Selma Kurz Recital
Recorded by Kurz, close to 50, there is much of touching beauty as well as great warmth and affection in these fine transfers
View record and artist detailsRecord and Artist Details
Composer or Director: Luigi Arditi, Benjamin (Louis Paul) Godard, Vincenzo Bellini, Giuseppe Verdi, Enrico Toselli, Giacomo Meyerbeer, (Charles Louis) Ambroise Thomas, Giacomo Puccini, Charles-François Gounod, Fritz Kreisler
Label: Preiser
Magazine Review Date: 9/2000
Media Format: CD or Download
Media Runtime: 78
Mastering:
ADD
Catalogue Number: 89504
Tracks:
Composition | Artist Credit |
---|---|
Ernani, Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Giuseppe Verdi, Composer Selma Kurz, Soprano |
Rigoletto, Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Giuseppe Verdi, Composer Selma Kurz, Soprano |
(La) traviata, Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Giuseppe Verdi, Composer Selma Kurz, Soprano |
(Un) ballo in maschera, '(A) masked ball', Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Giuseppe Verdi, Composer Selma Kurz, Soprano |
Dinorah, '(Le) pardon de Ploërmel', Movement: Ombre légère (Shadow Song) |
Giacomo Meyerbeer, Composer
(Anonymous) Orchestra Giacomo Meyerbeer, Composer Selma Kurz, Soprano |
Mignon, Movement: ~ |
(Charles Louis) Ambroise Thomas, Composer
(Anonymous) Orchestra (Charles Louis) Ambroise Thomas, Composer Selma Kurz, Soprano |
Ave Maria |
Charles-François Gounod, Composer
(Anonymous) Orchestra Charles-François Gounod, Composer Selma Kurz, Soprano |
Sérénade |
Charles-François Gounod, Composer
(Anonymous) Orchestra Charles-François Gounod, Composer Selma Kurz, Soprano Vása Príhoda, Violin |
Jocelyn |
Benjamin (Louis Paul) Godard, Composer
(Anonymous) Orchestra Benjamin (Louis Paul) Godard, Composer Selma Kurz, Soprano Vása Príhoda, Violin |
Serenade (Serenata) |
Enrico Toselli, Composer
(Anonymous) Orchestra Enrico Toselli, Composer Selma Kurz, Soprano Vása Príhoda, Violin |
Caprice viennois |
Fritz Kreisler, Composer
(Anonymous) Orchestra Fritz Kreisler, Composer Selma Kurz, Soprano Vása Príhoda, Violin |
(La) Sonnambula, Movement: ~ |
Vincenzo Bellini, Composer
(Anonymous) Orchestra Selma Kurz, Soprano Vincenzo Bellini, Composer |
(I) Puritani, Movement: ~ |
Vincenzo Bellini, Composer
(Anonymous) Orchestra Selma Kurz, Soprano Vincenzo Bellini, Composer |
(La) Bohème, 'Bohemian Life', Movement: Sì. Mi chiamano Mimì |
Giacomo Puccini, Composer
(Anonymous) Orchestra Giacomo Puccini, Composer Selma Kurz, Soprano |
(Les) Huguenots, Movement: ~ |
Giacomo Meyerbeer, Composer
(Anonymous) Orchestra Giacomo Meyerbeer, Composer Selma Kurz, Soprano |
Parla Waltz |
Luigi Arditi, Composer
(Anonymous) Orchestra Luigi Arditi, Composer Selma Kurz, Soprano |
(Il) Bacio |
Luigi Arditi, Composer
(Anonymous) Orchestra Luigi Arditi, Composer Selma Kurz, Soprano |
Author: John Steane
Kurz is now remembered for her trill, and there are plenty of examples of it in this collection. But there was more to her than that. The warmth is partly of timbre, partly of character. Second in the programme is ‘Caro nome’, and one can hardly think of a more affectionate version; the dreamy, delicate manner of Maria Ivogun is here, but with it a roundness of tone, token of a generous heart. And it is all very much in the German-Austrian tradition of the gentle maiden with ethereal head-tones rather than the Italian ideal of brilliance and challenge.
In earlier years the voice would swell with quite remarkable power; these recordings come from a time when she was approaching her 50th birthday. She had not been in the best of health or the most reliable vocal condition since an illness in 1921, yet much here is touchingly beautiful and all is the work of a genuinely distinguished singer. The songs include a verse of Jocelyn’s lullaby, sung with a purity matching that of Alma Gluck, and an arrangement of Kreisler’s Caprice viennois finds the voice as smooth and long-phrased as the violin itself. The transfers are finely done, and the only regret is that room was not found for other lovely things from that period, such as Handel’s Sweet Bird, the Chopin Nocturne and Reger’s Maria Wiegenlied. A further issue, perhaps, with the electrical recordings, which are much better than she thought them.'
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