Questions about Deirdre Ni Fhloinn/Flynn 's recordings:

Look earlier in this thread, for the post from Reinhard dated February 2016. This post makes clear that we are speaking of two different recordings. One or two songs may appear on both albums, true; but they are two different albums. The Gael Linn album is something of an extended-play album, and there are songs on it which do not appear on the longer Folkways recording.

The Gael Linn collection is not familiar to me. It is the Folkways recording, with twenty tracks, that I grew up listening to. If I went back and listened again, no doubt every song would have places that trigger memory recall. But today when I look at the listings of songs, some titles draw a blank, and some I recall very vividly.

Clearest in my memory, from the Folkways collection:
no. 1, the lullaby
no. 2, the macaronic song in which the farmer speaks with the fox
no. 3, the Gaelic version of Danny Boy (the high notes are too high for Miss Ni Fhloinn, bless her, she struggles up there!)

no. 7, a mother and a daughter disagree about the daughter's love for a shoemaker. This is the Fair in County Clare song. Charming melody.

no. 8, the lament of Finnuala. Ni Fhloinn's teacher, Mairin Ni Shea, was partial to this short, affecting song. For those who don't know, this is a moment from one of the three Sorrows tales: not the tragedy of Deirdre and Naoise, but another Sorrows tale, of siblings who are changed into birds by their evil stepmother.

no. 10, Na Connerys, about transport to Australia. The song is Gaelic, but at the end of every chorus I can hear the phrase with the English place name, "New South Wales."

no. 12, about the steward's daughter

no. 19, Ceol a Phiobaire: vivid memory of this tune from childhood.

Finally: Maire Ni Scolai, as I have confessed elsewhere, is rather new to me, her singing is. The voices of Ni Scolai and Ni Fhloinn are very distinct from each other. Ni Scolai has a bigger, more powerful instrument; she actually did straight theater, as opposed to cabaret; and Ni Scolai's teacher gave her the kind of technique that she could use as an opera singer would use, in a big house with no artificial amplification; and finally, Ni Scolai's voice sits lower and deeper, to my ears.

Deirdre Ni Fhloinn was vocally schooled by Mairin Ni She, and it is a style of technique and singing better suited to the recital hall, the salon, and the more intimate venue, not to speak of singing into a microphone. Her voice is not as large and low as Ni Scolai's. When she isn't steeling herself to sing Danny Boy's high notes, poor thing, she can work the highest notes in her range with light quick dexterity, sort of twittering like a songbird up there. Ni Fhloinn's diction is well-suited to a microphone, it is not the exaggerated theatrical diction of the opera singer or the singer of Broadway musical theater.