V0056. MARIA GALVANY: Songs by Dufau, Proch & Arditi; Arias & Duets (w.Giorgini, de Lucia & de Segurola) from I Puritani, Barbiere, La Sonnambula, Lucia, L'Elisir, Linda di Chamounix, Dinorah, Don Pasquale, Mireille, Roméo, Hamlet, Lakmé, La Traviata, Las Hijas de Zebedeo. (Austria) Preiser 89578, recorded 1906-08. Very long out-of-print, Final Copy! - 717281895781
“…a voice remarkable for its flexibility, its brilliance above the staff as well as an appealingly girlish middle register, and a dead-on staccato attack up and down the scale that’s almost unique.”
- Kurt Moses, AMERICAN RECORD GUIDE, May/June, 2004
“From these discs it appears that Galvany’s strength was that she knew her weaknesses. Or more to the point, she knew what she could sing and stuck to it. Her armoury of stratospheric staccato may be impressive the first time one hears it - I would lay money on it - but I would not recommend it for those of unstable sanity; it could just tip them over the edge.
The recordings here are all from red label G&Ts and all come from the short period 1906-08 and are mostly with orchestra…. It is instructive to hear Galvany in the more familiar items. And few arias are more familiar than Rossini’s ‘Una voce poco fa’, a 1906 recording; plenty of reassuring noise around it, then. The cadenzas are superb. The Queen of the Night holidayed in Seville, clearly, and one can but enjoy Galvany’s rolled ‘r’ around the two-minute mark; she clearly did. The TRAVIATA excerpt, too, shows her enjoying herself, showing off her astonishing agility. Yet the L’ELISIR D’AMORE excerpt (‘Chiedi all’aurora lusinghiera’) shows she is also capable of sustaining the longer line (Giorgini partners)…..
The duets here are very enjoyable if only for vocal variety’s sake. Try the SONNAMBULA ‘Son geloso’ with Giorgini, who has a simply lovely voice, or the ‘Prendi, l’anel ti dono’, with the amazingly honeyed De Lucia - a real shame this is accompanied by a piano! For me, though, the most valuable parts of this disc are the inroads into repertoire we might not hear too often these days. Gounod’s MIREILLE is there, sparkly and attractive, as is Thomas’ AMLETO - Hamlet, of course, but in Italian - a sad aria that also shows off Galvany’s superb scalic work. LINDA DI CHAMOUNIX is represented by ‘O luce di quest’anima’, which fizzes along nicely - Galvany’s pitching is excellent - before ‘Obra leggiera (from Meyerbeer’s DINORAH) enables Galvany to indulge in yet more flute-combined frolickery.”
- Colin Clarke, musicweb-international
“Vocally, María Galvany represents an extreme case. Her virtuosity, the limpidity of her trills, roulades, and above all, her staccati lead us to think more of an instrument than of a voice. One might get the impression of listening to a canary. Nevertheless, some of her recordings are remarkable for the sweetness of her voice. Listen to the duets she made with Tita Ruffo. You will hear a singer capable to adapt the musicality of her great baritone colleague.”
- Andrea Shum-Binder, subito-cantabile