V0067. EILEEN FARRELL: w.George Trovillo (Pf.): Songs by Youmans, Arlen, Nordoff, Sargent, Homer, Rachmaninov, Grieg, etc.; w.Schippers Cond. Philharmonia Orch.: Arias from Hérodiade, La Gioconda, Ernani, Jeanne d'Arc, L'Enfant Prodigue, Oberon, Alceste, Porgy and Bess & The Consul. (England) Testament SBT 1073, recorded 1957-58. Very long out-of-print, Final Sealed Copy! - 749677107321
Includes: Danny Boy (Londonderry air); Down by the Sally Gardens; Americanegro Suite - Where is dis road a-leadin' me to? (Arlen); There shall be more joy (Nordoff); Hickory Hill (Sargent); Sing to me, sing (Homer); Through the years (Youmans); To the children (Rachmaninoff); Ein Traum (Grieg); Alceste - Divinités du Styx; Oberon - Ocean, thou mighty monster (Weber, in Original English); Ernani - Ernani, involami; La Gioconda - Suicidio!; Jeanne d'Arc - Adieu, forêts (Tschaikowsky); Hérodiade - Il est doux, il est bon; L'Enfant prodigue - Azaël! Pourquoi mas-tu quitée? (Debussy); The Consul - To this we've come (Menotti); Porgy and Bess - Summertime (Gershwin).
“Were these selections from 1957 all that survived of Eileen Farrell they would assure her a place in the top echelon of American singers. Like Lillian Nordica she 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
“…the best of all, probably, is Eileen Farrell on a little-remembered recital of songs and ballads with George Trovillo accompanying [above]. In both beauty and amplitude of tone she bears comparison with either Ponselle or Flagstad, and she has a naturalness of expression all her own.”
- Alan Blyth, SONG ON RECORD, Vol. II, p.261
“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….Magda’s desperate solo in Act II of THE CONSUL where Farrell makes the voice act with an intensity that becomes immense….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