Galli-Curci in Opera and Song
View record and artist detailsRecord and Artist Details
Composer or Director: Nikolay Rimsky-Korsakov, Vincenzo Bellini, Sebastián de Yradier, Giuseppe Verdi, Henry R(owley) Bishop, (Pietro) Alessandro (Gaspare) Scarlatti, Gaetano Donizetti, Gioachino Rossini
Label: Happy Days
Magazine Review Date: 3/1994
Media Format: CD or Download
Media Runtime: 70
Mastering:
Acoustic
ADD
Catalogue Number: CDHD201
Tracks:
| Composition | Artist Credit |
|---|---|
| Semiramide, Movement: ~ |
Gioachino Rossini, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Gioachino Rossini, Composer |
| (La) Sonnambula, Movement: ~ |
Vincenzo Bellini, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Tito Schipa, Tenor Vincenzo Bellini, Composer |
| Lucia di Lammermoor, '(The) Bride of Lammermoor', Movement: ~ |
Gaetano Donizetti, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Gaetano Donizetti, Composer Tito Schipa, Tenor |
| (Il) trovatore, Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Giuseppe Verdi, Composer |
| (La) traviata, Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Giuseppe Verdi, Composer Tito Schipa, Tenor |
| (The) Golden Cockerel, '(Le) Coq d'Or', Movement: Hymn to the Sun |
Nikolay Rimsky-Korsakov, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Nikolay Rimsky-Korsakov, Composer |
| Solitudini amene, apriche collinette |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer |
| Don Pasquale, Movement: Tornami a dir (Notturno) |
Gaetano Donizetti, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Gaetano Donizetti, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor |
| Rigoletto, Movement: Ah! veglia, o donna |
Giuseppe Verdi, Composer
Amelita Galli-Curci, Soprano Giulio Setti, Conductor Giuseppe De Luca, Baritone Giuseppe Verdi, Composer New York Metropolitan Opera Orchestra |
| Rigoletto, Movement: ~ |
Giuseppe Verdi, Composer
Amelita Galli-Curci, Soprano Giulio Setti, Conductor Giuseppe De Luca, Baritone Giuseppe Verdi, Composer New York Metropolitan Opera Orchestra |
| Lo, here the gentle lark |
Henry R(owley) Bishop, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Henry R(owley) Bishop, Composer |
| Echo Song |
Henry R(owley) Bishop, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Henry R(owley) Bishop, Composer |
| (La) Paloma |
Sebastián de Yradier, Composer
Amelita Galli-Curci, Soprano Homer Samuels, Piano Sebastián de Yradier, Composer |
Composer or Director: Henry R(owley) Bishop, Wolfgang Amadeus Mozart, Edvard Grieg, Fermin Maria Alvarez, Daniel-François-Esprit Auber, Vincenzo Bellini, Friedrich (Adolf Ferdinand) von Flotow, Gioachino Rossini, Giuseppe Verdi, Charles-François Gounod, Homer Samuels, Arturo Buzzi-Peccia, (Clément Philibert) Léo Delibes, Félicien(-César) David, (Charles Louis) Ambroise Thomas, Tommaso Giordani, Jules (Emile Frédéric) Massenet, Heinrich Proch, Gaetano Donizetti, Giacomo Meyerbeer, Eva Dell' Acqua, Joaquín Valverde, Fryderyk Chopin, Julius Benedict, Armando Seppilli
Label: Romophone
Magazine Review Date: 3/1994
Media Format: CD or Download
Media Runtime: 159
Mastering:
Acoustic
ADD
Catalogue Number: 81003-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (La) Partida |
Fermin Maria Alvarez, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Fermin Maria Alvarez, Composer Josef Pasternack, Conductor |
| Rigoletto, Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Giuseppe Verdi, Composer Josef Pasternack, Conductor |
| Lucia di Lammermoor, '(The) Bride of Lammermoor', Movement: Chi mi frena (Sextet) |
Gaetano Donizetti, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Angelo Bada, Tenor Enrico Caruso, Tenor Gaetano Donizetti, Composer Giuseppe De Luca, Baritone Josef Pasternack, Conductor Marcel Journet, Bass Minnie Egener, Mezzo soprano |
| Roméo et Juliette, 'Romeo and Juliet', Movement: Je veux vivre (Waltz) |
Charles-François Gounod, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Charles-François Gounod, Composer Josef Pasternack, Conductor |
| Home, sweet home |
