A Night With the Singers

Sun (Auckland), Volume 1, Issue 78, 23 June 1927, Page 14

A Night With the Singers

GRAMOPHONE EVENING AUCKLAND SOCIETY’S RECITAL With the exception of two orchestral numbers, included no doubt for the purpose of adding: the necessary variation, the Auckland Gramophone Society’s ninth gramophone evening, held in the Operatic Society’s Hall on Monday evening, was devoted exclusively to vocal items. Included in a well varied and very interesting programme were Massenet’s “On l’appelle” (Manon), sung by Geraldine Farrar and Caruso: Verdi’s “Hie Miei Bollenti” (Traviata), sung by Alfred Piccaver; "Feldeinsamkeit” (Brahms), sung by John McCormack; Schubert’s “Wohin,” sung by Elena Gerhardt; “Now Sleeps the Crimson Petal” (Quilter), by Kirkby Lynn: “The Two _ Grenadiers” (Schumann) by F. Chaliapin, and a number of Amelita Galli-Curci, “Veille sur eux toujours” (Meyerbeer). Mr Barry Coney was the lecturer and added to the pleasure of the recital with very interesting comment on the items selected. In addition to the items mentioned the following programme was presented :—- Orchestra, “Prelude,” act 111. (Lohengrin, Wagner), Boston Symphony Orchestra; solo, “O Muto Asil” (William Tell, (Rossini), Tamagno; song with chorus, "Pokare Rare,” Ana Hato; orchestra, “Petite Suite de Concert” No 1 (Coleridge-Taylor), ■ New Queen’s Hall Light Orchestra; duet, “On rappelle” (“Manon,” Alassenet), Geraldine Farrar and Caruso; solo, “Hie Miei Bollenti” (’Traviata, Verdi), Albred Piccaver: solo and chorus, “La Vergine degli Angeli”; atmospheric song, “Feldeinsamkeit” (Brahms), John Mac Cormack; solo, “Voi che sapete” (Mozart), Geraldine Farrar: solo, “Silent Noon” (Vaughan Williams), Peter Cawson; rhythmical, “Wohin” (Schubert), Elena Gerhardt; song of address “Now Sleeps the Crimson Petal” (Quilter), Kirkby Lunn; humorous, “Father O’Flynn,” Robert Radford; characterisation, “The Erl King” (Schubert), Peter Hawson; narrative, “The Two Grenadiers” (Schumann). F. Chaliapin; contemplative, “Plaisir d’amour” (Martini), Kirkby Lunn; coloratura, “Veille sur eux toujours' (Meyerbeer), Amelita GalliCurci. Mr. A. H. Keesing was the demonstrator. i. latest musical comedy success in Sydney is “Sunny,’’ described to be, tunefully and otherwise, as good as T t ere is a very good recording of this by the H.M.V. Light Opera * C l 293 *’ and Melville Gideon (82378), in characteristic selections.

The “Gipsy Laughing Chorus” and "Men of Harlech.” an H.M.V. disc, are excellent examples, well recorded by the Rhondda Welsh Singers, of representatives of Britain’s only principality. All folk music has that simple appe* l which conveys the impression of voices of the past, and although if special interest to the people of their particular voice, have also the charm of novelty for others. As is well known, Mascagni entirely failed to equal the spectacular success of his far ous “Cavalleria Rustic*®, and although he wrote several other operas each was, admittedly, a failure. I must confess, however (notes a enue of records), that to a certain extent! like the duet “Va nella tua from this composer’s “Piccolo Marat, and sung by de’ Muro and Yiga.no (H.M.V., D. 8.558), which, ir. one passage at least, rises to a height that t quite equal to the duet between Tariddu and Santuzza in “Cavalleria. The Eastern music vogue has called for the reproduction of “I* l a jTV sian Market”—“ln a Monastery Garden” (Ketelby), by Reginald Foort, the Wurlitzer cinema organ. DJ* markable opportunities offered modern organ, which has been BP,, ally designed for “effects,” are very illustrated by this record. The rep duction is very fine indeed, and aid Foort has embellished his an extraordinary diversity of® and pieces of “local colour” whicn very decidedly to their piquancy*. subject matter will probably be liar to the majority. * * * Magnificent Orchestral Recording Wagner’s “Tannhauser” (in three parts), with the ‘Appf . Hance,” from the ers,” on the reverse side irr . n hpn v second disc, played by the ►-' j | tu tes Orchestra (Albert Coates), co J}' rtf# a magnificent orchestral recordl overture to Wagner’s opera, the hauser” is unquestionably on L* sten c? most popular overtures in e ,L V of It opens solemnly with the in r , horU s,'’ the well-known “Pilgrims men ts first given out by wind ins an<jialone and later heard in moie proose form against a backgro vided by the rest of the o " in to Then we are suddenly the sensuous atmosphere of 1 . #l- - The violas introduc t a legro with a leaping theme, as* sensuous background of string d sud . excitement becomes increased er s denly the melody of love song in praise of \ enus- the mendous climax is built up, ePJ ioB trombones thunder out ann . of the melody of the “PilFr ims , proagainst a glittering background vided by the rest of the oreh _ -jti*®# bert Coates has obtained a P magnificent performance or -in overture. Nor is the recjj«™ any way inferior; as a result, v cords may be safely described m^ e of the finest records he has • d beand worthy in every way to e & side the w r onderful V agneria L records which have become so