Although Edith Mason's career was long and distinguished (she made her debut in Boston in 1912 and appeared at the Metropolitan for several seasons; and in Chicago, Paris, Milan, London and Salzburg, and continued to sing in public until 1941), her reputation has never been on a level with that of her near contemporaries Farrar and Ponselle. That must be in part because her recording career was not extensive; this CD includes her entire output for Brunswick, but only extends to five arias and 11 songs. Several of these are heard in more than one take, of which four are previously unpublished.
Mason's style is recognizably pre-1914. She never resorts to obviously dramatic effects, everything is ladylike, her diction is clear and precise and the voice crystalline, with apparently effortless high notes and pianissimos which sound, well, divine. Butterfly was her favourite role and her legato at the end of the entrance scene is as fine as that of several more legendary figures. At the beginning of the Jewel song from Faust her trill is impressive, and her sincerity in ''The Last Rose of Summer'' (Martha) makes it a very fine version.
Those unfamiliar with the songs of Strickland or Cadman may enjoy this unusual repertory. What Mason does not have is the ability to rise above the sugary sentimentality of Mighty lak' a Rose (Nevin) or My Old Kentucky Home (Foster), and invest them with a character that redeems their faded charm. The exception is Teresa del Riego's Oh, Dry Those Tears in which her heartfelt advice, ''life is not made for sorrow'' and artful portamentos up to a beautiful soft high B give one a hint of what a splendid Sophie she must have been at her Metropolitan debut in 1915.
Mason's singing is often very fine; her records are best sampled just a few at a time. The transfers are excellent and the booklet includes photographs which reveal, as Jose Ferrer said, ''Not just a beautiful voice... a beautiful woman''.'