The first seven tracks and several later ones will provide a good opportunity for those who are fond of saying that music is an international language to put themselves to the test, the one stipulation being that they are not to know a word of Danish. For this purpose the producers of the booklet have thoughtfully omitted texts, synopses or even translations of the titles. The singer lends her pretty voice to the game, scrupulously refraining from dropping the slightest hint as to meaning beyond the unvarying assurance that all is well. At a guess, all of these songs (by Weyse, Heise and Du Puy) agree that it is a pleasant day, the sky being blue, the fields green, with possibly a general conviction that it is nice to be sweet and 20. Track 8 brings bad news of some kind, and the song Igennem Bogeskoven clearly means something specific, if only we knew what, and is sung tenderly. Throughout, the voice is that of a light, maidenly soprano, a Danish Erna Berger perhaps, though without occasion for showing skill in florid work or a particularly extensive range in the upper regions.
Happily, there is more to come. The arias of Micaela and Mimi are delightfully sung, the fresh, well-defined tone used to more expressive effect. Welcome, too, is the Don Giovanni duet sung in Italian with the pleasing baritone Einar Norby; and it is good to hear Aksel Schiotz in the pretty duet from Little Kirsten. Edith Oldrup studied with Willem Harold, heard Nina Grieg and knew Carl Nielsen. She sang at the Royal Opera in Copenhagen from 1934 to 1949; and nothing is said in the booklet that might discourage birthday greetings to her at the age of 87 this year. The recordings are well transferred and will probably be new to most of us.'