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MARGARET HARSHAW
Sings Wagner
BSO/Munch, 1955, live
Margaret Harshaw (b. 1909--d. Nov. 7, 1997) was an American opera singer celebrated especially for her Wagnerian performances at the Metropolitan Opera in New York City for 22 seasons beginning in 1942, singing both soprano and mezzo-soprano roles.
Ms. Harshaw sang at the Metropolitan Opera from November 1942, when she made her debut as the Second Norn in Wagner's ''Die Gotterdammerung,'' until March 1964, when she gave her final performance as Ortud in ''Lohengrin.'' Because she spent the first nine years of her Met career as a mezzo-soprano and then switched to soprano roles, she sang more Wagner roles than any other singer in the Met's history.
These include 14 roles in the ''Ring'' operas, in which she began as a Rhinemaiden and eventually sang all three Brunnhildes, as well as both Senta and Mary (in the same season) in ''Die Fliegende Hollander,'' Isolde in ''Tristan und Isolde,'' Magdalene in ''Die Meistersinger,'' Kundry in ''Parsifal'' and Elisabeth and Venus in ''Tannhauser.''
Miss Harshaw was born in Philadelphia in 1909 and began singing in church choirs as a child. From 1928 to 1932, she sang alto with the Mendelssohn Club, a chorus that performed with Leopold Stokowski and the Philadelphia Orchestra. A series of competition victories in the early 1930's led to performances in Philadelphia, Washington and New York City, all before she enrolled at the Juilliard Graduate School to begin her formal studies with Anna Schoen-Rene in 1936.
In March 1942, Miss Harshaw won the Metropolitan Opera's Auditions of the Air, and she began her career at the house at the start of the next season. In 1950 Rudolf Bing, the Met's general manager, was looking for a dramatic soprano to succeed Helen Traubel, particularly in Wagner roles, and persuaded Ms. Harshaw to switch to the higher range. She did so with notable success: her recordings as a soprano show her to have a clear timbre and considerable power.
All told, she sang 375 performances of 39 roles in 25 works at the house and was heard in 40 of the Met's weekly live broadcasts. Her non-Wagner roles at the Met included four in Verdi works -- Amneris in ''Aida,'' Ulrica in ''Un Ballo in Maschera,'' Mistress Quickly in ''Falstaff'' and Azucena in ''Il Trovatore'' -- as well as Donna Anna in Mozart's ''Don Giovanni,'' Gertrud in Humperdinck's ''Hansel und Gretel,'' Genevieve in Debussy's ''Pelleas et Melisande'' and Herodias in Strauss's ''Salome.''
Ms. Harshaw also sang at Covent Garden, Glyndebourne, the San Francisco Opera, the Paris Opera and with companies in Philadelphia, Cincinnati, New Orleans, San Antonio, Pittsburgh and Houston. She also made several Latin American tours and was a soloist with many of the major American orchestras. Roles she sang outside the Met include Dalila in Saint-Saëns's ''Samson et Dalila,'' Leonore in Beethoven's ''Fidelio'' and the title roles in Puccini's ''Turandot'' and Gluck's ''Alceste.''
Notes drawn from New York Times, 1996
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NEW REVIEW
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Audiophile Audition
10 March 2013
Callas sings Mascagni
by Gary Lemco
"The classic 1953 EMI inscription of Cavalleria Rusticana - starring Callas and di Stefano - receives a glowing restoration, gripping in its dramatic power and often brilliant vocally, all under potent maestro Tullio Serafin."
 Pristine's Andrew Rose restores the 16-25 June and 3-4 August 1953 EMI recording of Pietro Mascagni's 1890 one-act verismo classic Cavalleria Rusticana, led by the perennial maestro Tullio Serafin (1878-1968), whose sense of the monumental within the confines of the seemingly every day never becomes flaccid. With the legendary Maria Callas as Santuzza, the dramatic moment - if not every note of the musical score - receives its most thrilling realization. The deep cello chords that preface her entrance in "Dite, mamma Lucia" intimate the dark tenor of her suspicions of the unfaithful Turiddu, sung with his effortless silvery lyricism by Giuseppe di Stefano. For the most part, Callas' high notes remain intact, suffering little shatter or wobble at the tops. Rolando Panerai (b. 1924) strikes us immediately with his earthy incarnation of the carter Alfio, his "Il cavallo scalpita" resonant with a hearty insolent materialism. The famous Easter Hymn emanates an eerie fatality - given that within it, Santuzza weeps for her excommunication by dint of her sin - especially when followed by the exquisite pathos of the Callas rendering of "Voi lo sapete, o mamma," in which Santuzza reveals her having been seduced by Turiddu, even as his continues his affair with Lola.
