Divas 1906-1935

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Divas 1906-1935

  • Fidelio, ~, Komm, Hoffnung
  • Mefistofele, L'altra notte
  • Prince Igor, For long past (Yaroslavna's Aria)
  • O del mio amato ben
  • Roméo et Juliette, 'Romeo and Juliet', Je veux vivre (Waltz)
  • Don César de Bazan, A Séville, belles Señoras (Sevillana)
  • Manon, ~, Obéissons quand leur voix appelle (Gavotte)
  • (Die) Zauberflöte, '(The) Magic Flute', Der Hölle Rache
  • (La) Bohème, 'Bohemian Life', Donde lieta uscì (Mimì's farewell)
  • Madama Butterfly, Un bel dì vedremo
  • Sadko, Sleep went along the river (Berceuse)
  • (Il) Barbiere di Siviglia, '(The) Barber of Seville', Largo al factotum
  • Mignon, ~, Je suis Titania (Polonaise)
  • Aida, ~, Ritorna vincitor!
  • Aida, ~, L'insana parola
  • (Un) ballo in maschera, '(A) masked ball', ~, Saper vorreste
  • Rigoletto, ~, Caro nome
  • (Il) trovatore, ~, D'amor sull'ali rosee
  • (La) Calasera
  • Fidelio, ~, Komm, Hoffnung
  • Mefistofele, L'altra notte
  • Prince Igor, For long past (Yaroslavna's Aria)
  • O del mio amato ben
  • Roméo et Juliette, 'Romeo and Juliet', Je veux vivre (Waltz)
  • Don César de Bazan, A Séville, belles Señoras (Sevillana)
  • Manon, ~, Obéissons quand leur voix appelle (Gavotte)
  • (Die) Zauberflöte, '(The) Magic Flute', Der Hölle Rache
  • (La) Bohème, 'Bohemian Life', Donde lieta uscì (Mimì's farewell)
  • Madama Butterfly, Un bel dì vedremo
  • Sadko, Sleep went along the river (Berceuse)
  • (Il) Barbiere di Siviglia, '(The) Barber of Seville', Largo al factotum
  • Mignon, ~, Je suis Titania (Polonaise)
  • Aida, ~, Ritorna vincitor!
  • Aida, ~, L'insana parola
  • (Un) ballo in maschera, '(A) masked ball', ~, Saper vorreste
  • Rigoletto, ~, Caro nome
  • (Il) trovatore, ~, D'amor sull'ali rosee
  • (La) Calasera

These selections have been compiled by Norman White, who has been the originator of the whole Nimbus enterprise. He is clearly a Tetrazzini man for, after her place of honour at the start of the first disc, she now has three items introducing the second. The Mignon Polonaise has always been a favourite of mine too, but I'm afraid I used to think the ''Caro nome'' fit subject for irreverent mimicry: no longer. What Melba would have said about her own single one to Tetrazzini's three is something the Editor would not print or probably even believe. It's interesting to see how effectively the two rivals in conjunction introduce their great predecessor: Adelina Patti on the record suppressed because her husband couldn't stand it, is heard I think more convincingly here than ever before. Then comes Frieda Hempel tossing an extra note or two up to the ledger lines in the Queen of Night's aria, and Galli-Curci beatific, irresistible, and Lotte Lehmann all warmth, impulse and womanliness. Only Maria Nemeth raises a doubt or two as to her place among the chosen, all of them being heard at their characteristic best and on first-class copies.'

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