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Salient: An Organ of Student Opinion At Victoria University College, Wellington, N. Z. Vol. 24, No. 4. 1961

Fine Arts Section — Records

page 15

Fine Arts Section

Records

Lalo. Symphonic Espagnole, Op. 21.

Ravel. Tzigane. Ruggiero Ricci (violin), Suisse Romnande Orchestra/Ernest Annermet. Decca Lxtm 5527.

Lalo. Symphonic Espagnole, Op. 21.

Tchaikovsky. Serenade Melan-cholique, Op. 26. Leonid Kogan (violin), Philharmonia Orchestra/Kyril Kondrashin. Columbia 33Mcx 1683.

Interpreting Lalo calls for more than just technical proficiency, as demonstrated by listening to the Ricci performance: at the same time, it calls for more than just a deep feeling for the instrument, as shown by listening to the Kogan disc. On the one hand—the former—we are confronted with a show of faultless bowing, perfect harmonies, precise spiccato, clean glissando, but stylistically unimpressive. On the other, the soloist gives emphasis to style; and whilst not being truly Iberian in flavour, is more careful and thought out than the first.

It could be a possible toss-up between the two: does one prefer Ricci's marvellous fiddling or Koran's coolly impressive mellowness? Unfortunately, the choice can only lie one way—that of the Columbia: for Decca have made such a mess in the taping or pressing of this discs that listening, after a while, becomes intolerable. One becomes unconscious of any orchestra accompanying the soloist, he is so far forward: again, when the orchestra does come through, it is with a stridence and wiriness that leaves everything to be desired. Kogan is well supported by the Philharmonia, and has the advantage of superior recording and a line accompanying conductor.

Mozart. Symphonies. No. 29 in A major, K.201; No. 39 in E flat major, K.543.

Sinfonia of London/Colin Davis.

World Record Club. Tz 130.

These performances are not without faults; understandably so when one considers they are the initial ventures of Colin Davis into the realm of recorded music. However, a fair interpretation is given of the 39, and a quite good one of the A major. Mr Davis has an extremely personal approach to Mozart, one that differs considerably from, say, Schmidt-Isserstedt's or Beecham's, though not as generally successful. His attack is apt to alternate loose and taut, yet some of his phrasing is particularly lovely in places—(the Andante of the A major). The orchestra does not convey the weight or the sheen of the strings of the Philharmonia, and the clarinetist (responsible for some very woolly playing in the E flat major Minuet), and timpanist are, unfortunately, neither of them a Kell or Saul Goodman.

This is, however, imaginative playing from a young man of whom we hope to hear more. Recording is rather muddy in the opening of 39, otherwise good.

Strauss. Johann II. Die Fleder-maus— excerpts.

Einstein Alexander Young
Rosalinde Victoria Elliot
Frank Frederick Sharp
Orlofsky Anna Pollak
Alfred Rowland Jones
Dr. Falke John Heddle Nash
Adele Marion Studholme

With the Sadler's Wells Opera Company & Orehes./Vilem Tausky. H.M.V. Mcly 1272.

By far the most enjoyable Fledermaus yet to appear, sung outside the original and usual German, this record is indicative of the excellent work Sadler's Wells Is doing in the operetta field. The performance is extremely lively, the hall resonant (probably through added reverberation), and the casting could not be bettered.

Vilem Tausky appears to have Strauss and Vienna in his understanding; his handling of the overture is excellent, pure and spirited (with a rattling side-drum just to keep matters apace), and the reading generally is perfect. John Heddle Nash, son of the famous tenor, leads off as Falke, accompanied by Alexander Young as Eisenstein, in a brilliantly clear and attractive "I'll be at the ball tonight." Probably the most successful figure in the performance is Marion Studholme, whose Laughing Song is a delight to hear, sung with just the right amount of verve and impudence. As Orlofsky. Anna Pollak makes a briefly memorable appearance; and as Rosalinde, Victoria Elliot is capable, but not, at times, all at home with the music—suffering as she does in the extremes of the register.

Considering all the demerits, one is still left with a beautiful example of Viennese operetta at its gayest; a performance of wit and style. Overall, the diction is perfect, and balance between orchestra and soloists is likewise. The recording is spacious, but unfortunately end-of-side distortion creeps in fairly early in the proceedings.

Luchino Visconti and Alide Valli rehearsing a scene from "The Wanton Countess." reviewed in this issue.

Luchino Visconti and Alide Valli rehearsing a scene from "The Wanton Countess." reviewed in this issue.