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RECORDING INFORMATION To celebrate Decca's 75th year of recording — the launch of a new series of Classic Recitals from the LP era. Decca’s recorded legacy is dominated by the huge number of complete opera recordings and vocal recitals. While a vast number of these recordings have seen CD release in the past 20 years, many of the original LP recitals have been reissued with other material in order to increase the overall playing time due to the longer time available on CD, and modern covers have replaced the originals. This new mini-series is unashamedly nostalgic and presents original recitals as they were first published during the 1950s, 1960s and early 1970s. Original LP cover art is reproduced and the original back of the LP is used as the inside of the digipack. A clear tray is used with a detail from the original LP sleeve as a background, and the back of the digipack gives the tracklist and artist details in a uniform, current style. In January 2004 the American mezzo-soprano Marilyn Horne celebrates her 70th birthday and that year also marks 50 years since her professional debut. Horne’s debut in 1954 was in The Bartered Bride in Los Angeles. That same year her name and voice was brought to many more people than could ever hear her in the opera house through the 1954 film Carmen Jones in which she sang the dubbed voice of Dorothy Dandridge. Her Covent Garden debut was as Marie in Wozzeck (sung in English at that time) in 1964 — she had made her San Francisco debut in 1960 with the same role. It was with Joan Sutherland that Marilyn Horne found the perfect vocal partner, and their performances in the great bel canto operas by Rossini, Bellini and Donizetti took the opera world by storm in the 1960s and early 1970s. Marilyn Horne’s long and distinguished career embraced an enormous variety of operatic roles, as well as a wide variety of solo song ranging from Schubert, Schumann and Mahler through to modern American songs. Such a wide repertory was due to the sheer range of her voice and its remarkable flexibility, a voice that could sustain long lines of melody as well as negotiate the most florid vocal pyrotechnics. Marilyn Horne participated in a number of complete opera recordings (among them classic recordings of Norma and Semiramide with Joan Sutherland) for Decca, and also made several recital programmes. This Classic Recital was made in 1964 and was Marilyn Horne’s second recital for Decca. It admirably demonstrates the range of repertory and vocal styles for which she became so acclaimed. |
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