Dutton Vocalion CDVS 1912, 76:44 [Distrib. By Harmonia mundi] *****:
On this exquisite gem from Michael Dutton, we may enjoy the original, Richard Tauber (1891-1948), the ultimate in Austrian – especially Viennese – charm and sophisticated musicality. The creative powers of Franz Lehar (1870-1948) had been waning since his excellent success with the 1905 The Merry Widow, when in 1922 Tauber asked to sing the role of Armand in Frasquita. The two men became indissolubly linked and Lehar re-energized; and by 1929, with the production of The Land of Smiles, with its wonderful aria, “Dein ist men ganzes herz” (band 21), immortality reigned. By 1930, five hundred productions of Lehar’s operettas ran in Germany and Austria alone, of which The Land of Smiles accounted for 200. Relatively few recordings of the two musicians exist, except lacquers made in 1934 and 1946. But the twenty-four sides offered on this restoration–in immaculate sound–testify to Tauber’s extraordinary, lyric gift: his incredibly controlled diminuendi; his clear head-tone; his warmth of expression; the muscular, polished sprezzatura; his subtle mezzo-voce. Of course, his natural, Viennese lilt places him amongst the masters of the style, like Erich Kunz and Marcel Wittritsch. As an icon, with his slight squint hidden by a monocle, and his natural, aristocratic carriage, Tauber was to Viennese operetta what Chevalier was to the French stage and screen.
“Drop the needle,” shoot the laser, anywhere on this disc; but sooner or later you will audition the excerpts from The Merry Widow with Tauber and Carlotta Vanconti, especially the Vilia-Lied and the Waltz-Song, both of which drip with Vienna’s musical blood. The falsetto which ends the waltz is a miracle of breath and vocal control. “Be Still, Timorous Heart” from Das Fuerstenkind displays the range of timbre Tauber could command, from a high baritone to a fluid falsetto and flutter-tone. His elegant legato singing permeates the arioso declamations with strings, horn, and harp. For the Waltz Song from The Count of Luxrembourg, Tauber sings in French, so comparisons with Chevalier and Trenet seem appropriate for liquid, boulevard intonation and flexibility of rhythm. “I Hear the clash of Cymbals” is a virtuoso, gypsy vehicle, with cimbalom effects and aerial, vocal tessitura, the equivalent of “Heimat” in the Johann Strauss “Der Fledermaus.” Tauber joins a diaphanous Vera Schwarz for “In the Blue Distance,” a lovely duet-serenade with strings, woodwind and harp accompaniment styled after Puccini for melodic, surging exclamations of devotion.
Schwartz displays her solo talents in two selections from The Land of Smiles, “Permit a Woman” and “I Must See My Homeland,” the latter for stratospheric coloratura. “What Would I be Without You?” from The Great Attraction sings like a tango for tenor voice and string orchestra. Eight cuts–beginning with “Patiently Smiling”–certify to the enduring power of The Land of Smiles; and for most auditors, these justify the entire price of admission. With their oriental languor and deft facility of melody, the collective arias invoke a vocal paradise that Puccini’s Turandot achieves only sporadically. Vera Schwartz adds her transparent vocalism to “A Cup of Tea with You,” a delicate patter and coy flirtation that Gilbert and Sullivan would envy. Tauber’s renditions of “A Garland of Apple Blossom,” “Who Gave Us Heartfelt Love?” (with violin obbligato and Vera Schwarz), and “You are My Heart’s Delight” are to Viennese operetta what actor Paul Muni’s performance is to The Good Earth.
–Gary Lemco
