V1097. MARGHERITA GRANDI, w.Beecham, Erede, Goldschmidt & Goehr Cond.: Arias from Don Carlos, Il Trovatore & Macbeth – recorded 1948; w.Francesco Valentino, Italo Tajo, Walter Midgley, etc.: Macbeth – Excerpts – Live Performance, 27 Aug., 1947, King’s Theatre, Edinburgh. (England) Testament SBT 1402. Transfers by Roger Beardsley. Long out-of-print, Final Sealed Copy! - 749677140229
"Margherita Grandi’s performances as Lady Macbeth are legendary. Despite a significant career in Italy, she arrived at Glyndebourne in 1939 relatively unheralded….When the Edinburgh Festival was launched in 1947, the visiting Glyndebourne troupe presented MACBETH – once again with a cast led by Grandi and Francesco Valentino. The bulk of this well-filled CD consists of excerpts from the performance on 27 August….This is exciting, even visceral, singing. We hear Grandi in all of Lady Macbeth’s music – mostly drawn from the live performance, although the Act 4 sleepwalking scene is taken from her HMV records. Hitherto, I had considered Maria Callas’ studio versions of Lady Macbeth’s arias to be the standard by which others would be judged; Margherita Grandi is her equal….The live material is drawn from acetates….The generally high quality of the sound is yet another tribute to Roger Beardsley’s remastering skills."
- Stanley Henig, CLASSIC RECORD COLLECTOR, Spring, 2007
"It was to the ears of this post-war generation, longing to hear again singing that could sweep regally and soar with international authority, that the few records of Margherita Grandi were so welcome. The arias from MACBETH were directly in the grand tradition, noble and commanding, rich-voiced and dramatic."
- J.B. Steane, THE GRAND TRADITION, p.307
"Here was a truly Italian spinto voice, fearless in attack, wide in range, daring in execution. With a strong personality to go with her vocal gifts, [Grandi] proved near-ideal as the ambitious, scheming [Lady Macbeth]….Everything heard goes to confirm Grandi’s aptness for the role…."
- Alan Blyth, GRAMOPHONE, Nov., 2006
"Dorothy Bond, a now forgotten artist, displayed her gently floated top G at the end of Olympia's exit in the early Decca recording of the Sadler Wells English verison of the TALES OF HOFMANN conducted by Beecham. Bond was also the artist responsible for the soft and pure high D-flat at the end of Margherita Grandi's famous 1948 recording of the Sleepwalking Scene from MACBETH."
- Nicholas E. Limansky, THE LEGACY OF THE DIVA