Rather wonderful, di Stefano manages to beguile with his voice, his Turiddu a combination of suave village rake and callous narcissist. His cavalier presence in "Tu qui, Santuzza" contrasts brilliantly against Santuzza's simmering despair. The "Battimi, insultami, t'amo e perdono," of Santuzza's loving grief plays against Lola's cruel coquette, her "Fior di giaggiola," intoned by Anna Maria Canali. By Lola's entering the church to which Santuzza's true love has become anathema, Mascagni manages a moment of dire hypocrisy on several levels. The assured posterity of the Callas-Stefano duet, "No, no Turiddu" in its present restored sound warrants the price of admission. Having cast Santuzza to the ground in selfish lust after Lola, Turiddu invokes Nemesis, here in the "white" tones of Santuzza's "pious" revelation to Alfio of the affair. And so the lull before the storm in the unoccupied public square: Serafin's yearning realization of the forty-eight measure Intermezzo, its understated agony a full account of what lay before and what tragedy remains.
The tragic wisdom of the music takes Dionysiac form in Turiddu's drinking song, "Viva, il vino spumeggiante," if we recall the myth of drunken Silenus, who told King Midas that Man's greatest good would be not to have been born. The "ruby wine" of Turiddu's confident lust will transform into a thicker red with his blood. It seems apt to praise the La Scala Chorus under Serafin, a veritable force of nature. Panerai's brute Alfio cannot be appeased, and so the Sicilian vengeance must proceed. The cello line at "Compar Alfio" intones a dirge for Turiddu, and his answer to the stiletto lies in more drink. "Un bacio, mamma! Un alto bacio! - Addio!" To die upon a kiss has been a romantic conceit since Othello. Stefano's voice rings superb, a last plea for the breath of life itself. Mama Lucia (Ebe Ticozzi) and a hapless Santuzza wander aimlessly to await Turiddu's destruction. "Hammo ammazatto compre compare Turiddu!" They have murdered our neighbor Turiddu; or has Tristan merely suffered his inevitable passion?
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NEW REVIEW
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Classical CD Review
March 2013
Beethoven Late Quartets: Hollywood Qt
by SMS
"Pristine improves that sound, creating a sense of space around the music. I recommend these incarnations over either Testament or EMI"
 Legends return. As a teen encountering much of classical music for the first time, I had very little regard for Beethoven as anything other than an "historically-important" figure -- which meant that he did very little that moved me. At the time, I liked either very old music, like the Renaissance through Bach, or very new music like Debussy through Carter. The Classical and Romantic eras didn't interest me a lot, and of that era I tended to like oddball composers like Berwald, Grieg, Mussorgsky, Rimsky-Korsakov Borodin -- you get the idea. The only mainstream composers I had a thing for were Mendelssohn and Tchaikovsky. Sure, I liked some Beethoven pieces: the Pathétique and Waldstein piano sonatas, the Kreutzer violin sonata, the First, Fifth, Sixth, and Seventh Symphonies, the Missa Solemnis, the Violin Concerto and the Fourth Piano Concerto, plus a few others that I suspect appealed mostly to my sense of teenage drama, but on the whole I wouldn't have crossed the street to hear a performance of any of it, and to this day the Eroica remains my least-favorite Beethoven symphony. I can't say exactly why or how I turned around, but of course I did. The music's undoubted historical importance now seems to me the least interesting thing about it. Since I came so late to Beethoven, I still feel the thrill of discovering "new" stuff that others have long since taken for granted. I haven't yet heard all the string quartets, for example, although I know pretty well the middle and late ones.
