Reviews for CD 2287-89 San Francisco Opera Gems Volume 2
International Record Review – December 04
Volume 2 of 'San Francisco Opera Gems' contains things that I have never
encountered before, though they may have once appeared on one of the pioneering
pirate labels. As usual with Guild, the sound surprises by its clarity and lack
of graunch and crackle, though sometimes at a cost in top-cut, which is never
gross. We begin with Act 2 of La Juive from 1936, with Giovanni
Martinelli and Elisabeth Rethberg under Gaetano Merola, who often turns out to
be a less dreadful conductor than his reputation would suggest. The singing here
is simply amazing, leading me to feel that I must settle down and listen to this
neglected opera through. Martinelli shows a few signs of strain but is mainly
wonderful, and Rethberg I truly is - to use a word I have vowed I wouldn't -
awesome. The rest of the disc is devoted to a severely truncated final scene of
Act 3 of Die Walküre, with Flagstad and Schorr , again under Merola,
emphatically no Wagnerian. Flagstad in 1936 was in her youthful prime, singing
with a passion which she is so regularly denied, while Schorr, despite terribly
effortful high notes, is a model of nobility and firm legato. Where the acetates
gave out, Guild has supplied excerpts from a Met broadcast of 1940, but with
great tact and skill. The next disc begins with tantalizing fragments from Act 1
of Andrea Chénier from 1938, Gigli on heroic form, Rethberg singing for
only a few moments. Then Act 1 of Pagliacci from 1945, a performance
mainly distinguished by Raoul Jobin's desperate Canio, while as usual Licia
Albanese treats us to her full repertoire of sobs and strained mirth. The third
disc has extracts from Carmen with Charles Kullman, Risë Stevens and,
most strikingly, Eleanor Steber, a glorious Micaëla. Then we get a nominally
complete Act 3 of Rosenkavalier, also from 1945, in which Lotte Lehmann
sings one of her last Marschallins, and has to adjust the vocal line of the trio
to cope; she is still incredibly moving, and the other singers are fine, apart
from Lorenzo Alvary's unsuitable Ochs. A thrilling set: let's hope there are
more volumes to follow.
Michael Tanner
(Guild Historical GHCD2287/89, three discs, 3 hours 19
minutes).
Guild’s
booklet is as ever very attractive and full of background and there will, I am
sure, be a collector’s market for these discs. . . Jonathan Woolf - MusicWeb
MusicWeb – September 2004
San Francisco Opera Gems: Volume 2
Live recordings from the War Memorial Opera House
San Francisco in Seasons 1936, 1938, and 1945
GUILD HISTORICAL IMMORTAL PERFORMANCES GHCD 2287-89
[3CDs: 66.38+59.27+73.21]
CD 1
Jacques François
HALÉVY (1799-1862)
La Juive, Act 2 complete.
Rachel, Elisabeth Rethberg (sop); Eleazer,
Giovanni Martinelli (ten)
Conducted by Gaetano Merola. Recorded
October 30th 1936
Richard WAGNER (1813-1883)
Die Walküre, Act
3 scene 3
Wotan, Friedrich Schorr (bar); Brünnhilde,
Kirsten Flagstad (sop)
Conducted by Gaetano Merola. Recorded
November 1936
CD 2
Umberto
GIORDANO (1867-1948)
Andrea Chenier, Act
1 scene
Chenier, Beniamino Gigli (ten); Madeleine,
Elisabeth Rethberg (sop)
Conducted by Gaetano Merola. Recorded
October 7th 1938
Ruggero LEONCAVALLO (1858-1919)
Pagliacci
Nedda, Licia Albanese (sop); Canio.
