Contralto Louise Homer ~ Che faro senza Euridice (1911-1912)
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- Опубліковано 7 сер 2024
- By request from "pax41" / American contralto Louise Homer (1871-1947) / Che faro senza Euridice / Orfeo ed Euridice (Gluck) / Recorded: The Victor Red Seal Discography (Mainspring Press / 2004) lists two recording dates with identical catalog numbers: February 6, 1911 and December 13, 1912 --
Louise Homer had an active international career in concert halls and opera houses from 1895 until her retirement in 1932. After a brief stint as a vaudeville entertainer in New England, she made her professional opera debut in France in 1898. She then became a member of the Metropolitan Opera from 1900-1919 and again from 1927-1929. She was also active as an opera singer in Boston, Chicago, and California. She recorded extensively for Victor Records and Columbia Records in the early decades of the 20th century. She was married to composer Sidney Homer for 52 years, and composer Samuel Barber was her nephew. Homer sang a broad repertoire which encompassed works from the French, German, and Italian repertoires. She enjoyed particular success in the operas of Giuseppe Verdi and Richard Wagner. She often stated in interviews that her favorite role to perform was Amneris in Verdi's Aida. At the Met she sang in several United States premieres and created roles in two world premieres: the witch in Engelbert Humperdinck's Königskinder and the title role in Horatio Parker's Mona. Soprano Nellie Melba once hailed her as "the world's most beautiful voice". In 1923 and 1924 she was listed as one of the 12 greatest living women by the National League of Women Voters. (wikipedia)
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One of the most popular singers ever in the US. And one of the most beloved. Over 30 years at the Met. She was just absolutely wonderful.
The great soprano Nellie Melba thought Homer had the "the world's most beautiful voice" and this recording surely supports that opinion.
"What is life without you?" Louise Homer seems alone in capturing the deep sadness and longing of Orfeo's losing his beloved Eurydice. Hers is the interpretation that transcends time for all of us who have lost loved ones and gives song to our deepest grief. Thank you for this.
Absolutely beautiful and resonate voice a eonderful contralto
another great and beautiful voice of the past....warm and dark colour
A souvenir of the famous Toscanini 1909 production at the Met. It also gave Alma Gluck one of her first great successes as the Happy Shade. A true contralto, Homer sings with a cello like legato and a seamless connection between her registers. She sings with a full emotional palette that we would frown upon today. A good example of what Toscanini required from his singers in 1909.
Much better recording. You can hear the chiaroscuro clearly!! She was great!
I love any records by Louise Homer. This is such a jewel. Thanks for posting this!
Merci d'avoir mis en ligne cette grande contralto, voix féminine rarissime qui n'a pas énormément de répertoire à sa disposition.
I enjoyed the beautiful music!
-----Ellen
Thank you for presenting this sublime recording. I always prefer to list to contraltos and bassos because to me, their voices have greater substance and coloring. (But
then, I am a contralto myself.)
Me too, and I haven't been classed yet, but I'm so very sure that I'm a contralto as well.
I love the lower register because of the power that it has.
Thank you Doug for sharing this most enjoyable recording!
JamesGH NS Most welcome, James... thank YOU!
Bravo Doug, thank you for posting this for me. I have looked form this disc but could never find it. Louise is my favorite contralto and she does this piece well. Please continue your posting of the lessor known artists of this period. I have been introduced to so many via your channel. Thank You
Always thought her one of the greatest of artists. Superb reproduction.
simply beautiful
Very beautiful.
Thanks again Doug !
Amitiés
Françoise
thanks, a jewel
Even better! From great to greater:-) Boy, that bottom register is something!
..what glistening bell-like resonance...
This performance is every bit as moving as the recording by La Divina.
Le grave est parfaitement placé.
Wonderful. So different from the H.I.P. whitewash we have become accustomed to.
From Homer to Ferrier to Baker all interesting takes on ,what, Gluck's most famous melody. I was looking forward to what Lorraine Hunt Lieberson was going to do with it in the new Met production a few yrs. ago. Alas, that was not to be-David Daniels took the role-the counter tenor approach whatever one's feelings about this voice type, I think his success is his sound is bigger, fewer of the negatives I don't know with a counter are we closer to the original? There is a tenor version also
Oh my, to compare this gloriuos sound with the woofy, constricted one of Ferrier is an offense for Homer. And Ferrier was never a contralto, she could even not deliver a low D in der Tod und das Mädchen what should be easy for a true contralto.