0101. Gustav Kobbé. Opera Singers, A Pictorial Souvenir, First Edition. New York, Russell, 1901. c.80pp.
Handsome Octavo Edition features extensive Biographical Chapters, w.Numerous (many full page)
Lassù in cielo, 2s. 12” EL dark green Cetra BB 25202, only form of issue, 1 July, 1947. M-A, a gleaming copy. MB 8
Photos of Nordica, Calvé, Eames, Melba, Sembrich, Schumann-Heink, Albert Saléza, Zélie de Lussan,
Johanna Gadski, Lucienne Bréval, Pol Plançon, Milka Terninia, Susan Strong, Antonio Scotti, Ernst van Dyck,
Suzanne Adams, David Bispham, Fritzi Scheff, Maurice Grau, Jean & Edouard de Reszké and many others. MB 75
0102. Gustav Kobbé. Opera Singers, A Pictorial Souvenir, Second Edition. Boston, Ditson, 1904. c.100pp.
Handsome Octavo Edition features extensive Biographical Chapters, w.Numerous (many full page) Photos of
Nordica, Calvé, Eames, Melba, Schumann-Heink, Sembrich, Milka Terninia, Caruso, Jean & Edouard de Reszké,
Albert Saléza, Johanna Gadski, Zélie de Lussan, Lucienne Bréval, Pol Plançon, Antonio Scotti, Ernst van Dyck,
Suzanne Adams, Susan Strong, Fritzi Scheff, David Bispham, and many others. MB 75
0103. Gustav Kobbé. Opera Singers, A Pictorial Souvenir, Third Edition. Boston, Ditson, 1906. c.100pp.
Handsome Octavo Edition features extensive Biographical Chapters, w.Numerous (many full page) Photos of
Caruso, Calvé, Eames, Melba, Nordica, Schumann-Heink, Sembrich, Terninia, Jean & Edouard de Reszké, Gadski, Strong,
Adams, Farrar, Bréval, van Dyck, Plançon, Bispham, Scotti, Homer, Lina Cavalieri, Ackté, Morena, Fremstad, Rappold,
Kirkby-Lunn, Maurel, Alvarez, Campanari, Journet, Dippel, Saléza, Burgstaller, Ernst Krauss, Trentini, de Cisneros,
Giannina Russ, Mr & Mrs Charles Gilibert, Alessandro Bonci, Vittorio Arimondi, Charles Dalmorès, Florencio Constantino,
Francesco Tamagno, Alice Nielsen, Gertrude Rennyson, Francis Maclennan, Maurice Grau, and many others. MB 75
0104. Gustav Kobbé. Opera Singers, A Pictorial Souvenir, Sixth Edition. Boston, Ditson, 1913. c.150pp.
Enrico Caruso, Geraldine Farrar, Olive Fremstad, Johanna Gadski, Mary Garden, Riccardo Martin,
Emmy Destinn, David Bispham, Calvé, Scotti, Melba, Nordica, Eames, Schumann-Heink, Sembrich,
Pol Plançon, Jean & Edouard de Reszké, Ternina, and many, many others. MB 75
“Kobbé began his literary career as co-editor of the Musical Review. He was on the staff of the New York
Sun in 1881, and in 1882 was sent as correspondent to Bayreuth in Bavaria, Germany by the New York
World for the first performance of PARSIFAL. He contributed many articles - on music, drama and travel - to
the leading American magazines of his day - The Century Magazine, Scribner’s Magazine, The Forum,
North American Review, Ladies’ Home Journal, The Delineator, etc. He became music critic of the New
York Herald when that newspaper was owned by James Gordon Bennett, remaining with it for eighteen
years. He was on the point of completing the book which was afterwards published as THE COMPLETE
OPERA BOOK when he was accidentally killed in 1918.”
0105. The Paris Opéra, An Encyclopedia of Operas, Ballets, Composers, and Performers Genesis and Glory, 1671 - 1715. SPIRE PITOU. Westport, CT, Greenwood, 1983. 364pp.
Index; Repertoire; Leading Singers & Dancers. MB 45
“This encyclopedia offers an extensive account of the entire period of French opera and ballet from 1671
onward and by examining every extant work produced at the Opera since the moment when Louis XIV
granted to one of his subjects the first license to mount lyric tragedies and ballets within the confines of his
kingdom. This encyclopaedia of operas, ballets, composers and performers begins with an introductory
essay which aims to provide an appropriate overview and a necessary framework within which the detailed
entries may be placed. It emphasizes entries for works, including operas, diverse lyric compositions and
ballets, and biographical sketches, including composers, librettists, performers, directors, choreographers
and administrators. The volume also contains extended synopses of unusual and obscure operas, as well as
a repertory list of works dating from 1671 to 1715 in the appendix.”
0106. The Paris Opéra, An Encyclopedia of Operas, Ballets, Composers, and Performers –
Rococo and Romantic, 1715 - 1815. SPIRE PITOU. Westport, CT, Greenwood, 1985. 619pp.
Index; Repertoire; Leading Singers & Dancers. MB 95
“This second volume of The Paris Opéra offers descriptions of balletic and lyrical compositions and
biographical sketches of famous vocalists, dancers, choreographers, composers, and librettists. Each entry
pertaining to an opera or ballet identifies its composer, librettist, choreographer, costumer, set designer, and
the performers contributing to its creation and important revivals. Contents of scenarios and librettos are
reported scene by scene or act by act. Basic bibliographies are provided with page references furnished for
important books and periodicals. The appendix lists all lyric and choreographic works extant and first
performed at the Opéra between 1715 and 1815. The creators of each work are listed along with its title,
genre, and the date of its world premiere or initial performance at the Opéra.”
0107. The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers:
Growth and Grandeur, 1815-1914, A – L (Vol. I) & M – Z (Vol. II). SPIRE PITOU.
Westport, CT, Greenwood, 1990. 1553pp. Index; Repertory, 1815-1914. MB 150, the Pair.
“This two volume set focuses on works performed and personalities active at the Paris Opéra from 18151914, this monumental reference source includes a detailed introduction that relates the 19 th century history
of the Opéra to events that took place prior to 1815. The main encyclopedia section covering operas and
ballets, singers and dancers, composers and choreographers, librettists and scenarists.”
0108. (L’Opéra) Histoire de l’Opéra de Paris,1875 - 1980. CHARLES DUPÊCHEZ. Paris, Librairie Académique Perrin, 1984.
445pp. Index; Chronology; Bibliography; Photos; DJ. (French Text) (hardbound). MB 35
0109. Dictionnaire des Cantatrices de L’Opéra de Paris. JEAN GOURRET.
Paris, Éditions Albatros, 1987. 319pp. Index; Innumerable brief bios; Photos; DJ. (French Text). MB 25
0110. Dictionnaire des Chanteurs de L’Opéra de Paris. JEAN GOURRET. Paris, Éditions Albatros, 1982. 328pp. Index;
Innumerable brief bios; Photos; DJ. (French Text). MB 25
Founded in 1976, these most elaborate L’Avant Scène Opéra issues offer
a detailed study of one or two operas with comments, literary and musical
discography, comparative performances & libretti. Edited by Alain Duault.
(French Text) Each issue is MB 10
0111. L’Avant Scène Opéra, #4, Aïda – April, 1993. 151pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Aïda’s rôles.
0112. L’Avant Scène Opéra, Nos. 6 & 7, Der Ring des Nibelungen – Das Rheingold, Nov.-Dec., 1976. 226pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Das Rheingold’s rôles;
Articles on Boulez & Wieland Wagner.
0113. L’Avant Scène Opéra, #8, Der Ring des Nibelungen – Die Walküre, Jan.-Feb., 1977. 162pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Walküre’s rôles.
0114. L’Avant Scène Opéra, #9, Pelléas et Mélisande, March-April, 1977. 146pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Pelléas et Mélisande’s rôles; Profile of Jacques Jansen (as Pelléas).
0115. L’Avant Scène Opéra, #11, Tosca, 1977. 159pp. Numerous Photos; Chronologies; Discography;
Profile on the creators of Tosca’s rôles.
0116. L’Avant Scène Opéra, #12, Der Ring des Nibelungen – Siegfried, Nov.-Dec., 1977. 162pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Siegfried’s rôles.
0117. L’Avant Scène Opéra, Nos. 12 & 13, Der Ring des Nibelungen – Die Walküre, undated. 192pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Walküre’s rôles;
Articles by Régine Crespin, Anja Silja, Deborah Polasky, Waltraud Meier, etc.
0118. L’Avant Scène Opéra, #14, Der Ring des Nibelungen – Siegfried, undated. 160pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Siegfried’s rôles;
Profiles on Lauritz Melchior, Theo Adam & Graham Clark.
0119. L’Avant Scène Opéra, Nos. 13 & 14, Der Ring des Nibelungen – Götterdämmerung, undated. 208pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Götterdämmerung’s rôles;
Profiles on Félia Litvinne & Philippe-Josef Salazar.
0120. L’Avant Scène Opéra, #15, Samson et Dalila, undated. 122pp. Numerous Photos; Chronologies; Discography;
Profile on the creators of Samson’s rôles; Profiles on Saint-Saëns & Philippe-Josef Salazar.
0121. L’Avant Scène Opéra, Nos. 16 & 17, Così fan Tutte, undated. 178pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Così’s rôles; Article by Alain Lombard.
0122. L’Avant Scène Opéra, Nos. 16 & 17, Der Ring des Nibelungen – Götterdämmerung, undated. 191pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Götterdämmerung’s rôles;
Article by Gwyneth Jones on Wellgunde, Sieglinde & Brünnhilde.
0123. L’Avant Scène Opéra, #19, Simon Boccanegra, undated. 124pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Simon Boccanegra’s rôles.
0124. L’Avant Scène Opéra, #20, La Boheme, undated. 159pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of La Boheme’s rôles.
0125. L’Avant Scène Opéra, #22, La Damnation de Faust, July-Aug., 1979. 106pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of La Damnation de Faust’s rôles.
0126. L’Avant Scène Opéra, #23, Orfeo ed Euridice, Sept.-Oct., 1979. 114pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Orfeo’s rôles.
0127. L’Avant Scène Opéra, #25, Les Contes d’Hoffmann, Jan.-Feb., 1980. 154pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Les Contes d’Hoffmann’s rôles.
0128. L’Avant Scène Opéra, #26, Carmen, March-April, 1980. 166pp. Numerous Photos; Chronologies; Discography;
Profile on the creators of Carmen’s rôles; Articles by Georges Prêtre, Teresa Berganza & Régine Crespin.
0129. L’Avant Scène Opéra, #29, Norma, Sept.-Oct., 1980. 139pp. Numerous Photos; Chronologies; Discography;
Profile on the creators of Norma’s rôles; Articles by Rodolfo Celletti, Giorgio Gualerzi, Sergio Segalini, etc.
0130. L’Avant Scène Opéra, #32, Un Ballo in Maschera, undated. 144pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Ballo’s rôles; Articles by José Carreras, Katia Ricciarelli, etc.
0131. L’Avant Scène Opéra, #33, Turandot, May-June, 1981. 161pp. Numerous Photos; Chronologies; Discography;
Profile on the creators of Turandot’s rôles; Extensive article on Busoni’s Turandot.
0132. L’Avant Scène Opéra, Nos. 34 & 35, Tristan, undated. 236pp. Numerous Photos; Chronologies; Discography;
Profile on the creators of Tristan’s rôles; Articles by Birgit Nilsson, Gwyneth Jones, Jess Thomas, Jon Vickers, etc.
0133. L’Avant Scène Opéra, #37, Il Barbiere di Siviglia, undated. 156pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Barbiere’s rôles.
0134. L’Avant Scène Opéra, Nos. 38 & 39, Parsifal, Jan.-Feb., 1982. 238pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Parsifal’s rôles; Articles by Wieland Wagner, Rolf Liebermann,
Leonie Rysanek, Régine Crespin, Jon Vickers, Theo Adam, etc.
0135. L’Avant Scène Opéra, #41, Roméo et Juliette, May-June, 1982. 146pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Roméo’s rôles.
0136. L’Avant Scène Opéra, #42, Orlando Paladino (Haydn), July-Aug., 1982. 145pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Orlando Paladino’s rôles.
0137. L’Avant Scène Opéra, #44, Maria Callas – Ses Récitals 1954-69,Oct., 1982. 191pp.
Numerous Photos; Chronologies; Discography; Articles by Yves Saint-Laurent, Maurice Béjart,
Sylvia Sass, Plácido Domingo, Evangelia Kalogeropoulos, etc., etc.
0138. L’Avant Scène Opéra, #45, Die Lustige Witwe, Nov., 1982. 146pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Die Lustige Witwe’s rôles, plus an extensive one on Mizzi Günther;
Articles by Géori Boué, Jacques Jansen, etc.
0139. L’Avant Scène Opéra, Nos. 47 & 48, Salome; Vier letzte Lieder (Strauss), Jan.-Feb., 1983. 254pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Salome’s rôles; Articles by Gwyneth Jones,
Maurice Béjart, André Tubeuf, etc.; Extensive article on Strauss’ Vier letzte Lieder.
0140. L’Avant Scène Opéra, #51, La Traviata, undated. 177pp. Numerous Photos; Chronologies; Discography;
Profile on the creators of La Traviata’s rôles; Articles by Ileana Cotrubas, André Tubeuf, etc.
0141. L’Avant Scène Opéra, #52, Dialogues des Carmélites; La Voix Humaine, May, 1983. 145pp. Numerous Photos;
Chronologies; Discography; Profile on the creators of Dialogues’ rôles; Articles by Denise Duval, Régine Crespin, etc.;
Extensive article on La Voix Humaine by Denise Duval & Georges Prêtre.
0142. L’Avant Scène Opéra, #54, Mitridate Re di Ponto, July, 1983. 146pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Mitridate’s rôles; Extensive article on Mozart at Aix-en-Provence.
0143. L’Avant Scène Opéra, #56, Madama Butterfly, undated. 151pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Madama Butterfly’s rôles;
Article by Raina Kabaivanska; Article on the Théâtre des Italiens de Paris.
0144. L’Avant Scène Opéra, Nos. 57 & 58, Khovanschina, Nov.-Dec., 1983. 126pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Khovanschina’s rôles;
Excerpts from Chaliapin’s memoirs; Article on the Théâtre des Italiens de Paris.
0145. L’Avant Scène Opéra, #59 Entführung, Jan., 1984. 153pp. Numerous Photos; Chronologies; Discography;
Profile on the creators of Entführung’s rôles; Article by Teresa Stich-Randall; Article on the Théâtre des Italiens de Paris.
0146. L’Avant Scène Opéra, #61 Werther, March, 1984. 145pp. Numerous Photos; Chronologies; Discography;
Profile on the creators of Werther’s rôles; Articles by Alfredo Kraus, Giacomo Aragall, Neil Schicoff, Alain Vanzo, etc.
Article on the Théâtre des Italiens de Paris.
0147. L’Avant Scène Opéra, Nos 63 & 64 Tannhäuser, May-June, 1984. 249pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Tannhäuser’s rôles.
0148. L’Avant Scène Opéra, #65, Le Roi d’Ys, July, 1984. 129pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Le Roi d’Ys’ rôles.
0149. L’Avant Scène Opéra, #66, La Périchole, 129pp. Aug., 1984. 129pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Périchole’s rôles; Profile of Hortense Schneider (Creator of the title rôle);
Article by Jane Rhodes on La Périchole.
0150. L’Avant Scène Opéra, #68, Médée (Charpentier), Oct., 1984. 162pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Médée’s rôles.
0151. L’Avant Scène Opéra, #72, Rinaldo, Feb., 1985. 146pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Renaldo’s rôles.
0152. L’Avant Scène Opéra, #73, Alceste, March, 1985. 129pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Alceste’s rôles (French & Italian versions).
0153. L’Avant Scène Opéra, #74, Oberon, April, 1985. 129pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Oberon’s rôles.
0154. L’Avant Scène Opéra, #75, I Vespri Siciliani, May, 1985. 145pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Vespri’s rôles.
0155. L’Avant Scène Opéra, #76, Robert le Diable, June, 1985. 130pp. Numerous Photos; Chronologies; Discography;
Profile on the creators of Robert le Diable’s rôles.
0156. L’Avant Scène Opéra, #77, Ariadne auf Naxos, July, 1985. 161pp. Numerous Photos; Chronologies; Discography;
Profile on the creators of Ariadne’s rôles; Articles by Irmgard Seefried & Jessye Norman.
0157. L’Avant Scène Opéra, #78, Victoria de los Angeles, Aug., 1985. 113pp. Numerous Photos; Chronology;
Discography; Texts of songs and arias, etc.
0158. L’Avant Scène Opéra, #81, L’Assedio di Corinto, Nov., 1985. 129pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Corinth’s rôles.
0159. L’Avant Scène Opéra, #82, Gianni Schicchi, Dec., 1985. 129pp. Numerous Photos; Chronologies; Discography;
Profile of Gabriel Bacquier; Profile on the creators of Gianni Schicchi & ‘Objectif Bastille’ (Franck Erikson).
0160. L’Avant Scène Opéra, #83, Straszny Dwór (The Haunted Manor) (Moniuszko), Jan., 1986. 145pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Moniuszko’s rôles in both ‘Manor’ and ‘Halka’.
0161. L’Avant Scène Opéra, Nos. 79 & 80, Les Introuvables du Chant Mozartien, Sept.-Oct., 1985. 189pp.
Numerous Photos; Selective Discographies; Texts of songs and arias; Brief biographies Francesco d’Andrade,
Mattia Battistini, Erna Berger, Maria Callas, Emmy Destinn, Willi Domgraf-Fassbaender, Claire Dux, Karl Erb,
Geraldine Ferrar, Germaine Féraldy, Johanna Gadski, Nicolaï Gedda, Maria Gerhart, Ria Ginster, Tito Gobbi,
Elisabeth Grümmer, Reynaldo Hahn, Luise Helletsgrüber, Friede Hempel, Maria Ivogün, Hermann Jadlowker, Sena Jurinac,
Alexander Kipnis, Berta Kiurina, Selma Kurz, Lilli Lehmann, Frida Leider, Tiana Lemtitz, John McCormack, Victor Maurel,
Maria Németh, Eidé Noréna, Margherita Perras, Maurice Renaud, Elisabeth Rethberg, Gabrielle Ritter-Ciampi,
Helge Roswaenge, Lotte Schöne, Elisabeth Schumann, Elisabeth Schwarzkopf, Irmgard Seefried, Meta Seinemeyer,
Leo Slezak, Ina Souez, Richard Tauber, Ninon Vallin, Vanni-Marcoux, Ludwig Weber, Marcel Wittrisch, etc., etc.;
Profile of Sena Jurinac at Glyndebourne.
0162. L’Avant Scène Opéra, #83, Příhody lišky Bystroušky (The Cunning Little Vixen) (Janácek), Feb., 1986. 145pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Janácek’s rôles.
0163. L’Avant Scène Opéra, #85, La Cenerentola, March, 1986. 129pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Cenerentola’s rôles.
0164. L’Avant Scène Opéra, #86, Nabucco, April, 1986. 129pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Nabucco’s rôles.
0165. L’Avant Scène Opéra, Nos. 87 & 88, Falstaff, May-June, 1986. 194pp.
Numerous Photos; Chronologies; Discography; Profile of Victor Maurel (Creator of the title rôle).
0166. L’Avant Scène Opéra, #89, Idomeneo, July, 1986. 162pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Idomeneo’s rôles; Articles by Sena Jurinac & Karl Böhm.
0167. L’Avant Scène Opéra, Nos. 90 & 91, Don Carlos, Sept.-Oct., 1986. 226pp.
Numerous Photos; Chronologies; Discography; Profile on the creators of Don Carlos’s rôles.
0168. L’Avant Scène Opéra, #92, Elektra, Nov., 1986. 161pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Elektra’s rôles; Elaborate Profile of Leonie Rysanek – Born to sing Strauss.
0169. L’Avant Scène Opéra, #93, Don Quichotte, Dec., 1986. 129pp. Numerous Photos; Chronologies; Discography;
Profile on the creators of Don Quichotte’s rôles; Elaborate Profile of Fedor Chaliapine; Extensive article on the
Pabst 1933 film (set to music of Ibert; starring Fedor Chaliapine, Henri Dorville & Mady Berry).
0170. L’Avant Scène Opéra, #94, Atys (Lully), Jan., 1987. 129pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Atys’ rôles; Extensive article on the 1987 revival;
Beautiful profile, featuring lovely photos, of Jarmila Novotná by André Tubeuf.
0171. L’Avant Scène Opéra, #95, L’Elisir d’Amore, Feb., 1987. 129pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of L’Elisir d’Amore’s’ rôles.
0172. L’Avant Scène Opéra, #96, I Puritani, March, 1987. 144pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Puritani’s’ rôles.
0173. L’Avant Scène Opéra, #97, Giulio Cesare, April, 1987. 130pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Giulio Cesare’s’ rôles.
0174. L’Avant Scène Opéra, Nos. 360 & 98, Cinéma et Opéra, May, 1987. 183pp.
Numerous Photos; Articles by Franco Zefferelli, Andrzej Wajda, Lèvon Sayan, Henri Sauguet, Jean-Michel Bréque,
Pierre Cadars, Bruno Villien, Elisabeth Giuliani; Extensive coverage of 30 classic opera films, 1904-86.
0175. L’Avant Scène Opéra, #99, La Clemenza di Tito, June, 1987. 153pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Tito’s’ rôles; Articles by Christopher Hogwood & Sylvain Cambreling.
0176. L’Avant Scène Opéra, #100, La Juive, July, 1987. 161pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of La Juive’s’ rôles; Article by Julia Varady on La Juive;
Articles by Bourgeois, Cabourg & Erkson on today’s French singers.
0178. L’Avant Scène Opéra, #101, Die Zauberflöte, Sept, 1987. 185pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Die Zauberflöte’s rôles; Articles on Die Zauberflöte by Bergman & Béjart;
Article on Le Théâtre des Champs-Élysées, 1913 - 1987.
0179. L’Avant Scène Opéra, #102, Jenufa, Oct., 1987. 130pp. Numerous Photos; Chronologies;
Discography; Profile on the creators of Jenufa’s rôles.
0180. L’Avant Scène Opéra, #103, Porgy and Bess, Nov., 1987. 129pp. Numerous Photos;
Chronologies; Discography; Profile on the creators of Porgy and Bess’s rôles; Article on Dubose Heyward;
George Gershwin – Rhapsodie à Catfish Row.
0181. Reminiscences of the Opera. BENJAMIN LUMLEY (Twenty Years Director of Her Majesty’s Theatre).
New York, Da Capo Press, 1976 [Reprint of the 1864 Hurst & Blackett Edition]. 448pp. MB 25
0182. Dictionary-Catalogue of Operas and Operettas. JOHN TOWERS, ED.
New York, Da Capo Press, 1967 [Reprint of the 1910 Acme Edition]. Two Volumes. 1045pp. Indices. MB 45, the Pair.
0183. Dix-Sept Ans de Musique à Paris- 1922 - 1939. PIERO COPPOLA.
Lausanne, Librairie F. Rouge, 1944. 253 pp. Index. (French Text). Softbound. MB 35
0184. Historia de la Ópera en Buenos Aires. MARIANO G. BOSCH. Buenos Aires, El Comercio, 1905. 256pp. Indices;
Illus.; Tremendous coverage of numerous operas at the turn of the century, plus works by Paër, d’Alayrac, Puccita, Ricci,
Mercadente,Cagnoni, Pacini, Orefici, Lafinur, Fioravanti, Saint Cyr, Auber, Spohr, Coppola, Massé, Maillart, Generali, Gluck,
Zingarelli, Boieldieu, Gaveaux, Radicati, Nini, Hérold, Portogallo, Mayer, Buzzi, Niccolini, Boully, Bazin, etc. MB 150
0185. Les Affres du Roi Marke et autres variations en majeur et en mineur. PIERO COPPOLA.
Lausanne, Roth, 1945. 182 pp. List of Coppola’s works. (French Text). Softbound. Exceedingly elusive! MB 65
“Coppola, born in Milan, studied at the Milan Conservatory, graduating in piano and composition in 1910.
By 1911 he was already conducting opera at La Scala. That year he heard Debussy conduct his own
compositions ‘Ibéria’ and’ Prélude à l’après-midi d’un faune’ in Turin: an experience that ‘had a decisive
influence on his career’ He then worked in Brussels before spending the duration of World War I in
Scandinavia. Between 1923 and 1934 he was the artistic director of La Voix de son Maître, the French
branch of The Gramophone Company. In the late 1920s and 1930s Coppola conducted recordings of many
works of Debussy and Ravel, including the first recordings of Debussy’s LA MER and Ravel’s BOLÉRO.
Coppola’s conducting enjoyed the admiration of Debussy, although the composer never actually heard
Coppola perform any of his works. His work in French repertoire has been widely praised. His recordings of
Debussy have been described as ‘without rival for the period’, with his 1938 recording of NOCTURNES
eulogized as a ‘masterpiece’ and among the early recordings ‘closest to Debussy’s thought’. His recording
of Ravel’s LE TOMBEAU DE COUPERIN won the Grand Prix du Disque in 1932. Coppola also conducted
the first recording of Prokofiev’s Third Piano Concerto, with Prokofiev himself as soloist, in June 1932.”
0186. Emma Calvé – Her Artistic Life. A. GALLUS. A Pictorial Souvenir with numerous ‘autograph’ pages written primarily
by Calvé. New York, Russell, 1902. c.80pp. Handsome Octavo Edition features Numerous (many full page) Photos.
Exceedingly elusive! Beautiful copy has rubbed covers. MB 135
0187. Garcia the Centenarian and his times. M. STERLING MACKINLAY. New York, Da Capo Press, 1976
[Reprint of the 1908 Appleton Edition]. 335pp. Index; Photos. MB 35
0188. Pauline Viardot-Garcia. AEKSANDR SEMENOVICH ROZANOV. Leningrad, Musica, 1973. 222pp.
Photos; Illus. (Cyrillic Text). Very decent copy has ltly yellowed paper. MB 25
0189. Maria Malibran e i suoi tempi. P. LARINOFF & F. PESTELLINI. Firenze, Bemporad, 1935. 250 pp.
(Italian Text). Photos. Softbound. Very decent copy has sl. weakend spine & lt. yellowed paper. MB 45
0190. A viso aperto. GIACOMO LAURI-VOLPI. Milano, Corbaccio, 1953. Original 1953 Edition. 483 pp.
(Italian Text). Photos. Softbound. Very decent copy has sl. weakend spine & lt. yellowed paper. MB 35
0191. A viso aperto. GIACOMO LAURI-VOLPI. Bologna, Bongiovanni, 1982. 223 pp.
(Italian Text). Photos. Softbound. MB 35
0192. A viso aperto – Parte Seconda. GIACOMO LAURI-VOLPI. Bologna, Bongiovanni, 1983. 271 pp.
Chronology; Discography by Silvio Serbandini; List of Repertoire. (Italian Text). Photos. Softbound. MB 65
0193. Put’ k iskusstvu. SERGEI LEMESHEV. Moscow, 1982. 280pp. Index; Photos. (Cyrillic Text). MB 45
0194. Sergei Lemeshev – A Biography. E. A. GROSHEVA. Moscow, Sovetskii kompozitor, 1987. 400pp.
Testimonials by singers & musicians; Exhaustive 78rpm & LP Discography; Index; Photos; Illus. (Cyrillic Text). MB 65
0195. (L’Opéra) L’Opéra au Palais Garnier, 1875 - 1961. STÉPHANE WOLFF. Paris, L’Entr’acte, 1962. 565pp.
(French Text) Photos. Invaluable reference source features all premieres at the Paris Opéra, full casts of these
premieres & various revivals. Brief biographies of all soloists. (softbound) Choice, sl.used copy. MB 25
0196. (L’Opéra-Comique) Un demi-siècle d’Opéra-Comique, 1900 - 1950. STÉPHANE WOLFF. Paris,
Éditions André Bonne, 1953. 338pp. (French Text) (softbound) Excellent copy has neatly mended rear cover. MB 25
0197. (L’Opéra-Comique) Histoire de l’Opéra Comique. JEAN GOURRET. Préface de Jean Giraudeau.
Paris, Éditions Albatros, 1983. 305pp. Chronology; Photos. (French Text) (Pictorial thick paper covers). MB 20
0198. Musiciens de mon Temps. GUSTAVE SAMAZEUILH. Paris, La Renaissance du Livre, 1947. 429pp.
List of transcriptions by Gustave Samazeuilh of Bachelet, Balakirev, Chabrier, Chausson, Debussy, Dukas, de Falla, Fauré,
Duparc, Franck, Hüe, d’Indy, Magnard, Messager, Rabaud, Ravel, Saint-Saëns, etc. Chapters incl. Ropartz, Strauss, Hahn,
de Falla, Enescu, Casella, Koechlin, Canteloube, Cras, Labey, Doyen, Paray, Gobert, Ibert, Lili & Nadia Boulanger, Pugno,
Ingelbrecht, Planté, Risler, Selva, Viñes, Delvincourt, Satie, Milhaud, Paderewski, Honegger, Casella, Ysaÿe, van Dyck,
Delmas, Bréval, Litvinne, Chaliapin, etc. (French Text) Softbound. Very decent copy is missing front cover. MB 35
0199. Quand le Bel Canto régnait sur le Boulevard. OLIVIER MERLIN. Paris, Fayard, 1978. 264pp.
Index. (French Text) (Pictorial thick paper covers). MB 15
0200. The Grand Tradition: Seventy Years of Singing on Record (Corrected New Edition).
J. B. STEANE. Portland, OR, Amadeus, 1993. 643pp. Index; Bibliography; Photos; DJ. MB 45
0201. We Need a Hero! Heldentenors from Wagner’s Time to the Present……..
CARLA MARIA VERDINO-SÜLLWOLD. West New York, NJ, Weiala Press, 1989. 450pp. Index; Bibliography; Discography;
Performance Index; Photos. (Pictorial thick paper covers). Excellent copy has very occasional ink notation. MB 25
0202. Dieux & Divas de L’Opéra, des origines au Romantisme. ROGER BLANCHARD ET ROLAND DE CANDÉ.
Paris, Plon, 1986. 429pp. Index; Bibliography; Chronology; Illus. (French Text) (Pictorial thick paper covers). MB 15
0203. Dieux & Divas de L’Opéra, de 1820 à 1950 – Grandeur et décadance du bel canto.
ROGER BLANCHARD ET ROLAND DE CANDÉ. Paris, Plon, 1987. 478pp. Index; Bibliography;
Chronology; Photos. (French Text) (Pictorial thick paper covers). MB 15
0204. Thirty Years of Musical Life in London, 1870 - 1900. HERMAN KLEIN. New York, Century, 1903. 483pp.
Index, Photos. Handsome copy with gilt top & imprint. MB 35
0205. The Golden Age of Opera. HERMAN KLEIN. London, Routledge, 1933. 275pp.
Index, Photos; DJ. MB 45
0206. The Bel Canto, with particular reference to the singing of Mozart. HERMAN KLEIN.
London, Humphrey Milford, Oxford University Press, 1923. 53pp. Illus. MB 45
“During my study of the work of Manuel Garcia II, I became aware of the name of Herman Klein . Klein was
a well known music critic and voice teacher in London who also spent several years in New York City.
Among many other literary accomplishments, he provided critical reviews of newly released recordings for
the English journal The Gramophone from 1924 until his death in 1934 . He was the first to offer critical
analysis of recordings (mainly singers) made during the infancy of the recording industry and during its
transition from the original acoustic method to the birth of the electrical age of sound recording. One of the
life experiences that qualified Herman Klein for his role as a critic of singing was his long association with
Manuel Garcia. Klein’s family hosted Garcia in their home in London for several years beginning in 1874.
Garcia’s studio was on the first floor of their home in Manchester Square. Klein studied with him for a period
of about four years while he was a young man still living in his parents’ home. Klein always showed promise
in literary pursuits, and Garcia advised him that a professional singing career was probably not in the cards.
So, he dedicated himself to writing and the study and teaching of singing. He became a highly respected
teacher in his own right and continued his friendship with Garcia. He helped the old man write his last work,
HINTS ON SINGING, published in 1894. In 1923 Klein published a modest book entitled simply THE BEL
CANTO. In this book he sought to describe the technical foundations that he felt were important for singing
the music of Mozart. Klein’s expertise in this area came from the fact that he had worked so closely with a
man who had a very close association with first and second generation Mozart singers and whose father
was Rossini’s favorite tenor (Manuel Garcia, père).”
- Stephen F. Austin, ,JOURNAL OF SINGING, 1 March, 2007
0207. The Age of Jean de Reszké Forty Years of Opera, 1874 – 1914. P. G. HURST.
London, Christopher Johnson, 1958. 256pp. Indices, Photos; DJ. MB 45
This book is not a biography of Jean de Reszké, but a plain, year-by-year account of the opera seasons in
London from 1874 to 1914. Jean de Reszké was only one of the great singers who made these forty years
a Golden age in the history of opera. The information about singers’ technique is extremely valuable, but
even more interesting are the paragraphs about acting.
0208. The Singing of the Future, w.Preface by Sir Edward Elgar. DAVID FFRANGCON-DAVIES.
London, John Lane, 1911. 276pp. Handsome edition in green cloth with gilt decoration & top edge gilt. MB 35
0209. The Singing of the Future, w.Preface by Sir Edward Elgar. DAVID FFRANGCON-DAVIES. Champaign, IL,
Pro Musica Press, 1968 [Reprint of the 1911 John Lane Edition]. 276pp. Excellent, albeit occasional lt. pencil mks. MB 15
“In the late 1890s, DAVID FFRANGCON-DAVIES toured the U.S. and Germany. He then moved to Berlin to sing
and teach singing. In 1901 he again visited the U.S. to sing and lecture. In 1904 he was appointed
professor of singing at the Royal Academy of Music in Britain and published a book on vocal training,
The Singing of the Future, in 1905.”
0210. Santley and Some Famous Singers of his Time – A lecture delivered 6 May, 1943, Gramophone Company –
extracted from the Proceedings of the Musical Association, Session LXVIII. J. MEWBURN LEVIEN. Privately Printed, 1943.
pp.83-104 (softbound). Title Page Inscribed & Autographed by the Author. MB 25
”Levien will be remembered for his outstanding contributions to the art of singing. His academic lectures
and his scholarly editing of works on singing have left their mark on future generations. Notwithstanding his
link with such great musical personalities as Manuel Garcia and Sir Charles Santley, Levien started his
musical career in Liverpool where he achieved much recognition. On the advice of distinguished baritone
Charles Santley and the organist T. W. Best, he commenced his serious singing studies with H. C. Deacon
and the legendary singing teacher Manuel Garcia. He studied also with Vannuccini (of Florence) and
Salzédo (of Paris.) After some years he moved to London where he obtained high recommendations for his
method of voice production from Sir Morell Mackenzie. Among his many other activities he was Hon.
Secretary of the Royal Philharmonic Society, of which he was a member from 1951. Levien contributed
articles on the history, technique and theory of the practice of singing to the musical press and was author of
several books on these subjects. His musical activities covered a wide range as did his writings. One of the
things of which he was most proud was his association with Sir Charles Santley whom he held in the highest
respect. Santley had guided his career and became his mentor. In Levien’s lecture ‘Sir Charles Santley’,
given in 1942 before the Society of Women Musicians and afterwards at the Violincello Club in the London
School of Violincello, Levien tells of Santley’s great generosity towards him. Santley and Levien were both
students of Manuel Garcia, a fact that was to result in their being very close friends for the remainder of
Santley’s long life. He was with Santley immediately prior to the latter’s death in 1922. He delivered an
authoritative lecture on the Garcia family in 1932.”
0211. (METROPOLITAN OPERA) Spotlights on the Stars, Intimate Sketches of Metropolitan Opera Personalities.
MARY ELLIS PELTZ. New York, Metropolitan Opera Guild, 1945. 114pp. Index; Numerous full-page photos incl.
Albanese, Antoine, Baccaloni, Bampton, Brownlee, Branzell, Carron & Family, Cordon, Crooks, Djanel, Huehn,
Jagel, Janssen, Jepson, Kipnis, Lawrence, Lehmann, List, Maison, Martinelli, Martini, Kullman, Melchior, Moscona,
Milanov, Moore, Novotna, Peerce, Petina, Pinza, Pons, Roman, Sayao, Traubel, Stevens, Sved, Swarthout, J.C. Thomas,
Thorborg, Tibbett, Johnson, Jobin & Family, Steber & Warren. Excellent contents, albeit cracked spine. MB 35
0212. (METROPOLITAN OPERA) The Metropolitan Opera on Record – A Discography of the Commercial Recordings.
FREDERICK P. FELLERS. Westport, CT, Greenwood Press, 1984. 101pp. Indices. MB 45
0213. Annals of the Metropolitan Opera, Vol. I, The complete chronicle of performances.
Boston, G. K. Hall, The Metropolitan Opera Guild, 1989. 1000pp. Complete Chronology, 1883 – 1985,
Casts, Broadcasts, etc. Index; Numerous Photos. MB 45
0214. The San Carlo Opera Company of America, 1913-55 – Grand Opera for Profit.
CARDELL BISHOP. Privately Printed by the Author, c.1976. 258pp. Photos. (softbound) Exceedingly Elusive! MB 125
0215. The San Carlo Opera Company of America, 1913-36 – Grand Opera for Profit, Vol. I.
CARDELL BISHOP. Privately Printed by the Author, 1980. 194pp. Photos. (softbound) Exceedingly Elusive! MB 95
0216. The San Carlo Opera Company of America, 1936-55 – Grand Opera for Profit, Vol. II.
CARDELL BISHOP. Privately Printed by the Author, 1981. 152pp. Photos. (softbound)
Front Endpaper Inscribed & Autographed by the Author. Exceedingly Elusive! MB 95
0217. Slovnyk spivakiv Ukrainy. Ivan Lysenko. Kiev, Rada, 1997. 354pp. (Ukranian Text)
Innumerable mini-biographies of Ukranian singers & musicians. Innumerable Photos. MB 45
0218. The Golden Age Recorded, New and Revised Edition. P. G. HURST. UK, Oakwood Press, 1963 [Improved
Reprint of the 1946 Edition]. 187pp. Illus; DJ. A highly sought-after, duly fascinating book. Highly Elusive! MB 45
“You will have to beg, borrow or steal a copy of Hurst’s seminal book The Golden Age Recorded, first
published in 1946, if you want to understand the fanaticism of some collectors”.
- John Windsor, THE OBSERVER, 5 Nov., 2005
0219. (Academy of Music) First Rival of the Metropolitan Opera. JOHN F. CONE. New York, Columbia University Press,
1983. 257pp. Index; Bibliography; List of Casts & Performances of Col. Mapleson’s New York Academy of Music,
1883-86, in New York and on Tour; Photos; DJ. Excellent, sl. used copy has very little very neat underscoring. MB 15
0220. (Manhattan Opera Company) Oscar Hammerstein’s Manhattan Opera Company. JOHN F. CONE.
Norman, OK, University of Oklahoma Press, 1966. 399pp. Index; Bibliography; Annals of Casts, 1906-10; Photos; DJ.
Excellent, ex-lib copy has minor stain on rear endpaper. MB 15
0221. Arthur Judson Concert Management – Vol. I - Bulletins Nos. 1 – 17, 16 March, 1925 – 15 April, 1926, offering
commentary on Judson Artists: Guiomar Novaës, Efrem Zimbalist, Elisabeth Rethberg, New York String Quartet,
Claire Dux, Alfred Cortot, Wanda Landowska, Wilhelm Bachaus, Joseph Szigeti, Sophie Braslau, Carlos Salzedo,
Ernest Schelling, Nina Morgana, Sigrid Onégin, Carl Flesch, Ottorino Respighi, Karin Branzell, Fraser Gange,
Corinne Rider-Kelsey, Thomas Denijs, Alexander Kipnis, Carl Friedberg, Alfredo Casella, Béla Bartók, Lauritz Melchior, etc.
c.136pp. All Bulletins nicely hardbound. MB 35
0222. Arthur Judson Concert Management – Vol. II - Bulletins Nos. 1 – 17, 15 Dec., 1926 – 15 May, 1928, offering
commentary on Judson Artists: Sir Thomas Beecham, Ernest Schelling, Béla Bartók, Beatrice Harrison, Vladimir Horowitz,
Hans Kindler, Cecilia Hansen, Efrem Zimbalist, Josef Lhévinne, Paul Wittgenstein, Frederick Jagel, Heinrich Schlusnus,
Hulda Lashanska, Giovanni Martinelli, Helen Traubel, Lauritz Melchior, Karin Branzell, Sigrid Onégin, Gertrude Kappel,
Grete Stückgold, Maria Olszewska, Nina Morgana, Carl Friedberg, Carlos Salzedo, Claire Dux, Wanda Landowska,
Wilhelm Bachaus, Joseph Szigeti, The Revellers, etc. c.150pp. All Bulletins nicely hardbound. MB 35
“Arthur Judson is remembered as the megalomaniac who managed the Philadelphia Orchestra, 1915-35,
the NYPO, 1930-56, the founder of ABC (which became CBC), Columbia Artists Management, 1930-55
(thus deeply involved with Community Artists Management), the manager who sent Ormandy, Mitropoulos
and Dorati to the Minneapolis Orch., who severely curtailed the career of Rodzinsky as well as the American
careers of Goossens and Klemperer, ultimately incurring the wrath of then President Truman who, in 1948,
requested the FBI to investigate Judson’s monopoly of concert management, resulting in anti-trust laws.”
0223. Columbia Concerts Corporation of Columbia Broadcasting System, featuring Metropolitan Musical Bureau,
Arthur Judson Concert Management, Evans & Salter, Haensel & Jones, Wolfsohn Musical Bureau, Community
Concert Service. Incl. Elaborate Profiles & Photos: Bori, Galli-Curci, Garden, Kurenko, Lehmann, Moore, Pons, Ponselle,
Rethberg, Schumann, Anderson, Bampton, Onégin, Althoue, Dino Borgioli, Crooks, Edward Johnson, McCormack, Schipa,
Tauber, Bonelli, de Luca, Robeson, Tibbett, Bauer, Gabrilowitsch, Horowitz, Novaës, Prokofiev, Elman, Heifetz, Menuhin,
Milstein, Piatigorsky, Ricci, Spalding, Szigeti, and many, many more. New York, Columbia Concerts, 1932. 211pp. MB 45
0224. Smetana on 3000 Records. JOHN R. BENNETT. UK, Oakwood Press, 1974. 466pp. Illus; Photos; DJ.
Includes a detailed account of Smetana’s biography; each opera aria is described before listing the various recordings,
so that the book is more a source of information on the composer’s works then the title suggests. MB 25
0225. Discopædia of the Violin, Original Edition. JAMES CREIGHTON, ED.
Toronto, University of Toronto Press, 1974. 987pp. DJ. Long out-of-print. MB 175
“This is a marvellous book. In the history of the documentation of recordings there have been a number of
compilations that have established new standards on their appearance and this is one. I would rate it one of
the most important discographical works since the publication of the World’s Encyclopedia of Recorded
Music in the fifties….For your money you get a beautifully produced book, typeset and of just over a
thousand pages….The publishers claim more than 1,600 violinists are included and of the 836 pages of
doublecolumn listings I estimate about 21,000 performances are documented and (because of reissue
numbers and the like) this represents over 80,000 actual records…. it is indispensable to anyone remotely
concerned with the subject.”
- Lewis Foreman, GRAMOPHONE, Jan., 1975
0226. Discopædia of the Violin, Second Edition, Volumes I, II & III, (plus separately-bound Index).
JAMES CREIGHTON, ED. Burlington, Ontario (Canada), Records Past, 1994-95. 1610pp., incl. Index
(Softbound, Slipcase Edition). Long out-of-print, final copy! MB 475, the Set of Four Volumes, with Slipcase.
0227. The Great Violinists. MARGARET CAMPBELL. Garden City, NY, Doubleday, 1981. 366pp.
Index; Bibliography; Selected LP Discographies; Numerous Photos incl. Joachim, Sarasate, Auer, Hubay,
Flesch, Sevcik, Ysaÿe, Kubelik, Kreisler, Enescu, Thibaud, Huberman, Sammons, Zimbalist, Milstein,
Campoli, Powell, Ricci, Grumiaux, Morini, Neveu, de Vito, Haendel, etc.; DJ. MB 55
0228. An Encyclopedia of the Violin. ALBERTO BACHMANN (with Original Introduction by Eugène Ysaÿe).
New York, Da Capo Press, 1969 [Reprint of the 1925 Appleton Edition]. 470pp. Index;
Exhaustive list of music for the Violin; Photos; Illus. MB 25
0229. Great Masters of the Violin. BORIS SCHWARZ. New York, Simon & Schuster, 1983. 671pp.
Index; Bibliography; Photos; DJ. MB 25
0230. Adolf Busch – Letters, Pictures, Memories. IRENE BUSCH SERKIN. Walpole, NH, Arts and Letters Press, 1991.
(First edition). Two Volumes. 591pp. Index; Chronology; Photos; Illus. (Pictorial thick paper covers) A spectacular copy
of this exhaustive reference on violinist and composer Adolf Busch. Limited to only 600 copies which were not inteneded for
the trade, thusly rare. Translated by Russell Stockman. A wonderful set in beautiful condition. MB 250, the Pair.
0231. Heifetz, Second Revised Edition. DR HERBERT R. AXELROD, Ed. Neptune City, NJ,
Paganiniana, 1981. 633pp. Index; Numerous Reviews & Photos; Discography. Exceedingly Elusive! MB 85
0232. Heifetz, Third Revised Edition. DR HERBERT R. AXELROD & TODD M. AXELROD, Ed. Neptune City, NJ,
Paganiniana, 1990. 744pp. Index; Numerous Reviews & Photos; Discography. Exceedingly Elusive! MB 195
0233. Around Music. KAIKHOSRU SORABJI. London, Unicorn Press, 1932. 250pp. Index.
The spine of this choice copy has sl. scuffed title plate. Exceedingly elusive! MB 95
“The fact that during the long period of near-silence Sorabji’s name never quite evaporated from the
consciousness of musicians may in part be due to the stuff of myth and legend in which certain people with
nothing better to do chose to clothe the unwitting Sorabji. Some of this he occasionally rebutted, some of it
he quite enjoyed, and for all of it he really cared not a fig. For the record, these largely absurd fantasies may
be summarized thus: Sorabji was a thoroughly eccentric composer of mixed race who lived under an
assumed name, wrote music all of which was very long, complex and unperformable, disregarded the
opinions of everyone, loathed all musicians, forbade all public performances of his music forever and
threatened legal action against anyone infringing on his wishes, was misanthropic, misogynistic,
curmudgeonly, extremely wealthy and lived in a castle he owned in Scotland. Most of this may sound pretty
repellent, so it is well worth bearing in mind that it comprises some 5% misunderstanding and 95%
terminological inexactitude.”
Alistair Hinton, La Folia, June, 2003
0234. Opus Clavicembalisticum. KAIKHOSRU SORABJI. This work is composed in twelve parts:
I Introito, II Preludio-Corale, III Fuga I, IV Fantasia, V Fuga a due soggetti, VI Interludium Primum
(Thema cum SLIX Variationibus, VII Cadenza I, VIII Fuga a tre soggetti, IX Interludium Alterum (Toccata:
Adagio: Passacaglia), X Cadenza II, XI Fuga a quattro soggetti, XII Coda Stretta. Played by JOHN OGDON.
U.K. 4-Altarus 219554 (076958707520), Four CDs in an oversized boxed set,
accompanied by elaborate 62-page softbound 6½” x 10” book. MB 65, the Set of 4 CDs.
“Many details of his life were for a long time hard to come by, as Sorabji was extraordinarily private. He
almost always refused requests for interviews or information, often with rude messages and warnings not to
approach him again. He refused permission for his works to be publicly performed. Since he had
independent financial means, he felt no need to be tactful in his dealings with the public, critics, and
musicians interested in performing his works. Nevertheless, he had numerous friends, including the Scottish
composer Alistair Hinton, who is the founder and director of the Sorabji Archive. As a music critic, Sorabji
was loosely connected to the New Age Magazine group surrounding A. R. Orage. He was friends with Philip
Heseltine, who wrote music under the pseudonym Peter Warlock, and became a music critic in part because
of their friendship. His critical publications were of concentrated bitterness, weight, and sharpness, but they
were also highly sarcastic and displayed an extreme mistrust of the English public taste. Several of his
works are of extraordinary difficulty, making them inaccessible to most musicians. In a letter to his good
friend Peter Warlock, Sorabji writes, ‘if you make your work of such monstrous difficulty, no one can play it
but the finest pianists.’ His piano work OPUS CLAVICEMBALISTICUM takes about 4 hours to play and was
described by the Guinness Book of Records as the longest non-repetitive piano piece ever written.”
0235. Opus Est: Six Composers from Northern Europe. PAUL RAPOPORT. New York, Crescendo, Taplinger, 1979.
200pp. Photos; Illus.; DJ. Profiles and lists of works of Vermeulen, Holmboe, Brian, Pettersson, Valen & Sorabji. MB 35
0236. In search of Chopin. ALFRED CORTOT. London, Peter Nevil, 1951. 261pp. Bibliography;
Exhaustive Discography by Cyril Clarke; Photos; Illus.; DJ. Choice copy has sl. torn DJ. MB 35
0237. L’Oeuvre de Frédéric Chopin. ARMAND PANIGEL. Paris, Éditions de la Révue Disques, 1949. 253pp.
Index; Bibliography; Exhaustive Discography gives recording dates for all known
Chopin recordings from the inception of recording through 1949; Photos; Illus. (French Text)
Excellent, disbound copy certainly deserves to be professionally bound. Exceedingly Rare! MB 35
0238. Life and Liszt, The Recollections of a Concert Pianist [Autobiography].
ARTHUR FRIEDHEIM. New York, Taplinger Publishing, 1961. 335pp. Index; Photos. Highly Elusive! MB 45
0239. Antonio Guarnieri. ALFREDO MANDELLI, ED. Milano, Edizioni MC Musica Classica, 1997. 102pp.;
Chronology; Exhaustive Discography by David A. Contini; Articles by Johanna Blaha & Michele Selvini.
Numerous Photos; accompanied by 2–Phonocomp CD Set, w.transfers by David A. Contini.
(Italian Text) (Elaborate Slipcase Edition). MB 45, the Set.
“Antonio Guarnieri was an Italian conductor and cellist. After playing cello in the Martucci string quartet he
turned to conducting in 1904, being engaged by the Vienna Court Opera in 1912. He succeeded Toscanini
at La Scala in 1929 and stayed there until shortly before his death. A highly regarded technician at the
podium, he conducted many important world premières, among which was Ottorino Respighi’s BELFAGOR.”
0240. Victor de Sabata. ALFREDO MANDELLI, ED. Milano, Edizioni MC Musica Classica, 1995. 93pp.;
Chronology; Exhaustive Discography by David A. Contini; Articles by Mario Biondi, Lorenzo Arruga,
Gianandrea Gavazzeni, Giulio Confalonieri & Victor de Sabata. Numerous Photos; accompanied by
2–Phonocomp CD Set, w.transfers by David A. Contini. (Italian Text) (Elaborate Slipcase Edition). MB 45, the Set
0241. Sergio Failoni. MICHELE SELVINI, ED. (w.Preface by ALFREDO MANDELLI).
Milano, Edizioni MC Musica Classica, 1995. 151pp.; Bibliography; Chronology; Testimonials by
Gianandrea Gavazzeni, Carlo Bologna, Elsa Respighi, Wanda Luzzato, Ottavio Ziino & Luciano Magrini.
Numerous Photos; accompanied by 2–Phonocomp CD Set, w.transfers by David A. Contini; Senza Sordina – Saggi Critici.
RENZO ROSSELLINI. Roma, Edizioni Piccinelli, 1946. 187pp. Softbound, & uncut. (Italian Text)
(Elaborate Double Slipcase Edition). Duly interesting biography & profile of
Failioni, conductor of the Hungarian State Orchestra, 1928 – 1948. MB 65, the Set.
0242. (New York Philharmonic) Philharmonic, A History of New York’s Orchestra. HOWARD SHANET.
Garden City, Doubleday, 1975. 788pp. Index; Bibliography; Photos; Appendices incl.
Complete Annals of Repertoire, Conductors & Soloists, 1942-71, DJ. MB 45
0243. Das Atlantisbuch der Dirigenten, Eine Enzyklopädie. STEFAN JAEGER, ED. Zürich, Atlantis, 1985. 416pp.
Index; Photos; Innumerable brief bios; DJ. (German Text). Elaborate, Oversized edition. MB 35
0244. Il Teatro d’Opera in Disco. RODOLFO CELLETTI. Milano, Rizzoli, 1976. 624pp. (Italian Text).
Exhaustive survey of complete opera recordings, 1928-74, w.full casts, issue numbers &
Celletti’s erudite commentary. Invaluable reference source. MB 95
“For many years Rodolfo Celletti was the music critic of the Italian weekly magazine Epoca and was a
regular contributor to la Repubblica, L’opera, Nuova rivista musicale italiana, Opera, and Amadeus. In
addition to his articles in specialist publications and The New Grove Dictionary of Opera, he published
several books, most notably LE GRANDI VOCI (1964), at the time considered the most complete
biographical and critical source available on the great operatic voices and STORIA DEL BELCANTO (1983).
From 1980 to 1993 he was the Artistic Director of the Festival della Valle d’Itria in Martina Franca. The
Festival, which specializes in performing rare operas and the original versions of operas still in the standard
repertoire, also provides coaching in vocal performance for young singers. Celletti taught voice both
privately and in master classes, many of them at the Festival della Valle d’Itria. Amongst his former pupils
are Mariana Nicolesco, Angelo Manzotti, William Matteuzzi, Leonardo Villeda and Ramón Vargas.”
0245. Opere in Disco da Monteverdi a Berg. CARLO MARINELLI. Firenze, Discanto Editioni, 1982. 547pp.
(Italian Text). Indices, Exhaustive survey of complete opera recordings, 1906-80, w.full casts,
issue numbers & Marinelli’s insightful observations. Invaluable reference source. Softbound. MB 45
0246. The World’s Encyclopedia of Recorded Music [WERM]. F. F. CLOUGH & G. J. CUMING.
Westport, CT, Greenwood, 1970 (reprint of the 1952-57 Editions). 890pp.
(Incl. First Supplement, 1950-51.); Second Supplement, 1953. 262pp.; Third Supplement, 1957. 564pp.
Three-Volume Set, rarely offered as a complete unit, especially in this far-preferred later edition. MB 275, the Set.
“There can be no question of reviewing, in the ordinary sense of the term, a volume of this character, and
the best service I can render it and our readers, (to whom it will be indispensable) is by paraphrasing the
Introduction in order to show the principles that have guided the authors in their colossal task of assembling
under one cover ‘ every record of permanent music issued since the advent of electrical recording up to April
1950, throughout the world’….Enormous pains have been taken to identify the contents of the records, and
in view of the careless and incorrect way so many records have been, and still are, labelled, the information
presented here (not conveniently available in any other work of reference) is of the greatest value.”
- Alec Robertson, GRAMOPHONE, June, 1952
0247. Massenet – L’Homme – Le Musicien. LOUIS SCHNEIDER. Paris, Carteret, 1908. 392pp.
Gloriously elaborate Edition features biography of Massenet, plus details on & musical examples from La Grand’tante,
Don César de Bazan, Le Roi de Lahore, Hérodiade, Manon, Le Cid, Esclarmonde, Le Mage, Werther, Le Carillon,
Thaïs, Le Portrait de Manon, La Navarraise, Sapho, Cendrillon, Grisélidis, Le Jongleur de Notre-Dame, Cigale,
Chérubin, Ariane, Thérèse, Les Érinnyes, Marie-Magdeleine, Narcisse, Ève, La Vièrge, La Terre Promise, etc.
Profusely illus. w.stage designs & magnificent photos of original casts. Elegant 9” x 12½” Edition has
red Morocco leather w. gilt lettering, gold tooling, marbled boards and endpapers. Profusely illustrated with drawings,
colored prints, and black-and-white photographs. (French Text) Exceedingly Rare! MB 150
0248. The New Catalogue of Historical Records, 1898-1908/09. ROBERTO BAUER.
London, Sidgwick and Jackson, 1947. 494pp. DJ. Excellent, sl. used copy of the Original 1947 Edition. MB 65
0249. The French Catalogue, La Voix de Son Maitre / His Master’s Voice - A Complete Numerical Catalogue of
French Gramophone Recordings made from 1898 to 1929 in France and elsewhere by The Gramophone Company Ltd.
ALAN KELLY, Ed. Westport, CT, Greenwood, 1990. 736pp. Performer Index; Bibliography; Gramophone Company
Standard Catalogue, 1898-1929; Gramophone Company Zonophone Catalogue, 1911-29; Gramophone Company
Belgian / Flemish Catalogue, 1920-29; Notes to Catalogue Numbers; Reference Tables for dating purposes. MB 95
0250. The Italian Catalogue, La Voce del Padrone / His Master’s Voice - A Complete Numerical Catalogue of Italian
Gramophone Recordings made from 1898 to 1929 in Italy and elsewhere by The Gramophone Company Ltd.
ALAN KELLY, Ed. Westport, CT, Greenwood, 1988. 494pp. MB 95
0251. The Dutch Catalogue, De Stem van Zijn Meester / His Master’s Voice - A Complete Numerical Catalogue of
Dutch and Belgian Gramophone Recordings made from 1900 to 1929 in Holland, Belgium, and elsewhere by
The Gramophone Company Ltd. ALAN KELLY & JACQUES KLÖTERS, Eds. Westport, CT, Greenwood, 1997.
151pp. Performer Index; Bibliography; Photo. MB 35
0252. Gramophone Co., Acoustic recordings in Scandanavia and for the Scandanavian market. KARLERIC LILIEDAHL.
Helsinki, Finnish Institute of Recorded Sound, 1977. 567pp. Indices. (Pictorial thick paper covers) MB 45
0253. His Master’s Voice, Electrical recordings in Scandanavia and for the Scandanavian market, 1925 - 1934.
KARLERIC LILIEDAHL. Stockholm, Arkivet för Ijud och bild, 1990. 303pp. Indices. (Pictorial thick paper covers) MB 45
0254. Catálogo Numérico dos Discos Vocais Victor Sêlo Vermêlho
(Numerical Catalogue of Red-Seal Victor Vocal Records), Parte I (500 – 9999). DR JACQUES ALAIN LÉON.
Brasil, Batista & Filho, 1964. 177pp. Numbered Copy #69, Inscribed & Autographed by the Author, 16 June, 1964. MB 25
0255. Catálogo Numérico dos Discos Vocais Victor Sêlo Vermêlho
(Numerical Catalogue of Red-Seal Victor Vocal Records), Parte II (10000 – 18546). DR JACQUES ALAIN LÉON.
Brasil, Gráfica Waldeck, 1968. 86pp. Numbered Copy #049, Autographed by the Author. MB 25
0256. The Victor Master Book, Vol. II (Vol. I never published), 1925-36. BRIAN RUST.
England, Published by the Author, 1969. 776pp. Includes listings of Personalities & Performers, alphabetical by
Artist offering specific recording locations & dates, including all rejected “takes.” Invaluable reference source for
black Orthophonic Victors, arranged by matrix number, with cross references by issue numbers. MB 95
0257. The Encyclopedic Discography of Victor Recordings, Volume I: Pre-Matrix Series:
The Consolidated Talking Machine Company, Eldridge R. Johnson, and The Victor Talking Machine Company,
12 January, 1900 to 23 April, 1903; with a special appendix. Ted Fagan & William R. Moran, Eds.
Westport, CT, Greenwood, 1983. 462pp. Bibliography; Indices; Photos. MB 95
“In 1966, Mr. Fagan was granted liberal access to the recording files held by RCA Victor Records, the
successor to the Victor Talking Machine Company. Mr. Fagan devoted many thousands of hours to
compiling lists of the tens of thousands of Victor master recording sessions. Mr. Fagan’s process was to
create index cards for each recording session listed in Victor’s ledgers, which were arranged by recording
artist. The artist ledgers included the dates of recording, the names of works performed, the number of
‘takes’ recorded, and information about accompanists or musical forces employed at the session.”
0258. The Encyclopedic Discography of Victor Recordings, Volume II: Matrix Series: 1 through 499;
The Victor Talking Machine Company, 24 April, 1903 to 7 Jan., 1908. TED FAGAN & WILLIAM R. MORAN, Eds.
Westport, CT, Greenwood, 1986. 702pp. Indices. MB 65
“Record collectors, archivists, and music historians will welcome the second volume of The Encyclopedic
Discography of Victor Recordings, bringing the history and comprehensive catalog of the Victor Talking
Machine Company through the year 1907, when the Matrix Numbering system, inaugurated in April, 1903
had reached number 4999. This volume gives full details of all Victor recordings made during this period,
including the early records of such artists as Caruso, Melba, Schumann-Heink, Farrar, Scotti, Homer,
Sembrich, Calve, Gadski, Plançon, and many others. This discography, which is based on the original
recording ledgers of the company, and augmented by extensive research in rare Victor publications and
catalogs represents the only systematic cataloging of these rare recordings attempted to date.”
0259. Victor 1920 Numerical List of Victor Records. Camden, NJ, Victor, 1919. 228pp. 9½” x 9” format,
Tab-Indexed, Hardbound Edition. Excellent copy has various minor pencil notations. MB 45
0260. Victor 1928 Numerical List of Victor Records. Camden, NJ, Victor, 1927. 282pp. 9½” x 9” format,
Tab-Indexed, Hardbound Edition. Exceptional copy is accompanied by
Victor Talking Machine Company letter, 23 Dec., 1927. MB 45
0261. Victor 1929 Numerical List of Victor Records. Camden, NJ, Victor, 1928. 364pp. 9½” x 9” format,
Tab-Indexed, Hardbound Edition. Exceptional copy. MB 45
0262. RCA Victor – Numerical Catalogue, 1941-42. c.200 miscellaneous loose pages;
Classical Album Sets; Classical Singles; Musical Masterpiece Albums; Miscellaneous Albums (M, C, P, G, etc.)
Excellent, clean various miscellaneous loose pages. MB 25
0263. Victor & Bluebird Records Music America Loves Best Catalogue, 1943. 501pp. 8½ “ x 11” format. MB 8
0264. RCA Victor – Numerical Catalogue, 1946. c.500 miscellaneous loose pages (some in duplicate);
Classical Album Sets; Classical Singles; Musical Masterpiece Albums; Miscellaneous Albums (M, C, P, G, etc.)
Excellent, clean various miscellaneous loose pages. MB 25
0265. RCA Victor – Numerical Catalogue, 1946-47. c.300 miscellaneous loose pages; Classical Album Sets;
Classical Singles; Musical Masterpiece Albums; Miscellaneous Albums (M, C, P, G, etc.).
Excellent, clean various miscellaneous loose pages. MB 25
0266. RCA Music America Loves Best – Numerical Catalogue, 1946-47. c.500pp.
Hardbound, loose-leafed, tab-indexed Edition. Incl. RCA Victor Heritage Series; Classical Album Sets; Classical Singles;
Red Seal De Luxe Records (18-0000 and up) Musical Masterpiece Albums; Miscellaneous Albums (P, G, DG, E,
EM, HJ & K series; RCA Victor Teal. Black, Rose label series). Choice copy has very occasional lt. mk. MB 45
0267. RCA Victor – Numerical Catalogue, Jan.-July, 1948. c.200 miscellaneous loose pages;
Classical Album Sets; Classical Singles; Musical Masterpiece Albums; Miscellaneous Albums (M, C, P, G, etc.)
Excellent, clean various miscellaneous loose pages. MB 25
0268. RCA Numerical Catalogue, March-December, 1952. c.600pp. Hardbound, loose-leafed, tab-indexed Edition Incl.
33 1/3 rpm (LM, LCT, LHMV, LBC-Bluebird, LPT, LK, LOC, LCT, LPT, LPM, etc; A third of this book devoted to 45rpm, incl.
WCT, WPT, WE, WY, WP, WDC, WDM, WDC, WK, etc.); smaller section of 78rpm. Choice copy. MB 45
0269. RCA Victor Catalogue, 1948. 550pp. Excellent, albeit sl. shopworn covers. 8½ “ x 11” format. MB 8
0270. RCA Numerical Catalogue, March-May, 1951. c.500pp.
Leatherette-bound, loose-leafed, tab-indexed Edition. Incl. Classical Singles; DM-Musical Masterpiece Albums;
Miscellaneous Albums (P, DMC, EC, K & OC series; RCA Victor Green, Black, Rose, Silver label series); 33 1/3 rpm from
inception (LM-1) through LM-6101; LCT-1 through 1022 & 6000; LK, LPT, LPM, etc; A third of this book devoted to 45rpm,
incl. WCT, WPT, WE, WY, WP, WDC, WDM, WDC, WK, etc. Excellent pages, but shopworn book. MB 45
0271. RCA Numerical Catalogue, October, 1952 – January, 1953. c.600pp. Hardbound, loose-leafed, tab-indexed
Edition Incl. 33 1/3 rpm (LM, LCT, LHMV, LBC-Bluebird, LPT, LK, LOC, LCT, LPT, LPM, etc; A third of this book devoted to
45rpm, incl. WCT, WPT, WE, WY, WP, WDC, WDM, WDC, WK, etc.); very considerable section of 45rpm & 78rpm.
