Overtures in Hi-Fi (CD review)

Saint-Saens, Berlioz, Adam, Herold, Reznicek, Suppe, Nicolai, Auber. Albert Wolff, Orchestre de L'Opera-Comique, Paris and Paris Conservatoire Orchestra. Decca Eloquence 480 2385 (2-disc set).

First, the only bad news: Decca made two of these recordings a few years before the widespread use of stereo. Thus, we get a couple of pieces in monaural sound, the rest in stereo. Now, the good news: All of the music sounds extremely good and is worth an audition.

Overtures in Hi-Fi is one of several two-disc sets of older material Decca are releasing on the "Eloquence" label out of Australia. This is a blessing for those of us who enjoy the Decca sound of the Fifties and Sixties and a double blessing at the more-than-reasonable price point we find the album. Now, on to the content.

Although the French maestro Albert Wolff (1884-1970) may not have been one of the most well-known conductors of his generation, he did record a number of basic items from the French repertoire for Decca, thanks largely I suppose to his work with the orchestras represented in this set, the Orchestre de L'Opera-Comique and the Paris Conservatoire Orchestra. The two discs include sixteen items, all of which Wolff presents with an elegant verve and excitement.

The program begins with the overtures to La Princess Jaune ("The Yellow Princess") by Camille Saint-Saens and Benvenuto Cellini by Hector Berlioz, these particular overtures being rather odd choices to start things off because they're both in mono from 1951. You see, nowhere on the front or back covers nor in the booklet itself do the folks at Decca mention the words "mono" or "stereo" at all, so unless the casual buyer looked closely at the fine print to notice that two of the selections came from the very early Fifties, the buyer would have no idea there were any items in monaural at all. Then, to be confronted with the two mono recordings right off the bat might prove a little discouraging. Fortunately, the performances are so animated, their sheer energy alone would probably win over a listener; but, still, it makes one wonder what the Decca producers were thinking. Maybe because they are the only tracks representing Wolff's work with the Orchestre de L'Opera-Comique the producers thought it would be logical to include them chronologically first. I dunno.

From here on, we get the rest of the program in stereo, with overtures to Le Corsaire, Le roi Lear, Le carnaval romain, and Les francs-juges by Berlioz and Si j'etais roi by Adolphe Adam, which brings the first disc to a rousing close. You'll find these Berlioz selections some of the most energetic and spirited versions you'll hear from anyone, with wonderfully judged tempos, rhythms, and dynamic contrasts. The set is almost worth the asking price just for these tracks alone.

Disc two opens with Ferdinand Herold's Zampa, a particular crowd pleaser, which forces the listener again to question why Decca didn't begin the proceedings with it back on disc one. Under Wolff, Zampa has almost too much energy, but that's no doubt what Herold wanted and certainly what audiences expect. Wolff's interpretation of things has all the pompous, aggressive swagger you'd expect of the opera's infamous pirate protagonist.

Next is music I've known from childhood, the overture to Donna Dianna by Emil Nikolaus Reznicek. This is because the old radio and TV program Sergeant Preston of the Yukon used it throughout their shows, and I was an ardent fan. Wolff brings back memories, and I still can't listen to the main tune without thinking of swirling snowdrifts and high adventure. "Well, King, this case is closed."

And so it goes, through Pique Dame by Franz von Suppe; Die Lustigen von Windsor by Otto Nicolai; and Le Domino noir, Masaniello, Le cheval de bronze, Fra diavolo, and Les diamants de la couronne by Daniel-Francois-Esprit Auber. Of these, Fra diavolo stands out for me because of its special confidence and verve. Wolff handles it beautifully.

With 144 minutes of music on the two discs, the set surely counts as a great value, whether you appreciate the occasional mono selections or not.

Decca recorded the music at La Maison de la Mutualite, Paris between 1951 and 1957, using some of their best producers (John Culshaw, Victor Olof, and James Walker) and engineers (Kenneth Wilkinson, James Brown, Roy Wallace, and Ken Cress). Mono or not, the sound is typical early Fifties Decca, meaning it has good body, presence, definition, and dimensionality, made before the company began using 800 microphones for each recording session. There is little or no background noise when listening to these selections at a normal volume level. Turned higher, one notices a small degree of hiss. Highs sound especially well extended, even in the two mono selections. In the stereo numbers, the left-right spread is wide, the bass is powerful, and the imaging is fairly realistic. With strong dynamics and a reasonably clean transient response, the sound comes across as quite lifelike.


To listen to a brief excerpt from this album, click here:

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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa