The Art of the Coloratura
View record and artist detailsRecord and Artist Details
Composer or Director: Julius Benedict, Alexander Alexandrovich Alabiev, Nikolay Rimsky-Korsakov, Gioachino Rossini, Jerome (David) Kern, (Clément Philibert) Léo Delibes, Heinrich Proch, Eva Dell' Acqua, Johann Strauss II, Dino Olivieri, Jacques Offenbach, Gaetano Donizetti, (composers) Various, Giuseppe Verdi
Label: Mastersound
Magazine Review Date: 4/1992
Media Format: CD or Download
Media Runtime: 73
Mastering:
Mono
ADD
Catalogue Number: DFCDI-111
Tracks:
Composition | Artist Credit |
---|---|
An der schönen, blauen Donau, 'Blue Danube' |
Johann Strauss II, Composer
(Anonymous) Orchestra André Kostelanetz, Conductor Johann Strauss II, Composer Lily Pons, Soprano |
(The) Wren |
Julius Benedict, Composer
(Anonymous) Orchestra André Kostelanetz, Conductor Julius Benedict, Composer Lily Pons, Soprano |
(The) Nightingale |
Alexander Alexandrovich Alabiev, Composer
(Anonymous) Orchestra Alexander Alexandrovich Alabiev, Composer André Kostelanetz, Conductor Lily Pons, Soprano |
Villanelle |
Eva Dell' Acqua, Composer
(Anonymous) Orchestra André Kostelanetz, Conductor Eva Dell' Acqua, Composer Lily Pons, Soprano |
(Les) Filles de Cadix |
(Clément Philibert) Léo Delibes, Composer
(Clément Philibert) Léo Delibes, Composer Frank la Forge, Piano Lily Pons, Soprano |
Deh! torna mio bene (Air and Variations) |
Heinrich Proch, Composer
(Anonymous) Orchestra Gustav Cloëz, Conductor Heinrich Proch, Composer Lily Pons, Soprano |
(Les) Contes d'Hoffmann, '(The) Tales of Hoffmann', Movement: Les oiseaux dans la charmille (Doll's Song) |
Jacques Offenbach, Composer
(Anonymous) Orchestra Gustav Cloëz, Conductor Jacques Offenbach, Composer Lily Pons, Soprano |
Lakmé, Movement: ~ |
(Clément Philibert) Léo Delibes, Composer
(Anonymous) Orchestra (Clément Philibert) Léo Delibes, Composer Lily Pons, Soprano Rosario Bourdon, Conductor |
Rigoletto, Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Giuseppe Verdi, Composer Lily Pons, Soprano Rosario Bourdon, Conductor |
Lucia di Lammermoor, '(The) Bride of Lammermoor', Movement: ~ |
Gaetano Donizetti, Composer
(Anonymous) Orchestra Gaetano Donizetti, Composer Lily Pons, Soprano Rosario Bourdon, Conductor |
(Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: ~ |
Gioachino Rossini, Composer
(Anonymous) Orchestra Gioachino Rossini, Composer John Barbirolli, Conductor Lily Pons, Soprano |
(Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: Dunque io son? |
Gioachino Rossini, Composer
(Anonymous) Orchestra Gioachino Rossini, Composer Giuseppe De Luca, Baritone Lily Pons, Soprano Wilfrid Pelletier, Conductor |
(The) Golden Cockerel, '(Le) Coq d'Or', Movement: Hymn to the Sun |
Nikolay Rimsky-Korsakov, Composer
(Anonymous) Orchestra André Kostelanetz, Conductor Lily Pons, Soprano Nikolay Rimsky-Korsakov, Composer |
Sadko, Movement: Song of the Indian Guest (Chant hindou) |
Nikolay Rimsky-Korsakov, Composer
(Anonymous) Orchestra André Kostelanetz, Conductor Lily Pons, Soprano Nikolay Rimsky-Korsakov, Composer |
I Dream Too Much, Movement: I Dream Too Much |
Jerome (David) Kern, Composer
(Anonymous) Orchestra André Kostelanetz, Conductor Jerome (David) Kern, Composer Lily Pons, Soprano |
J'attendrai |
Dino Olivieri, Composer
(Anonymous) Orchestra Dino Olivieri, Composer Lily Pons, Soprano |
National Anthems, Movement: FRANCE: La marseillaise (Rouget de Lisle) |
(composers) Various, Composer
(Anonymous) Orchestra (composers) Various, Composer Lily Pons, Soprano |
Author: Alan Blyth
This disc boxes the compass of her career, though not in chronological order, from her superb Bell song (Lakme) of 1930 and her ''Caro nome'' of a year later to offerings from 1940, when the voice had begun to lose some of its former freshness, although she was still only 36: no doubt the exigencies of singing so much in a large house had begun to take their toll. Of the performances as such there is really very little sense of interpretation, let alone, where required, feeling. Set her ''Caro nome'' beside the roughly contemporaneous account by Norena (Preiser, 3/91) and you hear the difference between mere action and real thought. Lucia's Mad scene betrays little or no sign of the pathos it must have to seem more than a vocal exercise. Thus, she is best heard in the showpieces—Proch's tinselly Theme and Variations (a showstopper from as early as 1929) and Dell'Acqua's Villanelle are her metier.
There is a single exception: in 1940 she was joined by the 64-year-old de Luca in a performance of ''Dunque io son'', in which the veteran baritone instils into the soprano a real sense of occasion. We might be at the Met enjoying the pair parleying with each other; a moment of operatic history caught on the wing. The transfers are faultless.'
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