Choice copy. MB 45
0272. RCA Victor 1964 Numerical Catalogue. RCA Victor, 1964. 164pp. 8½ “ x 11” format. Incl. Numerical Sections,
Artist Sections, RCA Victrola Issues, Four-Track Stereo Reel Tapes, Four-Track Stereo Tape Cartridges, etc. MB 25
0273. Brunswick 1923 Record Catalogue. Chicago, Brunswick-Balke, 1923. 121pp. Photos incl. Chamlee, Danise,
Godowsky, Hofmann, Huberman, Koshetz, Ney, Onégin, Pattiera, Rosen, Strauss, Willeke, etc. MB 35
0274. Brunswick 1929 Numerical List of Brunswick Records. Chicago, Brunswick-Balke, 1929. c.175pp.
Tab-Indexed Edition. Sl. shopworn copy has various minor ink notations. MB 35
0275. Decca, Coral & Brunswick 1965 Dealer Aid Catalogue.
New York, Decca, 1965. 216pp & 258pp. 8½ “ x 11” format MB 25
0276. Die Grossen Sänger (in Three Volumes) JÜRGEN KESTING.
Düsselforf, Claassen, 1986. 2094pp. Three Volumes. DJ (German Text). MB 125, the Set.
0277. Grosses Sängerlexikon (in Two Volumes). KUTSCH & RIEMENS.
Bern, Francke, 1987. 3452pp. Two Volumes. DJ (German Text). MB 65, the Pair.
0278. Electrola & Columbia Hauptkatalog, 1937-38. 224pp. Handsome, thumb indexed.
Excellent, albeit very sl. waterstains, on final pages.. MB 45
0279. Electrola & Columbia Hauptkatalog, 1952. 367pp. Handsome, thumb indexed. MB 35
0280. La Voix de son Maître Catalogue Générale, 1950. 243pp.
Choice copy has minor chipping on front cover corners. MB 35
0281. Grammofono Catologo Completo, 1 June, 1924. 312pp. Excellent copy has minor tear on upper spine. MB 45
0282. La Voce del Padrone, Catologo Dischi, 1932-33. 448pp. Choice copy! MB 45
0283. La Voce del Padrone, Catologo Dischi, 1936. 420pp. Choice copy! MB 45
0284. HMV Catologue of Records, 1924. 523pp. Excellent copy has neatly mended spine. MB 35
0285. US-PATHÉ Double Disc Records, Sept., 1916. c.200pp. Excellent, albeit mended spine. MB 20
0286. Columbia Double-Disk Record Catalogue, 1910. 114pp. Incl. Fonotipia Records of Amato, Anselmi, Bonci,
Destinn, Lilli Lehmann, Luppi, Magini-Coletti, McCormack, Regina Pacini, Parsi-Pettinella, Russ, Zenatello, etc. MB 25
0287. Columbia Celebrity Record Catalogue, c.1926. 97pp.; Photos. MB 25
0288. Columbia Record Catalogue, 1927. 232pp.; Photos; Columbia machine ads. MB 25
0289. Columbia Record Catalogue, 1928. 284pp.; Photos; Columbia machine ads. MB 25
0290. Columbia Record Catalogue, 1929. 399pp.; Photos; Columbia machine ads. MB 25
0291. Columbia Musical Masterworks Record Catalogue, 1929. 72pp.; Illus. MB 15
0292. Columbia Long-Playing Record Catalogue, c.1948. 30pp. Many titles available also on 78rpm. MB 15
0293. EJS: Discography of the Edward J. Smith Recordings, The Golden Age of Opera, 1956-71. WILLIAM SHAMAN,
WILLIAM J. COLLINS & CALVIN M. GOODWIN, Eds. Westport, CT, Greenwood, 1994. 856pp. Exhaustive Discography;
Bibliography; Indices. Long out-of-print, Highly Elusive! MB 150
“There are several indexes, the most informative and interesting of which is a list and description of various
radio shows that were sources for Smith’s piracy: when they were on, where they came from, who was
usually on them, etc. The book serves the browser and researcher equally well. The thought of what these
people did to put this book together simply awes me.”
- James Miller, FANFARE, Jan./Feb., 1995
Nos. 0294 – 0310 are used copies of issues of Voices of the Past:
0294. Voices of the Past, Vol. LP1 – A label discography of long-playing records, Series I –
Columbia (Blue and Green Labels CX 12”, C 10”, SX 12”, S 10”), Oct., 1952 – Dec., 1962. 90pp. softbound. MB 15
0295. Voices of the Past, Vol. LP2 – A label discography of long-playing records, Series II –
HMV (Red Label ALP 12” & BLP 10”), Oct., 1952 – Dec., 1962. 90pp. softbound. MB 15
0296. Voices of the Past, Vol. LP3 – A label discography of long-playing records, Series III –
HMV (Plum Label CLP 12” & DLP 10”), Oct., 1952 – Dec., 1962; HMV/Columbia – Great Recordings of the Century
(Grey Label COLH & COLC 12”) Oct., 1957 – Dec., 1966; HMV Golden Treasury of Immortal Performances
(Gold Label CSLP 12”) Sept., 1956 – June, 1957; Re-issue Supplement – Concert Classics,
HMV ‘20’, Encore, Music for Pleasure, Nov.,1959 – Dec., 1967. 88pp. softbound. MB 15
0297. Voices of the Past, Vol.I - English Catalogue, 1895-1925. 285pp. Index; DJ. MB 25
0298. Voices of the Past, Vol.II - Italian Catalogue, 1898-1925. 147pp. Index; DJ. MB 25
0299. Voices of the Past, Vol.III - Dischi Fonotipia, incl. Supplement & Addenda (Two books in one, 1953 & 1958, resp.).
165pp. Index; DJ. MB 25
0300. Voices of the Past, Vol.III - Dischi Fonotipia - Supplement. 72pp. Index; softbound. MB 15
0301. Voices of the Past, as above, Original 1953 Edition. Dischi Fonotipia, A Golden Treasury. UK, The Record Collector
Shop, 1953. 88pp. Serially Numbered 1st Ed., #0782, Limited to 1000 copies. Exceedingly Rare First Edition, featuring
facsimile Fonotipia Label on cover. MB 45
0302. Voices of the Past, Vol.IV - The International Red Label Catalogue, (Book I - DB [12”]). 400pp. Index. MB 45
0303. Voices of the Past, Vol.V - The H.M.V. ‘D’ & ‘E’ Catalogue. 156pp. Index. MB 35
0304. Voices of the Past, Vol.VI - The International Red Label Catalogue, (Book II - DA [10”]). 233pp.
Index; DJ. Includes complete listings of the Archive [VA & VB] Series, The American Gramophone Society
[AGSA & AGSB] Series, International Celebrity Issues [DJ, DK, DL, DM, DO, DQ, DR, DS],
Connoisseurs’ Record Club [Blue Label ABHA & ABHB]. MB 75
0305. Voices of the Past, Vol.VII - The 1898-1925 German Catalogues. 404pp. Index; DJ. MB 45
0306. Voices of the Past, Vol.VII - The 1898-1925 German Catalogues. 404pp. Index.
Westport, CT, Greenwood Press, 1978 [Reprint of the 1967 Oakwood Press Edition].
Excellent, sl. used copy has sl. warped covers. MB 25
0307. Voices of the Past, Vol.VIII - The Columbia Catalogue - English Celebrity Issues [D, LB, L, LX, X, PB, 7000, PX,
ROX, SDX, YB Series]. 240pp. Index; DJ. Excellent copy has very minor occasional pencil notations. MB 45
0308. Voices of the Past, Vol.IX - The H.M.V. French Catalogue, 1899-1925. 304pp. Index; DJ. MB 55
0309. Voices of the Past, Vol.X - The H.M.V. Plum Label ‘C’ Series (12 inch). 274pp. Index; DJ. MB 55
0310. Voices of the Past, Vol.XI - The Russian Catalogues, 1899 - 1915. 220pp. Index; DJ.
Exceedingly Rare, the most sought-after of this Series! MB 125
John Reginald Bennett’s 9-volume compendium, VOICES OF THE PAST, is a major reference to English,
Italian, French, German, and Russian vocal recordings between 1898 and 1925. These volumes, of which
Volume 1 covers Berliner, Gramophone, Gramophone and Typewriter (G&T), and His Master’s Voice (HMV)
acoustical recordings, mainly in English, encompass more than 25,000 vocal recordings.
Nos. 0311 – 0345 are choice copies of issues of The Long Player Record Catalogue:
0311. The Long Player, Nov., 1952, Vol.I, #5. 162pp. MB 6
0312. The Long Player, Dec., 1952, Vol.I, #6. 176pp. MB 6
0313. The Long Player, Jan., 1953, Vol.II, #1. 174pp. MB 6
0314. The Long Player, Feb., 1953, Vol.II, #2. 178pp. MB 6
0315. The Long Player, March, 1953, Vol.II, #3. 177pp. MB 6
0316. The Long Player, April, 1953, Vol.II, #4. 178pp. MB 6
0317. The Long Player, June, 1953, Vol.II, #6. 176pp. MB 6
0318. The Long Player, Nov., 1953, Vol.II, #11. 193pp. MB 6
0319. The Long Player, Jan., 1954, Vol.III, #1. 194pp. MB 6
0320. The Long Player, Mar., 1954, Vol.III, #3. 209pp. MB 6
0321. The Long Player, May, 1954, Vol.III, #5. 210pp. MB 10
0322. The Long Player, June, 1954, Vol.III, #6. 226pp. MB 10
0323. The Long Player, July, 1954, Vol.III, #7. 226pp. MB 10
0324. The Long Player, Aug., 1954, Vol.III, #8. 226pp. MB 10
0325. The Long Player, Sept., 1954, Vol.III, #9. 226pp. MB 10
0326. The Long Player, Oct., 1954, Vol.III, #10. 226pp. MB 10
0327. The Long Player, Nov., 1954, Vol.III, #11. 226pp. MB 10
0328. The Long Player, Dec., 1954, Vol.III, #12. 226pp. MB 10
0329. The Long Player, Jan., 1955, Vol.IV, #1. 226pp. MB 10
0330. The Long Player, Feb., 1955, Vol.IV, #2. 226pp. MB 10
0331. The Long Player, March, 1955, Vol.IV, #3. 226pp. MB 10
0332. The Long Player, May, 1955, Vol.IV, #5. 226pp. MB 10
0333. The Long Player, June, 1955, Vol.IV, #6. 242pp. MB 10
0334. The Long Player, Nov., 1955, Vol.IV, #10. 258pp. MB 10
0335. The Long Player, Feb., 1956, Vol.V, #2. 258pp. MB 10
0336. The Long Player, April, 1957, Vol.VI, #4. 218pp. MB 10
0337. The Long Player, Dec., 1957, Vol.VI, #10. 242pp. MB 10
0338. The Long Player, April, 1958, Vol.VII, #4. 226pp. Choice copy is missing back cover. MB 6
0339. The Long Player, Oct., 1958, Vol.VII, #8. 258pp. MB 10
0340. The Long Player, Dec., 1958, Vol.VII, #10. 258pp. MB 10
0341. The Long Player, March, 1959, Vol.VIII, #3. 258pp. MB 10
0342. The Long Player, April, 1959, Vol.VIII, #4. 258pp. Choice copy is missing back cover. MB 6
0343. The Long Player, Summer, 1959, Vol.VIII, #5. 242pp. MB 10
0344. Jazz ‘n Pops, Jan., 1958, Vol.II, #1. 154pp. MB 8
0345. Jazz ‘n Pops, Aug.-Sept., 1958, Vol.II, #7. 170pp. MB 8
Although in the first years many music buffs continued to listen to 78 RPM shellac discs, the LP (which was
invented by Columbia, USA, and presented for the first time in 1948) was quickly conquering the world and
for the convenience of ‘the consumer’ all sorts of catalogs were published which listed the records that were
available on the market. In the US ‘Schwann Long Playing Record Catalog’ and ‘The Longplayer’, and in
the UK ‘The Gramophone Long Playing Record Catalogue’ were published on a regular basis. In no time
these publications were considered to be the world’s most important reference catalogs in the field.
Nos. 0346 – 0363 are choice copies of issues of The Long Playing Record Catalogue:
0346. Long Playing Record Catalogue, Sept., 1950 (Vol.II, #9). 50pp. MB 12
0347. Long Playing Record Catalogue, Feb., 1951 (Vol.III, #2). 74pp. MB 12
0348. Long Playing Record Catalogue, March, 1951 (Vol.III, #3). 74pp. MB 12
0349. Long Playing Record Catalogue, April, 1951 (Vol.III, #4). 74pp. MB 12
0350. Long Playing Record Catalogue, May, 1951 (Vol.III, #5). 74pp. MB 12
0351. Long Playing Record Catalogue, July, 1951 (Vol.III, #7). 74pp. MB 12
0352. Long Playing Record Catalogue, Oct., 1951 (Vol.III, #10). 98pp. MB 12
0353. Long Playing Record Catalogue, Nov., 1951 (Vol.III, #11). 98pp. MB 12
0354. Long Playing Record Catalogue, Dec., 1951 (Vol.III, #12). 104pp. MB 12
0355. Long Playing Record Catalogue, Jan., 1952 (Vol.IV, #1). 96pp. MB 12
0356. Long Playing Record Catalogue, Feb., 1952 (Vol.IV, #2). 96pp. MB 12
0357. Long Playing Record Catalogue, March, 1952 (Vol.IV, #3). 104pp. MB 12
0358. Long Playing Record Catalogue, July, 1952 (Vol.IV, #7). 96pp. MB 12
0359. Long Playing Record Catalogue, Aug., 1952 (Vol.IV, #8). 100pp. MB 12
0360. Long Playing Record Catalogue, Sept., 1952 (Vol.IV, #9). 104pp. MB 12
0361. Long Playing Record Catalogue, Oct., 1952 (Vol.IV, #10). 112pp. MB 12
0362. Long Playing Record Catalogue, Nov., 1952 (Vol.IV, #11). 112pp. MB 12
0363. Long Playing Record Catalog, Dec., 1952, (Vol.IV, #12). 128pp. MB 12
Nos. 0364 – 0421 are choice copies of early issues of Schwann Catalogues:
0364. Schwann LP Record Catalog, Jan., 1953, Vol.V, #1. 128pp. MB 12
0365. Schwann LP Record Catalog, Feb., 1953, Vol.V, #2. 128pp. MB 12
0366. Schwann LP Record Catalog, March, 1953, Vol.V, #3. 128pp. MB 12
0367. Schwann LP Record Catalog, 1953 ARTIST LISTING. Vol.V, #6. 128pp. MB 20
0368. Schwann LP Record Catalog, Sept., 1953, Vol.V, #9. 144pp. MB 12
0369. Schwann LP Record Catalog, Oct., 1953, Vol.V, #10. 144pp. MB 12
0370. Schwann LP Record Catalog, Feb., 1954. Vol.VI, #2. 144pp. MB 12
0371. Schwann LP Record Catalog, March, 1954. Vol.VI, #3. 144pp. MB 12
0372. Schwann LP Record Catalog, April, 1954. Vol.VI, #4. 160pp. MB 12
0373. Schwann LP Record Catalog, May, 1954. Vol.VI, #5. 152pp. MB 12
0374. Schwann LP Record Catalog, June, 1954. Vol.VI, #6. 160pp. MB 12
0375. Schwann LP Record Catalog, July, 1954. Vol.VI, #7. 144pp. MB 12
0376. Schwann LP Record Catalog, Aug., 1954. Vol.VI, #8. 144pp. MB 12
0377. Schwann LP Record Catalog, Sept., 1954. Vol.VI, #9. 160pp. Excellent, albeit mended spine. MB 12
0378. Schwann LP Record Catalog, Oct., 1954. Vol.VI, #10. 168pp. MB 12
0379. Schwann LP Record Catalog, Nov., 1954. Vol.VI, #11. 160pp. MB 12
0380. Schwann LP Record Catalog, Dec., 1954. Vol.VI, #12. 160pp. MB 12
0381. Schwann LP Record Catalog, Feb., 1955. Vol.VII, #2. 144pp. MB 12
0382. Schwann LP Record Catalog, March, 1955. Vol.VII, #3. 144pp. MB 12
0383. Schwann LP Record Catalog, April, 1955. Vol.VII, #4. 148pp. MB 12
0384. Schwann LP Record Catalog, May, 1955. Vol.VII, #5. 152pp. MB 12
0385. Schwann LP Record Catalog, June, 1955. Vol.VII, #6. 144pp. MB 12
0386. Schwann LP Record Catalog, July, 1955. Vol.VII, #7. 144pp. MB 12
0387. Schwann LP Record Catalog, Aug., 1955. Vol.VII, #8. 144pp. MB 12
0388. Schwann LP Record Catalog, Sept., 1955. Vol.VII, #9. 152pp. MB 12
0389. Schwann LP Record Catalog, Oct., 1955. Vol.VII, #10. 176pp. MB 12
0390. Schwann LP Record Catalog, Nov., 1955. Vol.VII, #11. 176pp. MB 12
0391. Schwann LP Record Catalog, Dec., 1955. Vol.VII, #12. Excellent, w.mended cover. 172pp. MB 12
0392. Schwann LP Record Catalog, Jan., 1956. Vol.VIII, #1. 160pp. MB 12
0393. Schwann LP Record Catalog, March, 1956. Vol.VIII, #3. 168pp. MB 12
0394. Schwann LP Record Catalog, April, 1956. Vol.VIII, #4. 160pp. MB 12
0395. Schwann LP Record Catalog, May, 1956. Vol.VIII, #5. 160pp. MB 12
0396. Schwann LP Record Catalog, Sept, 1956. Vol.VIII, #9. 176pp. MB 12
0397. Schwann LP Record Catalog, Nov., 1956. Vol.VIII, #11. 192pp. MB 12
0398. Schwann LP Record Catalog, 1957 ARTIST LISTING. 191pp. MB 20
0399. Schwann LP Record Catalog, Jan., 1957. Vol.IX, #1. 176pp. MB 12
0400. Schwann LP Record Catalog, March, 1957. Vol.IX, #3. 192pp. MB 12
0401. Schwann LP Record Catalog, April, 1957. Vol.IX, #4. 192pp. MB 12
0402. Schwann LP Record Catalog, June, 1957. Vol.IX, #6. 192pp. MB 12
0403. Schwann LP Record Catalog, July/Aug., 1957. Vol.IX, #7. 192pp. MB 12
0404. Schwann LP Record Catalog, Oct., 1957. Vol.IX, #9. 204pp. MB 12
0405. Schwann LP Record Catalog, Nov., 1957. Vol.IX, #10. 208pp. MB 12
0406. Schwann LP Record Catalog, Dec., 1957. Vol. IX, #11. 228pp. MB 12
0407. Schwann LP Record Catalog, 1958 ARTIST LISTING. 224pp. MB 20
0408. Schwann LP Record Catalog, Jan., 1958. Vol.X, #1. 202pp. MB 12
0409. Schwann LP Record Catalog, April, 1958. Vol.X, #4. 204pp. MB 12
0410. Schwann LP Record Catalog, July, 1958. Vol.X, #7. 200pp. MB 12
0411. Schwann LP Record Catalog, Nov., 1958. Vol.X, #11. 256pp. MB 12
0412. Schwann LP Record Catalog, Jan., 1959. Vol.XI, #1. 228pp. MB 12
0413. Schwann LP Record Catalog, March, 1959. Vol.XI, #3. 256pp. MB 12
0414. Schwann LP Record Catalog, Oct., 1959. Vol.XI, #10. 256pp. MB 12
0415. Schwann LP Record Catalog, 1960 ARTIST LISTING. 256pp. MB 15
0416. Schwann LP Record Catalog, 1963 ARTIST LISTING. 275pp. MB 15
0417. Schwann LP Record Catalog, 1976 ARTIST LISTING. 280pp. MB 10
0418. Schwann LP Record Catalog, 1982 ARTIST LISTING. 312pp. MB 10
0419. Schwann LP Record Catalog, 1985 ARTIST LISTING. 276pp. MB 8
0420. Schwann LP Record Catalog, 1986 ARTIST LISTING. 398pp. MB 8
0421. Schwann LP Record Catalog, 1991-92 ARTIST LISTING. 610pp. MB 8
“In 1949, Schwann opened The Record Shop, a music store in the Cambridge area and already some 600
Columbia LP titles were now available. He soon organized the first Schwann catalog simply as a means of
organizing a list of available recordings; it sold 11,000 copies in just a few weeks. Within a month,
however, the steady flow of new releases rendered the catalog’s first edition obsolete..”
Nos. 0422 – 0455 are choice copies of issues of The Opera Quarterly. MB: 5.00 each issue:
0422. The Opera Quarterly, Spring, 1983, Vol.I, #1, incl. John Ardoin, Irene Dalis, Dale Harris,
Speight Jenkins, George R. Marek, George Martin, Gill Wechsler, etc. 154pp.
0423. The Opera Quarterly, Summer, 1983, Vol.I, #2, incl. John Ardoin, Edward Downes, Dale Harris,
Robert Jacobson, M. Owen Lee, George R. Marek, George Martin, John Moriarty, Robert Tuggle, etc. 192pp.
0424. The Opera Quarterly, Autumn, 1983, Vol.I, #3, incl. John Ardoin, Elaine Brody, Walter Ducloux,
Beaumont Glass, David Hamilton, Dale Harris, M. Owen Lee, George R. Marek, George Martin, Thomas Martin,
William R. Moran, Patrick J. Smith, Richard Woitach, William H. Youngren, etc. 316pp.
0425. The Opera Quarterly, Winter, 1983, Vol.I, #4, incl. John Ardoin, Boris Goldowsky,
David Hamilton, Dale Harris, George Jellinek, M. Owen Lee, George Martin, etc. 205pp.
0426. The Opera Quarterly, Spring, 1984, Vol.II, #1, incl. John Ardoin, Carlisle Floyd,
Beaumont Glass, David Hamilton, Dale Harris, M. Owen Lee, George Martin, etc. 197pp.
0427. The Opera Quarterly, Summer, 1984, Vol.II, #2, incl. John Ardoin, William Ashbrook, Schuyler Chapin,
Will Crutchfield, David Hamilton, Dale Harris, George Jellinek, M. Owen Lee, George Martin, Stefan Zucker, etc. 202pp.
0428. The Opera Quarterly, Autumn, 1984, Vol.II, #3, incl. John Ardoin, William Ashbrook, Tito Capobianco, Irene Dalis,
Richard Dyer, Carlisle Floyd, Beaumont Glass, David Hamilton, Dale Harris, Marilyn Horne, Speight Jenkins, M. Owen Lee,
James Levine, Terence McEwen, George Martin, Gil Wechsler, Richard Woitach, Robert Jacobson, etc. 230pp.
0429. The Opera Quarterly, Winter, 1984, Vol.II, #4, incl. John Ardoin, William Ashbrook, Quaintance Easton,
Andrew Farkas, David Hamilton, Dale Harris, George Jellinek, M. Owen Lee, George Martin, Martin L. Sokol, etc. 193pp.
0430. The Opera Quarterly, Spring, 1985, Vol.III, #1, incl. John Ardoin, William Ashbrook, Phyllis Curtin,
Edward Downes, Dale Harris, M. Owen Lee, George Martin, Martin L. Sokol, Stefan Zucker, etc. 187pp.
0431. The Opera Quarterly, Summer, 1985, Vol.III, #2, incl. John Ardoin, Walter Ducloux, David Effron,
David Hamilton, Dale Harris, Thomas G. Kaufman, M. Owen Lee, George Martin, etc. 181pp.
0432. The Opera Quarterly, Autumn, 1985, Vol.III, #3, incl. John Ardoin, William Ashbrook, Robert Baxter, David Hamilton,
Dale Harris, George Jellinek, M. Owen Lee, George Martin, Stephen Simon, etc. 238pp.
0433. The Opera Quarterly, Winter, 1985, Vol.III, #4, incl. John Ardoin, William Ashbrook, David Hamilton, Dale Harris,
George Jellinek, Thomas G. Kaufman, M. Owen Lee, George Martin, Henry Pleasants, Michael Scott, etc. 159pp.
0434. The Opera Quarterly, Spring, 1986, Vol.IV, #1, incl. John Ardoin, William Ashbrook, Jack Beeson, Edward Downes,
David Hamilton, Dale Harris, George Jellinek, Thomas G. Kaufman, M. Owen Lee, George Martin, etc. 190pp.
0435. The Opera Quarterly, Summer, 1986, Vol.IV, #2, incl. William Ashbrook, Walter Ducloux,
David Hamilton, Dale Harris, Martin Katz, M. Owen Lee, George Martin, Alan Rich, etc. 207pp.
0436. The Opera Quarterly, Autumn, 1986, Vol.IV, #3, incl. William Ashbrook, Eric Crozier, Carlisle Floyd, David Hamilton,
Dale Harris, M. Owen Lee, George Martin, Donald Mitchell, etc.; Exceptional coverage of Britten. 192pp.
0437. The Opera Quarterly, Winter, 1986/87, Vol.IV, #4, incl. William Ashbrook, Eric Crozier, Carlisle Floyd,
David Hamilton, Dale Harris, M. Owen Lee, George Martin, Donald Mitchell, etc.; Exceptional coverage of Britten. 192pp.
0438. The Opera Quarterly, Spring, 1987, Vol. V, #1, incl. John Ardoin, William Ashbrook, Tito Capobianco,
Eric Crozier, Irene Dalis, Edward Downes, Walter Ducloux, Richard Dyer, Carlisle Floyd, Beauont Glass, David Hamilton,
Dale Harris, Marilyn Horne, Speight Jenkins, M. Owen Lee, James Levine, Terence McEwen, George Martin, etc. 163pp.
0438. The Opera Quarterly, Summer/Autumn, 1987, Vol. V, Nos. 2 & 3, incl. John Ardoin, William Ashbrook,
Robert Baxter, Martin Chusid, Walter Ducloux, David Hamilton, Dale Harris, George Jellinek,
M. Owen Lee, Robert Levine, George Martin, William R. Moran, Alan Rich, etc. 272pp.
0439. The Opera Quarterly, Winter, 1987, Vol. V, #4, incl. John Ardoin, William Ashbrook, Tito Capobianco,
Eric Crozier, Irene Dalis, Edward Downes, Walter Ducloux, Richard Dyer, Carlisle Floyd, Beaumont Glass,
David Hamilton, Dale Harris, Marilyn Horne, Speight Jenkins, M. Owen Lee, James Levine,
Terence McEwen, George Martin, Henry Pleasants, Andrew Porter, Gil Wechsler, Richard Woitach, etc. 152pp.
0440. The Opera Quarterly, Autumn, 1988, Vol. VI, #1, incl. John Ardoin, William Ashbrook, Tito Capobianco,
Eric Crozier, Irene Dalis, Edward Downes, Walter Ducloux, Richard Dyer, Carlisle Floyd, Beaumont Glass, David Hamilton,
Dale Harris, Marilyn Horne, Speight Jenkins, M. Owen Lee, James Levine, Terence McEwen, George Martin,
Henry Pleasants, Andrew Porter, Gil Wechsler, Richard Woitach, etc. 156pp.
0441. The Opera Quarterly, Winter, 1988/89, Vol. VI, #2, incl. William Ashbrook, Jack Beeson, Edward Downes,
David Hamilton, Dale Harris, George Jellinek, M. Owen Lee, Robert Levine, George Martin, William R. Morin, etc. 167pp.
0442. The Opera Quarterly, Spring, 1989, Vol. VI, #3, incl. John Ardoin, William Ashbrook, David Hamilton,
George Jellinek, M. Owen Lee, Robert Levine, George Martin, etc. 169pp.
0443. The Opera Quarterly, Summer, 1989, Vol. VI, #4, incl. John Ardoin, William Ashbrook, Tito Capobianco,
Eric Crozier, Irene Dalis, Edward Downes, Walter Ducloux, Richard Dyer, Carlisle Floyd, Beaumont Glass, David Hamilton,
Dale Harris, Marilyn Horne, Speight Jenkins, M. Owen Lee, James Levine, Terence McEwen, George Martin, etc. 153pp.
0444. The Opera Quarterly, Winter, 1990/91, Vol. VII, #4, incl. William Albright, John Ardoin, William Ashbrook,
Nedda Casei, Schuyler Chapin, Eric Crozier, Irene Dalis, Richard Dyer, Carlisle Floyd, David Hamilton, Dale Harris,
Marilyn Horne, George Jellinek, Speight Jenkins, Dorothy Kirsten, M. Owen Lee, James Levine, George Martin,
Conrad L. Osborne, Henry Pleasants, Andrew Porter, Regina Resnik, Blanche Thebom, Robert Tuggle, etc. 207pp.
0445. The Opera Quarterly, Spring, 1991, Vol. VIII, #1, incl. William Albright, William Ashbrook, Aïda Favia-Artsay,
David Hamilton, Dale Harris, George Jellinek, M. Owen Lee, George Martin, Henry Pleasants, etc. 171pp.
0446. The Opera Quarterly, Summer, 1991, Vol. VIII, #2, incl. William Albright, William Ashbrook, Edward Downes, George
Jellinek, Thomas G. Kaufman, M. Owen Lee, George Martin, John Pennino, etc. 197pp.; Extensive article on Alexander
Kipnis by his son; Extensive article on Caruso by James A. Drake. Excellent, sl. waterstained covers.
0448. The Opera Quarterly, Autumn, 1991, Vol. VIII, #3, incl. William Albright, John Ardoin, William Ashbrook,
Nedda Casei, Schuyler Chapin, Eric Crozier, Irene Dalis, Edward Downes, Walter Ducloux, Carlisle Floyd,
Marilyn Horne, George Jellinek, Speight Jenkins, Dorothy Kirsten, M. Owen Lee, James Levine, George Martin,
Conrad Osborne, Henry Pleasants, Andrew Porter, Regina Resnik, Blanche Thebom, Robert Tuggle, etc. 257pp.
0449. The Opera Quarterly, Winter, 1991/92, Vol. VIII, #3, incl. William Albright, John Ardoin, William Ashbrook,
Nedda Casei, Schuyler Chapin, Eric Crozier, Irene Dalis, Edward Downes, Walter Ducloux, Carlisle Floyd, David Hamilton,
Marilyn Horne, George Jellinek, Speight Jenkins, Dorothy Kirsten, M. Owen Lee, James Levine, George Martin,
Henry Pleasants, Andrew Porter, Regina Resnik, Blanche Thebom, Robert Tuggle, etc. 180pp.
0450. The Opera Quarterly, Winter, 1996/97, Vol. XIII, #2, incl. William Albright, Robert Baxter, Anna-Lisa Björling,
Harold Bruder, Jacques Chuilon, Andrew Farkas, George Jellinek, Mary Jane Phillips-Matz, etc. 182pp.
0451. The Opera Quarterly, Spring, 1997, Vol. XIII, #3, incl. Robert Baxter, James A. Drake,
M. Owen Lee, Joe Pearce, etc.; Extensive article on Nelson Eddy by William Ashbrook. 210pp.
0452. The Opera Quarterly, Summer, 1997, Vol. XIII, #4, incl. William Albright, William Ashbrook, Robert Baxter,
Harold Bruder, Jacques Chuilon, etc.; Extensive article on Mary Garden by Michael Turnbull. 237pp.
0453. The Opera Quarterly, Winter, 1997/98, Vol. XIV, #2, incl. Jack Beeson, Harold Bruder,
James A. Drake, E. Thomas Glaow, Roland Graeme, Joe Pearce, etc. 184pp.
0454. The Opera Quarterly, Summer, 1999, Vol. XV, #3, incl. William Albright, William Ashbrook, Harold Bruder,
E. Thomas Glasow, Roland Graeme, David Hamilton, George Jellinek, M. Owen Lee, etc.
Extensive article on Margarethe Siems by Harold Bruder; Leonie Rysanek – In Memoriam by
Regina Resnik, Bruce Burroughs, Robert Baxter & David McKee. pp.371-631
0455. The Opera Quarterly, Autumn, 1999, Vol. XV, #4, incl. William Albright, Robert Baxter, Jacques Chuilon,
Christopher Gibbs, Roland Graeme, George Jellinek, Thomas May, etc. Extensive article by Sherrill Milnes. pp.633-802
“Since its inception in 1983, THE OPERA QUARTERLY has earned the enthusiastic praise of opera lovers
and scholars alike for its engagement within the field of opera studies. In 2005, David J. Levin, a dramaturg
at various opera houses and critical theorist at the University of Chicago, assumed the executive editorship
of THE OPERA QUARTERLY, with the goal of extending the journal’s reputation as a rigorous forum for all
aspects of opera and operatic production. Under his stewardship, the journal is resituated squarely at the
intersection of performance, theory, and history, with a purview encompassing contemporary developments
on the stage and in the academy.”
Nos. 0456 – 0460 are choice copies of Original 2–track 7½ ips
RCA Living Stereo reel-to-reel RCA tapes.
0456. CHARLES MÜNCH Cond. Boston S.O.: Symphonie Fantastique (Berlioz). In Original RCA GCS-6 Box.
Glorious, Original 1954 Recording, never issued contemporaneously on disc. Excellent, albeit shopworn box. MB 65
0457. CHARLES MÜNCH Cond. Boston S.O. & New England Conservatory Chorus: Daphnis et Chloë (Ravel).
In Original RCA FTC-2089 Box. Glorious, Original 1954 Recording, w.Mitchell 10++ rating! Superb Copy. MB 75
“This is one of those records, and they are rare enough on any label, in which recording technique serves
the performance so perfectly that the result truly does illuminate the music.”
- Jonathan Valin, THE RCA BIBLE, p.27
0458. PIERRE MONTEUX Cond. Paris Conservatoire Orch.: Le Sacre de Printemps (Stravinsky).
Original 1956 recording, (Cond. by the Creator who premièred the work 29 May, 1913).
In Original RCA ECS-67 Box. Superb Copy. MB 35
0459. FRITZ REINER Cond. Chicago Symphony, w.Lisa della Casa (S): Symphony #4 in g (Mahler). In Original RCA
FTC-2027 Box. Glorious, Original 1958 Recording, w.Mitchell 10++ rating! Excellent, albeit shopworn box. MB 55
0460. FRITZ REINER Cond. Chicago Symphony: Symphony #1 in C; w.Curtin, Kopleff, McCollum & Gramm:
Choral Symphony #9 in d (both Beethoven). Original 1961 recording in Original RCA FTC-3005 Box.
Superb Copy has neatly mended very minor tear on spine. MB 25
“RCA began making stereo recordings in 1954. Their first objective was not records, but two track stereo
tapes. RCA marketed a series of 7½ ips two track stereo tapes in 1956….The Golden Era of RCA stereo
recordings began in 1954 with two track tape recordings of the Boston Symphony….Late in 1957, the
technology for cutting stereo records…became commercial and RCA as well as other record companies
rushed to use the master stereo tapes they had in their vaults to make stereo records. These early stereo
records produced by rather straight-forward methods provide some of the most natural sound ever
recorded.”
- James A. Mitchell, THE GOLDEN ERA OF RCA RECORDS, pp.3–5
Nos. 0461 – 0483 are choice 7” 45rpm discs – all as New:
0461. PETER USTINOV (Voices & Noises of …): Phoney Folk-Lore (Uttered by the Composer) /
w.Antony Hopkins (Harpsichord): Mock Mozart (Ustinov-Hopkins).
Parlophone M8P6012, recorded 13 Nov., 1952. Exceedingly elusive & delightful! MB 20
“The send-up Mock Mozart by Peter Ustinov was one of various acts of genius that the ‘fiendishly clever’
playwright-actor created in collaboration with composer Antony Hopkins (and Dudley Moore) for a BBC TV
Series Ustinov Ad Lib. Ustinov’s uncanny talent for imitating noises, instrumental and otherwise, created a
Mozartean pastiche that only the most puritan of puritans could fail to enjoy.”
- Peter Gammond, THE BLUFFER’S GUIDE TO MUSIC
0462. MARCELLA SEMBRICH: Voci di primavera (Johann Strauss), transcribed from original 5” Bettini cylinder, 1900.
Premo Record P.1001, as issued by Stanford Archive of Recorded Sound, produced by William Moran.
Accompanied by Primo notes, as well as Moran’s 1965 letter to George Keating describing this issue. MB 20
0463. ERNA BERGER, w.Geroge Schick (Pf.): Mozart & Schubert Lieder. 3-RCA WDM 1589, Orig. Boxed Set. MB 75
0464. IRMGARD SEEFRIED, w.Erik Werba (Pf.): Robert Schumann Lieder. DG EPL 30324, in Orig. Jacket. MB 8
0465. NAN MERRIMAN, w.Elizabeth Fretwell & Alexander Young; Süsskind Cond. London S.O.:
Otello – Canzone del Gondolier; Assisa a’ piè d’un salice (Rossini). Eng. Odeon P-7EP 7111, in Orig. Jacket. MB 12
0466. ELEANOR STEBER, w.Howard Barlow Cond. Firestone Orch.: When day is done, Bird songs at eventide,
You and the night and the music, Ev’rytime we say goodbye. Col A-1574, in Orig. Jacket. MB 12
0467. ELEANOR STEBER & NELSON EDDY, w.Leon Arnaud Cond.: THE NEW MOON – Excerpts (Romberg).
2-Col A-975, in Orig. gatefold Jacket. MB 12
0468. NELSON EDDY, w.Leon Arnaud Cond.: Trees, A Dream, At dawining, The sweetest story ever told, Because,
Sylvia, I love you truly, Just a-wearin’ for you, Smilin’ through, The rosary, A perfect day; Jocelyn – Berceuse (Godard).
6-Col A-965, in Orig. Boxed Set. MB 20
0469. LEONARD WARREN, w.Frank Black Cond.: Danny Deever, Mother o’Mine, Gunga Din, Rolling down to Rio
(set to Kipling texts). RCA ERA-93, in Orig. Jacket. Warren’s ‘Danny Deever’ is possibly his greatest single record! MB 12
0470. LEONARD WARREN, w.Renato Cellini Cond.: Arias from Otello, La Traviata & Forza; LEONARD WARREN &
ASTRID VARNAY: Simon Boccanegra – Regognition Scene. 3-RCA WDM 1426, in Orig. Boxed Set. MB 20
0471. GWEN CATLEY, w.Stanford Robinson Cond.: Arias from The Geisha,
Merrie England, Tina, The Arcadians. Pye CEC.32001, in Orig. Jacket. MB 8
0472. DELIA RIGAL, w.Juan E. Martini Cond.: Arias from La Wally, Pagliacci, Cavalleria & Tosca.
Decca ED 3508, in Orig. Jacket. Prior to Rigal’s Met career, these were recorded by Odeon in Argentina. MB 15
0473. CLARA PETRELLA, VASCO CAMPAGNANO & MARIO ANSELMI, w.del Cupolo Cond.:
Manon Lescaut - Excerpts. Cetra FAP 7013, in Orig. Jacket. MB 8
0474. LICIA ALBANESE, w.Victor Trucco (Pf.): Amarilli, Se Florindo è Fedele, O quand je dors, A spirit flower,
Clair de lune (Szulc), Lullaby (Tchaikovsky), recorded 1949. 3-RCA WDM 1316, in Orig. Boxed Set. MB 20
0475. DOROTHY KIRSTEN, w.Fausto Cleva Cond.: Arias from Gianni Schicchi, Tosca,
Madama Butterfly, Manon Lescaut, Turandot & La Rondine. 3-Col A-1015, in Orig. Boxed Set. MB 20
0476. BLANCHE THEBOM, w.Braithwaite Cond. London S.O.:
Fireside Favorites, incl. My Old Kentucky Home, Homing, Calm as the night, The rosary, Trees,
Lead Kindly light, One sweetly solemn thought, Mighty lak’ a rose.
4-RCA WDM 1541, in Orig. Boxed Set. MB 25
0477. RISË STEVENS, w.Frank Black Cond.: Abide with me, The holy city, Panis angelicus, Nearer my God to thee,
Battle hymn of the Republic, Agnus Dei (Bizet). 3-RCA WDM 1406, in Orig. Boxed Set. MB 20
0478. HELEN TRAUBEL, w.Frank Black Cond.: Lead kindly light, The lost chord, The Lord’s prayer, Silent night,
The palms (J.B. Faure), Ave Maria (Schubert). 3-RCA WDM 1453, in Orig. Boxed Set. MB 25
0479. HELEN TRAUBEL, w.Weissmann Cond.: Arias from Lohengrin, Tannhäuser &
Tristan (Narration & Curse) (4th disk - Liebestod is missing). 3-RCA WDM 1491, in Orig. Boxed Set. MB 25
0480. HELEN TRAUBEL, w.Weissmann Cond.: Arias from Die Walküre, Götterdämmerung,
Der Fliegende Holländer, Lohengrin & Parsifal. 5-RCA WDM 1492, in Orig. Boxed Set.
Choice copy has radio station identification on box & only one disc; program notes missing. MB 25
0481. EZIO PINZA, w.Johnny Green Cond.: Dancing in the dark, One night of love, With a song in my heart,
Falling in love with love, For you alone & I love thee (Grieg). 3-RCA WDM 1524, in Orig. Boxed Set. MB 25
0482. ROBERT MERRILL& CLIFTON FADIMAN (Narrator), w.Ted Dale Cond.:
Stephen Foster in Song and Story, incl. Jeanie with the light brown hair, Old folks at home,
Beautiful dreamer, Oh! Susanna, Massa’s in de cold cold ground,
De camptown races, Old black Joe & My Old Kentucky Home.
4-RCA WDM 1566, in Orig. Boxed Set. MB 25
0483.JAMES MELTON, w.Breisach & Levin Cond.: Arias from Don Giovanni, Die Zauberflöte, Manon,
Lohengrin & Die Meistersinger. 3-RCA WDM 1013, in Orig. Boxed Set. MB 20
Nos. 0484 – 0665 are choice Cylinders – always noted when in Original Box with
Original Printed Box top:
0484. BESSIE ABOTT: Rigoletto – Caro nome. Edison 2-minute B 37, in Orig. Box.
Only form of issue. M-A, a gleaming copy. MB 35
0485. ADELINA AGOSTINELLI: Tosca – Vissi d’arte. Edison 4-minute Blue Amberol 28137, in Orig. Box.
M-A, a gleaming copy. MB 45
“Adelina Agostinelli studied in Milan with Giuseppe Quiroli, whom she later married. Agostinelli made her
début in Pavia, 1903, as Giordano’s Fedora. She appeared with success in South America, Russia, Spain,
England and her native Italy and was on the roster of the Manhattan Opera, 1908-10. One New York press
notice indicates that her rendering of the ‘Suicidio’ from LA GIOCONDA on a Manhattan Sunday night
concert ‘kept her busy bowing in recognition to applause for three or four minutes’. At La Scala she was
cast with Battistini in SIMON BOCCANEGRA and created for that house in 1911 the Marschallin in their first
ROSENKAVALIER. Her career continued into the mid-1920s when she retired to Buenos Aires and taught.”
0486. BLANCHE ARRAL: Mignon – Je suis Titania. Edison 4-minute Blue Amberol 28125, in Orig. Box.
M-A, a gleaming copy. MB 25
0487. BLANCHE ARRAL: Carmen – Je dis que rien ne m’épouvante. Edison 4-minute wax B 167, in Orig. Box.
M-A, a gleaming copy. MB 35
0488. BLANCHE ARRAL: La véritable Manola (Bourgeois). Edison 4-minute 35006, in Orig. Box.
Only form of issue. M-A, a gleaming copy. MB 35
“Blanche Arral was a Belgian coloratura soprano. She studied under Mathilde Marchesi in Paris. She
débuted in a small part in the 1884 world première of Jules Massenet’s MANON. Arral performed in various
opera houses in Brussels, Paris and St. Petersburg before moving to the United States. In October 1909
she débuted at Carnegie Hall and joined the Metropolitan Opera for the 1909-1910 season.”
0489. PIERRE A. ASSELIN: Mireille – Ange du Paradis. Edison 4-minute Purple Amberol 29061.
M-A, a gleaming copy. MB 30
0490. PIERRE A. ASSELIN: Le Cid – Ô Souverain, ô juge, ô père. Edison 4-minute Purple Amberol 29047. MB 30
0491. PIERRE A. ASSELIN: Mignon – Elle ne croyait pas. Edison 4-minute Purple Amberol 29010.
M-A, a gleaming copy. MB 30
0492. PIERRE A. ASSELIN: Roméo – Ah, lève-toi, soleil. Edison 4-minute Purple Amberol 29055.
M-A, a gleaming copy. MB 30
“Starting in November 1918, Canadian tenor Pierre Asselin made recordings for the Edison recording label.
His recordings were released in several formats, including Royal Purple Grand Opera Cylinder Records
29000 series, the Blue Amberol 27000 cylinder series and the Edison Diamonds 74000 series of disks.
Through Edison, Asselin released a variety of recordings of arias and other serious classical works. Asselin
continued recording with Edison until December 1920. In May 1921, Asselin resigned with Columbia
Records. Asselin made his last recording for Brunswick, in 1929.”
0493. PAUL AUMONIER: Le Chalet – Vive le vin (Adam). Pathé 3½” Concert-Size 0319, in Orig. Box.
Only form of issue. Most acceptable copy has various mildew spots, most certainly audible. MB 45
0494. DAN BEDDOE & MARGARET KEYES: Il Trovatore – Ai nostri monti (in English). Edison 4-minute
Blue Amberol 28203. only form of issue, 1914, New York, Beddoe’s only cylinder made during Beddoe’s American years,
1902-33. This exquisite Welsh tenor was fully the equal of McCormack. M-A, a gleaming copy. MB 25
0495. GUSTAVO BERNAL-RESKY: Preghiera (Tosti). Edison 2-minute B 16, in Orig. Box. Only form of issue.
M-A, a gleaming copy. MB 45
0496. ROMEO BERTI: Il Trovatore – Deserto sulla terra. Edison 2-minute B 34, in Orig. Box.
Only form of issue. Choice copy has small hole in box top. MB 25
0497. LÉON BEYLE: Cavalleria – Siciliana (in French). Pathé 3½” Concert-Size 3251, in Orig. Box.
Acceptable copy has serious mildew, positively audible. MB 15
0498. ROBERT BLASS: Die Zauberflöte – In diesen heil’gen Hallen. Edison 2- minute B 48, in Orig. Box.
Only form of issue. Exceedingly elusive, one of Blass’ only two cylinders! M-A, a gleaming copy. MB 85
“The sturdy voice of Robert Blass may be dimly heard on several Mapleson cylinders and a few rare Victor
and Edison discs made in the 1900s. Born in New York of German parents, Blass originally went to Leipzig
in 1887 to study the violin, but after a few voice lessons with the celebrated baritone Julius Stockhausen,
one of Garcia’s most distinguished pupils, he soon discovered that he possessed a bass-baritone of unusual
strength and substance. After a period on German stages and at Covent Garden, Blass joined the Met in
1900 and remained for ten years as a mainstay of the Wagner wing….He returned to Germany in 1913, but
the Met called him back in 1920 – at the age of fifty-three….”
- Peter G. Davis, THE AMERICAN OPERA SINGER, p.201
0499. ALESSANDRO BONCI: Rigoletto – Questa o quella; La Donna è mobile.
Edison 4-minute Blue Amberol 29001. only form of issue. M-A, a gleaming copy. MB 45
0500. MARY BOYER: Carmen – Je dis que rien ne m’épouvante. Edison 2-minute 17225.
M-A, a gleaming copy. MB 45
0501. LUCREZIA BORI: La Boheme – Mi chiamano Mimi. Edison 4-minute Blue Amberol 28122, in Orig. Box.
M-A, a gleaming copy. MB 35
0502. LUCREZIA BORI: Manon Lescaut – In quelle trine morbide. Edison 4-minute 40032, in Orig. Box.
M-A, a gleaming copy. MB 35
“Bori began her formal studies at the age of 21 in Milan with Vidal; the slightly younger Spanish singer
Graziella Pareto was a fellow student. Bori made her debut as Micaëla in 1908 at the Teatro Adriano in
Rome, substituted for Maria Farneti in MADAMA BUTTERFLY at San Carlo, and was engaged at La Scala
the following season (1910–1911). At the urging of Toscanini, she débuted in Puccini’s MANON LESCAUT
on 9 June 1910 with the Metropolitan during its season at the Châtelet in Paris. Lina Cavalieri was to sing
the title rôle but cancelled, and the relatively unknown Lucrezia Bori sang the rôle opposite none other than
Enrico Caruso. Despite being offered a Met contract after this performance, Bori fulfilled her La Scala
obligation. Her début rôle at La Scala (10 January 1911) was Carolina in Cimarosa’s IL MATRIMONIO
SEGRETO, a revival so successful that it ran for 15 performances that season. Bori joined the Metropolitan
in 1912 and débuted on the opening night of the 1912–1913 season as Manon Lescaut. Thus began a
nearly 25-year career with the Met. Bori’s lyric-soprano voice was expressive and her manner patrician.
She made two Edison cylinders soon after her five MANON LESCAUT performances with the Met in Paris.”
- Ward Marston, Program Notes to THE EDISON LEGACY
0503. ALOIS BURGSTALLER: Don Giovanni – Dalla sua pace (in German).
Edison 2-minute B 25, in Orig. Box. M-A, a gleaming copy. MB 95
“Alois Burgstaller was encouraged to sing professionally by Cosima Wagner, the widow of Richard Wagner,
and he made a serious study of opera. He took lessons in Frankfurt and at the Bayreuth School under
Julius Kniese, making his stage début in 1894 at the Bayreuth Festival in a small part. He would go on to
sing the major Wagnerian rôles of Siegfried, Siegmund, Erik and Parsifal at Bayreuth from 1896 to 1903. He
also performed these rôles at other leading European opera houses, including those in such important cities
as Paris, Zürich, Budapest, London, Amsterdam and Moscow. Burgstaller made his American début at the
Metropolitan Opera, as Siegmund in DIE WALKÜRE on 12 February, 1903. His final performance, as
Siegmund, occurred on 14 January, 1909.
On Christmas Eve, 1903, he had sung the title rôle in the first staged American performance of Richard
Wagner’s PARSIFAL at the Met. This performance was in violation of German copyright law and angered
Cosima Wagner, who was trying to keep productions of the work exclusive to Bayreuth. As a result,
Burgstaller, as well as the baritone Anton van Rooy and conductor Alfred Hertz, were banned from any
further performances at Bayreuth.”
0504. ERNESTO CARONNA: La Traviata – Di Provenza il mar. Edison 4-minute 30034.
M-A, a gleaming copy. MB 25
0505. ERNESTO CARONNA: Hamlet – O vin dissipe la tristesse (in Italian). Edison 4-minute B 186.
M-A, a gleaming copy. MB 25
0506. ERNESTO CARONNA: Ballo – Eri tu. Edison 4-minute B 196. M-A, a gleaming copy. MB 25
0507. ANNA CASE: Old folks at home (Foster). Edison 4-minute Blue Amberol 28260. M-A, a gleaming copy. MB 20
0508. ANNA CASE: Believe me if all those endearing young charms (Moore).
Edison 4-minute Blue Amberol 28108, in Orig. Box. M-A, a gleaming copy. MB 20
0509. ANNA CASE: Annie Laurie (Foster). Edison 4-minute Blue Amberol 28261. M-A, a gleaming copy. MB 20
0510. ANNA CASE & PAUL ALTHOUSE: Il Trovatore – Miserere.
Edison 4-minute Blue Amberol 28197, in Orig. Box. M-A, a gleaming copy. MB 20
“Thomas Edison was particularly fond of [Case’s] voice and often used it in his famous ‘Tone Test’
demonstrations. Setting up his playback apparatus on one side of the stage and a singer on the other,
Edison invited the audience to guess when the machine left off and the real thing took over. It may strike us
as incredible, but many listeners were actually unable to tell….In 1929 she had married Clarence H.
Mackay, the millionaire telegraph king, and soon she retired for good. She never forgot the first big break
she got at the Metropolitan [as Sophie in the Met première of DER ROSENKAVALIER], however, [when] at
her death in 1984 at the age of ninety-four, Case…left the company $1.2 million to be used for new
productions.”
- Peter G. Davis, THE AMERICAN OPERA SINGER, pp.291-92
0511. THOMAS CHALMERS: One sweetly solumn thought (Ambrose); Metropolitan Quartet: Lead, kindly light (Dykes).
Edison 4-minute Blue Amberol 28104. M-A, a gleaming copy. MB 20
“Before he became a busy actor on stage and screen, Thomas Chalmers sang with the Metropolitan Opera.
A star baritone, with the company 1913-21, he specialized in French and Italian lyric rôles, most notably Alfio
in CAVALLARIA RUSTICANA and Valentin in FAUST."
0512. MARIUS CHAMBON: Die Zauberflöte – O Isis und Osiris (in French). Pathé 2-minute 3150, in Orig. Box.
M-A, a gleaming copy. Only form of issue. This famous bass married the celebrated Belgian soprano
Léonie Tanésy in 1900, although they had been singing together in Marseilles for more than ten years. MB 45
0513. FLORENCIO CONSTANTINO: Barbiere – Ecco ridente. Edison 2-minute B 11, in Orig. Box.
Only form of issue. M-A, a gleaming copy. MB 35
0514. FLORENCIO CONSTANTINO: La Traviata - De’ miei bollenti spiriti. Edison 2-minute B 40.
Most acceptable copy has minor mildew spots. Only form of issue. MB 25
i
0515. FLORENCIO CONSTANTINO: Manon Lescaut – Guardate, pazzo son! Edison 2-minute B 42, in Orig. Box.
Most acceptable copy has minor mildew spots. Only form of issue. MB 25
0516. FLORENCIO CONSTANTINO: Rigoletto – La Donna è mobile. Edison 2-minute B 4.
Most acceptable copy has very lt. grey. Only form of issue. MB 25
“Constantino’s records merit special attention. His is a voice of much grace, with a sweet mezza voce and a
legato of impeccable quality. His style takes us back to pre-Caruso days”
- Andrea Shum-Binder, subito-cantabile
0517. PAUL DANGELY: La Juive – Rachel, quand du Seigneur. Edison 4-minute Blue Amberol 27078, in Orig. Box.
M-A, a gleaming copy. MB 20
0518. R. FESTYN DAVIES: Non è ver (Mattei). Edison 4-minute Blue Amberol 1628, in Orig. Box.
M-A, a gleaming copy. MB 15
0519. ELEONORA de CISNEROS: Ben Bolt (Kneiss). Edison 4-minute Blue Amberol 28103, not in Orig. Box.
M-A, a gleaming copy. MB 20
“Born in New York City née Eleanora Broadfoot, de Cisneros studied singing under Mme. Murio Celli in New
York, and made her début at the Metropolitan Opera House in 1899. In the following year she was married
to Count François G. de Cisneros. Between 1900 and 1906 she sang more than 40 operatic rôles in Rome,
Milan, Madrid, Lisbon, Vienna, St. Petersburg, London, Rio de Janeiro, Sydney and Melbourne. In 1907 she
was Oscar Hammerstein's leading mezzo-soprano at the Manhattan Opera House, New York.”
0520. MAURICE DECLÉRY: Menuet d’Exaudet (Weckerlin). Edison 2-minute 17032.
Most acceptable copy has minor mildew spots. Only form of issue. MB 15
0521. MARIE DELNA: Le Prophète – Ah, mon fils. Edison 4-minute 40022, in Orig. Box.
Exceptional copy has occasional very minor grey on peaks. MB 35
0522. MARIE DELNA: Le Prophète – Ah, mon fils.
Edison 4-minute Blue Amberol 28126, in Orig. Box. M-A, a gleaming copy. MB 45
0523. MARIE DELNA: Orfeo ed Euridice – Che farò senza Euridice.
Edison 4-minute Blue Amberol 28135, in Orig. Box. M-A, a gleaming copy. MB 45
“Vocally, Delna was captured at her peak by Edison in March 1910, perhaps thanks to under-employment at
the Met that winter, with only nine appearances in more than two months. Generally described as a
contralto, Delna was rather, as Louis Schneider has perceptively argued, a mezzo-soprano in the 19th
century sense, in the tradition of Maria Malibran and Pauline Viardot. Delna had a large voice, the size of
which is apparent in these recordings, and a range of three octaves, for which we only have her testimony
and that of her contemporaries. Trained by her teacher to become a soprano, she could hit a top D and did
sing a low D in public. The color, warmth, evenness of her timbre, and the eloquence of her delivery are
also much in evidence in her recorded legacy. Fidès, one of the most taxing parts of the mezzo repertory,
was ideally suited to her voice and reportedly impulsive stage temperament. Of her three recordings of ‘Ah,
mon fils’, both the Edison cylinder and 1913 Diamond disc must rank among the most impressive ever made
of the aria, the voice gleaming seamlessly throughout its range with ringing, organ-like tones. Next to Emma
Calvé, Delna was the most celebrated Carmen of her generation”
- Vincent Giroud, Marston Program Notes
0524. ANDREAS DIPPEL: Marta – M’appari (in German). Edison 2-minute B 2.
Most acceptable copy has minor mildew spots. Only form of issue. MB 45
0525. ANDREAS DIPPEL: Les Huguenots – Romance (in German). Edison 2-minute B 15.
Exceptional copy has occasional very minor grey on peaks. In Orig. Box, w.torn top. Only form of issue. MB 45
“Dippel made his début at the Metropolitan Opera on 26 November 1890 in the title rôle of Franchetti’s
ASRAEL for its United States première. He appeared with the company 392 times including three other US
premières. Over his entire career as a tenor, he sang 150 rôles, ranging from Don Ottavio in Mozart’s DON
GIOVANNI to a wide variety of Wagnerian parts, including the leading tenor rôles in LOHENGRIN and DIE
MEISTERSINGER VON NÜRNBERG. He was known for his willingness to step into rôles when his
colleagues were ill and substituted for Jean de Reszké on several occasions. In 1908 and from 1910 to
1913, Dippel managed the Philadelphia-Chicago Grand Opera Company, after which he formed the Dippel
Opera Comique Company.”
0526. ANDREAS DIPPEL: Marta – M’appari (in German). Edison 2-minute B 2.
Most acceptable copy has minor mildew spots. Only form of issue. MB 45
0527. ANDREAS DIPPEL: Les Huguenots – Romance (in German). Edison 2-minute B 15.
Exceptional copy has occasional very minor grey on peaks. In Orig. Box, w.torn top. Only form of issue. MB 45
0528. MARCELIN DUCLOS: Benvenuto Cellini – Pitié pour moi (Diaz).
Edison 4-minute B 175. Exceptional copy. MB 35
0529. RALPH ERROLE: Alice, where art thou? (Ascher) Edison 4-minute Blue Amberol 3520, in Orig. Box. MB 12
0530. RALPH ERROLE & ARTHUR MIDDLETON: Mother, my dear (Treherne)
Edison 4-minute Blue Amberol 3625. In his later years, Errole was a prominent teacher of Arleen Augér. MB 12
0531. ESTER FERRABINI: Cavalleria – Voi lo sapete. Edison 4-minute B 180. M-A, a gleaming copy. MB 25
“Madame Ester Ferrabini, at Boston Conservatory in the years 1918-1924, was a native Italian whose
technical legacy harkened back to the mid-19th century and its performance practices”
0532. RENÉ FOURNETS: Le Chalet – Vallons de l’Helvétie (Adam). Pathé 2-minute 3566. Only form of issue. MB 35
0533. RENÉ FOURNETS: Sigurd – Et toi, Fréïa (Reyer). Edison 2-minute 17204, in Orig. Box. Only form of issue.
Exceptional copy has occasional very minor rubs. MB 35
0534. RENÉ FOURNETS: Faust – Vous qui faites l’endormie. Pathé 2-minute 3541. Only form of issue.
M-A, gleaming copy has two wee chips at very beginning. MB 25
0535. CARLO GALEFFI: Il Trovatore – Il balen. Edison 4-minute Blue Amberol 28148. M-A, a gleaming copy. MB 35
0536. CARLO GALEFFI: Pagliacci – Prologo. Edison 4-minute 30041, in Orig. Box.
Exceptional copy has occasional very minor rubs. MB 25
“Galeffi sang throughout Italy before reaching La Scala, in 1912. He would remain at La Scala until 1938,
becoming a favorite of the conductor Arturo Toscanini. Galeffi made his American début in Boston in 1910.
He sang at the Metropolitan Opera only once, on 29 November of that same year, as Verdi's Rigoletto
(which was often considered to be his greatest rôle). Galeffi sang, too, at the Lyric Opera of Chicago from
1919 to 1921, and also appeared in South America on a number of occasions. The bulk of Galeffi's career,
however, took place in Italy, especially at La Scala. Galeffi possessed a beautiful voice supported by an
excellent technique. He is considered to have been one of the finest operatic baritones active during the
period between the outbreak of World War I and the onset of World War II.”
0537. LINA GARAVAGLIA: Don Pasquale – So anch’io la virtu magica.
Edison 2-minute B 58, in Orig. Box. Only form of issue. M-A, gleaming copy has damaged box top. MB 25
0538. GAUTIER: La Favorite – Un ange, une femme inconnue. Pathé 3½” Concert-Size 0077, in Orig. Box.
Only form of issue. Gautier débuted at L’Opéra-Comique in GÉRALD, 10 Jan., 1901.
Acceptable copy has serious mildew, positively audible. MB 15
0539. GAUTIER: La Juive – Rachel, quand du Seigneur. Pathé 3½” Concert-Size 0144, in Orig. Box.
Only form of issue. Gautier débuted at L’Opéra-Comique in GÉRALD, 10 Jan., 1901.
Acceptable copy has serious mildew, positively audible. MB 15
0540. CHARLES GILIBERT: Véronique – Strophes de la lettre (Messager). Edison 2-minute 17736, in Orig. Box.
Only form of issue. M-A, a gleaming copy. This issue number is missing in G & B. MB 45
0541. DINH GILLY: Carmen – Chanson du Toréador. Edison 2-minute 17286, in Orig. Box.
Only form of issue. M-A, a gleaming copy. MB 45
“One source places [Gilly’s] début as early as 1899 (Paris Opéra, a priest in SIGURD) while others cite 1902
(Paris Opéra, Silvio in PAGLIACCI). We do know that he sang at the Teatro Colón, as well as in Spain,
Germany, and Monaco prior to his Metropolitan Opera début in the 1909–1910 season. There he sang
Sonora in the world première of LA FANCIULLA DEL WEST (10 December, 1910). Between 1908 and
1928 he made approximately 40 disc recordings for Beka, Odeon, HMV, and Victor. He recorded three
Edison cylinders, which were published.”
- Ward Marston, Program Notes to THE EDISON LEGACY
0542. GLUCK: La Favorite - Ange du Paradis. Edison 2-minute 17339, in Orig. Box.
Most acceptable copy has minor mildew spots. Only form of issue.
Exceedingly elusive example of this tenor who débuted at l’Opéra-Comique, 22 May, 1891. MB 20
0543. OTTO GORITZ: Ich grolle nicht (Schumann). Edison 2-minute B 51, in Orig. Box.
Most acceptable copy has minor mildew spots. Only form of issue. Exceedingly elusive, 1 of Goritz’s 5 cylinders! MB 25
0544. OTTO GORITZ: Die Nachtlager in Grenada - Ein Schütz bin ich (Kreutzer). Edison 4-minute Blue Amberol 28262.
Only form of issue. Exceedingly elusive, 1 of Goritz’s 5 cylinders! M-A, a gleaming copy. MB 35
“Goritz began his career as an actor and made his début as an opera singer in 1895. His first houses were
Bremen and Hamburg where he stayed until 1903. He guested at the Vienna Hofoper in 1903 which led to a
contract with the Metropolitan Opera. Goritz was hired to sing the more lyrical heldenbaritone roles at the
MET where his roles included that of the creation of the Spielmann in Englebert Humperdinck’s
KÖNIGSKINDER and Baron Ochs in the American Premiere of DER ROSENKAVALIER. Goritz sang at the
MET until 1917, when he was deported from the Country as an enemy alien. He resumed singing in
Hamburg after the War through 1921 and then the Berlin Volksoper from 1922-1925.”