I turned on to them in a way that might be familiar to some of you. When I drive, I try to tune in to a classical station on the car radio and, since I almost always seem to arrive in the middle of something, play Guess the Composer. Over the years, I've gotten pretty good at the game. Okay, I'll brag. I'm freakin' terrific at it. However, I once broke in on some string quartet which completely foxed me. It sounded both early Romantic and weirdly Modern at the same time, as if somebody like Ernst Toch or Busoni had decided to adapt an older style. It drove me nuts, until I heard Beethoven's name announced at the end -- one of the late quartets (so many years since, I can't even remember which one I'd heard, probably No. 14) -- but it gave me the shove I needed.
These quartets in particular gave the Nineteenth Century fits. The American composer Daniel Gregory Mason (born 1873) found them "repellent." Most writers today have reached the consensus of finding them among Beethoven's best music, although they can still fight over the quartets' "meaning." Perhaps the greatest music critic in English, George Bernard Shaw, in the provocative way of fin de siècle wit, contended that listeners didn't understand the quartets not because of their complexity, but because of their simplicity. I suspect he was just showing off.
Beethoven composed the quartets in the order 12, 15, 13, Grosse Fuge (the original finale to #13), 14, 16. I don't know why they have the numbers they do, but I suspect it concerns order of publication. He began them after the Ninth Symphony, and they constituted his main work from that point until his death. They epitomize his late period -- flirtations with structural breakdown and more highly contrapuntal textures than in his earlier work. Indeed, Bach becomes increasingly to the fore as a creative spur.
Some contemporary critics see these works as a unity, arguing that motifs from one will show up in others. I don't know the quartets in enough detail to weigh in on one side or another. Right now, they seem to me unified only in the sense that Beethoven wrote all of them in a space of two years. However, their differences -- mood, architecture, harmonic practice -- strike me as far more remarkable... FULL REVIEW HERE
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CONTENTS
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This Week Furtwängler's 1950 La Scala Ring starts here
Playback Trying out an $88 music & video machine
Furtwängler Das Rheingold - part 1 of the Ring Cycle
PADA Robert Mann plays Bartók's Solo Violin Sonata
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We start another epic Wagner journey with Furtwängler
Plus the tiny $88 box that could revolutionise your listening
This Week's Preview
This week we start the run-up to Richard Wagner's 200th birthday on May 22nd with the first of his epic Ring Cycle operas, Das Rheingold. This is the third Ring I've remastered - we issued the Krauss 1953 recording in 2010, and Furtwängler's 1953 RAI recording in 2011. I took a year off last year, but it seems just like yesterday that I completed that second Gotterdämmerung in the late spring two years ago, and here we are again!  | | Furtwängler in 1951 |
The game-plan is simple: a new opera every three weeks should (if my calendar is correct) bring us to the grand finale of the Ring on the Friday immediately preceding Wagner's anniversary. If you're going to embark on remastering a Ring cycle you want to be sure it'll be well-received. I've had so many requests for this one that, frankly, it was the only choice, and I'm confident it'll go down well. Just take a listen to the lengthy sample I've prepared from the first scene. If you're acquainted with the recording you may not recognise it at first, such is the leap in sound quality achieved by the XR remastering processes. A short read of the history books shows us that the initial LP release of this recording was frequently described as being almost unlistenable. Well that certainly isn't the case now. I've experimented with the Scala Ring before and had an inkling it would come out well, but as with any major XR remastering you can never be truly sure until quite some way through the process. As I type these words I'm listening to a section plucked at random, partway through Scene 2. What I'm hearing is clear, clean, rich and full. The bass is deep and truly convincing, the words would, if I spoke German, be easily to follow. Quite simply it's very convincing, both vocally and orchestrally. I spent a lot of effort teasing out extraneous noises, including a lot of the coughs that plague the quieter moments. This isn't always possible, it must be pointed out - there's always the risk of damage to the musical content, and if this happens when a noise is excised then, unfortunately, it has to be reinstated. Separating wanted and unwanted content that's happening at the same musical frequency is difficult at the best of times - sometimes it's simply impossible with current technology. Saying that, if you know this performance well I think you'll welcome the much-reduced audience-related interference! As with previous long operas where gaps don't invite simple disc change points, I've made the music continuous. If you're listening to FLACs then at the point at which the CD changeover would occur you'll hear no pause or fade, just continuous music. And I've set up the CDs and MP3s the same way - gapless MP3 replay will ensure continuity between the two halves, whilst