zondag 15 juli 2012

G Lenghi-Cellini, G Baker - Aeolian Vocalion A-170


Over Giuseppe Lenghi-Cellini kan ik weinig informatie vinden. Noch The Record of Singing van Walter Scott, noch Unvergängliche Stimmen van K.J. Kutsch en Leo Riemens maken melding van deze tenor. Ook Google levert weinig op. Ik vrees dus dat hij geen grote naam in de operawereld is. Maar ook mindere goden mogen gehoord worden. 
Hij is geboren in 1881, nam vanaf 1911 platen op voor Parlophon, Marathon, Aeolian Vocalion en Piccadilly. Al zijn platen zijn opgenomen in Londen, dus vermoedelijk heeft hij in Engeland zijn carrière gehad. Hij zong b.v. op dinsdag 18 augustus 1925 voor de Proms o.l.v. Sir Henry Wood in een prachtig programma met o.a. Aubrey Brain, Isolde Menges en Leila Megane, kijk hier. Overigens heeft hij in totaal 5x opgetreden in de Proms: 2x in 1919, op 20 augustus en 11 september, en 3x in 1925, op 18 augustus, 3 september en 3 oktober, kijk hier. Interessant om de programmering van toen te bekijken.

George Baker (10.02.1885 - 08.01.1976): Engelse bariton, die duizenden grammofoonplaten heeft opgenomen in de periode 1909-1962. Hij is met name geliefd vanwege zijn  baritonrollen in de komische opera's van Gilbert & Sullivan. En als zodanig kwamen we hem op deze blog al tegen in de opera The Yeomen of the Guard, een opname uit 1920 op 11 dubbelzijdige 78t.platen. Lees meer over George Baker op Wikipedia.

De Aeolian Vocalion 78t.plaat die ik hier op mijn blog zet is apart, omdat op de tweede plaatkant een toelichting staat, maar er staat helaas niet bij wie deze toelichting heeft ingesproken. 

1  Giuseppe Verdi - "La forza del destino": Solenne in quest'ora    3:51
    Giuseppe Lenghi-Cellini, tenor; George Baker, bariton, + Aeolian Orchestra
2  Explanatory notes to this record    3:00
Aeolian Vocalion A-0170  02353 / D-02353

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5 opmerkingen:

  1. Hello Dear Satyr, this is Ashot Arakelyan. I hope you are fine. Dear Satyr it’s already a shame to write you again and I understand that I’m boring you with my requests, but last time if it’s possible I please you to replace my old link golden age opera singers with my new link http://forgottenoperasingers.narod2.ru because google again was deleted my blog and I opened russian blog and this time I hope they never can delete it. Your’s I already added.
    All the best
    Cordially
    Ashot Arakelyan

    P. S. if you will see during adding procces following - Could not detect a feed for this URL. Blog posts and update time will not be shown. Add URL anyway?
    Please click ok

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    1. Hi Ashot, a lot of success with your new blog! I have put you on my bloglist. Greetz, Satyr

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  2. Great thanks Dear Satyr for all, for your kindness.
    Bay the way it's great that you added section about Giuseppe Lenghi-Cellini. Here is few notes about him

    LENGHI- CELLINI, G., operatic tenor ,
    b. Modena, Italy, 13 June, 1881 ; s.
    of Chevalier Guglielmo and his wife
    {nSe Carolina Modena) ; e. as a bar-
    rister, and took his degree as a doctor
    of law in the old university of Bologna.
    Studied music and singing as an
    amateur from childhood and, after
    being called to the Bar, became pro-
    fessional artiste. Made his dSbut in
    1907 at Pistoia (near Florence), in
    " Rigoletto," after which he appeared
    in several important towns of Italy in
    different principal roles. First appeared
    in London at a Chappell Ballad Con-
    cert, 9 Oct., 1909, and has since sung
    at principal provincial and London
    concerts. In 1912 sang at Royal Opera,
    Covent Garden, as principal tenor in
    the rdles of Don Jose (" Carmen ") and
    Canio (" Pagliacci "). Hobbies : Fenc-
    ing and music. Favourite role : Duke,
    in " Rigoletto." Address : c/o Im-
    perial Concert Agency, Birkbeck Bank
    Chambers, Holborn ; and 21 Linacre
    Road, Willesden Green, N.W.

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  3. I do love those Vocalion labels, so beautiful aren't they? And it's a fine version of the duet too. But the B-side with its wonderful English accent is the real prize here: the bizarre reference to Verdi loving melodramas like this in his "early period" (Forza was just before Aida, I think - hardly representative of his early period?!), and the summary of the plot which just emphasises its unlikely coincidences, all delivered in a grand rhetorical manner. Fabulous! Thank you

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    1. Thanks again for all your reactions, David! I do like the Vocalion labels as well, and it's great fun to hear the comment on the B-side, a great curiosity!

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