@bethieebaybee91 Well, it seems to have disappeared. It was a brief interview with her while she was on the Queen Mary in the early 1950's. It wasn't very interesting.
How could this have been recorded in 1930?!? There couldn't be sessions after the 1929 (New York, I think) Victor sessions that I don't know about - I thought I had ALL her electric recordings! What's the matrix and catalog numbers? By the way, I certainly don't blame you for not wanting to play this one on the Orthophonic. I don't even think Ward Marston could better sound out of that record.
Yes, its an LP. Usually I don't use LPs but I didn't have this request on 78. Could be 1929. I was going by the record #. There are 12 electric sides on the LP.
No. But she did make more than one take of each one of those. The Depuis le jour was done with orchestra in 1926, then redone with piano accompaniment by Jean Dansereau in 1927. The Romophone compilation has something like 5 takes of the Louise aria .
I think the Romophone CD has three "Depuis," two "Résurrection" arias (both the same), and one "Carmen" aria. I was a little disappointed that she only made 6 electric sides of arias, especially since they were mostly different takes of the same arias. But they are fantastic recordings.
Matrix is BVE 57525-2, recorded November 4, 1929, the same day she recorded Afton Water, and Debussy's Beau soir. On the 5th she recorded the unpub Somewhere a Voice is Calling, Over the Steppes, and the Carmen aria. Her final Victor session was on the 7th when she recorded at Wanamaker's NYC. If you have the Romophone CD, you have all her known Victor recordings.
Jeffrey Miller, Wilmington, Delaware. P.S Ward DID get better sound out of that record.
Of course it is no reflection on Merrihew's wonderful youtube postings. This just happens to be a less-than-ideal LP transfer. The wavering pitch is from the transfer, not present in the original disc. No one will deny that Miss Garden at 55 developed a habit of "scooping" into pitches. She never lost, however, her ability to sustain notes dead center on pitch. Jock o' Hazeldean, her last published disc is my favorite of all.
After listening to this song again on the Romophone CD, it is very apparent that the Bb near the end, on the word "d'eau" in the phrase "les jets d'eau" is certainly suspect. She may be coloring the vowel, but it does sound under pitch to me. Singing out of tune or flat, however, was not a dominant feature of her singing at this time.
Perhaps not a good idea to listen to this right after Melba...but Mary Garden could be fascinating by just spreading butter on her toast, and her immediately recognisable, slightly throaty voice is so full of character and personality that she makes an indelible impression. The lower voice sounds worn, she goes flat a couple of times, but as some phrases rise, she is right inside the poem's rarefied ambience: she makes the music come alive. I love this.
Its The Great Opera Stars In Historic Photographs, edited by James Camner, Dover Publications, 1978. I don't know if its still in print. There was another volume of instrumentalists.
What do you mean there is an interview of her on YT? Could i get a copy of the interview?
bethieebaybee91 1 year ago
@bethieebaybee91 Well, it seems to have disappeared. It was a brief interview with her while she was on the Queen Mary in the early 1950's. It wasn't very interesting.
merrihew 1 year ago
Fantastic sound reveals the art of this famous singer.
Thank you.
vstasov 2 years ago
How could this have been recorded in 1930?!? There couldn't be sessions after the 1929 (New York, I think) Victor sessions that I don't know about - I thought I had ALL her electric recordings! What's the matrix and catalog numbers? By the way, I certainly don't blame you for not wanting to play this one on the Orthophonic. I don't even think Ward Marston could better sound out of that record.
VinylToVideo 3 years ago
Oh wait, is that an LP?
VinylToVideo 3 years ago
Yes, its an LP. Usually I don't use LPs but I didn't have this request on 78. Could be 1929. I was going by the record #. There are 12 electric sides on the LP.
merrihew 3 years ago
Any arias other than those from "Louise," "Carmen," or "Résurrection?"
VinylToVideo 3 years ago
No. But she did make more than one take of each one of those. The Depuis le jour was done with orchestra in 1926, then redone with piano accompaniment by Jean Dansereau in 1927. The Romophone compilation has something like 5 takes of the Louise aria .
AulicExclusiva 3 years ago
I think the Romophone CD has three "Depuis," two "Résurrection" arias (both the same), and one "Carmen" aria. I was a little disappointed that she only made 6 electric sides of arias, especially since they were mostly different takes of the same arias. But they are fantastic recordings.
VinylToVideo 3 years ago
Matrix is BVE 57525-2, recorded November 4, 1929, the same day she recorded Afton Water, and Debussy's Beau soir. On the 5th she recorded the unpub Somewhere a Voice is Calling, Over the Steppes, and the Carmen aria. Her final Victor session was on the 7th when she recorded at Wanamaker's NYC. If you have the Romophone CD, you have all her known Victor recordings.
Jeffrey Miller, Wilmington, Delaware. P.S Ward DID get better sound out of that record.
melbapatti 2 years ago
Of course it is no reflection on Merrihew's wonderful youtube postings. This just happens to be a less-than-ideal LP transfer. The wavering pitch is from the transfer, not present in the original disc. No one will deny that Miss Garden at 55 developed a habit of "scooping" into pitches. She never lost, however, her ability to sustain notes dead center on pitch. Jock o' Hazeldean, her last published disc is my favorite of all.
melbapatti 2 years ago
After listening to this song again on the Romophone CD, it is very apparent that the Bb near the end, on the word "d'eau" in the phrase "les jets d'eau" is certainly suspect. She may be coloring the vowel, but it does sound under pitch to me. Singing out of tune or flat, however, was not a dominant feature of her singing at this time.
melbapatti 2 years ago
What a sublime score on this Verlaine poem, and what distinct, elegant rendition!
kspm01 3 years ago
THANK YOU!! Mary Garden was an amazing singer
petrof4056 3 years ago
In each of the presented interpretations (which differ...) of the song I found irresistable beauty and charm !
jurek46pink 3 years ago
Perhaps not a good idea to listen to this right after Melba...but Mary Garden could be fascinating by just spreading butter on her toast, and her immediately recognisable, slightly throaty voice is so full of character and personality that she makes an indelible impression. The lower voice sounds worn, she goes flat a couple of times, but as some phrases rise, she is right inside the poem's rarefied ambience: she makes the music come alive. I love this.
AulicExclusiva 3 years ago
I meant to write, she goes sharp a couple of times, as she dips into the chest.
AulicExclusiva 3 years ago
Never knew Mary Garden recorded this. Great, sweet voice! Thanks for posting!
transformingArt 3 years ago
Forgot to ask, what is the book you are holding with her pic?
pax41 3 years ago
Its The Great Opera Stars In Historic Photographs, edited by James Camner, Dover Publications, 1978. I don't know if its still in print. There was another volume of instrumentalists.
merrihew 3 years ago
Thank you, this is indeed a great rendition of this piece. I like it as much as N. Melba's. Don't forget the Lily Pons piece.
pax41 3 years ago