0545. CHARLES HACKETT: Matinata (Leoncavallo). Edison 4-minute Blue Amberol 1636. Only form of issue,
altogether missing in G & B. 1 of Hackett’s 4 cylinders. Exceptional copy has occasional very minor rubs. MB 15
0546. CHARLES HACKETT: Maritana – Let me like a soldier fall (Wallace).
Edison 4-minute Blue Amberol 1724. M-A, a gleaming copy. Only form of issue. MB 15
0547. CHARLES HACKETT & THOMAS CHALMERS: Marta – Solo profugo.
Edison 4-minute Blue Amberol 28155. Only form of issue. M-A, a gleaming copy. MB 15
0548. ORVILLE HARROLD: Mary (Richardson). Edison 4-minute Blue Amberol 28129.
M-A, a gleaming copy. Only form of issue. MB 25
0549. ORVILLE HARROLD: The sweetest story ever told (Stults).
Edison 4-minute Blue Amberol 28169. M-A, a gleaming copy. Only form of issue. MB 25
0550. ORVILLE HARROLD: I hear you calling me (Marshall). Edison 4-minute Blue Amberol 28110.
M-A, a gleaming copy. Only form of issue. MB 25
“Harrold was one of the leading tenors at the Metropolitan Opera from 1919 to 1924. He made his début at
the Met as Prince Leopold in Halévy's LA JUIVE with Enrico Caruso as Eléazar and Rosa Ponselle as
Rachel. The following year he created the rôle of Meïamoun in the world première of Henry Kimball
Hadley's CLEOPATRA'S NIGHT. He sang in several United States premières at the Met, including starring
turns in Korngold's DIE TOTE STADT (1921, opposite Maria Jeritza) and Nikolai Rimsky-Korsakov's THE
SNOW MAIDEN (1922, as the Tsar). He also performed the rôle of Julien in the Met's first staging of
Charpentier's LOUISE in 1921 with Geraldine Farrar in the title rôle. In 1922 he sang opposite Madame
Charles Cahier in the New York première of Mahler's DAS LIED VON DER ERDE under conductor Artur
Bodanzky. After leaving the Met in 1924, he never performed in opera again. He made one last
appearance on Broadway in 1925, starring as Peter Novak in the musical HOLKA POLKA at the Lyric
Theatre. He continued to perform in vaudeville up into the late 1920s.”
0551. MELITTA HEIM: Ballo – Saper vorreste (in German). Edison 4-minute Blue Amberol 28121, in Orig. Box,
accompanied by Edison brochure. M-A, a gleaming copy. Only form of issue, as listed in G & B. MB 45
“Heim was a student of Frau Schlemmer and Johannes Ressin in Vienna. She made her début as Gilda in
Graz, 1909. From 1911–1916 she was the leading coloratura at Frankfurt, and from 1917–1922 she
appeared successfully with the Vienna Staatsoper. She sang as a guest at the Drury Lane Theatre in
London in 1912 and returned as the Queen of the Night in 1914. Her repertoire included coloratura and lyric
rôles such as Lakmé, Lucia, Violetta, Mimi, and Leonora in IL TROVATORE, this last occasionally sung in
that era by coloraturas. Some sort of nervous disability necessitated her retirement from the operatic stage
in 1922. Being Jewish, she and her mother fled from Germany to England in 1938. Having no financial
resources, Heim had to work for a period as a scrubwoman, but later became established as a voice
teacher. Her commercial recordings were made in the later ’teens for Odeon. Two cylinders appeared on
Edison, but her Edison Discs were not published.”
- Ward Marston, Program Notes to THE EDISON LEGACY
0552. FRIEDA HEMPEL, w.Mary Zentay (Violin): Cavalleria – Ave Maria.
Edison 4-minute Purple Amberol 29027. M-A, a gleaming copy. MB 25
“Hempel made her professional début in Breslau, and her Berlin début in 1905 at the Royal Opera in
Nicolai’s DIE LUSTIGEN WEIBER VON WINDSOR. From 1905–1907 she was at the Court Opera in
Schwerin, and from 1907–1912 she was a member of the Royal Opera in Berlin. Hempel was first heard at
Covent Garden in 1907 in a double bill as Mozart’s Bastienne and Humperdinck’s Gretel, then as Eva and
Mistress Ford (Nicolai’s DIE LUSTIGEN WEIBER VON WINDSOR). From 1912–1919 she was on the
roster of the Metropolitan Opera, where she made her début as Marguerite de Valois in on 27 December
1912. On 9 December 1913 she sang the Marschallin in the American première of DER ROSENKAVALIER,
a rôle Richard Strauss had given her for the Berlin première almost two years previously. Her important
London success came during Thomas Beecham’s Drury Lane season of 1914, when she sang the Queen of
the Night, perhaps her most famous rôle. In 1919 she left the Metropolitan Opera, and on 6 October 1920,
on the centenary of Jenny Lind’s birth, Hempel began giving a series of recitals in which she impersonated
Jenny Lind. These concerts, in which she wore clothing from Lind’s time, were so successful that she
continued to give them as well as other recitals until her retirement in 1951. Hempel made records for
Odeon, HMV, Victor, Polydor, and Edison (both discs and cylinders).”
- Ward Marston, Program Notes to THE EDISON LEGACY
0553. AGNES HERMANN: Die Lorelei (Silcher). Edison 2-minute 15645.
M-A, a gleaming copy. Only form of issue. Exceedingly elusive, 1 of Hermann’s 2 cylinders! MB 25
0554. JOSEPHINE JACOBY: Roméo – Que fais-tu, blanche tourterelle? Edison 2-minute B 39, in Orig. Box.
M-A, a gleaming copy. Only form of issue. Exceedingly elusive, 1 of Jacoby’s 4 cylinders! MB 75
0555. JOSEPHINE JACOBY: Faust – Faites-lui mes aveux. Edison 2-minute B 47, in Orig. Box.
M-A, a gleaming copy. Only form of issue. Exceedingly elusive, 1 of Jacoby’s 4 cylinders! MB 75
0556. JOSEPHINE JACOBY: Les Huguenots – Une dame noble et sage. Edison 2-minute B 28.
M-A, a gleaming copy. Only form of issue. Exceedingly elusive, 1 of Jacoby’s 4 cylinders! MB 75
”Josephine Jacoby has been singing at the Metropolitan for five years, and has held the record for
appearances there every year. 'However, Miss Jacoby will not sing at the Metropolitan next year. She has
decided either to return to concert work, in which she was well known before she went on the lyric stage, or
to sing in operetta, following the example of Mme. Schumann-Heink and Fritzi Scheff. Two composers at
present are figuratively on their knees before her, ready to dash off an operetta for her light opera début.”
THE NEW YORK TIMES, 6 April 1908,
0557. KARL JÖRN: Mäd’le, rück, rück, rück. Edison 4-minute Blue Amberol 28228.
M-A, a gleaming copy. MB 20
0558. KARL JÖRN: Manon – Le rêve (w.Recit., in French). Edison 4-minute 40042.
Most acceptable copy has one minor scrape, audible a few turns. Only form of issue. MB 15
0559. KARL JÖRN: Lohengrin – In fernem Land. Edison 4-minute 40037.
Most acceptable copy has very lt. grey. Only form of issue. MB 20
0560. KARL JÖRN: Lohengrin – Mein lieber Schwann. Edison 4-minute 40025.
M-A, a gleaming copy. Only form of issue. MB 25
0561. KARL JÖRN: Tannhäuser – Imbrunst im Herzen. Edison 4-minute 40018, in Orig. Box.
M-A, a gleaming copy. Only form of issue. MB 25
“In 1896 Karl Jörn made his début as Lyonel (MARTA) in Freiburg. After public appearances in Zürich and
Hamburg, he was engaged at the Berlin Hofoper in 1902. From 1906 to 1908 Jörn appeared very
successfully in London; on 22January, 1909 he finally made his New York début at the Metropolitan Opera
as Stolzing. For the following years he commuted between New York and Berlin, but finished his contract
with the Berlin Hofoper in 1911. From 1912 to 1914 he lived in New York and had a contract with the
Metropolitan Opera. From 1914 on. He received an invitation from Johanna Gadski in 1929 to appear on
stage again with her touring ‘German Opera Company’. Once more Karl Jörn was highly celebrated,
especially for his début in the rôle of Tristan (at age 56!). Jörn’s numerous records show the exceptional
versatility of his voice, his repertoire ranging from Mozart and the lighter German and French parts to the
great Wagner rôles. Even with German Lieder he was very successful.”
0562. MARGARET KEYES: Angel’s serenade (Braga). Edison 4-minute Blue Amberol 28109, in Orig. Box.
M-A, a gleaming copy. Only form of issue. MB 10
0563. MARGARET KEYES: Old folks at home (Foster).
Edison 4-minute Blue Amberol 28143. M-A, a gleaming copy. MB 10
0564. AGNES KIMBALL, REED MILLER & FRANK CROXTON: Faust – Final Trio.
Edison 4-minute Blue Amberol 1502. Only form of issue. M-A, a gleaming copy. MB 15
0565. HEINRICH KNOTE: Die Meistersinger – Morgenlich leuchtend (1906 Version).
Edison 2-minute B 13, in Orig. Box. Only form of issue. M-A, a gleaming copy. MB 75
0566. HEINRICH KNOTE: Die Meistersinger – Morgenlich leuchtend (1912 Version).
Edison 2-minute 28124. Only form of issue. Most acceptable copy has very lt. grey. MB 50
0567. HEINRICH KNOTE: Lohengrin – Höchstes vertrauen. Edison 2-minute B 1, in Orig. Box.
M-A, gleaming copy has damaged box top. Only form of issue. MB 75
“Knote’s long German career was centered almost entirely in Munich where he remained for nearly 40
years. He was a superior Wagnerian Heldentenor, his striking physique well matched by a clear, resonant,
sympathetic voice and impressive declamation. Between 1900 and 1913 he made many successful
appearances at Covent Garden, and was, if anything, even more appreciated at the Metropolitan, where he
sang from1904 to 1908, and where his performance fees were, at one time, twice those earned by van
Rooy. In addition to numerous pre-1914 recordings, mainly of Wagner, Knote made a further Wagner series
as late as 1930, demonstrating an amazing endurance, even in some respects a positive improvement, of
his vocal powers.””
0568. JOSEPHINE KRAUS: Boccaccio – Hab’ ich nur deine Liebe (Suppé). Edison 2-minute 12275, in Orig. Box.
M-A, a gleaming copy. Only form of issue. MB 45
0569. SELMA KURZ: Rigoletto – Caro nome. Edison 4-minute Blue Amberol 28133, in Orig. Box,
accompanied by Edison brochure. M-A, a gleaming copy. MB 60
0570. SELMA KURZ: Lucia – Aria della follia. Edison 4-minute Blue Amberol 28162. M-A, a gleaming copy. MB 60
0571. SELMA KURZ: Barbiere – Una voce poco fà. Edison 4-minute 35014, in Orig. Box.
M-A, a gleaming copy. MB 60
“Selma Kurz ranks amongst the leading coloratura-voices of this century. The stupendous brilliance and the
incredible ease with which she mastered the most difficult and breakneck coloratura-passages were and are
truly impressive. Selma Kurz left over 150 78-rpm recordings. The first were made for Emile Berliner in
1900 These were followed by Zonophone and Gramophone & Typewriter Company discs, dating from
1901-1906. She then made a long series for HMV (now EMI) in 1907-1914. These are by far the best of
her recordings, capturing the attractiveness of her tone and the exceptional agility of her vocal technique.
Around 1910, she recorded three cylinders [above] for the Edison company.”
0572. MARIA LABIA: Otello – Ave Maria. Edison 4-minute 35021.
Exceptional copy has occasional very minor rubs. MB 35
0573. MARIA LABIA: Cavalleria – Voi lo sapete.
Edison 4-minute Blue Amberol 28114. Only form of issue. M-A, a gleaming copy. MB 35
“Labia was born into Venetian nobility. Her grandmother had been an operatic singer and her mother a
trained singer, with whom she studied. Her sister, Fausta, was also a noted soprano. Maria made her
operatic début in Stockholm, 1905, as Mimi in LA BOHÈME. In 1907 she had great success at the Berlin
Komische Opera. She was similarly received at Hammerstein’s Manhattan Opera, 1908–1910, the Vienna
Opera, and many other important houses. She was La Scala’s first Salome (1913) and at Rome’s Costanzi
she created Giorgetta in the 1919 Italian premiere of Puccini’s IL TABARRO. While she recorded for Odeon
in Germany, it was her Edison discs and cylinders that most effectively represented her voice."”
- Ward Marston, Program Notes to THE EDISON LEGACY
0574. MARIO LAURENTI: Forza – Urna fatale. Edison Purple Amberol 25059.
Exceptional copy has occasional infinitesimal edge patina at very beginning. MB 55
0575. ANTOINETTE LAUTE-BRUN: Le Pré aux Clercs – Jours de mon enfance (Hérold).
Edison black wax 17163, in Orig. Box. This issue number is missing in G & B. M-A, a gleaming copy. MB 85
0576. ANTOINETTE LAUTE-BRUN: Faust – Le Roi de Thulé. Edison black wax 17156, in Orig. Box.
This issue number is missing in G & B. Most acceptable copy has very lt. grey. MB 65
“Laute-Brun’s début was at the Paris Opéra, 1903, as the Page in TANNHÄUSER. The Paris Opéra
remained her artistic home for over two decades. Laute-Brun (after her marriage to composer Georges
Brun in 1907) had a huge repertoire, including a number of creations, primarily of smaller rôles, although she
occasionally sang principal parts as well in both the soprano and mezzo ranges. As an example, she was
heard at the Opéra as both Marguerite and Siebel in FAUST and in the rôles of Helmwige and Frika in DIE
WALKÜRE.”
- Lawrence F. Holdridge, Program Notes to Marston’s EDISON TRIALS
0577. EDUARD LICHTENSTEIN: Am Meer (Schubert). Edison 4-minute Blue Amberol 28087, in Orig. Box.
Altogether missing in G & B. M-A, gleaming copy has mended box top. MB 20
0578. RICCARDO MARTIN: Good bye (Tosti). Edison 4-minute Blue Amberol 28167.
Martin’s sole recording in English. Exceptional copy has infinitesimal edge patina at very beginning. MB 35
0579. RICCARDO MARTIN: Pagliacci – Vesti la giubba. Edison 4-minute B 160, in Orig. Box.
Exceptional copy has occasional very minor grey on peaks. MB 20
0580. RICCARDO MARTIN: Il Trovatore – A sì, ben mio. Edison 4-minute Blue Amberol 28113.
Exceptional copy has occasional very minor grey on peaks. MB 20
0581. RICCARDO MARTIN: Cavalleria – Siciliana.
Edison 4-minute Blue Amberol 28158. M-A, a gleaming copy. MB 35
0582. RICCARDO MARTIN: Tosca – E lucevan le stelle.
Edison 4-minute B 181, in Orig. Box. Exceptional copy has few faint rubs. MB 35
“Riccardo Martin in 1901, went to Paris to study with Giovanni Sbriglia and Jean de Reszké; he later
completed his studies with Vincenzo Lombardi in Florence and Beniamino Carelli in Naples. He débuted as
Faust in Nantes in 1904. Two years later he made his American début in New Orleans, singing with the
visiting San Carlo Opera. Martin bowed at the Metropolitan Opera on 20 November, 1907 in
MEFISTOFELE; the performance also marked the American début of Fyodor Chaliapin. Martin remained
with the Metropolitan through the 1914-15 season, appearing in numerous leading tenor rôles; he was
among the first American-born leading men the company employed. He returned for the 1917-18 season.
During his tenure at the Met, he created the lead tenor rôles in three American operas: Walter Damrosch’s
CYRANO, Horatio Parker’s MONA, and Frederick Shepherd Converse’s THE PIPE OF DESIRE. After
leaving the company he appeared with numerous companies throughout America and Europe, and spent
three seasons with the Chicago Civic Opera”
0583. Sig. MIELINO: Aïda – Celeste Aïda. Edison 2-minute 12448. Altogether missing in G & B.
Exceptional copy has small piece missing at beginning, just before start of the aria. MB 12
0584. MARIE MORRISEY: Loch Lomond. Edison 4-minute 3311. Exceptional copy has few faint rubs. MB 12
0585. CÉCILE MERGUILLIER: Le Pré aux Clercs – Jours de mon enfance (Hérold).
Edison 2-minute 17358, in Orig. Box. Only form of issue. Exceptional copy has few faint rubs. MB 35
0586. CÉCILE MERGUILLIER: Barbiere – Una voce poco fà (in French). Edison 2-minute 17285.
Only form of issue. Exceptional copy has few faint rubs. MB 35
0587. CÉCILE MERGUILLIER: Manon – La séduction (Saint Sulpice Scene - ‘N’est-ce plus ma main’).
Edison 2-minute 17245, in Orig. Box. Only form of issue. Exceptional copy has few faint rubs. MB 35
0588. CÉCILE MERGUILLIER: Mireille – O légère hirondelle. Edison 2-minute 17250, in Orig. Box.
Only form of issue. Exceptional copy has few faint rubs. MB 35
“Merguillier made her début at the Opéra-Comique on 28 December 1881 in Adam’s LE TORÉADOR.
Merguillier was a lead soprano léger at the Opéra-Comique from her début in 1881 until 1888. She returned
for the 1891 and 1892 as well as the 1897 and 1898 seasons. She also performed for the season 1888-89
at La Monnaie, in 1895 in Moscow. She was the Philine in that tragic performance of MIGNON on 25 May
1887 when the old Opéra-Comique burned to the ground. The troupe was homeless until October 1887
when the old Théâtre Lyrique (later named the Théâtre du Châtelet) became their new home, and
Merguillier left. She appeared in a benefit concert at the Opéra in 1892. In 1902 she appeared again in a
benefit concert, dubbed by Stoullig ‘un festival monstre’, held for the musicians’ retirement fund of the
Opéra-Comique. 127 former and current soloists appeared (from Capoul to Sibyl Sanderson to Mary
Garden) accompanied by seven different conductors: Bruneau, Charpentier, Luigini, Marty, Messager,
Massenet and Saint-Saëns. While Merguillier’s voice was fuller (one might almost say brasher) than
Calvé’s, they shared many vocal traits in common: a fully developed chest ‘register’, a perfectly integrated
scale to above the staff and a slightly pinched ‘heady’ top. They were both part of the ‘old school’ of French
singing which, ten years later, was considered old-fashioned and no longer taught.”
- Victor Girard, Marston Program Notes
0589. LUCIEN MURATORE: La Traviata – Brindisi. Edison 2-minute17512. Only form of issue.
Exceptional copy has few faint rubs. MB 35
0590. LUCIEN MURATORE & MARGUERITE BÉRIZA (Mr & Mrs Muratore): Mignon – Je suis heureuse.
Edison 2-minute 17142, in Orig. Box. Only form of issue. M-A, a gleaming copy. MB 45
0591. LUCIEN MURATORE & MARGUERITE BÉRIZA (Mr & Mrs Muratore): Faust – O nuit d’amour.
Edison 2-minute 17395, in Orig. Box. Only form of issue. M-A, a gleaming copy. MB 45
“In virtually every recording [Muratore] demonstrates a very well-schooled technique. The voice, although of
considerable weight, is bright and beautifully controlled. His singing through the passaggio allows a smooth
transition into his extension (upper register), which contains some very impressive ringing top A naturals and
B flats. He had mastery over his mezza voce, understood chiaroscuro by colouring his tone and was able to
produce floated piano head tones, using these vocal effects with good taste. This is coupled with informed
phrasing, a good legato and, where required, a true sense of drama….In his singing, Muratore’s use of
dynamics and tonal colour can convey an effect, at times, of a lovely voice, something not given all singers.”
- Alan Bilgora, THE RECORD COLLECTOR, 2009
0592. OTTILIE METZGER: Le Prophète – Ah, mon fils (in German). Edison 4-minute Blue Amberol 26114, in Orig. Box.
Exceptional copy has infinitesimal edge patina at very end. MB 45
“It becomes clear almost instantly that Metzger took her records quite seriously, and it is probably fair to
assume we are left with a relatively accurate account of what was heard by her audiences. On records,
Metzger displays the sort of otherworldly, deep and compelling voice needed for Wagner’s earth mothers
and all-knowing goddesses. Yet curiously, her most recently re-issued recordings appear on Ward Marston’s
‘complete’ CARMEN from 1908, a CD set featuring Emmy Destinn. When re-takes were necessary for some
of the selections, Destinn was indisposed, so Metzger took her place! Her recorded legacy offers her in a
variety of music.
- Andrea Shum-Binder, subito-cantabile
0593. CARL NEBE: Die beiden Grenadiere (Schumann).
Edison 4-minute 15048. This issue number is missing in G & B. M-A, a gleaming copy. MB 20
0594. CARL NEBE: Rigoletto – O veglia o donna (in German).
Edison 2-minute 12271. Only form of issue. M-A, a gleaming copy. MB 20
0595. LOUIS NUCELLY: La Favorite – Viens, Léonore.
Edison 4-minute B 176, in Orig. Box. Exceptional copy has occasional very minor grey on peaks. MB 15
0596. AUGUSTIN NUIBO: Werther – Pourquoi me réveiller?
Pathé 2-minute 4667, in Orig. Box. Only form of issue. M-A, a gleaming copy. MB 45
0597. JOSEPH A. PHILLIPS: The soldiers of the king. Edison 4-minute Blue Amberol 2461, in Orig. Box.
Altogher missing in G & B, Phillips’ very few other recordings are all on Okeh, 1917. M-A, a gleaming copy. MB 15
0598. MARIE RAPPOLD: Smiles (Roberts). Edison 4-minute Purple Amberol 92020.
M-A, gleaming copy has few superficial mks. MB 15
0599. MARIE RAPPOLD: Chantez, Riez, Dormez (Gounod). Edison 4-minute Blue Amberol 28175.
M-A, a gleaming copy. MB 20
0600. MARIE RAPPOLD: Agnus Dei (Bizet). Edison 4-minute Blue Amberol 28171, in Orig. Box.
This issue number is missing in G & B. M-A, a gleaming copy. MB 20
0601. MARIE RAPPOLD: Tannhäuser – Allmächt’ge Jungfrau.
Edison 2-minute B 43, in Orig. Box. Only form of issue. M-A, a gleaming copy. MB 35
0602. MARIE RAPPOLD: Der Freischütz – Wie nacte mir der Schlummer.
Edison 4-minute Blue Amberol 28117. M-A, a gleaming copy. MB 35
0603. MARIE RAPPOLD & CAROLINA LAZZARI: Life’s dream is o’er (Ascher).
Edison 4-minute 29051. M-A, a gleaming copy. MB 15
0604. MARIE RAPPOLD, KARL JÖRN & ARTHUR MIDDLETON: Attila – Te sol quest’anima (in English).
Edison 4-minute Blue Amberol 28238. M-A, a gleaming copy. MB 20
0605. MARIE RAPPOLD, w.Albert Spalding (Violin): Ave Maria (Gounod) (1906 Version).
Edison 2-minute B 21. Only form of issue. M-A, a gleaming copy. MB 20
0606. MARIE RAPPOLD, w.Albert Spalding (Violin): Ave Maria (Gounod) (1910 Version).
Edison 4-minute 28005, in Orig. Box. M-A, a gleaming copy. MB 20
0607. MARIE RAPPOLD, w.Albert Spalding (Violin): Ave Maria (Gounod) (1910 Version).
Edison 4-minute Blue Amberol 28106. M-A, a gleaming copy. MB 15
“Rappold’s début was at the Metropolitan Opera as Sulamith in Goldmark’s DIE KÖNIGIN VON SABA in
1905, and she performed an additional 23 rôles, including Elsa, Euridice, Desdemona, Leonora in
IL TROVATORE, and the Woodbird in SIEGFRIED. She left the Metropolitan Opera in 1920. During the
1920s she appeared in Havana with the Chicago Opera. Rappold was an exclusive Edison artist, having
begun with cylinders in 1906 and was one of Edison’s most popular sopranos. Her recorded repertoire ran
the gamut from popular songs of the day and concert literature, through arias and duets from Verdi, Wagner,
and Puccini operas.”
- Ward Marston, Program Notes to THE EDISON LEGACY
0608. ALAN TURNER: Venetian song (Tosti). Edison 4-minute Blue Amberol 1640.
Only form of issue. M-A, a gleaming copy. MB 12
0609. ALAN TURNER: Bohemian Girl – The heart bow’d down (Balfe). Edison 2-minute 999.
This issue number is missing in G & B. M-A, a gleaming copy. MB 12
0610. EMILIA VERGERI & PEDRO VINART: Die Lustige Witwe – Couplets (in Spanish) (Lehár).
Edison 4-minute Blue Amberol 22144. Only form of issue, missing entirely from G & B.
Exceptional copy has sev. mildew spots, but plays beautifully. MB 25
0611. ANTON van ROOY: Carmen – Chanson du Toréador. Edison 2-minute B 10, in Orig. Box.
Only form of issue. Exceptional copy has occasional very minor grey on peaks. MB 75
“Anton van Rooy was a Dutch bass-baritone who had a voice of enormous proportions and is most
remembered for his association with the music dramas of Richard Wagner, especially the RING Cycle,
DIE MEISTERSINGER and PARSIFAL. Born in Rotterdam, van Rooy studied with the famous voice
teacher Julius Stockhausen in Frankfurt . He made his operatic début at the Bayreuth Festival in 1897,
singing Wotan in DER RING DES NIBELUNGEN. The year 1898 saw his débuts in Berlin and at the Royal
Opera House in London, and on 14 December that same year he sang for the first time at the Metropolitan
Opera as Wotan in DIE WALKÜRE. He remained with the Met until 1908, during which time he was heard
in all the leading baritone Wagnerian rôles. Most notably, he created Amfortas in the American première of
PARSIFAL in 1903. Four years later, he created the part of John the Baptist in the initial New York
production of Richard Strauss’ then controversial opera, SALOME. van Rooy also continued to sing
regularly at Bayreuth until 1903, when he was banned by Cosima Wagner from any further performances at
the festival, because the Met performances of PARSIFAL in which he had participated in breaching German
copyright law. His appearances in London spanned the years 1898-1913. He made gramophone
recordings, too, and was a noted song recitalist and soloist in oratorio.”
0612. ANTONIO SCOTTI: Pagliacci – Prologo. Edison 2–minute B 20, in Orig. Box. Only form of issue.
M-A, a gleaming copy. MB 95
0613. ANTONIO SCOTTI: Aïda – Sortita d’Amonasro. Edison 2–minute B 32, in Orig. Box. Only form of issue.
M-A, a gleaming copy. MB 95
0614. ANTONIO SCOTTI: Don Pasquale – Bella siccome un angelo. Edison 2–minute B 44, in Orig. Box.
Only form of issue. M-A, gleaming copy has sl. damaged box top. MB 85
“I have come to look on Antonio Scotti as one of the most satisfying of singers. His is not a voice to dazzle
the hearer, nor is there a great range of colour. There is an austerity about his singing and an amazing
rightness in almost everything he sings. His suavity, sonority, and clean-cut technique all go to place him
apart from other baritones….”
- Laurie Hevingham-Root, THE RECORD COLLECTOR, 1984
0615. LEO SLEZAK: Tosca – E lucevan le stelle. Edison 4-minute Blue Amberol 28146.
This issue number is missing in G & B. M-A, a gleaming copy. MB 55
“For the 30 years that opened the twentieth century, Leo Slezak was one of the outstanding dramatic tenors,
and is best known today for his Wagnerian rôles, but he was also capable of the shading and subtleties
required for French opera, and was greatly admired in such roles as Gérald in Delibes' LAKMÉ and des
Grieux in Massenet's MANON. In 1901, his rise to fame began when he came to the attention of Gustav
Mahler, who invited him to join the Vienna State Opera. He made his début as Arnold in GUILLAME TELL,
beginning a 32-year association with that house. In 1907, however, when Mahler left, Slezak also left to
pursue an international career. In Paris, he studied the French operatic repertoire with Jean de Reszke and
song with Reynaldo Hahn. Moving on to the United States, his Met débutwas as Otello in 1909. Though he
returned to the Vienna State Opera in 1913, he continued to make international appearances until his
farewell performance as Canio in 1933.”
- Ann Feeney, All Music Guide
0616. VICTOR SORLIN (Cello): Madama Butterfly - Fantaisie. Edison 4-minute Blue Amberol 2008.
This issue number is missing in G & B. M-A, a gleaming copy. MB 12
0617. ELIZABETH SPENCER: Ciribiribin (in English) (Pestalozza). Edison 4-minute Blue Amberol 1825.
This issue number is missing in G & B. M-A, a gleaming copy. MB 15
0618. ELIZABETH SPENCER: Jocelyn – Berceuse (in English) (Godard).
Edison 4-minute Blue Amberol 2466. M-A, a gleaming copy. MB 12
0619. ELIZABETH SPENCER & IRVING GILLETTE: Are you going to dance?
Edison 4-minute Blue Amberol 1552, in Orig. Box. Altogher missing in G & B. M-A, a gleaming copy. MB 12
0620. ELIZABETH SPENCER, w.Harry Anthony (as John Young) & James F.Harrison (as Frederick J. Wheeler):
Stille Nacht (in English) (Gruber). Edison 4-minute Blue Amberol 1606.
This issue number is missing in G & B. M-A, a gleaming copy. MB 12
Elizabeth Spencer was an American singer during the latter 19th century and early 20th century. She is
primarily remembered as a recording artist for Thomas Alva Edison. She made numerous recordings for
Edison from 1888 until 1912. Her voice is noted for its sterling operatic quality combined with ability to sing
in the vernacular.”
0621. MAX STEIDL: Fern im Süd’ das schöne Spanien (Reisigger). Edison 4-minute 15925, in Orig. Box.
Altogether missing in G & B. Only form of issue. M-A, a gleaming copy. MB 20
0622. GERTRUDE SYLVA: Manon Lescaut - C’est l’histoire amoureuse (Auber). Edison 2-minute 17756, in Orig. Box.
Only form of issue Most acceptable copy has minor mildew spots. MB 25
0623. MARGUERITE SYLVA: Pagliacci – Stridono lassù (in French). Edison 4-minute Blue Amberol 28131.
M-A, a gleaming copy. MB 35
0624. MARGUERITE SYLVA: Le Cid – Pleurez, mes yeux. Edison 4-minute 40021, in Orig. Box.
Only form of issue. Exceptional copy has occasional very minor grey on peaks. MB 25
“Marguerite Sylva made her début at l’Opera-Comique on 14 September 1906, in the title rôle of CARMEN
to very good reviews. For the next three years Sylva sang with great success throughout France and
Germany where she was a particular favourite. In 1909, Oscar Hammerstein invited her to return to America
to sing for his opera company. On 1 September 1909, Marguerite Sylva made her American operatic début
as Carmen at the Manhattan Opera House. In the ensuing years Sylva sang with Hammerstein's company
the Boston Opera Company and with the San Carlo Opera Company in the United States. She also sang in
Europe. She continued to appear on Broadway as well, with performances in the premières of GYPSY
LOVE and THE SKYLARK.”
0625. LÉONIE TANÉSY: Barbiere – Una voce poco fà.
Pathé 2-minute 298, in Orig. Box. Exceptional copy has faint rubs. Missing in G & B. MB 65
“Tanésy was a genuine Meyerbeer singer from a period in which Meyerbeer was still an integral part of the
repertoire. We know that she was a member of the Grand-Théâtre de Marseilles during the 1889–1892 and
1895–1897 seasons. There, she was referred to as ‘première forte chanteuse falcon’ and as such was the
major soprano for dramatic rôles. In 1889 she sang Valentine in LES HUGUENOTS, a rôle she was closely
associated with in subsequent years. In 1890 she appeared as Alice IN ROBERT LE DIABLE, and sang
Brunehild in SIGURD, another rôle she was to repeat throughout her career. She also participated in the
local première of Paladilhe’s PATRIE. In 1892 and 1895, Tanésy sang Elsa in LOHENGRIN and Elisabeth
in TANNHÄUSER. She appeared at the Paris Opéra in 1892, and sang at Bordeaux in 1900. Tanésy must
have still been singing professionally in the early years of the twentieth century, as she was actively making
recordings at this time. She married the well-known bass, Marius Chambon in 1900, although they had
been singing together in Marseilles for more than ten years. Tanésy was a pioneer recorder, making some
60 cylinders for Pathé around the turn of the century, including two duets with her husband. She also
recorded a small number of cylinders for Dutreih and discs for the Homophone label.”
- Vincent Giroud, Marston Program Notes
0626. JACQUES URLUS: O schöne Zeit, o sel’ge Zeit (Göetze). Edison 4-minute Blue Amberol 28243.
Only form of issue. M-A, a gleaming copy. MB 65
0627. JACQUES URLUS: Lohengrin – Mein lieber Schwann. Edison 4-minute Blue Amberol 28204.
M-A, gleaming copy has 1 minuscule rub. MB 55
0628. JACQUES URLUS & MARIE RAPPOLD: Wenn die Schwalben heimwärts zeih’n (Abt).
Edison 4-minute Blue Amberol 28242, in Orig. Box. Only form of issue. M-A, a gleaming copy. MB 55
“Lauritz Melchior and Jacques Urlus are considered the greatest ‘Heldentenors’ in history of records.
Remarkable is Urlus’ declamation with the right intensity yet without sacrificing a good legato style. In my
opinion, he is unique in this respect. His voice was a fully developed dramatic tenor. The dark, almost
baritonal quality of the lower range predestined him for Wagner’s heros, but as we know, he suceeded in
many other rôles from the German, French and Italian repertoire. Jacques Urlus made about 150
recordings from 1903 - 1924. Jacques Urlus ranks among the greatest singers.”
- Andrea Shum-Binder, subito-cantabile
0629. JEAN VALLIER: La Favorite – Splendon più belle in ciel. Edison 2-minute 17572.
Only form of issue. Lovely copy has various lt. mildew spots, but plays beautifully. MB 25
“Bass Jean Vallier made his début at the Paris Opéra in Reyer's SIGURD in 1892. At the Monte Carlo
Opéra, where he had his greatest successes, he appeared in SALOME, DAS RHEINGOLD,
DIE
WALKÜRE,
GÖTTERDÄMMERUNG,
CRISTOFORO
COLOMBO,
RIGOLETTO,
LA GIOCONDA, FAUST, ROMÉO ET JULIETTE AND LOHENGRIN.”
0630. ALICE VERLET: La Vièrge à la crèche (Périlhou).
Edison 4-minute Blue Amberol 28224, in Orig. Box. Only form of issue. M-A, a gleaming copy. MB 35
0631. ALICE VERLET & ORPHÉE LANGEVIN: Le Crucifix (J. B. Faure).
Edison 4-minute Blue Amberol 28257. M-A, a gleaming copy. MB 35
“Verlet made her début at the Opéra-Comique in 1894 as Philine in Thomas’ MIGNON. From that point
forward, Verlet enjoyed a successful career, particularly in Francophone Europe. Her début at the Monnaie
in Brussels took place on 7 September, 1901 in Verdi’s RIGOLETTO; she remained a member of that
company for the balance of the season and later would make periodic appearances there. Her début at the
Paris Opéra, as Blondine in a French-language production of Mozart’s DIE ENTFÜHRUNG AUS DEM
SERAIL, came in 1903. She sang her first RIGOLETTO in that house on 11 April, 1904; Adelina Patti, who
was in attendance, conspicuously displayed enthusiasm for Verlet’s singing. In 1905 and 1906, Verlet
played the Naiad in the first modern revival of Gluck’s ARMIDE in Paris. Other cast members included
Lucienne Bréval, Agustarello Affre, Dinh Gilly, and Geneviève Vix. Two years later, she was at the Théâtre
de la Gaîté-Lyrique for a run of LAKMÉ with David Devriès and Félix Vieuille. Verlet made her London
début as a participant in the Thomas Beecham Opera Comique Season at His Majesty’s Theater. As in her
Paris Opera debut, the opera was DIE ENTFÜHRUNG AUS DEM SERAIL, but now Verlet played
Constanze opposite Maggie Teyte as Blonde and Robert Radford as Osmin, all under Beecham’s baton.”
0632. GIOVANNI ZENATELLO & MARIE RAPPOLD: Aïda – La fatal pietra.
Edison 4-minute Blue Amberol 28259. M-A, a gleaming copy. MB 35
0633. REINALD WERRENRATH: Asthore. Edison 4-minute 602. This issue number is missing in G & B.
Werrenrath’s sole cylinder! Exceptional copy has occasional very minor grey on peaks. MB 25
“In 1907 Werrenrath made his concert début at the Worchester Festival, and he then had a highly
successful career as a concert and oratorio singer. After 1912 he was for many years the director of the
University Heights Choral Society. In 1919 he made his stage début at the Metropolitan Opera as Silvio in
PAGLIACCI. He remained a member of the Metropolitan until 1921. He appeared on Broadway in THE
SCHOOL FOR SCANDAL (1923), THE BEAUX STRATAGEM (1928) and MUSIC IN THE AIR (1932)””
0634. FLORA WOLFF: Freudvoll und leidvoll (Liszt). Edison 2-minute 16173, in Orig. Box. Only form of issue.
One of Wolff’s only five cylinders! Wolff was transported from Berlin to Terezin, 3 July, 1942, then to Treblinka on
19 September, where she died in 1943. Exceptional copy has sev. mildew spots, but plays beautifully. MB 35
0635. SOUSA’S BAND: Stars and Stripes forever (Sousa).
Edison 4-minute Blue Amberol 2104. M-A, a gleaming copy. MB 25
“Sousa held a very low opinion of the emerging and upstart recording industry. In a submission to a
congressional hearing in 1906, he argued:
‘These talking machines are going to ruin the artistic
development of music in this country. When I was a boy...in front of every house in the summer evenings,
you would find young people together singing the songs of the day or old songs. Today you hear these
infernal machines going night and day. We will not have a vocal cord left. The vocal cord will be eliminated
by a process of evolution, as was the tail of man when he came from the ape.’ [John Philip Sousa,THE
MENACE OF MECHANICAL MUSIC, 1906]. Law professor E. Lawrence Lessig cited this passage to argue
that in creating a system of copyrights in which control of music is in the hands of record labels, Sousa was
essentially correct . Sousa also was credited with referring to records as ‘canned music’, referring to the fact
that cylinder records were sold in cans. Sousa’s antipathy to recording was such that he often refused to
conduct his band if it was being recorded. Nevertheless, Sousa’s band made numerous recordings, the
earliest being issued on cylinders by several companies, followed by many recordings on discs by the
Berliner Gramophone Company and its successor, the Victor Talking Machine Company (later RCA Victor).
The Berliner recordings were conducted by Henry Higgins (one of Sousa’s cornet soloists) and Arthur Pryor
(Sousa’s trombone soloist and assistant conductor), with Sousa quoted as saying, ‘I have never been in the
gramophone company’s office in my life’. A handful of the Victor recordings were actually conducted by
Sousa, but most were conducted by Pryor, Herbert L. Clarke, Edwin H. Clarke, or by four of Victor’s most
prolific house musicians: Walter B. Rogers (who had also been a cornet soloist with Sousa), Rosario
Bourdon, Josef Pasternack, and Nathaniel Shilkret.”
0636. MARIE DRESSLER: Rastus, take me back (Hattie Starr). Edison 2-minute 13752, recorded 1909, New York;
in Orig. Box. Excellent copy has hint of grey on peaks, hardly worth mention. MB 45
“Canadian-born Marie Dressler made her1892 début on Broadway. In vaudeville she was known for her fullfigured body—fashionable at the time—and had buxom contemporaries such as her friends Lillian Russell,
Fay Templeton, May Irwin and Trixie Friganza. Dressler appeared in a play called ROBBER OF THE
RHINE which was written by Maurice Barrymore. Barrymore gave Dressler some positive advice about
furthering her career….Years later she would appear with his sons, Lionel and John, in motion pictures. In
addition to her stage work, Dressler recorded for Edison Records in 1909 and 1910. Dressler continued to
work in the theater during the 1910s, and toured the United States during World War I, selling Liberty Bonds
and entertaining the American Expeditionary Forces. After several years of oblivion, it was sound that made
her a star again. ANNA CHRISTIE (1930) was the movie where Garbo talks, but everyone noticed Marie as
Marthy. In an era of Harlow, Garbo and Crawford, it was homely old Marie Dressler that won the coveted
exhibitor’s poll as the most popular actress for three consecutive years. In another film from the same year,
MIN AND BILL (1930) she received a best actress Oscar for her dramatic performance. She received
another Academy Award nomination for EMMA (1932). She had more success with DINNER AT EIGHT
(1933) and TUGBOAT ANNIE (1933). Despite her age and weight, she became one of the top box office
draws of the sound era. Once you saw her, you would not forget her.”
0637. VESTA TILLEY: I’m the idol of the girls (Lyle). Edison 2-minute 401, recorded May, 1908, London;
only form of issue, in Orig. Box. M-A, a gleaming copy. MB 45
“Tilley’s father was a comedy actor and sometimes theatre manager, and Tilley first appeared on stage at
the age of three and a half. At the age of six she did her first rôle in male clothing under the name Pocket
Sims Reeves, a parody of then-famous opera singer Sims Reeves. She would come to prefer doing male
roles exclusively, saying that ‘I felt that I could express myself better if I were dressed as a boy’. At the age
of eleven she débuted in London at the Canterbury Hall the name Vesta Tilley. ‘Vesta’ referred to a brand of
safety matches, and ‘Tilley’ is a nickname for Matilda. Tilley began to be known for her singing of comic
numbers and her popularity reached its all-time high point during World War I, when she and her husband
ran a military recruitment drive, as did a number of other music-hall stars. In the guise of characters like
‘Tommy in the Trench’ and ‘Jack Tar Home from Sea’, Tilley performed songs like ‘The army of today’s all
right’ and ‘Jolly Good Luck to the Girl who Loves a Soldier’. This is how she got the nickname Britain’s best
recruiting sergeant - young men were sometimes asked to join the army on stage during her show. She was
prepared to be a little controversial. Tilley made her last performance in 1920 at the Coliseum Theatre,
London, at the age of 56. For the rest of her life she lived as Lady de Frece, moving to Monte Carlo with her
husband upon his retirement. She moved back to England after her husband’s death in 1935.”
0638. DIGBY BELL: The tough kid on the right field fence.
Edison 2-minute 156, only form of issue, 8 Feb., 1909, in Orig. Box. M-A, a gleaming copy. MB 35
0639. DIGBY BELL: The blind boy in the gallery. Edison 2-minute 279, only form of issue, 8 Feb., 1909
(entirely different rendition from Bell’s Victor recording made several days later, 27 Feb., 1909), in Orig. Box.
M-A, a gleaming copy. MB 35
“Bell studied in Europe to become a concert singer, and became famous for his rôles in comic musical
productions, such as Gilbert and Sullivan comic operas and with the McCaull Comic Opera Company. His
first starring rôle was in the musical JUPITER in 1892. He appeared many times with Lillian Russell in
shows such as PRINCESS NICOTINE and THE GRAND DUCHESS OF GEROLSTEIN. He introduced the
song ‘The Man Who Broke the Bank at Monte Carlo’. Bell gave a concert a Chickering Hall in New York City
on 26 April, 1878 that was favorably reviewed by the New York Times. Much of Bell’s later career was in
nonmuscial plays or vaudeville.”
0640. HARRY LAUDER: She’s my Daisy. Edison 2-minute 12065, recorded July, 1911, London;
only one of numerous recorded versions, in Orig. Box. M-A, a gleaming copy. MB 25
0641. HARRY LAUDER: Just a wee deoch-an’-Doris. Edison 4-minute Blue Amberol 1819,
recorded June, 1912, London; only one of numerous recorded versions. M-A, a gleaming copy. MB 25
“Lauder’s appeal was to all, from workers to merchants, royalty and presidents, His understanding of life, its
pathos and joys, endeared him to all. Gigli and others commended his singing voice and clarity. Lauder
usually performed in Highland regalia (Kilt, Sporran, Tam o’shanter and twisted walking stick) and singing
songs with a Scottish theme. Lauder was in Melbourne on one of his Australian tours when World War I
broke out. During the war, he led successful fundraising efforts for war charities, organised a tour of music
halls in 1915 for recruitment purposes, and entertained the troops under enemy fire in France. By his efforts
in organising concerts and appeals he raised £1,000,000 to help servicemen return to health and civilian life,
for which we was knighted in 1919.”
0642. YVETTE GUILBERT: Le Fiacre (Xanrof). Pathé 3½” Concert-Size 1481.
Only form of issue, recorded 1908, Paris. M-A, a gleaming copy. MB 85
“Guilbert débuted at the Variette Théâtre in 1888. She eventually sang at the popular Eldorado club, then at
the Jardin de Paris before headlining in Montmartre at the Moulin Rouge in 1890. For her act, she was
usually dressed in bright yellow with long black gloves and stood almost perfectly still, gesturing with her
long arms as she sang. An innovator, she favored monologue-like ‘patter songs’ (as they came to be called)
and was often billed as a ‘diseuse’. The lyrics (some of them her own) were raunchy; their subjects were
tragedy, lost love, and the Parisian poverty from which she had come. Taking her cue from the new cabaret
performances, Guilbert broke and rewrote all the rules of music-hall with her audacious lyrics, and the
audiences loved her. She was noted in France, England, and the United States at the beginning of the
twentieth century for her songs and imitations of the common people of France. She was a favorite subject
of artist Henri de Toulouse-Lautrec, who made many portraits and caricatures of Guilbert and dedicated his
second album of sketches to her. George Bernard Shaw wrote a review highlighting her novelty. Guilbert
made successful tours of England and Germany, and the United States in 1895–1896. She performed at
Carnegie Hall. Even in her fifties, her name still had drawing power and she appeared in several silent films
(including a star turn in Murnau’s FAUST). She also appeared in talkies, including a rôle with friend, Sacha
Guitry. Her recordings for Le Voix de Son Maitre include the famous ‘Le Fiacre’ as well as some of her own
compositions such as ‘Madame Arthur’. She once gave a performance for the Prince of Wales, later King
Edward VII, at a private party on the French Riviera. Hostesses vied to have her at their parties. In later
years, Guilbert turned to writing about the Belle Époque and in 1902 two of her novels were published. In
the 1920’s there appeared her instructional book L’ART DE CHANTER UNE CHANSON (How to Sing a
Song). She also conducted schools for young girls in New York and Paris. Guilbert became a respected
authority on her country’s medieval folklore and on 9 July 1932 was awarded the Légion of Honor as the
Ambassadress of French Song.”
0643. SOPHIE TUCKER: Phoebe Jane. Edison 2-minute 566, recorded Jan., 1911, New York, only form of issue. M-A, a
gleaming copy. MB 65
“Tucker was billed as ‘The Last of the Red Hot Mamas’, as her hearty sexual appetite was a frequent subject
of her songs, unusual for female performers of the era. Sophie Tucker added jazz and sentimental ballads
to her ragtime repertoire, and, in the 1930s, when American vaudeville was dying, she took to playing
England. She made eight movies and appeared on radio and, as it became popular, television. Sophie
Tucker became involved in union organizing with the American Federation of Actors, and was elected
president of the organization in 1938. The AFA was eventually absorbed into its rival Actors’ Equity as the
American Guild of Variety Artists. With her financial success, she was able to be generous to others,
starting the Sophie Tucker foundation in 1945 and, in 1955, endowing a theater arts chair at Brandeis
University. Her fame and popularity lasted more than fifty years; Sophie Tucker never retired, playing the
Latin Quarter in New York only months before she died in 1966. Always partly self-parody, the core of her
act remained earthy, suggestive songs, whether jazzy or sentimental, taking advantage of her enormous
voice.”
0644. ARTHUR FIELDS: Madelon.
Edison 4-minute Blue Amberol 3704. Excellent copy has hint of grey on peaks, hardly worth mention. MB 15
Arthur Fields was born Abraham (‘"Abe’) Finkelstein in Philadelphia, but grew up mainly in Utica, New York.
He became a professional singer as a youngster. Around 1908 he toured with Guy Brother's Minstrel Show,
and helped form a vaudeville act ‘Weston, Fields and Carroll’.
0645. BILLY MURRAY: Sister Susie’s sewing shirts for soldiers.
Edison 4-minute Blue Amberol 2530, in Orig. Box. M-A, a gleaming copy. MB 15
0646. BILLY MURRAY: Alexander’s Ragtime Band (Coon Song) (Irving Berlin).
Edison 4-minute 817, in Orig. Box. Excellent copy has hint of grey on peaks, hardly worth mention. MB 15
“Billy Murray was one of the most popular singers in the United States in the early decades of the 20th
century. While he received star billings in Vaudeville, he was best known for his prolific work in the
recording studio, making records for almost every record label of the era. Through 1925, nobody else even
came close; Murray outsold all other performers from the time of his breakout records in 1903 through to his
retirement in 1943. Murray was also part of several of the most important early duos and ensembles making
records. The team of Ada Jones and Billy Murray sold more records than any other duo in the acoustic
period.
Nicknamed the ‘Denver Nightingale’, Murray had a strong tenor voice with excellent enunciation and a more
conversational delivery than common with bel canto singers of the era. On comic songs he often deliberately
sang slightly flat, which he felt helped the comic effect.”
0647. ADA JONES: Taffy. Edison 2-minute 934, in Orig. Box (numbered 10010).
Excellent copy has hint of grey on peaks, hardly worth mention. MB 15
0648. ADA JONES: I’m looking for a nice young fellow who is looking for a nice young girl.
Edison 4-minute 605, in Orig. Box. M-A, a gleaming copy. MB 15
0649. ADA JONES: If I knock the ‘L’ out of Kelly.
Edison 4-minute Blue Amberol 2940. Exceptional copy has sev. mildew spots, but plays beautifully. MB 15
0650. ADA JONES & BILLY MURRAY: Will you be my teddy bear? Edison 2-minute 9659
(announced, but names not on cylinder). Excellent copy has sev. mildew spots, but plays beautifully. MB 15
0651. ADA JONES & BILLY MURRAY: Cuddle up a little closer. Edison 2-minute 876.
Excellent copy has hint of grey on peaks, hardly worth mention. MB 15
0652. ADA JONES & BILLY MURRAY: Oh, you silv’ry bells.
Edison 4-minute Blue Amberol 1800, in Orig. Box. M-A, a gleaming copy. MB 15
0653. ADA JONES & LEN SPENCER: A race for a wife (A race track sketch).
Edison 4-minute 335, in Orig. Box. M-A, a gleaming copy. MB 15
0654. ADA JONES & LEN SPENCER: Little Arrow and big chief Greasepaint (Vaudeville sketch).
Edison 4-minute 108, in Orig. Box. Excellent copy has hint of grey on peaks, hardly worth mention. MB 15
“Ada Jones was the leading female recording artist in the acoustic recording era, especially popular from
1905 to 1912 or so. Her singing range was limited but she was remarkably versatile, being successful with
vaudeville sketches, sentimental ballads, hits from Broadway shows, British music hall material, ‘coon’ and
ragtime songs, and Irish comic songs. She was known for an ability to mimic dialects.
She was born in her parents' home at 78 Manchester Street in Oldham, Lancashire, England…. The family
moved to Philadelphia by 1879…. cash disbursement books at the Edison National Historic Site suggest
Ada's stepmother had been hired to make or mend drapes for the Edison company. The Jones family at
that time lived nearby in Newark, New Jersey. It is likely that at the studio she saw an opportunity for her
talented stepdaughter. Ada's earliest recordings were brown wax cylinders made for Edison in late 1893 or
early 1894….Presumably in the 1890s Jones developed as an entertainer. As a stage performer, she
specialized in singing while colored slides were projected - it was the illustrated song's heyday. She
evidently worked steadily and continued to be featured on sheet music covers but was by no means famous
yet. She would win fame only through records--the first female to do so. Billy Murray reported that he was
responsible for Jones making her Columbia recording début in 1904….’and she made just as big a hit with
everybody else as she did with me...Some one has spread the impression that Ada Jones is in private life
Mrs. Billy Murray. We are married but not to each other’.
In contrast to colleagues with various pseudonyms, she was issued only as Ada Jones. Also noteworthy is
that she performed for a decade without rivals - that is, no singers of similar talents seriously threatened her
popularity despite many comic female singers being introduced to record buyers from 1905 to 1915. Nora
Bayes was more famous but this was due to stage successes--her early records did not sell well. Each
singer's recorded output was minuscule compared with Jones'. Stage work, which often included touring on
vaudeville circuits, undoubtedly prevented a few from cultivating recording careers whereas Jones in this
period devoted all efforts towards making records.”
- Tim Gracyk, POPULAR AMERICAN RECORDING PIONEERS
0655. CAL STEWART: The opera at Pun’kin Center.
Edison 4-minute Blue Amberol 3830. Excellent copy has hint of grey on peaks, hardly worth mention. MB 15
“Cal Stewart was a pioneer in vaudeville and early sound recordings. He is best remembered for his comic
monologues in which he played ‘Uncle Josh’ Weathersby, a resident of a mythical New England farming
town called ‘Punkin Center’.
It was on the road that he befriended Mark Twain and later Will Rogers, two men who shared similar wit in
comedy. Around 1897, Thomas Edison's studios hired him to cut several cylinder recordings of his famous
speeches and songs. They were well received by the public, and launched an entire series of recordings
based on the Uncle Josh character. Stewart's trademark on these recordings are the easily recognizable
laugh that precedes his speeches.”
0656. ORCHESTRA: Semiramide – Overture (Rossini). Edison 4-minute Blue Amberol 1501.
Excellent copy has hint of grey on peaks & 2 superficial mks, hardly worth mention. MB 8
0657. COLLINS & HARLAN: Alixander’s Ragtime Band.
Edison 2-minute 3251. Excellent copy has hint of grey on peaks, hardly worth mention. MB 15
“Collins & Harlan, the team of Arthur Collins and Byron G. Harlan formed a popular comic duet between
1903 and 1926. They sang ragtime standards as well as what were known as ‘Coon songs’ - music sung by
white performers in a black dialect. Their material also employed many other stereotypes of the time
including Irishmen and farmers . Collins and Harlan produced many number one hits with recordings of
minstrel songs. Their song ‘That Funny Jas Band from Dixieland’, recorded 8 November, 1916, is among
first recorded uses of the word ‘Jas’, which eventually evolved from ‘jas’," to ‘jass’ to the current spelling
‘jazz’.”
0658. EDISON LIGHT OPERA COMPANY (Elizabeth Spencer, Mary Jordan, Harry Anthony,
Walter van Brunt, James F. Harrison, & William F. Hooley): Der Bettelstudent – Potpourri (Millöcker.
Edison 4-minute Blue Amberol 2417. M-A, a gleaming copy. MB 10
0659. EDISON LIGHT OPERA COMPANY: The Prince of Pilsen – Potpourri (Gilbert & Sullivan).
Edison 4-minute Blue Amberol 2299. Excellent copy has hint of grey on peaks, hardly worth mention. MB 10
0660. EDISON LIGHT OPERA COMPANY: The Pirates of Penzance – Potpourri (Gilbert & Sullivan).
Edison 4-minute Blue Amberol 2215. M-A, a gleaming copy. MB 10
0661. EDISON LIGHT OPERA COMPANY: H.M.S. Pinafore – Potpourri #1 (Gilbert & Sullivan).
Edison 4-minute Blue Amberol 1890, in Orig. Box. M-A, a gleaming copy. MB 12
0662. EDISON LIGHT OPERA COMPANY: H.M.S. Pinafore – Potpourri #3 (Gilbert & Sullivan).
Edison 4-minute Blue Amberol 1892, in Orig. Box. M-A, a gleaming copy. MB 12
0663. EDISON LIGHT OPERA COMPANY: Il Trovatore – Anvil Chorus (Verdi). Edison 4-minute Blue Amberol 1989.
Excellent copy has hint of grey on peaks & minuscule scr, hardly worth mention. MB 10
0664. EDISON LIGHT OPERA COMPANY: Messiah - Hallelujah Chorus (Handel).
Edison 4-minute Blue Amberol 28232, in Orig. Box. M-A, a gleaming copy. MB 12
0665. ALBERT SPALDING: Scherzo -Tarantelle (Wieniawski). Edison 2-minute D 5, in Orig. Box.
This issue number is missing in G & B. Very decent copy has lt.grey, but plays beautifully. MB 15
THE RECORD COLLECTOR
Larry Lustig, Editor
111, Longshots Close
Broomfield, Chelmsford
Essex CM1 7DU, ENGLAND
Email: [email protected]
Website: http://www.therecordcollector.org
By annual subscription: U.K. £29 per year; Europe £32 per year; Remainder of the
World £47 per year by air mail
EVENING AT THE OPERA with DOUG FOX
Broadcasting Tuesdays 8-12 PM, New York time
on WMNR-FM, Monroe, CT
www.wmnr.org
THE MUSIC TREASURY with GARY LEMCO
Broadcasting Thursdays 11PM -1 am,
Eastern Standard time
on KZSU-FM, @90-.1; stream: kzsulive.stanford.edu
www.audaud.org
0666. ALICE VERLET: Serenade à Laura (in Italian) (Pons, set to words by Caruso). 10” black London Concert Gram.
G.C.-7–53000 (10245e), only form of issue, 8 June, 1909. A-, lovely copy has lt. rubs, inaud. Exceedingly elusive! MB 85
“Alice Verlet, a soprano with a legato that is perhaps as flawless as any on record. And her scale work is
also marvellously even and fluent…..”
- J.B. Steane, THE GRAND TRADITION, p.84
0667. ALICE VERLET: Les Filles de Cadiz (Delibes).
12” black London Concert Gram. 2–033003 (3142f), only form of issue, 14 June, 1909.
A to M-A, lovely copy has rubs & insignificant scrs, inaud. Exceedingly elusive! MB 45
0668. ALICE VERLET: Rigoletto – Caro nome (in French).
12” black Paris Concert Gram. 033052 (603i), only form of issue, 1908.
A to M-A, exceptional copy has faintest pap.rubs & long faint pap.scr, positively inaud. Exceedingly elusive! MB 85
0669. ALICE VERLET: Rigoletto – Caro nome (in French). 12” black Paris Concert Gram. 033052 (603i), only form of
issue, 1908. A-, lovely copy has very lt.rubs & lfew very lt.scrs, positively inaud. Exceedingly elusive! MB 45
“[Verlet] was a gifted singer with a soprano leggiero of great beauty, a voice of astonishing flexibility and
evenness. She was also a compelling actress of great charm. Critics repeatedly spoke of her fiorature, trills
and ornamentation. Her upper range was unique in its purity and ability to sing trills effortlessly. [Her début
at the Paris Opéra, as Blondine in DIE ENTFÜHRUNG AUS DEM SERAIL, came in 1903. She sang her
first RIGOLETTO in that house on 11 April, 1904; Adelina Patti, who was in attendance, conspicuously
displayed enthusiasm for Verlet's singing. At the Théâtre de la Gaîté-Lyrique Verlet appeared for a run of
LAKMÉ with David Devriès and Félix Vieuille].”
- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.248
0670. ALICE VERLET: Lakmé – Où va la jeune indoue? / Scène et légende. 10½ AC A.P.G.A 1073/74, only form of issue,
1907, both sides announced. M-A, exceptional copy has, Sd. 1 only, infinitesimal pap. scr,barely visible & positively inaud.;
occasional very minor pressing bumps. Exceedingly elusive! MB 85
“Among those ‘minor’ companies that flourished in France before the end of the first decade, there is one
that stands out above all the others for its originality of organization and its technical excellence. A.P.G.A.
(L’Association Phonique des Grands Artistes) was founded in May, 1906…with a group of ten artists:
Agustarello Affre, Charlotte Agussol, André Gresse, Jean Noté, Alice Verlet, Henri Weber, Bergeret,
Dranem, Mayol & Polin….The records were uniform in size: 27cm. or about 10½ inches….All A.P.G.A.
records play at an average speed of 86 r.p.m., and I know of many that go well over 90. These
extraordinary speeds might have accounted for the lack of sales….However, when pitched properly, these
records are astoundingly good – I might venture to say better than any other needle-cut record of the
period.”
- Victor Girard, THE RECORD COLLECTOR, 1954
0671. GEORGETTE BRÉJEAN-SILVER: Manon – Je suis encore tout étourdie / Faust – Faites-lui mes aveux.
10½” AC brown French Odéon 56069/72 (XP2864/3269), POM-1905.
A to M-A, lovely copy has mere hint of grey on peaks, inaud.; Sd.2 only has very short nr, positively inaud. MB 45
[In the Manon aria], “Bréjean-Silver sounds impetuous and child-like and enhances her reading with
wonderful enunciation and witrh a top E, shirked by many others….Massenet…wrote the Fabliau for
her…[and] it is worth noting that she created his CINDERELLA in 1899.”
- Alan Blyth, OPERA ON RECORD, Vol. I, p.485
0672. GEORGETTE BRÉJEAN-SILVER: Thaïs – Qui se fait si sevère / Faust – Le Roi de Thulé.
10½” AC brown French Odéon 56063/62(XP2875/73), POM-1905.
A -, lovely copy has hint of grey on peaks, plus lt.rubs & wee scrs, positively inaud. MB 35
“Bréjean-Silver joined the Opéra-Comique in 1894, making a strong impression as Manon, which remained
a favourite rôle; Jules Massenet wrote the ‘Fabliau’ (as an alternative to the gavotte in Act 3) specifically for
her to sing in Brussels. She appeared as Manon and Lakmé at Monte Carlo the following season, adding
LES PÊCHEURS DE PERLES and GUILLAUME TELL a year later. At this time she sang under the name
Bréjean-Gravière, later changing it upon her marriage to the composer Charles Silver, whose opera
LA BELLE AU BOIS DORMANT provided her with another leading part. She also appeared as the Fairy
Godmother in the première (1899) of Massenet's CENDRILLON.”
0673. ELIETTE SCHENNEBERG, w.André Collard (Pf.):
Chansons Grises – Nos. 1, 2, 3 & 5 (Complete, as recorded) (Hahn), 2s.
10” EL dark blue French Col. LF 257, only form of issue, 1948. M-A, lovely copy has faintest pap. rubs, inaud. MB 25
“Eliette Schenneberg made her début at the Palais Garnier on 7 December 1934 in D’Indy’s L’ÉTRANGER
and performed in the world première of Marcel Delannoy’s GINÈVRA at the Opéra Comique in 1942. The
same year she performed in Sylvio Lazzari’s LA LÉPREUSE with Madeleine Sibille, also at the Comique.
Eliette Schenneberg’s repertoire was quite large and included opera and song: SAMSON ET DALILA
(Saint-Saëns); ARIANE ET BARBE-BLEU (Dukas); and LE COQ D’OR (Rimsky-Korsakov) as well as
“Chanson Grises” (Hahn); “Les Amours de Ronsard” (Milhaud); and “Trois Psaumes” (Honnegger).
Eliette Schenneberg’s career was [noted for] her great musicianship and collaborations with some of the
20th Century’s greatest French composers.”
- Ward Marston
0674. MARISE BEAUJON, w.Bigot Cond.: Sigurd – Salut, splendeur du jour! (Reyer), 2s.
10” EL PW dark blue French Col. LF 43. M-A, lovely copy has, Sd.1 only, minor ‘heat’ mk. MB 10
0675. MARISE BEAUJON, w.Büsser Cond.: Guillaume Tell – Sombre forêt, 2s.
10” EL PW dark-blue French Col. LF 10. M-A. MB 12
0676. CHARLOTTE TIRARD, w.Wolff Cond.: Le Cid – Pleurez, pleurez mes yeux (Massenet) /
Cinq-Mars – Nuit resplendissante (Gounod). 12” EL PW black French Polydor 556024, POM-1928.
Glorious voice and artist – in many respects redolent of the glorious Régine Crespin. M-A, an exceptional copy. MB 35
0677. CHARLOTTE TIRARD, w.Wolff Cond.: Le Tasse – Les regrets (Godard) /
La Reine de Saba – Plus grand dans son obscurité (Gounod). 12” EL PW black French Polydor 56611, POM-1931.
Glorious voice and artist – in many respects redolent of the glorious Régine Crespin. M-A, an exceptional copy. MB 35
“Charlotte Tirard made a late début as an opera singer as Helmwige in DIE WALKÜRE in 1926. A year later
she appeared as Aïda opposite Giacomo Lauri-Volpi, as the Marschallin in Strauss’ DER
ROSENKAVALIER, as Tosca and as Violetta in LA TRAVIATA. She was an admired Marguerite and was
also a great Thaïs and played the role opposite Thill and Vanni-Marcoux. She was invited to sing the first
French performance of Aithra in Strauss’ DIE ÄGYPTISCHE HELENA at the opera house of Monte Carlo.
She often sang Wagnerian roles and enjoyed many of her greatest successes in his music. In addition to her
Elisabeth and Helmwige she also appeared in PARSIFAL and DAS RHEINGOLD. She was especially loved
in the Puccini repertory (she was considered the greatest French Tosca). She was regularly invited by all
French opera houses.”
