V0487. EILEEN FARRELL, w.George Trovillo (Pf.): Songs by Youmans, Arlen, Nordoff, Sargent, Homer, Rachmaninov, Grieg, etc.; w.Schippers Cond. Philharmonia Orch.: Arias from Hérodiade, La Gioconda, Ernani, Jeanne d'Arc, L'Enfant Prodigue, Oberon, Alceste, Porgy and Bess & The Consul. (England) Testament SBT 1073, recorded 1957-58. Very long out-of-print, Final Sealed Copy! - 749677107321
Includes: Danny Boy (Londonderry air); Down by the Sally Gardens; Americanegro Suite - Where is dis road a-leadin' me to? (Arlen); There shall be more joy (Nordoff); Hickory Hill (Sargent); Sing to me, sing (Homer); Through the years (Youmans); To the children (Rachmaninoff); Ein Traum (Grieg); Alceste - Divinités du Styx; Oberon - Ocean, thou mighty monster (Weber, in Original English); Ernani - Ernani, involami; La Gioconda - Suicidio!; Jeanne d'Arc - Adieu, forêts (Tschaikowsky); Hérodiade - Il est doux, il est bon; L'Enfant Prodigue - Azaël! Pourquoi mas-tu quitée? (Debussy); The Consul - To this we've come (Menotti); Porgy and Bess - Summertime (Gershwin).
"There is a grandness to the Farrell sound, a sense of immense power and richness, that impresses from the moment she enters. One expects a voice like this to be unwieldy, but in fact Farrell exhibits flexibility and ease with all the vocal demands…. the voice is clearly huge, but it embraces you rather than knocking you over…..(I heard her in performances a few times, and the sound was enormous) and at the same time always beautiful. There is a warmth and even sweetness to the sound that few Wagnerian sopranos can produce….American dramatic soprano Eileen Farrell was an extraordinary singer, one whose career did not ultimately match her greatness. She had a reputation, for instance, as a supreme Wagnerian soprano, yet she never sang one complete Wagner opera in performance. She was equally comfortable in Verdi and the verismo Italian repertoire, but the public got to experience this only in a limited way, since Farrell sang at the Met for just six years between 1960 and 1966 in six leading roles. She made very few complete opera recordings, and she was almost as well known for her pop music recordings and radio broadcasts.
- Henry Fogel, FANFARE, March/April 2020
“The American soprano Eileen Farrell…was a force of nature, aligned with a musicality that allowed her to sing a wide range of repertoire (including jazz) idiomatically and to great effect. Farrell…is in radiant voice, and sings with beautiful style, elegant French diction [in the Gluck, Debussy, Massenet and Tschaikowsky], and compelling feeling.
- Ken Meltzer, FANFARE, March / April 2020
“Were these selections from 1957 all that survived of Eileen Farrell they would assure her a place in the top echelon of American singers. Like Lillian Nordica she had a huge flexible voice and a seamless scale….as with Nilsson and the young Régine Crespin, recorded sound merely hints at Farrell’s impact. In fact, only Crespin could match Farrell’s middle register: voluptuous, enveloping, immense but soft-focused. This led to serious comparisons with Kirsten Flagstad….softly intense...the big soaring phrases literally lifted some of the audience out of their seats.”
- Albert Innaurato, EMI Program Notes
“…the best of all, probably, is Eileen Farrell on a little-remembered recital of songs and ballads with George Trovillo accompanying [above]. In both beauty and amplitude of tone she bears comparison with either Ponselle or Flagstad, and she has a naturalness of expression all her own.”
- Alan Blyth, SONG ON RECORD, Vol. II, p.261