OP0273. MADAMA BUTTERFLY, recorded 1929-30, w.Sabajno Cond. La Scala Ensemble; Margaret Sheridan, Lionello Cecil, Vittorio Weinberg, Ida Mannarini, etc. (Italy) 2-Arkadia 78030. Very long out-of-print, Final Copy! - 801157780309
"This most interesting and worthwhile reissue may help to place Margaret Sheridan once again in the front rank of inter-war opera singers."
- David Patmore, INTERNATIONAL CLASSIC RECORD COLLECTOR, Summer, 1996
“…through the 20s, [Sheridan] enjoyed an almost Callas-like adulation. She reciprocated that love, and most of that crazy yet glorious decade found her appearances restricted to the main Italian opera houses, with just two seasons at Coven Garden. Apparently she never sang in the USA. An unpublished [Butterfly] death scene with Browning Mummery was well worth rescuing. She is truly affecting in this account, and the brief contributions of the tenor’s sweet-toned voice make one wish that EMI had used him in the complete recording….”
- Vivian A. Liff, AMERICAN RECORD GUIDE, Nov./Dec., 2011
"During her time, appearing in Italy as Margherita Sheridan, she was unsurpassed in the Italian lyric-spinto repertory, and Puccini called her Butterfly 'a revelation'....Sheridan's voice was big and pointed, yet always limpid, while her command of grand phrasing and total musicality made her a conductor's dream."
- Bill Zakariasen, OPERA NEWS, Feb., 1996
“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