PDF Ebook EJS: Discography of the Edward J. Smith Recordings: The Golden Age of Opera, 1956-1971 (Discographies: Association for Recorded Sound Colle
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EJS: Discography of the Edward J. Smith Recordings: The Golden Age of Opera, 1956-1971 (Discographies: Association for Recorded Sound Colle
PDF Ebook EJS: Discography of the Edward J. Smith Recordings: The Golden Age of Opera, 1956-1971 (Discographies: Association for Recorded Sound Colle
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Between 1956 and 1981, Edward J. Smith issued three series of private long-playing recordings devoted almost entirely to historical operatic performance. Smith's first series, The Golden Age of Opera, appeared between 1956 and 1971, and its contents are catalogued here for the first time. Notorious for their lack of accurate documentation, the LPs have remained a source of great frustration to collectors and historians. This volume presents an exhaustive accounting of the thousands of individual recordings contained on the 479 Golden Age of Opera LPs, documented from the most reliable primary and secondary sources, studio and opera house archives, and personal correspondence.
- Sales Rank: #6835549 in Books
- Brand: Brand: Greenwood
- Published on: 1994-02-28
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 6.50" w x 2.00" l, 2.89 pounds
- Binding: Hardcover
- 864 pages
- Used Book in Good Condition
Review
?The compilers of this discography have done a superb job of detective work in correcting the errors and noting falsifications and wrong attributions and pitch and playing speed problems. Some releases required commentaries several pages long because of the number of mistakes that needed to be addressed. Those working with these recordings in archives and private collections have always wanted and needed this discography. They will rejoice that it has been so well done.?- ARBA 95
About the Author
WILLIAM SHAMAN is on the library faculty of Bemidji State University, Minnesota. He is the author of several journal and encyclopedia articles, numerous short articles and reviews, and co-author, with Susan Nelson, of a forthcoming discography of Marcel Moyse. His first book, Giuseppe De Luca: A Discography
WILLIAM J. COLLINS, an Assistant Professor of English at Kutztown University, teaches American Literature and Science Fiction courses. He has been an opera critic for Pacifica Radio and music critic for the Davis Enterprise in Northern California. He has published several discographies of opera singers, critical essays on many aspects of the opera, as well as on Mark Twain, Ernest Hemingway, and Phillip K. Dick. He is the co-author, with Bruce Levene, of the first biography of the nineteenth-century outlaw, Black Bart, entitled Black Bart: The True Story of the West's Most Famous Stagecoach Robber
CALVIN M. GOODWIN, a priest of the Society of Jesus, teaches classics in a Jesuit secondary school in Portland, Maine. He writes the annotations for the International Record Collectors' Club reissues of historical vocal recordings.
Most helpful customer reviews
6 of 6 people found the following review helpful.
A noble pirate of the high C's
By pclaudel
Eddie Smith was personally known to many friends and acquaintances of mine, and I at least knew his work, which the moguls of the world's biggest record companies called piracy. Eddie produced about a thousand pirate records, almost all of them of operatic performances originating from the Metropolitan Opera, in New York City, the remainder coming from virtually every other opera house in the Western world.
Americans seldom question conventional wisdom, especially when it comes with a seal of approval from the government or a television talking head, and one of the things they have been told for decades is that making and distributing pirate recordings is a Bad Thing, in part because they left "struggling artists" (Callas, Pavarotti, Norman, Gheorghiu, and the like) to suffer the loss of royalty revenues. Rubbish! Everyone who has ever met an actual living, breathing opera buff knows that the acquisition of a pirate recording never once deterred him from buying a commercial recording. Eddie's clients were operatic omnivores: they wanted EVERY performance they could lay their hands on by the singers they treasured and pursued from role to role, theater to theater, and city to city.
Gratitude is due the publisher (Greenwood Press, a household name in reference publishing) and the editors (Messrs. Shaman, Collins, and Goodwin) of this volume and its sequel, "More EJS" (what else would it be called?), for producing a truly outstanding work of reference. The editors leave no stone unturned in their quest for full and accurate documentation of Smith's releases, which were noted for two things above all: the miserable quality of their production and the near-complete absence of documentation of any sort. Smith's failings in these areas may well have been deliberate. Certain institutions and singers--the Met and Jessye Norman are examples in each category that come to mind--used their influence to bring the heavy hand of state power down upon record pirates. The better a pirate's productions, the hotter the pursuit by the Mets and Jessyes of this world. Smith got hammered more than once, of course, but the pirates who produced better-sounding, better-looking stuff got hammered much harder and much more often.
Forty and more years ago, most of the collectors and fans of my acquaintance knew, as did I, that Eddie Smith, the documenter of live operatic performances, was a priceless historical and cultural resource. This thoroughly researched, scholarly book and its sequel are the tribute that Eddie has long merited.
0 of 0 people found the following review helpful.
Five Stars
By DESNIOU
TRÈS BIEN !
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