Word: basse
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Mozart: Don Giovanni (John Brownlee, baritone; Ina Souez, Audrey Mildmay and Luise Helletsgruber, sopranos; Koloman von Pataky, tenor; Salvatore Baccaloni, bass; the Glyndebourne Festival Orchestra and Chorus, Fritz Busch conducting; 6 sides LP). First released in the U.S. in 1938 in a 78-r.p.m. album, this is still the best performance of the Don on records; no one voice is brilliantly outstanding, but the temper of the ensemble more than makes up for that. The sound, good on shellac, is, if anything, improved...
Debussy: Pelléas and Mélisande (Irene Joachim, soprano; Germaine Cernay, contralto; Jacques Jansen, tenor; Paul Cabanel, bass; Etcheverry, baritone; the Yvonne Gouverné Chorus and orchestra, Roger Désormiére conducting; 6 sides LP). This recording grew out of a 40th anniversary performance of Debussy's nebulous nightshade opera at the Paris Opéra-Comique in 1942. It is now released for the first time in the U.S., and Pelléas partisans will find it well worth the wait. Recording: excellent...
...advance over the ashcan-and-bottle music of the Trinidadian '305. By pressing out graded circles in the bottom of a section of drum, the Invaders get a melody job (the "ping-pong") with a range of two octaves. Other refinements: "alto pans," "tune-booms." and "bass-booms." For their Manhattan audience. the Invaders beat their way through some celesta-like calypsos and a Mambo in F. One listener compared the sound to that of "a Jovian steel guitar." Consensus: certainly the best back-alley balalaika of the fall season...
...Bass-Baritone George London...
Their first big hit, How High the Moon, was ground out in a basement in Jackson Heights, N.Y. Paul first taped the bass rhythm on the guitar, covered it a few times with guitar chords, ran through it some more with guitar embroidery. Then he dubbed in Mary's voice twelve times, to get the effect of both unison and harmony. Total number of layers...