Raoul Jobin (ten); Tonio, Francesco
Valentino (bar); Silvio, Mack Harrell
(bar); Beppe, Alessio de Paolis (ten)
Conducted by Gaetano Merola. Recorded
October 7th 1945
CD 3
Georges BIZET (1838-1870)
Carmen, excerpts
Carmen, Risë Stevens (mez); Don
Jose, Charles Kullman (ten); Micaëla,
Eleanor Steber (sop)
Conducted by Georges Sebastian. Recorded
October 21st 1945
Richard STRAUSS (1864-1949)
Der Rosenkavalier, Act
3 complete
Marschallin, Lotte Lehmann (sop); Octavian,
Risë Stevens (mez); Sophie, Nadine
Conner (sop); Baron Ochs, Lorenzo Alvary
(bass)
Conducted by Georges Sebastian. Recorded October 18th 1945
Chorus and Orchestra of the Opera House, San Francisco
One thing that I’ve learned from Guild’s series of discs devoted to off-air
performances is just how unusual Raoul Jobin was in having his performances
privately recorded. His I Pagliacci , from 1945, survives because a San Francisco
studio preserved Act I on acetate discs and Jobin authorised other such private
recordings, some of which Guild has utilised in the past. Commonplace later or
now perhaps, and easy to do; but then troublesome and compromised by all manner
of potential problems, seldom of abiding interest to the musicians themselves –
and not cheap.
Which brings us to a central consideration regarding Volume 2 of this San Franciscan
operatic odyssey – the sound (we shall leave the issue of snippets and segments
to later). Sound quality ranges from fine to just bearable and most stops in
between. Listeners should know that there are a number of imperfections inherent
in the recorded mediums, including some necessary patching, though I should also
note that assiduous collectors and those for whom early electrics are the height
of modernity will find little to frighten them here.
We begin with Act II from La Juive with Rethberg and Martinelli. The sound
is somewhat constricted and there is a deal of acetate scuffing but against that
one can hear Rethberg’s dominating performance (a touch of steel in Il va
venir!) and also the sterling contribution of the underrated Charlotte
Boerner; the great Martinelli is not optimally steady, occasional effortful (the
impression is one of a bark) but full of personality. He strays off mike at
points, which is a pity, especially in Tu possèdes. Making up the disc is
Act III Scene III of Die Walküre , with Flagstad and Schorr. This has a big cut
and there’s some pitch fluctuation in Lieb’ wohl. If I add that the
orchestral playing can be crude and that Schorr, though ever magnetic, sounds in
frayed voice you will think this is a washout. It’s true that there are only
about twenty-three minutes worth here – and then not all have emerged intact
from damage – but Flagstad is here and her breath control in War es so
schmählich is superb to hear.
Andrea Chénier is a fourteen-minute segment. The chorus and band are rather
ragged but we again have Rethberg and this time Gigli, whose unforced ease of
voice production in Colpito qui m’avate – mezza voce, portamento and a
kind of parlando lyric power – is only slightly vitiated by his very Gigli-esque
emoting at the end. From the sound of it the San Francisco orchestra was a very
variable instrument because the strings are sketchy in the orchestral
introduction to I Pagliacci . Here we have some problems with Jobin’s acetates
that later on, because of side changing, occupy rather different acoustic
perspectives – still they are accurate enough to pick up what sounds like a very
active prompter or conductor. The star of the performance is Albanese –
quicksilver and alive, and the hints of acetate shatter in Sei là are not
going to derail her or her very pretty laugh. Mack Harrell proves dependable, in
the best sense, whilst Jobin is adequate as Canio; his Vesti la giubba
won’t make the cut but it’s not an embarrassment by any means.
The final volume offers a study in contrasts; Carmen is in generally excellent shape
– but against that it offers really only meagre excerpts lasting some twenty
minutes – whereas Rosenkavalier is in relatively worn condition but offers a
substantially complete Act III. Kullman – often taken for granted – proves
attractive in Carmen though it’s Risë Stevens who takes the honours – strongly
flexible singing and in youthful, fresh voice. The sound in Rosenkavalier is
rather brazen but Stevens is here again, in a performance she gave three days
before her Carmen extracts (in both cases Georges Sebastian is the conductor –
for many years Gaetano Merola ruled the operatic roost in the city and he
conducts La Juive , Die Walküre and Andrea Chénier ). Stevens gets a barrel of
laughs as Marandel, though she tends to caricature - the Ochs of Lorenzo Alvary
is not at all bad. But the sound is not good - congested and brittle and it
tends to limit enjoyment.
Guild’s booklet is as ever very attractive and full of background and there
will, I am sure, be a collector’s market for these discs. Generalists will find
it less satisfactory.
Jonathan
Woolf
MusicWeb – August 2004
San Francisco Opera Gems: Volume 2
Live recordings from the War Memorial Opera House
San Francisco in Seasons 1936, 1938, and 1945
GUILD HISTORICAL IMMORTAL PERFORMANCES GHCD 2287-89
[3CDs: 66.38+59.27+73.21]
This second volume of ‘San Francisco Opera Gems’ seems to serve much the same function as volume 1.
