John Barbirolli, Suppé and Verdi.

I was listening to the Prelude from Act I of La Traviata, on Classic fM a few weeks ago. I am not a Verdi fan but have always regarded this piece as a ‘favourite.’ It has been recorded as an excerpt from the opera many times: there are currently more than 60 editions available. I was reminded of an early version of this work that I heard many years ago. It is one that I have retained a soft spot for. 

In 1954, Sir John Barbirolli and the Hallé Orchestra released a mono EP (HMV 7ER 5034) of three pieces – Franz von Suppé’s delightful overture, The Beautiful Galathea coupled with Giuseppe Verdi’s Preludes to Acts 1 and 3 of La Traviata. It was recorded in the Free Trade Hall, Manchester, on 11 February of that year. The music was subsequently released on LP in 1968 (HQM 1122) on an album entitled Barbirolli-Hallé Favourites. This record included music by Elgar, Weber and Edmund Rubbra. The CD era has seen several re-packaging’s of the above pieces: the most convenient is the John Barbirolli Society’s compilation Halle Favourites (SJB 1041) for the Suppé, and Barbirolli at the Opera (SJB 1062-63) which includes the Verdi.

Franz von Suppé’s The Beautiful Galathea, (1865) was composed as a one-act operetta inspired by Jacques Offenbach’s better known La belle Hélène. The libretto is based on the ancient Greek Pygmalion myth, where the sculptor’s statue comes to life. Von Suppé’s overture is boisterous, sunny and attractive and musically introduces the main characters, Galatea, Pygmalion and Ganymede. There is a beautiful slow waltz which is developed by the composer to bring the overture to a stunning conclusion.

The Prelude to Act 1 of La Traviata is often regarded as a portrayal of Violetta’s inmost self. Verdi makes use of melodies from the opera that reflect the decisive moments in her life. There is tragedy in the opening violin notes, the passionate theme associated with her farewell to Alfredo in Act 2. However, integrated into these more serious moments is a dance melody full of “graceful, coquettish, almost frivolous melodies,” which surely presents another aspect of the heroine’s character?

The Act 3 Prelude introduces the melancholy violin melody from the opera’s opening. This is ‘slow, sad…and beautiful’ music. It tells of sadness, premature death and lost love.

Interestingly, the sleeve notes for Barbirolli-Hallé Favourites pointed out that “the first side of the record serves to remind the listener that the early part of Barbirolli’s career was associated with the opera house.” His then recent recordings of Puccini’s Madame Butterfly (August 1966) “reinforced” what the critic Neville Cardus had once written: “I haven’t the slightest doubt that if he had been brought up in a country with a long and widespread operatic tradition (an Italy for instance!) he would today be known as one of the very few great opera conductors of the past fifty years. Circumstances urged him into the concert hall – to the lasting gain of the Hallé!”

The original HMV advert in the January 1955 edition of The Gramophone notes that “EPs have caught on” with up to 15 minutes of playing time. Several important releases were advertised with performers including Malcolm Sargent, Artur Rubenstein, Jascha Heifetz and Arturo Toscanini. For the ‘record,’ the EP - Extended Play, 7 inch, 45rpm record was introduced around 1952. They were priced at 7/- (35p), near £6.50 at today’s prices.

Finally, The Gramophone, (December 1954) reviewing this EP noted that the Suppé Overture was "bright, lively and well-recorded –until, for the final section, we seem to move on to another tape and have a stretch of coarse sound." The reviewer felt that the ‘moving Traviata preludes are played with feeling and are well recorded.’