Emma Eames;  Sembrich, Homer, de Gogorza   (Symposium 1263)
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Emma Eames;  Sembrich, Homer, de Gogorza   (Symposium 1263)
V0444. EMMA EAMES: Eames' spoken commentary on her career and recordings, 2 Feb., 1939. Songs by Koechlin, Hahn, Schubert, Bohm, Hollman, & Amy Beach; Arias & Duets (w.Homer, Sembrich, de Gogorza & Homer) from Nozze, Zauberflöte, Don Giovanni, Faust, Roméo, Véronique, Chérubin, Lakmé, Carmen, Otello, Il Trovatore, Tosca & Lakmé. (England) Symposium 1263. Long out-of-print, Final Copy! - 760411263028


“Madame Emma Eames was the most perfect of ensemble singers. She respected the composer. Her vocal line was as perfect as that of an instrumental virtuoso. She made some valuable recordings but her voice was so highly placed that at the time it was difficult to record her ... it is a pity that an artist of such attainments could not have recorded more frequently. … As Marcella Sembrich remarked in one of my last visits to her: ‘Eames has never been replaced’.”

- Emilio de Gogorza, OPERA NEWS, Nov., 1937

“In the period justifiably described as ‘the Golden Age of Opera’ Emma Eames was a prima donna of major importance…. Coming out of the Marchesi school, Eames’ voice had a pure, unforced beauty; it floated free of the throat, capable of all the runs, trills & accents of florid music…As a Victorian soprano, coming out of the classical tradition, she rejected the impulsive, combustible naturalism of the newer Italian school. In contrast, Eames created a calm but tense atmosphere within which the drama is expressed poignantly but without exaggeration. Eames always remained a singer in search of an ‘ideal’….Emma Eames is one of the finest representatives of a tradition of beautiful singing we may never encounter again. With her, the ‘Golden Age’ is again brought to life ‘in the pure tones of a noble voice’.”

- Harold Bruder, Program Notes