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Record reviews

Highlights of the past few months' record releases have been the number of Maria Callas recordings, issued on both Angel and Columbia labels.

CARMEN—complete opera

Carmen ___________ Maria Callas

Don Jose _________ Nicolai Gedda

Micaela ___________ Andrea Guiot

Escamillo Robert Massard, etc.

Choers Rene Duclos, Choers D'Knfants, Jean Pesneaud, Orchestra du Theatre National de l'Opera, Conductor Georges Pretre, HMV Angel SAN 140-2 (Stereo) AN 140-2 (Mono).

After listening to this version of Carmen. I am able to understand people who sleep in queues on pavements in order to buy tickets for the production.

The opera allows Miss Callas to exhibit her extraordinary powers of investing an operatic role with an intensity of dramatic meaning. The sheer force of her own personality dominates the characterisation—and what a characterisation it is!

Occasionally in her higher register there is a touch of shrillness or sharpness; however, this matters little.

Gedda is an impressive Don Jose—the overwhelming effect produced is the Don Jose of the novel—a sensitive figure with his pride and pathos. His last words, when he throws himself upon Carmen's body

"Ah! Carmen! ma Carmen adoree!" are magnificent; they embody all of these features.

Massard is a singularly unimpressive Escamillo, stolid and without the degree of swagger needed; this undercuts much of the effectiveness of the Toreador's Song. He is unable to achieve much in his last duet with Carmen—a pity.

Throughout, Pretre is obviously at ease with the score. His tempi are very good and in complete accordance with one another. The handling of the crowd chorus in Act IV is a good example of his excellent control over chorus and orchestra—the syncopation is brought off very well.

An excellent recording adds to the attractiveness of the set.

Callas Sings Verdi Arias— Maria Callas with Paris Conservatoire Orchestra, conducted by Nicola Rescigno. Otello (a) Mia madre aveva una povera ancella. (b) Piangea cantando (Willow Song). (c) Ave Maria piena di grazia. Don Carlo (a) O don fatale—Act 3 (b) Non pianger, mia compagna— Act 2. Aroldo (a) Ciel, ch'io respiri—Act 1. (b) O Cileo! Dove son io—Act 2. Columbia 33 MCX 1910 and SAXM 2550.

Another gem of a recording by Miss Callas. If anything, the standard of her performance is higher than in Carmen.

Miss Callas's account of the Willow Song is very good—extremely haunting, with lovely echo effects in the repeated "salice."

"Aroldo" allows her to show her dramatic style at its most vivid. The few squally and sharp notes in the high register still appear; however, it is of but little importance.

Throughout, the orchestral accompaniment is exceptional— beautiful, clear phrasing, and completely sympathetic to Miss Callas.

Just listen to the Willow Song, with the prelude scored for wind instruments, and the repetition of Barbara's Song (depicted by the cor anglais) as it runs through Desdemona's mind.

The recording is excellent; this is especially obvious in the more delicate parts of accompaniment, for example the manner in which the beautiful tone of the fading strings at the end of the Ave Maria has been captured.—D.J.H.