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Recorded
1934-1936
Download ID: 265039
(Duration 74'39")
Restoration by HTS Studio for Hänssler Classic
COMES WITH ENGLISH NOTES & COVERS
Phöbus stolz im Sonnenwagen
(Les oiseaux dans la charmille)
Offenbach Les Contes d'Hoffmann
Korjus was once asked what she most
enjoyed about her musical career, she answered: »The records. It's the only way to become
immortal.«
The recordings here, all titles from Electrola
from the years 1934-1936, show Miliza Korjus
as a true master of pyrotechnics. Bad-mouthers
have suggested that her best role was
Olympia, the singing automat in Les Contes
d'Hoffmann. (Track 8) Indeed, some parts of the
mad scene of Lucia (3) sound like they come
straight out of Spalanzani's workshop; but in
light of the remaining opera titles, the usual
prejudices don't hold much water. As to the
degree of expression over which Korjus commanded,
this is shown above all in the second
aria of the Queen of the Night (I): Her performance
has fire and verve, and her high F's are
not tweety whistle-tones, but rather dagger
thrusts. She shows herself to be a first-class
singer and musician in the »Martern« Aria (2).
And in the »Bell Song« (5) one can understand
why the journalist Jurgen Kesting felt reminded
upon hearing the nuances, brilliance, timing,
and verve of Jascha Heifetz. Equally unabashedly
virtuosic are Korjus' recordings of Dinorah's
Shadow Aria (7), Mireille's Arietta.(9), and Elena's
Bolero (19). The fact that the extreme high
notes are almost non-vibrato lies in the nature
of the human voice. (Mado Robin and Erna
Sack were in this respect anatomic wonders.)
The one who enjoys stratospheric sounds and
vocal pyrotechnics will also delight in the show
pieces (11-18); although one should not overlook
the lyrical qualities of this singer, her cultured
legato, her artful rubato, and her musicality...
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