- Andrea Shum-Binder, subito-cantabile
0678. GERMAINE MARTINELLI, w.Jean Doyen (Pf.): Frauenliebe und Leben (Schumann; in French), 4s.
2-12”EL French Col. RFX 40/41, only form of issue, 1935 .
M-A, a spectacular copy. Exceedingly Elusive! MB 45, the Pair.
0679. GERMAINE MARTINELLI, w.Andolfi Cond.: Dichterliebe – Five Songs (in French) (Schumann), 2s.
10”-EL PW red Pathé X.3923, only form of lateral issue, 1929. A to M-A, lovely copy has faintest rubs, inaud. MB 15
0680. GERMAINE MARTINELLI, w.Bigot Cond.: Gretchen am Spinnrade / Die junge Nonne (both in French)
(both Schubert). 12” EL Eng. Col. LX 450, only form of issue, 1935. M-A, a gleaming copy. MB 20
0681. GERMAINE MARTINELLI, w.Wolff Cond.: Les Roses d’Ispahan (Faure ) /
L’Enfant Prodigue – Air de Lia (Debussy). 12”-EL PW black French Polydor 566.170,
only form of issue, 1933. A-, very decent copy has lt.rubs, inaud. MB 12
0682. GERMAINE MARTINELLI, w.Wolff Cond.: Nocturne / 8me Béatitude - Mater Dolorosa (both Franck).
12”-EL PW black French Polydor 566.044, only form of issue, 1930. M-A, a spectacular copy. MB 20
0683. GERMAINE MARTINELLI, w.Wolff Cond.: Nocturne / 8me Béatitude - Mater Dolorosa (both Franck).
12”-EL PW black French Polydor 566.044, only form of issue, 1930.
A to M-A, beautiful copy has, Sd. 1 only, tiny lt.scr, positively ltly audible. MB 12
0684. GERMAINE MARTINELLI, w.Wolff Cond.: La Damnation de Faust – Autrefois un roi de Thulé /
D’amour l’ardente flamme (Berlioz). 12” EL PW black French Polydor 566.040, POM-1929.
M-A, lovely copy has faintest rubs, inaud.; Sd.1 only has sev.cosmetic lt.scrs, inaud. MB 12
“Germaine Martinelli possessed one of the most sumptuous French soprano voices of the twentieth
century….Though she sang in Holland, Belgium, Switzerland and Spain, her career and reputation were
confined largely to France. In this, she was typical of her generation….Martinelli’s performance as Berlioz’s
Marguerite and Massenet’s Charlotte are as fine as any on record. Her interpretations of these heroines are
statuesque rather than girlish, but nevertheless deeply felt and exquisitely phrased.”
- Patrick Bade
0685. GERMAINE MARTINELLI, w.Wolff Cond.: Marie-Magdeleine - O bien-aimé /
C’est ici même à cette place (Massenet). 12” EL black French Polydor 566.100, only form of issue, 1930.
M-A, a spectacular copy. MB 15
0686. GERMAINE MARTINELLI, w.Wolff Cond.: Ottone - Vieni, o figlio / Xerxes - Ombra mai fu (both in French).
12” EL PW black French Polydor 566.101, only form of issue, 1930. M-A, exceptional copy has faintest rubs, inaud. MB 15
0687. GERMAINE MARTINELLI, w.Wolff Cond.: Salammbo – Air des Colombes (Reyer) /
Cavalleria – Voi lo sapete (in French). 12” EL PW black French Polydor 566.056, only form of issue, 1930.
M-A, exceptional copy has few very lt. rubs, inaud. MB 15
0688. GERMAINE MARTINELLI, w.Wolff Cond.: Aïda – Ritorna vincitor! / Otello – Ave Maria (both in French).
12” EL PW black French Polydor 566.112, only form of issue, 1930. M-A, exceptional copy has faintest rubs, inaud. MB 15
0689. GERMAINE MARTINELLI, w.Wolff Cond.: Werther – Va! laisse-les couler / Tosca – Vissi d’arte (in French).
10” EL PW dark green French Polydor 524.117, POM-1931. A to M-A, beautiful copy has few lt.rubs, inaud. MB 15
0690. GERMAINE MARTINELLI: Tristan - Liebestod (in French), 2s. 12” EL black Art Label Pathé‚ X.7220,
only form of issue, 1928. A to M-A, lovely copy has faintest rubs, inaud. Exceedingly Elusive! MB 30
0691. GERMAINE MARTINELLI: Tannhäuser - Dich teure Halle /
LOHENGRIN - Einsam in trüben Tagen (both in French). 12” EL black Art Label Pathé‚ X.7219, only form of issue, 1928.
A to M-A, lovely copy has faintest rubs, inaud. Exceedingly Elusive! MB 30
“I love sopranos who can command the rich middle and lower register of a mezzo….[Martinelli’s] alluring
tone would be wasted without such strong musical instincts, but she is unerring in her breadth of phrasing
and her timing.”
- Tully Potter, THE RECORD COLLECTOR, 2007
0692. BLANCHE DESCHAMPS-JEHIN: Le Prophète – Ah! Mon fils / Samson et Dalila – Mon coeur s’ouvre à ta voix.
10¾” AC brown French Odéon 97041/28 (Xp 4299-2 / 4298), POM-1908. A to M-A, lovely copy has hint of grey on peaks;
Sd.2 only has infinitessimal pap.scr, positively inaud. MB 150
0693. BLANCHE DESCHAMPS-JEHIN: Samson et Dalila – Mon coeur s’ouvre à ta voix /
RENÉ FOURNETS: Les Huguenots – Bénédiction des poignards. 10" AC rgrey IRCC 228, RRs-1908.
Numbered Copy #129 of a limited edition. A-, very decent copy has lt.rubs, inaud. MB 8
“The leading French mezzo of her generation, Blanche Deschamps studied at the Conservatories in Paris
and Brussels. In 1879, she made her début in Brussels singing in the operetta GIROFLÉ-GIROFLA, soon
followed by her operatic début at the Monnaie as Mignon. There, she was associated with two important
creations: Herodias in Massenet’s HÉRODIADE (1881) and Uta in Reyer’s SIGURD (1884). Her creator
parts at the Paris Opéra-Comique, where she sang beginning in 1885, included principal mezzo/contralto
roles in Lalo’s LE ROI D’YS (1888), Massenet’s CENDRILLON (1899) and Charpentier’s LOUISE (1900).
As a member of the Paris Opéra beginning in 1891, she appeared in many major roles: Azucena, Amneris,
Fricka, and Brangäne, and most notably, the Paris Opéra’s first Dalila in SAMSON ET DALILA (1892), a role
she sang on many other stages. That same year, she appeared as Fidès in the Paris Opéra’s revival of
LE PROPHÈTE, and the following year, sang at the Meyerbeer centenary concert. Much of her career was
centered in Monte Carlo where her husband, Léon Jehin, was for many years the house conductor. Her first
role there was Maddelena in RIGOLETTO in 1889. Soon thereafter, she took on more important roles, such
as Carmen, Léonore in LA FAVORITE, Margared in LE ROI D’YS, and the Queen in HAMLET, opposite
Nellie Melba in 1890. Also at Monte Carlo, Deschamps-Jehin was the first woman to sing the trousers role
of Pygmalion in Victor Massé’s GALATHÉE, as the composer had originally intended it. She continued
singing there, after retiring from the Opéra-Comique in 1902. In 1909, she sang Erda in DAS RHEINGOLD
and Marthe in MEFISTOFELE. This was to be her final role, which she last interpreted in 1913.
Deschamps-Jehin recorded five Edison cylinders in 1906 and four sides for Odeon in 1908, which are highly
prized by record collectors.
- Vincent Giroud, Marston Program Notes
0694. ROSE CARON: Sigurd – Sigurd! Les Dieux dans leur clémence (Des présents de Gunther) (Reyer).
Creator Record, (7 Jan., 1884, Théâtre Royal de la Monnaie, Brussels) / Ah! Si vous saviez comme on pleure (Prière)
(Gounod). 11¾” AC violet German Fonotipia Odeon HRS 1019 (xPh 523/521), POM-20 Dec., 1904.
M-A, gleaming copy of this superb mid-1930s German pressing (renowned for its quiet surface)
has faintest pap.rubs, positively inaud. MB 45
“Rose Caron’s first operatic appearance in Brussels was as Alice in ROBERT LE DIABLE, followed by
Salomé in HÉRODIADE and Marguérite in FAUST; noticed by Ernest Reyer, he chose her to create the role
of Brunehild in SIGURD in 1884 (and the Paris premiere in 1885). The title role in SALAMMBO in 1890 was
also created by Caron. Her repertoire included several Wagnerian rôles, Rachel in LA JUIVE and Valentine
in LES HUGUENOTS. At the Opéra-Comique she sang Léonore in FIDELIO in 1898, Iphigénie en Tauride
and Orphée (Gluck). After 1895 she reduced her public appearances considerably and concentrated on
teaching at the Paris Conservatoire (1904–09) and then private tuition. One of her pupils was soprano Alice
Zeppilli.”
0695. TERESA ARKEL: I Pescatori di Perle -Siccome un dì / Il Trovatore – D’amor sull’ ali rosee.
10¾” AC Parl.-Odeon PO 127 (xPH409/411), POM-30 Oct, 1905. M-A, a gleaming copy. MB 15
“Teresa Arkel made her début as a concert singer in Lviv, in 1883 and made her stage début there the
following year as Valentine in Meyerbeer’s LES HUGUENOTS. In 1885 she toured very successfully at the
Warsaw Opera as Aïda, as Selika in Meyerbeer’s L’AFRICAINE and as Leonora in IL TROVATORE. In
1886 she appeared in Vienna and in Paris, and in the 1886-87 season she was engaged at the National
Theatre of Prague, 1887-90 at the Municipal Theatre (Opera House) in Hamburg. She toured in 1888 in
Budapest, 1889 in Milan, 1890 in Madrid and Bilbao, 1891 in Odessa, 1892 in Barcelona, 1893 and 1896 in
Lisbon, 1894 and 1896, again in Madrid, and in 1894 at the Teatro de l’Opera in Buenos Aires as
Desdemona in Verdi’s OTELLO and as Elsa in LOHENGRIN. In 1898 she was heard again at the Lviv
Opera, and in 1899 at the Grand Opera of Warsaw. In Madrid, where she was very popular, she sang in the
world premiere of Emilio Serrao’s JUANA LA LOCA. In 1891 she came to La Scala as a partner of Hariclea
Darclée. In 1892 she sang there as Norma and Desdemona. In 1897 she appeared at La Scala as
Alessandro Bonci’s partner in the premiere of Alberto Franchetti’s SIGNOR DE POURCEAUGNAC. In 1900
she sang the GÖTTERDÄMMERUNG Brünnhilde at the Teatro Carlo Felice in Genoa. Arkel’s major roles
were in Wagner’s operas as Isolde, Brünnhilde, Senta, Elsa, Sieglinde and Elisabeth, and also as
Moniuszko’s HALKA , as well as Amelia in Verdi’s UN BALLO IN MASCHERA. In 1900 she opened a
singing school in Milan, which earned a great reputation. Among her students were important singers such
as Claire Dux, Lucette Korsoff, Eugenia and Irene Bronskaja Eden.”
0696. REGINA PACINI: Povera mamma / Aprile (both Tosti).
10¾“ AC Milano Fonotipia 39770/85 (XPh 2060/2048), POM-1906, Paris.
A, lovely copy has few faint rubs & hint of grey on peaks, inaud; Sd.1 has wee pressing bump. MB 20
0697. REGINA PACINI: Thème et variations (Proch; in Italian) / I Puritani – O rendetemi la speme
(incorrectly labeled as ‘Qui la voce’). 10¾“ AC Milano Fonotipia 39232/38 (XPh 297/287), POM-1905.
A to M-A, bright copy has few faintest rubs, inaud. MB 20
0698. REGINA PACINI: Zauberflöte – Zum leiden … Du, du, du wirst (in Italian) / Legenda valacca (Braga).
10¾“ AC Milano Fonotipia 39777/78 (XPh 2059/61), POM-1906. A-B, decent copy has lt. rubs & scrs, ltly audible. MB 15
0699. REGINA PACINI: La Traviata – Ah! fors’ è lui / Sempre libera. 10¾“ AC Milano Fonotipia 39237/33 (XPh 299/89),
POM-1905. A-B, very decent copy has lt. rubs & wee scrs, ltly audible, if at all. MB 15
0700. REGINA PACINI: Barbiere – Una voce poco fà, 2s.
10¾“ AC U.S. Fonotipia 39783/84 (XPh 2053/54), POM-1906, Paris. M-A, a spectacular copy. MB 20
0701. REGINA PACINI: La Perle du Brésil – Charmant oiseau /
Mireille – O légère hirondelle (both in Italian). 10¾“ AC U.S. Fonotipia 39236/39774 (XPh 2055/286),
POM-1906/’05. M-A, spectacular copy has faintest rubs, barely visible & certainly inaud. MB 20
0702. REGINA PACINI: La Perle du Brésil – Charmant oiseau (in Italian) / Tosca – Vissi dárte.
10¾“ AC Milano Fonotipia 39774/73 (XPh 2055/64), POM-1906. A-, fine copy has lt.rubs & superficial scrs, inaud. MB 20
“Regina Pacini de Alvear was born in Lisbon, Portugal in 1871, and died in 1965, at 94 years of age, in
Buenos Aires, Argentina. With the exception of some performances at Covent Garden, her life and career
took place almost entirely within the Latin world where she was celebrated both as a gifted lyric bel canto
soprano, and also as First Lady of Argentina for many years, as wife of Don Marcelo Torcuato de Alvear,
president of Argentina from 1922 to 1928.
She was born into a musical family, as daughter of the Italian baritone Pietro Andrea Giorgi-Pacini. Regina
was born in Lisbon during one of her father’s periods of residency at the Teatro San Carlos, in 1871. She
studied in Paris with Mathilde Marchesi and made her début there in 1888, at 17 years of age as Amina in
Bellini’s LA SONNAMBULA. Lucia was also part of her early repertoire. Also part of her standard repertoire
were BOHÈME, RIGOLETTO, PURITANI, MANON, and IL BARBIERE. Theaters in which she commonly
sang were the San Carlos in Lisbon, Covent Garden, the Paris Opéra, La Scala, the Teatro Solís in
Montevideo, and the Teatro Politeama in Buenos Aires.
As a distinguished First Lady of Argentina, Pacini dedicated herself to cultural efforts, and in 1938 founded
the Casa del Teatro in Buenos Aires, which was a retirement home for actors similar to the Casa Verdi in
Milan. Widowed in 1942, Regina Pacini lived on, until the age of 94, distributing her fortune on worthy
causes to the point where, at the time of her death, she was living simply, on a modest government pension.
There is a town in Argentina, Villa Regina, which was named after her.”
- Edmund St Austell
0703. PEPITA SANZ, w.Salvatore Cottone Cond.: Dinorah – Ombra leggiera, 2s. 10¾” AC Milano brown
Odeon 37030/37621 (Xm67/1058), POM-1907. A to M-A, lovely copy has faintest rubs, inaud. MB 20
“Pepita Sanz’s earliest performance was in Brescia in LA SONNAMBULA, in 1903. She then proceeded to
the Milano Teatro Lirico in IL BARBIERE DI SIVIGLIA. She moved to the Teatro Real in Madrid, again in
IL BARBIERE DI SIVIGLIA. Her small discography features only six sides for Odéon in 1907.”
0704. EUGENIA MANTELLI: Serenata (Leggenda valacca) (Braga).
12” AC S/S Special Vinyl Pressing of Zonophone 12613 (I 6556), only form of issue, 1906-07. MINT. MB 25
“Eugenia Mantelli was an Italian opera singer who had a prolific career in Europe, the United States, and
South America from the 1880s through the early part of the twentieth century. She possessed a flexible
warm voice with a wide vocal range that, while focusing mostly within the mezzo-soprano repertoire,
enabled her to sing roles normally associated with contraltos and sopranos. Indeed, during her lifetime she
was often identified as either a mezzo-soprano or a contralto by music critics without much consistency.
She is more at home in two splendid records, Mascagni’s ‘Ave Maria’ and Braga’s ‘Serenata’ (Leggenda
valacca), which is, I believe, the only Mantelli record for which an original stamper survives, so we may hear
it in a modern vinyl pressing [above] bringing her lovely voice into our rooms with all its velvety clarity….We
revel in her clean execution of intervals and ornaments, and in the brilliance of her trill - Patti and Melba had
better look out!”
- Michael Aspinall, Marston Program Notes
0705. EUGENIA MANTELLI: La Gioconda – Voce di donna / Faust – Faites-lui mes aveux (in Italian).
10" AC red & gold IRCC 5008, RRs-1904/’06, Zonophone. Numbered Copy #80 of a
Limited Edition to which Mantelli’s photo is affixed to Sd. 1 label. M-A MB 15
“In ‘Voce di donna’ from LA GIOCONDA [Mantelli] allows herself rather too many breaths, but the illusion of
unbroken legato is still there, due to the impeccable floating of the voice on the breath and the masterly use
of upward and downward portamento, creating an effect of warmth and grandeur. Siébel’s Flower Song
from FAUST she sings, a tone down in B-flat, with vivacity and sweet tone, making the necessary contrasts
in the middle section, and ending with a brilliant cadenza!”
- Michael Aspinall, Marston Program Notes
0706. AUGUSTA OLTRABELLA, w.d’Erasmo (Pf.): Gretchen am Spinnrade / Der Leiermann (both Schubert; in Italian).
10” EL LVDP DA 5355, only form of issue, 1938. Exceedingly uncommon. M-A MB 15
0707. AUGUSTA OLTRABELLA, w.Capuana Cond. La Scala Orch.: Mefistofele – Spunta l’aurora pallida /
La Traviata – Addio del passato. 10” EL LVDP DA 5351, only form of issue, 1938. M-A, a gleaming copy. MB 12
0708. AUGUSTA OLTRABELLA, w.Antonicelli Cond. La Scala Orch.: Suor Angelica – Senza mamma /
AUGUSTA OLTRABELLA & GINO del SIGNORE: Fedora – Vedi, io piango.
12” EL LVDP DB 5350, only form of issue, 1934. M-A, a gleaming copy. MB 8
0709. AUGUSTA OLTRABELLA & BERNARDO de MURO: Andrea Chénier – Ora soave; Vicino a te, 2s.
10” AC white Archive HMV VA 52, POM-12 Feb., 1923. MINT MB 6
0710. AUGUSTA OLTRABELLA & GINO del SIGNORE, w.Antonicelli Cond. La Scala Orch.:
Il Dibuk - Eccoti mia bella amica / Maora torno verso l'anima tua (Rocca). Creator Record [Oltrabella],
(24 March, 1934, La Scala). 12” EL V 13781, POM-1934. M-A MB 15
"Augusta Oltrabella was a verismo specialist and a leading exponent of new Italian operas of the
period….Her career lasted 40 years and included appearances at…the Metropolitan Opera in 1929…Covent
Garden, other European houses, and the Salzburg Festival under Toscanini."
- Vivian A. Liff, AMERICAN RECORD GUIDE, July/August, 2005
0711. LINA AIMARO: Rigoletto –Caro nome / Lucia – Ardon gl’incensi (1940 versions).
12” EL MasterWorks Col. 69489-M, POM-1940. M-A , a gleaming copy of preferred MasterWorks pressing. MB 8
0712. LINA AIMARO, w.Berrettoni Cond.: Rigoletto –Caro nome / Lucia – Ardon gl’incensi (1939 versions).
12” EL LVDP DB 5359, POM-1939. M-A MB 8
“Lina Aimaro made her début in 1934 in Turin as Lucia. In the following years she sang in Parma, Palermo,
Genoa, Florence, Rimini, Brescia Rome and Milan. In the 1938-39 season Aimaro appeared at the
Metropolitan Opera as Lucia with Gigli as her partner. Her roles included Amina, Adina, Oscar, Violetta,
Philine (MIGNON) and Lauretta (GIANNI SCHICCHI). She sang at La Scala, Rome, Turin and the major
Italian houses. In 1950 she sang in the world premiere of the opera L'ORSO by L. Ferrari-Trecate and in
1953 in the world premiere of Orff’s TRIONFO D'AFRODITE. Aimaro was engaged to sing at the Met in
1940-41 but had to remain in Italy during the war. She made guest appearances in Lisbon, Cairo, the
Netherlands, Budapest, Antwerp, Stockholm, Switzerland and Rome. She became a teacher in Milan after
she retired from the stage.”
0713. LYANA GRANI, w.Berrettoni Cond.: Barbiere – Una voce poco fà, 2s.
10” EL dark green Italian Col. BQ 6019, only form of issue, 18 June, 1946. M-A MB 10
0714. LYANA GRANI, w.Berrettoni Cond.: Il Matrimonio Segreto –
Perdonate, signor mio (Cimarosa) / Rigoletto – Caro nome. 12” EL green Italian Col. GQX 11097,
only form of issue, 11 / 10 April, 1946. M-A MB 8
0715. LYANA GRANI, w.Berrettoni Cond.: La Traviata – Ah! fors’ è lui; Sempre libera, 2s.
12” EL green Italian Col. GQX 11098, only form of issue, 18 June / 11 April, 1946. M-A MB 10
0716. LYANA GRANI, w.Morelli Cond.: Don Pasquale – Quel guardo il cavaliere; So anch’io la virtù magica, 2s.
10” EL LVDP DA 11303, only form of issue, 1948. M-A, gleaming copy has faintest pap.rub, inaud. MB 10
0717. LYANA GRANI, w.Morelli Cond.: Lucia – Regnava nel silenzio / Quando rapita in estasi.
12” EL LVDP DB 11317, only form of issue, 1948. M-A, a gleaming copy. MB 8
0718. LYANA GRANI, w.Morelli Cond.: Carmen - Je dis que rien ne m’épouvante / Mignon – Je suis Titania
(both in Italian). 12” EL LVDP DB 11318, only form of issue, 1948. M-A, a gleaming copy. MB 8
“Lyana Grani had one of the most beautiful coloratura voices within her generation in Italy.”
- Jozef Sterkens
0719. ONELIA FINESCHI, w.Basile Cond: Otello – Ave Maria / Tosca – Vissi d’arte.
12” EL dark green Cetra BB 25197, only form of issue, 30 June, 1947. M-A MB 8
0720. ONELIA FINESCHI , w.Basile Cond: Madama Butterfly – Tu, tu, piccolo iddio! / Manon Lescaut –
In quelle trine morbide. 12” EL dark green Cetra BB 25204, only form of issue, 4 July / 29 June, 1947. M-A MB 8
0721. ONELIA FINESCHI, w.Basile Cond.: La Wally – Ebben? Ne andrò lontana / La Boheme – Donde lieta uscì.
12” EL dark green Cetra BB 25195, only form of issue, 2/8 July, 1947. M-A MB 8
0722.. ONELIA FINESCHI & FRANCESO ALBANESE, w.Basile Cond.: La Boheme – O soave fanciulla / Sono andati.
12” EL dark green Cetra BB 25210, only form of issue, 8 July, 1947. M-A MB 8
“Onelia Fineschi is almost always known as a lyric soprano voice which was too quickly pushed to sing a
repertoire too heavy for her fach, thus untimately paying with a very sharp decline in voice. After years of
silence and study Onelia Fineschi resumed his career in the mid 50's in a repertoire similar to that of
Tebaldi, but without having the latter’s notoriety. If the repertoire is similar to that of Tebaldi, it must be said
that both voices were the voice of an angel. Fineschi’s performance style of is of the more traditional style of
her period.”
0723. CARLA CASTELLANI, w.Berrettoni Cond. La Scala Orch.: Aïda - O cieli azzurri / Il Trovatore - Tacea la notte.
12” EL LVDP DB 11301, only form of issue, 29 April, 1946. M-A MB 25
"I sang with so many Aidas, and among the finest I would put Tebaldi, when she was at her peak...and Carla
Castellani. The latter's Nile Scene was unforgettable, a texture of silk and divinity. You know, 'O cieli
azzurri' is one of the most difficult arias Verdi ever wrote, and Carla made it seem as if it were the easiest
thing in the world."
- Elena Nicolai
0724. CARLA CASTELLANI, w.Berrettoni Cond. La Scala Orch.: La Wally – Ebben, me andro lontana /
Il Trovatore – D’amor sull’ali rosee. 12” EL LVDP DB 11302, only form of issue, 30 April, 1946. M-A MB 25
“Discovered by Gino Marinuzzi, Carla Castellani débuted as Elvira in ERNANI at La Scala’s opening night,
26 December 1941. Also in the cast were Francesco Merli, Tancredi Pasero and Gino Bechi. She
remained at La Scala for several seasons, singing under Victor De Sabata and Vittorio Gui, as well as
Marinuzzi. In 1946 she sang Amelia in UN BALLO IN MASCHERA, and the following year appeared as
Tosca, alongside Ferruccio Tagliavini. She appeared at major Italian theaters.”
0725. BLANCHE MARCHESI: Cavalleria – Voi lo sapete. 10” AC black Berlin G & T G.C.53441 (4135b),
only form of issue, 1906. A to M-A, beautiful copy has mere hint of grey on peaks. MB 350
0726. BLANCHE MARCHESI: Queen Anne Boleyn in prison (O death, rock me asleep) (arr. Dolmetsch) /
L’Été (Chaminade). 10" EL / AC silver Orth/AC Victor IRCC 97, POM-1936 / Sd.2 – RR, 1906.
Numbered Copy #87 of Limited Edition, Sd.2 label is Autographed by Marchesi, to which her photo is affixed.
M-A, a gleaming copy. MB 75
"In 1906, Mme Marchesi made some records for the HMV Company in Berlin; the matrices were destroyed
the same year in submission to an ultimatum of Nellie Melba - a dark chapter in the story of recorded
song....Then, after a lapse of thirty years, Mme Marchesi returned to the HMV Studios to make three
records, already historic....The records which [she] has recently made in London represent the first major
triumph of the record collectors....There is thus preserved for us the most important link in that chain which
constitutes the history of recent song, a chain that leads back through the grandeur of the Golden Age
directly to Manuel Garcia."
- Stephen Fassett, HOBBIES, Feb., 1937
0727. BLANCHE MARCHESI: Amuri, amuri (arr. Sadero) / Dido and Aeneas - When I am laid in earth (Purcell).
10" EL silver Orth Victor IRCC 89, POM-1936. Numbered Copy #3 of Limited Edition to which
Marchesi’s photo is affixed, Sd.2 label; Sd.1 Autographed by Marchesi. M-A, a gleaming copy. MB 75
“With Marchesi, there is the hauntingly peculiar sound of her still-beautiful seventy-five year old voice; also
an eloquent compassion making itself felt through the old-fashioned portamenti at ‘Wohl seh'ich, Herrin’ and
the following bars – not just a local access of feeling, this, but something which pervades the whole
performance.”
- J.B. Steane, THE GRAND TRADITION, p.609
“Blanche Marchesi was virtually ordained at conception to a musical life. Her father, Salvatore Marchesi
(1822 – 1908), was an internationally known Italian baritone who also taught at the Vienna Conservatory
and wrote a voice methodology. Her mother, of course, was Mathilde Marchesi (1821 – 1913), the Germanborn mezzo-soprano whose Paris voice studio included an array of female students who went on to become
the most famous singers of their era. Dame Nellie Melba, Emma Calvé, Etelka Gerster, Ilma de Murska,
Frances Alda, Selma Kurz, Frances Saville, Sigrid Arnoldson and Emma Eames (whether she liked to admit
it or not) were all products of the famed ‘Marchesi School’, as were many others, including Blanche herself.
She worked in her mother’s studio as an accompanist, but also taught; the Wagnerian soprano Ellen
Gulbranson, Bayreuth’s only Brünnhilde from 1897 – 1914, was for the most part the product of Blanche’s
tuition. She settled in London, and taught almost till the day she died.
Blanche Marchesi is of great importance in the history of classical singing. For obvious reasons, she was
most likely the finest exponent of her mother’s teachings. And here the links to the earliest years of 19th
century musical styles and standards begin. Mathilde Marchesi had studied with Manuel García II (1805 1906); his sisters Maria Malibran and Pauline Viardot are legendary names in operatic history, and his other
pupils included Sir Charles Santley and Jenny Lind. More remarkably, if one chooses to go back a
generation to the elder García, it is certain that musical values of the 18th century were handed down,
father-to-son, then mother-to-daughter, by these two amazing families.
Blanche Marchesi made her first records in Berlin early in 1906. Her second ventures into the recording
studios were in 1936 – 37, by which time she was well into her 70s. By far, the recordings from the 1930s
are more remarkable. They were made just a few years before her death, and nature had darkened the
shading of the voice. It is important to remember when listening to any of them (mostly song titles and
oratorio excerpts) that the singer was in her 70s; they become all the more impressive with this thought in
mind. Saving the best for last, Marchesi’s famous recording of the ‘Sicilian Cartdriver’s Song’ is a revelation.
Here, the fact that the voice sometimes sounds a bit elderly and weary only adds appropriate dramatic
intensity to the words. The voice is remarkably steady once she gets going; her trills and adept negotiation
of scales are positively spine-tingling and haunting. Like a great master before a canvas, Blanche Marchesi
creates a masterpiece, carefully applying her voice like dabs of paint to a great work of art until she is sure
the colors and texture are just right. This is a ‘desert island’ record, without doubt one of the finest ever
made.”\
- Andrea Shum-Binder, subito-cantabile
0728. LUISA BERTANA: Nerone – Padre nostro /
MARCEL JOURNET: Ecco il magico specchio. 12” AC Vla 6483, POM-16 May, 1924. Double Creator Record,
(1 May, 1924, La Scala).Never listed in a North American Victor catalogue. M-A, a gleaming copy. MB 15
0729. EBE STIGNANI, w.Tansini Cond.: Barbiere – Una voce poco fà / Il Trovatore – Condotta ell’era in ceppi
(1942 Version). 12” EL dark green Cetra BB 25098, POM-16 Nov., 1941 / 21 Aug., 1942. M-A MB 8
0730. EBE STIGNANI, w.Tansini Cond.: Mignon – Connais-tu le pays? (1941 Version, in Italian) /
L’Amico Fritz – Laceri, miseri. 12” EL dark green Cetra BB 25041, POM-16 Nov., 1941. M-A MB 6
0731. EBE STIGNANI, w.la Rosa Parodi Cond.: La Gioconda – A te questo rosario /
Cavalleria – Voi lo sapete (1940 Versions). 12” EL dark green Cetra BB 25055, POM-21 May, 1940. M-A MB 20
0732. EBE STIGNANI, w.Quadri Cond.: La Gioconda – Stella del marinar /
Fedora – O grandi occhi. 12” EL Eng. Col. LX 1253, POM-1946. M-A MB 8
0733. EBE STIGNANI, w.Berrettoni Cond.: Samson et Dalila – Printemps qui commence (in Italian), 2s.
10” EL LVDP DA 5383, only form of issue, 1940. M-A, lovely copy has wee pressing bump, Sd.1. MB 20
0734. EBE STIGNANI, w.Tansini Cond.: Xerxes – Ombra mai fu (Handel) / Gloria in excelsis Deo - Pastorale (Parelli).
12” EL dark blue Cetra CB 20310, only form of issue, 21 Aug., 1942. A to M-A, lovely copy has faintest pap.rubs, inaud.
Exceedingly Elusive, only the second copy we’ve ever seen! MB 65
0735. EBE STIGNANI, w.la Rosa Parodi Cond.: Orfeo – Che farò senza Euridice / Alceste – Divinités du Styx (in Italian).
12” EL Parl.-Odeon R.30002, POM-20 Dec., 1940. A to M-A, choice copy has 2 minuscule dust scrs. MB 6
0736. EBE STIGNANI, w.Petralia Cond.: Serenata / Marechiare (both Tosti). 10” EL dark blue Cetra AR 0126,
only form of issue, 25 Oct., 1942. M-A, a gleaming copy. Exceedingly Elusive! MB 25
0737. EBE STIGNANI, w.Petralia Cond.: Canto d’Aprile (Bossi) / M’ama non m’ama (Mascagni). 10” EL dark blue Cetra
AR 0127, recorded 25 Oct., 1942; only form of issue,Sd.1. M-A, a gleaming copy. Exceedingly Elusive! MB 25
“I had heard [Stignani] in Florence many times in the late twenties and thirties and had been, like everyone
else, totally awed by the voice, which was usually referred to as the miracle of the century….The Carnegie
Hall recital [20 Nov., 1949] was a triumph that those who attended will never forget. This simple woman
walked out on that bare stage and all she had to do was to open her golden mouth to leave everyone
astounded at the beauty of the timbre, the enormous control, the stunning facility with which she went up and
down the scale, and the purity of the vocal line.”
- Lanfranco Rasponi, THE LAST PRIMA DONNAS, pp.35-38
0738. EBE STIGNANI, w.Ricci Cond.: Samson et Dalila – Mon coeur s’ouvre à ta voix (1946 Version, in Italian), 2s.
12” EL Eng. Col. LX 976, POM-10 Dec., 1946. M-A, a gleaming copy. MB 6
0739. EBE STIGNANI: Samson et Dalila – Printemps qui commence; Amour, viens aider;
Mon coeur s’ouvre à ta voix (c.1935 Versions, in Italian), 5s. / Sd.6 = Linda di Chamounix – Cari luoghi ov’io passai.
3-12” EL Parl. DPX 21/23, POM-c.1935. M-A, a gleaming copy. MB 15, the Set.
0740. EBE STIGNANI: La Favorita – O mio Fernando (1937 Version) / Mignon – Je connais une pauvre enfant (in Italian).
12” EL Parl. DPX 20, POM-1937. M-A MB 6
0741. EBE STIGNANI, w.Bellezza Cond.: La Favorita – O mio Fernando (preceeded by ‘Fia dunque vero!’), 2s.
12” EL Eng. Col. LX 1106, POM-10 Dec., 1946. M-A MB 8
0742. EBE STIGNANI: Carmen – Habanera / Mignon – Connais-tu le pays? (1927 Versions, both in Italian).
10” burgundy Viva-Tonal Col.43001-F, POM-1927.
M-A, gleaming copy has, Sd.2 only, 2 infinitessimal pap.scrs, positively inaud. MB 10
0743. EBE STIGNANI, w.Capuana Cond.: Carmen – Habanera / Mignon – Connais-tu le pays?
(1952 Versions, both in Italian). 12” EL Eng. Col. LX 1578, POM-1952. M-A, a gleaming copy. MB 8
0744. EBE STIGNANI, w.Votto Cond.: Carmen – Habanera (1946 Version) / En vain pour éviter (both in Italian).
12” EL dark blue Italian Col. GQX 11136, POM-10 Dec., 1946. M-A, a gleaming copy. MB 10
0745. EBE STIGNANI, w.Quadri Cond.: Carmen – Séguedille / Samson et Dalila – Amour, viens aider (1950 Versions,
both in Italian). 12” EL dark blue Italian Col. GQX 11376, POM-17 June, 1950. M-A, a gleaming copy. MB 10
0746. EBE STIGNANI, w.la rosa Parodi Cond.: Don Carlos – O don fatale / Il Trovatore – Stride la vampa!.
12” EL Parl.-Odeon R.30018, POM-21 May, 1940. M-A, a gleaming copy. MB 6
0747. EBE STIGNANI, w.la rosa Parodi Cond.: Semiramide – Ah! quel giorno / Ballo – Re dell’abisso affrettati.
12” EL Parl.-Odeon R.30023, POM-20 Dec., 1940. M-A, a gleaming copy. MB 6
0748. EBE STIGNANI, w.Ricci Cond.: Cavalleria Rusticana – Voi lo sapete / Il Trovatore –
Condotta ell’era in ceppi (1946 Versions). 12” EL Eng. Col. LX 1049, POM-1946. M-A, a gleaming copy. MB 6
0749. EBE STIGNANI, w.Tansini Cond.: Norma – Casta Diva / Ah! bello a me ritorna.
12” EL red Cetra BB 25097, POM-21 Aug., 1942. M-A, gleaming copy has infinitessimal dust mk, Sd.2. MB 20
0750. EBE STIGNANI, w.Tansini Cond.: Norma – Casta Diva / Ah! bello a me ritorna.
12” EL dark green Cetra BB 25097, POM-21 Aug., 1942. A glorious performance by this great artist
who in her dotage would ultimately sing Adalgisa to Callas’ Norma, in the 1950s! M-A MB 10
0751. EBE STIGNANI & GIANINA ARANGI-LOMBARDI: Norma – Mira, o Norma, 2s. 12” EL burgundy
Viva-Tonal Col. 83015-F, POM-24 April,1927. M-A, gleaming copy of this preferred Viva-Tonal pressing. MB 15
0752. EBE STIGNANI & GIANINA ARANGI-LOMBARDI: Norma – Mira, o Norma, 2s.
12” EL dark blue Italian Col. GQX 10160 POM-24 April,1927. M-A, another gleaming copy. MB 10
0753. EBE STIGNANI & GIANINA ARANGI-LOMBARDI: La Gioconda – L’amo come il fulgor /
STIGNANI, ARANGI-LOMBARDI, NESSI, BARACCHI & MENNI: A te questo rosario (1927 version).
12” EL dark blue Italian Col. GQX 10168, POM-24 April,1927. M-A, a gleaming copy. MB 12
0754. EBE STIGNANI & GIANINA ARANGI-LOMBARDI: La Gioconda – L’amo come il fulgor /
STIGNANI, ARANGI-LOMBARDI, NESSI, BARACCHI & MENNI: A te questo rosario (1927 version).
12” EL dark blue PW Eng. D 18030, POM-24 April,1927. M-A MB 6
“Ebe Stignani sang more than one hundred roles in her career that lasted more than three decades! Her
last appearance was as Ulrica in Florence in 1957. Clemens Höslinger wrote: ‘The mezzo-soprano Ebe
Stigani had a prominent place in the ensemble of La Scala between the wars. She was a versatile, devoted
artist, a lively and passionate actress, a singer with an expansive, metallic voice, eminently suited for
dramatic, high-strung roles such as Amneris, Eboli, Carmen and Santuzza. Veracity of expression, absolute
dedication to the artistic task in hand were characteristic of her personality….’ Her voice is glorious.”
- Andrea Shum-Binder, subito-cantabile
0755. BRUNA CASTAGNA, w.Wilfrid Pelletier Cond.: Carmen – Séguedille / En vain pour éviter (Air des cartes).
10” EL PW V 1936, POM-22 April, 1938. M-A, Exemplary Copy MB 8
0756. BRUNA CASTAGNA, w.Wilfrid Pelletier Cond.: Carmen – Les tringles des sistres tintaient /
Mignon – Me voici dans son boudoir. 10” EL PW V 2161, POM-22 April, 1938. M-A, Exemplary Copy. MB 8
“…Bruna Castagna, whose voluptuous mezzo voice made her one of the finest Carmens of our century.
Tullio Serafin had been one of her earliest mentors, and had negotiated her successful South American
tours in the late 1920s. Toscanini intervened next, bringing her to the attention of La Scala….”
- Rosa Ponselle, PONSELLE, A SINGER’S LIFE, p.140
0757. BRUNA CASTAGNA, w.Antonini Cond.: Samson et Dalila – Printemps qui commence /
Mon coeur s’ouvre à ta voix. 12” EL PW Col. 71058-D, only form of issue, 1941. M-A, Exemplary Copy. MB 8
0758. BRUNA CASTAGNA, w.Antonini Cond.: Samson et Dalila – Amour viens aider / Werther – Air des lettres.
12” EL PW Col. 71390-D, only form of issue, 1942. M-A, Exemplary Copy. MB 8
0759. BRUNA CASTAGNA, w.Antonini Cond.: Don Carlos – O don fatale / La Gioconda – Voce di donna.
12” EL PW Col. 71276-D, only form of issue, 1941. M-A, Exemplary Copy. MB 8
“Although the Metropolitan Opera didn't have Ebe Stignani, it had Bruna Castagna, another mezzo soprano
of voluminous voice and uncommon agility who similarly succeeded as Bizet's Carmen despite a less than
exemplary figure. Toscanini engaged Castagna both in her native Italy and again for performances in
America. Air checks of live performances from the Metropolitan reveal a chocolate-colored instrument being
guided by a musicianly singer possessing both passionate commitment and considerable discretion. At
Barcelona's Liceo, she undertook Carmen for the first time; it would soon become one of her signature roles.
After triumphant stage performances in France, Germany, Romania, Egypt, and Australia, Castagna
received invitations from Chicago and San Francisco and enjoyed a major success in a concert appearance
at New York's Hippodrome in 1934. She made her New York stage début on 2 March, 1936, singing a
strong Amneris and winning the approval of the city's music critics. Her Azucena in IL TROVATORE was
found a searing dramatic presence with voice to match and her Carmen, though Italianate in flavor, was a
persuasive departure from the hands-on-hips excesses of previous interpreters. Assessing her approach to
the role, Pitts Sanborn enthusiastically commented ‘always she is the accomplished musician. The mantle
of the great Carmens has fallen upon her, and royally she wears it’. Despite leaving too few commercial
recordings, live performances preserved on disc attest to a superior singer. Especially persuasive are the
Verdi REQUIEM and Beethoven’s MISSA SOLEMNIS she recorded with Toscanini, plus examples of her
wonderfully sung Verdi specialties.”
- Erik Eriksson, allmusic.com
0760. BIANCA SCACCIATI: La Wally – Ebben, ne andró lontano / La Gioconda – Suicidio!
10” EL dark red PW Eng. Col. D12576, POM-1927. A-/A-B, very decent copy has lt.rubs, inaud.;
Sd.2 has various lt.scrs & scuffs, mainly cosmetic. MB 5
0761. BIANCA SCACCIATI: La Boheme – Donde lieta uscì /
GIANNINA ARANGI-LOMBARDI: Cavalleria – Voi lo sapete. 10” EL burgundy Viva-Tonal Col. 43003-F, POM-1927.
M-A, gleaming copy of preferred Viva-Tonal pressing. MB 8
0762. BIANCA SCACCIATI: LA BOHEME - Mi chiamano Mimi /
TANCREDI PASERO: BARBIERE - La calunnia (1927 Version).
12” EL red PW Eng. Col.D14691, POM-1927. M-A, a gleaming copy. MB 8
0763. BIANCA SCACCIATI: Ballo - Morrò, ma prima in grazia / Tosca – Vissi d’arte.
12” EL blue PW Eng. Col.D18027, POM-1927. M-A, a gleaming copy. MB 6
0764. BIANCA SCACCIATI: Andrea Chénier – La mamma morta / MARIANO STABILE: Un dì mi era di gioia.
12” EL dark blue Italian Col. GQX 16502, POM-1928. M-A, a gleaming copy. MB 8
0765. BIANCA SCACCIATI: Loreley - O forze recondite (Catalani) /
SCACCIATI, FRANCESCO MERLI & TANCREDI PASERO: Forza - Final Trio.
12” EL blue Italian Col. GQX 10213, POM- 26 Feb., 1929. M-A MB 10
0766. BIANCA SCACCIATI & FRANCESCO MERLI: Turandot – In questa reggia, 2s.
10” EL red PW Eng. Col. D12517, POM-28 May, 1926. M-A MB 8
0767. BIANCA SCACCIATI & FRANCESCO MERLI : Ruy Blas - O dolce voluttà (Marchetti), 2s.
12” EL blue Italian Col. GQX 10202, POM-20/21 Feb., 1929. M-A MB 10
0768. BIANCA SCACCIATI & FRANCESCO MERLI: Loreley - Vieni! Deh! vieni (Catalani), 2s.
12” EL blue Italian Col. GQX 10203, POM- 26 Feb., 1929. M-A, a gleaming copy. MB 8
0769. BIANCA SCACCIATI & FRANCESCO MERLI: Il Guarany – Sento una forza indomita (Gomes), 2s.
12” EL blue PW Eng. Col.D18064, POM-20 Feb., 1929. M-A, lovely copy has faintest pap.rubs, Sd, inaud. Elusive! MB 12
“In an era that boasted Italian-repertory dramatic sopranos of the quality of Giannina Arrangi-Lombardi,
Rosa Ponselle and Eva Turner, Bianca Scacciati held her own, winning the admiration of audiences, critics
and (more significantly) conductors, particularly Toscanini. Make no mistake, here is a spectacular voice
coupled with a strong temperament and intelligence.”
- Ira Siff, OPERA NEWS, June, 2000
0770. EUGENIA BURZIO: Ballo – Ma dall’arido stelo divulsa; Mezza notte, 2s.
10¾“ AC Milano Fonotipia 39513/14 (XPh 1543/44), POM-18 Dec., 1905.
M-A, choice copy has hint of grey on peaks, inaud. MB 25
“Few singers have Burzio’s gift of making records that convey the electrifying sense of a live
performance….Her Verdi style is the anthesis of Toscaninian…[she is] in the front rank of Verdi singers. Her
greatest achievement is ‘Ma dall’arido’ [in which] she lingers lovingly over each phrase, swelling and
diminishing tones at will, throbbing with suppressed terror. She seems to have unlimited supplies of breath
[allowing] her musical imagination to run riot.”
- Michael Aspinall, THER RECORD COLLECTOR, 2001
0771. EUGENIA BURZIO: L’Africaine – Sur mes genoux (in Italian) / Bracale Cond. La Scala Orch.: Preludio.
10¾“ AC Milano Fonotipia 62510/92772 (XPh 4271/4454), POM-1910. M-A, a spectacular copy. MB 35
0772. EUGENIA BURZIO: Aïda – O Patria mia / Mefistofele – Spunta, l’aurora pallida.
10¾“ AC Milano Fonotipia 62414/15 (XPh 4268/72), POM 1910.
A-B, very decent copy has lt. rubs & wee scrs, ltly audible, if at all. MB 20
0773. EUGENIA BURZIO & GIUSEPPE ACERBI; Martucci Cond.: Cavalleria – Stu qui, Santuzza?, 2s.
10¾“ AC Milano Art Label Phonodisc Mondial 89 / 56 (711/12), only form of issue, c.1914.
A-B, very decent copy has, primarily Sd. 2, lt. rubs & lt. scrs;
Sd.2 only has 2 minor pressing indents, momentarily audible. MB 20
0774. EUGENIA BURZIO: Forza – Pace, pace mio Dio! /
EUGENIA BURZIO & GIUSEPPE de LUCA: La Gioconda –
Così mantieni il patto? 12” AC green Fonotipia-Odeon F-5513 (xxPh 2279/2391),
POM-18 Dec., 1906 / 31 Jan., 1907. M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 25
“Burzio’s…dramatic instincts are particularly apparent in the duet from LA GIOCONDA, where she is joined
by Giuseppe De Luca. Burzio’s first words, ‘Sí, il patto mantengo’, are grimly fatalistic, but when she begins
her pseudoseduction of Barnaba, ‘T’arresta!’, the voice begins to glow suggestively. As she asks God’s
forgiveness for turning the knife on herself, ‘Dio mi perdoni l’immenso peccato’, we hear a soul’s despair.”
- William Ashbrook, Marston Program Notes
0775. NINI FRASCANI:& MARIO GILION: Samson et Dalila – Mon coeur s’ouvre à ta voix (in Italian) /
Il Trovatore – Ai nostri monti. 10¾” AC Milano Fonotipia 92855/56 (xPh 4431/33), POM-3 Dec., 1910.
A-B/A-, very decent copy has lt. rubs & cosmetic scrs.; wee ec, Sd.1, not to grooves. MB 12
“Nini Frascani made her début at Naples in LA FAVORITA in 1899. In 1903 she was at La Scala as Fricka
in the Italian première of DAS RHEINGOLD, and appeared there also as the Principessa in ADRIANA
LECOUVREUR. In 1909 she appeared as Neris in Cherubini’s MEDEA. In 1905 she guested at the Teatro
San Carlo in Naples andin the premiere of Leopoldo Mugnone's opera VITA BRETONNE. In 1904 she sang
at Covent Garden, and in 1906 and then 1914-15 with great success at the Teatro Colón in Buenos Aires.
In 1909 she again appeared at the Teatro San Carlo in Naples, this time as queen in Thomas’ AMLETO,
and in 1911 at the Teatro Regio in Parma she guested as Laura in LA GIOCONDA. Beginning in 1909 she
sang regularly at La Scala where she appeared in the première of Dukas’ ARIANE ET BARBE-BLEUE. In
1913 she appeared in the Verdi-commemorative celebrations in many of the big Italian theaters. She
married the tenor Gaetano Tommasini and appeared with him in North America, in 1921 with Favorita Opera
Company in New York, then later with San Carlo Opera Company.”
0776. ROSINA STORCHIO: Linda di Chamounix – O luce di quest’anima /
Fra Diavolo – Si domani, si domani. 10¾“ AC Milano Fonotipia 39402/39597 (xPh1794/1502), POM-1905/’06.
A to M-A/A-, choice copy has faintest rubs, inaud; Sd.2 only has few lt.mks & hint of grey on peaks. MB 35
0777. ROSINA STORCHIO & IDA RAPPINI: Linda di Chamounix – Al bel destin /
IDA RAPPINI: Dom Sebastiano – Terra adorata. 10¾“ AC Milano Fonotipia 92775/76 (xPh4517/07), POM-1911
A to M-A, choice copy has, Sd.1 only, infinitessimal dust mks, barely visible & inaud.. MB 45
“Rosina Storchio was an important Italian lyric soprano who starred in the world premieres of operas by
Puccini, Leoncavallo, Mascagni and Giordano. Renowned throughout her homeland for her vivacious acting
and sparkling stage presence. Born in Venice, Storchio studied at the Milan Conservatory before making
her operatic début as Micaëla in Bizet’s CARMEN at Milan’s Teatro Dal Verme in 1892. Three years later,
she débuted at Italy's most famous opera house, La Scala, Milan, performing in Massenet’s WERTHER.
Milan became her home base from then on. Her final public performance was as Cio-Cio San in Puccini's
MADAMA BUTTERFLY at Barcelona in 1923, (the rôle she had created in the first performance of MADAMA
BUTTERFLY, at La Scala, 17 Feb., 1904).”
0778. ELENA NIKOLAIDI, w.Cleva Cond. Columbia S.O.: Semiramide - Bel raggio lusinghier, 2s.
12” EL Col. 72885-D, only form of issue, 1949. M-A MB 15
0779. ELENA NIKOLAIDI, w.Cleva Cond. Columbia S.O.: Macbeth – Una macchia è qui tuttora (Sleep walking scene) /
Don Carlos – O don fatale. 12” EL Col. 72884-D, only form of issue, 1949. M-A MB 15
“Nikolaidi was cast by Bruno Walter as Princess Eboli in Verdi's DON CARLOS with the Vienna State Opera
on 16 December, 1936. She made her Town Hall début recital in New York in January of 1949. The
following morning, Jerome D. Bohm of the New York Herald Tribune wrote: ‘In 20 years of music reviewing
and in twice that number spent in listening to most of the world's best singers, I have encountered no greater
voice or vocalist’; the New York Times critic wrote of her "rare brilliance."
0780. ISABELLA de FRATE: Barbiere – Una voce poco fà, 2s.
10¾“ AC Milano Fonotipia 92903/04 (XPh 48828/29), POM-1912.
A to M-A, spectacular copy has faintest pap.rubs, barely visible, certainly inaud. MB 65
“Isabella de Frate (daughter of Ines de Frate) had a successful, but short career as an opera singer. These
two [above] sides are a small part of her discography of only ten issued recorded sides. Her better-known
mother, Ines, made her début in 1892 in LA TRAVIATA at the opera theatre of Piacenza. In 1895 she
guested at the Teatro Politeama in Buenos Aires, in 1898 at the Teatro Adriano in Rome in
LA GIOCONDA. In 1895 she guested at La Scala in Milan as Leila in I PESCATORI DI PERLE. In the
1898-99 season she again appeared at La Scala in NORMA under A. Toscanini. She was known for her
interpretations of the heroines in Verdi's operas. In 1901 she appeared at the Teatro La Fenice in Venice in
LA GIOCONDA, in 1907 at Reggio Emilia in NORMA. In 1902 at Berlin she sang soprano-solo in Rossini’s
STABAT MATER. Then she moved to America where with other famous Italian opera singers she guested
at the Teatro Tivoli in San Francisco. Here she performed in LUCREZIA BORGIA, AÏDA and NORMA, her
special rôle, with great success. In America she gave a series of concerts under the direction of Mascagni.
She appears to have retired from the opera stage in 1908 [close to the time of her daughter, Isabella’s
emerging career]. For the latter part of her life, she lived at Verdi’s Casa di Riposo in Milan.”
0781. AMELIA TALEXIS: Voi lo sapete / Turridu mi tolse.
10¾“ AC Milano Fonotipia 39550/62263 (XPh 1684/2656), POM-1906/’07. A to M-A, a spectacular copy. MB 45
0782. AMELIA TALEXIS: Il Trovatore – Tacea la notte / AMELIA TALEXIS & MARIO GILION: Ah! che la morte ognora
(Miserere) (1908 Italian Version). 10¾“ AC Milano Fonotipia 92407/06 (XPh 3461/31-2), POM-1908.
A to M-A, beautiful copy has, Sd.2 only, finfinitessimal scr, positively inaud. MB 45
0783. AMELIA TALEXIS: Pique Dame – Ah, la mia mente non regge /
La Gioconda – Suicidio! (1905 Version). 10¾“ AC Milano Fonotipia 39309/15 (XPh 356/388), POM-1905.
A-/B-, decent copy has lt.rubs, inaud.; Sd.2 greyed on peaks. MB 20
0784. AMELIA TALEXIS: Tosca – Vissi d’arte (1905 Version) / Ballo – Ma dall’arrido. 10¾“ AC Milano Fonotipia
39333/39534 (XPh 390/1683), POM-1905/’06. B-, decent copy has lt.rubs & scrs, inaud.; greyed on peaks. MB 20
0785. AMELIA TALEXIS: Tosca – Vissi d’arte / La Gioconda – Suicidio! (1907 Versions). 10¾“ AC Milano Fonotipia
92063/62 (XPh 2889/88), POM-1907. B-, decent copy has lt.rubs & mks plus considerable greying on peaks. MB 20
0786. AMELIA TALEXIS & FERRUCCIO CORRADETTI: Cavalleria – Turridu, mi tolse l’onore /
GIUSEPPE ARMANINI & FERRUCCIO CORRADETTI: Avete altro a dirmi. 10¾“ AC Milano Fonotipia 92134/35
(XPh 2890/2985), POM-1907. B, decent copy has lt. rubs & scuffs, inaud.; lt. grey on peaks. MB 20
0787. AMELIA TALEXIS & EDOARDO GARBIN: Madama Butterfly – Vogliatemi bene, 2s.
10¾“ AC Milano Fonotipia 92258/59 (XPh 3448/49-2), POM-1908.
A to M-A, beautiful copy has wee pressing bump, inaud. MB 45
0788. AMELIA TALEXIS & GASTON DUBOIS: La Traviata – Brindisi / Il Trovatore – Ah! che la morte ognora (Miserere)
(1907 French Version) (both in French). 10½” AC brown French Odéon 60521/34 (XP3778/18), POM-1907.
A /A/B, lovely copy has few very lt.scrs, inaud.; Sd.2 only, sev.scrs, positively audible. MB 25
0789. AMELIA TALEXIS & LUCIEN RIGAUX: Faust – Seigneur, daigne permettre, 2s.
10½” AC brown French Odéon 60541/20 (XP3776/77), POM-1907. A-, lovely copy has superficial rubs & very lt.scrs,
positively inaud.; mere hint of grey on peaks. MB 25
0790. AMELIA TALEXIS & JUSTE NIVETTE: Les Huguenots – Dans la nuit toute seule, 2s.
10½” AC brown French Odéon 60644/51 (XP3883/82), POM-1908. A-B, very decent copy has lt. grey on peaks,
occasional lt.scr. & wee hlc, barely forming, practically invisible; Sd.1 only has lt.nr, faintly audible. MB 12
0791. AMELIA TALEXIS & GASTON DUBOIS: Le Prophète – Mon fils? … Je n’en ai plus! / A la voix de ta mère.
10½” AC brown & white French Odéon 60561/86 (XP3802/03), POM-1907.
A to M-A/A-, choice copy has, Sd.2 only, few superficial scrs, faintly audible, if at all. MB 45
0792. AMELIA TALEXIS & LISE LANDOUZY: Le Roi dÝs – En silence pourqoi souffrir? /Lakmé – Dôme épais .
10½” AC brown & white French Odéon 56128/45 (XP3623/30), POM-1907. A to M-A, a spectacular copy. MB 45
“At an early age, Amélie Talexis began studying piano and cello at the Toulouse Conservatory, and then
studied singing under Jacques Roudil who had previously sung at the Paris Opéra and then taught at the
Toulouse Conservatory. Her earliest engagement was most likely at the French Opera in New Orleans
during the 1897–1898 season. It was there that Talexis probably met her future husband, Henri Berriel, who
was the director and first baritone of the New Orleans company. During the 1898–1899 season, Talexis was
the forte chanteuse falcon at Antwerp’s Théâtre Royal. Berriel was also engaged there as premiere baritone
but was found unsatisfactory and his contract was cancelled. Talexis and Berriel both sang in Montréal
during the 1899–1900 season and in the spring of 1900. Talexis sang 11 performances at the Grand
Théâtre de Bordeaux: Salomé in HERODIADE; Bertha in LE PROPHÈTE; both Eudoxie and Rachel in LA
JUIVE; Chimène in LE CID. Talexis returned to New Orleans for the 1900–1901 season, where Berriel was
again doubling as director and first baritone. At this point in her career, we seem to lose track of her, though
she is said to have sung Aïda in Barcelona, as well as Donna Anna at La Scala, the Colón, and the Havana
Opera. As evidenced by her recordings, her voice was powerful with a wide range and a secure technique,
equally comfortable in French and Italian. She recorded for Fonotipia and Odeon including the Act 4 duet
from LES HUGUENOTS with Léon Escalaïs, which unfortunately was never released. Talexis died tragically
in a freak accident in the bathroom of a hotel in Calais on her way to London at 36 years of age.”
- Vincent Giroud, Marston Program Notes
0793. IRIS ADAMI CORRADETTI: Madama Butterfly - Un bel dì• / Lodoletta - Flammen perdonami. 12" EL dark blue
Cetra CB.20265, only form of issue, 1940. M-A, gleaming copy has wee label tear, Sd.1. Exceedingly Rare! MB 225
0794. IRIS ADAMI CORRADETTI: Francesca da Rimini - Paolo datemi pace /
LINA PAGLIUGHI: Rigoletto -Tutte le feste. 10" EL dark blue Cetra AT.0110, only form of issue, Sd.1 only, 1940.
M-A, gleaming copy has wee label tear, Sd.2. Exceedingly Rare! MB 150
The above 3 sides represent Adami Corradetti's entire published discography!
"Madama Butterfly was another opera destined to be for long synonymous with Iris Adami Corradetti and to
elevate her as a Puccini singer par excellence....During the war years, it was the role of Cio-Cio San which
she was most often asked to perform, and the role in which she poured the greatest intensity of
feeling....Sadly, as far as discography goes, little evidence remains."
- Paolo Padoan, THE RECORD COLLECTOR, 1991
0795. MARIA MENEGHINI CALLAS, w.Basile Cond.: Tristan – Liebestod (in Italian), 2s.
12” EL red Cetra CB 20481, only form of issue, 3 Nov., 1949. M-A, a gleaming copy. Exceedingly Rare! MB 450
0796. MARIA MENEGHINI CALLAS, w.Basile Cond.: I Puritani - O rendetemi la speme; Qui la voce, 2s.
12” EL Parl.-Odeon R.30043, POM-10 Nov., 1949. M-A, Exemplary! MB 45
“The vocal emission and musical style of Maria Callas in her 1949 Cetra 78 of ‘Qui la voce’….has the
delicate clarity that we associate with Patti and Melba. Callas employs a sweeping portamento, far more
than any of her successors have used in this music, and with a touch of a master….In both parts of the aria
she achieves an amount of expression that nobody, in 1949, would have thought possible in this music.”
- Michael Aspinall, THE RECORD COLLECTOR, 2008
0797. AÏDA GONZAGA: Lucia – Spargi d’amaro pianto / Libda di Chamounix – O luce di quest’’anima.
10¾“ AC brown Milano Odeon 59151/52 (XPh 2599/2600). POM-2 May, 1907. M-A, a gleaming copy. MB 15
“Aïda Gonzaga had her first big success during the years after the turn of the 20th century in the leading
opera houses in Spain and Portugal as well as in the theaters of Rio de Janeiro and São Paulo where she
appeared in RIGOLETTO, LAKMÉ and I PESCATORI DI PERLE. Appearances followed in Parma, Milan,
Messina, Modena and Torino. She also made guest appearances in Havana, Odessa, Prague and
St. Petersburg. She retired from the stage in 1923.”
0798. LINA BRUNA-RASA & CARLO GALEFFI: Aïda – Rivedrai le foreste imbalsamate, 2s.
12” EL PW Eng. Col. D18052, POM-1928. A to M-A, beautiful copy has faintest pap.rubs, inaud.;
this very forward recording usually turns up considerably greyed. MB 12
0799. FEDORA BARBIERI, w.Morelli Cond.: Werther – Ces lettres (in Italian), 2s.
10” EL LVDP DA 11302, only form of issue, 1949. M-A, Copy of excellent late pressing! MB 12
0800. FEDORA BARBIERI, w.Quadri Cond.: Carmen – Habanera (in Italian) / Il Trovatore – Stride la vampa.
12” EL LVDP DB 11336, Original issue, 12 Dec., 1949. M-A, Exemplary Copy of excellent late pressing! MB 12
0801. FEDORA BARBIERI, w.Quadri Cond.: Il Trovatore – Condotta ell’era in ceppi / Stride la vampa.
12” EL HMV DB 21261, POM-12 Dec., 1949. M-A MB 8
0802. FEDORA BARBIERI, w.Quadri Cond.: La Favorita – O mio Fernando / Il Trovatore – Stride la vampa!
12” EL HMV DB 11323, POM-14 Jan. / 12 Dec., 1949. M-A, lovely copy has faintest pap.rubs, barely visible & inaud. MB 8
“Billed as mezzo-soprano during her career, Fedora Barbieri might more accurately have been described as
a mezzo-contralto, a term reserved for dramatic voices placed slightly lower than mezzo-sopranos and with
a darker coloration. While she possessed a strong top register, it could not match in ease or splendor like
that boasted by Giulietta Simionato, whose career roughly paralleled Barbieri's. Barbieri recorded
extensively, sometimes leaving multiple studio recordings of her most celebrated roles. Her prime years
lasted into the 1960s.
Barbieri became a pupil of the famous dramatic soprano Giulia Tess (who had herself begun her career as a
mezzo soprano). Barbieri made her stage début in Florence on 4 November, 1940, in Cimarosa'sIL
MATRIMONIO SEGRETO. Her appearance as Fidalma was followed the next day by the role of Azucena in
Verdi's IL TROVATORE. The third night, she returned to the role of Fidalma, beginning a reputation for
endurance that accompanied her throughout her career. After her beginnings in Florence, Barbieri sang for
two and a half years at La Scala in Milan, initiating her relationship with that theatre as Meg Page in
FALSTAFF. A part (Dariola) in the world premiere of Franco Alfano's DON JUAN DE MAÑARA at the 1941
Maggio Musicale Fiorentino attracted considerable attention as did her participation in two revivals of works
by Monteverdi, IL RITORNO D'ULISSE IN PATRIA (1942) and L’ORFEO (1943). In 1943, she retired for
two years to begin married life as the wife of the Maggio Musicale Fiorentino director, Luigi Barlozetti. Her
return to the stage in 1945 took place as Amneris in Verdi's AÏDA at the Teatro Verdi in Florence. Her
career thereafter grew in depth and breadth as she undertook increasing numbers of roles in both the Verdi
and bel canto repertories both at La Scala and elsewhere. During this decade, one of her most convincing
triumphs came in the title role of Donizetti's LA FAVORITA, then a seldom-produced work. In 1950, Barbieri
was chosen by Rudolf Bing to perform the role of Princess Eboli in the new Metropolitan Opera manager's
calling card production of DON CARLO. The acclaim she received in that much-heralded cast assured her
presence at the Met for a total of nine seasons, during which she sang such additional roles as Amneris,
Azucena, Dame Quickly, Carmen, Laura, and Adalgisa in Bellini's NORMA (in which she, together with
Maria Callas, opened the 1956 - 1957 season). She reprised Eboli in Covent Garden's DON CARLOS of
1958.”
- Erik Eriksson, allmusic.com
0803. LICIA ALBANESE, w.Victor Trucco (Pf.): Amarilli (Caccini); Se Florindo è fedele (Scarlatti);
O quand je dors (Liszt); Clair de lune (Szulc); A Spirit Flower (Campbell-Tipton); Lullaby (Tschaikowsky), 6s.
