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Samstag, 8. Februar 2014

Finally complete: Regina Pacini

"El humilde Campesino" made available in his blog "Afina tus oidos" (one of my favourites!) a Spanish double-CD, which contains all Fonotipia recordings of Regina Pacini. You remember: the first attempt in this blog presenting Regina Pacini with 10 recordings came from me, then came a CD from Argentina which left only four recordings untraced, and now the complete one from Spain. That is what I like: collectors all around the world are working together to make rare recordings available. You can download the complete CDs here (untagged with 192 kB/s):

Or if you have already downloaded my "hybrid list" from here:
Then you can only download the four missing titles from my store, correctly tagged, here:

DOWNLOAD only the four missing titles

It contains Aprile (Tosti), Io son Titania from Mignon (Thomas), the second Zauberflöte aria (very nice!) and a Song from Braga (with piano and violin). On the CD it are tracks 11 from CD1 and tracks 7, 8 and 10 from CD 2.

The transfers are heavily denoised, but sound rather OK. A discographical list you can find in my elder blogpost:  . The CD booklet gives no matrix numbers.

So we have Mrs. Pacini complete, other recording, for example on "Fono"(grafia Nazionale ?), as the Sängerlexikon says, will turn up. If you find it, keep me informed!

Bei "El humilde Campesino" findet sich eine spanische Doppel-CD, die diesmal alle (Fonotipia-) Aufnahmen von Maria Pacini enthält, so dass die fehlenden vier Titel von meinem Beitrag nun nachgetragen werden können. Man kann die ganzen CDs dort herunterladen: . Allerdings sind ohne Taggs. Oder, falls man schon meine Hybridliste aus eigenen Überspielungen und der argentinischen CD heruntergeladen hat (oder die verbesserte Version von Satyr), kann man die fehlenden vier Titel hier einzeln bekommen:

So haben wir Regina Pacini nun komplett zusammen - zu mindestens die Fonotipia-Aufnahmen. Es soll ja auch noch welche auf "Fono" geben (laut Sängerlexikon). Nachlesen kann man dies und eine diskographische Auflistung der Pacini-Aufnahmen in meinem früheren Beitrag. Die Aufnahmen auf der "neuen" Doppel-CD sind sowohl stark entrauscht als auch stark entknackt und klingen wenig präsent und ein wenig dumpf, sind insgesamt aber gut zu hören.


  1. Thanks amigo Emilio! Glad to hear all her recordings for Fonotipia!

  2. A lovely collection - it's great that you & others have managed to complete it!

    And aren't they lovely records? It's good to hear her in both the Zauberflote arias - in the first one, very moving, in Der Holle Rache adding intriguing variations! She also speeds up slightly in some of the coloratura - I'd only heard Galvany do that before (though thankfully Pacini doesn't do ALL the strange things Galvany does!).

    She's very secure in her coloratura as well as reliably characterful in her singing: so I found the Mireille piece a bit surprising - in the middle which is just coloratura, she sounds quite uninvolved to me, maybe she's saying "give me some words to sing & then I can get into character, these trills and roulades are not enough"?!

    A very attractive set: thank you Emilio et al !!!


    1. Listening through these records a second time, I was struck by the way Pacini represents almost a female version of Fernando de Lucia - the same freedom & frequency of ornaments, a less-frequent use of the half-voice and the diminuendo but they are still there, more frequent use of portamento than de Lucia; and perhaps too a voice that is not in itself remarkable made remarkable by hard work and a hard-won flexibility... They sang together on many occasions, I think, and that MUST have been worth hearing!

      Second time through, also, the recording that really stood out was the Boheme aria: all those features are there, and especially the flexibilty of tempo - you might almost say the complete rejection of a steady tempo! That too brings to mind the way the first generation of verismo singers were really approaching this from the perspective of Bellini and Donizetti - indeed Pacini's rhythmic freedom in Mimi's aria is perhaps greater than in a number of the Rossini, Bellini, etc pieces she recorded! I can't remember if any of the verismo composers chose Pacini to create roles, as they did de Lucia, but they clearly accepted a lot more inventiveness in their music, and a lot less 'shouting', than we are accustomed to hearing today...

      So, a second hearing has made me put Pacini (almost) on the very high pedestal on which de Lucia stands! And that is another way of saying how BIG a thank you I owe you, Emilio!!!!