The Complete Conchita Supervia Volume 2; Fonotipia/Odeon, 1929-30
Gioacchino ROSSINI (1792-1868)
La Cenerentola - Signore, una parola [3:35]
with Vincenzo Bettoni (bass)
Ambroise THOMAS (1811-1896)
Mignon - Non conosci il bel suol (Connais-tu le pays?) [3:34]
Leggiadre rondinelle (Légères hirondelles) [3:09]
with Vincenzo Bettoni (bass)
Leopoldo Emanuele GENNAI (b.1886)
Canzoncine (with spoken introductions)
Pioggerella, pioggerellina [2:00]
Il gallo [2:40]
Preghiera della sera [3:14]
Filastrocca dell’asino [2:51]
La scarpetta e la neve [2:52]
Il grillo [2:06]
Il mulino e la luna [2:30]
La fonte [2:01]
Paolo TOSTI (1846-1916)
L’ultima canzone [3:45]
Léo DELIBES (1836-1891)        
Églogue [3:25]
Isaac ALBENIZ (1860-1909)
Granada [4:40]
Andrea FALCONIERI
Occhietti amati [2:53]
Giovanni PAISIELLO (1741-1816)      
I Zingari in Fiera: Chi vuol la zingarella [2:01]
ANONYMOUS  (attributed to Pergolesi)     
Se tu m’ami [3:48]
Edvard GRIEG (1843 - 1907)      
Peer Gybnt; Solveig’s song [4:24]
Léo DELIBES (1836-1891)        
Les filles de Cadix [3:17]
Modesto ROMERO
De la serranía [2:56]
George BIZET (1838 -1875)      
Adieux de l’hôtesse arabe [4:56]
F.M ALVAREZ
Pregària o lo cant de l'ànima à la Verge [3:08]
A SARTORIO
O che umore stravagante (Canzone del paggio) [3:31]
Ruperto CHAPI (1851-1909)
La Revoltosa; Porque de mis ojos [6:19]
with Marcos Redondo (baritone)
Tomas BRETON
La Verbena de la Poloma: Ya estás frente á la casa [3:31]
with Marcos Redondo (baritone)
Léo DELIBES (1836-1891)        
Bonjour, Suzon [3:03]
Enrique MORERA
Enterro [3:10]
Francisco ALONSO
Pajarico triguero [2:18]
Ruperto CHAPI (1851-1909)
Las Hijas del Zebedeo: Al pensar en el dueño [2:14]
Manuel de FALLA (1876-1946) Siete canciones populares espanolas
El paño moruno [1:32]
Seguidilla murciana [1:17]
Asturiana [2:22]
Jota [2:50]
Nana [1:32]
Canción [1:16]
Polo [1:51]
Edvard GRIEG (1843 - 1907)      
Med en primula veris, op. 26, no. 4 [2:34]
J SERRANO
La Reina Mora; Ay! Gitana, pasó la pena [6:36]
with Marcos Redondo (baritone)
José RIBAS
Pel teu amor “Rosó” [3:34]
Enrique GRANADOS (1867-1916)
Danza No. 5 “Andaluza” [4:42]
J. Borrás de PALAU
La farigola [3:10]
Vora, voreta la mare [3:15]
Eduardo TOLDRÁ (1895–1962)
Romanç sense paraules [1:16]
Menta I farigola [1:39]
Frederico LONGAS
Gitana [2:20]
TRADITIONAL
La filadora - arranged by Juan Manén [2:27]
Julio GOMEZ
Coplas de amores [3:51]
Manuel de FALLA (1876-1946) El Amor Brujo
No. 4, Canción del amor dolido [3:26]
No. 9, Canción del fuego fatuo [2:49]
Ruperto CHAPI (1851-1909)
La Revoltosa: Guajiras [3:38]
Carlos López BUCHARDO
Jujeña [3:46]
Vidalita [3:31]
Conchita Supervia (mezzo soprano) with orchestras conducted by Angelo Albergoni, Leopoldo Emanuele Gennai, Modesto Romero, Antonio Capdevila; chamber orchestra conducted by Gustave Cloëz; Frank Marshall (piano)
rec. Milan, Barcelona and Paris, 1929-30
MARSTON 52050-2 [79:45 + 78:44]

Many, perhaps most, possibly even all Marston’s vocal issues are self-recommending. That’s because of the comprehensiveness of the enterprises, the extremely high level of the transfer engineering - even when the voice is brought forward - and not least the booklet annotations and discographical information. This latest self-recommending disc is devoted to the Supervia, volume two.

Naturally there may be theoretical dissent, given that a number of her records have been reissued over the years. But there are some intractable and tough-to-find rarities even in these 1929-30 sides and you’d have to be something of an assiduous collector to have acquired all of them.

So a warm welcome is extended to this excellently executed two-disc set, one that’s pretty much filled to the brim. Supervia’s repertoire here embraces her favoured Rossini, Thomas, folk songs, zarzuela, aria antiche, and the famous 1930 De Falla Siete canciones populares españolas with pianist Frank Marshall; there are Spanish favourites and arrangements and more besides. It shows her in the round and often at her very best.

Her Rossini, only one example here alas, is brilliantly done. Those unfamiliar with her however will notice immediately the one thing indivisible from her reputation and that is her highly personal and idiosyncratic vibrato. Its rapid oscillation will prove an insuperable problem to the unwary and unsympathetic but collectors know what they’re getting and this is an edition aimed very squarely at them. It’s unfortunate that so vibrant a singer as she was teamed with the straight-backed and dull dog Vincenzo Bettoni in the Thomas extract. One of her best known recorded cycles was Gennai’s Canzoncine with her spoken introductions. Everything about this is delightful – from her lilting and characterful introductions to the diaphanous wit of the orchestrations. Filastrocca dell’asino has always been my favourite with Supervia’s donkey impersonation a treat - albeit her vibrato here and elsewhere is of the intense rattling variety.

This particular technical peculiarity need not draw one too far from some imperishable beauties in this collection.  Sample the lovely floated tone in the Delibes Eglogue or the passionate conviction of the 1930 Barcelona recording of the Falconieri Occhieti amati.  Her aria antiche have a verdant conversational freshness – the Paisiello in particular – though it’s one garnished with a full complement of  rubati, portamenti and florid vocalising, Her Grieg is vitiated by the width of her viciously oscillatory vibrato and her Delibes Les filles de Cadix sees some imperfectly taken runs – but what personality!

Her de Falla is really magnificent even when most contentious. With the galvanizing Spanish pianist Frank Marshall she turns in a performance of total involvement. The vibrantly communicative element of her musicianship is not one to be compromised by the recording process and one can easily extrapolate the nature of her effect in recital or concert from this March 1930 traversal. There’s electric vitality in Asturiana, explosive tension in Polo, and expressive depth and power throughout. The two pieces from El amor brujo are both exceptionally highly spiced – maybe a touch too much for timid souls. But her Granados Andaluza surely brooks little opposition. Interestingly this was recorded before the voice and piano transcription was published the following year.

Production values here, as previously noted, are as high as ever. The Marston marque is one of dedication and quality.

Jonathan Woolf 

 

Return to Review Index