3-10” EL RCA 10-1481/83, only form of issue, 1949, in Orig. Album MO-1316. M-A, as New. MB 15, the Set.
0804. LICIA ALBANESE, w.Olivieri Cond.: Tuo mi chiami (Scarlatti) / Colombetta (Buzzi-Peccia).
10” EL LVDP DA 5372, only form of issue, 1940 (Italy only). M-A, Exemplary Copy of an exceptionally elusive disk! MB 15
0805. LICIA ALBANESE, w.Olivieri Cond.: Dicitencello vuje (Falvo) / Manon Lescaut – In quelle trine morbide.
10” EL LVDP DA 5391, only form of issue, 1940 (Italy only). M-A, Exemplary Copy. MB 10
0806. LICIA ALBANESE, w.Weissmann Cond.: Tosca- Vissi d’arte /
Gianni Schicchi - O mio babbino caro. 12” EL RCA 11-9115, recorded 1945. M-A, as New. MB 5
0807. LICIA ALBANESE, w.Weissmann Cond.: Pagliacci – Qual fiamma aves nel guardo! /
Otello – Ave Maria. 12” EL RCA 11-9957, recorded 1947. M-A, as New. MB 5
0808. LICIA ALBANESE, w.Weissmann Cond.: La Traviata – Addio del passato / w.Leinsdorf Cond.:
Carmen – Je dis que rien ne m,’épouvante. 12” EL RCA 12-0014, recorded 1946/’47. M-A, as New. MB 5
0809. LICIA ALBANESE, w.Weissmann Cond.: La Traviata – É strano; Ah! fors’ e lui / Sempre libera.
12” EL RCA 11-9331, recorded 1945. M-A, as New. MB 5
0810. LICIA ALBANESE, w.Olivieri Cond.: Turandot – Signore, ascolta! / Tu che di gel sei cinta.
10” EL LVDP DA 5390, only form of issue, 1940 (Italy only). M-A, Exemplary Copy of excellent late pressing! MB 10
0811. LICIA ALBANESE, w.Olivieri Cond.: Adriana Lecouvreur – Io son l’umile ancella / Madama Butterfly – Un bel dì.
12” EL LVDP DB 5383, only form of issue, 1940 (Italy only). M-A, Exemplary Copy of excellent late pressing! MB 10
0812. LICIA ALBANESE, w.Jean Paul Morel Cond.: Hérodiade – Il est doux, il est bon /
Manon – Adieu, notre petite table. 12” EL RCA 12-0525, only form of issue, 1947. M-A, as New. MB 5
0813. LICIA ALBANESE, w.Marzollo Cond.: Adriana Lecouvreur – Io son l’umile ancella /
Don Giovanni – Batti, batti, o bel Masetto. 12” EL RCA 12-0658, recorded 1947. M-A, as New. MB 5
0814. LICIA ALBANESE, w.Marzollo Cond.: Don Pasquale – So anch’io la virtù magica /
w.Jean Paul Morel Cond.: Nozze – Giunse alfin il momento; Deh vieni, non tardar.
12” EL RCA 12-0733, recorded 1947. M-A, as New. MB 8
0815. LICIA ALBANESE, w.Victor Trucco Cond.: Madama Butterfly – Ancora un passo / Con onor muore.
12” EL RCA 12-1001, recorded 1949. M-A, as New. MB 5
0816. LICIA ALBANESE, w.Victor Trucco Cond.: Madama Butterfly – Ancora un passo / Con onor muore.
12” EL HMV DB 21406, recorded 1949. M-A, as New. MB 5
0817. LICIA ALBANESE, w.Victor Trucco Cond.: La Boheme – Mi chiamano Mimi / Suor Angelica – Senza mamma.
12” EL RCA 12-1048, recorded 1949. M-A, as New. MB 8
0818. LICIA ALBANESE, w.Victor Trucco Cond.: La Boheme – Mi chiamano Mimi /
FIRST PIANO QUARTET: An American in Paris (Gershwin). 12” EL vinyl RCA Special Promotional Pressing for
D9-RC-1040/EI-RC-3473, POM-1949. M-A, choice copy has faint pap.scr, Sd.1, inud. MB 8
0819. LICIA ALBANESE, w.Victor Trucco Cond.: Louise – Depuis le jour /Adriana Lecouvreur – Poveri fiori.
12” EL RCA 12-1308, recorded 1950/’47. M-A, as New. MB 8
0820. LICIA ALBANESE, w.Victor Trucco Cond.: La Boheme – Addio senza rancor /
Manon Lescaut – Il quelle trine morbide. 12” EL RCA 12-1307, recorded 1949/’50. M-A, as New. MB 8
“One of the most delicate, sighing, judiciously used women’s voices one might ever hear. Licia Albanese
would move on stage purposefully, with precision, painting her tones with careful control of her means and a
clear perception of their end.”
- Giacomo Lauri-Volpi, VOCI PARALLELE (Bologna ed., 1977).
0821. LICIA ALBANESE & JAN PEERCE, w.Victor Trucco Cond.: La Traviata – Brindisi / Parigi, o cara.
12” EL RCA 12-1320, recorded 1950. Rare issue on 78rpm, thought not to exist as such. M-A, as New. MB 10
0822. LICIA ALBANESE & ROBERT MERRILL, w.Weissmann Cond.: La Traviata – Dite alla giovine, 2s.
12” EL RCA 11-9175, recorded 1946. M-A, as New. MB 5
0823. LICIA ALBANESE & ROBERT MERRILL, w.Jean Paul Morel Cond.: Pagliacci – Nedda! Silvio! A quest’ora, 2s.
2–12” EL RCA 12-1355/56, recorded 1947 (from elusive RCA set of duets, DM-1433). M-A, as New. MB 10, the Pair.
0824. LICIA ALBANESE & LUCILLE BROWNING, w.Weissmann Cond.: Madama Butterfly – Spoglio è l’orto /
TOSCANINI Cond.NBC S.O.: Prometheus – Overture (Beethoven). 12” EL vinyl RCA Special
Promotional Pressing for D6-RC-15212/D4-RC-0564, recorded 1946/’45. M-A, as New. MB 8
0825. LICIA ALBANESE, di STEFANO, WARREN & MUNSEL; Cellini Cond. RCA Orch.:
La Boheme – Act IV Finale (beginning with ‘Sono andati?’), 4s. 2–12” EL LVDP DB 9777/78, only form of issue (Italy only),
23 March, 1951 (although recorded in New York). M-A, gleaming copy of choice late LVDP pressing. MB 20, the Pair.
"One of the most respected and reliable artists at the Met when I began there was Licia Albanese. Her
contribution to the lyric theatre will always be remembered for her superb, clear Italian diction and the warm,
velvety sound of her voice. Of all Licia’s roles I most admired her Butterfly. Her beautiful voice was perfect
as Cio Cio San, and she enjoyed great success in this opera for well over two decades.”
- Dorothy Kirsten, A TIME TO SING, p.76
0826. FLORENCE QUARTARARO, w.Morel Cond.: Andrea Chénier - La mamma morta /
Atalanta - Care selve (Handel). 12” EL RCA 12-1000, only form of issue, 30 Dec., 1947.
Sd.2 is truly a Desert Island record; Quartararo’s most beautiful recording! M-A MB 15
0827. FLORENCE QUARTARARO, w.Morel Cond.: Il Trovatore – Tacea la notte placida, 2s.
12” EL RCA 12-0530, only form of issue, 1947. M-A. MB 8
0828. FLORENCE QUARTARARO & RAMON VINAY: Carmen - Parle-moi de ma mère, 2s.
12” EL RCA 12-0687, Original Issue, 1947. M-A MB 6
0829. FLORENCE QUARTARARO & RAMON VINAY: Carmen - Parle-moi de ma mère, 2s.
12” EL RCA vinyl 12-0687, POM-1947. M-A MB 8
0830. FLORENCE QUARTARARO & RAMON VINAY: Tosca - Perchè chiuso?, 2s.
12” EL RCA 12-0531, Original Issue, 1947. M-A MB 6
0831. FLORENCE QUARTARARO & RAMON VINAY: Tosca - Perchè chiuso?, 2s.
12” EL RCA vinyl 12-0531, POM-1947. M-A MB 8
“An American of Italian parentage, Quartararo had been discovered nearly by accident when singing as an
untrained twenty-three year old. Two years later she was on the stage of the Met. Having met and married
the bass Italo Tajo, she left singing to bring up their daughter. She also left a studio legacy of four 78rpm
discs [all above]. This is lyric soprano singing of the very highest order. The voice soars with clarity whilst
words, expression, legato and colouration combine to give superb characterisation. On the evidence of
these recordings, Quartararo’s is a voice to set alongside the giants of the 20th century. Colleagues and
other contemporaries likened her voice and vocal skills to that of Ponselle. There can be no greater
recommendation."
- Robert J Farr, MusicWeb International, Nov., 2004
0832. LUISA TETRAZZINI: Lucia – Spargi d’amaro pianto. 10¾“ AC black Zonophone 10000 (3515),
only form of issue, 8 Sept., 1904. A-B, very decent copy has lt. rubs & superficial scrs;
hint of grey on peaks; minor ulc, of absolutely no consequence. MB 20
0833. LUISA TETRAZZINI: Lucia – Spargi d’amaro pianto. 10¾“ AC black Zonophone 10000 (3515),
only form of issue, 8 Sept., 1904. B, very decent copy has lt. rubs & superficial scrs;
disfigured label once had a promotional label superimposed. MB 20
0834. LUISA TETRAZZINI: Rigoletto – Caro nome. 10¾“ AC black Zonophone 10001 (3511),
only form of issue, 8 Sept., 1904. A-, lovely copy has lt.rubs, inaud.; exceptional for this series. MB 35
0835. LUISA TETRAZZINI: Rigoletto – Caro nome. 10¾“ AC white ‘Tetrazzini Record’ label superimposed over
Zonophone 10001 (3511), only form of issue, 8 Sept., 1904. A-, lovely copy has lt.rubs & wee scrs, inaud. MB 25
0836. LUISA TETRAZZINI: Barbiere – Una voce poco fà. 8¾“ AC dark green Zonophone 10002 (3513),
only form of issue, 8 Sept., 1904. A-, lovely copy has lt. rubs & sev. wee scrs, possibly very ltly. audible, if at all. MB 35
0837. LUISA TETRAZZINI: Barbiere – Una voce poco fà.
8¾“ AC Zonophone 10002 (3513) pressed onto 10” S/S vinyl blank, POM- 8 Sept., 1904. MINT MB 35
0838. LUISA TETRAZZINI: Roméo – Je veux vivre (in Italian). 8¾“ AC black Zonophone 10003 (3508),
only form of issue, 8 Sept., 1904. A-, lovely copy has lt.rubs, inaud.; exceptional for this series. MB 35
0839. LUISA TETRAZZINI: Roméo – Je veux vivre (in Italian).
8¾“ AC Zonophone 10003 (3508) pressed onto 10” S/S vinyl blank, POM- 8 Sept., 1904. MINT MB 35
0840. LUISA TETRAZZINI: La Sonnambula – Ah, non giunge. 8¾“ black AC Zonophone 10004 (3516),
only form of issue, 8 Sept., 1904. A-, lovely copy has lt. rubs & wee scr, certainly inaud. MB 35
0841. LUISA TETRAZZINI: La Sonnambula – Ah, non giunge.
8¾“ AC Zonophone 10004 (3516) pressed onto 10” S/S vinyl blank, POM- 8 Sept., 1904. MINT MB 35
“Here is a handsome glittering voice of appreciable power capable of technical feats few other singers would
think feasible.”
– Alan Blyth, THE DAILY TELEGRAPH
0842. LUISA TETRAZZINI: Frühlingsstimmen (Johann Strauss, in Italian.).
12” AC pink Schall.Gram. 053197 (12586f), POM-1908, Never issued USA & doubled only as the IRCC private issue.
A-, lovely copy has few lt.mks, positively inaud. MB 15
0843. LUISA TETRAZZINI: Thème et variations (Proch). 12” AC pink HMV 2–053065 (5182f),
POM-14 July, 1911, never issued USA. A, lovely copy has faint rubs, inaud. MB 12
0844. LUISA TETRAZZINI: O che assorta (Venzano). 12” AC pink Monarch Gram.2- 053075 (Ho 196),
only form of issue, 12 July, 1912. A to M-A, glorious copy has 2 infinitessimal dust scrs, positively inaud. MB 15
0845. LUISA TETRAZZINI: Tre giorni son che Nina (Ciampi). 12” AC V 88505, POM-11 May, 1914, Never Doubled.
A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15
0846. LUISA TETRAZZINI: Home, sweet home (Bishop). 12” AC pink HMV 03286 (195Ho), POM-10 July, 1912,
never issued USA. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12
0847. LUISA TETRAZZINI: Peer Gynt– Solvejg’s song (in Italian) (Grieg).
12” AC V 88508, POM-13 May, 1914, Never Doubled, USA. M-A MB 15
0848. LUISA TETRAZZINI: Aprile (Tosti).
12” AC Spanish Disco Gramofono 053229 (3103f), POM-2 June, 1909. M-A MB 12
0849. LUISA TETRAZZINI: Aprile (Tosti).
12” AC Vla 88306 (3103f),, POM-2 June, 1909. M-A, a gleaming copy. MB 20
“If one were to listen to one of Tetrazzini’s records and one only, it might be her enchanting rendition of
Tosti’s little song ‘Aprile’. Here, the best of her talents and the flawed middle (which one critic likened to ‘the
wailing of a cross infant’) are neatly summarized in about three minutes of music. She sings the simple
melody with great charm and feeling and adds a breathtaking (not for her) high B flat at the end, almost as if
to dispel any doubt that this is the great Tetrazzini.”
- Andrea Shum-Binder, subito-cantabile
0850. LUISA TETRAZZINI: Rhapsody (de Koven; in English); Vergebliches Ständchen (Brahms; in Italian).
12” AC white special mid-1930s pressing (w.RCA spiderweb verso, label written in longhand) Vla 88427, POM-19 Feb.,
1913, Never Doubled (and in the catalogue briefly!). M-A, a supreme copy. MB 45
0851. LUISA TETRAZZINI: Nozze – Voi che sapete. 12” AC pink London Pre-Dog 053145 (2177f), POM-1907, Never
Doubled (other than as the RCA red vinyl edition). M-A, gleaming copy has faintetst pap.rub, positively inaud. MB 15
0852LUISA TETRAZZINI: Nozze - Voi che sapete / Mignon - Je suis Titania (in Italian). 12” AC red vinyl Heritage
RCA 15-1001 (2177/71f), POM-1907, London. Never Doubled (other than as this ‘RCA red vinyl edition. MINT MB 5
0853. LUISA TETRAZZINI: Don Giovanni – Batti, batti o bel Masetto (1907 Version). 12” AC pink London
Pre-Dog 053148 (2180f), POM-1907, Never Doubled. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15
0854. LUISA TETRAZZINI: Don Giovanni – Batti, batti o bel Masetto (1911 Version). 12” AC Opera Disc 76275 (5168f),
POM-11 July, 1911, never issued USA (other than as this ‘Pirate’ Edition). M-A, a gleaming copy. MB 35
0855. LUISA TETRAZZINI: Don Giovanni – Batti, batti o bel Masetto (1911 Version) /
Semiramide – Bel raggio lusinghier. 12” AC PW HMV Historic Catalogue #2 DB 537, POM-11 July, 1911/ 2 Nov., 1910,
Sd.1 Never Doubled, USA. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12
0856. LUISA TETRAZZINI: Semiramide – Bel raggio lusinghier. 12” AC pink HMV 2–053034 (14578f),
POM-2 Nov., 1910, never issued USA. A to M-A, lovely copy has faintest ‘waxing’, inaud.; rubbed label. MB 12
0857. LUISA TETRAZZINI: Hamlet – Ed ora a voi (Act IV) / Linda di Chamounix – O luce di quest’anima.
12” AC Historic Catalogue #2 HMV DB 543, POM-14 July, 1911 / 13 May, 1914,
Sd. 1 never issued USA; Sd. 2 Never Doubled, USA. M-A, a gleaming copy. MB 15
0858. LUISA TETRAZZINI: Mignon - Je suis Titania (in Italian) (1907 Version).
12” AC pink London Pre-Dog 053142 (2171f), Original 1907 Issue, doubled only in the RCA vinyl 'Heritage' Series.
A-, lovely copy has lt rubs & hint of grey on peaks, inaud. MB 12
0859. LUISA TETRAZZINI: Mignon - Je suis Titania (in Italian) (1907 Version).
12” AC Pat.’08 Vla 92015 (2171f), POM-1907, doubled only in the RCA vinyl 'Heritage' Series.
M-A, a gleaming copy. MB 15
0860. LUISA TETRAZZINI: Mignon - Je suis Titania (in Italian) (1911 Version). 12” AC pink HMV 2–053058 (5181f),
POM-1911, never issued USA. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12
0861. LUISA TETRAZZINI: Dinorah - Ombra leggiera (1907 Version). 12” AC pink London Pre-Dog 053143 (2175f),
Original 1907 Issue, Never Doubled. M-A MB 15
0862. LUISA TETRAZZINI: Dinorah - Ombra leggiera (1907 Version).
12” AC GP V 92017 (2175f), POM-1907, Never Doubled. M-A MB 15
0863. LUISA TETRAZZINI: Carmen - Je dis que rien ne m'épouvante (in Italian).
12” AC V 88503, POM-11 May, 1914. M-A, lovely copy has wee hlc, jbarely forming. MB 8
0864. LUISA TETRAZZINI: Mireille – Oh d’amor messeggera . 12” AC pink HMV 2–053013 (3426f), POM-1909,
never issued USA. A -B, very decent copy has lt.rubs, inaud.; mis-labeled as Micaëla’s aria from Carmen! MB 12
0865. LUISA TETRAZZINI: Roméo – Je veux vivre (in Italian). 12” AC Pat.’08 Vla 92061 (2524f), POM-13 July, 1908.
M-A, glorious copy has faintest pap.rub, barely visible, certainly inaud. MB 12
0866. LUISA TETRAZZINI: Lakmé – Où va la jeune indoue? (1907 Version, in Italian).
12” AC Vla 92016 (2172f), POM-1907, Never Doubled. M-A MB 20
“The [above] forward recording catches the beauty of [Tetrazzini’s] voice; in the hauntingly oriental
opening section she floats up to a soft sustained high B like a radiant star….and finally goes into a
brilliant series of staccati as Lakmé imitates the bells .”
– Michael Aspinall, Program notes to EMI’s Luisa Tetrazzini, The London Recordings
0867. LUISA TETRAZZINI: Lakmé – Où va la jeune indoue? (1913 Version, in Italian; ‘Take’ 2 /
JEANNE GERVILLE-RÉACHE: Samson et Dalila – Mon coeurs’ouvre à ta voix. 12” AC Japanese V 10024
(2172f / C-6981-2) , POM-13 Feb., 1913 / 29 April, 1909. M-A, beautiful copy has faintest rubs, inaud. MB 15
0867. LUISA TETRAZZINI: La Sonnambula – Ah! non credea mirarti. 12” AC pink Monarch Gram.053227 (3101f),
POM-2 June, 1909, Never Doubled. A to M-A, glorious copy has faintest pap.rubs, barely visible, positively inaud. MB 15
0868. LUISA TETRAZZINI: Faust – Air des bijoux (in Italian) (1914 Version, Unpublished
[other than the vinyl Historic Masters special issue]). 12” AC white HMV shellac pressing of Unpublished Mx. HO552c,
POM-20 June, 1914. M-A, a gleaming copy. MB 45
0869. LUISA TETRAZZINI: Rosalinda – Meco verrai su quella (Pastorale) (1913 Version) (Veracini) /
Barbiere – Una voce poco fà. 12” AC PW HMV Historic Catalogue #2 DB 690, POM-21 Feb., 1913 / 17 March, 1911,
Sd.1 Never Doubled USA. M-A, a gleaming copy. MB 15
0870. LUISA TETRAZZINI: Rosalinda – Meco verrai su quella (Pastorale) (1914 Version, Unpublished) (Veracini).
12” AC white HMV shellac pressing of Unpublished Mx. HO550c, POM-20 June, 1914. Enchanting!
M-A, a gleaming copy. MB 75
“…unpublished records include some made in 1914 – possibly overlooked on account of the War. Aspinall
praises ‘the sparkling, caressing and dainty way’ in which Tetrazzini sings the 18 th century music of the
pastorale from Veracini’s ROSALINDA.”
– Charles Neilson Gattey, LUISA TETRAZZINI, THE FLORENTINE NIGHTINGALE, p.359
0871. LUISA TETRAZZINI: Rosalinda – Meco verrai su quella (Pastorale) (1913 Version) (Veracini).
12” AC Pat.’12 Vla 88432, POM-21 Feb., 1913, Never Doubled, USA. Enchanting! M-A, a gleaming copy. MB 12
0872. LUISA TETRAZZINI: La Perle du Brésil – Charmant oiseau (1909 Version).
12” AC Disco Grammofono 053228 (3102f), POM-2 June, 1909, never issued USA.
A to M-A, lovely copy has faint rubs, inaud. MB 12
0873. LUISA TETRAZZINI: La Perle du Brésil – Charmant oiseau (1911 Version).
12” AC Pat.’08 Vla 88318, POM-17 March, 1911, issued USA. M-A, a gleaming copy. MB 15
0874. LUISA TETRAZZINI: I Pescatori di Perle – Brahma, gran Dio! 12” AC HMV 2–053012 (3423f),
POM-1909, never issued USA. M-A MB 15
“[…the best performance on record, exibiting] a fullness of tone and brilliance of execution without serious
rival.”
– Lord Harwood, OPERA ON RECORD, Vol. II, p.190
0875. LUISA TETRAZZINI: I Puritani – Vien diletto / La Traviata – Addio del passato.
12” AC silver Victor IRCC 116, POM-12 July, 1912 / 26 Sept., 1913, (Neither Side ever issued USA in any regular series).
Numbered Copy #28 of an extremely Limited Edition; Sd.2 label Autographed by Tetrazzini, to which her Photo is affixed.
M-A, a gleaming copy. MB 35
0876. LUISA TETRAZZINI: Linda di Chamounix – O luce di quest’anima.
12” AC V 88506, POM-13 May, 1914, Never Doubled, USA. M-A, a gleaming copy. MB 12
0877. LUISA TETRAZZINI: Linda di Chamounix – O luce di quest’anima.
12” AC white Vla 88506, POM-13 May, 1914, Never Doubled, USA. M-A, a gleaming copy. MB 15
“…a model of lyric soprano singing [offering a] quietly unobtrusive final cadenza.”
– Michael Aspinall, Program notes to EMI’s Luisa Tetrazzini, The London Recordings
0878. LUISA TETRAZZINI: Rigoletto – Caro nome (1907 Version). 12” AC pink London Pre-Dog 053141 (2170f),
Original 1907 Issue, Never Doubled. A-. lovely copy has few faint rubs, inaud.; sev.wee pressing bumps. MB 12
0879. LUISA TETRAZZINI: Rigoletto – Caro nome (1907 Version).
12” AC Pat.’08 Vla 92014 (2170f), POM-1907, Never Doubled. M-A, a gleaming copy. MB 12
0880. LUISA TETRAZZINI: Rigoletto – Caro nome (1911 Version).
12” AC Opera Disc 76273 (C-10074), POM-18 March, 1911. M-A, a gleaming copy. MB 15
“Here [in the 1911 version] is a most magical version and a most winning personality…[with] a bird-like
brilliance in the cadenza. Yet with what heart-rending innocence the voice can soar: one goes back to the
record for that alone.”
– Richard Osborne, OPERA ON RECORD, Vol. I, p.217
0881. LUISA TETRAZZINI: Lucia – Quando rapita in estasi.
12” AC pink Monarch Gram.053224 (3078f), POM-1909, Never issued USA. M-A, a gleaming copy. MB 15
0882. LUISA TETRAZZINI: Lucia – Splendon le sacre faci.
12” AC Pat.’08 Vla 92018 (2176f), POM-1907, Never Doubled. M-A, a gleaming copy. MB 15
0883. LUISA TETRAZZINI: La Traviata - Sempre libera (1907 Version) (incorrectly labeled as ‘Ah! fors’ è lui’).
12” AC pink London Pre-Dog 053147 (2179f), Original 1907 Issue, Never Doubled.
A-B, very decent copy has sev. very faint nr, causing the occasional tick. MB 8
“Adelina Patti named Tetrazzini as her successor after listening to her Violetta at Covent Garden in 1908.
Tetrazzini [later] did the same for Lina Pagliughi…..”
– Charles Neilson Gattey, LUISA TETRAZZINI, THE FLORENTINE NIGHTINGALE, p.262
0884. LUISA TETRAZZINI: Il Trovatore – Tacea la notte / Mignon - Je suis Titania (in Italian) (1911 Version).
12” AC Historic Catalogue #2 HMV DB 540, POM-18 Feb., 1913 / 14 July, 1911,
Sd. 2 never issued USA. M-A, a gleaming copy. MB 15
0885. LUISA TETRAZZINI: Aïda - Ritorna vincitor!
12” AC S/S Special vinyl Pressing of 5170f, POM-11 July, 1911, (never issued USA in any regular series). MINT MB 25
0886. LUISA TETRAZZINI: Aïda - Ritorna vincitor! / Lakmé – Blanche Dourga (in Italian). 12” AC silver Victor IRCC 27,
POM-11 July, 1911, (Neither Side ever issued USA in any regular series). Numbered Copy #66 of an extremely
Limited Edition; Sd.1 label Autographed by Tetrazzini, to which her Photo is affixed. M-A, a gleaming copy. MB 45
0887. LUISA TETRAZZINI: I Vespri Siciliani - Mercè, dilette amiche (1914 Version).
12” AC V 88504, POM-12 May, 1914, Never Doubled, USA. M-A, a gleaming copy. MB 15
0888. LUISA TETRAZZINI: I Vespri Siciliani - Mercè, dilette amiche (1910 Version).
12” AC pink HMV2- 053033 (4577f), POM-2 Nov., 1910, Never issued USA. M-A, a gleaming copy. MB 35
“[Tetrazzini] was the Horowitz of vocalists and there is an exemplary clarity and firmness about all her
singing. The London version (1910) unlike the American (1914) ends with a top E and contains some
extraordinary singing.”
– Lord Harwood, OPERA ON RECORD, Vol. III, p.107
0889. LUISA TETRAZZINI: Las Hijas del Zebedeo – Al pensar en el dueño (Carceleras) (Chapi).
12” AC Pat.’08 Vla 88294, Orig. ‘A’ plate issue, POM-18 March, 1911. M-A, a gleaming copy. MB 20
0890. LUISA TETRAZZINI: Las Hijas del Zebedeo – Al pensar en el dueño (Carceleras) (Chapì).
12” AC V 88294, Orig. ‘A’ Plate Issue, POM-18 March, 1911, Never Doubled, USA
(other than in most elusive HRS Series). M-A, gleaming copy has faintest pap. scr, positively inaud. MB 25
“Of course, Tetrazzini made no records of her contralto singing, but there is one which does show what a
remarkable low register she had. It is the striking Carceleras from THE DAUGHTERS OF ZEBEDEO, a
Spanish opera by Chapì.”
– Frieda Hempel, THE AMERICAN MUSIC LOVER, June, 1940
0891. LUISA TETRAZZINI, CARUSO, AMATO, JOURNET, JACOBY & BADA: Lucia – Chi mi frena.
12” AC Pat.’12 Vla 96201, POM-19 Jan., 1912, Never Doubled in any regular series.
M-A, gleaming copy has 1 infinitesimal dust mk, hardly worth mention. MB 10
0892. LUISA TETRAZZINI, CARUSO, AMATO, JOURNET, JACOBY & BADA: Lucia – Chi mi frena.
12” AC Vla 96201, POM-19 Jan., 1912, Never Doubled in any regular series. M-A, a gleaming copy. MB 8
0893. LUISA TETRAZZINI, CARUSO, JACOBY & AMATO: RIGOLETTO - Bella figlia dell'amore /
NELLIE MELBA, JOHN McCORMACK & MARIO SAMMARCO: FAUST - Final Trio (in Italian).
12” AC red vinyl Heritage RCA 15-1019 (C11447-4/4190f), POM-1910/'12. MINT MB 8
“Luisa Tetrazzini scored what was undoubtedly the most sensational individual triumph of the [past] century,
with the possible exception only of Caruso....with a voice of softly metallic beauty, and a technique that was
bewildering in its completeness.”
- P.G. Hurst, THE GOLDEN AGE RECORDED
0894. LINA PAGLIUGHI, w.Tansini Cond.: Rigoletto – Tutte le feste al tempio / L’Elisir –Prendi per me si libero.
12” EL Parl. DPX 26, recorded 1940. M-A MB 6
0895. LINA PAGLIUGHI, w.Tansini Cond.: Il Guarany – Céra una volta un principe (Ballata) (Gomes), 2s.
12” EL dark green Cetra BB 25086, recorded 1941. M-A MB 8
0896. LINA PAGLIUGHI, w.Tansini Cond.: Il Re – O Colombello sposarti (Giordano) /
Falstaff – Sull fin d’un soffio etesio. 12” EL dark green Cetra BB 25093, recorded 13 Oct., 1941.
Among Pagliughi’s loveliest titles, especially the Giordano aria which is so little-known. M-A MB 10
0897. LINA PAGLIUGHI, w.Tansini Cond.: La Sonnambula – Ah! non credea mirarti /
La Figlia del Reggimento – Convien partir. 12” EL dark green Cetra BB 25001, recorded 28 Dec., 1936. M-A MB 8
0898. LINA PAGLIUGHI, w.Tansini Cond.: La Sonnambula – Ah! non credea mirarti /
La Figlia del Reggimento – Convien partir. 12” EL Parl. DPX 18, POM-28 Dec., 1936. M-A MB 6
0899. LINA PAGLIUGHI, w.Tansini Cond.: I Puritani – Qui la voce / Son vergin vezzosa.
12” EL Parl. DPX 18, POM-28 Dec., 1936. M-A MB 6
0900. LINA PAGLIUGHI, w.Tansini Cond.: Così fan Tutte – Come scoglio / Le Coq d’Or –Hymn to the Sun (in Italian).
12” EL Parl. DPX 17, POM-28 Dec., 1936. M-A MB 6
0901. LINA PAGLIUGHI, w.Tansini Cond.: Guglielmo Tell – Selva opaca /
Les Pêcheurs de Perles – Comme autrefois (in Italian). 12” EL Parl. E 11406, POM-1938. M-A MB 6
0902. LINA PAGLIUGHI, w.Tansini Cond.: Guglielmo Tell – Selva opaca / Falstaff – Sull fin d’un soffio etesio.
12” EL Parl. R.30004, POM-28 Dec., 1936. M-A MB 6
0903. LINA PAGLIUGHI, w.Tansini Cond.: Rigoletto – Caro nome / Mignon – Je suis Titania (in Italian).
12” EL Parl. E 11324, POM-28 Dec., 1936. M-A MB 6
0904. LINA PAGLIUGHI, w.la Rosa Parodi Cond.: Entfuhrüng – Ach ich liebte / Welche Wonne, welche Lust (in Italian). 12”
EL dark green Cetra BB 25010, recorded 11 July, 1942. M-A MB 8
0905. LINA PAGLIUGHI, w.la Rosa Parodi Cond.: Semiramide – Bel raggio lusinghier /
Carmen – Je dis que rien n’épouvante (in Italian) 12” EL dark green Cetra BB 25110, recorded 1942. M-A MB 8
0906. LINA PAGLIUGHI, w.Capuana Cond.: Lucia – Ardon gl’incensi / Spargi d’amaro pianto.
12” EL Parl. DPX 16, POM-1934. M-A MB 6
0907. LINA PAGLIUGHI, w.Capuana Cond.: Don Pasquale – So anch’io la virtú magica / Barbiere – Una voce poco fà. 12”
EL Parl. DPX 15, POM-1934. M-A MB 6
0908. LINA PAGLIUGHI, w.Capuana Cond.: La Sonnambula – Come per me sereno / Fra Diavolo – Or son sola.
12” EL Parl. DPX 14, POM-1934. M-A MB 6
0909. LINA PAGLIUGHI, w.John Amadio (Flute) & Nils Nelson (Pf.): Il Carnevale di Venezia (Benedict), 2s.
10” EL PW V 2061, POM-1940. M-A , a gleaming copy. Delightful performance! MB 10
0910. LINA PAGLIUGHI, w.Capuana Cond.: Linda di Chamounix – O luce di quest’anima /
LINA PAGLIUGHI & RITA MONTICONE: A consolarmi affrettati.
12” EL dark blue Italian Lindström Parl. PP.60012. Orig. 1934 I ssue – issued Italy only.
A to M-A, lovely copy has faintest pap.rubs, inaud.; Sd.1 has 3 wee ec, not to grooves. Among Pagliughi’s rarest. MB 25
0911. LINA PAGLIUGHI, w.Tansini Cond.: Nozze – Giunse alfin il momento; Deh! Vieni, non tardar / Don Giovanni –
Batti, batti, o bel Masetto. 10" EL pale blue Italian Cetra AT 0102, original form of issue, 1940. M-A Most elusive! MB 25
0912. LINA PAGLIUGHI, w.Tansini Cond.: Nozze – Giunse alfin il momento; Deh! Vieni, non tardar /
Don Giovanni – Batti, batti, o bel Masetto. 12” EL Parl. DPX 26, recorded 1940. Elusive! M-A MB 10
0913. LINA PAGLIUGHI, w.Tansini Cond.: Lakmé – Où va la jeune indoue? (in Italian), 2s.
10" EL dark blue Italian Cetra AT 0103, original form of issue, 1940. M-A Most elusive! MB 25
0914. LINA PAGLIUGHI, w.Tansini Cond.: Lakmé – Où va la jeune indoue? (in Italian), 2s.
12” EL Parl. DPX 27, recorded 1940. M-A MB 6
0915. LINA PAGLIUGHI, w.Tansini Cond.: Rigoletto – Tutte le feste al tempio / L’Elisir –Prendi per me si libero.
10" EL dark blue Italian Cetra AT 0104, original form of issue, 1940. M-A Most elusive! MB 25
0916. LINA PAGLIUGHI, w.Capuana Cond.: La Gazza Ladra – Di piacer mi balza il cor / Deh! tu reggi in tal momento .
12” EL Parl. DPX 13, POM-1934. M-A MB 6
0917. LINA PAGLIUGHI & ALEXANDER SVÉD, w.Simonetto Cond.: Rigoletto – Chi è mai, chi è qui in sua voce . . .
Lassù in cielo, 2s. 12” EL dark-green Cetra BB 25202, only form of issue, 1 July, 1947. M-A, a gleaming copy. MB 10
0918. LINA PAGLIUGHI & GIOVANNI MALIPIERO, w. Tansini Cond.: Lucia – Verranno a te /
LINA PAGLIUGHI, MALIPIERO, MANACCHINI, etc.: Chi mi frena . 12” EL dark green Cetra BB 25127,
POM-21 May, 1939 (obviously from their complete recording). M-A, a gleaming copy. MB 8
“Lina Pagliughi was one of the great lyric coloraturas of her day. After studying in San Francisco and Milan,
her career blossomed in 1927 with performances of Gilda (RIGOLETTO) in Milan. She sang throughout Italy
and in the Netherlands, the Americas, Australia and at Covent Garden (Gilda again, in 1938). Excelling in
the operas of Rossini, Bellini and Donizetti, Pagliughi also sang those rôles by Mozart, Richard Strauss,
Leoncavallo - even Wagner - to which her elegant technique and sweet voice were ideally suited. In
retirement she taught in Milan.”
– Paul Campion
0919. ALDA NONI, w.Basile Cond.: Il Signor Bruschino – Ah donate il caro sposa / Perdonate signor mio (Cimarosa).
12” EL red Cetra CB 20535, only form of issue, 5 Dec., 1951. M-A, a gleaming copy. MB 20
0920. ALDA NONI, w.Quadri Cond.: Don Pasquale - So anch'io la virtù magica / Les Pecheurs de Perles Comme autrefois (in Italian). 12” EL LVDP DB 11346, only form of issue, 25 Jan., 1951. M-A, a gleaming copy. MB 15
0921. ALDA NONI, w.Quadri Cond.: La Sonnambula – Care Compagne; Sovra il sen.
12” EL LVDP DB 11341, only form of issue, 25 Jan., 1951. M-A, a gleaming copy. MB 15
0922. ALDA NONI, w.Rother Cond.: La Traviata – Addio del Passato / Rigoletto – Caro nome (both in German).
12” EL black Polydor Meisterklasse 68303, POM-1942. Exquisitely beautiful! M-A, gleaming copy. MB 15
0923. ALDA NONI, w.Rother Cond.: Barbiere – Una voce poco fa (in German), 2s.
12” EL pale blue Polydor Meisterklasse 68108, POM-1942. M-A, gleaming copy has, Sd.1, wee pressing bump. MB 15
0924. ALDA NONI, w.Süsskind Cond. Philharmonia Orch.: Così fan Tutte – In uomini, in soldati /
Una donna a quindici anni. 10” EL HMV DA 1986, only form of issue, 1950. M-A MB 6
0925. ALDA NONI, w.Süsskind Cond. Philharmonia Orch.: Ballo – Volta la terrea / Saper vorreste.
10” EL HMV DA 1954, only form of issue, 1950. M-A MB 6
“Richard Strauss personally selected Alda Noni to sing Zerbinetta in a famous performance of his opera
ARIADNE AUF NAXOS in Vienna to mark his 80th birthday in June 1944. She was described by
commentators as a soprano leggiero, a singer with a light, agile voice, possessing brilliant-sounding vowel
projection, but nevertheless with a warmth to her vocal timbre that is not always to be found in other
coloratura sopranos. Making her debut as Rosina in Rossini’s THE BARBER OF SEVILLE in Ljubljana in
1937, and after a number of appearances in Yugoslavia, she joined the Vienna State Opera in 1942; her
German accent was widely admired. The ARIADNE occasion came at a time when Strauss’s relations with
Hitler were under severe strain, to the point where the Führer had decreed that there should be no
celebration of the composer’s birthday. Wiser counsel prevailed, however, and the conductor Karl Böhm
mounted a small Strauss festival that included a new production of ARIADNE that also featured the 25-yearold Irmgard Seefried. The occasion was broadcast by Austrian radio and released on disc some 20 years
later by Deutsche Grammophon, leading critics to compliment Alda Noni’s ‘piquant, sparkling, wonderfully
accurate Zerbinetta’; for many decades hers was regarded as the foremost interpretation of the role. In
1946, after leaving Vienna, Alda Noni appeared as Norina with the New London Opera Company in
Donizetti’s DON PASQUALE with the baritone Mariano Stabile. Her performance was particularly amusing,
noted Desmond Shaw-Taylor, because of ‘the suddenness of her transitions from drooping convent lily to
mischievous wildcat’. By 1949 she was a member of La Scala, appearing with the company at
Covent Garden the following year. She returned to Glyndebourne in 1951 to sing Despina in Mozart’s
COSÌ FAN TUTTE and Blonde in DIE ENTFÜHRUNG AUS DEM SERAIL, giving the character ‘a spitfire
sharpness’. She also made an appearance in Glyndebourne’s first LA CENERENTOLA in 1952.”
- THE TELEGRAPH, 24 May, 2011
0926. ZARA DOLUKHANOVA: Semiramide – Ah, quel giorno (in Italian!), 2s.
12” EL CCCP 018007/08, only form of issue, 1950. M-A, a gleaming copy. MB 25
0927. ZARA DOLUKHANOVA & GALINA PETROVNA SAKHAROVA: Semiramide – No, non ti lascio; Serbani ognor
(in Russian), 2s. 12” EL CCCP 018786/87, only issue, 1950. M-A, appears unplayed. MB 25
“Zara Dolukhanova is often cited as the greatest Soviet mezzo-soprano of her time. Her powerful, flexible
voice was usually categorized as a coloratura mezzo, but her vocal range also allowed her to sing
convincingly as an alto. Dolukhanova was as much a star in the Soviet Union in the mid-20th century as
Callas and Tebaldi were in the West. She commanded a huge repertory inclusive of works ranging from
J.S. Bach, Handel, and Vivaldi to Mozart, Rossini and Tchaikovsky and on to Prokofiev, Shostakovich, and
Khachaturian. She sang folk and traditional songs as well, and was best known on the operatic stage for
her Rossini, particularly as Angelina in LA CENERENTOLA and Isabella in L'ITALIANA IN ALGERI. But
Dolukhanova is also remembered as a recitalist, earning herself the reputation as one of the world's greatest
interpreters of art songs, becoming a sort of female counterpart to Fischer-Dieskau.
Dolukhanova toured Europe and the Americas, making her U.S. début in 1959 at Carnegie Hall, drawing
scores of rave reviews. Dolukhanova was extremely active throughout the 1960s, but shortly after a return
tour to the U.S. in 1970, she retired from singing. She spent most of the remainder of her career as a
teacher at the Gnessin Institute, counting among her students mezzo-soprano Olga Borodina.”
- Robert Cummings, allmusic.com
0928. GALINA PETROVNA SAKHAROVA, w.Kovaleva Cond.: Two songs.
10” EL CCCP 16989/90, only form of issue, 1949. M-A MB 10
0929. GALINA PETROVNA SAKHAROVA, w.Kovaleva Cond.: Keto da Kote – Keto’s aria / VLADIMIR ARAKEVICH
KANDILAKY: Sako’s comic song (Dolidze). 10” EL CCCP 16704/05, only form of issue, 1949. M-A MB 10
0930. NINA KOSHETZ: The rose and the nightingale (as 'Eastern Romance') (Rimsky-Korsakov) /
Humoresque (Moussorgsky). 10" AC gold Bruns. 15031, POM-1922. M-A, a pristine copy. MB 50
"...Koshetz's voice was an exquisite instrument....I'll give you one example to watch for when listening to her
'Eastern Romance'. The concluding high passage without words is meant for the piano alone, but it is so
hauntingly beautiful that the female voices that can reach those heights on a pianissimo have appropriated
it. And believe me, it is an experience to hear Koshetz do it. She begins with a sound positively celestial in
its loveliness - if there is 'music of the spheres', this must be it. At this point, and to the end of the passage, I
scarcely breathe for fear of losing the tiniest bit of such enrapturing beauty."
- Aïda Favia-Artsay, HOBBIES, May, 1969
0931. NINA KOSHETZ: To the Sun (Sung by the Composer) / Over the Steppe (Gretchaninoff).
10” AC purple Bruns. 10139, POM-1922. M-A, a pristine copy. MB 50
0932. NINA KOSHETZ: To the Sun (Sung by the Composer) / Over the Steppe (Gretchaninoff).
10” AC purple Bruns. 10139, POM-1922. A to M-A, lovely copy has, Sd.2 only, lt.rubs, inaud. MB 25
0934. NINA KOSHETZ: At the ball / None but the lonely heart (Tschaikowsky).
10” AC gold Bruns. 15029, POM-1922. M-A, a pristine copy. MB 50
0935. NINA KOSHETZ: Winds are blowing / Ol' Mamo (both Ukranian).
10” AC purple Bruns. 10140, POM-1922. M-A, a pristine copy. MB 50
0936. NINA KOSHETZ: Estrellita / Serenata Mexicana (both Ponce).
10” EL PW Disque Gram. DA 1005, POM-12 / 5 April, 1928. A-, very decent copy has lt.rubs, inaud. MB 15
0937. NINA KOSHETZ: Estrellita / Serenata Mexicana (both Ponce).
10” EL Scroll V 4040, POM-12 / 5 April, 1928. A-, very decent copy of z-type pressing has lt.rubs, inaud. MB 15
0938. NINA KOSHETZ: Kaddish (arr. Ravel) / Eili! Eili! ('Take' 4). 12” EL PW Disque Gram.DB 1205,
POM-6 / 12 April, 1928. A-, very decent copy has, Sd.1 primarily, lt.rubs, inaud. MB 25
0939. NINA KOSHETZ: Plaisir d’amour (Martini) / Étude in E (Chopin-Litvinne) (1930 Version).
12” EL Orth Vla 9675, POM-5 Nov., 1928 / 4 April, 1930. M-A, a pristine copy. Exceedingly Elusive! MB 85
0940. NINA KOSHETZ: Étude in E (Chopin-Litvinne) (1928 Version). 12” EL S/S heavy vinyl Special Pressing of
Mx. CVE 47897-1, POM-8 Nov., 1928, from Unpublished Master. MINT MB 75
0941. NINA KOSHETZ: Fais dodo, Mignonne (Wiosna) (Chopin, Op.74, #2, in French).
12” EL S/S vinyl Special Pressing of Mx.CVE 47898-1, POM-8 Nov., 1928. from Unpublished Master. MINT MB 75
0942. NINA KOSHETZ, w.Gretchaninoff (Pf.): Berceuse; Snowdrops /
Dobrynia Nikititch - The flowers were growing in the fields (tenor aria arranged for soprano) (all Acc. by the Composer).
12” EL ORTH Vla 7111, POM-15 April, 1929. M-A MB 25
“[Koshetz’ voice]…vibrates in all its registers like a Stradivarius in the hands of a sensitive violinist.””
- Samuel Chotzinoff
0943. NINA KOSHETZ, w.Dougherty (Pf.): Eleven Songs (Rachmaninoff), 8s. 4–12” EL Schirmer 55108/11,
in Original Schirmer Album 16, only form of issue, 1941. M-A, a pristine copy. MB 75, the Set.
0944. NINA KOSHETZ, w.Dougherty (Pf.): Valse (Arensky) / None but the lonely heart; At the ball (both Tschaikowsky).
12” EL Schirmer 5512, only form of issue, 1941. M-A, a pristine copy. Exceedingly Rare! MB 150
0945. NINA KOSHETZ, w.Dougherty (Pf.): Amuri, Amuri (Sadero) / Dark eyes.
12” EL Schirmer 5513, only form of issue, 1941. M-A, a pristine copy. Exceedingly Rare! MB 175
"...these [Schirmer] sessions did produce what many consider to be [Koshetz'] greatest recording, Sadero's
'Amuri, Amuri.' It is Nina Koshetz' individual style that continues to live through all her recordings, singing as
she does with 'a passionate Russian melancholy,' as described by J.B. Steane, and with a voice acclaimed
by Samuel Chotzinoff that ‘vibrates in all its registers like a Stradivarius in the hands of a sensitive violinist’."
- Edward Hagelin Pearson, Koshetz' Opal CD Program Notes
0946. NINA KOSHETZ: Prince Igor - Arioso of Jaroslavna (Borodin) / Sadko - Berceuse (Rimsky-Korsakov).
12” EL Orth Vla 9233, POM-12 / 13 April, 1928. M-A, superlative copy. MB 20
0947. NINA KOSHETZ: Prince Igor - Arioso of Jaroslavna (Borodin) / Sadko - Berceuse (Rimsky-Korsakov).
12” EL PW V 9233, on ‘Z’ shellac, POM-12 / 13 April, 1928. M-A, a pristine copy. MB 35
“[In the above}, there is the thrill of real distinction. It is partly in the tone, vibrant and shining, partly in the
sheer power and in its contrast with the softness where this very Russian ice-princess melts, all tenderness.
And it is partly in a kind of glamour, which marks also her later recordings, made in 1939, principally of
songs by Rachmaninov...Koshetz clamours with a passionate Russian melancholy, then passes a veil over
the voice as a deep sigh comes from the soul in the depths of mortal weariness...”
- J. B. Steane, THE GRAND TRADITION, p.308
0948. NINA KOSHETZ: Sorotchinski Fair - Parassia's Reverie (Moussorgsky) / Pique Dame - It is midnight (Tschaikowsky).
12” AC gold Bruns.50036, issued USA only, 1922 (Koshetz’s only 12” Brunswick).
M-A, a pristine copy. Exceedingly Elusive! MB 75
“Nina Koshetz studied piano with Konstantin Igumnoff and Vasily Safonov and composition with Sergei
Taneiev. Graduating at 16, she had performed a Rachmaninov concerto for her final recital. She
subsequently became interested in singing and she was eventually instructed by Enzo Masetti and Félia
Litvinne. Konstantin Stanislavsky was her coach in dramatic arts. It seems her real career began with a
performance as Tatyana in EUGENE ONÉGIN with Zimin’s Opera Company. Until 1917 she appeared
there in operas such as PIQUE DAME, THE TSAR’S BRIDE, THE DEMON, THE ENCHANTERESS, plus
singing Tosca, Nedda, Marguerite, Nedda and Aïda. Her fame soon spread and the composers Tcherepnin,
Medtner, Gretchaninov and Prokofiev wanted to co-operate with the young singer! Serge Koussevitzky and
Nina Koshetz brought music to the outlying regions, she was his soloist for many years. In 1915 she met
Sergei Rachmaninov and they appeared together in successful recitals, culminating in a romance
(the composer was 20 years older than Nina and a married man). He dedicated to her a cycle of six love
songs. (Op. 38).
She made her official American début as a soloist with the Detroit Symphony Orchestra under Ossip
Gabrilowitch in 1920 and was warmly received. Mary Garden invited her to sing the role of Fata Morgana in
Prokofiev’s THE LOVE FOR THREE ORANGES. She was now in demand for concerts and recitals by
Stokowski, Koussevitzky, Rodzinski and Klemperer. Considered as one of her greatest achievements in the
1920s was the series of four New York Town Hall recitals celebrating for the most part Russian’s greatest
song writers in which Pierre Luboshutz, Walter Damrosch and Samuel Chotzinov all accompanied her. She
became the authoritative voice for the Russian emigré composers. In 1924 she returned to Félia Litvinne,
now living in Paris and Koshetz received further vocal training by the famous soprano. In 1927,
commemorating her 15 years in music, she gave a recital devoted entirely to songs dedicated to her. The
composer Gretchaninov renewed the collaboration with her and both were enthusiastically admired.”
- Andrea Shum-Binder, subito-cantabile
0949. LUCILLE WEINGARTNER MARCEL, w.FELIX WEINGARTNER Cond.: Thou art a child (in English)
(Cond. by the Composer) / Otello – Ave Maria (in Italian). 12“ AC Col. A5482 (36608/32) only form of issue,
19-20 Feb., 1913. B, very decent copy has lt. rubs & scrs, only minimally audible; faint lamination hlc appears both sides.
Exceedlingly elusive, only the second copy ever to have come through here! MB 45
“The quality of Marcel’s voice has been well caught on the short list of recordings she made in Vienna and
later in the Unitd States….Weiungartner’s song ‘Thou art a child’ displays the limpid production in a long,
smoothly-sustained piano line….Her recoridings reveal a full and rounded lyrical voice of a particularly
beautiful quality throughout its range, a singer of considerable skill and a refined artist….The ‘Ave Maria’ of
Desdemona she phrases affectionately with well-judged and graceful portamenti and the final difficult ascent
to the soft high A-flat is brought off with perfect security and poise.”
- Michael Scott, THE RECORD OF SINGING, Vol. II, pp.135-36
0950. JARMILA NOVOTNÁ: Psohlavci – Zeleni Hájové (Kovarovic) / Hubicka – Skrivánci Pisen (Smetana) (in Czech).
10” AC plum PW Czech HMV AM 418, only form of issue, 1926 (although recorded 1925).
M-A, a gleaming copy. Exceedingly rare! MB 35
0951. JARMILA NOVOTNÁ, w.Orthmann Cond. Berlin Staatsoper Orch.: La Traviata – Ah! fors’ è lui /
Sempre libera (in Czech). 12” EL plum PW Czech HMV AN 682, only form of issue, 1931. M-A MB 25
“Jarmila Novotná…was a legendary beauty with an uncanny gift for the stage….She brought a radiance to
every role she undertook: her every entrance was like a burst of sunshine.”
- Lanfranco Rasponi, THE LAST PRIMA DONNAS, p.296
0952. JARMILA NOVOTNÁ, w.Weissmann Cond.: Les Contes d’Hoffmann - Elle a fui, la tourterelle / Barcarolle.
12” EL RCA 11-9263, only form of issue, 16 Feb., 1945. M-A MB 8
0953. JARMILA NOVOTNÁ, w.Weissmann Cond.: Hubicka – Ukolébavka (Smetana) /
w.Joseph Fuchs (Violin): Gypsy Songs – Songs my mother taught me (in Czech) (Dvorák).
12” EL V 11-9153, only form of issue, 18 Oct., 1945. M-A MB 10
“Jarmila Novotná was widely considered one of the finest singing actresses of her time. Her interpretations
of such roles as Donna Elvira, Euridice, Manon, Mélisande, Antonia and Marenka were praised for their
intelligence and lyrical grace. She also excelled in trouser roles, particularly Orlofsky in DIE FLEDERMAUS,
Cherubino in LE NOZZE DI FIGARO and Octavian in DER ROSENKAVALIER. On hearing her American
début in San Francisco in MADAMA BUTTERFLY in 1939, Olin Downes wrote in The New York Times:
‘There is grace, warmth, communicative feeling in all that she does’.
She made her Metropolitan début in LA BOHEME in 1940, singing with Jussi Björling. That year Downes
also praised her ‘great’ Violetta at the Met: ‘She conceived the music, from first note to last, dramatically,
and portrayed the character with an aristocratic sensibility and simplicity. The word and the tone were
indissoluble; the phrasing was that of the finest musician’. In her years at the Metropolitan Opera, Miss
Novotna sang 193 performances and won consistent praise for her expressiveness and musicianship.
Miss Novotná studied with Emmy Destinn and made her début at the age of 17 with the Prague National
Opera. She continued her studies in Milan and became a member of the Vienna State Opera from 1933 to
1938, eventually singing opera and concerts in most of the major houses of Europe. Toscanini brought her
to the attention of the Met after she sang Pamina under his direction in Salzburg in 1937. She came to New
York in 1940, arriving, she noted years later, the day Hitler marched into Prague. During the war years she
recorded ‘Songs of Lidice’, in memory of the victims of the Nazi massacre. The recording presents folk
songs of her native land; the piano accompaniments are by Jan Masaryk, the son of the former president of
Czechoslovakia.”
- Edward Rothstein, THE NEW YORK TIMES, 10 Feb., 1994
0954. JARMILA NOVOTNA: w.Jan Masaryk (Pf.): 15 Songs of Lidice (Czech Folk Songs), 6s.
3-12” EL V 11-8318/20, only form of issue, 1942, New York (except for 2 Sides,
otherwise issued only on HMV, those being dubbings), in Orig. Album M-936. M-A MB 25, the Set.
“[Concerning] how the SONGS OF LIDICE Set came to be recorded just before the massacre took
place....Jan Masaryk, who was an accomplished amateur pianist, was in America and he offered to
improvise accompaniments to a series of Czech folk songs. Before they were ready for publication, Lidice
happened and the decision was made to name the set in honour of those martyred."
- James Dennis, THE RECORD COLLECTOR, 1979
0955. LILLI LEHMANN: Heidenröslein (Schubert) / Freudvoll und leidvoll (Schumann).
10¾” AC brown German Odeon 50389/90 (xB 3142/38), POM-2 July, 1907. M-A, gleaming copy of this
superb mid-1930s German pressing (renowned for its quiet surface) has, Sd.2 only, faintest pap.rub, inaud. MB 50
0956. LILLI LEHMANN: Intermezzo (Schumann) / Du bist die Ruh’ (Schubert).
10¾” AC brown German Odeon 50372/50432 (xB 3133/37), POM-2 July, 1907. M-A, gleaming copy of this
superb mid-1930s German pressing (renowned for its quiet surface) has, Sd.2 only, faintest pap.rub, inaud. MB 50
0957. LILLI LEHMANN: Mondnacht (Schumann) / Les Huguenots – O beau Pays (in German).
10¾” AC silver & blue IRCC 37 (xB3135/49), POM-2 / 5 July,1907, NumberedCopy #16 of an extremely Limited Edition.
M-A, choice copy of mid-1930s Columbia pressing has, Sd.1 only, sev. faint lateral lams, of no consequence. MB 35
‘[Lehmann]...sent a thrill through the house which was intensified fourfold when her clarion tones rang
out....Mme Lehmann's voice was a full-toned dramatic soprano, immense in volume and resonance, and of
voluptuous quality....In moments of tragic fury her voiced pealed like a trumpet....her tone production was
that of a consummate singer....What seems to me most important to record was the impressive grandure of
her greatest operatic impersonations. This grandure was inherent in the woman."
- W. J. Henderson, THE ART OF SINGING, pp.365-67
0958. LILLI LEHMANN: Auf dem Wasser zu singen (Schubert) / Fidelio - Abscheulicher! (Beethoven), 3s.
2-12” AC vinyl Historic Masters HMB 59/60 (xB 1304; xB 3049, xxB 3050 & xxB 3051)
[the former 2 are 10¾” records pressed onto 12” blanks], POM-29 / 22 June, 1907. MINT MB 10, the Pair.
0959. LILLI LEHMANN: La Traviata – Ah! fors’ è lui; Sempre libera (in Italian), 2s. 10¾” AC red
Eng.Odeon Ux.52741/42 (xxB 2976/77), POM-18 June, 1907. M-A, spectacular copy of choice 1931 pressing. MB 50
0960. LILLI LEHMANN: La Traviata – Alfredo, Alfredo, in questo core (in Italian) / Fidelio – Abscheulicher! (part 1).
10¾” AC red Eng.Odeon Ux.52699/52597 (xB 3047/49), POM-22 June, 1907.
M-A, spectacular copy of choice 1931 pressing. MB 60
0961. LILLI LEHMANN: Norma – Casta Diva / LILLI LEHMANN & HEDWIG HELBIG:
Ah! sì, fa core e abbracciami (in German). 10¾” AC red Eng.Odeon Ux.52698/06 (xB 2978/3063),
POM-18 / 25 June, 1907. M-A, spectacular copy of choice 1931 pressing has, Sd.1 only, vague shadow of pressing line,
merely visual & positively inaud., found in all copies. MB 75
0962. LILLI LEHMANN: Fidelio – Abscheulicher! (parts 2 & 3). 12” AC red Eng.Odeon UAA.79300/01 (xxB 3050/51),
POM-22 June, 1907. M-A, spectacular copy of choice 1931 pressing has, Sd.1 only infinitessimal dust mk, inaud. MB 65
0963. LILLI LEHMANN: Fidelio – Abscheulicher! (parts 2 & 3). 12” AC early blue Odeon 80006/07 xxB 3050/51),
POM-22 June, 1907. A, lovely copy has, Sd 2 primarily, faintest pap. rubs, inaud. MB 50
“We are indeed lucky to have this whole scene, recorded on three sides, by Lehmann. It suits her
uncommonly well….The recitative is done in her grand titanic manner….the scene as a whole is a striking
piece of work.”
- James Dennis, THE RECORD COLLECTOR, 1981
0964. LILLI LEHMANN: Entführung – Marten aller arten / Ach ich liebte. 12” AC red Eng.Odeon AA.57895/96
(xxB 3048/2980), POM-22 / 18 June, 1907. M-A, spectacular copy of choice 1931 pressing. MB 65
0965. LILLI LEHMANN: Nozze – Porgi amor (in German) / Die Walküre – Du bist der Lenz.
10¾” AC Parl.-Odeon PO 63 (xB 3150/471), POM-5 July, 1907. M-A, a gleaming copy. MB 15
0966. LILLI LEHMANN: Don Giovanni – Don Ottavio, son morta! / Or sai che l’onore. 10¾” AC red Eng.Odeon
Ux.52577/78 (xB 1478/79), POM-20 July, 1906. M-A, spectacular copy of choice 1931 pressing. MB 65
“…this traversal of Donna Anna’s rage scene is the classic example of Lilli Lehmann in titanic mode.
Heaven help any of the other singers in a performance of DON GIOVANNI who couldn’t keep the pace with
her….altogether one of Lehmann’s most impressive recordings….”
- James Dennis, THE RECORD COLLECTOR, 1981
0967. LILLI LEHMANN: Don Giovanni – Non mi dir / Fors’ è un giorno il cielo. 10¾” AC red Eng.Odeon Ux.52575/76
(xB 3045/46), POM-22 June, 1907. M-A, spectacular copy of choice 1931 pressing. MB 85
“As Lilli Lehmann’s career became restricted to continental Europe, she devoted more time to making her
dream come to reality when in 1901 there was a week of music from August 5 to August 9. This was the
beginning of the now famous Salzburg Festival….Today at the Mozarteum, there is an honorary medal
called the Lilli Lehmann medal, which is to be presented to talented singers who followed the Lilli Lehmann
tradition in the singing of Mozart….you will [also] find a Lilli Lehmann Strasse which was named after her.”
- Lim M. Lai, THE RECORD COLLECTOR, 1981
0968. LILLI LEHMANN & HEDWIG HELBIG: : Nozze – Sull’aria! Che soave zeffiretto /
Così fan Tutte – Prederò quel brunettino (both in German). 10¾” AC red Eng.Odeon Ux.52605/52600 (xB 3060/61),
POM-25 June, 1907. M-A, spectacular copy of choice 1931 pressing. MB 75
“German singer Lilli Lehmann was regarded by many critics and opera mavens as the greatest soprano of
her day, not least because of her command of an unbelievably wide range of roles -- 170! She started her
career as a coloratura soprano, but gradually took on dramatic roles of heavier character, especially in
Wagner's operas. The power, steadiness, and versatility of her voice were given many testimonials by
critics from both the late nineteenth and early twentieth centuries. But what may be most astonishing about
her career was that while Lehmann was in semi-retirement after 1900, she sang in concerts until 1920
(when she was 71 years old), generally still garnering critical acclaim.
In 1865 Lehmann made her début in Prague portraying the First Boy in Mozart's DIE ZAUBERFLÖTE.
Soon, however, she graduated to the role of Pamina, and then quickly ascended to the highest circles of the
operatic stage, appearing at the Berlin Hofoper (1869), Bayreuth (1876), London (1880), Vienna (1882), and
at New York's Metropolitan Opera in 1885, where she was signed on as a member of the company. There
she impressed critics and audiences with a clutch of varied roles, but especially with her Wagner: she
appeared in the New York premiere of TRISTAN UND ISOLDE (1886) and later in the first American RING
cycle (1889). From 1890 to 1900 Lehmann was in her prime, dazzling audiences not only at the Met, but in
Berlin, Bayreuth, and Covent Garden, where she appeared in 1899 in Wagner (Isolde, Sieglinde), Mozart
(Donna Anna), and Bellini (Norma). While she still appeared in certain operatic roles and on the concert
stage after 1900, her appearances became increasingly infrequent. She helped create Mozart festivals in
Salzburg beginning in 1906. That same year -- at the age of 58 -- she made her first recordings, and after
1907 made no more. Her recordings have been highly praised. Lehmann completely retired from all
performance activity in 1920.”
- Robert Cummings, allmusic.com
0969. ELENA GERHARDT, w.Gerald Moore (Pf.): Frauenliebe und Leben (Schumann), 6s.
3-12” EL white 'Special Record' HMV GS 37/39, only form of issue, 1953 (Private Issue recorded 14 Jan. & 18 Feb., 1948).
M-A Exceedingly Rare, originally available only through Gerhardt herself, plus specialist dealers. MB 475, the Set.
"It may have been the considerable and prolonged success which [Gerhardt] enjoyed at Myra Hess' National
Gallery concerts during the war that persuaded her to repeat the project of a private album, with Gerald
Moore as accompanist...containing the FRAUENLIEBE UND LEBEN cycle. She made no great claims for
this effort, referring to it deprecatingly as her swan-song. It contains, as might have been expected, much
insight into and sympathy with Schumann's world....As an old and faithful admirer of Gerhardt's consummate
art, I am glad to have this souvenir of a cycle that I often heard her sing...."
- Desmond Shawe-Taylor, THE RECORD COLLECTOR, 1987
0970. ELENA GERHARDT, w.Arthur Nikisch (Pf.): Ich hab’ ein kleines Lied erdacht (Bungert) / Wie sollten wir geheim sie
halten? (Strauss); Neue Liebe (Rubinstein). 10” AC silver Victor IRCC 208 (3539/40r), POM-1907, Berlin.
Numbered Copy #30 of an extraordinarily Limited Edition. M-A, exemplary copy has faintest rubs, inaud. MB 65
0971. ELENA GERHARDT, w.Arthur Nikisch (Pf.): Heimweh /Und willst du deinen Liebsten sterben sehen? (both Wolf).
10” AC Japanese V 3061 (5167/69r), POM-1907, Berlin. M-A, a gleaming copy in Orig. Japanese sleeve. MB 25
“…our artistic minds became one, and I think that is why the Gerhardt-Nikisch recitals still linger in the minds
of the public who heard them….Yes, Arthur Nikisch…was the greatest happiness in my life for twenty years.”
