V1183. CONCHITA SUPERVIA: The Complete Conchita Supervia, Vol. II: Fonotipia / Odeon recordings, incl. Songs by Falconieri, Pergolesi, Tosti, Sartorio, Manén, de Falla (incl. Siete Canciones Populares Españolas), Toldrá, Albéinz, Alvarez, Ribas, Granados, de Palau, Borrás de Palau, Longás, Romero, Gómez, Buchardo, Bizet, Delibes, Grieg & Gennai (the latter’s Canzoncine [each preceded by Supervia’s spoken introductions]); Arias & Duets (w.Vincenzo Bettoni & Marcos Redondo) from Peer Gynt, La Cenerentola, I Zingari in Fiera, El Amor Brujo, La Revoltosa, La Reina Mora, Mignon, La Verbena de la Paloma & Las Hijas del Zebedeo. 2-Marston 52050, recorded 1929-30. Transfers by Ward Marston. Booklet features discographic information, photos & extensive notes by Michael Aspinall. Final remaining copies. - 638335205021
“During the first war, Conchita Supervia fell in love with an Italian lawyer Francesco Santamaria, who was later to become the Mayor of Naples; he died in 1947. Their son Giorgio was born in October, 1918; and some ten years later, in order to amuse her little ‘Giorgino’, she recorded a set of nursery songs by a composer named Gennai, each one with a spoken introduction. They are enchanting, and I believe that the Italian, spoken as well as sung, is pretty well flawless."
- Desmond Shawe-Taylor, OPERA, Jan., 1960
"[Supervia] mixed the colours of her song with daring and intuitive skill: its scents and shades, flashes of scarlet among pastel tints and delicate half-tones, were a florist’s shop in themselves, and rivals were soon out of business….She remains, through her records, one of the most vivid and enchanting of all singers."
- J. B. Steane, SINGERS OF THE CENTURY, Vol. II, pp.12 & 16
"Both on the opera stage and on the concert platform [Supervia] displayed a communicative power which can hardly have been surpassed; and this warmth of temperament is evident too in almost every one of the 200 or so recordings she made. She was incapable of dullness; even in the most trivial song there will come a phrase so personal and so completely genuine that the listener feels something akin to physical contact. In whatever language she sang – and she was a gifted linguist – she filled each word with meaning, and lent the utmost grace and point to the turn of every musical phrase….she always conveys to the listener an extraordinary sense of joy in the sheer act of singing."
- Desmond Shawe-Taylor, THE OPERA BEDSIDE BOOK, pp.71-72
"Supervia loved to sing and seemed always to be eager for the next performance….'Is every nerve in your body awake?’ she often used to ask me just before we went on to the stage, and when I hopefully assured her that every nerve was tingling with impatience, she would say, ‘Good, let us begin’. Supervia’s vitality seemed to be endless; she never showed fatigue and her gaiety was inexhaustible."
- Ivor Newton, AT THE PIANO – IVOR NEWTON, The World of an Accompanist, p.141