The San Francisco Opera often provided opportunities for singers on the Met
roster to sing roles and leads not offered them at the premier house. There was
also the matter of repertoire. One of the most interesting items in this
collection is the 1936 recording of act 2 of La Juive with Elisabeth
Rethberg as Rachel and Giovanni Martinelli as Eleazer. Eleazer was Caruso’s last
appearance on the stage when he sang the role at the Met on Christmas Eve 1920.
In great pain he never really recovered and died the following summer. It is a role which, as London Green notes in the booklet (p.8), requires a genuine heroic voice. Giovanni Martinelli sang the role at the Met in its first
revival there three years after Caruso’s death. By the time of this recording
there are signs of vocal wear. He does not sing the part with the open-throated
freedom of his great predecessor as can be heard on the final disc of Naxos’s
Caruso survey. The portrayal of Rachel by Elisabeth Rethberg provides the real pleasure. Her
full even tone and superb legato are a joy to hear. Her introduction to Il va
venir and the following music (CD1 trs. 6-9) are the highlights. It is a
great pity that the recording, derived from four sixteen-inch transcription
discs, has so much surface noise.
Rethberg makes a brief contribution to the scene from Andrea Chénier (CD2 trs.
1-4). The notable performance here is by Beniamino Gigli. The 1938 series of
performances at San Francisco, from which this recording is taken, marked
Gigli’s return to the American opera stage after the contretemps of his
departure from the Met six years earlier. His studio version is well known and admired. It is good to know from
this live recording that his essentially lyric voice could hit the high notes
with full tone and no strain in the theatre too (tr. 4). The remainder of the
second disc features act 1 of Pagliacci. The recording derives from four
transcription discs made for the featured tenor Raoul Jobin. The sound quality
is variable. The interest for me is the Nedda of Licia Albanese. She is richer
and warmer of tone than de los Angeles in the recently re-issued studio
recording and her characterisation is good (CD 2 trs. 12-14). I am no more impressed by
Raoul Jobin’s Canio than I was by his Don José in volume 1 of the series. His
phrasing lacks grace and he substitutes volume for subtlety (trs. 8-9 and
19-20). Francesco Valentino as Tonio introduces the work well (tr. 5), but at
the end of the day one can hear why he was pushed into smaller parts at the Met
after the arrival of Warren and Merrill.
On the third CD Risë Stevens makes a thoroughly vibrant, secure-toned and sexy Carmen
(CD 3 trs. 2 and 4). Charles Kullman as Don José sings tastefully if without any
distinctive beauty of tone (tr. 3). The American soprano Eleanor Steber is a
vocally secure Micaëla (tr. 5). The recording quality of this 1945 performance
is amongst the best in this collection. The act 3 from Der Rosenkavalier
from the same year, and which follows the Carmen, is of much poorer
quality (trs. 6-20). The best singing comes from Risë Stevens as Octavian,
although I agree with the booklet note that she overdoes the Mirandel episode.
Lotte Lehmann, born 1888, is here past her considerable best. Although her
artistry is still there so too is thin tone and downward transposition.
I haven’t mentioned the Die Walküre extract. Frankly, Schorr and Flagstad have had
excessive exposure on the various ‘Immortal Performance’ issues on Guild. Volume
1 of ‘San Francisco Opera Gems’ included a whole disc of act 2 of Die Walküre
conducted by Reiner and featuring these artists plus Melchior and Lehmann;
this was recorded the same year. London Green justifies these further extracts
on the basis of the freshness of Flagstad’s manner, caught here in the earlier
years of her Wagnerian career. Certainly the forward placing of the voices helps
appreciation of the purity and tonal beauty of her singing (CD 1 tr. 13). The
downside is that we can too clearly hear the worn parts of Schorr’s instrument.
Given the surface noise, pitch variation and the necessity of interpolation for
the sake of dramatic continuity, the time could have been better used.
The main item of interest in this collection is the extracts from La Juive and
Rethberg’s contribution in particular. Otherwise this disc is for those with a
specialist interest in particular singers from the past and whose ears can
tolerate the sonic limitations.
Robert J Farr
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