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Salient: Victoria University Students' Paper. Vol. 30, No. 6. 1967.

A comparison: Records D. J. H

page 8

A comparison: Records D. J. H

An interesting set of comparisons between three renowned sopranos arises Firstly Regine Crespin displays some of the form which has enabled her to build up a considerable reputation on the continent. Her performance on Verdi Arias (HMV ASDM 2275 Stereo) is a mixture of good and bad.

In the gibbet scene from Un Ballo In Maschero she is excellent with beautifully-controlled grand sweeps to the higher register. O Don Fatale, from Don Carlo, is also up to the same standard majestic with good dramatic phrasing. Unfortunately, the sleep-walking scene from Macbeth and the aria from Macbeth are not as effective. She does not have the same tight control over the dramatic aspect of the music. Accompaniment by the Paris Conservatoire under Georges Pretre is good.

Although I recommend this only with reservations, it is 100 per cent better than Maria Callas Sings Arias By Mozart, Beethoven And Weber (Columbia SAXM 2540 Stereo). This was recorded in 1964. but has only just been released here once again the orchestra is the Paris Conservatoire, this time conducted by Nicola Rescigno. I have never considered her suited to Mozart, and on this album these are the least effective arias. Her singing of Porgi Amor (Le Nozze di Figaro). Non mi dir and Mi tradi quell' alma ingrata (Don Giovanni) is laboured and continually off-key in the higher range and her tone is far too harsh.

The Beethoven (Ah Perfido) and Weber (Ocean Thou Mighty Monster) are more successful, the nature of the music allows Mlle Callas's dramatic powers more scope. The recording is poor, at times it sounds as if she is close enough to the microphone to swallow it.

After this it is a pleasure to listen to Highlights from Cosi Fan Tutti (HMV Angel MALP 2265 Mono). Here we have a superb Mozartian soprano, Elisabeth Schwarzkopf in the role of Fiordiligi. Most delectable renditions of the Rondo from Act 2 Per pieta. ben mio and the aria Come scoglio immoto resta are the features of the disc. Christo Ludwig, Alfredo Kraus, Giuseppe Taddei, Harry Steffek and Walter Berry are all most satisfactory, but they are, however, somewhat overshadowed by Miss Schwarzkopf.

Record catalogues are crammed with recitals of Chopin. New releases have to be outstanding to make a significant impression in this competitive field—as is the case with recent Rubinstein records. My Favourite Chopin, with Van Cliburn, misses out narrowly (RCA LSC 2576 Stereo). His biggest drawback is the selection of pieces. To quote the sleeve-note: "The selections on the album are by no means all of my favourites, they are only a fraction of the many Chopin works that give me heartfelt pleasure"—all very nice. However, why didn't he include more of these others that possibly aren't so hackneyed?

The standard of his playing is as high as ever, just listen to Ballade No. 3 in A flat, but too much of the disc is taken up by the war-horses—Polonaise No. 6 (Heroic), Etude No. 23 (Winter Wind) and the inevitable Waltz No. 7 in C sharp minor. The recording is rather harsh and lacks depth.

And yet another outstanding Julian Bream disc—Bach Lute Suites No. 1 and No. 2 (RCA LM 2896 Mono). The sleeve-note informs us that he plays the suites on guitar because ". . . the drama implied in the structure of Bach's lute music "falls happier' on the guitar" Previous Bream releases have contained movements from these suites and it is most satisfying to now be able to hear the works in their entirety The performances are masterful—a beautiful tone and delicate control of rhythm, Added to this is an extremely clear recording.

A marvellous disc on the Ace of Diamonds label is The Graduation Ball ballet (SDD 127 Stereo). Antal Dorati selected the music from unpublished manuscripts in the Vienna State Opera Library. Interestingly enough the first performance of the ballet was in this end of the world—at the Theatre Royal, Sydney, in 1940. The scene for the ballet is a ball at a Viennese girls' school in the 1840s. The work abounds in gay, zestful dances.

Will Boskovsky conducts the Vienna Philharmonic in a delightful rendition of the work The orchestra's playing is impeccable. An added gem is Weber's Le Spectre de la Rose ballet (Invitation to the Dance). The recording is most satisfactory despite its age (1961).

The latest wave of mass hysteria (at present replacing Beatlemania throughout the pop world) revolves around an extremely commercial pop group with a most unpretentious, almost innocuous sound—the Monkees. They have been labelled everything from Beatle-imitators to frauds (their detractors claim they don't even play their instruments) but none of this has affected their immense popularity.

Their second album, More of the Monkees (RCA RPLS 3408 Stereo) is inconsistent; there are a number of catchy tunes with uncluttered arrangements and well sung—I'm A Believer. Steppin' Stone, Mary Mary and Your Auntie Grizzelda. But the others— ugh! No wonder so many people hate Americans when the composers of these other tunes are considered the best in the country—Gerry Goffin and Carole King, Neil Sedaka, Neil Diamond and Jack Keller. The Day We Fall In Love is the worst track I have heard on record—Davy Jones narrates "Time will stop, For you and I. On the day we fall in love . . ." and a whole succession of endless drivel with strings, guitars and organ in the background. On the credit side, it is easily the best-recorded pop lp I have heard, a fantastic stereo breakup of vocals and instruments.

The Fine Arts Quartet with Leonard Sorkin, violin, Abram Loft, violin, Gerald Stanick, viola, and George Sopkin, cello. The Quartet will give a concert in the Concert Chamber on the afternoon of Sunday, June 11. For music lovers it promises to be a concert of great interest as the Quartet is ranked as a master of the Chamber Music medium.

The Fine Arts Quartet with Leonard Sorkin, violin, Abram Loft, violin, Gerald Stanick, viola, and George Sopkin, cello. The Quartet will give a concert in the Concert Chamber on the afternoon of Sunday, June 11. For music lovers it promises to be a concert of great interest as the Quartet is ranked as a master of the Chamber Music medium.