The Beecham Collection (Somm)
Smetana
The Bartered Bride - Overture, Polka & Dance of the
Comedians
Verdi
Macbeth *- Act IV La luce langue; Act IV Gran scena del
Sonnambulismo
Reznicek
Donna Diana - Overture
Puccini
Manon Lescaut - Act II:
Intermezzo
Mozart
La Clemenza di Tito K621 -
Overture
Tchaikovsky
Eugene Onegin Act II: Waltz; Act III:
Polonaise
Wagner
Tannhäuser - Act III: Introduction
Das Rheingold †- Entrance of the Gods into
Valhalla
* Margherita Grandi (soprano),
Vera Terry (mezzo-soprano); Ernest Frank (bass) † Edith Furmedge,
Margaret Field-Hyde (sopranos); Gwladys Garside (mezzo-soprano), Nancy Evans
(contralto); Parry Jones, George Chitty (tenors); Paul Schöffler
(baritone)
Various Orchestras conducted by Sir Thomas
Beecham
SOMM-BEECHAM 9 Mono/ADD
(73:45)
Crotchet
This edition of Somm's enterprising Beecham collection, although predominantly
orchestral, is a compilation of music from operas. It includes three selections
previously unissued, while the excerpts from Verdi's Macbeth are new
to CD. These recordings were made in 1945 and 1947 and Beecham is heard
conducting: the London Philharmonic, The Royal Philharmonic and the BBC Symphony
Orchestras.
Beecham's contribution to the world of opera was, of course, inestimable.
His financial support was generous, and he brought a unique ability and artistry
to his conducting.
The concert opens with spirited performances of the Bartered
Bride excerpts, alert and full of joie de vivre. In contrast,
Margherita Grandi pulls out all the darkly dramatic stops as Lady
Macbeth, wild and powerfully assertive with Beecham providing
a brooding, atmospheric accompaniment. I was particularly pleased to note
the inclusion of Reznicek's sparkling and thrilling Overture: Donna
Diana - one of those pieces that is so familiar yet perhaps not so
well-known by name. Truly a tingling factor piece, especially with the Beecham
attack!
One of the unreleased items is Beecham's version of Manon
Lescaut which sadly is not so successful with some rather erratic
string playing that would have benefited from a little more legato - the
recorded sound is below par too. On the other hand Beecham's renowned Mozart
interpretation, full of humour and elegance, is evidenced in this reading
of the Overture: La Clemenza di Tito. The Eugene
Onegin Waltz and Polonaise sparkle.
Beecham's Wagner nights were special occasions. Both these excerpts have
never been issued before. The Introduction to Act III Tannhäuser is
brooding and intense before radiant climaxes, and the Entrance of the Gods
into Valhalla is well paced with Schöffler a commanding Wotan. Beecham's
climax is spectacular.
Thanks to Somm, this is an enterprising programme that has to be good news
for Beecham enthusiasts.
Ian Lace
