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Opera News, November, 1997 Review by James Camner |
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The first three releases above inaugurate the Marston label, produced by the noted transfer engineer Ward Marston, who also shared with Richard Bebb the processing of Romophone's Elisabeth Schumann material. The 1923 Pathe Manon remains the most stylistically authentic recording of Massenet's masterpiece, even more so than the much admired 1929 EMI version. The last of Pathe's seriers of acoustically recorded operas, Manon was previously available on Bourg LPs in a problematic transfer. The sound here, while still primitive by modern standards, is greatly improved. Fanny Heldy as Manon emerges full of spirited charm at the beginning, heart-breaking at the end. Jean Marny is her superb Des Grieux. Leon Ponzio is a definitive Lescaut. Henri Busser's pacing is brisk, leaving the chorus often breathless. Energy and raw emotion come through despite the dim sound. To fill out Side 2, Marston includes excerpts by other classic Manon interpreters -- Georgette Brejean-Silver (for whom Massenet wrote the "Fabliau"), Marguerite Carre, Lucette Korsoff and Aline Vallandri. Although Alma Gluck had a relatively limited opera career, she was one of the most popular concert and recording artists of her day. The soprano possessed a luscious, silvery tone and highly accomplished coloratura technique. Her few discs of classical and baroque repertory are exceptional, such as the 1911 "Rossignols amoureux" from Rameau's Hippolyte et Aricie. Three Hansel und Gretel duets with Louise Homer are a special treat. Several of the songs, including an exquisitely done Ravel "Chanson Hebraique," have an obbligato by violinist Efrem Zimbalist, who was the singer's second husband. Johanna Gadski's long, distinguished Met career ended abruptly with the U.S. entry into World War I. Gadski is best remembered as a Wagnerian. Her masterfully delicate Lohengrin monologue, Walkure "War es so schmahlich?" and Tristan finale rank with the finest. But apparently she could sing anything: the "Inflammatus" from Rossini's Stabat Mater is thrilling, a pair of Aida arias secure and shining. By contrast, Robert Franz' song "Liebchen ist da!" is haunting, with deep-toned legato. On Romophone, it is a treat to hear Elisabeth Schumann in the spring of her career, her clear, bright soprano at its pristine best. The soprano's Edison recordings of Annchen's arias from Der Freischutz, if not the nimblest ever, are delightful. Schumann's colorature is more fluent here than later -- a German-language Faust jewel song is surprisingly adept -- but the Mozart Exsultate is disappointing, lacking the floridity required. Has anyone, however, recorded a more charming "Wo bin ich?" from Hansel und Gretel? And Strauss' "Die heiligen drei Konige" is ravishingly sung. |
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