Ariadne auf Naxos  (Scherman;  Eileen Farrell, Mattiwilda Dobbs, Jon Crain)  (St Laurent Studio YSL T-517)
Item# OP3218
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Product Description

Ariadne auf Naxos  (Scherman;  Eileen Farrell, Mattiwilda Dobbs, Jon Crain)  (St Laurent Studio YSL T-517)
OP3218. ARIADNE AUF NAXOS (in English), Live Performance, 3 Jan., 1958, w.Scherman Cond. American Opera Society Ensemble; Eileen Farrell, Mattiwilda Dobbs, Jon Crain, etc. (Canada) St Laurent Studio YSL T-517. Transfers by Yves St Laurent. [This unique recording of Farrell's Ariadne and Dobbs' remarkable Zerbinetta was made from a recording from Town Hall's house system and has occasional irregularities, but the clear sound comes through beautifully.]


“Like Lillian Nordica [Farrell] had a huge flexible voice and a seamless scale….as with Nilsson and the young Régine Crespin, recorded sound merely hints at Farrell’s impact. In fact, only Crespin could match Farrell’s middle register: voluptuous, enveloping, immense but soft-focused. This led to serious comparisons with Kirsten Flagstad….softly intense...the big soaring phrases literally lifted some of the audience out of their seats.”

- Albert Innaurato, EMI Program Notes

“With Farrell…we are on the way back to look at American singing in the forties and fifties….In certain records she even achieves a Callas-like intensity….The touch of greatness in Farrell is sufficient to make one wonder why the evident goodness was not more extensively recorded and still more widely acclaimed.”

- J. B. Steane, THE GRAND TRADITION, p.421

“When Mattiwilda Dobbs made her Met début, as Gilda in RIGOLETTO on 9 Nov., 1956, she had already sung to great acclaim at La Scala in Milan, where she was the first black principal singer; Covent Garden in London; and the San Francisco Opera, where she had made her United States operatic début, as the Queen of Shemakha in Rimsky-Korsakov’s LE COQ D’OR, in 1955. Reviewing Ms. Dobbs’s Met début, opposite the baritone Leonard Warren, Howard Taubman wrote in THE NEW YORK TIMES: ‘The young soprano has a voice of substance and quality, well placed and expertly controlled. Her singing is true, flexible at the top in coloratura passages and glowing in texture throughout the scale’.”

- Margalit Fox, THE NEW YORK TIMES, 10 Dec., 2015