Decca’s 1956 recording of
Alceste (see
review)
deployed Geraint Jones and his forces - then known as the Geraint
Jones Singers and Orchestra. Some four years earlier they were
entrusted with the Flagstad’s
Dido. For its day their
playing was first-class, though heard with the authentic movement
in mind the music-making sounds hopelessly dated. The first
part of the prelude is highly romantic and even though the fast
second half has a certain baroque lilt it is hardly as crisp
as what we hear from today’s baroque specialists. But the recording
should be judged by the performance style of kits day some sixty
years ago. Numerous positive features can be reported. This
was not the first complete
Dido and Aeneas. In HMV’s
catalogue there was a recording with the Philharmonia Orchestra
under Constant Lambert. Joan Hammond, Dennis Noble and Isobel
Baillie were the principals. Since the orchestra was founded
in 1945 it was still a fairly modern recording so there must
have been other reasons to re-record it so soon. I have never
heard the Lambert version but it is possible that Geraint Jones’
relatively small forces were deemed more authentic. Be that
as it may the playing of the Mermaid Orchestra is excellent.
The Mermaid Singers’ precision and clean attack is admirable
and Elisabeth Schwarzkopf’ as not only Belinda but also the
Spirit and the Second Lady was inspired casting. Her English
isn’t the best but her singing is. Kirsten Flagstad (1895–1962)
as Dido has on the other hand excellent English and her singing
is technically better here than on the Gluck set. There her
scooping became rather irritating. There are traces of it here
but only marginally so. She is also surprisingly apt at florid
singing. Not that there is very much but there is none of the
clumsiness of heavy sopranos essaying florid roles. Her actual
tone is far less hooty than it had become in 1956. She is also
a very involved Dido and her lament is deeply felt. There is
a special warmth in her utterances that is very appealing.
Thomas Hemsley had made his debut at the Mermaid
Theatre in September the previous year as Aeneas opposite
Flagstad’s Dido. So this is also from that perspective an
historic issue. His is a stylish and youthful reading of the
role. Arda Mandikian is a menacing Sorceress, dark and intense,
maybe over-aggressive at times and David Lloyd is a fine Sailor.
I was quickly drawn into the proceedings and once having adjusted
to the style of the performance it was easy to like it. At
any rate it is a privilege to have the great Kirsten Flagstad
in the role. She had recorded Dido’s lament some years earlier
(HMV DB 6913) but to have the full role preserved is truly
great. The only other recording of this opera with a comparable
soprano is probably the Philips set with Jessye Norman.
As a bonus we are offered Brünnhilde’s immolation
from Götterdämmerung in the famous recording with Furtwängler.
Varnay and Nilsson but few others could be mentioned in the
same breath as Flagstad in this repertoire. The question is
whether Flagstad isn’t a notch or two in front of the others.
The recording has been issued on a number of occasions but
this should certainly be in every decent collection. The sound
on the Wagner as well as the Purcell is excellent for its
day.
True Purcell friends need a more historically
correct recording but even die-hard purists should find a
lot to admire in this historic issue.
Göran Forsling
Kirsten Flagstad
(soprano) 
