The Gramophone, September, 1926
beauty of Madame Olszewska's voice ma y have escaped me. I have certainly heard no record of hers so far which justifies the extravagant adula,tion she r eceived from the Ellftlish critics. Madame Kappel, on t·he other hand~ has a really exquisite soprano voice, and her singing of P(~ce, pcwe, mio Dio from Jilo'/"za del Destino is in i ts way perfection. I confess I was disappointed with the recording of the orchestra under new conditions of the Finale from OottC'rdiimmemng, and I hazard a guess t hat the singer was too far in front of it. I t is significant to note what disastrous noises Wagner can extra,ct from a lovely soprano like Madame Kappel. Surely the t ime has come to abolish the human voice from Wa,gner's operas and use special saxophones instead or, better still, turn them entirely into orchest ral works. The wonderful duet from Cannen, Si tu m'aimes, was sung by Madame Olszewska anu Dr. Emil Schipper in the worst Germanic style . This is surely one of the greatest moments in all opera" and to fail to thrill when i t arrives does argue a rea.! dramatic incompetence. I recommend the old H.M.V. version of Farrar and Amato. There's life in the old dog yet! I offer this as a slogan for the Evergreen catalogue.
Further discus sion of sound-boxes will be resumed in the October number, following upon a visit to Jethou by the Expert Committee, the members of which, if the interests of the gramophone demand i t ,
will be marooned on an islet close by a,t the end of the conference.
Only one reader, Mr. A. C. Stehouwer, of 66, Corn. Krusemanstr., Amsterdam, spotted that the Andante from Mozart's Quartet in 0, No. 10 (Sm'enata) Columbia L.1729-30, must have inspired Donizetti's. great Oarit.one aria, A tanto amO'F, in La Favor'ita. Unfortunately he omitted to supply the much ea,sier a,nswer, that the theme in the first movement of the Schubert Quartet in D minOt·, now publishe(l complete both by Columbia and Parlophone, wa s used in the FlowC'I" Song in Lilctc Time. Severa,l readers spotted this. I cannot award lVIr. Stehouwer the prize, but i f he will name a single record that he wants we will send i t to him. The resemblance to A tanto amo'l' is really startling. This was the aria "with which Battistini made his success. Perhaps tho se who enjoy Donizetti will now try Mozart's quartets, and perhaps those who enjoy Moza,rt's quartets will hesitate before the,Y commit themselves to the critical cliche that Donizetti only wrote cheap tunes . COMPTON MACKENZIE.
When ordering the Lifebelt state the make of your Gramophone.
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The Index and Binding Case for the twelve numbers of Vol. III. can be sent to you. See page 130.
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