Henry R(owley) Bishop, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Henry R(owley) Bishop, Composer Josef Pasternack, Conductor |
| Lucia di Lammermoor, '(The) Bride of Lammermoor', Movement: ~ |
Gaetano Donizetti, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Gaetano Donizetti, Composer Josef Pasternack, Conductor |
| Manon Lescaut |
Daniel-François-Esprit Auber, Composer
Daniel-François-Esprit Auber, Composer |
| Peer Gynt, Movement: Solvejg's Song |
Edvard Grieg, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Edvard Grieg, Composer Josef Pasternack, Conductor |
| Lakmé, Movement: ~ |
(Clément Philibert) Léo Delibes, Composer
(Anonymous) Orchestra (Clément Philibert) Léo Delibes, Composer Amelita Galli-Curci, Soprano Josef Pasternack, Conductor |
| Little birdies |
Arturo Buzzi-Peccia, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Arturo Buzzi-Peccia, Composer Josef Pasternack, Conductor |
| Caro mio ben |
Tommaso Giordani, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Josef Pasternack, Conductor Tommaso Giordani, Composer |
| (Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: ~ |
Gioachino Rossini, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Gioachino Rossini, Composer Josef Pasternack, Conductor |
| Dinorah, '(Le) pardon de Ploërmel', Movement: Ombre légère (Shadow Song) |
Giacomo Meyerbeer, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Giacomo Meyerbeer, Composer Josef Pasternack, Conductor |
| (La) Sonnambula, Movement: ~ |
Vincenzo Bellini, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Josef Pasternack, Conductor Vincenzo Bellini, Composer |
| Martha, Movement: ~ |
Friedrich (Adolf Ferdinand) von Flotow, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Friedrich (Adolf Ferdinand) von Flotow, Composer Josef Pasternack, Conductor |
| (Le) nozze di Figaro, '(The) Marriage of Figaro', Movement: Non so più cosa son |
Wolfgang Amadeus Mozart, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Josef Pasternack, Conductor Wolfgang Amadeus Mozart, Composer |
| Little Dorry |
Armando Seppilli, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Armando Seppilli, Composer Josef Pasternack, Conductor |
| Deh! torna mio bene (Air and Variations) |
Heinrich Proch, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Heinrich Proch, Composer Josef Pasternack, Conductor |
| (La) Perle du Brésil |
Félicien(-César) David, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Félicien(-César) David, Composer Josef Pasternack, Conductor |
| (I) Puritani, Movement: ~ |
Vincenzo Bellini, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Josef Pasternack, Conductor Vincenzo Bellini, Composer |
| (La) Crépuscule |
Jules (Emile Frédéric) Massenet, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Josef Pasternack, Conductor Jules (Emile Frédéric) Massenet, Composer |
| (La) Capinera |
Julius Benedict, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Josef Pasternack, Conductor Julius Benedict, Composer |
| (La) traviata, Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Giuseppe De Luca, Baritone Giuseppe Verdi, Composer Josef Pasternack, Conductor |
| Waltzes, Movement: No. 6 in D flat, Op. 64/1 (Minute) |
Fryderyk Chopin, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Fryderyk Chopin, Composer Josef Pasternack, Conductor |
| When Chloris sleeps |
Homer Samuels, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Homer Samuels, Composer Josef Pasternack, Conductor |
| Lo, here the gentle lark |
Henry R(owley) Bishop, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Henry R(owley) Bishop, Composer Josef Pasternack, Conductor |
| (Les) Filles de Cadix |
(Clément Philibert) Léo Delibes, Composer
(Anonymous) Orchestra (Clément Philibert) Léo Delibes, Composer Amelita Galli-Curci, Soprano Josef Pasternack, Conductor |
| Mignon, Movement: ~ |
(Charles Louis) Ambroise Thomas, Composer
(Anonymous) Orchestra (Charles Louis) Ambroise Thomas, Composer Amelita Galli-Curci, Soprano Josef Pasternack, Conductor |
| Don Pasquale, Movement: ~ |
