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Mapleson Cylinders
The Mapleson Cylinders are a group of more than 100 phonograph cylinders recorded live at the Metropolitan Opera, primarily in the years 1901–1903, by the Met librarian Lionel Mapleson (a nephew of impresario James Henry Mapleson).
The cylinders contain short fragments of actual operatic performances from the Italian, German and French repertoires. Despite their variable quality of sound (some are quite good while others are nearly inaudible), the cylinders have great historical value thanks to the unique aural picture they document of pre-World War I singers in performance at an opera house with a full orchestra. Other contemporary recordings only capture singers as recorded with piano or a tiny orchestra in a boxy commercial recording studio. The Mapleson cylinders also feature the only recordings known to exist of a number of famous singers and conductors who were never recorded commercially.〔Much of the content of this article is derived from ''(The Mapleson Cylinders )'', 72-page booklet accompanying 6-LP set. New York: New York Public Library, 1985.〕 They include legendary tenor Jean de Reszke, soprano Milka Ternina, and conductor Luigi Mancinelli.
==History==
On March 17, 1900, Lionel Mapleson, the librarian of the Metropolitan Opera House in New York City, purchased an Edison Home Phonograph, which, like most cylinder phonographs, could be used to make records as well as play them. Mapleson was apparently enchanted with the acoustic device, and on March 21, 1900, his friend the cellist and occasional composer Leo Stern presented him with a hardware upgrade for it: Bettini recorder and reproducer units. By the end of the month, Mapleson had persuaded the soprano Marcella Sembrich to record her vocalization of Johann Strauss's "Frühlingsstimmen" into it.
The following year, Mapleson came up with the idea of putting the recorder in the prompter's box of the Met. His first effort recorded Nellie Melba singing a scrap of music during a performance of Massenet's ''Le Cid'' on January 16, 1901. He recorded several more times during performances, still utilizing the prompter's box, but often with unsatisfactory results. After a short cessation and with the commencement of the 1901–1902 season, he resumed his recording activity from the Met's fly system. This time, he employed a huge recording horn that would be able to capture the sounds emanating from singers and orchestra stationed below. He was thus able to unobtrusively record bits of many stage performances from 1901 through 1903. The morning after his recording 'session', he would invite the artists involved to listen to playbacks of their performances.〔Rose Heylbut and Aimé Gerber, ''Backstage at the Opera'' (New York: Crowell, 1937 (New York: Arno, 1973 )), 152-53.〕 His recording activity continued until the end of the 1902–1903 season. At that point Mapleson either lost interest or was forbidden by the Met's management from continuing his recording activities (although a few cylinders exist of orchestral rehearsals or concerts dating from 1904).
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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