Marian Anderson - Opera, Oratorio & Song Recital
View record and artist detailsRecord and Artist Details
Composer or Director: George Frideric Handel, Johann Sebastian Bach, Richard Strauss, Robert Schumann, Johannes Brahms, Traditional, Sergey Rachmaninov, Franz Schubert, Giuseppe Verdi
Label: Vocal Series
Magazine Review Date: 1/1990
Media Format: CD or Download
Media Runtime: 75
Mastering:
Mono
ADD
Catalogue Number: GD87911
Tracks:
| Composition | Artist Credit |
|---|---|
| St Matthew Passion, Movement: Erbarme dich |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Marian Anderson, Contralto (Female alto) Robert Shaw, Conductor Victor Sinfonietta |
| Messiah, Movement: ~ |
George Frideric Handel, Composer
Charles O'Connell, Conductor George Frideric Handel, Composer Marian Anderson, Contralto (Female alto) Victor Symphony Orchestra |
| Ave Maria, 'Ellens Gesang III' |
Franz Schubert, Composer
Franz Schubert, Composer Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) |
| Schwanengesang, 'Swan Song', Movement: No. 1, Liebesbotschaft |
Franz Schubert, Composer
Franz Rupp, Piano Franz Schubert, Composer Marian Anderson, Contralto (Female alto) |
| (Die) Schöne Müllerin, Movement: No. 2, Wohin? |
Franz Schubert, Composer
Franz Rupp, Piano Franz Schubert, Composer Marian Anderson, Contralto (Female alto) |
| (Der) Tod und das Mädchen |
Franz Schubert, Composer
Franz Rupp, Piano Franz Schubert, Composer Marian Anderson, Contralto (Female alto) |
| (12) Gedichte, Movement: No. 10, Stille Tränen |
Robert Schumann, Composer
Franz Rupp, Piano Marian Anderson, Contralto (Female alto) Robert Schumann, Composer |
| Myrthen, Movement: No. 3, Der Nussbaum (wds. Mosen) |
Robert Schumann, Composer
Franz Rupp, Piano Marian Anderson, Contralto (Female alto) Robert Schumann, Composer |
| (5) Lieder, Movement: No. 2, Immer leiser wird mein Schlummer (wds. Ling |
Johannes Brahms, Composer
Eugene Ormandy, Conductor Johannes Brahms, Composer Marian Anderson, Contralto (Female alto) Philadelphia Orchestra |
| Alto Rhapsody |
Johannes Brahms, Composer
Johannes Brahms, Composer Marian Anderson, Contralto (Female alto) Pierre Monteux, Conductor San Francisco Municipal Chorus San Francisco Symphony Orchestra |
| (4) Lieder, Movement: No. 4, Morgen (wds. J H Mackay: orch 1897) |
Richard Strauss, Composer
Franz Rupp, Piano Marian Anderson, Contralto (Female alto) Richard Strauss, Composer |
| (6) Songs, Movement: No. 3, In the silence of the secret night (wds. Fet) |
Sergey Rachmaninov, Composer
Franz Rupp, Piano Marian Anderson, Contralto (Female alto) Sergey Rachmaninov, Composer William Primrose, Viola |
| (Un) ballo in maschera, '(A) masked ball', Movement: ~ |
Giuseppe Verdi, Composer
Dimitri Mitropoulos, Conductor Giuseppe Verdi, Composer Marian Anderson, Contralto (Female alto) New York Metropolitan Opera Chorus New York Metropolitan Opera Orchestra |
| Go down, Moses |
Traditional, Composer
(Anonymous) Orchestra Marian Anderson, Contralto (Female alto) Mr Price, Conductor Traditional, Composer |
| Crucifixion/Hear the lamb's crying |
Traditional, Composer
Franz Rupp, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| My Lord, what a morning |
Traditional, Composer
Franz Rupp, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
Composer or Director: George Frideric Handel, Johann Sebastian Bach, Richard Strauss, Robert Schumann, Johannes Brahms, Traditional, Sergey Rachmaninov, Franz Schubert, Giuseppe Verdi
Label: Vocal Series
Magazine Review Date: 1/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
Mono
ADD
Catalogue Number: GK87911
Tracks:
| Composition | Artist Credit |
|---|---|
| St Matthew Passion, Movement: Erbarme dich |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Marian Anderson, Contralto (Female alto) Robert Shaw, Conductor Victor Sinfonietta |
| Messiah, Movement: ~ |
George Frideric Handel, Composer
Charles O'Connell, Conductor George Frideric Handel, Composer Marian Anderson, Contralto (Female alto) Victor Symphony Orchestra |
| Ave Maria, 'Ellens Gesang III' |
Franz Schubert, Composer
Franz Schubert, Composer Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) |
| Schwanengesang, 'Swan Song', Movement: No. 1, Liebesbotschaft |
Franz Schubert, Composer
Franz Rupp, Piano Franz Schubert, Composer Marian Anderson, Contralto (Female alto) |
| (Die) Schöne Müllerin, Movement: No. 2, Wohin? |
