Tito Schipa - The Victor Recordings, 1922-25
View record and artist detailsRecord and Artist Details
Composer or Director: Eduardo Di Capua, José Padilla, Arturo Buzzi-Peccia, Richard Barthélemy, Julian Huarte, Jules (Emile Frédéric) Massenet, Osman Perez Freire, C. Palacios, Tito Schipa, Vincenzo Bellini, Friedrich (Adolf Ferdinand) von Flotow, Gioachino Rossini, Alfonso Esparza Oteo, Francisco Cimmino, Giuseppe Verdi, Manuel de Falla, Gabriele Sibella, Ruggiero Leoncavallo, Gonzalo Roig, (Charles Louis) Ambroise Thomas, Pasquale Mario Costa, (Clément Philibert) Léo Delibes, Manuel (Maria) Ponce, Giacomo Puccini, Vincenzo di Crescenzo, Franz Liszt, Gaetano Donizetti, Emil Paladilhe, Eduardo Sánchez de Fuentes, Rafael (Gómez) Calleja
Label: Romophone
Magazine Review Date: 7/1999
Media Format: CD or Download
Media Runtime: 151
Mastering:
Mono
Acoustic
ADD
Catalogue Number: 82014-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Emigrantes |
Rafael (Gómez) Calleja, Composer
Josef Pasternack, Conductor Rafael (Gómez) Calleja, Composer Tito Schipa, Tenor Victor Orchestra |
| Pagliacci, 'Players', Movement: ~ |
Ruggiero Leoncavallo, Composer
Josef Pasternack, Conductor Ruggiero Leoncavallo, Composer Tito Schipa, Tenor Victor Orchestra |
| Princesita |
José Padilla, Composer
José Padilla, Composer Josef Pasternack, Conductor Tito Schipa, Tenor Victor Orchestra |
| Ay, Ay, Ay |
Osman Perez Freire, Composer
Josef Pasternack, Conductor Osman Perez Freire, Composer Tito Schipa, Tenor Victor Orchestra |
| Manon, Movement: ~ |
Jules (Emile Frédéric) Massenet, Composer
Josef Pasternack, Conductor Jules (Emile Frédéric) Massenet, Composer Tito Schipa, Tenor Victor Orchestra |
| Chi se nne scorda occhiu! |
Richard Barthélemy, Composer
Nathaniel Shilkret, Conductor Richard Barthélemy, Composer Tito Schipa, Tenor Victor Orchestra |
| Napulitanata |
Pasquale Mario Costa, Composer
Nathaniel Shilkret, Conductor Pasquale Mario Costa, Composer Tito Schipa, Tenor Victor Orchestra |
| Quiéreme mucho |
Gonzalo Roig, Composer
Gonzalo Roig, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| A la orilla de un palmar |
Manuel (Maria) Ponce, Composer
Manuel (Maria) Ponce, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| A Granada |
C. Palacios, Composer
C. Palacios, Composer Nathaniel Shilkret, Conductor Tito Schipa, Tenor Victor Orchestra |
| (Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: ~ |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Nathaniel Shilkret, Conductor Tito Schipa, Tenor Victor Orchestra |
| (La) Sonnambula, Movement: ~ |
Vincenzo Bellini, Composer
Amelita Galli-Curci, Soprano Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra Vincenzo Bellini, Composer |
| (Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: Se il mio nome |
Gioachino Rossini, Composer
Anonymous Pianist(s), Piano Gioachino Rossini, Composer Tito Schipa, Guitar Tito Schipa, Tenor |
| Mignon, Movement: Adieu, Mignon! Courage! |
(Charles Louis) Ambroise Thomas, Composer
(Charles Louis) Ambroise Thomas, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Mignon, Movement: ~ |
(Charles Louis) Ambroise Thomas, Composer
(Charles Louis) Ambroise Thomas, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Mi viejo amor |
Alfonso Esparza Oteo, Composer
Alfonso Esparza Oteo, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Serenata medioevale |
Francisco Cimmino, Composer
Francisco Cimmino, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Rosalinda |
Eduardo Sánchez de Fuentes, Composer
Eduardo Sánchez de Fuentes, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| (7) Canciones populares españolas, Movement: Jota |
Manuel de Falla, Composer
Charles Adams Prince, Conductor Manuel de Falla, Composer Tito Schipa, Tenor Victor Orchestra |
| Suzanne |
Emil Paladilhe, Composer
Charles Adams Prince, Conductor Emil Paladilhe, Composer Tito Schipa, Tenor Victor Orchestra |
| A Cuba |
Tito Schipa, Composer
Charles Adams Prince, Conductor Tito Schipa, Tenor Tito Schipa, Composer Victor Orchestra |
| (La) traviata, Movement: ~ |
Giuseppe Verdi, Composer
Amelita Galli-Curci, Soprano Giuseppe Verdi, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Rigoletto, Movement: ~ |
Giuseppe Verdi, Composer
Amelita Galli-Curci, Soprano Giuseppe Verdi, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Lucia di Lammermoor, '(The) Bride of Lammermoor', Movement: ~ |
Gaetano Donizetti, Composer
Amelita Galli-Curci, Soprano Gaetano Donizetti, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Don Pasquale, Movement: Tornami a dir (Notturno) |
Gaetano Donizetti, Composer
Amelita Galli-Curci, Soprano Gaetano Donizetti, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Pesca d'amore |
Richard Barthélemy, Composer
Richard Barthélemy, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Ave Maria |
Tito Schipa, Composer
Rosario Bourdon, Conductor Tito Schipa, Composer Tito Schipa, Tenor Victor Orchestra |
| Ce steve 'na vota |
Vincenzo di Crescenzo, Composer
Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra Vincenzo di Crescenzo, Composer |
| Madrigal español |
Julian Huarte, Composer
Julian Huarte, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Rigoletto, Movement: La donna è mobile |
Giuseppe Verdi, Composer
Giuseppe Verdi, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| 'O sole mio |
Eduardo Di Capua, Composer
Eduardo Di Capua, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| (3) Liebesträume, Movement: No. 3 in A flat, O lieb, so lang du lieben kannst |
