Marian Anderson Rare and Unpublished Recordings, 1936 - 1952

Editorial Reviews
Amazon.com
The rich-toned, musically elegant, always dignified contralto Marian Anderson (1897-1993) is probably best known as the first African-American to sing at New York's Metropolitan Opera House, but by the time she did (in the mid '50s), her once burnished, glorious voice was no longer at its best. Years before, when she was not permitted to sing in the Daughters of the American Revolution's Constitution Hall (or any other hall in the U.S. capital), she gave a concert in the open air, in front of the Lincoln Memorial, which was attended by press, dignitaries, and a crowd of more than 75,000. Much of her late work is well known--arias from Verdi's Un ballo in maschera, spirituals, and the like--but this CD also allows us to hear the voice when it was young--in the 1930s and '40s. One can almost hear Schubert's trout ("Die Forelle") dancing around in the water, and an aria by Scarlatti shows Anderson's coloratura abilities--the big voice could be scaled down to intimate, chamberlike proportions. She brings her intelligence and textual insights to other songs by Schubert and Brahms as well. This is a marvelous collection and a fine tribute to an American original. --Robert Levine

Tracks:

Se Florindo E Fedele
Begrussung
Die Flote Weich Gefuhl
Die Forelle
Der Doppelganger
Wohin?
Der Jungling Und Der Tod
Der Erlkonig
Denn Es Gehet Dem Menschen
Ich Wandte Mich Und Sahe
O Tod, Wie Bitter Bist Du
Wenn Ich Mit Menschen
Befreit
Im Feld Ein Madchen Singt
Var Det En Drom?
When I Am Laid In Earth
O Men From The Fields
When Night Descends (In The Silence Of Night)
Elegie
Let Us Break Bread Together
My Soul's Been Anchored In De Lord
Trampin'
Sinner, Please Doan Let Dis Harves' Pass
Honor, Honor
The Cuckoo
Will O' The Wisp

Amazon.com

The rich-toned, musically elegant, always dignified contralto Marian Anderson (1897-1993) is probably best known as the first African-American to sing at New York's Metropolitan Opera House, but by the time she did (in the mid '50s), her once burnished, glorious voice was no longer at its best. Years before, when she was not permitted to sing in the Daughters of the American Revolution's Constitution Hall (or any other hall in the U.S. capital), she gave a concert in the open air, in front of the Lincoln Memorial, which was attended by press, dignitaries, and a crowd of more than 75,000. Much of her late work is well known--arias from Verdi's Un ballo in maschera, spirituals, and the like--but this CD also allows us to hear the voice when it was young--in the 1930s and '40s. One can almost hear Schubert's trout ("Die Forelle") dancing around in the water, and an aria by Scarlatti shows Anderson's coloratura abilities--the big voice could be scaled down to intimate, chamberlike proportions. She brings her intelligence and textual insights to other songs by Schubert and Brahms as well. This is a marvelous collection and a fine tribute to an American original. --Robert Levine

Customer Reviews:

Marian Anderson - an outstanding collection.......2003-05-03

This CD with recordings of Marian Anderson between 1936 and 1952, should be heavily promoted. The CD gives listeners a fantastic opportunity to hear the singer in a variety of song styles and languages. I heard her sing live, once, in the 1960's and was stunned then by her vocal skills and musicality. This is the first record or CD which truly reflects her amazing talent.

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