a thing of the past, but seventy years ago this.form of entertainment enjoyed a very great vogue. If, however, such works as "Maritant" and "The Lily of Killarney" have failed to keep the stage they contain too much music to fade from bur memories. The best melodies from Wallace's opera as sung by the Light Opera Company form a veritable banquet. Christmas Hymns. Choir of St. Margaret's, Westminster, in "Hark! the Herald (Arigels Sing" and "Oh, Come All Ye Faith-

ful," organ, choir, and bells. H.M.V. 83126. These grand hymns, loved familiar old tune 3, are magnificently rendered A Contralto "Find." Marguerite Carlton (contralto), in "Abide With Me" (Liddle) and "God Shall Wipe Away All Tears" (Sullivan). H.M.V., C. 1573. Marguerite ' '■Carlton is a discovery.'' This is her first H.M.V. record. Sha has a fine contralto voice of an exceptionally pure, rich, velvety tone. The subject matter . which she has chosen will give infinite pleasure to a very large number of people. The record has a definite and remarkable quality of reproduction that cannot fail to impress all who hear it. Realism from Chaliapin.

Theodor Chaliapin, the Bussian basso, who has been responsible for many recording triumphs, has contributed to gramophone music one of the most stirring and dramatic excerpts in existence —the death scene from Massenet's "Don Quixote,V an opera first produced in Monte Carlo in 1910. The cmef success of this opera, both in Monte Carlo and New York, has been duo, solely to Chaliapin's realistic impersonation of the hero. The great Eussian is ideally suited to portray the part. The music of the death scene is most impressive. Don Quixote realises the failure of his dreams, and Chaliapin's singing is a masterpiece of pathos and dramatic force. His exclamation, "Je meurs" (I am dying) is truly terrifying, and one cannot help visualising the dying hero sharing his last few moments with his faithful Panza. At the very end a vision of Dulcinea appears, singing to a harp acco'mpaniincnt. The last gasp and the sobbing of Pancho, whom Chaliapin subsequently impersonates, are thrilling in their grim realism. (H.M.V., DBIOO6.

New Dance Records. Prom the H.M.V. December dance list the following records have b«en culled for their melody, rhythm, and orchestration: "Underneath the Eussian Moon," vocal refrain by Eudy Vallee, and "The One That I Love Loves Mo," fox-trot, refrain by Eudy Vallee, played by Eudy Vallee and his Connecticut Yankees (EASGS); "Every Moon's a Honeymoon" (With You), fox-trot, vocal refrain by Eudy Vallee, and "When You Come to the End of the Day," waltz, played by Leo Beisman and his orchestra (EA581); "Blue Hawaii," waltz, vocal refrain by Don Howard, and "Sparkling Waters of Waikiki," waltz, played by the Hilo Hawaiian Orchestra (EA574); "Jericho, "fox-tiot, with vocal refrain, and "I'll Always Be in Love with You," waltz, with vocal refrain, played by Waring's