GRAMOPHONES

Sun (Auckland), Volume IV, Issue 950, 17 April 1930, Page 16

GRAMOPHONES

Coloratura Singing

The brilliant Toti dal Monte makes a welcome appearance in the April catalogue. In "O, luce di quest’-anima” from Donizetti’s little-known opera “Linda di Chamounix,” her remarkable

soprano voice is truly dazzling. In this aria the heroine of the opera sings rapturously of her lover. It is a brilliant aria containing many elaborate passages which display the art of the coloratura to the utmost. It is coupled with another radiant number, the Pol-

onaise, “Io son Titania” from Thomas’s “Mignon.” The staccato notes in the upper register are beautifully clear. These two famous coloratura numbers are now recorded electrically for the first time. (H.M.V. D 81315.) One of the products of Tchaikovsky’s new popularity is a first-class recording of his concerto for violin and orchestra. Columbia have chosen the famous Polish violinist, Bronislaw Huberman for the solo instrument, while Steinberg conducts the Berlin State Orchestra in the accompaniment. No better choice could have been made. Huberman exercises fulD’ the resources of his marvellous technique, and yet reads into the music something more than a mere exhibition of dazzling virtuosity. Contradictory as it may sound, the fireworks have a serenity, an unforced ease, that allows the expression of deeper feelings to shine through. The only emotional part of the concerto is the Canzonetta, which attains the highest flights of serene ecstasy. In absolute contrast are the humorous efforts in cadenza form on side 3, and the amazing double-stopping employed unceasingly in the conclusion of side 4, illustrating what a master of archetype the Russian composer was. The reproduction is particularly kind to the string tone. (Columbia 0436063.) * * * Any recording by those consummate artists, Thibaud, Casals, and Cortot, naturally compels the interest of music lovers. Already they are represented—either individually or collectively—by some superb reco»dirgs, and now they are happily associated in an interpretation of Brahms’s Double Concerto in A Minor (op. 102). The violin and ’cello parts are, of course, played by Thibaud and Casals, respectively; the orchestra is the Pablo Casals Orchestra of Barcelona, conducted by Cortot. The work is conveniently arranged on four 12-inch discs —two for the first movement and one each for the second and third —- and the playing is marked by engaging musical thought and penetrating beauty. The technical difficulties of its exposition are such as only virtuosi can successfully surmount. Originally written for Joachim and llausmann, it is the last orchestral work of its composer. While both solo instruments have opportunities for display, the ’cello has the more prominent place, but the most striking feature is the rich effect of their combined playing, and hardly less remarkable is the fine cohesion with the orchestra and its expressive rendering of every detail, whether in the development of the allegro's arresting themes, the poetic andante, or the gay-hearted final movement with its piquant passages for the soloists. (H.M.V., DBI3II-14.) * * # Columbia’s “New Method” certainly gives dance records a wonderful exhilaration. The tone steps right off the disc with a truly astonishing clarity. A typical example is a pairing of “Mucking about the Garden,” and “Get Up Nice and Early in the Morning.” Jack Payue and his 8.8. C. Orchestra play, the inimitable Leslie Sarony sings tile lyric, and Tommy Handley, 8.8.C.’s clown extraordinary, provides a running patter. (Columbia 01765.) * * * Those capital duettists, Mr. Flotsam and Mr. Jetsam, are at it again with a brace of humorous songs called “P.C. Lamb” and “The Modern Diver.” The songs are great fun, and have the merit of originality. They are written by the singers themselves, and while Mr. Flotsam plays the accompaniment and contributes a pleasing tenor, Mr. Jetsam reaches down into the nether regions for bass notes as low as we have ever heard. His voice has a truly astonishing depth. The songs are great fun —“P.C. Lamb” in particular. (Columbia 01774.) Seasonable music is the Easter Hymn from Mascagni’s “Cavalleria Rustieana,” sung by Emmy Bettendorf, and the full chorus of the Berlin State Opera House. The glorious effect obtained on the Parlophone record (1005) must be heard to be appreciated. The golden sweetness of Bettendorf’s voice is capable, of the most intense dramatics or the soft persuasions of a lullaby and every subtlety of her art has been perfectly caught for reproduction. * * @ During Commander Byrd’s long Antarctic vigil, the sense of isolation was tremendously minimised by wireless contact with the outside world. Broadcasts from America were much appreciated, and one of these contained a popular hit called “Button Up Your’ Overcoat.’’ The song became such a firm favourite with members of the expedition, that it became the subject of a special wireless message to the Radio Broadcasting Company of New Zealand, asking that the Bvunswick record of “Button Up Your Over- i coat” be broadcast by 3YA. This was | done, and appreciative thanks wire- j lessed by Byrd’s operator. The song, j together with “I Want To Be Bad” is ' from a new musical comedy, “Follow | Thru,” and is sung by Zelma O’Neal j on Brunswick record No. 4207, and j Bei-nie’s Orchestra has a breezy fox- j trot record of the same two songs on : record No. 4204.

