Canada-born US citizen
George London is celebrated in this
superb issue. We are lucky indeed that
his partner in the Mozart items is no
less a figure than the great Bruno Walter
whose Mozartian credentials hardly need
reiteration here. Possibly we are less
lucky that the baton-wielding accompanist
in the disc’s balance is Hermann Weigert.
The Mozart arias were
recorded in Los Angeles - all items
date from 1953, hence the cover).
The track listing tells
us that ‘Se viol ballare’ is the first
thing we hear. In fact, it is the preceding
recitative that tickles the ear (from
‘Bravo, Signor padrone’) and the aria
proper (‘Se vuol ballare’) begins almost
exactly a minute in. The harpsichordist
for the recitative is Walter himself.
London is smooth as velvet, placing
notes superbly.
‘La vendetta’ begins
with a fine, assertive ‘La’ on ‘La vendetta’
from London. Such a shame voice and
orchestra disagree as to the starting
post, as this is a remarkably involving
account. London’s attention to words
- both diction and contexted meaning
- is more than exemplary. Try the third
Figaro aria (‘Non più
andrai’) to hear how every word is a
model of clarity, yet not one sounds
studied. This is very involving Mozart,
making one, well, me, at least, forget
any period objections that might flit
by.
If there are objections,
maybe they will be found to be most
pronounced at the outset of ‘Vedrò,
mentr’io sospiro’, which initially feels
on the sticky side; compare and contrast
the dramatic arioso that opens track
five, before the onset of the aria ‘Aprite
un po’ quegl’occhi’ (aria starts at
1’27). The Concert Aria Mentre ti
lascio, o figlia shows how the combination
of London and Walter can work supremely
well, from orchestral playing of the
utmost delicacy to London’s imposing
presence - yet always within the Mozartean
orbit. There is a real sense of drama
here, contrasting with the warmly lyrical
K612, where London seems to be a true
bass in his depth of tone. The more
active Rivolgete a lui lo sguardo
sounds as if straight from Figaro
and includes some amazing violin playing
around 0’35. The climax is impressive.
London and Astrid Varnay
in Aida strike sparks off each
other. London is marvellously imposing;
Varnay matches him all the way. It is
a meeting of equals; the result is fascinating.
Varnay is in superb, cutting voice.
This track, more than any other on the
disc, crackles with electricity thanks
to the vocalists - perhaps Weigert could
have breathed a more Verdian air. The
dark colours of the Borodin make a perfect
contrast. London sings with great lyric
breadth, touchingly, as if born to sing
this.
If I have dwelt at
length on the first ten tracks, it is
not to demean the importance of the
final one, the Wagner. Maybe many would
forecast London’s authority here. And
they would be right. Although Weigert
cannot match London in interpretative
intensity, the orchestra remains impressive.
But it is London that carries this,
from his initial outburst of ‘Leb’ wohl’
through to the heart-breaking ‘Der Augen
leuchtendens Paar’, taking in some,
for once, perfect pitching on the words
‘als ich, der Gott’. The call to Loge
is perhaps predictably but no less thrillingly
impressive. London’s diction is quite
simply incredible at this point. The
only down point is perhaps Weigert’s
adequate but not inspiring accompaniment.
All lovers of great
Wagner singing should own this disc.
In fact it is worth it for the last
quarter of an hour alone. Do bear in
mind that the delights of the rest of
its duration are many, though.
Colin Clarke
George London (baritone); cAstrid
Varnay (soprano); abColumbia Symphony
Orchestra/Bruno Walter (aharpsichord);
George Neikrug (cello, K612); cdBavarian
Radio Symphony Orchestra/Hermann Weigert. 