Gaetano Donizetti, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Gaetano Donizetti, Composer Josef Pasternack, Conductor |
| Villanelle |
Eva Dell' Acqua, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Eva Dell' Acqua, Composer Josef Pasternack, Conductor |
| Clavelitos |
Joaquín Valverde, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Joaquín Valverde, Composer Josef Pasternack, Conductor |
Composer or Director: Nikolay Rimsky-Korsakov, Vincenzo Bellini, Sebastián de Yradier, Giuseppe Verdi, Henry R(owley) Bishop, (Pietro) Alessandro (Gaspare) Scarlatti, Gaetano Donizetti, Gioachino Rossini
Label: Happy Days
Magazine Review Date: 3/1994
Media Format: Cassette
Media Runtime: 0
Mastering:
Acoustic
ADD
Catalogue Number: MCHD201
Tracks:
| Composition | Artist Credit |
|---|---|
| Semiramide, Movement: ~ |
Gioachino Rossini, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Gioachino Rossini, Composer |
| (La) Sonnambula, Movement: ~ |
Vincenzo Bellini, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Tito Schipa, Tenor Vincenzo Bellini, Composer |
| Lucia di Lammermoor, '(The) Bride of Lammermoor', Movement: ~ |
Gaetano Donizetti, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Gaetano Donizetti, Composer Tito Schipa, Tenor |
| (Il) trovatore, Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Giuseppe Verdi, Composer |
| (La) traviata, Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Giuseppe Verdi, Composer Tito Schipa, Tenor |
| (The) Golden Cockerel, '(Le) Coq d'Or', Movement: Hymn to the Sun |
Nikolay Rimsky-Korsakov, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Nikolay Rimsky-Korsakov, Composer |
| Solitudini amene, apriche collinette |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer |
| Don Pasquale, Movement: Tornami a dir (Notturno) |
Gaetano Donizetti, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Gaetano Donizetti, Composer Rosario Bourdon, Conductor Tito Schipa, Tenor |
| Rigoletto, Movement: Ah! veglia, o donna |
Giuseppe Verdi, Composer
Amelita Galli-Curci, Soprano Giulio Setti, Conductor Giuseppe De Luca, Baritone Giuseppe Verdi, Composer New York Metropolitan Opera Orchestra |
| Rigoletto, Movement: ~ |
Giuseppe Verdi, Composer
Amelita Galli-Curci, Soprano Giulio Setti, Conductor Giuseppe De Luca, Baritone Giuseppe Verdi, Composer New York Metropolitan Opera Orchestra |
| Lo, here the gentle lark |
Henry R(owley) Bishop, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Henry R(owley) Bishop, Composer |
| Echo Song |
Henry R(owley) Bishop, Composer
(Anonymous) Orchestra Amelita Galli-Curci, Soprano Henry R(owley) Bishop, Composer |
| (La) Paloma |
Sebastián de Yradier, Composer
Amelita Galli-Curci, Soprano Homer Samuels, Piano Sebastián de Yradier, Composer |
Author:
These two issues complement each other very happily, the Romophone going up to 1920, the Conifer concentrating on later recordings, with an overlap of only three (''Ah! non credea'', ''Ardon gl'incensi'' and Lo, here the gentle lark). Romophone are, however, in the process of presenting a complete edition (this being Vol. 1), and whosoever wishes for Galli-Curci whole and entire will await Vol. 2. Those who already have some of her on Nimbus or Pearl may be in a quandary.
Let me briefly rehearse the charms of this singer, who featured as ''Gramophone Celebrities—1'' in the second issue of this magazine in 1923 and of whom, in the first number, the Editor wrote: ''One of the most solid grounds I have for facing the coming of old age with equanimity is the reasonable hope that I shall spend it listening to as many records of la diva Galli-Curci's voice as there are of Caruso's''. The purity of her voice was certainly a delight; it was at that time firm and even throughout its wide compass; and her fluency in scalework, precision in staccato, and ability to swell and diminish on a long-held high note were exceptional. She was an artist who could phrase and nuance exquisitely and who, within the boundaries of a more or less pretty joy and sadness, could be quite poignantly expressive.
