As Andrew Rose, the man responsible for this transfer, points out, there was a period when Columbia records were known for their 'silent surfaces', and happily he has had access to early copies of the originals from this period. The clarity and immediacy of sound reveal performances which at best give pleasure by any standards and, at less than that, are fascinating as period documents.
In Cav the violin-playing does credit to nobody, yet this loose, slithery style must then have been acceptable, even 'authentic'. In Pag the male chorus sings with unabashed gusto in tones that (inaccurately no doubt) we tend to call 'beery'. Then the pronunciation is very much of its period, every 'r' rolled (as in 'charrm') and the 'I' sounds (Nash was a great one for this) shaded to 'Ae'. The translations represent the kind of thing the current 'Opera in English' series on Chandos is keen to avoid: a favourite is Nedda's beautifully enunciated 'For such a passion / The whip is the fashion'. But there's fine singing, and not only from Nash. Harold Williams, a little shy of the high notes, is splendidly firm and resonant in both operas. Miriam Licette is a very un-Italian Nedda but her 'take' of the high notes is distinctly that of a Marchesi pupil.
Similarly, May Blyth is a lightweight Santuzza but still provides much to admire. Of Mullings's Canio, the throatiness and discomfort in the upper range are to some extent offset by a warmly personal timbre and intense dramatic commitment.
The Pagliacci also suffers from moments of distortion due to overloading on the originals.
The Cav suffers from a somewhat hectic rush to get everything on to the 10-inch disc. And it is notable that the orchestra pulls up its metaphorical socks for Eugene Goossens.