- Elena Gerhardt, RECITAL, p.159
0972. ELENA GERHARDT, w.Gerald Moore (Pf.): New Selection Of Songs, 1939, incl.: Zigeunerlieder - Complete;
Der Gang zum Liebchen; Therese; Der Tod, das ist die kühle Nacht (all Brahms); Die Stadt; Dithyrambe; Wiegenlied;
Ellen's zweiter Gesang (all Schubert); Der Mond hat eine schwere Klag'erhoben; Und willst du deinen Liebsten sterben
(both Wolf), 12s. 6-10" EL white ‘Private Issue’ HMV GR 16-21, only form of Private Issue, 1939, in Orig. Album,
w.Brochure. Gerhardt's Autographed Card is tipped in front cover. M-A, exemplary copy. MB 125, the Set.
“In 1939, a few days shy of 56 years old, Elena Gerhardt recorded songs in London, with Gerald Moore
accompanying her on the piano. It was among a set of six 10″ records, privately published under the HMV
White Label. It was not a great moment in the English-speaking world for German Lieder, and I don’t think
more than two or three hundred sets were published. It’s been out-of-print for years, and is now almost
unobtainable. Electrical recording in 1939 was done straight to wax disc; there was no editing involved.
We hear today, as if a live recording, what they recorded on 20 October ’39. How sensitive is Moore’s
accompaniment, how clear Gerhardt’s diction, how profoundly moving her interpretation.”
- John Lathrop
“The [above1939 Collection] is a most treasurable possession. The voice is no longer young, but the mezza
voce is still exquisite, while the sheer vitality and variety of the singing is, if anything, more striking than ever.
In this volume are to be found some of Mme Gerhardt's greatest performances which had previously eluded
the gramophone....[Gerhardt] once told me wryly that she had been advised, if she wanted to be re-engaged
by HMV, 'to make love to Mr Legge'; 'I do not want to make love to Mr Legge', she said, with comic distaste.
Instead, she yielded to the suggestion of her friends that she should publish...a private album of six 10-inch
records accompanied (for the first time on disc) by Gerald Moore.”
- Desmond Shawe-Taylor, THE RECORD COLLECTOR, Sept., 1987
0973. CLARA BUTT: God save the King (Elgar). 12” AC special Coronation ‘picture label’ Record HMV 03240 (z4970f),
only form of issue, 24 April, 1911. B-C, well-worn copy has heavy rubs & scrs, positively audible;
tiny hlc just forming; nr on label. Offered merely as a curiosity memento. MB 10
0974. CLARA BUTT: Absent (Metcalf) / Until (Sanderson). 10” EL dark blue Eng. Col. PB 1 (WA6181-3/9558-2),
POM-15 Sept., 1927 / 23 Sept., 1929, Sd.2 recorded in Central Hall, Westminster. M-A MB 15
0975. CLARA BUTT: Four Biblical Songs (Dvorák), 4s. 2–10” EL dark blue Eng. Col. X 335/36 (WA4242/45)
POM-21 March, 1927. M-A, lovely copy has faint rubs, inaud. MB 45, the Pair.
0976. CLARA BUTT: Sea Pictures – Where corals lie (Elgar). 12” AC purple Eng. Col. 7246 (74157),
POM-16 Sept., 1920. Creator Record (1899, Norwich Festival, and among Butt’s loveliest recordings).
M-A, a gleaming copy. MB 20
0977. CLARA BUTT: Faust – Faites-lui mes aveux (in English). 12” AC pink Eng. Col. 74003 (6605), POM-1915.
M-A, a glorious copy, w.faintest pap.rub, positively inaud. MB 15
“The greatest voice that has come from a national institution is Clara Butt’s…..”
- Blanche MarchesI, SINGER’S PILGRIMAGE, p 222
0978. CLARA BUTT: Sosarme – Rend’ il sereno al ciglio (Handel). 12” AC advance pressing HMV 2–053088 (Ac6382f),
POM-24 July, 1912, with longhand-written label. M-A, glorious copy has very sl.grainy surface. MB 15
0979. CLARA BUTT: Sosarme – Rend’ il sereno al ciglio (Handel) /
Lucrezia Borgia – Il segreto per esser felici (Donizetti). 12” AC mauve & gold HMV AGSB 75 (Ac6382/3487f),
POM-1912/’09. A to M-A, lovely copy has few faint rubs, inaud. MB 15
0980. CLARA BUTT: Orfeo – Che farò senza Euridice. 12” AC dark blue Eng. Col. 7217 (6767), POM-1915.
A-, very decent copy has lt. rubs & lt. grey on peaks. MB 12
0981. CLARA BUTT: Don Carlos - O don fatale (1915-16 Version) in Italian)
12” AC pink Eng. Col. 74000 (6605), POM-1915-16. M-A, a glorious copy. MB 15
0982. CLARA BUTT: Don Carlos - O don fatale (1910 Version, in Italian) /
AGNES NICHOLLS: Oberon - Ozean, du Ungeheuer (in English, as written). 12” AC vinyl Historic Masters HMB 31
(2130c/Ac5840f), POM-19 Dec/. 1910 / 19 Dec., 1911, both from Unpublished Masters. MINT MB 15
“Clara Butt possessed one of the greatest and most powerful contralto voices; there was a vast and
‘baritonal’ bottom and a lighter toned pure top. Her repertory consisted of oratorio arias, ballads and songs
(although she had some opera arias in her repertory). Today, most of her repertoire might not be of much
interest, but we have to realize that Dame Clara had to sing against the background of Victorian taste. Her
true contralto voice, however, is one of the most glorious ever recorded.”
- Andrea Shum-Binder, subito-cantabile
0983. CAMILLA WILLIAMS, w.Ralph Berkowitz (Pf.): O, what a beautiful city / City called Heaven.
10” EL RCA 10-1425, only form of issue, 1946. M-A, choice copy has faintest rubs, inaud. MB 15
“Beginning in the late 1930s, Geraldine Farrar was to prove an advocate for African American classical
singers….[Farrar, who had heard Williams in a concert in 1944 recommended her to RCA Victor (the above
recording having been the result). She and Arthur Judson] took me over to the New York City Center Opera
Company to audition for the director, Laszlo Halasz….In 1946…he gave me the opportunity to sing Madama
Butterfly [début, 15 May, 1946, New York City Center].”
- Camilla Williams, GERALDINE FARRAR, OPERA’S CHARISMASTIC INNOVATOR, pp.132-33
0984. GERALDINE FARRAR: Tu me dirais (Chaminade).
10” AC white Vla 87256, POM-24 May, 1916, Never Doubled. M-A , beautiful copy has tiny blister. MB 12
0985. GERALDINE FARRAR: Robin Adair (Burns).
10” AC Pat.’12 Vla 87024, POM-9 Dec., 1908, Never Doubled. M-A MB 12
0986. GERALDINE FARRAR: La Rencontre Imprevu – Wonnervoller Mai (Gluck).
10” AC V 87127, POM-19 Dec., 1912,Orig. ‘A’ Plate Issue, Never Doubled in any regular series,
only as the IRCC reissue. A to M-A, lovely copy has faintest pap.rubs, inaud. MB 8
0987. GERALDINE FARRAR: I’ve been roaming (Horn). 10” AC Pat.’12 Vla 87160, POM-16 April, 1913,
issued USA only. M-A, choice copy has faintest pap.rubs, inaud. MB 8
0988. GERALDINE FARRAR: Love has eyes (Bishop).
10” AC Pat.’12 Vla 87164, POM-16 April, 1913, Never Doubled. M-A, choice copy has faintest pap.rubs, inaud. MB 8
0989. GERALDINE FARRAR: Der Liebe Augustin – Der Himmel hängt ihm voller geigen (Leo Fall).
10” AC Pat.’12 Vla 87134, POM-27 Feb., 1913,Orig. ‘A’ Plate Issue, Never Doubled in any regular series,
only as the IRCC reissue. M-A, exceptional copy. MB 15
0990. GERALDINE FARRAR: Il Segreto di Susanna – Via, cosi non mi lasciate (Woilf-Ferrari)
10” AC Pat.’12 Vla 87136, only form of issue, 17 Feb., 1913, Orig. ‘A’ Plate Issue, Never Doubled in any regular series,
only as the IRCC reissue. M-A, exceptional copy. MB 15
0991. GERALDINE FARRAR: Roland von Berlin - Fahr wohl! Trautgesell! (Leoncavallo).
10” shellac HMV Test Pressing for Mx. 2496L, POM-1904. M-A, outstanding copy appears unplayed. MB 35
0992. GERALDINE FARRAR: Roland von Berlin - Fahr wohl! Trautgesell (Leoncavallo) / Dear Heart (Mattei).
10” silver Victor IRCC 132 ( 2496L/3799h), POM-1904/27 Sept. 1905. Numbered Copy #59 of a very Limited Edition.
Sd.1 label Autographed by Farrar, to which her photo is affixed. M-A, outstanding copy appears unplayed. MB 35
“DER ROLAND VON BERLIN is an opera in 4 acts by composer Ruggero Leoncavallo. The work uses a
German-language libretto by Leoncavallo which is based on Willibald Alexis's 1840 historical novel of the
same name. The opera premiered at the Berlin State Opera on 13 December 1904. Its premiere in Italy
was given at the Teatro di San Carlo in Naples the following month where it was sung in Italian with the title
ROLANDO.”
0993. GERALDINE FARRAR: La Traviata - Follie, follie…Sempre libera. 10” AC black Berlin
Pre-Dog G.C.-53469 (1316r), only form of issue, 23 June 1906. A-, lovely copy has one long scr, ltly audible. MB 15
0994. GERALDINE FARRAR: Roméo et Juliette - Je veux vivre. 10” AC black London HMV G.C.-33618 (1315r),
POM- 23 June 1906. M-A, exceptional copy has faintest pap.scrs, positively inaud. MB 15
0995. GERALDINE FARRAR: Roméo et Juliette - Je veux vivre / Faust – Air des Bijoux (in German).
10” silver Victor IRCC 29 ( 1315r/3802h), POM- 23 June 1906 / 27 Sept. 1905. Numbered Copy #42
of a very Limited Edition. Sd.1 label Autographed by Farrar, to which her photo is affixed.
M-A, outstanding copy appears unplayed. MB 35
0996. GERALDINE FARRAR: Mignon - Connais-tu le pays / Martha- The Last Rose of Summer (both in German).
10” AC black Berlin G & T G.C.- 43733 / 43841 (3803/1718h), only form of issue, 27 Sept., 1905 / 1906.
A-, lovely copy has hint of grey on peaks; Sd.1 only has very lt label nr, plus faintest nr, inaud. MB 20
0997. GERALDINE FARRAR: Königskinder – Lieber Spielmann (Humperdinck). 12” AC Pat.’12 Vla 88405,
POM-19 Dec., 1912, Never Doubled USA. A to M-A , lovely copy has faintest pap.rubs, inaud. MB 12
0998. GERALDINE FARRAR & LOUISE HOMER: Alla campanna andiamo (Campana).
12” AC V 89072, Early ‘B’ Plate Issue, POM-15 April, 1913, Never Doubled USA. M-A , a gleaming copy. MB 12
0999. GERALDINE FARRAR & EDMOND CLÉMENT: Au clair de la lune (Lully).
10” AC Pat.’12 V 87509, Early ‘B’ Plate Issue, POM-17 March, 1913. A, lovely copy has faintest pap. rubs, inaud.. MB 10
1000. GERALDINE FARRAR & EDMOND CLÉMENT: Roméo – Ange adorable.
12” AC Pat.’12 Vla 88421, POM-13 Feb., 1913. M-A, bright copy has few faintest pap.rubs,positively inaud. MB 8
1001. GERALDINE FARRAR & EDMOND CLÉMENT: Mefistofele – Lontano, lontano.
12” AC Vla 89114, POM-13 Feb., 1913. A to M-A, lovely copy has few faintest pap.rubs,positively inaud. MB 8
1002. GERALDINE FARRAR & GIOVANNI MARTINELLI: Carmen – Je t’aime encore.
12” AC V 88531, POM-19 May, 1915. M-A MB 10
1003. GERALDINE FARRAR & GIOVANNI MARTINELLI: Carmen – Halte-là! Qui va là?
12” AC V 88536, POM-17 May, 1915. M-A, a gleaming copy. MB 10
1004. GERALDINE FARRAR & HERMANN JADLOWKER: Le Donne Curiose – Il cor nel contento (Wolf-Ferrari) /
GERALDINE FARRAR & PASQUALE AMATO: Il Segreto di Susanna – Il dolce idillio (Wolf-Ferrari).
12” buff PW HMV DK 124, POM-21 Feb., 1912, Sd.2 Never Doubled, USA. M-A MB 12
“There were famous prima donnas before Geraldine Farrar. Maria Malibran, Jenny Lind, and Adelina Patti all
achieved world fame. But none—not even Nellie Melba or Luisa Tetrazzini—reached a wider audience than
the American soprano. Farrar was not only an international opera star, she made more than 200 recordings
and appeared in 14 silent films. During her 16-season reign at the Metropolitan Opera, Farrar commanded
higher fees and appeared in more new productions than any other leading soprano. She sang 671
performances of 34 roles in 29 operas, a record matched by no soprano in the eight decades since Farrar’s
retirement.”
- Robert Baxter, Marston Program Notes
1005. ROXY KING: Lo Schiavo - O Ciel di Parahyba (Gomes).
12” AC RCA S/S Special Vinyl Pressing of Mx.C-6171, POM-5 May, 1908. M-A, as New. MB 35
1006. ROXY KING: La Gioconda – Suicidio!
12” AC RCA S/S Special Vinyl Pressing of Mx.C-6183, POM-11 May, 1908. M-A, as New. MB 35
“Roxy King demonstrates a voice capable of great delicacy but also freeness and power. Its intonation is
occasionally wayward, but King uses her attractive sound with imagination.” - Barry Brenesal, FANFARE
1007. WINIFRED CECIL; w.Mario Rossi Cond.: La Wally - Ebben, ne andrò lontana /
Loreley - Non fui da un padre mai benedetta. 12” EL dark blue Italian Cetra CB 20458,
only form of issue, 7/6 Oct., 1948. M-A, gleaming copy has, Sd.1 only, 2 wee pap.scrs, inaud. MB 25
“Winifred Cecil studied singing with Marcella Sembrich and Elena Gerhardt. Miss Cecil was ready for a
Town Hall recital in 1933 which was greeted with great praise by The New York Times. After establishing
herself at La Scala, she performed in other leading opera houses throughout Italy and Europe. The
outbreak of World War II prevented Miss Cecil from returning to the United States for her scheduled
Metropolitan Opera début. She stayed in Italy, and at the war's end she acted as a liaison between
American troops and the Italians, for which she was made an Honorary Dame of the Order of Malta. Miss
Cecil returned to the United States after the death of her husband in 1949 and resumed her career as a
recitalist and soloist. During this time she originated and founded the popular master classes, JOY IN
SINGING.”
- Joy in Singing
1008. VIOLET MOUNT (L’INCOGNITA): Mireille – Oh d’amor messeggera / Tom Jones – Waltz Song (Edward German).
10“ AC dark red Zonophone 43687/88 (21920/36), only form of issue, 1920. A-, lovely has lt. rubs , inaud. MB 10
1009. VIOLET MOUNT (L’INCOGNITA): La Figlia del Reggimento – Convien partir /
Maritana – Scenes that are brightest (Wallace). 10“ AC dark red Zonophone 43695/96 (21922/23),
only form of issue, 1920. M-A, lovely has faint rub, Sd.2 only, inaud. MB 12
1010. VIOLET MOUNT (L’INCOGNITA): La Traviata – Ah! fors’ è lui. 10“ AC white & green Zonophone X-93135 (8146e),
only form of issue, 1920. M-A, lovely has infinitessimal cosmetic ndl. cut, faintly audible, if at all. MB 12
1011. VIOLET MOUNT (L’INCOGNITA): Rigoletto – Caro nome. 10“ AC white & green Zonophone X-93138 (8199e),
only form of issue, 1920. A to M-A, lovely has very lt.rubs, inaud.; tiny superficial scr. MB 12
“Violet Mount was an Australian soprano, active in Australia from at least 1902, and afterwards Britain
around 1910. In 1907, she left Australia for London, having sung oratorio in Melbourne and Sydney for
several years. The Sydney Mail claimed she was ‘doubtless Australia's best soprano’. By May 1908,
London critics were praising her in the guise of a masked soprano calling herself ‘L'Incognita’. This disguise
followed a suggestion by George Byng, conductor at the Alhambra Music Hall, at which she was singing
arias from opera since March, 1908. In this hall, she appeared on the same bills as marionettes and a
musical dog. Her choice of arias mirrored the work at the time of Luisa Tetrazzini at Covent Garden, and
there was some speculation that that diva was in fact L'Incognita. Mount also appeared at the Hippodrome
in programmes of similar content to that of the Alhambra, billed simply as ‘soprano soloist’, and billed lower
than two performing monkeys, despite her talent. She was still active in 1921, when she was working with
the distinguished Australian flautist John Amadio. She recorded extensively for the Zonophone label around
1910 as L'Incognita, and her identity was unknown for years. She toured the Moss Empire circuit for two
years and was by one critic found to be a ‘first class artist with a very pleasing and graceful stage presence’.
This latter detail was related in a letter of 1943 to The Gramophone magazine signed by F. W. Gaisberg
(Fred Gaisberg), a major executive from EMI. Listening now to the recordings reveals that she possessed a
bright, open voice, and that she had no fear of high notes, some of which are added ad lib. Her pitch was
just occasionally insecure.”
1012. ELLEN BEACH YAW: Schweizer-Echolied (Swiss Echo Song) (Eckert). 10” AC GP V 64079,
POM-24 Sept., 1907, Never Doubled. A-, lovely copy has lt. rubs & minuscule nd, ltly audible once or twice. MB 12
1013. ELLEN BEACH YAW: The Skylark (Sung by the Composer) / Mignon – Je suis Titania.
12” AC vinyl purple IRCC 3082, RRs-1913, Edison; Sd.2 otherwise Unpublished.
Sd.1 must be heard to be believed! M-A MB 15
"By the time she went to Marchesi in 1900, Yaw had already been touring Europe for five years, her most
significant moment arriving in 1899, when she created the role Sir Arthur Sullivan had written for her in his
last completed operetta, THE ROSE OF PERSIA.”
- Peter G. Davis, THE AMERICAN OPERA SINGER, p.194
1014. ELLEN BEACH YAW: Le bonheur est chose légère (Saint-Saëns) / Lucia – Ardon gl’incensi.
12” AC gold Victor HRS 1026, POM-25 Sept., 1907, both from Unpublished Masters.
Numbered Copy #97 of an extraordinarily Limited Edition. Sd.2 label Autographed by Yaw.
M-A, lovely copy has, Sd.2 only, faintest pap. rubs, inaud. MB 55
1015. ELLEN BEACH YAW: Les Noces de Jeannette – Au bord du chemin (Air du Rossignol) (Massé).
12” AC V 74092, POM-24 Sept., 1907, Doubled only as the elusive AGSB 202.
A to M-A, beautiful copy has faintest rubs, inaud. MB 15
1016. ELLEN BEACH YAW: Les Noces de Jeannette – Au bord du chemin (Air du Rossignol) (Massé) /
Le Timbre d’Argent – Le bonheur est chose légère (Saint-Saëns). 12” AC mauve & gold HMV AGSB 202,
POM-24 / 25 Sept., 1907, Sd.2 from Unpublished Master. MINT MB 15
1017. ELLEN BEACH YAW, w.Mme Stefani Dvorák Worthing (Pf.): Hamlet - Mad Scene (in English), 2s.
12” EL Co-Art 5025, only form of issue, 1941. Numbered Copy #22 of an extraordinarily Limited Edition.
Autographed by Ellen Beach Yaw. A-, lovely copy has very lt. rubs & superficial scuffs, positively inaud. MB 65
"On 16th June, 1941 [the above] was recorded in the home of the noted arranger and Academy Award
winner, Mr Arthur Lange in Beverly Hills, California. The Co-Art Company recorded only special musical
compositions issued as limited editions....It was issued as a limited edition, and autographed by Mme Yaw."
- Antonio Altamarino, THE RECORD COLLECTOR, Dec., 1955
1018. ELLEN BEACH YAW: Lakmé - Où va la jeune Hindoue? 12” AC Pat.’12 V 74090,
POM-25 Sept., 1907, Never Doubled. M-A, gleaming copy has 2 wee pressing bumps. MB 20
1019. ELLEN BEACH YAW: La Perle du Brésil – Charmant oiseau / Lucia – Ardon gl’incensi.
12” AC mauve & gold HMV AGSB 66, POM-24 / 25 Sept., 1907, both from Unpublished Masters. MINT MB 20
“Ellen Beach Yaw was an American coloratura soprano, best known for her concert singing career. She had
an extraordinary vocal range and could produce unusually high notes. Known as ‘Lark Ellen’ or ‘The
California Nightingale’, she was reportedly the only known soprano of her era who could sing and sustain
the D above high D. She was also able to trill in major thirds or fifths (trills usually involve rapidly alternating
notes over an interval of a minor or major second).In 1898 and 1899, Yaw was singing in private concerts in
London, and at one of these she so impressed Sir Arthur Sullivan that he prevailed upon the D'Oyly Carte
Opera Company to cast her as the Sultana Zubedyah in his comic opera THE ROSE OF PERSIA, which
opened on 29 November, 1899 at the Savoy Theatre in London. Sullivan went so far as to write a special
high cadenza for her song 'Neath My Lattice’, a cadenza that only she could sing. Yaw gave a single
performance of LUCIA DI LAMMERMOOR at the Metropolitan Opera on 21 March, 1908 (after which she
was described by the Met's manager as ‘the world’s greatest coloratura soprano’). Yaw was much in
demand as a recording artist, and her first records were made in May 1899. Thomas Edison, inventor of the
phonograph, recorded her voice for mechanical experiments on a visit to his Orange, New Jersey
laboratories. She sang various songs throughout her range into several machines. Afterwards, Edison said
of her voice, ‘I can see no defects of any kind in this voice. Sweet on lower notes, and mellow’."
1020. ELEANOR STEBER, w.Alec Templeton (Pf.): Roses in Wintertime / Vienna in the Springtime
(both Acc.by the Composer). 10” EL RCA 10-1473. Exquisitely beautiful . . . and most Elusive! M-A MB 20
"Those of us privileged to hear [Steber] at her best could not help but be awed by the almost unbearable
beauty of her voice, her flawless technique, and her rapturous delight in her art."
- Judith Buffington, HE LOVES ME WHEN I SING, p.ii
1021. ELEANOR STEBER, w.James Quinlan (Pf.): Chère nuit (Bachelet) / Chanson triste (Duparc). 12” EL V 18088,
only form of issue, 5 May, 1941 (although HMV DB 6134 was assigned). Sd.2 label Autographed by Steber. M-A MB 12
1022. ELEANOR STEBER, w.James Quinlan (Pf.): Chère nuit (Bachelet) / Chanson triste (Duparc).
12” EL V 18088, only form of issue, 5 May, 1941 (although HMV DB 6134 was assigned). M-A MB 8
1023. ELEANOR STEBER, w.James Quinlan (Pf.): By a lonely forest pathway (Griffes) / Rapunzel (Sacco).
10” EL V 10-1071, only form of issue, 14 April, 1941. M-A MB 8
1024. ELEANOR STEBER, w.James Quinlan (Pf.): Auflösung (Schubert) / Canto di primavera (Cimara).
10” EL V 10-1099. Sd.2 label Autographed by Steber. A to M-A MB 12
1025. ELEANOR STEBER, w.James Quinlan (Pf.): Auflösung (Schubert) / Canto di primavera (Cimara).
10” EL V 10-1099. M-A MB 8
1026. ELEANOR STEBER, w.Jay Blackton Cond.: Star Dust (Hoagy Carmichæl) / Porgy and Bess - Summertime.
12” EL RCA 11-9186, only form of issue, 25 Feb., 1946. Steber at her most enchanting; not to be missed!
M-A, an outstanding copy. MB 15
1027. ELEANOR STEBER, w.Jay Blackton Cond.: Roberta – The touch of your hand (Jerome Kern) /
The King Steps Out – Stars in my eyes (Kreisler). 10” EL RCA 10-1248. M-A, a gleaming copy. MB 8
1028. ELEANOR STEBER, w.Russ Case Cond.: If I could tell you (Firestone) / Smilin’ through (Penn).
10” EL Canadian RCA 10-1443, only form of issue, 1948. A to M-A MB 8
1029. ELEANOR STEBER, w.Russ Case Cond.: Love’s old sweet song (Molloy) / Think on me (Scott).
10” EL RCA 10-1444, only form of issue, 1948. A to M-A, choice copy has few lt.rubs & faded labels. MB 6
1030. ELEANOR STEBER, w.Russ Case Cond.: Songs my mother taught me (Dvorák) / Danny Boy.
10” EL RCA 10-1445, only form of issue, 1948. Sd.1 label Autographed by Steber. M-A MB 12
1031. ELEANOR STEBER, w.Russ Case Cond.: Songs my mother taught me (Dvorák) / Danny Boy.
10” EL RCA 10-1445, only form of issue, 1948. M-A MB 8
1032. ELEANOR STEBER, w.Russ Case Cond.: In the gloaming (Harrison) / In my garden (Firestone).
10” EL RCA 10-1446, only form of issue, 1948.
M-A, gleaming copy has faintest pap.scr, Sd.1, barely visible & inaud. MB 8
1033. ELEANOR STEBER, w.Al Goodman Cond.: Oklahoma! – Out of my dreams /
ELEANOR STEBER & JAMES MELTON: People will say we’re in love (Richard Rodgers).
10” EL V 10-1143, only form of issue, 1944. A to M-A MB 8
1034. ELEANOR STEBER, w.Morel Cond.: Nozze – Voi che sapete / Roméo – Je veux vivre. 12” EL RCA 12-0526, POM19 Sept., 1946. Sd.2 label Autographed by Steber. The Roméo recording is among Steber’s very best! M-A MB 15
1035. ELEANOR STEBER, w.Morel Cond.: Nozze – Voi che sapete / Roméo – Je veux vivre.
12” EL RCA 12-0526, POM-19 Sept., 1946. The Roméo recording is among Steber’s very best! M-A MB 12
1036. ELEANOR STEBER, w.Süsskind Cond. Philharmonia Orch.: Carmen – Je dis que rien ne m’épouvante /
Louise – Depuis le jour. 12” EL HMV DB 6514, POM-1948. Sd.2 label Autographed by Steber.
The Louise recording is sheer enchantment! M-A, appears unplayed. MB 15
1037. ELEANOR STEBER, w.Süsskind Cond. Philharmonia Orch.: Carmen – Je dis que rien ne m’épouvante /
Louise – Depuis le jour. 12” EL RCA 12-0690, POM-1948. The Louise recording is sheer enchantment! M-A MB 12
1038. ELEANOR STEBER, w.Süsskind Cond. Philharmonia Orch.:
Carmen – Je dis que rien ne m’épouvante / Louise – Depuis le jour.
12” EL RCA vinyl 12” EL RCA 12-0690, POM-1948. The Louise recording is sheer enchantment! M-A MB 15
1039. ELEANOR STEBER, w.Morel Cond.: Faust - Le Roi de Thulé / Air des bijoux.
12” EL RCA 11-9838, only form of issue, 19 Sept., 1946. M-A MB 5
1040. ELEANOR STEBER, w.Morel Cond.: Entführung - Marten aller Arten (in English) /
Nozze - Non so più; Deh vieni, non tardar (both in Italian), 4s. 2-12” EL RCA 11-9774/75, only form of issue, 1947,
in Orig. Album DM-1157. Sds.1& 2 label s Autographed by Steber. M-A MB 25, the Set.
1041. ELEANOR STEBER, w.Morel Cond.: Entführung - Marten aller Arten (in English) /
Nozze - Non so più; Deh vieni, non tardar (both in Italian), 4s. 2-12” EL RCA 11-9774/75,
only form of issue, 1947, in Orig. Album DM-1157. M-A MB 15, the Set.
1042. ELEANOR STEBER, w.Leinsdorf Cond.: Nozze - Porgi amor / Dove sono.
12” EL RCA 11-8850, only form of issue, 22 Feb., 1945. M-A MB 8
1043. ELEANOR STEBER, w.Leinsdorf Cond.: Don Giovanni - Batti, batti, o bel Masetto (in Italian) /
Zauberflöte - Ach, ich fühl's (in English). 12” EL RCA 11-9114, sole issue, 5 Sept., 1945. M-A MB 8
1044. ELEANOR STEBER, w.Charles O’Connell Cond.: Oratorio Arias, incl. Arias from The Creation & Messiah, 6s.
3-12” EL V 11-8294/96, in Orig. Album DM-927. M-A MB 15, the Set.
"[Steber] is the genuine home grown article, exuding confidence and owning a built-in zest for life. Her
timbre – silvery, of diamond-like clarity – is distinctive and shimmeringly beautiful in the manner of the best
German lyric sopranos….often a delightful touch of phrasing or burst of spirit denotes the superior musician,
and the mid and upper voice have a heavenly sheen.”
- Paul Jackson, SATURDAY AFTERNOONS AT THE OLD MET, p.301
1045. ELEANOR STEBER, w.Fausto Cleva Cond.: La Traviata – Ah! fors’ è lui / Sempre libera.
10” EL Col. 17622-D, only form of issue, 1950. A to M-A, lovely copy has lt.rubs, inaud. Rare in 78rpm format. MB 15
1046. ELEANOR STEBER & MARGARET HARSHAW, w.Russ Case Cond.: Beautiful Isle of somewhere (Fearis) /
The Old Rugged Cross (Bennard). 10” EL RCA 10-1449, only form of issue, 1948. Elusive! M-A MB 12
1047. ELEANOR STEBER & JAMES PEASE, w.Robert Shaw Cond.: Ein Deutsches Requiem –
Ihr habt nun Traurigkeit (first half only)(Brahms). 12” EL vinyl RCA S/S Test Pressing for D7-RG-8064-2A, POM-1948,
never issued as a single disk (issued as Complete Performance only). M-A, as New. MB 8
1048. ELEANOR STEBER & JAMES PEASE, w.Robert Shaw Cond.:
Ein Deutsches Requiem (Brahms), 18s. 9-12” EL red vinyl RCA 18-0155/63, POM-1948, in Orig. Album DV20.
MINT Exceedingly Elusive, especially as this Preferred red vinyl Pressing. MB 15, the Set.
“Eleanor Steber studied at the New England Conservatory in Boston. At the beginning, she did a lot of
radio, oratorio, and church work, but made then her début on stage in 1936, appearing as Senta with the
Commonwealth Opera. In 1939, Steber went to New York to study with Paul Althouse who had a great
influence on her. In 1940 she won first prize at the Met Auditions, earning a Met contract. Her début role
there was Sophie in Strauss’ DER ROSENKAVALIER. During the next years she benefited from conductors
such as Bruno Walter, Sir Thomas Beecham, Erich Leinsdorf, George Szell and Karl Böhm. She was a
versatile artist and appeared in Italian, French and German operas. Things began to change for her at the
Met when Rudolf Bing took over the company in 1950. By this time, her career extended well beyond New
York (San Francisco, Glyndebourne, Chicago and Bayreuth). At the Met she was the company’s first
Arabella in 1955 and its first Marie in WOZZECK in 1959. In 1958 she created Barber’s VANESSA.
Thereafter she sang concerts, appeared in musicals and taught subsequently at The Juilliard School of
Music.”
- Andrea Shum-Binder, subito-cantabile
1049. FLORENCE EASTON: Values (Vanderpool). 10” AC pale blue Vocalion 30111 (5496),
only form of issue,1920. A-, lovely copy has lt.rubs, inaud. MB 10
1050. FLORENCE EASTON: Ma curly headed babby (Clutsam). 10” AC brown shallac Vocalion 30106 (5462),
only form of issue,1919. M-A, a gleaming copy, perhaps unplayed! MB 10
1051. FLORENCE EASTON: My Laddie (1921 Version) (Thayer). 10” AC green Bruns. 10036 (5503),
only form of issue,1921. M-A MB 8
1052. FLORENCE EASTON: My Laddie (1928 Version) (Thayer) / Comin’ thro’ the rye. 10” EL gold Bruns. 15202
(28424/25), only form of issue, 26 Sept., 1928. A-, very decent copy has lt.rubs, inaud. Elusive! MB 8
1053. FLORENCE EASTON: A Banjo song (Homer) / Croon, croon, underbneat’ de moon (Clutsam).
10” AC purple Bruns. 10211 (16754/16764), only form of issue, 24/26 Oct., 1925.
M-A, gleaming copy appears unplayed! MB 10
1054. FLORENCE EASTON: Silent Night (1921 Version) (Gruber).
10” AC green Bruns. 10046 (6422), POM-1921. A-, lovely copy has lt.rubs, inaud. MB 8
1055. FLORENCE EASTON: Silent Night (1923 Version) (Gruber) / Cantique de Noël (Adam).
10” AC purple Bruns. 10113 (11502/11499), POM-1923. M-A MB 8
1056. FLORENCE EASTON: Still wie die Nacht (Böhm) / Treue Liebe (Kücken).
10” AC purple Bruns. 10112 (8830/10715), POM-1922/’23. M-A, a gleaming copy, perhaps unplayed! MB 10
1057. FLORENCE EASTON: O Divine Redeemer (Gounod) / w.Frederick Fradkin (Violin): Ave Maria (1923 Version)
(Bach-Gounod). 12” AC gold Bruns. 50025 (10344/20), only form of issue,11 April / 8 June, 1923.
A to M-A/A, lovely copy has, Sd.2 only wee dust scrabble & few lt.scrs, only occasionally audible. MB 8
1058. FLORENCE EASTON: O Divine Redeemer (Gounod) / w.Frederick Fradkin (Violin): Ave Maria (1923 Version)
(Bach-Gounod). 12” AC gold Bruns. 50025 (10344/21– Variant ‘Take’), only form of issue,11 April / 8 June, 1923.
A -, lovely copy has lt.rubs & occasional infinitessimal scr, inaud. MB 8
1059. FLORENCE EASTON: Heart o’ mine (Victor Herbert) / Over the hills (Logan).
10” AC purple Bruns. 10120 (13310/08), POM-12 June, 1924. M-A, a gleaming copy, perhaps unplayed! MB 10
1060. FLORENCE EASTON: Mighty lak’ a rose (Nevin) / Sing me to sleep (Greene).
10” AC purple Bruns. 10100 (13326/23), POM-1924. M-A, choice copy has few faintest rubs, inaud. MB 8
1061. FLORENCE EASTON: Zigeunerlieder - Songs my mother taught me (1933 Version) (Dvorák) / Cradle Song (Iljinsky).
10”AC purple Bruns. 10116 (12305/03), POM-1924. M-A, gleaming copy has faintest pap.rubs, inaud. MB 8
1062. FLORENCE EASTON: I’se gwine back to Dixie (White) / Little old cabin in the lane (Hays).
10” EL purple Bruns. 10246 (18931/34), only form of issue, 27 April, 1926. M-A, gleaming copy appears unplayed! MB 10
1063. FLORENCE EASTON: El Cefiro / Preguntales a la estrellas (both Mexican Folk).
10” AC gold Bruns. 15038 (9369/67), POM-1922. M-A, a gleaming copy. MB 10
1064. FLORENCE EASTON: Rose Marie - Indian love call (Friml) / Mlle. Modiste – Kiss me again (Victor Herbert).
10” EL gold Bruns. 15193 (28412/13), POM- 21 Sept., 1928. A-, very decent copy has rubs, inaud. Elusive! MB 8
1065. FLORENCE EASTON: Mignon – Connais-tu le Pays? / Faust – Le Roi de Thulé.
10” AC gold Bruns. 15030 (8825/27), POM-1922. M-A, a gleaming copy. MB 10
1066. FLORENCE EASTON: La Boheme – Addio senza rancor / Carmen – Habanera.
10” AC gold Bruns. 15000 (6949/7274), POM-1921/’22, only form of issue,Sd.2. M-A, a gleaming copy. MB 10
1067. FLORENCE EASTON: Faust – Air des bijoux. 10” AC green Bruns. 10037 (5547),
only form of issue, 1921. M-A, a gleaming copy, perhaps unplayed! MB 10
1068. FLORENCE EASTON: Sadko – Chant indoue (1922 Version) / Snegoroutchka – Song of the Shepherd Lehl
(both in English). 10” AC purple Bruns. 10106 (7466/82), POM-1922. M-A, a gleaming copy. MB 10
1069. FLORENCE EASTON: Sadko – Chant indoue (1928 Version) / Peer Gynt – Solvjeg’s Song (both in English).
10” EL gold Bruns. 15214 (28434/33), only form of issue, 1928. M-A, a gleaming copy. MB 10
1070. FLORENCE EASTON: Madama Butterfly – Un bel dì. 12” AC purple Bruns. 30018 (5505),
only form of issue, 1921. M-A, a gleaming copy. MB 10
1071. FLORENCE EASTON: Tosca – Vissi d’arte. 10” AC green Bruns. 10044 (5506),
only form of issue, 1921. M-A, a gleaming copy. MB 10
1072. FLORENCE EASTON: Tosca – Vissi d’arte. 10” AC green Bruns. 10044 (5507 – Variant ‘Take’),
only form of issue, 1921. M-A, choice copy has infinitssimal pap.scr, inaud. MB 10
1073. FLORENCE EASTON: Carmen - Je dis que rien ne m’épouvante / Pagliacci – Che volo d’augelli.
12” AC gold Bruns. 50012 (7275/7651), only form of issue,1922. M-A, a gleaming copy. MB 8
1074. FLORENCE EASTON: Gianni Schicchi – O mio babbino caro /
CESIRA FERRANI: La Boheme – Mi chiamano Mimi. 10” AC buff IRCC 234, RRs – 1918 (Vocalion) /’03,
Sd.1 being a Creator record, (14 Dec., 1918, Met Opera), Numbered Copy #19 of Limited Edition. M-A MB 12
1075. FLORENCE EASTON, w.Max Rosen (Violin): Ave Maria (1923 Version) (Bach-Gounod).
12” AC green Bruns. 30011 (5545), only form of issue, 1921. M-A, a gleaming copy. MB 10
1076. FLORENCE EASTON, w.Lester Hodges (Pf.): Orpheus with his lute (Sullivan) / DerTod, ist die kühle Nacht
(Brahms). 10” EL white IRCC 213, from Live Performance, 13 July, 1939, Juilliard School, New York. M-A MB 15
1077. FLORENCE EASTON, w.Karl Kritz (Pf.): St Elizabeth - Prayer (Liszt) / w.Lester Hodges (Pf.):
Già il sole Gange (Scarlatti); Lungi dal caro bene (Secchi). 12” EL red IRCC 166, only form of issue
(from New York broadcasts, 10 Feb., 1940 / 13 July, 1939, resp.). Numbered Copy #82 of an extremely Limited Edition.
Sd.1 Label Autographed by Easton, whose Photo is affixed. A to M-A, bright copy has faintest pap.rubs, inaud.;
Sd.1 label has minor cellophane tape affixed (obviously to protect Easton’s signature). Exceedingly Elusive! MB 25
“[Easton] was a singer’s singer: a consummate professional who one could count on for a faultless
performance….”
- Ward Marston, MARSTON Newsletter, Vol. V, #1, Nov., 2001
1078. FLORENCE EASTON, w.Gerald Moore (Pf.): My mother bids me bind my hair (Haydn) / My Laddie (Thayer).
10” EL Scroll V 1705, on Z-type Shellac, only form of regular issue, 1933 (although recorded by HMV,
issued [very briefly] only in America)! M-A MB 25
1079. FLORENCE EASTON, w.Gerald Moore (Pf.): Alle dinge haben sprache / Ich bin eine Harfe (both Erich Wolff).
10" EL Scroll V 1712, on Z Shellac, only form of regular issue, 1933 (although recorded by HMV,
issued [very briefly] only in America)! M-A MB 25
1080. FLORENCE EASTON, w.Gerald Moore (Pf.): Hat dich die Liebe berührt (Marx). 10" EL S/S vinyl pressing of
Mx. OB 5561-1, POM-1933, Unpublished (except for limited IRCC & Historic Masters special editions). MINT MB 12
1081. FLORENCE EASTON, w.Gerald Moore (Pf.): Hat dich die Liebe berührt (Marx) / Zigeunerlieder Songs my mother taught me (1933 Version) (Dvorák). 10” AC silver Victor IRCC 174 (OB 5561-1/5558-1),
Numbered Copy #33 of extremely limited edition; Sd.1 label Autographed by Easton. M-A, a gleaming copy. MB 25
1082. FLORENCE EASTON, w.Gerald Moore (Pf.): Zigeunerlieder - Songs my mother taught me (1933 Version) (Dvorák).
10" EL S/S vinyl pressing of Mx. OB 5558-1, POM-1933,
Unpublished (except for limited IRCC & Historic Masters special editions). MINT MB 12
1083. FLORENCE EASTON & MARIO CHAMLEE: La Traviata - Parigi, o cara /
Faust - O nuit d'amour. 12” EL gold Bruns.50157 (28459/60), only form of issue, 8 Oct., 1928.
A to M-A, lovely copy has faintest rubs, inaud.; tiny hlc just forming, entirely harmless. Most elusive! MB 8
1084. FLORENCE EASTON, w.Georges Sebastian Cond.: Liebestod / FLORENCE EASTON & ARTHUR CARRON:
Tristan - Liebesnacht (both in English). 12” EL yellow IRCC 3004, only form of issue, 1942, from Celanese Hour Broadcast.
Numbered Copy #108 of a Limited Edition. M-A MB 10
1085. FLORENCE EASTON & LAURITZ MELCHIOR, w.Robert Heger Cond. London S.O.:
SIEGFRIED - Final Scene, 7s / Sd.8 = Heger Cond. London S.O.: Act I - Prelude. 4-12” EL PW V 7762/65,
POM-29 May, 1932, in Orig. Album M-167, w.Brochure. M-A, outstanding copy of preferred PW pressing.
This usually appears rather greyed due to the very forward recording. MB 45, the Set.
“Florence Easton was one of the most versatile singers of all time. She sang no fewer than 88 roles,
covering a wide range of styles and periods, from Mozart, Meyerbeer, Gounod, Verdi, Wagner, Puccini,
Strauss, Schreker and Krenek. In Wagner she sang virtually every soprano part, large and small from Senta
onwards, with the exception of the GÖTTERDÄMMERUNG Brünnhilde.
Florence Easton excelled, rivalling Lilli Lehmann [in the respect of singing dramatic roles]. Her high
international reputation, founded mainly in Germany and North America, was almost unique for a British
singer of her time. She could move easily through all stages from the light coloratura to the
Hochdramatische, from girlish romanticism to powerful Wagnerian and Straussian drama. One of the most
important Wagnerian records was made for HMV in 1932: ‘Heil dir Sonne!’ from SIEGFRIED (her best
recording in her own estimation). In 1933 HMV recorded six sides of Lieder and songs for Victor,
accompanied by Gerald Moore.
It was Richard Strauss who coached Florence Easton as Elektra and Sophie which she presented in English
on a tour in Great Britain and in German in Berlin. She continued to expand her repertoire, the new role
including Salome (again coached by Richard Strauss) and Minnie, singing with Enrico Caruso in 1913.
Easton made her successful Met début as Santuzza in 1917. She remained at the Met for 12 seasons,
singing 41 roles, but it was her performance as Saint Elisabeth in the staged version of Liszt’s
DIE LEGENDE VON DER HEILIGEN ELISABETH (1918) which set her into the first rank of Metropolitan
stars.
At Covent Garden in 1932 she was Isolde and the SIEGFRIED Brünnhilde opposite Lauritz Melchior, the
only time they appeared together. Easton’s last appearance on the operatic stage was in 1936 singing
Brünnhilde in DIE WALKÜRE at the Met. Her last appearance with orchestra was in a 1942 broadcast
where she sang excerpts from TRISTAN AND ISOLDE, using her own English translations! She then taught
privately and at the Juilliard School of Music, and still gave occasional recitals in New York.”
- Andrea Shum-Binder, subito-cantabile
1086. SYDNEY RAYNER: Obstination (de Fontenailles) / A vucchella (Tosti).
10” EL dark blue English Decca F.3327, POM-1932, London. M-A, a gleaming copy. MB 12
1087. SYDNEY RAYNER: Parted (Tosti) / I love life (Mana-Zucca) (both in English).
10” EL dark blue EnglishDecca F.3133, only form of issue, 1932, London.
M-A, choice copy has 2 wee rubs, Sd.1, inaud. MB 12
1088. SYDNEY RAYNER: Werther - J'aurais sur ma poitrine / Manon - Ah! fuyez, douce image.
12” EL dark blue English Decca K.685, POM-1932, London. M-A, a gleaming copy. MB 12
1089. SYDNEY RAYNER: Roméo et Juliette - Ah! lève-toi, soleil / Carmen – Air de la fleur.
12” EL black English Decca K.677, POM-1932, London. M-A, a gleaming copy. MB 12
1090. SYDNEY RAYNER: Aïda –Celeste Aïda / Otello – Ora e per sempre addio.
12” EL red English Decca T.204, POM-1932, London. A to M-A, lovely copy has few superficial mks, inaud.. MB 12
“Rayner’s art and in particular that intensity of brilliant tone above the stave [are reasons why] his recordings
are well worth a place in any collection….Rayner, surprisingly, competes with his American contemporaries
Charles Kullman and Richard Crooks in a series of piano-accompanied well-known ballads, when we can
hear him in sufficient form to control finely that more robust part of his voice….”
-Alan Bilgora, THE RECORD COLLECTOR, 2013
1091. CESARE VALLETTI, w.Basile Cond.: Barbiere – Se il mio nome / Martha – M’appari.
10” EL pale blue Cetra AT 0243, only form of issue, 16/17 May, 1951. M-A, a gleaming copy. MB 45
“As one of the younger tenors to emerge soon after World War II, it was obvious that Valletti was an artist
whose reputation would be made based on artistic and musical considerations….His musicianship and vocal
colour made him an ideal interpreter of Mozart roles, and like Schipa [his mentor], he became a renowned
Werther with sensitivity and nuance being the key to his interpretation….he was considered a lyric tenor of
the front rank.”
- Alan Bilgora, program notes to Pearl’s THE CETRA TENORS
1092. PIERRE CORNUBERT: Plaisir dámour (Martini) / Cést mon ami.
8 1/2 ” AC black on white Arya 313 (175/176), recorded 1905, Disques Ultima. M-A, a gleaming copy. MB 150
“Pierre Cornubert began as an Opéra-Comique singer, and it is a pity not more of that side of his repertory is
preserved. Cornubert made his début as Daniel in Adam’s LE CHÂLET, the role he sang most often in the
course of the next two years, and [appeared] in 1889 as the Byzantine Herald in the opening production of
Massenet’s ESCLARMONDE. Cornubert was the first Marseilles Werther and the first Dominique in
L’ATTAQUE DU MOULIN. There, he also premiered Charles Silver’s LA BELLE AU BOIS DORMANT in
1901 alongside the composer’s wife, Georgette Bréjean-Silver. His Metropolitan Opera début took place in
1900, when he stepped in for Albert Saléza as Vasco da Gama in L’AFRICAINE, partnering Nordica’s
Selika. His other Met roles were Raoul (Nordica his Valentine) and Roméo (with Emma Eames). His
Covent Garden appearances occurred as part of the San Carlo visit in the fall of 1904, singing Don José and
Canio, each once, alternating with Caruso, and act 2 of TOSCA. In 1919 he was appointed a professor at
the Paris Conservatoire, succeeding Saléza.
Like Scaramberg, Cornubert’s recordings highlight both his lyrical and heroic roles. ‘Ô Paradis’, the role of
his Met début, shows the voice to good advantage. The possessor of an attractive timbre, slightly nasal in
color, he attacks the opening G-flat with precision, the voice opening to deliver exciting B-flats. His diction is
careful and varied—as are his vocal effects. Raoul’s entrance in LES HUGUENOTS is excitingly delivered,
with a finely executed gruppetto.
It is good to have some examples of Cornubert’s lighter repertory. Martini’s ‘Plaisir d’amour’ is sung in G
and at such a slow tempo that one wishes it had been taken more briskly to make room for the missing B
section. As for ‘C’est mon ami’, an 18th-century song occasionally attributed to Marie-Antoinette (an unlikely
attribution), it features an exquisite gruppetto.”
- Victor Giroud, Marston Program Notes
1093. RENÉ MAISON, w.Clœz Cond.: Lohengrin – Atmest du nicht / Höchstes Vertrau’n (in French).
10” EL French Odéon 188.547. A-, lovely copy has occasional minuscule dust mk. MB 12
1094. RENÉ MAISON, w.Clœz Cond.: Roméo – Salut, tombeau, 2s.
10” EL French Odéon 188.600. A-, lovely copy has faintest rubs & occasional pap. scr, inaud. MB 12
1095. RENÉ MAISON, w.Leinsdorf Cond.: Fidelio – Gott! welch’ Dunkel hier, 2s.
12” EL PW Col. 71410-D, only form of issue, 6 Jan., 1942. M-A MB 8
1096. RENÉ MAISON, w.Cloez Cond.: Louise - Un jour dans l'escalier sombre / Rigoletto - La donna È mobile
(in French). 10" EL French Odéon 188.539, only form of issue, 1927. M-A, a gleaming copy. MB 12
1097. RENÉ MAISON, w.Cloez Cond.: Roméo – Salut, tombeau, 2s. 10” EL French Odéon 188.600,
only form of issue, 11 July, 1928. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10
1098. RENÉ MAISON, & JULIEN LAFONT, w.Cloez Cond.: Faust – Me voici, d’où vient ta surprise?; O merveille!, 2s.
12” red US Decca G-25858, POM-2 Nov., 1927. M-A, a gleaming copy. MB 12
“Dramatic tenor René Maison had qualities which made him valuable as an alternate to Melchior in all but
the most heroic parts, and his character assumptions were often genuinely distinctive. His début took place
in Geneva in 1920 when he sang Rodolfo in LA BOHEME. A performance of Alfano's RÉSURRECTION at
the Opéra-Comique in Paris found him singing with Mary Garden. Impressed, she urged the Chicago Civic
Opera to put the young tenor under contract. From 1927 to 1932, Maison sang at the Chicago Opera,
adding light dramatic roles such as Florestan, Lohengrin and the title role in PARSIFAL, sung before a
completely sold-out house in December 1931. In the period following his Chicago years, Maison sang
throughout Europe and South America, appearing for several seasons at the Teatro Colón in Buenos Aires.
On 3 February, 1936, Maison appeared at the Metropolitan Opera as Walter von Stolzing, beginning an
eight-season relationship there. Fidelio brought the verdict of an excellent Florestan and, at all times,
Maison's musicianship was found first-rate. When Louise was revived for Grace Moore, Maison's Julien was
regarded as the one truly French performance.”
- Erik Eriksson, All Music Guide
1099. GASTON MICHELETTI, w.Minssart Cond.: Das Land des Lächelns – Dein ist mein ganzes Herz /
Immer nur lächeln (in French). 10” EL dark-blue French Odéon 166.646, only form of issue, 1933.
M-A, a gleaming copy. Elusive! MB 15
“Micheletti was contracted to the Opéra-Comique, where his first rôle was Des Grieux. This opera house
became the centre of his activities until his retirement in 1946. He sang in a wide range of rôles, including
Don José, Turiddu, Hoffmann, Gérald, Pinkerton, Canio, Dimitri in Alfano’s RÉSURRECTION, Mylio,
Werther, Rodolfo, Cavaradossi and Roméo. He created numerous rôles in premieres of forgotten French
operas. His career was largely restricted to French and Belgian opera houses. He is a lirico-spinto tenor of
remarkable subtlety. The timbre of his voice is attractive, warm and velvety, with a slightly baritonal tinge.
1100. TULLIO PANE, w.Gallino Cond.: ‘A vucchella (Tosti) / Tu, ca nun chiagne (de Curtis).
10” EL pale-green Cetra DC 6682, only form of issue, 6 Dec., 1956. M-A, choice copy of late 78-era issue. MB 12
1101. TULLIO PANE, w.Petralia Cond.: Marechiare (Tosti) / Guapparia (Falvo).
10” EL pale-green Cet ra DC 6687, only form of issue, 6 Dec., 1956. M-A, choice copy of late 78-era issue. MB 12
1102. DAVID POLERI: One love too many (Paone) /
Please say you love me (Kent). 10” EL RCA 10–3910, only form of issue, c.1953.
M-A, lovely copy has, Sd.2 only, sev. tiny dust scrs, ltly audible a few turns. Exceedingly Elusive! MB 12
1103. DAVID POLERI, w.Dudley King Cond.: One night of love (Schertzinger) / w.Hugo Winterhalter Cond.:
Some day my heart will awake (Ivor Novello). 10” EL RCA 10-3856, only form of issue, 1952.
M-A, appears unplayed, albeit Sd.2 only has faintest pap.rub, positively inaud. Exceedingly Elusive! MB 20
“Poleri’s ringing Italian-style tenor…might even have gone on to a more important career had not his
unpredictable behavior proved to be his undoing. Once, while singing CARMEN with the New York City
Opera on tour in Chicago, the temperamental Poleri reached the final scene, dropped his knife, shouted
‘Finish it yourself!’ and marched off the stage, leaving a perplexed Carmen, Gloria Lane, to stab herself to
death. After that, Poleri was not surprisingly viewed as a bad risk. The tenor did make a glorious sound,
though, one that was prematurely silenced when he died in a helicopter crash in Hawaii.”
– Peter G. Davis, THE AMERICAN OPERA SINGER, p.454
1104. JEAN PÉRIER: Véronique – Air de la lettre (Messager).
9 1/2 “AC etched label H & D Pathé 729, recorded 1905. Creator Record, (10 Dec., 1898, Bouffes-Parisiens);
(very shortly thereafter, 3 April, 1902, Périer would create the role of Pelléas, for Debussy, at l’Opéra-Comique).
One of Périer’s mere seven recordings. M-A, exemplary copy has mere hint of grey on peaks, inaud. MB 150
“Jean (Alexis) Périer was a French operatic baritone and actor. Although he sang principally within the
operetta repertoire, Périer did portray a number of opera rôles, mostly in operas by Mozart and Puccini.
His career was almost entirely centered in Paris and he had a long association with the Opéra-Comique.
He made his début as Monostatos in Mozart's THE MAGIC FLUTE at the Opéra-Comique. He continued to
perform at that opera house until 1920, with the exception of the years 1894 through 1900 when he
principally sang at the Théâtre des Bouffes Parisiens and other Parisian theatres specializing in operetta.
Although he performed a great deal of operetta, he also sang a number of operatic roles including the title
role in DON GIOVANNI, Lescaut in MANON LESCAUT, and Scarpia in TOSCA. His career was almost
entirely centred in Paris, particularly at the Opéra-Comique, where he notably created the role of Pelléas in
Debussy's PELLÉAS ET MÉLISANDE, (3 April, 1902 – l’Opéra-Comique). He repeated the role of Pelléas
at the Manhattan Opera Company in 1908 and at the Opéra de Monte-Carlo. He appeared in numerous
other world premieres, most notably Ramiro in Ravel's L'HEURE ESPAGNOLE and leading roles in
Messager's VÉRONIQUE and FORTUNIO.
Although described as a baritone, he created roles for Debussy and Ravel in the Baryton-Martin register.
His was a declamatory art, and he created convincing characters with the help of his clear diction and his
ability as an actor. In addition to his opera career, he acted in several films between 1900 and 1938. His
voice on one of the seven published recordings he made (Act 2 of VÉRONIQUE, 1905, above) is described
as dry and husky. After retiring in 1938, Périer worked as an acting and singing teacher in Paris.”
1105. FLORENCIO CONSTANTINO: La Favorita – Spirto gentil / Barbiere – Ecco ridente (1906 Versions).
10¾” AC H & D Éden 5086/87, recorded 1906, Paris . A to M-A, an extraordinary copy. MB 35
1106. FLORENCIO CONSTANTINO: Manon Lescaut – Donna non vidi mai ( in French /
Les Pêcheurs de Perles - Je crois entendre ( in Italian). 10½” AC grey paper label
H & D Pathé 59056, recorded 1905, Paris. M-A, a gleaming copy. MB 15
1107. FLORENCIO CONSTANTINO: Barbiere – Ecco ridente (1907 Version).
12" AC Pat.’08 V 74073, only form of issue, 28 May, 1907. M-A MB 12
1108. FLORENCIO CONSTANTINO: La Boheme – Che gelida manina.
12" AC GP V 74106, only form of issue, 1 May, 1908. M-A MB 12
1109. FLORENCIO CONSTANTINO: Lucia – Tu che a Dio. 12" AC Pat.’08 V 74066, POM-28 May, 1907,
Never Doubled. M-A, superb copy has lwee pressing bump. MB 8
1110. FLORENCIO CONSTANTINO: Le Prophète – Roi du ciel / Werther – Pourquoi me réveiller? (both in Italian)
10" AC Col. A848, POM-1910. A to M-A , lovely copy has few faint rubs, barely visible & inaud. MB 8
1111. FLORENCIO CONSTANTINO: Rigoletto – La donna è mobile (1907 Version).
10" AC Pat.’12 V 64072, only form of issue, 22 May, 1907. M-A MB 12
1112. XXXXX FLORENCIO CONSTANTINO: Rigoletto – La donna è mobile (1909 Version) / Questa o quella.
10" AC Col. A680, POM-1909. M-A MB 8
1113. FLORENCIO CONSTANTINO: La Gioconda – Cielo e mar.
10" AC V 64070, POM-28 May, 1907, Never Doubled. M-A, superb copy has lt.label nr. MB 8
1114. FLORENCIO CONSTANTINO: Aïda – Celeste Aïda / Pagliacci – Vesti la giubba.
10" AC Col. A679, POM-1909. M-A MB 8
1115. FLORENCIO CONSTANTINO: Cavalleria – O Lola (Siciliana) / Viva il vino (Brindisi).
10" AC Col. A681, POM-1909. M-A MB 8
1116. FLORENCIO CONSTANTINO: Tosca – Elucevan le stelle / Recondita armonia.
10" AC Col. A682, POM-1909. A to M-A , lovely copy has few faint rubs, inaud. MB 8
1117. FLORENCIO CONSTANTINO: Carmen – La fleur que tu m’avais jetée (in French) /
Lucia – Tu che a Dio (1st 1909 Version). 10" AC Col. A692, POM-1909.
A to M-A, beautiful copy has faintest pap.rubs, barely visible & inaud. MB 8
1118. FLORENCIO CONSTANTINO: Ama (Tirindelli). 12" AC S/S Special vinyl Pressing of Victor Mx.C 6147,
POM-23 April, 1908, from Unpublished Master. MINT MB 35
1119. FLORENCIO CONSTANTINO: Lolita (Buzzi-Peccia) / Barbiere – Ecco ridente (1909 Version).
10" AC Col. A706, POM-1909. M-A MB 12
1120. FLORENCIO CONSTANTINO: La Paloma (Yradier) / Marina – Costas las del Levante (Arrieta).
12" AC Col. A5111, POM-1909. M-A MB 12
1121. FLORENCIO CONSTANTINO: Sempre amarti (Pietro Vallini) / Otello – Niun mi tema.
12" AC Col. A5113, POM-1909. M-A , lovely copy has few faint rubs, barely visible & inaud. MB 15
1122. FLORENCIO CONSTANTINO: Il Duca d’Alba – Angelo casto e bel / Lucia – Tu che a Dio (2nd 1909 Version).
12" AC black flush label Col. A5112, POM-1909. A to M-A, choice copy has faintest pap.rubs, barely visible, inaud. MB 15
1123. FLORENCIO CONSTANTINO: Iris – Apri la tua finestra / Manon – Le rêve (in Italian).
10" AC Col. A689, POM-1909. M-A MB 8
1124. FLORENCIO CONSTANTINO: Il Trovatrore – Deserto sulla terra / Di quella pira.
10" AC Col. A690, POM-1909. M-A MB 8
1125. FLORENCIO CONSTANTINO: La Favorita – Una vergine, un angiol di Dio / Martha – M’appari.
10" AC Col. A683, POM-1909. M-A MB 8
1126. FLORENCIO CONSTANTINO: L’Élisir – Una furtiva lagrima / L’Africana – O Paradiso!
12" AC Col. A5109, POM-1909. M-A MB 8
1127. FLORENCIO CONSTANTINO & ALICE NIELSEN: Faust – Dammi ancor (‘Take’ 1, 1907 Version).
12" AC GP V 74076, POM-322 April, 1908, issued USA only. M-A MB 10
1128. FLORENCIO CONSTANTINO & ALICE NIELSEN: Faust – Dammi ancor (‘Take’ 2, 1908 Version).
12" AC Pat.’12 V 74076, POM-31 May, 1907, Never Doubled. M-A MB 10
1129. FLORENCIO CONSTANTINO & ALICE NIELSEN: Rigoletto – È il sol dell’anima (1907 Version).
12" AC Pat.’08 V 74063, POM-31 May, 1907, Never Doubled. M-A MB 10
1130. FLORENCIO CONSTANTINO & ALICE NIELSEN: La Traviata – Parigi, o cara.
12" AC Pat.’08 V 74075, POM-31 May, 1907. M-A MB 8
1131. FLORENCIO CONSTANTINO & ALICE NIELSEN: Lucia – Veranno a te.
12" AC Pat.’12 V 74064, POM-31 May, 1907, Never Doubled. M-A MB 10
1132. FLORENCIO CONSTANTINO & ALICE NIELSEN: Roméo – Ah! ne fuis pas encore.
10" AC Pat.’12 V 64091, only form of issue, 22 April, 1908. M-A MB 10
1133. FLORENCIO CONSTANTINO & ALICE NIELSEN: Roméo – Ange adorable.
12" AC Pat.’08 V 74108, only form of issue, 22 April, 1908. M-A MB 12
1134. FLORENCIO CONSTANTINO & EUGENIA BRONSKAJA: Rigoletto – È il sol dell’anima (1910 Version) /
EUGENIA BRONSKAJA & RAMÓN BLANCHART: Tutte le feste al tempio. 12" AC Col. A5183, POM-1910.
M-A , lovely copy has, Sd.2 only, faint rub, barely visible & inaud. MB 12
“Florencio Constantino had an important international career in the time of Caruso, Bonci, Anselmi, Ershov,
Jadlowker, Sobinov and Zenatello. Constantino’s records merit special attention since his is a voice of much
grace, with a sweet mezza voce and a legato of impeccable quality. His style takes us back to pre-Caruso
days. A turning point in his career was an engagement to the Teatro Real Madrid in 1899. There he
enjoyed tremendous success opposite such famous singers like Hariclea Darclée and Ramón Blanchart.
At Lisboa, he made his début as the Duke opposite Mario Sammarco in RIGOLETTO. At the turn of the
century he was invited by the Tsar to St. Petersburg where he débuted as Enzo in LA GIOCONDA. It was in
Russia (St. Petersburg and Moscow) where he enjoyed a great reputation, singing in LOHENGRIN,
LA TRAVIATA, RIGOLETTO and THE DEMON. Constantino made his début as Don José in New Orleans.
Within two months he appeared in eleven different operas. The company embarked on a huge continental
tour, but Boston was to be the most important town in Constantino’s career. Eventually this success led to
the opening of a new opera house under the direction of Henry Russell. The company offered
LA GIOCONDA with Constantino, Lillian Nordica and Louise Homer.”
1135. DINO BORGIOLI: Marinaresca (Sung by the Composer) / Sadko – Chant indoue (Song of the Indian Guest),
(in Italian). 10” EL PW red Eng.Col.D 12573, POM-1928. M-A, a gleaming copy.
Exquisitely beautiful singing! Elusive! MB 15
1136. DINO BORGIOLI: Caro mio ben (Tommaso Giordani) / Princesita (Padilla).
10” EL black Viva-Tonal Col.2370-D, POM,1930. M-A, a gleaming copy. Again, exquisitely beautiful singing! MB 8
1137. DINO BORGIOLI: Fior di campo (Pinelli) / Ideale (Tosti). 10” AC red Eng.Col.D 12481, POM-1925.
M-A, gleaming copy copy has minor ‘heat’ mk, each side. A casualty of the approaching EL recording era,
this jewel enjoyed a brief catalogue life! Most Elusive! MB 20
1138. DINO BORGIOLI: Lolita (Buzzi-Peccia) / Rimpianto (Toselli). 10” AC red Eng.Col.D 12482,
only form of issue,1925. M-A, gleaming copy copy has, Sd.2 only, hint of grey on peaks – an extremely forward recording.