CD buyers have the option at a later date to "rip" their CDs to a hard drive and have them played back-to-back with no pause and no gap either. It's a problem that has plagued the music of Wagner since the first multi-disc 78rpm album sets, but with the effectively unlimited replay time of a modern digital system those pesky disc and side changes can finally be consigned to history. I won't say any more about Das Rheingold. Wagner fans will I'm sure know this performance well. As our quote from ClassicalNotes.net says, most will have their preference between the two Furtwängler Rings - but most will also feel that both are essential .If you ever had any doubt about the Scala cycle, perhaps it's time to give it another listen - the only complete live recording we have from this astounding Wagner conductor. Last Week's Bruno Walter CD pricing
A small error crept into the pricing of last week's Bruno Walter Mahler CD, which had it listed as a double rather than single CD. We corrected this very quickly but a handful of orders did slip through before the price was corrected. We've refunded the difference to all those who purchased the CD within the first hours it was on sale, so nobody should now be out of pocket. My thanks to the eagle-eyed correspondent who flagged up my mistake. My new $88 music and video player | The G-Box Midnight mini-PC (it's that dark thing in the middle)
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A few weeks ago I wrote about the recent proliferation of tiny USB stick sized mini-PCs that can be found on an Amazon store near you. These inexpensive devices run Google's Android operating system, which now appears (I believe) on more of the world's mobile phones than any other, and comes backed with an online store that holds somewhere near a million apps. I said at the time that I wasn't sure the devices I'd looked at were quite ready to be put into service. But this week I stumbled across one that just might be - the little black box pictured above, resting on a certain Beatles 7" record cover on my turntable's platter (how exactly does one take a photograph of a nondescript black box like this?). With a footprint slightly smaller than a square CD slip cover, a height of little over an inch, no moving parts to make any noise and no company logo plastered all over it, it's very discreet. It's called a G-box Midnight, and I bought it from Amazon's US website and had it shipped over here to France. It arrived at around 3pm yesterday afternoon, and I've tried to devote what little spare time I've had since then to getting it up and running, and coming to an initial opinion as to its merits or otherwise. The box cost me the grand total of $88. For European readers that equates, this week, to roughly £58, or €68. Compared to most hi-fi and video replay investments this equipment is not exactly going to break the bank. They can manage that all by themselves... Basic price - basic packageFor something so inexpensive there's no surprise that it comes rather basically packaged, with a remote control (without AAA batteries), a US mains adapter (that will work on European voltages with a pin converter), and an analogue audio/video cable. There is a booklet so slim that, frankly, I've not bothered opening it yet.  | How is the light working?
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There are a number of sockets and slots on the box. Memory cards can be slid into the SD and MMC slots. Up to four USB devices can be plugged in - it immediately recognised my Microsoft wireless keyboard and mouse set-up when I plugged the USB transceiver in. There's a mini-jack socket for analogue audio and video output, but as these sit next to a digital HDMI socket they won't be getting much use here, I suspect. Likewise the network socket, which for my purposes will be made redundant by the unit's built-in wi-fi capabilities. There's also an SPDIF socket, which provides a digital music output you can plug straight into a suitably-equipped amplifier or DAC - which means you can expect truly top-quality sound replay, if you have this capability already somewhere on your hi-fi system. The box runs a pretty recent (but not absolutely cutting edge) version of Android (version 4.0.4), but more interesting to me it came pre-loaded with a specially-tailored and up to date version of XBMC that's been adapted to make full use of the specialist graphics chip inside the G-box Midnight, and thus provide full HD video replay capabilities. The G-box Midnight in actionSo, for the novice, what happens when you power it up? Well I brought it up to my office and, after a hunt for a mains plug adapter, soon had it up and running, connected to a PC monitor using an HDMI cable I found in a drawer (this cable was not supplied, but it is what will supply the best picture and sound quality to a TV screen or monitor). As I already have an Android phone, and so know my way around the operating system well, it was a relatively quick and simple job first to get wi-fi up and running. Within a few minutes I'd connected to my home network, started up XBMC, connected to my networked video library, and started up a high definition movie. So that worked. Next I connected the music section of XBMC to my main audio drive, navigated to my repository of Pristine Classical 24-bit FLACs, and began replay of Klemperer's Beethoven 7. Admittedly I was listening through the tinny speakers of a PC monitor, but there it was - no stutter, no issue with the format, 24-bit sound