The Decca Recitals

Irma Kolassi

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Cat No: ELQ4824637

Release Date: 12 May 2017

Label: Australian Eloquence

Packaging Type: Box Set

No of Units: 4

Barcode: 0028948246373

Genres: Classical Opera

Description
Newly remastered and compiled for the first time, the complete Decca recital albums of Irma Kolassi are now available on this 4CD set from Eloquence. Born in Greece but raised in Paris, began her career as a pianist until her â€˜richly regalâ€™ (The Times) mezzo-soprano was discovered. As a vocal coach in Athens she worked with Maria Callas before relaunching her career as a recitalist back in Paris. Decca issued ten separate releases, all recorded between June 1952 and October 1956. The range of repertoire â€“ covering not only the usual Arie antiche and folk songs but the refined challenges of FaurÃ© and Debussy, rarities and new songs by Milhaud, Joaquin Nin and Louis Aubert â€“ reflects an intelligence recognised by John Steane in his Gramophone review (July 2003) of a previous reissue: â€˜an exceptionally sound musician among singers â€¦ above all, she was an excellent sight-reader who happened also to have a beautiful mezzo-soprano voice.â€™ In the bookletâ€™s detailed appreciation of Kolassiâ€™s career, Tully Potter remarks that most of her best work on record is contained in these Decca recordings. When she appeared at the Wigmore Hall in London in 1955, The Times praised her â€˜variety of colour and control of delivery. Thus the smoothness of a clarinet-like quality was used in the purely lyrical songs of Duparc; it became an oboe in Milhaudâ€™s PoÃ¨mes juifs and suited the tartness of Roussel; in Debussy she sang parlando and in Ravelâ€™s five Greek folk-song settings she launched it with freedom and simplicity upon the air.â€™ Two separate recordings of Ravelâ€™s Cinq MÃ©lodies populaires grecques offer a fascinating point of comparison. Alongside the witty and suggestive song-cycles of Ravel and Debussy (FÃªtes galantes, Chansons de Bilitis), however, there are precious examples of Kolassiâ€™s sensiviity in the realm of German art-song, with excerpts from Schumannâ€™s Myrthen and Liederkreis Op.39, and three classic Lieder of Schubert. The final disc of this anthology gathers her rare vocal-orchestral recordings: arias from Berliozâ€™s La damnation de Faust and Massenetâ€™s Werther, coupled with the refined opulence of Chaussonâ€™s PoÃ¨me de lâ€™amour et de la mer. The Chausson is shaped by Kolassiâ€™s superb vocal control, which allows the Wagnerian lines to float free of stress on a gently rolling sea of sonority, steered by the French conductor Louis de Froment. But then Kolassi hardly made a bad record: a shame for posterity that there are so few of them, but at least all the important ones can now be enjoyed together, in up-to-date transfers. A complementary release from Eloquence (482 4621) pairs the Berlioz and Massenet items with the major duets from those operas which she recorded with Raoul Jobin. â€˜Here is a lovely record. Far from becoming bored by repeated playing of it, I have found my response to the music and the interpretation steadily grow.â€™ Gramophone, June 1954 (FaurÃ©, Milhaud) â€˜The singing throughout is most intelligent, and frequently succeeds perfectly in capturing the atmosphere of the words, while Jacqueline Bonneau accompanies with great skill and sensitivity â€¦ it should certainly be in the collection of all connoisseurs of vocal art.â€™ Gramophone, September 1952 (Spanish and Greek folk songs, Aubert and FaurÃ©)
Tracklisting