In the years of her greatest fame and success, roughly the decade from 1916 to 1926, her operatic repertoire was the standard one for the 'coloratura' soprano, and it is well represented by her records. What they also have, making them treasurable beyond anything that such a summary might suggest, is a personal flavour, a caress, a way of making words sound like water purling gently on a summer's afternoon, a dreaminess that can awaken to fun and affection. She could also flatten rather sadly in pitch, and though her voice in its prime brought scenes of extraordinary enthusiasm in the opera house, her later concert performances gave some disappointment, even to the Editor of Gramophone.
The flattening is usually associated with her later records, yet the very first of all contains an example quite early on. A song called La partida (Alvarez) opens the collection on Romophone, and shows the special quality of her voice immediately; yet also, on the first high G, we hear her very slightly flat. This was a record replaced the following year with another performance (included here), retaining the same catalogue number, and the intonation is fine. In those years she made some of the loveliest soprano recordings of all: Lakme's Bell song, Juliette's waltz, Amina's ''Ah! non credea'' and the incomparable ''Una voce poco fa'' are examples. Duets from Rigoletto and La traviata with Giuseppe de Luca have the voices beautifully matched, as they were when she sang with Tito Schipa (several examples on the Conifer disc). The Rigoletto Quartet and Lucia Sextet with Caruso are by no means ideal in style or balance but exciting nevertheless. Some of the songs, including one (When Chloris sleeps) by her husband and accompanist, Homer Samuels, are charming.
Personally, for completeness and also for the fine quality of transfers by Ward Marston, I would want to have the Romophone. The Conifer selection is certainly a good one, including rarities such as the Scarlatti cantata (Solitudini amene, apriche collinetti), ''Bel raggio'' and ''Ah, non giunge'' (revealingly juxtaposed with ''Ah! non credea''). On the whole, the early records have been transferred on this CD more enjoyably than the electricals. If buying a single disc, it would be sensible to consult the catalogue and see what Pearl and Nimbus also have to offer.'
Let me briefly rehearse the charms of this singer, who featured as ''
In the years of her greatest fame and success, roughly the decade from 1916 to 1926, her operatic repertoire was the standard one for the 'coloratura' soprano, and it is well represented by her records. What they also have, making them treasurable beyond anything that such a summary might suggest, is a personal flavour, a caress, a way of making words sound like water purling gently on a summer's afternoon, a dreaminess that can awaken to fun and affection. She could also flatten rather sadly in pitch, and though her voice in its prime brought scenes of extraordinary enthusiasm in the opera house, her later concert performances gave some disappointment, even to the Editor of Gramophone.
The flattening is usually associated with her later records, yet the very first of all contains an example quite early on. A song called La partida (Alvarez) opens the collection on Romophone, and shows the special quality of her voice immediately; yet also, on the first high G, we hear her very slightly flat. This was a record replaced the following year with another performance (included here), retaining the same catalogue number, and the intonation is fine. In those years she made some of the loveliest soprano recordings of all: Lakme's Bell song, Juliette's waltz, Amina's ''Ah! non credea'' and the incomparable ''Una voce poco fa'' are examples. Duets from Rigoletto and La traviata with Giuseppe de Luca have the voices beautifully matched, as they were when she sang with Tito Schipa (several examples on the Conifer disc). The Rigoletto Quartet and Lucia Sextet with Caruso are by no means ideal in style or balance but exciting nevertheless. Some of the songs, including one (When Chloris sleeps) by her husband and accompanist, Homer Samuels, are charming.
Personally, for completeness and also for the fine quality of transfers by Ward Marston, I would want to have the Romophone. The Conifer selection is certainly a good one, including rarities such as the Scarlatti cantata (
Galli-Curci in Opera and Song
Amelita Galli-Curci Acoustic Recordings, Vol 1
Galli-Curci in Opera and Song
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