A short while ago the New Y'ork Symphony Orchestra, seeking guidance as to their ensuing year’s programme, instituted a “straw-vote” on the most popular symphony. To the surprise of the critics, the first place fell to Cesar Franck’s one and only symphony. Beethoven’s “Fifth” came second. The critics’ surprise may be imagined, for the work is full of almost glaring faults; but its virtues—its originality of thought, its sincerity, and its clever massing of tone —easily out-balance them in public favour. Philippe Gaubert, conducting the Orchestre de la Societe des Concerts du Conservatoire, of Paris, gives a clean, vigorous performance of it. Under his baton it becomes an honest, logical triumph of the intellect, free from the sensuousness that some conductors try and read into it. The tone is thoughtfully balanced, and the dynamic varies with finely-conceived subtlety. Gaubert’s partiality for brass is well in evidence, especially'in the first movement, while there is a cor anglais solo in the slow movement of unusual beauty. The recording is a long one—eleven sides—but amply repays any effort to become familiar with its inner beauties. * * * Alessandro Valente has a tenor voice that strongly reminds one of the great organ of the late Enrico Caruso, and this young tenor is today a favourite at the La Scala Opera, Milan, where he sings most of the big dramatic roles. On liis latest records he sings the principal aria from Meyerbeer’s L’Africana”—“O Paradiso!” This number, in which the singer, stupefied by the exotic scenes of a strange land, apostrophises the new - country in ecstatic accents, may well be taken as the acid test of a tenor’s vocal attainments, for it contains many passages which are impossible to any singer without a thorough training. The big, rich voice is also heard in “Addio fiorito asil,” from Puccini’s “Madame Butterfly,” an aria of pathos which is realistically interpreted. (H.M.V., B 3141.) * v * The "Gaiety” Theatre in London was once the home of the delightful series of musical comedies that our fathers excelled in—tuneful, merry affairs, whose melodies are as popular today as when they were first written. A month ago Columbia produced capital "Selections” of the happiest tunes by Ivan Caryll and Paul Rubens. The success was immediate, and now they have issued the same melodies in the form of “Vocal Gems,” called respectively “Memories of Ivan Caryll,” and “Memories of Paul Rubens,” on a 12in disc by the Columbia Light Opera Company. They are sure of the same warm welcome. (Columbia 05038.) * * * For sheer brilliauce and truth of. tone, the Philadelphia Symphony Orchestra’s performance of Rimsky-Kor-sakov’s “Russian Easter Festival” overture is a high water mark. There has perhaps been no finer piece of orchestral recording. It is a gorgeously coloured work with its hymn theme more strikingly handled than in Tchaikowsky’s “1812 Overture.” Those who remember the Oriental richness of the composer’s “Scheherazade” will gain an idea of the musical texture of the overture, but there seems to be eveu greater contrasts in the latter. In the big moments, and they are big, the ensemble playing is magnificent, and there are also some exquisite passages by individual instruments. (H.M.V. D 1676.) * * a A warm welcome awaits a new recording, this time by Sir Dan Godfrey and the Bournemouth Municipal Orchestra, of Sir Edward German’s evergreen “Henry VIII.” Dances. The recording includes the Morris Dance, the Shepherd’s Dance, and the Torch Dance. The music was specially written for Sir Henry Irving’s production of Shakespeare’s play of the same name, at the Lyceum, as far back as 1892, and was perhaps the first work in which the young composer made his name. It has a lively, bustling charm, and is full of fresh and melodious thought. (Columbia 01769.) Contributions from Marek Weber and his orchestra are always, enjoyable. This month he gives us a selection from “Cavalleria Rustieana,” companion opera to “Pagliacci,” which was given recently by this combination. The virile, passionate music of Mascagni’s opera is vividly portrayed by Weber’s orchestra. Particularly impressive is the playing of the famous “Intermezzo,” which is included in the arrangement with other beautiful airs from the opera. (H.M.V., C 1736.) Sandy MacFavlane, Scotch comedian and exclusive Brunswick artist, has two additional records to his credit which should go to advance his reputation as the laughing bard of Caledonia. “The Lassie I Left on the Shore” and “When My Ship Comes Sailing Home” (4234) and “My Highland Rose” and “Will You Come to Bonnie Scotland Where the Bluebells Grow?” (4235) are his latest releases. * * * The nervest thing in records is an actual canary bird whistling to a piano and violin accompaniment. Until this record is heard it is impossible to realise the sheer beauty of a canary’s voice. The delicate modulation of the accompaniment lends a fascinating piquancy to the result. The playing of this Brunswick record (4459) is an object of much interest, to any canary who hears it, and a duet immediately ensues. Many people little suspect the fine melodic material that abounds in our old English nursery rhymes, many of which go back through many centuries. Roger Quilter, an eminent British composer, best known for his lovely modern songs, has gathered many of these tunes together and made of them “A Children’s Overture,” which most interesting composition is well played by the Grand Symphony Orchestra on a new Parlophone record (4165).

