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     Mozart: IL FLAUTO MAGICO (Die Zauberflöte)    Table of Contents      NON-OPERATIC ORCHESTRAL SELECTIONS

The Mapleson Cylinders - Program Notes

- Libretti
- NON-OPERATIC VOCAL SELECTIONS [Includes RealAudio Selections]


NON-OPERATIC VOCAL SELECTIONS [ Click for RealAudio Selections ]

raster Band 9   [Click to Listen]

Johann Strauss, Jr.: Voci di primavera (Voices of Spring) excerpt: cadenza

Marcella Sembrich (s)

March 30 or 31, 1900

[Mapleson's announcement: "...March the thirt..."; note on container: "Mad. Sembrich, end of Strauss Primavera 1900"; Glackens 86: "1900"; since Mapleson only acquired his machine on March 17 of that year, the last two days of the month are indicated.]

At the matinee performance of Il Barbiere di Siviglia on March 31, 1900, Sembrich interpolated Johann Strauss's Voci di primavera (Voices of Spring) into the lesson scene, and this may have suggested her choice of the cadenza from this waltz to sing into Mapleson's horn on that day or the day before. Curiously, an orchestral cadence can be heard far in the distance after Sembrich finishes (and in the same key!), but since the cadenza is sung without the customary flute echoes (and because the singer is obviously very close to the horn), this can hardly represent an actual rehearsal, let alone a performance. The selection is pitched in B-flat, the usual key for this waltz (and the key in which Sembrich's commercial recordings also pitch comfortably).

raster Band 10   [Click to Listen]

Luigi Arditi: Parla Vals excerpt: Final portion Marcella Sembrich (s)

Metropolitan Opera Orchestra--Phillippe Flon January 30, 1903

[On the cylinder (Glackens 15), this follows the first excerpt from the Fille du Régiment performance of January 30, 1903. Early in the Mapleson project, it was suggested that Sembrich might have interpolated Parla into the lesson scene of Fille at that performance, but in Recorded Sound 83 a more conservative assignment was made, to a Sunday-evening concert on February 9, 1902, despite the fact that the sound quality was far superior to other 1902 Mapleson cylinders. At the time, the actual program of that concert was not known--the old Metropolitan Opera Annals merely listed "Songs (selected)" by Sembrich; Jean Uppman has now established that Parla was not on that program.Subsequently, Louis Snyder kindly furnished us reviews from his extensive Sembrich files, which indicate that she regularly sang the Parla Vals as an interpolation at the end of the opera.

In support of this, the speed of the first Fille excerpt and the Parla conclusion match--and, as John Stratton noted, so does the speed of a brief recording of Parla 's opening measures found at the beginning of the first excerpt from the January 31, 1903 Aida (Side 5/Band 5), the remainder evidently shaved off to make room for the Aida. This was very suggestive, and in the original layout for this set we considered combining the two Parla fragments on the same band; when we actually juxtaposed them, however, the contrast in sound perspective immediately convinced us that they must come from separate occasions. Consequently, the introduction fragment has been placed in the Appendix (Side 12/Band 5); the coincidence of speed may, of course, be just that--a coincidence: in fact, 192.46 appears to have been one of Mapleson's more usual recording speeds (see the table in Appendix A). The song has been pitched in the usual key of D major: the reviews almost invariably call attention to Sembrich's high D at the end--truncated, alas, in this recording.]

[original]
Ogni tormento di gelosia, ah!
un sol tuo detto svanir farà, si!
Parla, mio bene, ah!
Si, mio ben, mio ben, parla!

[translation]
All torments of jealousy, ah!
would vanish with a single word from you, yes!
Speak, my love, ah!
Yes, my love, my love, speak!

Band 11

Leo Stern: Printemps--Valse chantée excerpt: "Ah!" ... "Car je suis l'amour"

Suzanne Adams (s)

Metropolitan Opera Orchestra--Phillippe Flon

January 12, 1902

[Identified by snake; Glackens 73 gives "1902," month and date supplied from Metropolitan Opera Annals. ]

Composed by the singer's husband, this florid song sets a text by her colleague, the tenor Thomas Salignac. The song was published in three keys: "High Sop. in G." "Sop. or Tenor in F," and "Mezzo Sop. in E." Although Adams would seem to be a "High Sop.," we agreed with John Stratton that the recording sounds most convincing if pitched in F. Mapleson catches the closing phrases--mostly vocalise--of the first strain (in F), all of the second, beginning "Mais dans mon coeur" (in B), and the beginning of the transition back to F. The occasion was a Sunday-evening concert, in which the other soloists were Carrie Bridewell, Salignac, and Antonio Scotti.

[original]
Ah! pour fêter le printemps--ah!, le printemps!
Mais dans mon coeur
j'entends une voix qui m'enivre--
oui, j'entends dans mon coeur, ah!
j'entends une voix qui m'enivre,
une voix qui me dit,
qui me dit je t'attends!
Ah! viens, tu dois me suivre,
tu dois me suivre, ah!
car la nature entière
suit ma loi si legère, ah!
suit ma loi si legère!
Oui, viens a moi, viens a moi,
car je suis l'amour,
suis ma loi legère,
car je suis l'amour!

[translation]
Ah! to celebrate spring--ah, spring!
But in my heart
I hear a voice that intoxicates me--
yes, I hear in my heart, ah!
I hear a voice that intoxicates me,
a voice that tells me,
that tells me I await you.
Ah, come, you must follow me,
you must follow me, ah!
for all of nature
is subject to my gentle laws, ah!
is subject to my gentle laws!
Yes, come to me, come to me,
for I am love,
obey my gentle laws,
for I am love!

[Begin Page 37]

     Mozart: IL FLAUTO MAGICO (Die Zauberflöte)    Table of Contents      NON-OPERATIC ORCHESTRAL SELECTIONS