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Complete Gramophone Company Recordings, Vol. 3
 
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Complete Gramophone Company Recordings, Vol. 3

Giacomo Puccini , Stanton-Burleigh , Jules Massenet , Richard [Classical] Wagner , Charles Gounod , Giuseppe Verdi , Henry Rowley Bishop , Landon Ronald , Ambroise Thomas , Georges Hue , Felix [1] Mendelssohn , George Henschel , Antonio Lotti , Henri Duparc , Wolfgang Amadeus Mozart , Ernest Chausson , Landon Ronald , New Symphony Orchestra of London , Edgar Stanley Roper , Gabriel Lapierre Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)


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Product Details

  • Performer: Landon Ronald, Edgar Stanley Roper, Gabriel Lapierre
  • Orchestra: New Symphony Orchestra of London
  • Conductor: Landon Ronald
  • Composer: Giacomo Puccini, Stanton-Burleigh, Jules Massenet, Richard [Classical] Wagner, Charles Gounod, et al.
  • Audio CD (February 18, 2003)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Naxos
  • ASIN: B00007FKQ0
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #531,995 in Music (See Top 100 in Music)

 

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8 of 9 people found the following review helpful:
5.0 out of 5 stars Buried treasure?, August 4, 2003
This review is from: Complete Gramophone Company Recordings, Vol. 3 (Audio CD)
There was a time when collectors prized their single sided Melba records as though they were the crown jewels. If any such collectors are still alive, the prospect of acquiring 23 Melba recordings, including 12 that were never issued during Melba's lifetime, on one budget-priced CD, might induce more excitement than is healthy for a veteran collector.

Found here are all the recordings Melba made on the eastern side of the Atlantic from 1908 to 1913. Joining Melba to participate in a trio from "Faust" and the quartet from "Rigoletto" is John McCormack (reportedly severely tongue-lashed by Melba for not arriving at the recording session on time). Heard here also in famed violinist Jan Kubelik, father of conductor Rapheal Kubelik.

Accepting that these are 90 year old recordings, and accepting that Melba's voice was never well caught by the acoustic recording process, modern listeners might still be able to discern a phenomenal voice here, sure in pitch and quality throughout a wide range. The best opportunity of discerning it occurs during a "distance test" track. While Melba practises some of the roulades and ravings of Ophelia's mad scene from Thomas' "Hamlet", she is placed a varying distances from the acoustic horn so that the ideal placing can be found and fewer matrixes wasted.

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