YE OLDE PIRATE SHIPPE

The unique cabaret on board Ye Olde Pirate Shippe at Milford will be the scene of two special dances during' the Easter holidays. These will be held on the evenings of Easter Saturday and Easter Monday and the music will be provided by Ye Versatile Pirates Jazz Band. GREY LYNN CINEMA “The Carnation Kid,” which is now being screened at the Grey Lynn Cinema, is an outstanding talkie comedy introducing ihe famous comedian, Douglas Mac Lean. There is a generous share of boxing in this tale, and a full measure of new jokes and funny situations. A full supporting programme is also to be shown. CIVIC WINTER GARDEN A big Easter dancing attraction is announced by the Civic Winter Gai-den Cabaret for the evening of Easter Monday. Dancing will be enjoyed from 10.30 p.m. until 2 a.m., and there will be a number of special cabaret items. EMPRESS, NEWTON With, the coming of "Rio Rita” to. the screen at the Empress Theatre, Newton, the sound device takes on new dignity, It is a musical comedy lifted bodily from a New York stage and set down where it belongs, where its scenes are the mountains of Mexico; its stage haciendas built on rolling sandy plains; its proscenium arch formed by the acacia and the oak; and given a production that for gorgeousness, for pictorial sweep, and freedom from all the limitations of the man-built theatre, never before has been massed for presentation beneath a roof. “Rio Rita” is a triumph for Bebe Daniels, who conies as a brilliant artist with accomplishments that the silent screen never could have revealed. VICTORIA, DEVONPORT One of the brightest and breeziest of the Clara Bow comedies is now at the Victoria Theatre, Devonport, in “The Wild Party.” This is a college story, with the irrepressible Miss Bow as the leadcs. of a gang of girls. Excellent supports are also shown. Tomorrow, Good Friday, the Victoria Theatre will screen “The Divine Lady,” the film version of the life of Lord Kelson. DIXIELAND CABARET The popular Dixieland Cabaret will be the scene of a gay dance on the evening of Easter Monday. Miss Mascotte Taylor, of Sydney, will give an exhibition of dancing, and dancing -will be enjoyed to a late hour to the delightful music of the Dixieland Dance Band. GOOD FRIDAY MUSIC AT CIVIC The Civic Winte?garden Tearoom will be open tomorrow, Good Friday, from 5 p.m. to 10.30 p.m.. for refreshments at popular prices. During the evening from S p.m. to 10 p.m. a musical treat will be provided by Fred Scholl at the Civic grand organ and the Civic Concert Trio, who will play a specially selected musical programme.