Piero Coppola;  Singher, Gerar, Heldy   (2-Dante LYS 364/65)
Item# C1332
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Product Description

Piero Coppola;  Singher, Gerar, Heldy   (2-Dante LYS 364/65)
C1332. PIERO COPPOLA Cond.: Menuet antique; Rhapsodie espagnole; Pavane pour une infante défunte; Valses nobles et sentimentales; Boléro; Daphnis et Chloé – Suite #1 – 2 excerpts; Alborada del gracioso; Tombeau de Couperin; L’Enfant et les Sortilèges – Five o’clock; Ma Mère l’Oye; w. Herbrecht (Harp): Introduction et Allegro; w.Marcelle Gérar: Schéhérazade; w.Fanny Heldy & Louis Morturier: L’Heure Espagnole – Oh! La pitoyable aventure; w.Martial Singher: Ronsard à son âme; Don Quichotte à Dulcinée (all Ravel). (France) 2-Dante LYS 364/65, recorded 1927-34. Transfers by Christophe Hénault. Long out–of–print, final copy! - 3421710423649


“Piero Coppola was a French conductor and HMV’s man in Paris, where he was prolific in the recording studio in the 1920s and 30s. His records sold well and deservedly so, though one has all too few opportunities to hear them now. He was, of course, a specialist in French repertoire, which he performed in the best French style—which to modern ears may seem very racy indeed. Tempos fluctuate, entries can be casual, ensemble is sometimes ragged—but oh, the sound is delicious and the performances radiate energy. Coppola’s Debussy is all about melody and fine phrasing as opposed to obsession with tone and balance. Such gusto! This is one of the joys of historical recordings—a wholly different conception of thrice familiar works. The original sound was good but not exceptional; it is rendered pleasing enough in these fine restorations accompanied by a liner note from Tully Potter.”

- David Radcliffe, AMERICAN RECORD GUIDE, March/April, 2012

“Italian conductor Piero Coppola was one of many twentieth-century baton wielders who was actually a closet composer. Like Michael Tilson Thomas and Esa-Pekka Salonen, and more presently Claudio Abbado, Coppola's own music was and is little-known to general audiences who think of him only as a conductor. The major music references are divided as to whether he should be ranked a conductor, a conductor and composer, or a composer and conductor. There is, in fact, some question as to just how much music Coppola actually wrote during his lifetime. But there is little question that he was among the best of the "second-tier" Italian conductors (considering Toscanini to be the first tier) from World War I to his death in 1971.

Coppola was the son of tenor Vincenzo Coppola and Teresa Angeloni, a dramatic soprano. He studied music at the Conservatory in his hometown until taking his diploma (piano and composition) in 1910. It took him astonishingly little time to break into the business of conducting: In 1911 - 1912, he was already conducting at no less a venue than La Scala opera house. Just prior to the outbreak of World War I, Coppola was in Brussels conducting (opera again) and then, after a brief stay in England, he lived and worked in Scandinavia while the war ran its course. After the conflict ended, Coppola moved to France, where he became director of the recording company La Voix de son Maître (the French arm of HMV); he made a number of important records for the label during the late '20s and early '30s, including a disc of Prokofiev's Piano Concerto #3 with Prokofiev.

At Lausanne, from 1939 on, he distinguished himself in the conducting of French symphonic repertoire, working with l'Orchestre de Chambre de Lausanne, l'Orchestre de la Suisse Romande, and the orchestra of Radio Lugano. He introduced and performed many contemporary works by diverse composers such as Arthur Bliss, Béla Bartók, André Caplet, Jean Cras, Arthur Honegger, Giacomo Puccini's LA FANCIULLA DEL WEST (1911), Alexandre Tcherepnin, and Edgard Varèse. He also interpreted certain classics, mainly of the Romantic period, and notably the works of Robert Schumann.

After World War II, Coppola limited his travels, and thus his conducting, to the countries immediately around France. His work conducting in opera houses moved Coppola to compose a pair of operas himself; neither, however, has ever been heard much. There is also a full-scale symphony and a handful of shorter works with his name on them.”

- Blair Johnston, allmusic.com

“Martial Singher, a French baritone, made his Metropolitan Opera début in 1943. He made his début at the Paris Opéra in 1930 and soon became a principal baritone with the company. After 11 seasons with the Paris Opéra he enjoyed many guest appearances in Europe and South America. In more than 100 opera roles and in recitals with leading orchestras, he eschewed showmanship and histrionics and stressed smoothness, subtlety and clarity. He was particularly celebrated for the lean, elegant phrasing of his native French repertory.

Of his Met début as Dapertutto in LES CONTES D'HOFFMANN, Virgil Thomson in THE NEW YORK HERALD TRIBUNE reported Mr. Singher ‘gave a stage performance of incomparable elegance and did a piece of singing that for perfection of vocal style had not been equaled since Kirsten Flagstad went away’.

Several weeks later at the Met Singher sang his first Pelléas. Mr. Thomson found him ’the glory of the evening, vocally impeccable and dramatically superb’. Olin Downes of THE NEW YORK TIMES hailed the baritone as ‘a fine and experienced artist, an authoritative actor, one firmly grounded in the traditions of his language and stage action and a potent element of the occasion’.

The baritone remained with the Met until 1959, when a severe heart disorder forced him to shift to teaching. He taught at the Mannes College of Music in Manhattan, the Curtis Institute in Philadelphia and, as director of the voice and opera department, the Music Academy of the West in Santa Barbara (1962 to 1981), where he also produced operas. He was also an artist in residence at University of California at Santa Barbara.”

- Peter B. Flint, THE NEW YORK TIMES, 12 March, 1990