easily handled via a wi-fi link to a NAS drive's music folder. In short, it all worked, and without any initial pain. I'm sure there's a lot more to find out yet, but the one other crucial question I needed an immediate answer was this: could I plug an external hard drive, such as the drives we use for our Digital Music Collections, into the G-box Midnight and expect to be able to use them? The initial answer seemed to be "no", but a quick bit of Googling soon told me otherwise. The drive I was trying to connect had been formatted for Windows' NTFS file system, something the Android system needs help in reading. A very quick, free download later and we had connectivity, with the drive appearing as a folder in what Android refers to as the "phone's" file system, though of course it's not a phone! (Since then I've read suggestions that I might not even have needed that extra software and just needed to know where to look for the drive - but as I say, it's still early days, and I made it work, so I'm happy!)  | | PADMC01 drive |
Anyway, there it was - all of the drive's content available to use, with built-in XBMC ready to play back any audio or video files on the drive, or create a slideshow of any photos. Conclusions yet?A final verdict will have to wait. The box as it comes has no keyboard or mouse, and runs an operating system designed for a touch screen. Will I get away with using it in a living room environment using just its remote control? I'd rather get it fully set up first. Do I want it to offer web browsing and other options on my TV (in which case a keyboard/mouse investment may be unavoidable) or will I restrict its use to XBMC music and video replay? Time will tell. What about that digital audio output socket? Not sure about that one yet. Will there be enough of a wi-fi signal to stream high definition video to the room I have in mind for it? I'll know when I get it in there - this is the real acid test as it needs more data capacity than anything else it'll be called to perform. But for now it's impressive, especially at the price, but to be honest it is still something of a hobbyist's option. That it comes with XBMC installed is a real bonus, and it was this that turned my head, but I think you'd need to be the kind of person who's tinkered around with computers and electronics for a while to take this on as it is - or at least someone who's prepared to learn, and perhaps lean on the expertise of online forums to guide you in the right direction. It arrives with 1GB RAM and 4GB of internal storage, easily added to with external drives, be they USB sticks, SD cards or even hard drives or network storage. You can read more about it here - where you'll find that some Amazon customers struggled with it, whilst others were very pleased - or from the manufacturer's US website here. British interest appears to be served by this website. But I would advise caution: unless you're prepared to tinker around, are reasonably technically competent, and have the time and money to spare, I'd probably recommend waiting for something slightly more user-friendly to emerge. I'm not sure someone without my instinct for getting these kind of things to work would be quite so adept at using it. And it seems to have difficulties working with the TV set I want to use it with - despite working just fine elsewhere in the house. I've currently no clue as to why. So it's a fascinating pointer as to where things may be heading in the very near future: a small, simple, silent black box working as a system manager, routing music, video and other media around from mass storage locations (which may be local, networked or online) to suitable players. A hi-fi system based around this kind of technology requires simply a high quality digital-to-analogue converter, an amplifier and speakers. A TV screen acts as the visual interface, with its obvious superiority over the size of display available on a CD-player-sized unit. Crucially for many, this is a very low cost central component. It's built on mobile phone technology. It uses very little electricity as a result, runs cool, and has no moving parts to get dirty, wear out, or make a noise. And it places the CD player, or the SACD player, or the DVD player, or the Blu-Ray player, alongside the cylinder player and the 78rpm record player - as mechanical devices which play things which we may like, we may cherish and we may enjoy, but we no longer actually need. Andrew Rose
15 March 2013
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Furtwängler's 1950 Ring Cycle starts here - Part 1: Das Rheingold
XR remastering brings vivid depth and astonishing power to Wagner's epic operas
Recorded 1950
Producer and Audio Restoration Engineer:
Andrew Rose
Wotan Ferdinand Frantz
Donner Angel Mattiello
Froh Günther Treptow
Loge Joachim Sattler
Alberich Alois Pernerstorfer
Mime Peter Markwort
Fasolt Ludwig Weber
Fafner Albert Emmerich
Fricka Elisabeth Höngen
Freia Walburga Wegner
Erda Margret Weth-Falke
Woglinde Magda Gabory
Wellgunde Margherita Kenney
Floßhilde Sieglinde Wagner
Orchestra e Coro del Teatro alla Scala di Milano
conductor Wilhelm Furtwängler
Web page: PACO 089 Short Notes "Once again one must praise the unerring blend of the romantic, tragic, elemental and profound in his interpretation, his command of Wagner's Hauptstimmen and Unendliche Melodie, his mastery of transition heard throughout and Furtwängler's 'ability to make the music surge or seethe or melt, so that one has left the world of semiquavers behind'."
