Product Description
V1654. MARGARET SHERIDAN: Songs by Tosti, Lang, Colahan, Moore, Claribel, Hughes, etc.; The Bohemian Girl – I dreamt I dwelt in marble halls (Balfe). (England) Cheyne 44501, recorded 1926-49, plus six Previously Unpublished Decca Test Pressings, 1949. Produced by John Wolfson.
CRITIC REVIEWS: “Irish soprano Margaret Sheridan (known as ‘Maggie from Mayo’ and is regarded as Ireland's first prima donna) made her début in LA BOHÈME (Rome, 1918), and in 1919 she appeared at Covent Garden (as Mimì and Iris in the first London performance of Mascagni's opera). She returned there in 1925, remaining until 1930, but sang mostly in Italy at the leading theatres, including La Scala (1922 – 1924). Her voice was pure and colourful, naturally suited to the passionate music of Puccini's heroines. A fine actress, she was outstanding as Manon, Cio-Cio-San and also as Madeleine in ANDREA CHÉNIER. Puccini described her Madama Butterfly as being ‘full of charismatic intensity and childlike appeal’, and when she was to star in his opera MANON LESCAUT, he decided to coach her himself.”
“...a voice of a great authentic lyric soprano of the old school which unfortunately no longer exists today. Her distinctive timbre and a particular expressiveness which is evident in her recordings assured [Sheridan] a place of great merit in operatic history.”
- Giorgio Gualerzi
CRITIC REVIEWS: “Irish soprano Margaret Sheridan (known as ‘Maggie from Mayo’ and is regarded as Ireland's first prima donna) made her début in LA BOHÈME (Rome, 1918), and in 1919 she appeared at Covent Garden (as Mimì and Iris in the first London performance of Mascagni's opera). She returned there in 1925, remaining until 1930, but sang mostly in Italy at the leading theatres, including La Scala (1922 – 1924). Her voice was pure and colourful, naturally suited to the passionate music of Puccini's heroines. A fine actress, she was outstanding as Manon, Cio-Cio-San and also as Madeleine in ANDREA CHÉNIER. Puccini described her Madama Butterfly as being ‘full of charismatic intensity and childlike appeal’, and when she was to star in his opera MANON LESCAUT, he decided to coach her himself.”
“...a voice of a great authentic lyric soprano of the old school which unfortunately no longer exists today. Her distinctive timbre and a particular expressiveness which is evident in her recordings assured [Sheridan] a place of great merit in operatic history.”
- Giorgio Gualerzi