A casualty of the approaching EL recording era, this jewel enjoyed a brief catalogue life! Most Elusive! MB 20
1139. DINO BORGIOLI: Serenata napolitana / Leggenda orientale (both Billi). 10” AC red Eng.Col.D 5104, POM-1923.
M-A, lovely copy has, Sd.2 only, infinitessimal edge lam, hardly worth mention. Most Elusive! MB 20
1140. DINO BORGIOLI: I Puritani – A te, o cara /
La Boheme – Che gelida manina. 10” AC red Eng.Col.D 1004, POM-1923.
M-A, lovely copy has, Sd.2 only, sev. infinitessimal scrs, faintly audible, if at all. MB 8
1141. DINO BORGIOLI: Mignon – Ah non credevi tu / Addio Mignon.
10” AC red Eng.Col.D 1006, POM-1923. M-A, lovely copy has, Sd. faintest rubs, barely visible & inaud. MB 10
1142. DINO BORGIOLI: BARBIERE – Ecco ridente / SE IL MIO NOME (1923 VERSIONS).
10” AC red Eng.Col.D 1003, POM-1923. Borgioli’s first recordings. M-A, a gleaming copy. MB 10
1143. DINO BORGIOLI: BARBIERE – Ecco ridente / RIGOLETTO - QUESTA O QUELLA (1927 VERSIONS).
10” EL burgundy Viva-Tonal Col. 43000-F, POM-1927. M-A, a gleaming copy. MB 10
1144. DINO BORGIOLI: BARBIERE –SE IL MIO NOME (1927 VERSION) / I Pescatori di Perle – Del tempio al limitar.
12” EL black Viva-Tonal Col.50266-D, POM-1917/’28. M-A, beautiful copy has faintest pap.rubs, inaud. MB 8
1145. DINO BORGIOLI: La Sonnambula – Prendi l’anel ti dono (1923 Version) / FAUST – SALVE! DIMORA.
10” AC red Eng.Col.D 1009, POM-1923. A to M-A, lovely copy has few superficial scrs, faintly audible, if at all. MB 8
1146. DINO BORGIOLI: La Sonnambula – Prendi l’anel ti dono (1928 Version) / I Pescatori di Perle – Della mia vita.
10” EL black Viva-Tonal Col.182-M, POM-1928. M-A, a gleaming copy. MB 10
1147. DINO BORGIOLI: I Pescatori di Perle – Mi par d’udir / FAUST – SALVE! DIMORA.
10” AC blue early PW Col. 2018-M, POM-1923. M-A, a gleaming copy. MB 10
1148. DINO BORGIOLI: I Pescatori di Perle – Mi par d’udir /
Don Pasquale – Com’ è gentil. 10” AC red Eng.Col.D 1002, POM-1923.
M-A, lovely copy has, Sd.2 only, sev. infinitessimal scrs, faintly audible, if at all. MB 8
1149. DINO BORGIOLI: MANON – Le rêve (1923 Version, in Italian) / FEDORA – Amor ti vieta. 10” AC red Eng.Col.D 1005,
POM-1923. M-A, lovely copy has, Sd.2 only, sev. infinitessimal scrs, faintly audible, if at all. MB 8
1150. DINO BORGIOLI: MANON – Le rêve (1923 Version, in Italian) / FEDORA – Amor ti vieta.
10” AC PW English Cigale D 9432, POM-1923. A, lovely copy has faint rubs & hint of grey on peaks. MB 8
1151. DINO BORGIOLI: La Traviata – De’ miei bollenti spiriti / MARIA GENTILE: Addio del passato.
10” EL PW red Eng.Col.D 1639, POM-1927. M-A, a gleaming copy. MB 15
1152. DINO BORGIOLI: LOHENGRIN – Nun sei bedankt (in Italian) / L’AMICO FRITZ – O amore, o bella luce.
10” EL Viva-Tonal Col.2424-D, POM-1928/’30. M-A, a gleaming copy. Exquisitely beautiful! MB 10
1153. DINO BORGIOLI: RIGOLETTO – LA DONNA È MOBILE / QUESTA O QUELLA (1923 VERSIONS).
10” AC red Eng.Col.D 1001, POM-1923. M-A to M-A, choice copy has mere hint of grey on peaks. MB 8
1154. DINO BORGIOLI: MANON – Le rêve (1928 Version, in Italian) / L’ELISIR – UNA FURTIVA LAGRIMA (1927 VERSION).
12” EL black Viva-Tonal Col.50205-D, POM-1928/’27. M-A, a gleaming copy. MB 10
1155. DINO BORGIOLI: L’ELISIR – UNA FURTIVA LAGRIMA (1927 VERSION) / La Favorita – Spirto gentil.
12” AC red Eng.Col.D 16379, POM-1923. M-A, a gleaming copy. MB 15
1156. DINO BORGIOLI: DON PASQUALE – Sogno soave e casto / DINO BORGIOLI & AURORA RETTORE:
Tornami a dir. 10” EL black Viva-Tonal Col.1961-D, POM-1928. M-A, a gleaming copy. MB 10
1157. DINO BORGIOLI: Carmen – La fleur que tu m’avais jetée (in Italian) /
La Traviata – De’ miei bollenti spiriti. 10” AC PW blue Eng.Col.D 1503, POM-1923.
M-A, gleaming copy has 3 pressing indents, Sd.1 & pressing bump, Sd.2, of no consequence. MB 8
1158. DINO BORGIOLI, w.IVOR NEWTON (Pf.): Gondoliera veneziana (Sadero) / La barcarola della Marangona.
10” EL Eng.Col.LB 29, only form of issue,17 June, 1935. M-A, a gleaming copy. Exquisitely beaufiful singing! MB 15
1159. DINO BORGIOLI & ENA SURINACH: La Sonnambula – D’un pensiero / Son geloso.
10” AC red Eng.Col.D 1007, POM-1923. M-A, choice copy has, Sd.1 only, faint rubs & pap.scrs, positively inaud. MB 10
1160. DINO BORGIOLI & ENA SURINACH: La Sonnambula – I Puritani – Vieni fra queste braccia /
Don Pasquale – Tornami a dir. 10” AC red Eng.Col.D 1008, POM-1923. M-A, a gleaming copy. MB 12
1161. DINO BORGIOLI & GINO VANELLI: LA BOHEME – O Mimi tu più non torni / BARBIERE – All’idea dì quel metallo.
10” EL red Eng.Col.D 12574, POM-1928. M-A, a gleaming copy. MB 10
1162. DINO BORGIOLI & GINO VANELLI: LA BOHEME – O Mimi tu più non torni / BARBIERE – All’idea dì quel metallo.
10” EL black Viva-Tonal Col. 1859-D, POM-1928. M-A, a gleaming copy. MB 10
1163. DINO BORGIOLI & MARIA GENTILE: RIGOLETTO - È il sol dell’anima / MARIA GENTILE: CARO NOME.
12” EL blue PW Eng. Col.D 18026, POM-1927. M-A, gleaming copy has, Sd.1 only, faintest pap.rub, inaud. MB 10
1164. DINO BORGIOLI, w.GENTILE, MANNARINI & PEDRONI: LA SONNAMBULA – D’un pensiero /
DINO BORGIOLI, w.BACCALONI & NESSI: LUCIA – Chi mi frena. 12” EL blue Viva-Tonal Col.7145-M,
POM-14 April, 1927. M-A, a gleaming copy. MB 10
1165. DINO BORGIOLI, w.GENTILE, MANNARINI & PEDRONI: LA SONNAMBULA – D’un pensiero /
DINO BORGIOLI, w.BACCALONI & NESSI: LUCIA – Chi mi frena. 12” EL blue PW Australian Col.04025,
POM-14 April, 1927. M-A, a gleaming copy. MB 12
1166. DINO BORGIOLI & ROSETTA PAMPANINI: La Boheme – O soave fanciulla /
DINO BORGIOLI, PAMPANINI, AURORA RETTORE & GINO VANELLI: Dunque è proprio finita.
12” EL blue Italian Col. GQX 10182, POM-1928. M-A, a gleaming copy. MB 12
1167. DINO BORGIOLI & MARIA ZAMBONI: Faust – Il se fait tard (in Italian), 2s.
12” EL PW Eng. Col. L 2077, POM-1927. M-A, beautiful copy has, Sd.2 only, few superficial pap.scrs, inaud.
One of the loveliest renditions of the Garden Scene, sung with extreme sensitivity!
A few months before, Zamboni created the rôle of Liù, (25 April, 1926, La Scala). MB 12
1168. DINO BORGIOLI & ROSETTA PAMPANINI: L’Amico Fritz – Suzel, buon dì (Cherry Duet), 2s.
12” EL green Italian Col. GQX 10282, POM-13 May, 1930. M-A MB 12
1169. DINO BORGIOLI & ROSETTA PAMPANINI: La Boheme – O soave fanciulla /
DINO BORGIOLI, PAMPANINI, AURORA RETTORE & GINO VANELLI: Dunque è proprio finita.
12” EL blue Italian Col. GQX 10182, POM-1928. M-A, a gleaming copy. MB 12
1170. DINO BORGIOLI, w.STRACCIARI, CAPSIR, BETTONI, FERRARI, ETC.; MOLAJOLI COND.: IL BARBIERE DI SIVIGLIA
(COMPLETE), 31S.; SD.32 = MOLAJOLI COND.: NOZZE – OVERTURE.. 16-12” EL blue Viva-Tonal (partially on blue shellac) &
MasterWorks Col.67932-47-D, POM-1929, in Orig. Albums 8A & 8B, w.Brochure. M-A, a gleaming copy. MB 25, the Set.
1171. DINO BORGIOLI, w.STRACCIARI, CAPSIR, BETTONI, FERRARI, ETC.; MOLAJOLI COND.: IL BARBIERE DI SIVIGLIA
(COMPLETE), 31S.; SD.32 = MOLAJOLI COND.: NOZZE – OVERTURE.. 16-12” EL green PW Eng.Col.D14564-79, POM-1929,
in Orig. Italian Albums, w.photos & brochure. M-A, a gleaming copy. MB 25, the Set.
“Dino Borgioli enjoyed a distinguished international career as a lyric tenor that saw him performing in many
of the world’s finest theatres, and he was also a fairly prolific recording artist….his musicality, languid style
and what we have come to consider as a bel canto technique mirrored that of the late 19 th and early 20th
century tenors. In his vocal approach, he leaves the listener with echos of Fernando de Lucia….in Borgioli’s
case [tonal emission was] constantly used to create chiaroscuro effects which were often beguiling….one of
the most fascinating tenors to have appeared before the public during the first half of the 20 th century.”
- Alan Bilgora, THE RECORD COLLECTOR, 2013
1172. FERNANDO de LUCIA: Palomma ‘e notte (Buongiovanni)) / Luna, lù! (Ricciardi).
10¾“ AC Milano Fonotipia 92719/20 (XPh 4472/87). M-A, a gleaming copy. MB 20
1173. FERNANDO de LUCIA: Serenata napulitana (Costa) / Chi sa? (Tosti).
10¾“ AC Milano Fonotipia 92717/18 (XPh 4479/63). A to M-A, lovely copy has few faint pap.rubs, inaud. MB 15
1174. FERNANDO de LUCIA: Carmela (de Curtis). 10” AC red Gram.Concert G.C.2-52773 (13337b), POM-21 May, 1909.
M-A, gleaming copy has infinitessimal pap.scr, inaud.; wee label stkr. Never Doubled in any Regular Series. MB 12
1175 FERNANDO de LUCIA: Fenesta che lucive (Cottrau) / Canta pe’ me (de Curtis).
10¾“ AC Milano Fonotipia 92715/16 (XPh 4462/82). M-A, beautiful copy has few faint pap.rubs, inaud. MB 20
1176. FERNANDO de LUCIA: Matinatta (Leoncavallo) / A suon di baci (Baldelli). 10¾“ AC Milano Fonotipia 92695/96
(XPh 4491/92). A-/A-B, lovely copy has occasional lt. scrs & wee mks, faintly audible. MB 10
1177. FERNANDO de LUCIA: Voce ‘e notte (de Curtis) / Serenata a Surriento (Gambardella).
10¾“ AC Milano Fonotipia 92710/09 (XPh 4480/90). A-/A-B, lovely copy has occasional lt. scrs, ltly audible;
Sd.2 only has lateral lam, audible during first inch. MB 5
1178. FERNANDO de LUCIA: Serenamente (Barthélemy) / ‘A Surrentina (de Curtis).
10” AC vinyl Historic Masters HMA 2 (13334/39b), POM-21 May, 1909. MINT MB 8
1179. FERNANDO de LUCIA: Marechiare (1911 Version) (Tosti) / MARIA PEROSIO: Nell’alta notte
(Serenata medioevale) (Silvestri). 10¾“ AC white & green Okeh-Fonotipia 60002 (XPh 4467/57), POM-11 Jan., 1911 /
10 Feb., 1917. M-A, gleaming copy of preferred late pressing has, Sd 2 only, infinitessimal dust mk, inaud. MB 15
1180. FERNANDO de LUCIA: Cavalleria – O Lola (Siciliana). 10” AC red Milano flush G & T G.C.52652 (2897b).
M-A, lovely copy has faint pap.rubs & mere hint of grey on peaks, inaud. Never Doubled. MB 12
1181. FERNANDO de LUCIA: Barbiere – Se il mio nome (1902 Version). 10” AC red Milano G & T G.C.52427 (2864b).
M-A, gleaming copy has mere hint of grey on peaks. Uncommonly bright label. Never Doubled. MB 15
1182. FERNANDO de LUCIA: Pagliacci – Vesti la giubba / No, pagliacco non son! 10”silver IRCC 210, RRs – 1917/’19.
Numbered Copy #31, w.de LUCIA’s Photo affixed Sd.1 label. M-A, a gleaming copy. MB 12
1183. FERNANDO de LUCIA: La Traviata – Un dì felice. 10” AC red Milano G & T G.C.52080 (12156L).
Never Doubled in any Regular Series. M-A, lovely copy has faint pap.rubs inaud. MB 15
"...[de Lucia] had developed a control of his vocal mechanism that was probably unique in any other male
singer excepting Battistini, and he was able to colour his tones in a seemingly miraculous manner. In him
the true meaning of the term 'bel canto' becomes clear, for no more sensitive or expresssive singing has
been heard in the memory of anyone now alive....what he made of the rather commonplace air in
LA TRAVIATA [above], must be heard to be believed."
- P.G. Hurst, THE GOLDEN AGE RECORDED, p.83
1184. FERNANDO de LUCIA: Carmen – La fleur que tu m’avais jetée (in Italian) (1907 Version).
12” AC red Milano G & T 052185 (1175c). A-, lovely copy has few lt.rubs & pap.scrs, inaud. MB 12
1185. FERNANDO de LUCIA: Lohengrin – Nun sei bedankt (1902 Version, in Italian.
10” AC red Milano G & T G.C.52650 (2905b), POM-3 Dec., 1902. Never Doubled in any Regular Series.
M-A, lovely copy has faint pap.rubs, barely visible & inaud. MB 15
1186. FERNANDO de LUCIA: Lohengrin – Nun sei bedankt (in Italian) / Carmen – La fleur que tu m’avais jetée (in Italian)
(1902 Versions). 10” AC gold Victor HRS 1025, (Mx.2905/2899b), POM-3 Dec., 1902.
Numbered copy #41. Never Doubled in any Regular Series. M-A, a gleaming copy. MB 25
1187. FERNANDO de LUCIA: Lohengrin – Nun sei bedankt (in Italian) (1907 Version).
12” AC red vinyl RCA Test Pressing for Mx.1174c, POM-1907. M-A MB 10
1188. FERNANDO de LUCIA: Lohengrin – Nun sei bedankt (in Italian) (1907 Version).
12” AC red Milano G & T 052184 (1174c). M-A, beautiful copy has wee ec, far from grooves. MB 15
1189. FERNANDO de LUCIA: MANON – Le rêve 1902 Version, in Italian).
10” AC Monarch 91020 (2870W-2),, POM-1902, Never Doubled.
A to M-A, superb copy has mere hint of grey on peaks & infinitessimal dust scr, inaud. MB 25
1190. FERNANDO de LUCIA: Mignon - Addio, Mignon! 12” AC red Milano G & T 052111 (549c).
A-, lovely copy has few very lt.rubs & wee pressing bumps, inaud. MB 15
1191. FERNANDO de LUCIA: Mignon - Addio, Mignon! /
La Traviata - De' miei bollenti spiriti. 12” AC red vinyl RCA 15-1024 (Mx.549/622c),
POM-1905/'06 resp., the only doubling of these titles in any Regular Series. M-A MB 5
“[Although Tetrazzini wanted to sing at Caruso’s funeral, since the Pope would not permit a woman to sing in
the cathedral] instead, Fernando de Lucia came out of retirement and sang ‘Pietà, Signore’ at the service.”
- Charles Nelson Gattey, LUISA TETRAZZINI, p.215
1192. FERNANDO de LUCIA & CELESTINA BONINSEGNA:
Faust - Tardi si fa (1904 Version). 12” AC red Milano G & T 054043 (213m) POM-1904.
Never Doubled in any Regular Series. M-A, a gleaming copy. MB 25
1193. FERNANDO de LUCIA & CELESTINA BONINSEGNA: Faust - Tardi si fa (1904 Version) /
GIOVANNI VALS & CELESTINA BONINSEGNA: Aïda – Fuggiam gli ardor inospiti (Nile scene).
12” AC silver Victor IRCC 15 (213/215m), POM-1904.
Numbered Copy #24, Never Doubled in any Regular Series.
M-A, beautiful copy has faintest pap.rubs, inaud. MB 20
1194. FERNANDO de LUCIA & GIUSSEPINA HUGUET: Faust - Tardi si fa (1907 Version).
12” AC red vinyl RCA Test Pressing for Mx.1173c, POM-1907. M-A MB 10
1195. FERNANDO de LUCIA & GIUSSEPINA HUGUET: Lohengrin – Nie sollst du mich befragen (in Italian).
12” AC red Milano G & T 054175 (1171c). A to M-A, beautiful copy has few faintest pap.rubs, inaud. MB 15
1196. FERNANDO de LUCIA & MARIA GALVANY: La Sonnambula – Prendi, l’anel ti dono /
FERNANDO de LUCIA & GIUSSEPINA HUGUET: Lohengrin – Nie sollst du mich befragen (in Italian).
12” AC silver Victor IRCC 104 (1444/1171c), Numbered Copy #24.
Sd.1 Never Doubled in any Regular Series. M-A, a gleaming copy. MB 25
1197. FERNANDO de LUCIA & MARIA GALVANY: La Sonnambula – Son geloso.
12” AC red vinyl RCA Test Pressing for Mx.1444c, POM-1908.
Never Doubled in any Regular Series. M-A MB 25
1198. FERNANDO de LUCIA & ANTONIO PINI-CORSI:
Barbiere – O grido di quest’anima (1906 Version).
12” AC red Milano G & T 054080 (619c). A-, bright copy has few pap.rubs & wee scrs, inaud. MB 15
1199. FERNANDO de LUCIA & GIUSSEPINA HUGUET:
Rigoletto - E il sol dell'anima. 12” AC red Milano G & T 054084 (638c).
A-, lovely copy has mere hint of grey on peaks, inaud.; faint label nr. MB 12
1200. FERNANDO de LUCIA & GIUSSEPINA HUGUET:
La Traviata - Parigi, o cara. 12” AC red Milano G & T 054081 (620c).
A-, lovely copy has faint pap.scuff & wee pap.scr, inaud. MB 15
1201. FERNANDO de LUCIA & GIUSSEPINA HUGUET:
Carmen – Mia madre io vedo ancor. 12” AC red Pat.’08 Vla 92052 (1172c).
M-A, a gleaming copy. MB 15
1202. FERNANDO de LUCIA & GIUSSEPINA HUGUET: Rigoletto - E il sol dell'anima.
12” AC red Milano G & T 054084 (638c). A-, lovely copy has mere hint of grey on peaks, inaud.; faint label nr. MB 12
1203. FERNANDO de LUCIA & GIUSSEPINA HUGUET: La Traviata - Parigi, o cara / Rigoletto - E il sol dell'anima.
12” AC dark-blue Connoisseurs' Records HMV ABHB 6 (Mx.620/638c), POM-1906, Milano. MINT MB 8
1204. FERNANDO de LUCIA & GIUSSEPINA HUGUET:
Lohengrin – Das süsse Lied verhallt (in Italian) (1907 Version).
12” AC red Milano Gram. Monarch 054171 (1170½c).
M-A, gleaming copy has faintest pap.rubs, inaud. MB 15
1205. FERNANDO de LUCIA & ERNESTO BADINI:
L'Elisir – Obbligato, obbligato. 10” AC white Special Pressing Vla 87562 (10513b),
POM-1907, Never Doubled in any regular series.
Never listed in a North American Victor catalogue.
M-A, a gleaming copy of choice late pressing. MB 15
1206. FERNANDO de LUCIA & ERNESTO BADINI: L'Elisir – Obbligato, obbligato.
10” AC Pat.’08 Vla 91079 (10513b), POM-1907, Never Doubled in any regular series.
Never listed in a North American Victor catalogue. M-A, a gleaming copy. MB 12
Nos. 1207 – 1235 are Original shellac Pressings of de Lucia's Phonotypes, featuring de Lucia's photo on
each Phonotype Label. “Americo Esposito was now [in 1917] ready to expand his recording activities
beyond the songs and music halls of Naples. His ambition lay in operatic records made by singers more
celebrated than the artists on whom he had previously depended. His opportunity came when de Lucia
made his farewell performances at the San Carlo in 1917, showing, at the age of fifty-six, that his voice and
technique were in fine state and that he retained his local following…..In 1917 the time was propitious for the
tenor to record for them, and Americo achieved the coup of engaging him.”
- Michael E. Henstock, FERNANDO DE LUCIA, SON OF NAPLES, p.330
1207. FERNANDO de LUCIA: Barbiere – Se il mio nome (w.interjections by Maria Resemba) (1918 Version) /
de LUCIA & ANGELO di TOMMASO: Piano, pianissimo. 10¾” AC shellac white Photo Label Phonotype C 1945 / M 1989.
A-, lovely copy has lt.rubs & very occasional wee scr, inaud. MB 75
1208. FERNANDO de LUCIA: Rimpianto (Come un sogno d’or…) (Toselli) / Nell’alta notte (Serenata medioevale)
(Silvestri). 10 3/4 ” AC shellac pale-green Photo Label Phonotype M (printed as ‘N’) 1860 / 2114.
M-A, beautiful copy has faintest pap.rubs, inaud.; Sd.1 only, barely visible pap.scr, certainly inaud. MB 95
1209. FERNANDO de LUCIA: Salve Maria (Mercadante), 2s. 10¾” AC shellac white Photo Label
Phonotype C 2018/19. A to M-A-, exceptional copy has few ‘dust’ mks, inaud.;
Sd.2 only has long cosmetic ‘pressure’ mk, not to edge, entirely harmless. MB 75
1210. FERNANDO de LUCIA: Dopo! (Tosti) / Occhi di fata (Denza).
10¾” AC shellac white Photo Label Phonotype C 2404/06.
A-, very decent copy has lt.rubs & faint grey on peaks, inaud.; Sd.1 has wee ec to 1 st groove. MB 95
1211. FERNANDO de LUCIA: La mia canzone (Lama) / Torna al paesello (Giuliani).
10¾” AC shellac white Photo Label Phonotype C 1980/81.
A-, excellent copy has lt.rubs & occasional wee pap.scr, inaud. Contemporaneous Napoli label stickers remain. MB 75
1212. FERNANDO de LUCIA: Cavalleria – O Lola (Siciliana) / Ernani – Come ruggiada al cespite.
10¾” AC shellac white Photo Label Phonotype M 1765 / 1811. A to M-A, beautiful copy has
faintest pap.rubs, inaud.; faint ‘pressure’mk, Sd.2, not to edge, entirely harmless. MB 95
1213. FERNANDO de LUCIA: L’Elisir – Una furtiva lagrima / Luisa Miller – Quando le sere al Placido (1917 Versions).
10¾” AC shellac white Photo Label Phonotype M 1754/92. M-A, spectacular copy has cloudy patch, Sd.1, inaud.;
occasional faint pap.rub, inaud. Contemporaneous Ricordi label stickers remain. MB 95
1214. FERNANDO de LUCIA: I Pescatori di Perle – Della mia vita / Barbiere – Se il mio nome
(w.interjections by Maria Resemba) (1918 Version). 10¾” AC shellac white Photo Label Phonotype C 1897 / 1945.
M-A, spectacular copy has 2 wee rubs, Sd.1, inaud. Contemporaneous Paris label sticker remains, Sd.1. MB 95
1215. FERNANDO de LUCIA: I Pescatori di Perle – Mi par d’udir / I Puritani – A te, o cara (1921 Version).
10¾” AC shellac white Photo Label Phonotype C 2394 / 2528. A-, lovely copy has very lt. rubs, inaud. MB 95
1216. FERNANDO de LUCIA: Andrea Chénier - Come un bel dì di maggio / I Pescatori di Perle – Mi par d’udir.
10¾” AC shellac white Photo Label Phonotype C 2392/94. A-, very decent copy has lt.rubs, inaud.;
Sd.1 has wee ed to 1st groove & sev. tiny pap.scrs, inaud. Contemporaneous Napoli label stickers remain. MB 75
1217. FERNANDO de LUCIA: Fedora- Amor ti vieta / Mia madre, la mia vecchia madre .
10¾” AC shellac white Photo Label Phonotype C 1788 / 1846. M-A, spectacular copy has tiny edge scr, beg. Sd.1. MB 95
1218. FERNANDO de LUCIA: Tosca – E lucevan le stelle / Recondita armonia (1917 Versions).
10¾” AC shellac white Photo Label Phonotype C 1760/87. M-A, spectacular copy has faintest pap.rub Sd.1, inaud.
Contemporaneous Paris label stickers remain. MB 95
1219. FERNANDO de LUCIA: Andrea Chénier – Un dì all’azzurro spazio (Improvviso) (1917 Version), 2s.
10¾” AC shellac white Photo Label Phonotype C 1806/07. M-A, spectacular copy has infinitessimal dust mk, Sd.1, inaud.
Contemporaneous Paris label stickers remain. MB 95
1220. FERNANDO de LUCIA &.ANGELA de ANGELIS (although the labels suggest del Piano):
L'Amico Fritz - Duetto delle ciliege, 2s. 10¾” AC shellac white Photo Label Phonotype M 2153/54.
CREATOR record, (31 Oct., 1891, Teatro Costanzi, Roma).
M-A, spectacular copy has infinitessimal dusk mk, Sd.2, inaud. MB 125
1221. FERNANDO de LUCIA & ANGELA de ANGELIS: Re di Lahore – Sia benedetto il dolore /
FERNANDO de LUCIA & BENVENUTO FRANCI: I Pescatori di Perle – Del tempio al limitar.
10¾” AC shellac white Photo Label Phonotype M 1808/2342. M-A, a spectacular copy. MB 150
1222. FERNANDO de LUCIA & ANGELA de ANGELIS: La Traviata – Un dì felice /
Les Huguenots – Le danger presse (in Italian). 10¾” AC shellac white Photo Label Phonotype M 1770 / 1816.
A to M-A, exceptional copy has very lt. pap.rubs, inaud. MB 150
1223. FERNANDO de LUCIA & ANGELA de ANGELIS: Lohengrin – Das süsse Lied verhallt (in Italian) (1918 Version) /
La Sonnambula - Prendi, l'anel ti dono. 10¾” AC shellac white Photo Label Phonotype M 2013 / 2115.
A-, lovely copy has faint rubs, inaud. MB 95
1224. FERNANDO de LUCIA & ANGELA de ANGELIS: Aïda – Tomb Scene, 2s.
10¾” AC shellac white Photo Label Phonotype M 1772/73. M-A, spectacular copy has cloudy patch, inaud..
Contemporaneous Ricordi label sticker remains, Sd.1. MB 150
1225. FERNANDO de LUCIA & ANGELA de ANGELIS: Fedora- Vedi io piango / Addio a domani .
10¾” AC shellac white Photo Label Phonotype C 2158/59. M-A, spectacular copy. MB 95
1226. FERNANDO de LUCIA & ANGELA de ANGELIS: Lucia – Sulla tomba / Verranno a te.
10¾” AC shellac white Photo Label Phonotype M 1818/19. M-A, spectacular copy. MB 125
1227. FERNANDO de LUCIA: Barbiere – Se il mio nome (w.interjections by Maria Resemba) (1918 Version) /
de LUCIA & ANGELO di TOMMASO: Piano, pianissimo. 10¾” AC shellac white Photo Label Phonotype C 1945 / M 1989.
A-, lovely copy has lt.rubs & very occasional wee scr, inaud. MB 75
1228. FERNANDO de LUCIA: Barbiere – Ecco ridente / Se il mio nome (1917 Versions).
10¾” AC shellac white Photo Label Phonotype M 1744/48. M-A, beautiful copy has infinitessimal
dust mk & few lt.rubs, Sd.1, inaud.; very beg.Sd.1 also has tiny edge scr., also inaud. MB 95
1229. FERNANDO de LUCIA: Barbiere – Ecco ridente (1918 Version) / Oh sorte! già veggo.
10¾” AC shellac pale-green Photo Label Phonotype C 1943/44. M-A, spectacular copy. MB 45
1230. FERNANDO de LUCIA, w.Maria Resemba & Francesco Novelli: Barbiere – Ah quel colpo /
w.Resemba, Novelli & Schottler: Buona sera / w.Resemba, Novelli & Schottler: Ah disgraziati noi!
10¾” AC shellac white Photo Label Phonotype M 1964/99. M-A, spectacular copy has wee dust mk, each side. MB 95
1231. FERNANDO de LUCIA, w.Resemba, Schottler & Sabatano: Barbiere - Finora in questa camera /
w.Novelli & Schottler: Ah! Ah! che bella vita. 10¾” AC shellac white Photo Label Phonotype M 1984/96.
M-A, spectacular copy. MB 95
1232. FERNANDO de LUCIA, w.Resemba, Sabatano, Schottler & Valentino: Barbiere – E Rosina: or son contento /
Fermi tutti. Nessun so muova. 10¾” AC shellac white Photo Label Phonotype M 1985/95.
M-A, spectacular copy has very few faintest pap.rubs, Sd.1 only, naturally inaud. MB 95
1233. FERNANDO de LUCIA, w.Resemba, Novelli, Schottler & Valentino: Barbiere – Colla febbre / Buona sera.
10¾” AC shellac white Photo Label Phonotype M 1987/88. M-A, spectacular copy. MB 95
1234. FERNANDO de LUCIA, w.di Tommaso & Novelli: Barbiere – Ehi, Fiorello? / Various Ensemble: Si, si, la vincerò.
10¾” AC shellac white Photo Label Phonotype M 1990 / green & gold Phonotype label 2000.
M-A, spectacular copy. MB 95
1235. FERNANDO de LUCIA, w.Resemba, Novelli, Schottler, etc.: Barbiere - Ecco qua! / Ma signor…Zitto tu!
10¾” AC shellac white Photo Label Phonotype C 1991/98. A to M-A, lovely copy has very lt. rubs, inaud.;
Sd.2 only has 3 infinitessimal pap.scrs, inaud. MB 75
Nos. 1236 -1301 are MINT Special vinyl Pressings of de Lucia's Phonotypes, replete with any pressing
defects in original matrices. Each of these Special vinyl Pressings is Pressed from the Original Phonotype
Matrix, offering a better playing surface than the original pressing itself. Each of these Special vinyl
Pressings features a beautifully reproduced facsimile Phonotype Label, with de Lucia's photo (unless
otherwise noted):
1236. FERNANDO de LUCIA: Caro mio ben (Tommaso Giordani).
12” AC S/S Special Vinyl Pressing of Phonotype C 2508, POM-1921. MB 8
1237. FERNANDO de LUCIA: Salve Maria (Mercadante), 2s.
12” AC Special Vinyl Pressing of Phonotype C 2018/19, POM-1918. MB 5
1238. FERNANDO de LUCIA: Pietà, Signore (Niedermeyer) / Marechiare (Tosti) (1922 Version).
12” AC Special Vinyl Pressing of Phonotype M 1879 / C 3148, POM-1918/'22. MB 5
"Quite apart from the fact that no copy has been reported of [de Lucia's] final version of 'Marechiare,' which
might even have been unpublished, it has particular significance since it was his very last recording....The
recording is a good example of the excellent control that, at the age of sixty-two, he still had over his voice,
since he introduces variations that are considerably more intricate than those used in his recordings of the
same piece for G & T and for Fonotipia."
- Michael E. Henstock, THE RECORD COLLECTOR, 1987
1239. FERNANDO de LUCIA: Ave Maria (Bach-Gounod) / Quand tu chantes (French Version) (Gounod).
12” AC Special Vinyl Pressing of Phonotype C 1880/81, POM-1918. MB 8
1240. FERNANDO de LUCIA: Amour! Amour! / Serenata (both Tosti).
12” AC Special Vinyl Pressing of Phonotype C 2433/34, POM-1920. MB 8
1241. FERNANDO de LUCIA: Ideale / Malia (both Tosti).
12” AC Special Vinyl Pressing of Phonotype C 2405/07, POM-1920. MB 5
1242. FERNANDO de LUCIA: Vorrei / Oblio! (both Tosti).
12” AC Special Vinyl Pressing of Phonotype C 2507/11, POM-1921. MB 8
1243. FERNANDO de LUCIA: Amor fa morire! / L'alba (both Rotoli).
12” AC Special Vinyl Pressing of Phonotype C 2456/57. MB 8
1244. FERNANDO de LUCIA: Aprile / Ninon (both Tosti).
12” AC Special Vinyl Pressing of Phonotype C 2435/59, POM-1920. MB 8
1245. FERNANDO de LUCIA: Leggenda Valacca (Braga) / A Suon di baci (Baldelli).
12” AC Special Vinyl Pressing of Phonotype M 1898 / C 2121, POM-1918/’19. MB 8
1246. FERNANDO de LUCIA: Palumella zompa e vola (Cottrau) / Nu Mazzo di scivre (de Meglio).
12” AC Special Vinyl Pressing of Phonotype C 2726/27, POM-1921. MB 8
1247. FERNANDO de LUCIA: La mia bandiera / La gondola nera (both Rotoli).
12” AC Special Vinyl Pressing of Phonotype C 2409/37, POM-1920. MB 5
1248. FERNANDO de LUCIA: Scetate (Costa) / Nell’alta notte (Serenata medioevale) (Silvestri).
12” AC Special Vinyl Pressing of Phonotype M 1868 / 2114, POM-1917/’19. MB 5
1249. FERNANDO de LUCIA: Voce ‘e notte / Torna a Surriento (both de Curtis).
12” AC Special Vinyl Pressing of Phonotype M 2103/04, POM-1919. MB 5
1250. FERNANDO de LUCIA: Salome (Stolz; in Italian) / Andrea Chénier - Come un bel dì di maggio.
12” AC Special Vinyl Pressing of Phonotype C 2572/2392, POM-1921/'20. No original copy known to exist, Sd.1. MB 5
1251. FERNANDO de LUCIA: Mefistofele – Forma ideal purissima.
12” AC Special Vinyl Pressing of Phonotype C 2343, POM-1920. MB 8
1252. FERNANDO de LUCIA: Mefistofele – Colma il tuo cor / Iris – Apri la tua finestra.
12” AC Special Vinyl Pressing of Phonotype C 2344 / 2452, POM-1920. MB 10
1253. FERNANDO de LUCIA: Mefistofele - Dai campi, dai prati / Giunto sul passo estremo.
12” AC Special Vinyl Pressing of Phonotype M 1750/51, POM-1917. MB 10
1254. FERNANDO de LUCIA: Otello - Niun mi tema / Traviata - De' miei bollenti spiriti.
12” AC Special Vinyl Pressing of Phonotype M 2117/1762, POM-1917. MB 10
1255. FERNANDO de LUCIA: Manon Lescaut - Donna non vidi mai / Tra voi belle.
12” AC Special Vinyl Pressing of Phonotype C 2558/59, POM-1921. MB 8
1256. FERNANDO de LUCIA: Tosca – E lucevan le stelle / Recondita armonia (1917 Versions).
12” AC Special Vinyl Pressing of Phonotype M 1760/87, POM-1917. MB 10
1257. FERNANDO de LUCIA: Forza - La vita è inferno / O tu che in seno.
12” AC Special Vinyl Pressing of Phonotype M 1797/98, POM-1917. MB 5
1258. FERNANDO de LUCIA: Cavalleria – O Lola (Siciliana) / Fedora – Amor ti vieta.
12” AC Special Vinyl Pressing of Phonotype M 1765/88, POM-1917. MB 5
1259. FERNANDO de LUCIA: Andrea Chénier – Un dì all’azzurro spazio (Improvviso) (1921 Version), 2s.
12” AC Special Vinyl Pressing of Phonotype C 2531/32, POM-1921. MB 8
1260. FERNANDO de LUCIA: Favorita - Spirto gentil / L'Elisir - Una furtiva lagrima.
12” AC Special Vinyl Pressing Phonotype M 1759/54, POM-1917. MB 8
1261. FERNANDO de LUCIA: Il Trovatore – Ah! si, ben mio / Ernani – Come ruggiada al cespite.
12” AC Special Vinyl Pressing Phonotype M 1791 / 1811, POM-1917. MB 10
1262. FERNANDO de LUCIA: Lucia – Tombe degli avi miei / Fra poco a me ricovero.
12” AC Special Vinyl Pressing Phonotype M 1813/14, POM-1917. MB 8
1263. FERNANDO de LUCIA: Lucia – Tu che a Dio / Gli Ugonotti – Bianca al par.
12” AC Special Vinyl Pressing Phonotype M 2120 / 1812, POM-1919/’17. MB 10
1264. FERNANDO de LUCIA: Rigoletto – La Donna è mobile / Barbiere - Oh sorte! Già veggo.
12” AC Special Vinyl Pressing Phonotype M 1749 / C 1944, POM-1917/’18. No labels. MB 10
1265. FERNANDO de LUCIA: Rigoletto – Ella mi fu rapita / Parmi veder le lagrime.
12” AC Special Vinyl Pressing Phonotype C 1795/96, POM-1917. No labels. MB 10
1266. FERNANDO de LUCIA: Rigoletto – Questa o quella / w.Ferluga & Armentano: Partite? Crudele!
12” AC Special Vinyl Pressing Phonotype M 1761 / C 1910, POM-1917/’18. No labels. MB 10
1267. FERNANDO de LUCIA: Barbiere – Ecco ridente / Se il mio nome (1917 Versions).
12” AC Special Vinyl Pressing Phonotype M 1744/48, POM-1917. MB 10
1268. FERNANDO de LUCIA: Faust – Salve! Dimora (Salut! demeure) / O bei lochi (O nature).
12” AC Special Vinyl Pressing Phonotype M 1804/05, POM-1917. MB 5
1269. FERNANDO de LUCIA: Manon – Ah! dispar vision (Ah! fuyez) / Lohengrin – Da voi lontan
(In fernem Land). 12” AC Special Vinyl Pressing Phonotype M 1794 / 1802, POM-1917. MB 10
1270. FERNANDO de LUCIA: La Boheme - Che gelida manina / In poverta mia lieta (1917 Versions).
12” AC Special Vinyl Pressing of Phonotype C 1767/68, POM-1917. MB 5
1271. FERNANDO de LUCIA: La Boheme - Che gelida manina (1920 Version).
12” AC S/S Special Vinyl Pressing of Phonotype M 2234, POM-1920, from Unpublished matrix, w.plain label. MB 5
1272. FERNANDO de LUCIA: Pagliacci - Un tal gioco.
12” AC S/S Special Vinyl Pressing of Phonotype M 1843, POM-1917. Plain label. MB 5
1273. FERNANDO de LUCIA: Pagliacci – No, pagliaccio non son! / La Boheme – Quest’è Mimi.
12” AC Special Vinyl Pressing of Phonotype M 1803 / C2396, POM-1921/’20. MB 5
1274. FERNANDO de LUCIA: Pagliacci - O Colombina [Serenata d'Arlecchino].
12” AC S/S Special Vinyl Pressing of Phonotype C 2562, POM-1921. MB 10
[In the 'Serenata'] "The voice emerges with magnificent sonority, richness and power through minimal
surface noise; one might almost be listening to an early electrical recording."
- Michael E. Henstock, THE RECORD COLLECTOR, 1984
1275. FERNANDO de LUCIA: I Pescatori di Perle – Mi par d’udir / w.ANGELA de ANGELIS: Non hai compreso.
12” AC Special Vinyl Pressing of Phonotype M 1758 / 1820, POM-1917. MB 8
1276. FERNANDO de LUCIA: Werther – Ah! non mi ridestar / w.ANGELA de ANGELIS:
Re di Lahore – Sia benedetto il dolore. 12” AC Special Vinyl Pressing of Phonotype M 1755/1808, POM-1917. MB 8
1277. FERNANDO de LUCIA: L'Africaina - O Paradiso! / w.ANGELA de ANGELIS:
O Selika, io t’adoro. 12” AC Special Vinyl Pressing of Phonotype M 1766 / C 1778, POM-1917. MB 10
1278. FERNANDO de LUCIA: L’Amico Fritz – O amore, o belle luce / w.ANGELA de ANGELIS:
La Boheme – O soave fanciulla. 12” AC Special Vinyl Pressing of Phonotype M 1844 / 2134, POM-1917/’19. MB 10
1279. FERNANDO de LUCIA &.ANGELA de ANGELIS: L'Amico Fritz - Duetto delle ciliege, 2s.
12” AC Special Vinyl Pressing of Phonotype M 2153/54, POM-1919.
CREATOR record (31 Oct., 1891, Teatro Costanzi, Roma). MB 8
1280. FERNANDO de LUCIA &.ANGELA de ANGELIS: Les Huguenots – Le danger presse /
Les Pêcheurs de Perles - Ton coeur n’a pas compris (both in Italian). 12” AC vinyl Rubini pressing of
Phonotype M 1816/20, POM-16 / 30 Sept., 1917. Plain labels. MINT; Sd. 1 only pressed from damaged stamper. MB 10
1281. FERNANDO de LUCIA & ANGELA de ANGELIS: La Traviata – Un dì felice / Parigi, o cara.
12” AC vinyl pressing of Phonotype M 1770/71, POM-24 June, 1917. MINT MB 5
1282. FERNANDO de LUCIA & ANGELA de ANGELIS: Ruy Blas – O dolce voluttà / I Puritani – Nel mirarti.
12” AC Special Vinyl Pressing of Phonotype M 1786 / C 1809, POM-1917. MB 10
1283. FERNANDO de LUCIA & ANGELA de ANGELIS: Rigoletto – È il sol dell’anima / ANGELA de ANGELIS:
Caro nome. 12” AC Special Vinyl Pressing of Phonotype M 1777 / 2293, POM-1917/’20. No labels. MB 10
1284. FERNANDO de LUCIA & ANGELA de ANGELIS: Il Guarany - Sento una forza indomita, 2s.
12” AC Special Vinyl Pressing of Phonotype C 1789/90, POM-1917. MB 5
1285. FERNANDO de LUCIA & ANGELA de ANGELIS: L'Elisir - Una parola, o Adina / Chiedi al rio.
12” AC Special Vinyl Pressing of Phonotype M 2223/24, POM-1919. MB 5
1286. FERNANDO de LUCIA & ANGELA de ANGELIS: Lucia – Sulla tomba / Verranno a te.
12” AC Special Vinyl Pressing of Phonotype M 1818/19, POM-1917. MB 10
1287. FERNANDO de LUCIA & OLGA PERUGINO: La Sonnambula - Prendi, l'anel ti dono /
Sposi or siamo. 12” AC Special Vinyl Pressing of Phonotype M 2020/21, POM-1918. MB 10
1288. FERNANDO de LUCIA & ANTONIO ARMENTANO:
La Gioconda - Enzo Grimaldo! / O grido di quest’anima (1917 Version).
12” AC Special Vinyl Pressing of Phonotype M 1800/01, POM-1917, from Unpublished matrices. MB 8
1289. FERNANDO de LUCIA & BENVENUTO FRANCI: La Gioconda - Enzo Grimaldo! / O grido di quest'anima.
12” AC Special Vinyl Pressing of Phonotype C 2340/41, POM-1920. MB 8
1290. FERNANDO de LUCIA & GIORGIO SCHOTTLER: Barbiere - All'idea di quel metallo /
Numero quindici (1917 Version). 12” AC Special Vinyl Pressing of Phonotype M 1781/82, POM-1917. MB 8
1291. FERNANDO de LUCIA, w.Maria Resemba: Barbiere – Se il mio nome / w.Novelli & Schottler:
Ah! Ah! che bella vita. 12” AC Special Vinyl Pressing of Phonotype C 1945 / M1996, POM-1918. No labels. MB 8
1292. FERNANDO de LUCIA & FRANCESCO NOVELLI: Barbiere - All'idea di quel metallo /
Voi dovreste travestirvi (1918 Version). 12” AC Special Vinyl Pressing of Phonotype C 1948/49,
POM-1918, from Unpublished matrices. No labels. MB 12
1293. FERNANDO de LUCIA & FRANCESCO NOVELLI: Barbiere - Numero quindici /
w.Resemba, Schottler & Sabatano: Finora in questa camera. 12” AC Special Vinyl Pressing of
Phonotype C 1950 / M1984, POM-1918, from Unpublished matrix, Sd.1. No labels. MB 12
1294. FERNANDO de LUCIA, w.Maria Resemba & Francesco Novelli:
Barbiere – Ah quel colpo / w.Resemba, Novelli & Schottler: Buona sera.
12” AC Special Vinyl Pressing of Phonotype M 1964/88, POM-1918. No labels. MB 12
1295. FERNANDO de LUCIA, w.Maria Resemba & Francesco Novelli: Barbiere – Zitti, zitti, piano solo /
w.Resemba, Novelli & Schottler: Ah disgraziati noi! 12” AC Special Vinyl Pressing of
Phonotype C 1965 / M1999, POM-1918. No labels. MB 12
1296. FERNANDO de LUCIA, w.Resemba, Sabatano, Schottler & Valentino: Barbiere – E Rosina: or son contento /
Nessun si muova. 12” AC Special Vinyl Pressing of Phonotype M 1985/97, POM-1918. No labels. MB 12
1297. FERNANDO de LUCIA, w.Scottler: Barbiere – Pace e gioia / Resemba, Novelli, Schottler & Valentino:
Buona sera. 12” AC Special Vinyl Pressing of Phonotype C 1966 / M1987, POM-1918. No labels. MB 12
1298. FERNANDO de LUCIA, w.di Tommaso & Novelli: Barbiere – Ehi, Fiorello? / —————-.
12” AC Special Vinyl Pressing of Phonotype M 1990/2337, POM-1918/’20. No labels. MB 12
1299. FERNANDO de LUCIA, w.Armentano & Muñoz: Rigoletto – La Donna è mobile / Bella figlia dell'amore.
12” AC Special Vinyl Pressing of Phonotype M 1915 / 2324, POM-1918/’20. No labels. MB 10
1300. FERNANDO de LUCIA, w.Armentano & Muñoz: Rigoletto – Ch’ío gli parli / —————.
12” AC Special Vinyl Pressing of Phonotype M 1922 / 2319, POM-1918/’20. No labels. MB 10
1301. FERNANDO de LUCIA, de Angeles, Ferluga & Armentano:
Rigoletto - Un dì•, se ben rammentomi / Bella figlia dell'amore.
12” AC Special Vinyl Pressing of Phonotype C 1918/19, POM-1918. MB 8
“Fernando de Lucia sang in many of the world’s greatest opera houses from his début at the San Carlo of
Naples in 1885. Since 1909, however, his operatic activity had been limited to only a handful of
performances (Rome and Paris in 1910, Naples in 1914, and Milan and Rome in 1916) when, in February
1917, he was persuaded to emerge from retirement to give some last performances, at the Teatro San
Carlo, Naples, of the title rôle of Fritz Kobus in Mascagni’s L’AMICO FRITZ, a part that he had created at the
Teatro Costanzi (as it then was) of Rome, in 1891.
It was in 1917, shortly after Fernando de Lucia had been enticed from the virtual retirement of several years
to make some farewell performances at the Teatro San Carlo, Naples, that his old friend Raffaele Esposito,
proprietor of the small Neapolitan recording house of Phonotype, offered him the opportunity of making
records for his company. It would be a resumption of a recording career which had started in 1902, with the
first of his 69 published titles made for G&T up until 1909, but to which the 30 published Fonotipias of 1911
had seemed to write finis. It would also be the most prolific period of that career, for over the period 1917-22
de Lucia recorded 301 titles for Phonotype: they embraced operas that he had never sung on the stage,
religious pieces, a great variety of songs, both Neapolitan and otherwise, and much of his operatic repertoire
(including ‘complete’ versions of RIGOLETTO and IL BARBIERE DI SIVIGLIA).
Phonotypes had little circulation outside Naples, and they are rare even in that war-ravaged city. Most are
known in only a handful of copies. Many collectors may never have seen one.”
- Michael E. Henstock, HISTORIC MASTERS
1302. MARIO FILIPPESCHI, w.Morelli Cond.: Pagliacci – Vesti la giubba / Tosca – Recondita armonia.
10” EL plum LVDP HN 2362, only form of issue, 1948. M-A, gleaming copy has 2 faintest pap.rubs,
barely visible & certainly inaud. Exceedingly Elusive! MB 65
1303. MARIO FILIPPESCHI, w.Morelli Cond.: Rigoletto – La donna è mobile / Madama Butterfly – Addio fiorito asil.
10” EL plum LVDP HN 2376, only form of issue, 1948. M-A, gleaming copy has 2 faintest pap.rubs,
barely visible & certainly inaud. Exceedingly Elusive! MB 65
“There can be no doubt that [Filippeschi’s] voice, one of outstanding brilliance and penetration, could also in
certain phrases be called beautiful and was described by one critic as a ‘force of nature’. It was supported
by a secure technique that enabled him to produce his phenomenal acuti (top notes) with apparent ease
when he sang to the gallery and flaunted his top Cs. He was admnired at home in Italy and audiences in
Spain idolised him. In the Iberian peninsula he was known as ‘il tenore di spada’, a soubriquet that followed
him to the Spanish-speaking South American Continent too, as his top notes were thought to be like the
flashing brilliance of a Toledo swordblade. Evidence of his telling tones, so suitable for the lyrico-spinto
repertoire that he sang for most of his fine career, are to be heard [above]….Easier and more telling high B
flats would be very difficult to find anywhere.”
- Alan Bilgora, Program Notes to A NEW GOLDEN AGE – FORGOTTEN TENORS IN ITALY, 1940-1955
1304. ANTONIO SALVAREZZA, w.Basile Cond.: Turandot – Nessun dorma / Il Trovatore – Di quella pira.
10” EL dark red German Odeon O-4854, POM- 7/11 Oct., 1948. only form of issue, 1948.
M-A, gleaming copy of beautiful German pressing. MB 35
“Salvarezza’s voice was that of a true lirico-spinto, possessing a phenomenal upper register that was
produced with ease and brilliance. Mario del Monaco was overheard saying that he thought Salvarezza was
‘the best tenor in Italy’, with another colleague expressing the view that ‘Salvarezza’s acuti (top notes) were
the finest to be heard anywhere’.”
- Alan Bilgora, liner notes to Pearl’s THE CETRA TENORS
1305. GERSHON SIROTA: Halbein Chatoeinu. 10” AC red Pat.’12 V 64230 (1221ab), POM-22 June, 1909. M-A MB 15
1306. GERSHON SIROTA: Aïda – Celeste Aïda / Tosca – E lucevan le stelle (both in Italian). 10” EL Eng. Vocalion
Broadcast Twelve 5017, only form of issue, 1928. A to M-A, lovely copy has very occasional superficial rubs, inaud. MB 85
“Blanche Marchesi, in her book A Singer’s Pilgrimage, states that although the voice of Caruso was
remarkable, she was of the opinion that the voices of Tamagno and the cantor from Warsaw, Sirota, were
just as outstanding. As a longtime observer at the classes given by her mother, Mathilde, and from her own
career as singer and teacher, she was in a position to hear many of the greatest singers in the world at the
time. Thus any comment of hers as to an artist’s vocal abilities, whether natural or highly cultivated, must be
taken seriously. Sirota possessed a rare elemental quality of tenor voice which invariably invokes in the
listener a reaction usually associated with hearing artists like Ponselle, Ruffo, Chaliapin or the young Gigli
for the first time.”
- Alan Bilgora, liner notes to Symposium’s Sirota CD issue
“Sirota was commonly referred to as the ‘king of cantors’ or the Jewish Caruso. The singer had a dramatic
coloratura tenor voice for which he was famed among Jewish communities not only in Poland - he became a
worldwide phenomenon. He had an unusually broad-ranged voice, strong and beautifully resonate both in
high and low registers. Thanks to his command of coloratura, he could deliver even the most demanding
melismata effortlessly and softly. Despite their technological limitations, Sirota’s surviving recordings
provide a vivid sense of the extraordinary power and expressive range of his voice. His was a brilliant and
rich instrument, both warm and penetrating, capable of extraordinary dramatic contrasts. The influence of
contemporary operatic style is apparent to some degree in his use of elaborate coloratura and his open,
Italianate vocal production, particularly in the upper register. Much of the emotive power of his singing
resulted from vocal gestures and ornaments that are central to the East European cantorial tradition, which
includes not only the traditional modal patterns, but also glottal attacks and glissandos, bended pitches
(singing between the standard chromatic pitches), trills and turns, sudden dynamic contrasts, and a
distinctive use of highly elaborate coloratura in the service of text and affective expression.”
- YIVO
“We come now to the mightiest of Italian tenors, Francesco Tamagno, the original and unapproachable
creator of Verdi’s OTELLO. He was the tenore robusto par excellence, and one of the greatest tenors of
all time….Tamagno was a singer and actor of unbounded energy and vitality, with a ringing top C which is
still said to have caused the great chandelier then hanging in Covent Garden to vibrate.”
- P.G. Hurst, THE GOLDEN AGE RECORDED, p.89
1307. FRANCESCO TAMAGNO: Hérodiade – Quand nos jours. 10” AC Milano G &T G.C.-52684(3027b), POM-1903,
Serial #1144. M-A, superb copy has infinitessimal nr, barely visible, positively inaud. MB 45
1308. FRANCESCO TAMAGNO: Hérodiade – Quand nos jours. 10” AC Victor G &T 95011(3027b), POM-1903,
Serial #490. B, very decent copy has lt. rubs & scuffs, merely cosmetic. MB 15
1309. FRANCESCO TAMAGNO: Hérodiade – Quand nos jours / Samson et Dalila – Figli miei (3027/19b), POM-1903.
10” AC PW Historical Catalogue #2 HMV DR 101 (3027/19), POM-1903. M-A MB 10
1310. FRANCESCO TAMAGNO: Hérodiade – Adieu donc, vains objets /
LEO SLEZAK: Guillaume Tell – O Mathilde (1903 Version, in German). 10” AC silver Victor IRCC 172 (3016b./ 820z/),
POM-1903. Numbered copy #5 of Limited Edition. M-A, a gleaming copy. MB 15
1311. FRANCESCO TAMAGNO: Hérodiade – Adieu donc, vains objets / Le Prophète – Sopra Berta .
10” AC vinyl BIRS Historic Masters HMA 43 (3017/15b), POM-1903, from Unpublished Masters. MINT MB 12
1312. FRANCESCO TAMAGNO: Samson et Dalila – Figli miei /
MATTIA BATTISTINI: Demon – Deh, non plorar. 12” AC vinyl BIRS Historic Masters HM 85 (3018b / 446Z),
10” masters pressed onto 12” vinyl blank,POM-1903/’02, Sd.1 from Unpublished Master. MINT MB 12
1313. FRANCESCO TAMAGNO: Guglielmo Tell – Corriam corriamo. 10” AC Monarch 95010 (3021b), Serial #169,
POM-1903. A-B, very decent copy has the usual lt.rubs & greying, especially opening grooves. MB 15
1314. FRANCESCO TAMAGNO: Guglielmo Tell – O must asil. 10” AC Vla 95009 (3020b), POM-1903.
A to M-A, lovely copy has faintest rubs, inaud. MB 8
1315. FRANCESCO TAMAGNO: Guglielmo Tell – O must asil / Corriam corriamo. 10” AC PW Historical Catalogue #2
HMV DR 103 (3020/21b), POM-1903. M-A , immaculate copy has, Sd.1 only, 2 wee label tears. MB 12
1316. FRANCESCO TAMAGNO: Le Prophète – Re del cielo. 10” AC Milano G &T G.C.-52677(3011b), POM-1903, Serial
#0492. A-B, lovely copy has usual rubs; nd near beg.; alas, 3 mended hlc at very beginning. MB 15
1317. FRANCESCO TAMAGNO: Le Prophète – Re del cielo. 10” AC Vla 95005(3011b), POM-1903. A to M-A MB 8
1318. FRANCESCO TAMAGNO: Le Prophète – Re del cielo / Sopra Berta.
10” AC PW Historical Catalogue #2 HMV DR 104 (3011/14b), POM-1903. M-A MB 10
1319. FRANCESCO TAMAGNO: Le Prophète – Re del cielo / Andrea Chénier –Un dì all’azzurro spazio (Improvviso).
10” AC vinyl BIRS Historic Masters HM 117 (3006/07b), POM-1903, from Unpublished Masters. MINT MB 15
1320. FRANCESCO TAMAGNO: Le Prophète – Sopra Berta. 10” AC Monarch 95007(3014b), POM-1903.
A-B, very decent copy has the usual rubs & lt scrs, mainly cosmetic. MB 15
1321. FRANCESCO TAMAGNO: Le Prophète – Sopra Berta. 10” AC Vla 95007(3014b), POM-1903,
choice mid-1930’s ‘Elaine’ Pressing with RCA spiderweb verso. M-A, a gleaming copy. MB 15
“The Italian dramatic tenor Francisco Tamagno had one of the most remarkable voices of the nineteenth
century and one of the most original operatic talents of his time….Tamagno was a once-in-a-century
phenomenon, a singer decidedly worth hearing.”
- John Stratton, OPERA QUARTERLY, Vol. 12, #4, pp.61 & 72
1322. FRANCESCO TAMAGNO: Andrea Chénier –Un dì all’azzurro spazio (Improvviso).
10” S/S Special red vinyl Pressing of 3007b, POM-11 Feb., 1903,
from Unpublished Master (ultimately issued as HMA 117). MINT MB 15
1323. FRANCESCO TAMAGNO: Andrea Chénier –Un dì all’azzurro spazio (Improvviso) / Il Trovatore – Di quella pira.
10” AC PW Historical Catalogue #2 HMV DR 102 (3008/13b), POM-1903. M-A MB 10
1324. FRANCESCO TAMAGNO: Andrea Chénier –Un dì all’azzurro spazio (Improvviso) / Il Trovatore – Di quella pira.
10” AC LVDP DR 102 (3008/13b), POM-1903. M-A, pristine copy of preferred late LVDP pressing. MB 10
1325. FRANCESCO TAMAGNO: Il Trovatore – Di quella pira. 10” AC Monarch 95006 (3013b),
Serial #1978, POM-1903. A-, lovely copy has the usual lt.rubs & lt. grey on peaks. MB 15
1326. FRANCESCO TAMAGNO: Il Trovatore – Di quella pira. 10” AC Victor G & T 95006 (3013b),
Serial #3302, POM-1903. A to M-A, lovely copy has the usual lt. grey on peaks. MB 15
1327. FRANCESCO TAMAGNO: Il Trovatore – Di quella pira. 10” AC Pat.’08 Vla 95006 (3013b),
Serial #4978, POM-1903. M-A, beautiful copy has the usual lt. grey on peaks. MB 12
1328. FRANCESCO TAMAGNO: Il Trovatore - Di quella pira. 10” AC Vla 95006 (3013b),
choice mid-1930’s ‘Elaine’ Pressing with RCA spiderweb verso. M-A, a gleaming copy. MB 15
1329. FRANCESCO TAMAGNO: Il Trovatore - Deserto sulla terra / Otello - Ora e per sempre addio. Creator Record
(5 Feb., 1887, La Scala). 10” PW Historical Catalogue #2 HMV DR 105 (3028/3004b), POM-1903). M-A MB 10
1330. FRANCESCO TAMAGNO: Il Trovatore - Deserto sulla terra / Otello - Ora e per sempre addio.
Creator Record (5 Feb., 1887, La Scala). 10” AC LVDP DR 105 (3028/3004b), POM-1903).
M-A, pristine copy of preferred late LVDP pressing. MB 10
1331. FRANCESCO TAMAGNO: Il Trovatore – Di quella pira / Otello – Ora e per sempre addio.
Creator Record (5 Feb., 1887, La Scala). 10” AC vinyl BIRS Historic Masters HMA 4 (3012/25b), POM-1903,
from Unpublished Masters. MINT MB 12
1332. FRANCESCO TAMAGNO: Otello - Niun mi tema (1903 Version). Creator Record (5 Feb., 1887, La Scala).
10” AC Milano G &T G.C.-52674(3002b), POM-1903, Serial #2476.
A-, lovely copy has the usual lt.rubs & lt. grey on peaks. MB 25
1333. FRANCESCO TAMAGNO: Otello - Niun mi tema (1903 Version). M-A , an extraordinary copy. MB 12
1334. FRANCESCO TAMAGNO: Otello - Niun mi tema (Unpublished 1903 Version. Creator Record (5 Feb., 1887,
La Scala). / NELLIE MELBA: Distance tests, excerpts from Hamlet’s Mad Scene (Thomas).12” AC vinyl BIRS Historic Masters HM 36 (14 / 4195f), POM-1903/’10, both from Unpublished Masters. MINT MB 15
1335. FRANCESCO TAMAGNO: Otello – Niun mi tema (1904 Version). Creator Record (5 Feb., 1887, La Scala).
12” AC Opera Disc 78506 (269f), POM-1904. M-A, gleaming copy of this beautiful German pressing. MB 8
1336. FRANCESCO TAMAGNO: Otello – Niun mi tema (1904 Version) / Ora e per sempre addio.
Creator Record (5 Feb., 1887, La Scala). 12” AC PW HMV Historic Catalogue #2 DS 100, (269f/12c), POM-1904/’03.
M-A, Exemplary! MB 10
1337. FRANCESCO TAMAGNO: Otello – Niun mi tema (1904 Version) / Ora e per sempre addio.
Creator Record (5 Feb., 1887, La Scala). 12” AC LVDP DS 100, (269f/12c), POM-1904/’03.
M-A, pristine copy of preferred late LVDP pressing. MB 10
1338. FRANCESCO TAMAGNO: Otello –Ora e per sempre addio. Creator Record (5 Feb., 1887, La Scala).
12” AC pale-green Milano Pre-Dog 052102 (12c), POM-1903, Serial #2322.
M-A, a spectacular copy. Contemporaneous Paris label sticker remains on uncommonly bright label. MB 15
1339. FRANCESCO TAMAGNO: Otello - Esultate! / Niun mi tema (1903 Version). Creator Record
(5 Feb., 1887, La Scala). 10” AC PW HMV Historic Catalogue #2 DR 100, (3001/02b), POM-1903. M-A MB 10
1340. FRANCESCO TAMAGNO: Otello - Esultate! / Niun mi tema (1903 Version). Creator Record (5 Feb., 1887,
La Scala). 10” AC LVDP DR 100, (3001/02b), POM-1903. M-A, pristine copy of preferred late LVDP pressing. MB 10
1341. FRANCESCO TAMAGNO: Otello – Esultate! Creator Record (5 Feb., 1887, La Scala) / Andrea Chénier –
Un dì all’azzurro spazio. 12” AC PW HMV Historic Catalogue #2 DS 101, (10c/270f), POM-1903/’04. M-A MB 8
1342. FRANCESCO TAMAGNO: Otello – Esultate! Creator Record (5 Feb., 1887, La Scala) /
Andrea Chénier – Un dì all’azzurro spazio. 12” AC LVDP DS 101, (10c/270f), POM-1903/’04.
M-A, pristine copy of preferred late LVDP pressing. MB 10
“Francesco Tamagno was known as a strong clarion-like voice, a tenor who benefited from the disciplinary
teachings of the ‘Italian old school voice lineage’. Tamagno created Otello under supervision of Giuseppe
Verdi himself. Unfortunately, Tamagno’s vocal prime falls into a period where in recording of sound was not
yet invented. In 1903 the reportedly sick Tamagno (53 years of age) recorded several arias with the
primitive recording methods of the time. Reading up on Tamagno through reviews written during his vocal
prime, one can still match a lot to that which we can hear on the records. Tamagno’s voice, although
obviously thinned out due to age and sickness, still shows a clarion-like quality and exceptionally easy
delivery. The vowels are very clear, and despite age and sickness, the voice shows no signs of a wobble.
