The Record Collector  -  2012, Conrad Thibault, Julius Huehn, Maria Galvany, Nicola Zerola, Charles Dalmores, Cesar Vezzani, Edna Thornton, Eleanor Jones Hudson, Anton Moser  (TRC 38)
Item# V2263
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The Record Collector  -  2012, Conrad Thibault, Julius Huehn, Maria Galvany, Nicola Zerola, Charles Dalmores, Cesar Vezzani, Edna Thornton, Eleanor Jones Hudson, Anton Moser  (TRC 38)
V2263. THE RECORD COLLECTOR - 2012 Issue, incl. Conrad Thibault, Julius Huehn, Eleanor Jones-Hudson, Maria Galvany, Nicola Zerola, Charles Dalmorès, César Vezzani, Edna Thornton & Anton Moser. (England) The Record Collector TRC 38, recorded 1907-32, incl. broadcast performance, first time on CD. Transfers by Norman White.


"Conrad Thibault possessed, for me, one of the loveliest of baritone voices. It is always used with great sensitivity for both word and music. His singing displays all the graces of bel canto, wedded to a superlative technique. We are delighted to present here his test record for Victor. On the evidence of this gorgeous sound it is hardly surprising that Victor snapped him up quickly.

Maria Galvany's style of singing probably, to modern ears, belongs to a bygone era. Here we present two titles which find her on her best behaviour. The Fado was written especially for her by the composer and is a most attractive example of her voice.

We have sought out the rarest of Charles Dalmorès' output. Both of these titles belong to the earlier, and much rarer, Victor session of 1907. The Carmen is a fine recording, in which he sings with great passion, grace and style. One would have thought that the aria would have suited him but I confess that I found 'Ah! lève-toi, soleil' rather disappointing. The voice is in fine shape but the approach is muscular rather than romantic.

Edna Thornton is desperately underrated by collectors. If these recordings were in the original languages they would be highly sought-after as examples of great singing. The ‘Brindisi’ can vie with the best of them, with its superb coloratura technique and an excellent trill. In the ‘Ai nostri monti’ she moulds an exemplary legato line and it is also a fine example of the much undervalued tenor Walter Hyde. Thornton sang with all the greats at Covent Garden and her recordings more than repay careful listening.

I had not previously heard any recordings by Anton Moser owing to their great rarity. Hence, it is with great pleasure that we can represent this baritone in both opera and lieder. The voice has an attractive, bright, lyric sound. He deserves to be better known.

Nicola Zerola has been much ignored by collectors and we hope that these examples will redress that. The voice is trumpet-toned, with a superb top, but it is also a very attractive sound in its own right. The Otello aria shows why his interpretation of the role was so highly valued. His recording of ‘Meco all’altar’, with the cabaletta squeezed on to a 12-inch disc, is of great rarity and shows an important voice of great authority. His Aida recording is an object lesson in how to depict a hopeless situation by scaling down a large spinto voice to a caressing mezza voce.

Were it not for broadcasts the voice of the American bass-baritone Julius Huehn would have been lost to us forever. Thanks to this 1940 broadcast we can enjoy this heldenbariton, who sings with great beauty, tenderness and authority.

Finding excellent examples of the lovely voice of Eleanor Jones-Hudson gave us much difficulty. Her records usually turn up in poor condition, indicating the great enjoyment they have given their owners over the years. We feel we have done her justice with these three. Hers is a voice that is perfectly placed, of ethereal beauty and used with a fine technique. Her charm positively leaps from the grooves!

Most of César Vezzani’s recorded output has been reissued on LP or CD but here are three that have not yet been released on Marston’s ‘complete Vezzani’ project. They show the visceral excitement of that voice at its best with its thrilling vibrancy and ringing top. Outstanding among these is his recording of ‘Les millions d’Arlequin’. It was undoubtedly a voice that had to be worked, yet he sings this lovely song with a caressing half-voice throughout. The beautifully placed and held G with which he ends the piece lingers long in the memory after the music has faded."