V0343. Leonid Sobinov: Arias & Duets (w.Nezhdanova) from Mignon, Werther, Les Pêcheurs de Perles, Don Pasquale, Manon, Lohengrin, Eugen Onégn, Rusalka (Dargomyzhsky), Snegoroutchka, May Night, Raphael & Halka; At the ball (Tschaikowsky). (England) Pearl 0056, recorded 1910-11. Transfers by Roger Beardsley. Long out-of-print, final copy! - 727031005629
“Sobinov was a celebrity almost from the very start and the gentle, caressing timbre of his voice, his vocal charm, his wonderful enunciation and his elegant stage-presence, along with a highly developed intellect, rare in an opera singer, all combined to make him a first-class exponent of a wide repertoire which included Lensky, the Prince in RUSALKA, Nadir, Alfredo and Lohengrin. Sobinov rightly said about himself: ‘My artistic individuality is more inclined to the elegiac than to brio’."
- Sergej Jurevich Levik, MEMOIRS OF AN OPERA SINGER, p.269
“Leonid Sobinov was certainly among the first significant artists to be recorded. The 1901-04 recordings are in very good sound! Sobinov’s recorded repertoire reflects the roles in which he was appearing. He soon was admired for his breath control, mezza-voce and enunciation. Sobinov was very much impressed by Feodor Chaliapin who was two years younger and they sang together in 1899. The reigning star at the Bolshoi was Nikolai Figner, but Sobinov was his equal in every way. To enlarge his repertoire he decided to make several journeys to Italy to hear more of the Italian school. At the end of 1903 he sang an acclaimed Nadir in LES PÊCHEURS DES PERLES with Antonina Nezhdanova. In 1904 he made his début at La Scala as Ernesto (in Italian) receiving great praise from the critics. At the end of 1906 he sang in Monte Carlo and he appeared with triumphant success in Madrid and Berlin. His first Lohengrin at the Bolshoi was enthusiastically received, while in St Petersburg the critics compared him to the superb Ivan Ershov. After many years of travelling he became a producer in 1911. In 1912 he once more appeared at la Scala opposite Lucrezia Bori in ROMÉO ET JULIETTE, conducted by Tullio Serafin. The Revolution gave him a second chance of moving into management. Unlike other Russian artists like Chaliapin, Kuznetsova, Medtner, Rachmaninov and Davidov he elected to stay. When the Red Army gained control, he was given an administrative cultural post in Sevastopol. His last appearance in a concert was in 1921. In the same year he was appointed Director of the Bolshoi but after a view months he resigned to return to a life of opera and concerts.”
- Andrea Shum-Binder, subito-cantabile