- Gramophone 1996
This year sees celebrations of Wagner's 200th birthday, and to mark the occasion here at Pristine we're remastering and reissuing, in unbelievably improved sound quality, one of the greatest live performances of the Ring cycle ever recorded.
Furtwängler's 1950 La Scala Ring is one of only two preserved for future generations, and it really is stunning. We begin this week with Das Rheingold, with the other three operas to follow every three weeks, until we reach the finale in time for the birthday anniversary itself. A feast of Furtwängler's superlative Wagner starts here! Notes On this recording Ever since I began working on Furtwängler's other Ring cycle (RAI, 1953) I have received requests to follow it with this one, recorded live at La Scala in Milan in 1950. Thus what seems almost to have become something of an annual event begins again: Pristine's historic Ring for 2013, another "best ever" contender that's suffered from any number of dire-sounding releases in the past. With Richard Wagner's 200th birthday this year in mind, here's the start of this 32-bit XR remastered Ring.
Initial soundings last year suggested that this recording would respond well to the rigours of the various XR processes, as it has - indeed, better than I'd dared hope. Wagner really does need a full, rich and all-enveloping sound, and at last we're able to hear it in this performance. It's not entirely uniform - there are a handful of short sections where the quality drops slightly - but overall this offers a pretty amazing improvement in audio quality. I've also excised a lot of bumps, coughs and other noises to help provide as involving a musical experience, with as few distractions, as possible.
Your musical journey starts here...
Andrew Rose Reviews The first Furtwängler Ring was recorded live in 1950 at the famous La Scala opera house in Milan. The second Ring was broadcast from Rome over Italian radio in 1953, one act per night. Opera fanatics will forever debate the relative merits of the two full cycles. The La Scala set is swifter and boasts the spontaneous excitement (as well as the flaws, noise, awkward balances and grueling exhaustion) of a real opera performance, while the Rome broadcasts are more relaxed and better recorded. For some fans, the choice is dictated by the female lead: the icy beauty of Kirsten Flagstad in 1950 or the rougher drama of Martha Mödl in 1953. True opera buffs would never part with either set and rank both among the finest Wagner ever recorded.
Peter Gutmann, classicalnotes.net
"Wilhelm Furtwangler, Genius Forged in the Cauldron of War", excerpt
Furtwangler in the theatre at full tilt, unsurpassable in his particular, cosmic view of the work ... Once again one must praise the unerring blend of the romantic, tragic, elemental and profound in his interpretation, his command of Wagner's Hauptstimmen and Unendliche Melodie, his mastery of transition heard throughout and, as the late Deryck Cooke put in a famous dictum, Furtwängler's "ability to make the music surge or seethe or melt, so that one has left the world of semiquavers behind". Yet it is from just such close attention to the matter of detail - semiquavers and precise rhythm - that Furtwangler builds his unerring overview of the whole cycle.
A.B., Gramophone, December 1996 excerpt
MP3 Sample Scene One, long excerpt
Listen
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PACO 089 - webpage at Pristine Classical
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Robert Mann plays Bartók
 | | Robert Mann |
PADA Exclusives
Streamed MP3s you can also download
Bartók
Sonata for Solo Violin, Sz. 117
Robert Mann violin
Recorded c. 1951
Issued as Bartok Records No. 916
This transfer by Dr. John Duffy
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