V0150. HEDDLE NASH: Songs by Strauss, Delius, MacMurrough, Ascher, etc.; Arias from Carmen, Les Pêcheurs de Perles, Faust, La Jolie Fille de Perth, La Boheme, Cavalleria, Rigoletto, Il Trovatore, Frederica & Die Fledermaus. (England) Pearl 9175. Long out-of-print, Final Sealed Copy! - 727031917526
“Despite the late date of some of these recordings (1944), plus the fact that Nash’s career actually extended into the 1950s, his voice astonishingly retained its youthful beauty, and his technique and vocal production are of a sort that had, to all extents and purposes, vanished by the time of his debut (1923) and certainly by the time he debuted in England (1925). They revolve around a remarkable and almost constant use of head tone, not of the sort we know from such tenors as Björling and Nicolai Gedda, where the singer uses chest up to the break but then switches to head as he ascends the scale. In terms of technique - but, thankfully, not style - Nash was trained by teachers who, like many British schools of that time, were ingrained by the Garcia technique, as well as by Giuseppe Borgatti who, though born in 1871, was an exponent of the old Italian head-tone technique that de Lucia used.
You can hear the results of this outstanding training in virtually every track of this disc - an absolutely ear-ravishing lyric voice, impeccably clean in musical values, used with unfailing taste and a warm and ingratiating personality.
At whatever point you listen to ‘La danza’, I particularly draw your attention to his breath control. It is seamless, so much so that, at times, it almost sounds as if he was using circular breathing to maintain a long line even while singing the rapid triplets. Considering how much modern singers are really into Baroque and Classical-era music, and how well so many of them sing it, I’m more than a little surprised that more of them don’t pursue the kind of voice placement and technique revealed on Nash’s records. Provided that they already have a solid vocal technique, they can learn so much just by listening to the way Nash sings. This is a style and technique that deserves wider use today. But technique and style are the star attractions of this disc, and even here one can learn from Nash how to place the voice in music that lies almost constantly high in tessitura.
The FLEDERMAUS, the Ständchen, and the English songs are all superb performances as well as superbly sung from a technical standpoint, and here the sound is clear and natural. In short, this is a disc that needs to be in every tenor lover’s collection….Heddle Nash’s voice is one always worth hearing and, for professional singers, worth learning from.”
- Lynn René Bayley, FANFARE
“Admonishing those who bewailed the decline from golden-age standards in singing, George Bernard Shaw said that they couldn't impose on him. He was old enough to have heard the fabled ancients, and he could assure us that by comparison with Gayarre and the rest of them Mr Heddle Nash sings like a god. Now one of the fabled ancients himself, Nash is still a god among his kind: the English lyric tenor par excellence without equal then or now….These recordings catch him fresh from his Italian training and his debut (with one day's notice) at London's Old Vic in RIGOLETTO. At all times he is instantly and unmistakably recognizable. As individual in style and timbre as his nearest Italian counterpart, Tito Schipa, he is one of those singers who once known takes his place in the gallery us of the 78rpm originals, but generally surfaces are in good condition and well controlled.”