Charles Hackett - Songs & Arias

Record and Artist Details

Composer or Director: Liza Lehmann, Jules (Emile Frédéric) Massenet, Charles-François Gounod, Joseph Robinson, Josephine McGill, Wolfgang Amadeus Mozart, Gioachino Rossini, Florence Aylward, (Charles Louis) Ambroise Thomas, Giacomo Puccini, Michael William Balfe, Franz Schubert, Gaetano Donizetti, Eric Coates, Wilmott, Jerome (David) Kern, (Francesco) Paolo Tosti

Label: Marston

Media Format: CD or Download

Media Runtime: 79

Mastering:

ADD

Catalogue Number: 51005-2

Tracks:

Composition Artist Credit
(The) Bohemian Girl Michael William Balfe, Composer
Michael William Balfe, Composer
Don Giovanni, Movement: Il mio tesoro Wolfgang Amadeus Mozart, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Wolfgang Amadeus Mozart, Composer
(Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: ~ Gioachino Rossini, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Gioachino Rossini, Composer
Lucia di Lammermoor, '(The) Bride of Lammermoor', Movement: ~ Gaetano Donizetti, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Gaetano Donizetti, Composer
Maria Barrientos, Soprano
(La) Bohème, 'Bohemian Life', Movement: Che gelida manina Giacomo Puccini, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Giacomo Puccini, Composer
(La) Bohème, 'Bohemian Life', Movement: ~ Giacomo Puccini, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Giacomo Puccini, Composer
Roméo et Juliette, 'Romeo and Juliet' Charles-François Gounod, Composer
Charles-François Gounod, Composer
Manon, Movement: ~ Jules (Emile Frédéric) Massenet, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Jules (Emile Frédéric) Massenet, Composer
Mignon, Movement: ~ (Charles Louis) Ambroise Thomas, Composer
(Anonymous) Orchestra
(Charles Louis) Ambroise Thomas, Composer
Charles Hackett, Tenor
Faust, Movement: ~ Charles-François Gounod, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Charles-François Gounod, Composer
An Silvia Franz Schubert, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Franz Schubert, Composer
Parted! (Francesco) Paolo Tosti, Composer
(Anonymous) Orchestra
(Francesco) Paolo Tosti, Composer
Charles Hackett, Tenor
Vorrei (Francesco) Paolo Tosti, Composer
(Anonymous) Orchestra
(Francesco) Paolo Tosti, Composer
Charles Hackett, Tenor
(The) Snowy-breasted pearl Joseph Robinson, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Joseph Robinson, Composer
In a Persian Garden, Movement: Ah moon of my delight (tenor solo) Liza Lehmann, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Liza Lehmann, Composer
Beloved, it is morn Florence Aylward, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Florence Aylward, Composer
I heard you singing Eric Coates, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Eric Coates, Composer
Duna Josephine McGill, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Josephine McGill, Composer
I look into your garden Wilmott, Composer
Wilmott, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Roberta, Movement: The Touch of Your Hand Jerome (David) Kern, Composer
(Anonymous) Orchestra
Charles Hackett, Tenor
Jerome (David) Kern, Composer
Hackett was one of the first American singers to make it on the international scene with triumphs at the Metropolitan, the Colon in Buenos Aires, various cities in Italy, the Paris Opera and Covent Garden. He appeared in a wide variety of roles from Mozart to Wagner during the second and third decades of the century. Although he seems to have been compared to Bonci, the obvious likeness is with McCormack so I wasn’t surprised to read in the accompanying note that he had Irish forebears. As with McCormack, his style is impeccable – the long run in ‘Il mio tesoro’ taken in one breath, Des Grieux’s Dream phrased exquisitely. Altogether his French seems excellent, making Romeo’s declaration of love a special pleasure. Although we tend to hear heavier voices in this repertory, the advantage of such bright, clear singing, such flexibility, is not to be denied, but his lightish tone seems a shade inadequate for Rodolfo, especially when set beside Stracciari’s Marcello in the Act 4 duet.
The majority of Hackett’s discs were cut for American Columbia, but his account of Faust’s cavatine, sung in the vernacular, was made for English Columbia when he was in London for Melba’s Farewell in 1926. This electric disc gives us a fuller flavour of the timbre of Hackett’s voice, but the quick tempo, the downward transposition (a full tone) and Hackett’s very odd English add up to no more than a curiosity. In the song recordings, I usually miss the charm, the subtleties of phrasing of McCormack, Nash or Webster Booth, but ‘Ah, moon of my delight’ is a delight indeed in its refined, old-fashioned way.'

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