Franz Liszt, Composer
Franz Liszt, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| (La) Farfalletta |
Gabriele Sibella, Composer
Gabriele Sibella, Composer José Echániz, Piano Tito Schipa, Tenor |
| (La) Girometta |
Gabriele Sibella, Composer
Gabriele Sibella, Composer José Echániz, Piano Tito Schipa, Tenor |
| (La) Niña querida |
Arturo Buzzi-Peccia, Composer
Arturo Buzzi-Peccia, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Mal d'amore |
Arturo Buzzi-Peccia, Composer
Arturo Buzzi-Peccia, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Martha, Movement: ~ |
Friedrich (Adolf Ferdinand) von Flotow, Composer
Friedrich (Adolf Ferdinand) von Flotow, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| (L')Elisir d'amore, 'Elixir of Love', Movement: Una furtiva lagrima |
Gaetano Donizetti, Composer
Gaetano Donizetti, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| (La) Bohème, 'Bohemian Life', Movement: ~ |
Giacomo Puccini, Composer
Giacomo Puccini, Composer Lucrezia Bori, Soprano Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Werther, Movement: ~ |
Jules (Emile Frédéric) Massenet, Composer
Jules (Emile Frédéric) Massenet, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
| Lakmé, Movement: ~ |
(Clément Philibert) Léo Delibes, Composer
(Clément Philibert) Léo Delibes, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor Victor Orchestra |
Author:
Alan Blyth’s introductory essay points out that the acoustic Victors have been the least commonly reissued of Schipa’s recordings, and that, while this is perhaps understandable (because the most popular of the titles were remade electrically a year or two later), they also catch him at the peak of his career and in his prime. Sometimes, indeed, the earlier recordings are marginally preferable to the more familiar remakes: the Dream Song from Manon is rather more elegant, the Pagliacci serenade a shade more charming, and in the Traviata duets his partner, Amelita Galli-Curci, enjoys better vocal health. More importantly, some of the best items were never re-recorded, and these include the delightful Sonnambula duet and Mignon arias. Some of the songs, too, are charming, Pesca d’ammore for example and the tiny tarantella by Vicenzo di Crescenzo called Ce steve ’na vota.
1925 saw the advent of electrical recording, and roughly a dozen of Schipa’s first electricals are included. These are more ingratiating in the quality of the singing than in that of the recorded sound as reproduced here. One sympathizes with those who complained at the time that the microphone added an unnatural harshness; it is also true that the shellac used just then often produced a particularly high and gritty surface-noise. Whatever has been done to mitigate them, these are still features that limit pleasure in listening here to the recordings of that period. Better quality came in with some of the very latest, and among these are the solos from Werther and Lakme and the Death scene from La boheme with Lucrezia Bori, all among Schipa’s very best.
He is of course utterly special. Whether by art or personality (not always readily separable) he becomes instantly one of those singers who establish themselves in mind, memory and affections. He had in those days a voice that could ring out strongly as well as commanding the style and delicacy for which he was renowned. He also had the skill, taste and personal magnetism to make something magical out of some very third-rate music (it was a faculty that contributed to the restriction of his artistic growth), and there are plenty of examples here – such as one called Quiereme mucho, which veterans will recognize as a wartime hit over here called Yours. Still, he is Schipa: all who love singing will value his art, and all who value his art will want these records.'
1925 saw the advent of electrical recording, and roughly a dozen of Schipa’s first electricals are included. These are more ingratiating in the quality of the singing than in that of the recorded sound as reproduced here. One sympathizes with those who complained at the time that the microphone added an unnatural harshness; it is also true that the shellac used just then often produced a particularly high and gritty surface-noise. Whatever has been done to mitigate them, these are still features that limit pleasure in listening here to the recordings of that period. Better quality came in with some of the very latest, and among these are the solos from Werther and Lakme and the Death scene from La boheme with Lucrezia Bori, all among Schipa’s very best.
He is of course utterly special. Whether by art or personality (not always readily separable) he becomes instantly one of those singers who establish themselves in mind, memory and affections. He had in those days a voice that could ring out strongly as well as commanding the style and delicacy for which he was renowned. He also had the skill, taste and personal magnetism to make something magical out of some very third-rate music (it was a faculty that contributed to the restriction of his artistic growth), and there are plenty of examples here – such as one called Quiereme mucho, which veterans will recognize as a wartime hit over here called Yours. Still, he is Schipa: all who love singing will value his art, and all who value his art will want these records.'
Tito Schipa - The Victor Recordings, 1922-25
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