2019 Summer HD Festival

FAUST:Gounod
Beecham; Jobin, Albanese, Pinza, Thomas, Browning
Original Air Date: 01/30/1943

SID.19450101
J Woolf: Pinza is, of course, magnificent and Jobin matches him for much of the time – though not all of the time, which is where Kullman scored over him. Albanese is a character actress of real repute though the voice itself is inclined to take on a slightly mezzo-ish depth. Never mind, she has the dramatic instincts in place. The smaller roles are well taken and that leaves Beecham. Well, he was never rocket propelled in this work and generally encouraged leisurely tempi. Though as he would doubtless be the first to point out, the average ear confuses speed and rhythm – and Beecham’s rhythmic underpinning here is sure, his conception of the work as a whole splendidly realised. Right from the start one can admire his direction of the Act I introduction – so flexible and winning. The Chorus comes in – somewhat distant but adequate for a private recording of this kind. Jobin is first – ringing and declamatory, superb rhythm and articulation of phrases, subtle highlighting of lyric peaks and troughs. Then Pinza, simply wonderful with great depth of tone across his range – characterisation without exaggeration. I wouldn’t make too much of Singher’s problems but he is unsteady in O toi in Act II (and going up in the Invocation). In fact so is another voice – the prompter, I assume, who can be clearly heard – and crikey is he a busy man. Beecham sounds to be enjoying the grand seignorial swagger behind Pinza in the Rondo – though, a warning to those who are expecting the moon; the sound is a bit crude along the way. The Met strings sound on good, spruce Gallic form in Nous nous retrouverons, mes amis and indeed they cultivate a bright and crisp impression all round; the Chorus too sounds well trained for the occasion. As for Jobin’s Salut! Demeure chaste et pure it’s not so bad – it’s not virile in the way Kullman is but more soft grained and intimate; less effusively romantic. No, I don’t think Albanese sounds youthful enough in the Chanson du Roi de Thulé but she shows signs of her impersonation to come later on; careful and clever singing and acting, as well as tonally frequently resplendent on her own terms. Let’s finish with Thelma Votipka and Lucielle Browning who tend to be edged out of discussions given the excellence of the principals. Browning is consistently good and Votipka shows in her Act III Que vois-je, Signeur Dieu! just how strong a cast this was – witty and perfectly characterised.

CARMEN:Bizet
Pelletier; Djanel, Jobin, Albanese, Valentino
Original Air Date: 03/24/1945

SID.20140106
I don’t remember this as well as Albanese’s earlier Micaela with Swarthout which is available on Met Player. We don’t get many broadcasts from the 1940s (this is not new to Sirius, but not played all that often). I wish that instead of the Micaela, MetRadio had programmed the 1941 Faust Beecham ;Jobin, Albanese, Pinza, Thomas,Browning

CARMEN:Bizet
Pelletier; Djanel, Jobin, Albanese, Valentino
Original Air Date: 03/24/1945

SID.20140324
I don’t remember this as well as Albanese’s earlier Micaela with Swarthout which is available on Met Player. We don’t get many broadcasts from the 1940s (this is not new to Sirius, but not played all that often). I wish that instead of the Micaela, MetRadio had programmed the 1941 Faust Beecham ;Jobin, Albanese, Pinza, Thomas,Browning

CARMEN:Bizet
Pelletier; Djanel, Jobin, Albanese, Valentino
Original Air Date: 03/24/1945

SID.20140755
I don’t remember this as well as Albanese’s earlier Micaela with Swarthout which is available on Met Player. We don’t get many broadcasts from the 1940s (this is not new to Sirius, but not played all that often). I wish that instead of the Micaela, MetRadio had programmed the 1941 Faust Beecham ;Jobin, Albanese, Pinza, Thomas,Browning