Conchita Supervia, Vol. IV        (2-Marston 52061)
Item# V1633
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Product Description

Conchita Supervia, Vol. IV        (2-Marston 52061)
V1633. CONCHITA SUPERVIA: The Complete Conchita Supervia, Vol. IV: Odeon / Ultraphone recordings, incl. Songs & Arias by Cotarelo, Tabuyo, Pittaluga, Rodrigo, Alonso, Marquina, Godes, Morera, Bou, Rubinstein, Hernández, Lamote de Grignon, Espigul, Romero, de Aquino, Diaz Giles, Mediavilla, Martinez Valls, de la Rosa, Gaztambide, Serrano, Granados, Giménez, Fuste, Maduro, Valverde, Barta, Toldrá, Nin & Álvarez; Arias from Lehár’s FRASQUITA. 2-Marston 52061, recorded 1932-33. Transfers by Ward Marston. Booklet features discographic information, photos & extensive notes by Ivor Newton. - 63833520612z


“There would be little point in attempting to comment individually on all or most of these songs. Supervia’s individual voice and inimitable vocal skills are too well known to call for repetitious comment. Suffice it to say that each is a gem….For once the word ‘unique’ is merited….That we can now so easily listen in superior sound to the complete output of such a singer as Conchita Supervia is a modern marvel, for which every collector worth the name should join me in congratulating and thanking Ward Marston for bringing the project to such a triumphant conclusion.”

- John Banks, THE RECORD COLLECTOR, 2010

"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

“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 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