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Author Topic: Early Caruso & Melba recordings go on display in Paris  (Read 451 times)
Reiner Torheit
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« on: 14:16:27, 18-12-2007 »

100-year-old recordings stored in a "time-capsule" have gone on display in Paris:

http://www.cbc.ca/arts/music/story/2007/12/17/paris-urns.html?ref=rss

The capsule can't be opened to play the recordings yet, however - as they were sealed in asbestos to protect them.  Scientists are now working on a safe procedure to remove the asbestos....
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
-  Leon Trotsky, "My Life"
John W
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« Reply #1 on: 19:40:52, 18-12-2007 »

Well, while they are waiting they can listen to my discs, I have four out of five of Caruso's 1907 recordings (all recorded in New York) and maybe one of Nellie Melba's too.

 Wink I will admit that only the Melba and one of Carusos are 1907 pressings, single sided Victor records; the other Carusos are on double-sided re-issues from the 1920s.

In 1907 Caruso recorded arias from Pagliacci, Andrea Chenier, La Boheme, and Pescatori di Perle.

I haven't checked a Melba discography but I have her 1907 recording of Voi che sapete (Marriage of Figaro)

Asbestos? Little did they know that their records would have been safe kicking around in someone's attic in Ohio (where I bought them) for 100 years  Smiley
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oliver sudden
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« Reply #2 on: 19:49:38, 18-12-2007 »

I haven't checked a Melba discography but I have her 1907 recording of Voi che sapete (Marriage of Figaro)

Are her vowels as Australian as I remember them, John? Smiley
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Andy D
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« Reply #3 on: 19:56:53, 18-12-2007 »

You've got the original 78s John? Shocked

I've got 2 Melba CDs and 2 of Caruso as well.

The EMI Reference Melba starts at March 1904 from which this rather hurried version of Sempre Libera dates:

http://myweb.tiscali.co.uk/andyd.music/semprelibera.mp3

How OZ do her vowels sound OS?

The Caruso recordings also start in 1904.

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oliver sudden
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« Reply #4 on: 20:06:42, 18-12-2007 »

How OZ do her vowels sound OS?

I remember them being sublimely diphthongised when last I heard them but that was a while ago... (not that I have any great problem with it, mind)
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Reiner Torheit
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« Reply #5 on: 20:15:11, 18-12-2007 »

The EMI Reference Melba starts at March 1904 from which this rather hurried version of Sempre Libera dates:

Seemed like a normal tempo to me, Andy..  I've heard faster in opera houses (Nelly Miricoiu, for one, and, err, Nara Boldbaatar at Mongolian National Opera, who goes like the clappers)  Wink She flips a fraction ahead of the beat at one point, so maybe she felt it was faster than usual (to fit on the disk)?  And no Eb''' at the end, either!  The tenor's outburts were welcomely omitted - I always hate that moment anyhow Smiley

I wonder how typical the recording was of how she sang on stage during her career?
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
-  Leon Trotsky, "My Life"
John W
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« Reply #6 on: 20:36:36, 18-12-2007 »

You've got the original 78s John? Shocked


Yes, the US Victor opera records I collected while living in Ohio late 1980s. The few 1907 discs I have were likely found in junk shops and antique fairs there, and I remember one anteeky shoppe in Berea, Cleveland where I bought about 50 Victrola records from 1920s (many were re-issues of pre 1920 recordings) a lot of Caruso Chaliapin, Farrar, Martinelli, Sembrich etc. Their sound is a lot better than the 1907 discs which are a bit swishy. No great value to any of these discs, there are thousands of them still about. Undecided

I expect the discs in Paris asbestos are on the label La Voix De Son Maitre the French equivalent of His Master's Voice here, though maybe Gramophone Concert, coincidently I posted a copy of one of those labels to Ollie at the weekend  Smiley

Ollie, I'm not hot on Aussie accents, though I do watch Home and Away occasionally  Roll Eyes I just got the swishy 78 onto my deck here with stylus etc and I don't regard the voice as impressive, it would sound better on a gramophone but mine are at the moment sat at the back of the freezing garage right now.

I'm sure there are accounts of how her recorded voice compares to the stage. Back in 1907 the process was still very primitive, she would be crammed quite close to the small orchestra yelling into a horn.
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Andy D
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« Reply #7 on: 20:38:05, 18-12-2007 »

I'm sure you're right about the tempo Reiner, I've just listened to my 1958 Callas recording. I suppose the Melba seems faster to me just because there's no slower passage from Alfredo. The Callas lasts for almost 4 mins whereas the Melba is under 2mins.

O Torheit, Torheit! Eitler Wahn!
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Andy D
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« Reply #8 on: 20:56:53, 18-12-2007 »

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John W
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« Reply #9 on: 21:34:23, 18-12-2007 »

Andy,

On the 1907 disc it says Mme. Melba and Caruso records from that time had Sig. Caruso like the one I posted

here


John W
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Andy D
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« Reply #10 on: 23:30:36, 18-12-2007 »

My other Melba CD is a Pearl collection entitled "Arias & Songs 1907-1926" which includes her farewell performance in 1926 (GEMM CD 9353). It does rather sound as if she's frying a lot of chips however Grin I don't think much processing has been applied to the sound of the 78s.

As there doesn't seem to be a copy of the booklet cover online, I've scanned mine in.

« Last Edit: 00:02:24, 19-12-2007 by Andy D » Logged
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