Franz Schubert, Composer
Franz Rupp, Piano Franz Schubert, Composer Marian Anderson, Contralto (Female alto) |
| (Der) Tod und das Mädchen |
Franz Schubert, Composer
Franz Rupp, Piano Franz Schubert, Composer Marian Anderson, Contralto (Female alto) |
| (12) Gedichte, Movement: No. 10, Stille Tränen |
Robert Schumann, Composer
Franz Rupp, Piano Marian Anderson, Contralto (Female alto) Robert Schumann, Composer |
| Myrthen, Movement: No. 3, Der Nussbaum (wds. Mosen) |
Robert Schumann, Composer
Franz Rupp, Piano Marian Anderson, Contralto (Female alto) Robert Schumann, Composer |
| (5) Lieder, Movement: No. 2, Immer leiser wird mein Schlummer (wds. Ling |
Johannes Brahms, Composer
Eugene Ormandy, Conductor Johannes Brahms, Composer Marian Anderson, Contralto (Female alto) Philadelphia Orchestra |
| Alto Rhapsody |
Johannes Brahms, Composer
Johannes Brahms, Composer Marian Anderson, Contralto (Female alto) Pierre Monteux, Conductor San Francisco Municipal Chorus San Francisco Symphony Orchestra |
| (4) Lieder, Movement: No. 4, Morgen (wds. J H Mackay: orch 1897) |
Richard Strauss, Composer
Franz Rupp, Piano Marian Anderson, Contralto (Female alto) Richard Strauss, Composer |
| (6) Songs, Movement: No. 3, In the silence of the secret night (wds. Fet) |
Sergey Rachmaninov, Composer
Franz Rupp, Piano Marian Anderson, Contralto (Female alto) Sergey Rachmaninov, Composer William Primrose, Viola |
| (Un) ballo in maschera, '(A) masked ball', Movement: ~ |
Giuseppe Verdi, Composer
Dimitri Mitropoulos, Conductor Giuseppe Verdi, Composer Marian Anderson, Contralto (Female alto) New York Metropolitan Opera Chorus New York Metropolitan Opera Orchestra |
| Go down, Moses |
Traditional, Composer
(Anonymous) Orchestra Marian Anderson, Contralto (Female alto) Mr Price, Conductor Traditional, Composer |
| Crucifixion/Hear the lamb's crying |
Traditional, Composer
Franz Rupp, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| My Lord, what a morning |
Traditional, Composer
Franz Rupp, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
Author: Alan Blyth
In terms of vocal prowess, the past has a great deal to teach us. We are constantly averring in Gramophone that in many cases Verdi and Wagner singers aren't what they were. But in certain respects, we can give the past a lesson. No self-respecting American singer today would dare to sing Lieder in such contorted German as Marian Anderson employs here, nor would any company issue such jegune interpretations. Nor is her thoroughly sentimental singing of Bach and Handel acceptable today. Yet she had a splendid voice- impressive in timbre, evenly produced with an attractively quick vibrato, and a sincerity that can be heard in everything she sings here, but especially in the spirituals. Indeed, quite the most arresting performance is Go down, Moses, recorded in 1924 when the mezo was just 22 and the voice had a wonderful freshness.
By the same token, the records she made for HMV, recorded in the late 1920s and early 1930s, and reissued on an EMI Treasury LP in 1986 (nla), show what she could achieve in her absolute prime. They also include the best of her opera records. By the time she came to record Ulrica (the role of her sole and famous Metropolitan Opera appearance) in 1955 or thereabouts, released on an LP of extracts from which ''Re dell'abisso'' is taken, the tone had hardened. So I can't really recommend this issue. If you can still find the EMI Treasury disc, you will have a better representation of a sincere artist, or else try the Pearl CD ((CD) GEMMCD9318, to be reviewed later).'
By the same token, the records she made for HMV, recorded in the late 1920s and early 1930s, and reissued on an EMI Treasury LP in 1986 (nla), show what she could achieve in her absolute prime. They also include the best of her opera records. By the time she came to record Ulrica (the role of her sole and famous Metropolitan Opera appearance) in 1955 or thereabouts, released on an LP of extracts from which ''Re dell'abisso'' is taken, the tone had hardened. So I can't really recommend this issue. If you can still find the EMI Treasury disc, you will have a better representation of a sincere artist, or else try the Pearl CD ((CD) GEMMCD9318, to be reviewed later).'
Marian Anderson - Opera, Oratorio & Song Recital
Marian Anderson - Opera, Oratorio & Song Recital
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