V1799. MARGARET SHERIDAN: Songs by Moore, etc.; Arias from Lohengrin, Otello, La Boheme & Madama Butterfly; Duet with Lionello Cecil from Madama Butterfly; Duets (w.Renato Zanelli & Aureliano Pertile) from Otello, Manon Lescaut & Andrea Chénier. (Austria) Preiser 89745, recorded 1926-29. Very long out-of-print, Final Copy! - 717281897457
"During her time, appearing in Italy as Margherita Sheridan, she was unsurpassed in the Italian lyric-spinto repertory, and Puccini called her Butterfly 'a revelation'....Sheridan's voice was big and pointed, yet always limpid, while her command of grand phrasing and total musicality made her a conductor's dream."
- Bill Zakariasen, OPERA NEWS, Feb., 1996
“Irish soprano Margaret Sheridan (known as ‘Maggie from Mayo’ and is regarded as Ireland's first prima donna) made her début in LA BOHÈME (Rome, 1918), and in 1919 she appeared at Covent Garden (as Mimì and Iris in the first London performance of Mascagni's opera). She returned there in 1925, remaining until 1930, but sang mostly in Italy at the leading theatres, including La Scala (1922 – 1924). Her voice was pure and colourful, naturally suited to the passionate music of Puccini's heroines. A fine actress, she was outstanding as Manon, Cio-Cio-San and also as Madeleine in ANDREA CHÉNIER. Puccini described her Madama Butterfly as being ‘full of charismatic intensity and childlike appeal’, and when she was to star in his opera MANON LESCAUT, he decided to coach her himself....a voice of a great authentic lyric soprano of the old school which unfortunately no longer exists today. Her distinctive timbre and a particular expressiveness which is evident in her recordings assured [Sheridan] a place of great merit in operatic history.”
- Giorgio Gualerzi
"An Irish soprano whose pluck and warm, yet keen-edged soprano appealed greatly to Italian audiences, Margaret Sheridan enjoyed a meteoric rise in Italy during the 1920s. Her recordings document both the lyric softness that informed her singing of more intimate moments and the pungency and bite she brought to more dramatic ones. Although she was urged to perform elsewhere, she largely confined her career to Italy and England. In 1916, the promising young singer was deemed ready and made her début at the Rome Opera performing Mimi in Puccini's LA BOHÈME, a role that would join several others as a signature part during her career. In 1919, the same role served to introduce her to Covent Garden in a May 27 performance of LA BOHÈME. For her first season, Sheridan also sang the title role in Mascagni's IRIS, being presented for the first time in the house. Although reviews for the production and the opera itself were tepid at best, Sheridan's singing and interpretation met with high praise. Six years were to pass before Sheridan returned to London, but in the meantime, her career expanded greatly in Italy. There, she matched the leading spinto sopranos of the day in temperament while offering a substantially tidier vocal presence. She sang at most of Italy's major opera theaters, including La Scala, creating an especially powerful impression with her Cio-Cio-San. Sheridan returned to London in a 17 June, 1925, performance of MADAMA BUTTERFLY, for which she wore the costumes of Rosina Storchio, Puccini's original Cio-Cio-San. The Times reported ‘she sang the music finely and her whole treatment of the part grew in dramatic interest as the opera progressed’. Sheridan also sang Maddalena de Coigny to substantial success, but the production was marred for some by the over-emphatic singing of the Chénier, tenor Giacomo Lauri-Volpi. When Sheridan sang her Maddalena in London, again in 1930, it was with Beniamino Gigli, whose singing of the title role was much preferred. The soprano left several memorable recordings, among them duets with tenor Aureliano Pertile from MANON LESCAUT, MADAMA BUTTERFLY, and ANDRE CHÉNIER, impassioned and vocally resplendent.”
- Erik Eriksson, allmusic.com