The Record Collector - 2014     (TRC 42)
Item# V2421
$19.90
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Product Description

The Record Collector - 2014     (TRC 42)
V2421. THE RECORD COLLECTOR - 2014 Issue, incl. Miguel Villabella, Giuseppe Taccani, Tano Ferendinos, Louis Graveure, Olga Haley, Anne Roselle & Set Svanholm. (England) The Record Collector TRC 42, recorded 1907-50, partially first time on CD. Transfers by Norman White.

CRITIC REVIEW:

“The three examples of Tano Ferendinos show his sweet tenore di grazia to perfection. The ‘Torna’ is especially significant as he never recorded this song commercially. The two songs are charming and appear to have been omitted from other reissues on CD.

Louis Graveure’s voice is not to everyone’s taste and it is ironic that some of his worst discs seem to be the ones which are found most commonly. Yet at their best Graveure’s records show an interpreter of songs who is a born communicator, whose enunciation of the text is always crystal-clear. The ‘Yeoman’s Wedding Song’ is sung in ringing tones and is as fine an example of virile baritone singing as one could hope to hear. In more intimate music his mastery of mezza voce, rubato and diminuendi is second to none and the personality of the singer is always to the fore. For me, the best of his recordings are well worth seeking out.

No-one would suggest that Olga Haley was of the first rank of contraltos. Yet she is a fine artist who enjoyed great popularity throughout her career. Her records are certainly well worth hearing. Her Vocalions are difficult to reproduce, often suffering from heavy surfaces and backward recording. In the lovely ‘Harvest of sorrow’ her singing is both heartfelt and impassioned. The Dido is a strange arrangement of the music but her legato is a pleasure and the delivery ardent.

Giuseppe Taccani was, without doubt, one of the great lirico-spinto tenors of the 20th century. His discs always demonstrate a youthful and incisive tone and a security of attack that is thrilling, so it is a pity that he made relatively few recordings. The Jana disc is from the first session for the Gramophone Company in 1907 and is accompanied by the composer. The 27-year-old tenor is in fine form, ending the aria on an exciting B flat. The acoustic ‘Di quella pira’ is much harder to find than the electrical version and it has the advantage that the aria is in C (the electric recording is transposed down a semitone).

Emil Pinta’s article about the all-but-forgotten Pilotone label (Vol. 59, no. 2) was a great surprise, particularly as it revealed hitherto unknown recordings of several singers, among them Anne Roselle. The great Hungarian soprano, though nearing the end of her career at the time, is hardly taxed by the relatively trite, though rhythmically infectious, music. However, it is an example which admirers of this fine singer will want to have somewhere in their collection.

We are pleased to bring you three examples of the great Swedish tenor Set Svanholm. The Mendelssohn is from his first recording session and was recorded while he was officially a baritone. ‘Ich grolle nicht’ and the Meistersinger are previously unpublished. The voice in the Lied is still very baritonal but the easy, clarion top ‘A’ in the phrase ‘die dir am Herzen frißt’ (which most baritones eschew) shows the wisdom of his decision to change vocal registers. The Meistersinger is the unpublished take 2.

While researching which of the many Miguel Villabella records to include on this CD, I was surprised at how few of the Pathés had been previously reissued. The answer is probably because, with some exceptions, the recordings are poor, sometimes strident, sometimes distorted and we have worked hard to show them at their best. But they are important because they contain arias and songs that he never otherwise recorded and they show him at his best, such as the charming ‘Assis au pied’, which illustrates his beautiful head voice and the demi-teintes for which he was famous. The two arias from L’Illustre Fregona are creator’s discs and both are very beautifully sung. The music repays repeated listening. Each of the examples here has much to offer and illustrates one of the most interesting ‘French’ tenors of his time.”

- Larry Lustig, THE RECORD COLLECTOR