Some detractors find the recorded voice too thin in tone, usually stating that the recording methods were too
poor to allow us to know how Tamagno would have sounded. That may very well be, but we are left at least
with a good idea of his approach and style, and the characteristics that can be distilled from these
recordings are impressive enough. The recordings reveal excellent interpretations, of which ’Niun mi tema’
is arguably one of the best. Tamagno was instructed by Verdi himself, and thus is the closest to Verdi’s
wishes we have on record. Verdi reportedly urged Tamagnot to shout when singing Otello. And so we can
hear that when Tamagno sings ’Niun Mi tema’ with an exceptional legato. Many phrases have a subtle
morendo ending, marking Otello’s remainder of glory. The exclamation on a B-flat is sung in crescendo, to
powerful effect. The last kiss that Otello demands, is sung in diminuendo, ending with an almost magical
sigh, marking his death.”
- Andrea Shum-Binder, subito-cantabile
1343. NICOLA ZEROLA: Ave Maria (Luzzi). 12” AC Vla 74747, only form of issue, 12 July, 1921;
Zanelli’s final published recording as a baritone, (intended, presumably, exclusively for the Latin American market).
M-A, an outstanding copy. Highly Elusive Issue! MB 30
1344. NICOLA ZEROLA: L’alba nascente (Parelli). 10” AC Pat.’08 V 64207, POM-10 March, 1911. M-A MB 15
1345. NICOLA ZEROLA: Samson et Dalila – Figlia miei v’arrestate. 10” AC Pat.’08 V 64173, POM-3 March, 1910,
Never Doubled in any regular series (other than as rare HRS reissue). A to M-A, lovely copy has lt.rubs, inaud. MB 10
1346. NICOLA ZEROLA: Ballo – La rivedrà nell’estasi.
10” AC Pat.’08 V 87037, POM-1 Nov., 1909, Never Doubled. M-A MB 12
1347. NICOLA ZEROLA: Ballo – Di’ tu se fedele (Barcarola).
10” AC Pat.’08 V 87036, POM-1 Nov., 1909, Never Doubled. M-A, choice copy has label tear. MB 10
1348. NICOLA ZEROLA: Pagliacci – Vesti la giubba.
10” AC Pat.’08 V 64169, POM-3 March, 1910, Never Doubled. M-A MB 12
1349. NICOLA ZEROLA: Pagliacci – Un tal giocco.
10” AC Pat.’08 V 64206, POM-10 March, 1911, Orig. ‘A’ Plate Issue, Never Doubled. M-A MB 12
1350. NICOLA ZEROLA: Otello – Ora e per sempre addio.
10” AC white label Vla 64168, POM-19 Nov., 1909, Never Doubled. M-A MB 12
“[Otello] was a part for which [Zerola’s] voice was ideal, as his recordings affirm….The tenor – once
characterized by Hammerstein as ‘a second Tamagno’ – had sung the rôle of the torurted Moor many times
on many stages, invariably meeting with great success. It was a part for which his voice was ideal….”
- Michael F. Bott, THE RECORD COLLECTOR, 2013
1351. NICOLA ZEROLA: Il Trovatore – Di quella pira.
10” AC Pat.’08 V 64170, POM-20 Oct., 1909, Never Doubled. M-A MB 12
1352. NICOLA ZEROLA: Il Trovatore – Deserto sulla terra.
10” AC Pat.’08 V 64172, POM-17 Dec., 1909, Never Doubled. A to M-A, lovely copy has very faint rubs, inaud. MB 10
“[Zerola] possessed a true tenore di forza which, in spite of its baritone origins, infused a fullness of tone to
his middle register that did not at any time make him sound like a baritone who was singing in a higher
register. The recordings, that would appear to reflect his basic repertoire closely, capture his bright,
plangent and heroic tone very clearly, and therefore make it comparatively easy to analyse his method and
basic technique, which seem to be very sound indeed….He was thought to be one of the best tenors
engaged by Hammerstein for his New York opening season….He was gifted with a voice of considerable
natural and virtually elemental quality, honed by numerous performances….”
- Alan Bilgora, THE RECORD COLLECTOR, 2013
1353. RENATO ZANELLI (as Baritone): Los Ojos Negros! (Alvarez).
10” AC Vla 64858, recorded 23 Oct., 1919, issued USA only. M-A MB 10
1354. RENATO ZANELLI (as Baritone): El Relicario (Padilla). 10” AC Vla 64954, POM-23 Feb. 1921. M-A MB 8
1355. RENATO ZANELLI (as Baritone): Madrigal de mai (Nitke). 10” AC Vla 64972, POM-1 April, 1921. M-A MB 10
1356. RENATO ZANELLI (as Baritone): Marianina (Ferri).
10” AC Vla 66013, POM-1 April, 1921. M-A , lovely copy has mere hint of grey on peaks. MB 8
1357. RENATO ZANELLI (as Baritone): La Spagnola (di Chiara). 10” AC Vla 64834, POM-18 Sept. 1919. M-A MB 8
1358. RENATO ZANELLI (as Baritone): Les Cloches de Corneville – J’ai fait trois fois…Dans mes voyages (Planquette).
10” AC Vla 66025, POM-23 Feb. 1921. M-A MB 10
1359. RENATO ZANELLI (as Baritone): Zazà – Buona Zazà, del mio buon tempo. 10” AC Vla 64835,
POM-25 Sept., 1919. M-A In 1921 it sold only 247 copies; his record with fewest copies sold that year! MB 8
1360. RENATO ZANELLI (as Baritone): La Favorita – A tanto amor. 12” AC Vla 74632, POM-10 Oct., 1919. M-A MB 8
1361. RENATO ZANELLI (as Baritone): Rigoletto – Pari siamo. 12” AC Vla 74622, POM-16 Dec., 1919. M-A MB 8
1362. RENATO ZANELLI (as Baritone): I Pagliacci – Si può?, 2s. 2-10” AC Vla 64831/32, POM-25 Sept. / 7 Oct., 1919.
M-A, lovely copy has, Sd.1 only, sl.grainy surface. Zanelli’s greatest record as a baritone. MB 20, the Pair.
“…the finest version [of the Prologo] on records, which is high praise in a field crowded with competition.
Even though Zanelli’s was a less exciting voice than Ruffo’s, it often showed a certain sweetness which
Ruffo could not command.”
- W.R. Moran, THE RECORD COLLECTOR, 1986
1363. RENATO ZANELLI (as Tenor), w.Sabajno Cond. La Scala Orch.: Andrea Chénier –/ Si fui soldato /
Un dì all’azzurro spazio (Improvviso). 12” EL PW HMV DB 1339, POM-1930. M-A , choice copy has label stickers. MB 15
1364. RENATO ZANELLI (as Tenor), w.Sabajno Cond. La Scala Orch.: Otello – Esultate / Ora e per sembre addio.
12” EL LVDP DB 1439 (CM 977/1321), POM-24 June, 1929 / 12 March, 1930.
M-A, Gleaming Copy of excellent late LVDP pressing! MB 10
1365. RENATO ZANELLI (as Tenor), w.Sabajno Cond. La Scala Orch.: Otello – Esultate / Ora e per sembre addio.
12” EL Orth Vla 7366 (CM 977/1321), POM-24 June, 1929 / 12 March, 1930.
M-A, Gleaming Copy of late Orth Vla pressing! MB 10
1366. RENATO ZANELLI (as Tenor), w.Sabajno Cond. La Scala Orch.: Otello - Dio, mi potevi scagliar / Niun mi tema.
12” EL LVDP DB 1173 (CM 971-2/972-1), POM-22 June, 1929.
M-A, Gleaming Copy of excellent late LVDP pressing! MB 12
1367. RENATO ZANELLI (as Tenor), w.Sabajno Cond. La Scala Orch.: Otello - Dio, mi potevi scagliar / Niun mi tema.
12” EL Orth Vla 7020 (CM 971-2/972-1), POM-22 June, 1929. M-A MB 12
1368. RENATO ZANELLI (as Tenor), w.Barbirolli Cond. La Scala Orch.: Otello - Dio, mi potevi scagliar / Niun mi tema.
12” EL Orth Vla 7020 (CR 2095-2 / 2094-3), POM-1928. (NB: The same issue number was used by Victor for both the
1929 Sabajno and 1928 Barbirolli performances.) A-, very decent copy has lt.rubs, inaud. MB 12
1369. RENATO ZANELLI (as Tenor) & MARGARET SHERIDAN, w.Sabajno Cond. La Scala Orch.:
Otello – Già nella notte denza, 2s. 12” EL LVDP DB 1395 (CM 1333-2/1334-2), POM-13 Dec., 1929.
M-A, Gleaming Copy of excellent late LVDP pressing! MB 12
“[Zanelli’s] records are not numerous, but they are valuable in the way that Spani’s are; both as a baritone
and a tenor he sang with a rare sense of style, a dramatic quality inherent in the tone, and a musical dignity
pervading most of his work….His Otello is represented on records by five extracts, deeply impressive and in
some respects unmatched….”
- J.B. Steane, THE GRAND TRADITION
1370. FERRUCCIO GIANNINI: Funiculi-funiculà (Denza). . 10” AC black GP V 2404 (B-1687),
only form of issue, 15 Sept., 1904. A to M-A, extraordinary copy has 2 infinitessimal mks, inaud., of course. MB 25
1371. FERRUCCIO GIANNINI: La Donna è mobile (self-announced by Giannini).
10” AC flush black & silver Col. 1749, only form of issue, April, 1904. A-, remarkable copy for this vintage has
lt.grey on peaks, plays beautifully & has wee ipc, nowhere near center nor edge; uncommonly bright flush label. MB 25
1372. FERRUCCIO GIANNINI: La Gioconda – Cielo e mar. 10” AC black Monarch V 2405 (B-137),
only form of issue, 25 June, 1903. A-B, very decent copy has the usual rubs & lt.scrs, but plays beautifully. MB 25
“At the age of seventeen Ferruccio Giannini immigrated to the USA. In Boston he took singing lessons from
Eleodoro De Campi. In 1891 Giannini made his début in Boston and from 1892 to 1894 undertook an
American tour with the Mapleson Opera Company. He then lived in Philadelphia and appeared in opera and
concert performances in the USA and also taught singing. He opened a small Théâtre, Verdi Opera House,
in Philadelphia in which he organized operas and concerts with his pupils. His daughter was the famous
soprano Dusolina Giannini (whose Aïda was the first complete recording of the opera, famous also for her
Donna Anna), and his son Vittorio was a justly celebrated composer. He was the first ‘serious’ operatic artist
to make recordings, for Berliner in 1896, and later for Victor and Zonophone.”
1373. FERRUCCIO GIANNINI: Martha – M’appari. 10” AC black GP V 4056 (B-1686),
only form of issue, 15 Sept., 1904. A-, lovely copy has few lt.rubs & lt. scrs, but plays beautifully. MB 20
1374. FERRUCCIO GIANNINI: Rigoletto – Questa o quella. 10” AC black GP V 4058 (B-1682),
only form of issue, 13 Sept., 1904. A-, lovely copy has few lt.rubs & plays beautifully. MB 20
1375. FERRUCCIO GIANNINI: Il Trovatore – Miserere (as a solo, 1903 Version).
10” AC black Monarch V 2431 (B-190), only form of issue, 3 July, 1903.
B-, decent copy has rubs, lt. scrs. & mere formation of wee hlc, appears topside only. MB 20
1376. FERRUCCIO GIANNINI & Miss MERRILEES: Il Trovatore – Miserere (1904 Version).
10” AC black GP V 4092 (B-1703), ‘Take’ 2 (the alternate ‘Take’ being ‘Take’ 1, recorded the same day);
only form of issue, 24 Sept., 1904. A-, bright copy has varous isolated lt.cosmetic scrs. MB 20
“On a visit to Atlantic City one day I discovered the handsome tenor Ferruccio Giannini in a provincial Italian
opera company. The next day he came to my studio and made records of ‘La Donna è mobile’ and ‘Questa
o quella.’ These were most successful and were the first opera excerpts [Berliner] ever brought out. They
filled us with pride and for many months represented our only concessions to highbrow taste.”
- F. W. Gaisberg, THE MUSIC GOES ROUND, p.17
1377. FRANCESCO DADDI: O’ core mio (Fredi) / Addio Napoli.
10”AC black V 62667 (9019/21b), POM-20 Sept., 1906. M-A, an extraordinary copy. MB 20
1378. FRANCESCO DADDI: ‘Ndringhete ‘ndra (de Gregorio) /
Mattinata (Leoncavallo). 10”AC black V 62670 (8973/9016b), POM-15 / 20 Sept., 1906.
A-, lovely copy has faint rubs & lt. mks, inaud.; Sd.2 only has long but light label nr. MB 12
1379. FRANCESCO DADDI: Palomma ‘e notte (Buongiovanni) / ‘O tremulicchio (Criscuolo).
10”AC black V 67764, POM-1908. M-A, an extraordinary copy. MB 20
1380. FRANCESCO DADDI: Palomma ‘e notte (Buongiovanni) / ‘O tremulicchio (Criscuolo).
10”AC black V 67764, POM-1908. A-, lovely copy has faint rubs & lt. mks, inaud. MB 12
1381. FRANCESCO DADDI: T’amo ancora. 10” AC flush black & silver Col. 10175, POM-1904.
A-B, very decent copy has greying thgroughout; uncommonly bright label. MB 15
1382. FRANCESCO DADDI: ‘O surdano scuntento (Cannio) / ‘O Sfizio (Ricciardi). 10” AC black Col. E149 (3799/3801),
POM-1908. A-, choice copy has the usual lt.rubs & superficial mks, inaud. MB 12
1383. FRANCESCO DADDI: La Spagnola (di Chiara) / Inno dei lavoratori (Turat). 10” AC black Col. E146 (3787/3810),
POM-1908. A-, choice copy has the usual lt.rubs & superficial mks, inaud. MB 12
1384. FRANCESCO DADDI: ‘O Visuvio 1906, sul motivo di ‘Torna a Surriento’ (de Curtis) /
EUGENIO CIBELLI: Pusilleco Addiruso (Gambardella). 10” AC black Col. E151 (3792/1988), POM-1906/’08.
A, choice copy has the usual lt.rubs & superficial mks, inaud.; uncommonly bright label. MB 12
1385. FRANCESCO DADDI: O sole mio (di Capua) / Rondala Criolla: Il gallo (Obiglio).
10” AC brown Col. E821 (55701/94). A to M-A, choice copy has, Sd.2 only, few lt.rubs & mks, inaud. MB 12
1386. FRANCESCO DADDI: Nuttata é sentimento (Capolongo) /
FRANCESCO DADDI & TERESA de MATIENZO: Ammore é femmena (Mario).
10” AC brown Col. E1348 (4473/4846), POM-1908/’10. A-, lovely copy has lt.rubs & faint grey on peaks. MB 12
1387. FRANCESCO DADDI: Rosa ‘e maggio! (di Capua) /
FRANCESCO DADDI & TERESA de MATIENZO: ‘O Vasillo (Cannino).
10” AC pale green Col. E930 (19320/19540), POM-1908/’10. A, exceptional copy has faintest rubs, inaud. MB 12
1388. FRANCESCO DADDI: Suonno sunnate (Capolongo) / Banda: La Marcia delle donne belle.
10” AC pale green Col. E573 (4462/10780), POM-3 May, 1910. A-, lovely copy has faintest rubs., inaud. MB 12
1389. FRANCESCO DADDI: Te si cagnata (de Crescenzo / Luntananza. 10” AC pale green Col. E2481 (46611/19).
B/A-, unworn copy has , S.1 only, 2 clusters of scrs, certainly audible; Sd.2 virtually perfect. MB 12
1390. FRANCESCO DADDI: ‘O marenariello (Gambardella) / Santa Lucia (Cottrau). 10” AC blue Col. E931 (19316/55742).
A to M-A, superlative copy has, Sd.1 only, mere hint of nr, barely visible & inaud. MB 12
1391. FRANCESCO DADDI: Mamma mia che vo’ sape (Nutile) / Prince’s Orch.: Tarantella reminiscenze dell’antica Napoli
(Calace). 12” AC blue Col. A5221 (30494/30516), POM-112 May / 11 June, 1910. A to M-A, superlative copy. MB 15
1392. FRANCESCO DADDI: Martha – M’appari. 10” AC flush black & silver Col. 10182, POM-1904.
A, choice copy has the usual lt.rubs & superficial mks, inaud.; uncommonly bright label. MB 15
1393. FRANCESCO DADDI: Pagliacci – Serenata di Colombina. Creator Record (Daddi created the role of Beppe
[conducted by Toscanini] at the World Premiere, 21 May, 1892, Teatro dal Verme, Milano) /
TAURINO PARVIS: Prologo – Un nido di memorie. 10” AC blue Col. C124 (10173/3079), POM-1905.
B, very decent copy has, primarily Sd.2, greying throughout. MB 15
1394. FRANCESCO DADDI & TERESA de MATIENZO: Calandrella, Calandrè (Crescenzo) / Banda: Al ballo.
10” AC brown Col. E677 (4984/5546), POM-21 Oct., 1910. A to M-A, choice copy has faintest rubs., inaud.;
Sd.1 only, has 2 wee scrs, positively inaud. MB 12
1395. FRANCESCO DADDI & TERESA de MATIENZO: Carmè de Cristófaro) /
Rondella Creola: La Golondrina del campo. 10” AC brown Col. E6823 (4983/55786), POM-21 Oct., 1910.
A to M-A, choice copy has faintest rubs. & hint of grey on peaks, positively inaud. MB 12
1396. FRANCESCO DADDI & TERESA de MATIENZO: Bolero d’amore (Falvo) / Tarantella Surrentina.
10” AC pale-green Col. E3240 (4845/19541), POM-1910. A, choice copy has lt.rubs & superficial mks, inaud. MB 12
1397. FRANCESCO DADDI & TERESA de MATIENZO: Ciribiribin (Pestalozza) /
‘O sentimento (Fonzo). 10” AC blue Col. A946 (4868/69), POM-1910.
A-B, very decent copy has lt.rubs & scrs, inaud.; Sd.2 only has sl.rough start. MB 8
“Francesco Daddi trained as a singer and pianist at the Naples Conservatory and made his stage début at
Milan in 1891. The following year at the Dal Verme he sang Beppe in the première of PAGLIACCI (21 May,
1892, Teatro dal Verme, Milano), and this was also his role in his single season at Covent Garden in 1900.
He sang in the Rome première of Pietro Mascagni's LE MASCHERE in 1901. Having become one of Italy's
leading comprimario tenors, he emigrated to the USA in 1907, singing with the Manhattan Company usually
in small parts but also as Corentin in DINORAH with Tetrazzini. From 1911 to 1920 he appeared regularly
in Chicago, where he enjoyed considerable success in comic bass roles such as Dr Bartolo in IL BARBIERE
DI SIVIGLIA. His recordings, made as a tenor, include Beppe's Serenade in PAGLIACCI and many
Neapolitan songs graced by an agreeable lyric voice and an idiomatic sense of style.”
1398. ULYSSES LAPPAS: Andrea Chénier - Come un bel dì di maggio / Un dì all’azzurro spazio (Improvviso)
(Lappas’ first recordings). 12” AC gold Flags Label Col.65035-D, POM-1923.
A-, lovely copy of choice Flags Label pressing has rubs, inaud. MB 20
1399. ULYSSES LAPPAS: Carmen – La fleur que tu m’avais jetée (in Italian) / Tosca – Recondita armonia.
10” AC early PW Col.3910-M, POM-1923. M-A, gleaming copy of choice mid-1930s pressing. MB 15
1400. ULYSSES LAPPAS: Carmen – La fleur que tu m’avais jetée (in Italian) / Tosca – E lucevan le stelle.
10” AC PW Eng. Col.D1463, POM-1923. A-, lovely copy has faintest rubs & few superficial mks, inaud. MB 8
1401. ULYSSES LAPPAS: Pagliacci – Vesti la giubba / No! pagliacco non son.
10” AC PW Eng. Col.D1455, POM-1923. A to M-A, lovely copy has faint pap.rubs, inaud.. MB 12
1402. ULYSSES LAPPAS: Pagliacci – Un tal giocco / Tosca – Recondita armonia.
10” AC PW Eng. Col.D1456, POM-1923. M-A, a gleaming copy. MB 12
“Lappas’ real name was Odysseus Lappas. He studied with Giuseppe Mandolini in Milan. In 1914 he made
his début as Enzo in LA GIOCONDA at the Teatro Dal Verme in Milan. In the same year, he also appeared
there as Canio in PAGLIACCI. Already in 1917 Lappas performed at La Scala in the premiere of the opera
IL MACIGNO of Victor de Sabata, and in 1918 he sang at the Teatro Politeama Reinach of Parma in LA
FANCIULLA DEL WEST. In 1919 Lappas began his real international career appearing at the opera house
of Monte Carlo in RUY BLAS and made guest appearance at Covent Garden. The next year, he went to
Cairo where he performed in FRANCESCA DA RIMINI. In 1920 Lappas repeated his success in Monte
Carlo appearing with Elvira De Hidalgo in PAGLIACCI. In 1925 he was to be found again at Covent Garden,
now as Maria Jeritza’s partner in FEDORA. From 1921-22 and 1928-29 he sang at the Chicago Opera,
making his début there in LA FANCIULLA DEL WEST. In 1934 he sang at La Scala in the première of the
opera DON OF GIOVANNI of Felice Lattuada.”
1403. HIPÓLITO LÁZARO: Les Huguenots – Plus blanche que la blanche ermine /
Les Pêcheurs de Perles – Je crois entendre (both in Italian). 12” EL Viva-Tonal Col. 8944-M, POM-1926.
A-B, very decent copy has lt rubs & few superficial scrs. MB 15
1404. HIPÓLITO LÁZARO: L’Africaine – O Paradis! (in Italian) (1911 Version).
12” AC V 74495, POM-2 Aug., 1911, London, Never Doubled. M-A, choice copy has faintest pap. rubs, inaud. MB 10
1405. HIPÓLITO LÁZARO: L’Africaine – O Paradis! (in Italian) (1916 Version).
12” AC Col. 48747, POM-28 April, 1916. M-A MB 8
1406. HIPÓLITO LÁZARO: Ave Maria (Bach-Gounod) / Martha – M’appari. 12” AC early PW Col. 8931-M,
POM-1918/’16. A-, lovely copy has very lt.rubs; Sd.2 only has few harmless lams, inaud. MB 15
1407. HIPÓLITO LÁZARO: Eili, Eili! 12” AC Col. 49914, Issued USA only, 26 Nov., 1920.
M-A, a gleaming copy. MB 15
\
1408. HIPÓLITO LÁZARO: Al desperdirme (Cases) / Rosa marchita (Esperón).
10” EL green Viva-Tonal Col.-Tonal Col.4119-X (WK1646/67), POM-1929, Madrid. M-A, a gleaming copy. MB 35
1409. HIPÓLITO LÁZARO: Desde lejos (Contini) / A Granada (Alvarez).
10” EL green Viva-Tonal Col.-Tonal Col.4072-X (WK1649/72), POM-1929, Madrid. M-A, a gleaming copy. MB 25
1410. HIPÓLITO LÁZARO: I Puritani – A te, o cara.
12” AC Col. 48783, POM-5 May, 1916. M-A MB 8
1411. HIPÓLITO LÁZARO: I Puritani – Vieni fra queste braccia.
10” AC Disco Columbia 46752, POM-5 May, 1916. A, lovely copy has faint grey on peaks. Elusive! MB 12
“Lázaro’s upper register was remarkable not only for the power and ringing quality of its high B naturals,
and, at the outset of his career, its high Cs, but also for its capacity to sustain with ease long phrases on
high F and high G in the manner dear to the ‘verismo’ composers, and to Mascagni in particular.”
- Rodolfo Celletti, THE RECORD COLLECTOR, 1964
1412. HIPÓLITO LÁZARO: El Trust de los Tenorios – Te quiero (Jota) (Serrano) / La Corte del Amor - Princesita (Padilla).
10” AC red San Sebastian Col. RS 5052 (452/53), POM-1924, only form of issue, Sd.1. A-B, very decent copy has lt. rubs &
superficial scrs, ever-so-faintly audible the occasional turn. Exceedingly Elusive! MB 25
1413. HIPÓLITO LÁZARO: Ay del ay (Osma) / Carmen – La fleur que tu m’avais jetée (in Italian).
12” EL Viva-Tonal Col. 8945-M, POM-1926. M-A, gleaming copy has, Sd.1, superficial dust mk, inaud. MB 15
1414. HIPÓLITO LÁZARO: Aïda – Celeste Aïda. 12” AC Col. 48762, POM-1 May, 1916. M-A MB 8
1415. HIPÓLITO LÁZARO: La Favorita – Spirto gentil (1911 Version). 12” AC Vla 74496, POM-3 Aug., 1911, London.
A to M-A, choice copy has faintest pap. rubs, inaud. MB 8
1416. HIPÓLITO LÁZARO: La Favorita – Spirto gentil (1916 Version).
12” AC Col. 48748, POM-28 April, 1916. M-A MB 8
1417. HIPÓLITO LÁZARO: La Favorita – Una vergine, un angiol di Dio.
12” AC Col. 48749, POM-28 April, 1916. M-A MB 15
1418. HIPÓLITO LÁZARO: La Boheme – Che gelida manina. 12” AC Col. 48741, POM-27 April, 1916. M-A MB 8
1419. HIPÓLITO LÁZARO: Manon – Le rêve (in Italian).
12” AC. Col. 48787, POM-6 May, 1916. M-A, lovely copy has faint rubs, inaud. MB 8
1420. HIPÓLITO LÁZARO: Rigoletto – La donna è mobile. 10” AC Col. 46736, POM-28 April, 1916.
M-A, lovely copy has wee pap.rub, inaud. MB 8
1421. HIPÓLITO LÁZARO: Rigoletto – Questa o quella. 10” AC Col. 46737, POM-28 April, 1916.
A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8
1422. HIPÓLITO LÁZARO: Il Trovatore – Di quella pira. 10” AC Col. 47211, POM-7 Dec., 1916. M-A MB 10
1423. HIPÓLITO LÁZARO: Tosca – E lucevan le stelle. 12” AC red Eng. Regal 75800, POM-27 April, 1916.
A, lovely copy has hint of grey on peaks, lt. rubs & 1 wee scr, inaud. MB 6
1424. HIPÓLITO LÁZARO: Tosca – Recondita armonia. 12” AC Col. 48750, POM-28 April, 1916. M-A MB 8
1425. HIPÓLITO LÁZARO: Andrea Chénier – Come un bel dì di maggio /
Un dì all’azzurro spazio (Improvviso). 12” EL PW Eng. Col. D 18001, POM-1926.
A-, lovely copy has lt. rubs, inaud.; Sd.2 only has a few lt.scrs, positively audible. MB 10
1426. HIPÓLITO LÁZARO: Turandot – Nessun dorma /
Non piangere, Liú. 12” EL PW Eng.Col. D 18000, POM-1926.
M-A, gleaming copy has tiny ec to 1st groove, most certainly not affecting playing. Highly elusive! MB 15
1427. HIPÓLITO LÁZARO & MARIA BARRIENTOS: La Traviata – Parigi, o cara /
MARIA BARRIENTOS & RICCARDO STRACCIARI: Rigoletto – Tutte le feste al tempio.
12” AC early PW Col.8928-M, POM-1918/’19. M-A, gleaming copy of choice mid-1930s pressing. MB 15
1428. HIPÓLITO LÁZARO & MAFALDA de VOLTRI: Il Piccolo Marat – Gran duetto (Mascagni), 4s.
2-12” EL Viva-Tonal Col. 8941/42-M, POM-1926. Important Lázaro Creator Record, (2 May, 1921, Teatro Costanzi).
A-, lovely copy has lt cosmetic rubs. Exceedingly Elusive! MB 45, the Pair.
“Spanish tenor Hipólito Lázaro managed to carve out a brilliant and long-lasting career in an era rich with
great tenors, not to mention Enrico Caruso. By 1913 he had gained the attention of composer Pietro
Mascagni, who cast Lázaro in his new opera PARISINA at La Scala in Milan. Lazaro was a success, and
this helped pave the way for his triumphant comeback to Barcelona in RIGOLETTO in 1914. Through the
years of the Great War, Lázaro traveled extensively throughout Europe and in 1918 joined the Metropolitan
Opera in New York for a stint lasting two years. Lazaro did not return to Spain until 1922, when he became
embroiled in an open competition with established favorite Miguel Fleta, the public taking sides as to who
was a ‘Fletista’ and who was a ‘Lazarista’. Whereas most rivalries of this kind among artists are born of
publicity and nurtured by the press, in Lázaro's case it appears that the competition with Fleta was real; in
his memoirs published as MEMORIAS Y MI MÉ TODO PARA EL CAnto in 1947, Lázaro stated about Fleta
‘I can sing better than that old uncle’.
Hipólito Lázaro recorded often and well, most frequently for the American Columbia label, though his choice
of label may have contributed to his obscurity, at least relative to Enrico Caruso, who recorded for Victor.”
- Uncle Dave Lewis, allmusic.com
1429. GALIANO MASINI: La Boheme – Che gelida manina / Cavalleria Rusticana – Addio alla madre (1932 Version).
12” EL dark blue Japanese Viva-Tonal Col. JW 266, POM25/27 April, 1932. A to M-A, beautiful pressing & copy has
occasional superficial pap.mk., positively inaud. MB 12
1430. GALIANO MASINI: Turandot – Non piangere, Liù (1929 Version) /
Madama Butterfly – Addio, fiorito asil. 10” EL Eng. Col. LB 43, POM-1929. M-A, a gleaming copy. MB 12
1431. GALIANO MASINI: Tosca – Recondita armonia / E lucevan le stelle.
10” EL dark blue Italian Col. D 5980, POM-1929. M-A, a gleaming copy. MB 12
1432. GALIANO MASINI: L’Arlesiana – Lamento di Federico / La Boheme – Che gelida manina.
12” EL brown Italian Col. GQX 16524, POM-25 April, 1932. M-A, a gleaming copy MB 12
1433. GALIANO MASINI: Lucia – Fra poco a me ricovero / Manon Lescaut – Donna non vidi mai.
10” EL PW Col. 17159-D, POM, 27/27 April, 1932. M-A, a gleaming copy MB 10
1434. GALIANO MASINI: L’Arlesiana – Lamento di Federico / GEORGES THILL: Sigurd – Esprits, gardiens.
12” EL PW Col. 9151-M, POM-25 April, 1932/’33. M-A, albeit very minor label smudges. MB 8
1435. GALIANO MASINI: Lodoletta – Sè Franz dicesse il vero; Ah! ritrovarla / Cavalleria Rusticana – Addio alla madre.
12” EL dark blue PW Italian Col. GQX 16526, POM-27 April, 1932. M-A, a gleaming copy. MB 12
1436. GALIANO MASINI, w.Ricci Cond.: Stella del Mare -Vela definta (Dusmet) / La vita sei tu (Bianchieri).
10” LVDP DA 5360, only form of issue, 1938 (from Masini’s film STELLA DEL MARE). M-A, a gleaming copy. MB 15
1437. GALIANO MASINI, w.Ricci Cond.: Stella del Mare –Nubi vagabonde (Cartoni) / Barcarola (Ansoldi).
10” LVDP DA 5359, only form of issue, 1938 (from Masini’s film STELLA DEL MARE). M-A, a gleaming copy. MB 15
1438. GALIANO MASINI, w.Tansini Cond.: Adriana Lecouvreur – La dolcissima effigie / L’anima ho stanca.
10” EL dark blue Cetra AT 0106, only form of issue, 14 July, 1941. M-A, a gleaming copy MB 12
1439. GALIANO MASINI, w.Tansini Cond.: Andrea Chénier – Come un bel dì di maggio / Si fui soldato.
10” EL dark blue Cetra AT 0107, only form of issue, 14 July, 1941. M-A, a gleaming copy MB 12
1440. GALIANO MASINI, w.Tansini Cond.: Aïda – Celeste Aïda / Cavalleria – Addio alla madre (1941 Version).
12” EL dark green Cetra BB 25096, POM-14 July, 1941. M-A, a gleaming copy MB 12
1441. GALIANO MASINI, w.Tansini Cond.: Aïda – Celeste Aïda / La Gioconda – Cielo e mar.
12” EL dark green Cetra BB 25039, POM-14 July, 1941. M-A, a gleaming copy MB 12
1442. GALIANO MASINI, w.Basile Cond.: Fedora – Mia madre, mia vecchia madre, 2s.
12” EL red Cetra BB 25223, POM-21/23 Oct., 1947. M-A, a gleaming copy MB 12
1443. GALIANO MASINI, w.Basile Cond.: Fedora – Amor ti vieta /Tosca – Recondita armonia.
12” EL red Cetra BB 25220, POM-21/24 Oct., 1947. M-A, a gleaming copy MB 12
1444. GALIANO MASINI, w.Basile Cond.: Turandot – Non piangere, Liù (1929 Version) /
Manon Lescaut – Ah, Manon, mi tradisce 12” EL red Cetra BB 25222, POM-20/23 Oct., 1947.
M-A, gleaming copy has, Sd. 2 only, wee label tear. MB 12
1445. GALIANO MASINI, w.Basile Cond.: Tosca – E lucevan le stelle. /
SERGIO MASINI, w.Basile Cond.: Mignon – Ah non credevi tu.
12” EL red Cetra BB 25221, POM-24/21 Oct., 1947. M-A, a gleaming copy. MB 15
1446. GALIANO MASINI, w.Marinuzzi Cond.: Forza – Sulla terra l’ho adorata /
GIOVANNI MALIPIERO & LUCIANO NERONI: Lucia – Tu che addio. 12” EL dark green Cetra BB 25096,
POM-26 May, 1941 / 6 July, 1939 (obviously from their complete recordings). M-A, a gleaming copy MB 8
“Galiano Masini sang at the Rome Opera from 1930 to 1950, and was also a regular guest artist at La Scala,
Milan, and the Verona Arena. He appeared at the Paris Opéra, the Lyric Opera of Chicago (1937–38), the
Metropolitan Opera in New York (1938–39), and the Teatro Colón in Buenos Aires (various years). His
large, ardent and ringing voice can be heard to best advantage in a complete recording of Verdi's LA
FORZA DEL DESTINO, under the baton of Gino Marinuzzi, that was made by Cetra Records in 1941, the
first ever complete recording of this work.”
1447. LUIGI FORT: Mignon – Addio Mignon / L’Italiana in Algeri – Languir per una bella.
10” EL Eng. Col. DC 191, POM- 27 March, 1933. M-A, a gleaming copy. MB 6
1448. LUIGI FORT: Don Pasquale – Com’ è gentil / L’Italiana in Algeri – Languir per una bella.
10” EL Master Works Col. 4157-M, POM- 27 March, 1933. M-A, gleaming copy of c.1936 Master Works pressing. MB 8
1449. LUIGI FORT, w.Consiglio Cond.: Me Ideal / LUIGI FORT & C. LAURI: La Monferrina (both in
Piemontese dialect). 10” EL dark blue Italian Col.D 13279, only form of issue, 6 June, 1946. M-A, a gleaming copy. MB 8
1450. LUIGI FORT, w.Galliano Cond.: Der Vogelhändler – Wie mein Ahn’l zwanzig Jahr (Nightingale Song) (Zeller) /
Les Cloches de Corneville – Mozzo novello (Planqutte) ( both in Italian). 10” EL red Cetra AA 415, only form of issue,
27 March, 1945. M-A, gleaming copy has, Sd.2 only, wee label tear. MB 10
“Luigi Fort’s stage début took place in 1927 at the Teatro Regio in Turin in LUCIA DI LAMMERMOOR, and
sang with great success as Nadir in I PESCATORI DI PERLE. From 1930 to 1937 he appeared in Holland
where he attained great popularity, and in 1935 he appeared at the Maggio Musicale of Florence in the
premiere of Pizzetti’s L'ORSEOLO. In 1936, Fort made his La Scala début on 12 Feb., 1936 in the premiere
of Wolf-Ferrari’s IL CAMPIELLO. In 1937 he sang at Covent Garden, in 1938 in Antwerp and in 1939 at the
Glyndebourne Festival and at the Salzburg festival as Almaviva.”
1451. AUGUSTO FERRAUTO, w.La Rosa Parodi Cond.: Turandot – Non piangere, Liú / Tosca – Recondita armonia.
12”EL dark blue Cetra CB 20248, POM- 14 July, 1938. M-A, a gleaming copy. MB 65
“Ferrauto’s voice is that of a tenore di forza with considerable weight and projection in the middle register,
and real squillo above the stave, where the dramatic effect of his top notes can easily be appreciated….But
for the intervention of World War II, Ferrauto might well have enjoyed a great international career.”
- Alan Bilgora, liner notes to Pearl’s THE CETRA TENORS
1452. PIERO SCHIAVAZZI: Cavalleria – Avete altro a dirmi? / Addio alla madre. 10¾” AC Milano
Fonotipia 39902/03 (XPh2186/85), POM-1906. A to M-A, lovely copy has lt rubs & infinitessimal pap.scrs, inaud. MB 25
“Schiavazzi’s official début was at the Teatro Comunale di San Giovanni in Persiceto, 23 Sept., 1899, in
Puccini's LA BOHÈME. Notably, in an era of great voices, he sang in the major theaters of the world, under
the batons of Pietro Mascagni, Ruggero Leoncavallo, Renato Virgil, Leopoldo Mugnone, Gino Marinuzzi,
Tullio Serafin, Ettore Panizza and Arturo Toscanini (who in 1904 at the Teatro de la Opera in Buenos Aires
directed him in FAUST, FALSTAFF, LINDA DI CHAMOUNIX and IRIS).
In his early years, he rivaled de Lucia, Borgatti and Caruso. He was particularly admired in Puccini's
MANON LESCAUT, and especially in FEDORA and ZAZÀ. His outstanding voice endured for about fifteen
years, due to frequent performing of verismo repertoire. He then appeared in twenty melodramatic silent
films: THE BASTARD (1915, subject by Dumas, director Emilio Graziani-Walter), THE DEATH OF THE
DUKE OF OFENA (1915, subject by d'Annunzio, director Emilio Alfredo Graziani-Walter), THE SHADOW
OF A THRONE (1921, director Carmine Gallon), and CHEER (1922, director Antonio Gravina),
CAVALLERIA RUSTICANA (directed by Ubaldo Maria del Colle), L’AMICO FRITZ (in Italian and French,
directed by René Hervil, IL TROVATORE (directed by Ugo Moth) and THE CALL OF THE EARTH,
produced in 1923 by Fidua.”
1453. IVAN ZHADAN, w.Matvey Sakharov (Pf.): We sat together / If I could express in one word (both Tschaikowsky).
10” EL black Russian Zavod 4603/04, only form of issue, 1937. B-C, very decent, unworn copy has numerous
lt.rubs & scrs, but the exquisite performances come through beautifully. Exceedingly Elusive! MB 25
“I believe the most sadly neglected truly great figure of the Russian singing tradition remains Ivan Jadan
(1900-1995). Both in the '30s and in the '50s, there are Jadan's absolutely flabbergasting control of breath,
his enormous range of dynamics and colors. Ivan Jadan was a tenor ‘buried alive’ by the Soviet regime. He
also was one of this century's musical marvels. If you love grand style Russian singers, do not miss Jadan.”
- Samir Golescu
1454. FRANK MULLINGS: Have you seen but a whyte lillie grow? / My lovely Celia. 10” AC Eng. Col. D1479, POM-1924.
M-A, gleaming copy has, Sd.1 only, infinitessimal pap.mk, barely visible & certainly inaud. MB 8
1455. FRANK MULLINGS: Semele – Where’er you walk / Jeptha – Deeper and deeper still (1919 Versions)
(both Handel). 12” AC Eng. Col. L 1344, POM-1919. A, lovely copy has wee pap.mks, barely visible & inaud. MB 8
1456. FRANK MULLINGS: Semele – Where’er you walk / Jeptha – Deeper and deeper still (1926 Versions)
(both Handel). 12” EL Eng. Col. 9350, POM-1926. A, a gleaming copy. MB 8
1457. FRANK MULLINGS: Die Meistersinger – Preislied / Pagliacci – Vesti la giubba (1918 Versions, in English).
12” AC Eng. Col. L 1228, POM-1918. M-A MB 8
1458. FRANK MULLINGS: Lohengrin – Mein lieber Schwan! / In fernem Land (in English).
12” AC Eng. Col. L 1147, POM-1917. M-A MB 8
1459. FRANK MULLINGS: Otello – Dio! Mi potevi scagliar / Niun mi tema (in English).
12” AC Eng. Col. L 1344, POM-1920. A to M-A, beautiful copy has, Sd.2 only, mere hint of grey on peaks. MB 8
1460. FRANK MULLINGS & MIRIAM LICETTE: Otello – Già nella notte densa (in English), 2s.
12” AC Eng. Col. L 1562, POM-1924. M-A, beautiful copy has, Sd.2 only, very faint, superficial scr, inaud. MB 10
1461. FRANK MULLINGS & NORMAN ALLIN: Love and war (Cooke) / Geneviève de Brabant – Duo des Gendarmes
(Offenbach; in English). 12” EL Eng. Col. 9804, POM-1926. A to M-A, lovely copy has the odd faint pap.mk, inaud. MB 8
“Frank Mullings was a leading English tenor with Sir Thomas Beecham's Beecham Opera Company and its
successor, the British National Opera Company, during the 1910s and 1920s. Blessed with a strong stage
presence and a voice that provoked varying reactions from critics, his repertoire included such taxing
dramatic parts as Tristan, Radames, Otello and Canio. The limitations of early microphones meant that his
voice has not always been recorded successfully, although the British National Opera Company website
notes that playing the recordings at 80 rpm produces a more reliable result.
The young Mullings studied singing in Birmingham and made his operatic début in Coventry in 1907—in
Gounod’s FAUST. He joined the Denhof Opera Company in 1913, was engaged by the Beecham Opera
Company from 1916 to 1921, and was with the British National Opera Company from 1922 until its closure
in 1929. He was the first to sing the part of Wagner's PARSIFAL in English, which he did at the Royal
Opera House, Covent Garden, in 1919. Mullings was a noted interpreter, in England at least, of Verdi's
OTELLO, as well as TRISTAN. The English music critic Neville Cardus, who came to know Mullings well,
wrote in one of his press reviews that: ‘Mr. Mullings acted Canio in PAGLIACCI far beyond the plane of
conventional Italian opera of the blood and sand order. His singing is not exactly all honey, but how
intensely he lived in the part! He almost persuades us that there is real tragedy about –- that if the puppet
Canio were pricked, blood and not sawdust would come forth’. At the height of his fame, Mullings joined the
staff of the Birmingham School of Music, teaching voice, and working from 1927 through to 1946. He also
taught at the Royal Manchester College of Music from 1944 to 1949.”
1462. GERVASE ELWES: Sigh no more, Ladies (Aikin) / Phyllis has such charming graces.
10” AC PW plum HMV B 320, POM-1912/’11. M-A, choice copy has few faint est rubs, inaud. MB 12
1463. GERVASE ELWES: Ich liebe dich (Grieg) / Morning hymn (Henschel).
10” AC PW plum HMV B 322, POM-1912. A to M-A, lovely copy has faint rubs, inaud. MB 12
1464. GERVASE ELWES, w.Frederick Kiddle (Pf.) : A Carol of bells (Stanford) / Semele – Where’er you walk.
12” AC PW pale blue Eng. Col. L 1162, only form of issue, 1916. M-A, extraordinary copy. MB 25
“Elwes’ singing was distinguished by that indefinable quality we call style. No one can say what style is, but
one knows at once whether a musician possesses it or not; one had only to hear Elwes sing two bars to
realize that his style was perfect."
- Ralph Vaughan Williams, GERVASE ELWES, THE STORY OF HIS LIFE, p.295
1465. GERVASE ELWES, w.Frederick Kiddle (Pf.), London String Quartet (Sammons, Virgo, Warner & Warwick-Evans):
ON WENLOCK EDGE, 5s. Important Creator recording, [Elwes & Kiddle], (15 Nov., 1909, Aeolian Hall, London) /
Sd.6 = The roadside fire (both Vaughan Williams). 3-12”AC purple PW Eng. Col. 7363/65,
only form of issue, 1917/’16, resp. M-A , a gleaming copy. MB 75, the trio.
“Gervase Elwes, was an English tenor of great distinction, who exercised a powerful influence over the
development of English music from the early 1900s up until his death in 1921 due to a railroad accident in
Boston at the height of his career.
His principal teachers were Jacques Bouhy in Paris (1901–03), and in London Henry Russell and Victor
Biegel, who remained his friend and teacher throughout his life. Bouhy asked him to decide between a
baritone career in opera or a tenor career in oratorio and concert (and he chose the latter).
Elwes had a voice entirely in the English colouring, but with an unusual quality of sincerity and passion, and
of considerable power. His diction and intonation were very secure, his delivery somewhat ‘gentlemanly’ but
his phrasing long in conception and serving intense melodic inflections. His singing possessed a spiritual
fervour. But it was as singer of English art-song, and the friend of many leading English composers, that
Elwes left his most permanent legacy. He was the dedicatee and first performer of (and the first person to
record) Ralph Vaughan Williams cycle ON WENLOCK EDGE and many of the finest songs of Roger Quilter
(including the cycle TO JULIA), both of whom wrote with his voice in mind. In 1912 he gave the first
performance of Thomas Dunhill's song-cycle THE WIND AMONG THE REEDS for the Philharmonic Society.
He had the wholehearted admiration of every generation from Charles Villiers Stanford to Frank Bridge, and
their successors still acknowledge the authority of his influence. He was also a wonderful inspiration to
leading British singers of his time, as their many private and published memorials testify.”
1466. DAN BEDDOE: Bugeilior gwenith gwyn / Gwew fach (both Welsh). 10" AC pale green Col.E4305 (85067/68),
only form of issue, 1919. A-, very decent copy has lt.grey on peaks. Exceedingly elusive! MB 45
1467. DAN BEDDOE: Irish love song (Lang).
10" AC Pat.’08 V 64195, only form of issue, 19 May, 1911. M-A , a gleaming copy. MB 25
1468. DAN BEDDOE: Yesterday and today (Spross). 10" AC Pat.'12 V 64361, only form of issue, 24 June, 1913.
A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12
1469. DAN BEDDOE: A heart like thine (van Deventer) / Jesus is mine (Wittich).
10" AC colorful Art Label Rainbow 1032, only form of issue, 1924. M-A, a spectacular copy. MB 45
1470. DAN BEDDOE: A heart like thine (van Deventer) / Jesus is mine (Wittich).
10" AC colorful Art Label Rainbow 1032, only form of issue, 1924.
B, very decent copy has rubs & very lt.scrs, mainly cosmetic. Offered due to rarity. MB 12
1471. DAN BEDDOE: His love / DAN BEDDOE & FLORENCE EVANS: Shadows (Gebriel).
10" AC colorful Art Label Rainbow 1031, only form of issue, 1924. B-C, much played copy has considerable
rubbing & scrs; Sd.2 only tiny ND & ec, not to grooves. Offered due to rarity. MB 12
1472. DAN BEDDOE, w.Thomie Prewitt Williams (Pf.): Danny Boy (Weatherly) / In an old fashioned town (Harris).
10" EL Bruns. 3848, only form of issue, 23 Feb., 1928. M-A, a superlative copy. Exceedingly Rare! MB 75
1473. DAN BEDDOE, w.Thomie Prewitt Williams (Pf.): Elijah – If with all your hearts /
Then shall the righteous shine forth (Mendelssohn). 10" EL black Bruns. 3847, only form of issue, 23 Feb., 1928.
M-A, a superlative copy. Exceedingly Rare! MB 95
1474. DAN BEDDOE, w.Thomie Prewitt Williams (Pf.): Elijah – If with all your hearts /
Then shall the righteous shine forth (Mendelssohn). 10" EL black Bruns. 3847, only form of issue, 23 Feb., 1928.
A to M-A, lovely copy has very lt. rubs, inaud. Exceedingly Rare! MB 65
“What a pity that so few recordings of Dan Beddoe are available for us to hear…to remind us of perhaps the
greatest of all tenors to have emerged from Wales, and one of the outstanding oratorio and concert singers
of all time.”
1475. BROWNING MUMMERY: Tosca – Recondita armonia / E lucevan le stelle (in Italian).
10” EL plum PW HMV B 2724. M-A MB 8
1476. BROWNING MUMMERY: Manon – Le Rêve / Pagliacci – No, pagliacco non son! (in English).
10” EL plum PW HMV B 3121. M-A, lovely copy has, Sd.1 only, lt rub & tiny scr, audible just a few turns. MB 6
1477. BROWNING MUMMERY & KATHLEEN HILLIARD: Madame Pompadour – Love’s sentry /
By the light of the moon (Leo Fall; in English). 12” AC plum PW HMV C 1143. M-A MB 8
1478. VICTOR MAUREL: Rondel de l'adieu (de Lara) / Mandolinata (Paladilhe).
10¾" AC red German Odeon X 39246/45 (xPh 67/68-2), POM-1904.
M-A, a gleaming copy of this superb mid-1930s German pressing (renowned for its quiet surface). MB 60
1479. VICTOR MAUREL: Ninon (Tosti) / Falstaff – Quand’ero paggio.
10¾" AC red Eng.Odeon PO 2 (xPh 69/2332), POM-1904/’07. M-A, gleaming copy of this choice
mid-1930s pressing has very occasional superficial mk, inaud.; Sd.1 label has nr. MB 45
“…[the ‘Quand’ero paggio’] is arguably Maurel’s most famous recording….He sings three verses, the first
two in Italian; the last in French, yet each time varying his tonal quality, and with a lightness of touch and
infinitely varying nuance. The over-effusive studio audience [with studio applause] further enhances the
charm of the recording….The whole aria is rendered with a verve that almost allows you to ‘see’ his facial
expression.”
- Alfred de Cock, THE RECORD COLLECTOR, 2013
1480. VICTOR MAUREL: Ninon (Tosti) / Don Giovanni – Deh, vieni alla finestra.
10" AC silver & blue blue shellac Columbia IRCC 9, (xPh 69-2/66), POM-1904.
Numbered Copy #58 of a Limited Edition. M-A MB 45
“Maurel is truly respectful of Tosti’s intentions and he sings con amore with his typical elegance of manner
and beautifully enunciated text….It is the work of a masterful artist… One can imagine he would have sung
the [Don Giovanni] aria with a melting mezza voce in his prime that would have been bewitching. He is
frequentlky at odds with the pianist but it hardly matters and just adds charm to the recording.”
- Alfred de Cock, THE RECORD COLLECTOR, 2013
1481. VICTOR MAUREL: Don Giovanni – Deh, vieni alla finestra / Otello – Era la notte (Creator, 5 Feb., 1887, La Scala).
10¾“ AC red Eng. Odeon PO 18 (xPh66/58-3), POM-1904. M-A, gleaming copy of
choice mid-1930s pressing has occasional faint rub, positively inaud. MB 45
““It was Verdi who chose Maurel to create Iago and Falstaff, despite the availability of many great Italian
baritones. [Maurel] was indeed a unique genius and master of his art. Obviously, Verdi wanted his first Iago
to be a master of nuance and vocal colour. He chose well with Maurel….it is a worthy memento of the
creator.”
- Alfred de Cock, THE RECORD COLLECTOR, 2013
1482. VICTOR MAUREL: Otello – Era la notte (Creator, 5 Feb., 1887. La Scala) / Falstaff – Quand’ero paggio
(Creator, 9 Feb., 1893, La Scala). 10¾” AC gold IRCC Fonotipia 4 (XPh58-3/ XPh2832), POM-1904/’07, an extremely
Limited Edition. M-A, gleaming copy of this superb German pressing (renowned for its quiet surface). MB 65
1483. VICTOR MAUREL: Otello – Era la notte (Creator, 5 Feb., 1887. La Scala) / Falstaff – Quand’ero paggio
(Creator, 9 Feb., 1893, La Scala). 10¾” AC silver Columbia IRCC 4 (XPh58-3/ XPh2832), POM-1904/’07, an extremely
Limited Edition. A to M-A, very decent copy of blue shellac pressing has various lams, audible, but harmless. MB 25
1484. VICTOR MAUREL: Falstaff - Quand'ero paggio (in Italian & French, with studio applause!);
LUCIEN FUGÈRE: Joconde - Dans un délire extrème (Isouard) / PEDRO GAILHARD: Faust - Vous qui faites l'endormie
(two separate renditions, in French & Italian). 12” AC Société Française de Gramophilie AFG 14, RRs-1905; '02 & '07.
Numbered Copy #188 of a very Limited Edition. M-A, lovely copy has, Sd.1 only, infinitesimal dust scr, inaud. MB 15
“…the first Falstaff of all sings ‘Quand’ero paggio’ three times [twice in Italian and once in French], cheered
on by a claque whose own vocal resources range from what James Joyce calls the bass-barreltone to a
falsettist who, in a delirium of enthusiasm, cries ‘bis’ after everyone else has finished…. It is a delightful
memento.”
- J.B. Steane, THE GRAND TRADITION, p.19
1485. VICTOR MAUREL: Au temps du grand roi (Tosti) /
ANTONIO MAGINI-COLETTI & ELISA PETRI: Falstaff – Quand’ero paggio.
10¾” AC gold HRS Fonotipia 1024 (XPh2334/ XPh1533), POM-1907/’06, Numbered Copy #16 of an
extremely Limited Edition. M-A, gleaming copy of this superb mid-1930s German pressing
(renowned for its quiet surface) has, Sd.1 only, infinitessimal pap.sr, positively inaud. MB 45
“It was after returning to La Scala, Milan in 1882, and singing the title-role in the first performance of the
revised edition of SIMON BOCCANEGRA, that [Maurel] began an association with Verdi that led to his
creation of Iago in OTELLO in 1887, and six years afterwards, the title-role in FALSTAFF. He went on to
sing both roles throughout the opera world, in Paris, St. Petersburg, Vienna, London and New York, always
to great acclaim. In 1892 Maurel created Tonio in PAGLIACCI at the dal Verme, Milan. It was at Maurel’s
suggestion that Leoncavallo composed the Prologue, and Tonio originally had the last words: ‘la commedia
è finita,’ a practice which continued as long as Maurel sang the role. In 1894 he made his Met bow as Iago,
following it two months later with Falstaff. Notwithstanding his great successes as Iago and Falstaff, in the
‘90s, and approaching fifty, he continued to undertake other roles. At the Met he sang Don Giovanni [an
interpretation rated ‘the perfection of vocal art,’ with critical references to ‘the inimitable manner in which he
sang the Serenade, a performance of marvelous lightness and grace’].
After a dinner in 1906, Maurel sang the ‘Credo’ from OTELLO, bits of FALSTAFF and Don Giovanni’s
Serenade. Albert Spalding wrote that ‘his voice... had gone threadbare, but the majesty of an undying art
was still there. He couldn’t possibly have sung a real forte. He had to suggest it, but how he suggested it!
After all these years it is Maurel’s portrayal of the naked villainy of Iago, the sophistical and Rabelaisian
philosophy of Falstaff, the elegant and unscrupulous licentiousness of [Don Giovanni] that I recall each time
that I hear this music’. Fortunately we get a good idea of the effect he worked when we listen to those
recordings he made at almost exactly the same time. He made his final stage appearance in Paris in 1909
alongside some pupils in Grétry’s LE TABLEAU PARLANT, a performance conducted by the then thirty-year
old Thomas Beecham.”
- Michael Scott, Marston Program Notes
1486. JUSTE NIVETTE: Faust – Vous qui faites l’endormie / O nuit. 10¾” AC Paris brown Odeon 60643/39
(Xm3878/3880), POM-1905/’06. A to M-A, outstanding copy has mere hint of grey on peaks. MB 25
“Having studied at the Paris Conservatory, Nivette made his début in 1892 at the Opéra-Comique as
Sarastro in LA FLÛTE ENCHANTÉE, a role that would be closely associated with him throughout his career.
He had great success there as well as in the French provinces and Monte Carlo, where he took part in the
creation of LE JONGLEUR DE NOTRE DAME in 1902 as the painter monk. That same year, he appeared
as Frère Laurent in ROMÉO ET JULIETTE, with Jean de Reszké in the title role. Nivette was a leading bass
at the Paris Opéra between 1899 and 1908. Nivette was invited to La Scala in 1907 where he sang Hagen
in DIE GÖTTERDÄMMERUNG with Toscanini conducting. In 1909 Nivette traveled to Boston for the
inaugural season with that opera company, making his début on opening night as Alvise in LA GIOCONDA.
The remainder of Nivette’s career and life have not been documented. All of his records display a sonorous
voice, with a rich timbre and even scale.”
- Vincent Giroud, Marston Program Notes
1487. JEAN VALLIER: Jesus de Nazareth (Gounod) / Noël (Adam.
10” AC black Paris Pre-Dog G.C.-3–32726/28(5104/06h), POM-1907.
A to M-A, exceptional bright copy has, Sd.1 only, faintest pap.scr, positively inaud. MB 15
1488. JEAN VALLIER: Les Boeufs (Dupont) / Le Pressoir (Fauré). 10” AC black Paris
Pre-Dog G.C.-3–32742/43 (5185/86h), POM-1907. A-, lovely copy has cosmetic lt. rubs & scrs, inaud. MB 12
1489. JEAN VALLIER: Le rêve passe (Krier) / Faust – Le veau d’or.
10” AC PW dark blue Eng.Col.D 8082 (35819/21), POM-1919. A to M-A, lovely copy has faint rubs, inaud. MB 15
1490. JEAN VALLIER: Faust – Le Veau d’or. 10” AC red PW Eng.Col.D 51200 (35821), POM-1915.
A to M-A, exceptional copy has fhint of grey on peaks. MB 15
1491. JEAN VALLIER: Hosanna (Granier) / L’homme et la Mer (Flégier). 12” AC red PW Eng.Col.D 17203 (6621/49),
POM-1915. A to M-A/A-, lovely copy has faintest rubs, inaud.; Sd.2 only has hint of grey on peaks. MB 15
1492. JEAN VALLIER: Hérodiade – Astres étincelantes / Faust – Vous qui faites l’endormie.
12” AC red PW Eng.Col.D 17202 (6620/47), POM-1915. A to M-A, exceptional copy has faintest rubs, inaud. MB 20
1493. JEAN VALLIER: Benvenuto Cellini – De l’art splendeur. 12” EL S/S shellac Test Pressing for Pathé 250192-C1,
POM-1931. M-A, exceptional copy has faintest pap. rubs, inaud. MB 20
“Jean Vallier was engaged at the Grand-Théâtre in Marseilles (1895–1896) as ‘première basse noble’
singing Hermann in TANNHÄUSER. He returned in 1898–1899 singing Don Diègue in Massenet’s LE CID.
He was on the Bordeaux roster for the 1899–1900 season, singing roles such as Marcel in LES
HUGUENOTS, Bertram in ROBERT LE DIABLE, Zacharie in LE PROPHÈTE, and Don Pedro in
L’AFRICAINE. In 1902, he sang Hagen in the French premiere of GÖTTERDÄMMERUNG at the Théâtre
du Château d’Eau in Paris, directed by Alfred Cortot. Vallier was on the roster of the Monnaie (1903–1907)
singing such roles as DIE ZAUBERFLÖTE, King Henry in LOHENGRIN, appeared at the Monte Carlo Opera
first in 1903 and again in the 1908–1910 season. There in 1908, he sang Fafner in DAS RHEINGOLD to
Nivette’s Wotan, and in 1909, he sang Hunding in DIE WALKÜRE and Hagen in GÖTTERDÄMMERUNG to
Delmas’ Wotan. Vallier was praised for his singing of Sparafucile in Monte Carlo’s 1909 RIGOLETTO,
replacing Nivette from the previous year, as he also did as Alvise in LA GIOCONDA. During the season of
1909–1910, Vallier joined the Manhattan Opera Company, singing Phanuel in Massenet’s HÉRODIADE on
opening night. Returning to the Paris Opéra in 1910, Vallier sang Hunding in DIE WALKÜRE and two roles
in RIGOLETTO: Sparafucile and Monterone. He again sang in Marseilles during the 1913–1914 season as
Hagen in both SIGURD and GÖTTERDÄMMERUNG, as well as Gurnemanz in PARSIFAL. Vallier’s last
traced appearance was in 1922 at Monte Carlo where he sang Mephistophélé in Gounod’s FAUST and
Frère Laurent in ROMÉO, both opposite the Belgian soprano, Fanny Heldy.”
1494. GEORGES VILLIER, w.Bernard Cond.: La Mascotte – Les Envoyés du Paradis (Audran) /
Les Mousketaires au Couvent – Pour faire un brave mousquetaires (Varney).
10” EL red PW Eng. Col.RF 3, POM-1929. M-A MB 12
1495. GEORGES VILLIER, w.Cohen Cond.: Résurrection – Oh! non, non! gardez-vous croire (Alfano) /
Mireille – Si les filles d’Arles (Gounod). 10” EL red PW Eng. Col.D 12051, POM-1929. M-A MB 15
1496. GEORGES VILLIER, w.Cohen Cond.: Les Pêcheurs de Perles – L’orage s’est calme /
La Traviata – Di Provenza il mar (in French). 12” EL red PW Eng. Col.D 14247, POM-1929. M-A MB 15
“Georges Villier, a Belgian, was a fine singer of international repute and sang with consummate artistry. He
débuted at the l’Opéra-Comique in 1925 and remained with the company for ten consequtive seasons. He
sang Escamillo to the Carmens of Vallin and Chenal, and will be remembered for his Lescaut in the
complete recording of MANON with Féraldy & Rogatchewsky.”
1497. HENRI BERRIEL (on label as Henri Beriel), w.Salvatore Cottone (Pf .):
12”” AC black Milano G & T 052015 (Con581), only form of issue, 1903. This is one of Berriel’s very few records.
A to M-A, unusually bright copy has hint of grey on peaks. MB 35
“Umberto Giordano recommended Berriel to Sardou regarding his forthcoming MADAME SANS-GENE, and
for this the composer offered him the role of Napoléon. Giordano gave it to Sonzogno, the publisher who
promised the opera to Gatti Casazza, the manager of the Metropolitan in New York. When the opera finally
premiered at the Met, 25 January 1915, conducted by Arturo Toscanini, Napoléon was sung by Pasquale
Amato! On an unrelated note, Berriel was married to the soprano Amélie Talexis whom he met most
probably at the New Orleans Opera where he was the director and first baritone during the 1898–1899
season.”
1498. ANTONIO MAGINI-COLETTI: Rigoletto – Cortigiani, 2s. 10¾” AC Milano Fonotipia 39441/42 (XPh527/28),
POM-15 Dec., 1905. A to M-A, beautiful copy has hint of grey on peaks; Sd.1 only has infinitesimal dust mk. MB 15
“Magini-Coletti studied singing during the 1870s with the distinguished pedagogue Venceslao Persichini at
Rome's Conservatorio di Santa Cecilia. (Persichini's other students included the lyric tenor Francesco
Marconi and Magini-Coletti's fellow baritones Mattia Battistini, Giuseppe De Luca and Titta Ruffo.) In 1880,
Magini-Colleti made his operatic début at Rome's Teatro Costanzi, as Valentin in Gounod's FAUST. He
continued to perform regularly at that opera house for the next seven years, in addition to making guest
appearances in Venice, Florence, Naples and other Italian cities. In 1887 he joined the roster at La Scala,
remaining there for three seasons and singing a variety of leading baritone roles. Between 1888 and 1891,
Magini-Coletti sang to acclaim in Spain, Portugal, Germany, Austria and France. He also crossed the
Atlantic for a series of operatic engagements in Argentina, receiving further plaudits. In 1891 he joined the
stellar roster of singers at the Metropolitan Opera, participating in a two-month North American tour. His first
performance with the Met touring company occurred on 9 November, in Chicago, as Telramund in
LOHENGRIN. On 14 December, 1891, Magini-Coletti made a successful début at the Metropolitan Opera
House singing Capulet in Gounod's RoMÉO ET JULIETTE. He performed numerous roles at that house
over the next 12 months. Magini-Coletti left America in 1892 and proceeded to pursue a busy schedule of
operatic performances in Italy and other European countries, venturing as far afield as Russia and becoming
a frequent guest artist at both the Opéra de Monte-Carlo in Monaco and the Royal Opera, Covent Garden.
In 1900, he rejoined the La Scala company, performing numerous roles there for three seasons. Most
notably, he appeared in the premiere of Mascagni's LE MASCHERE in 1901. Also in 1901, he sang at La
Scala in a memorial concert held to mark the recent death of Verdi, with Francesco Tamagno in a scene
from LA FORZA DEL DESTINO. The following year, he participated in La Scala's first ever production of
Weber's EURYANTHE. Magini-Colleti sang often under the baton of Arturo Toscanini, La Scala's principal
conductor, during this period. Toscanini was an ardent advocate of Wagner's music and he conducted
Magini-Coletti in performances of TRISTAN UND ISOLDE, DIE WALKÜRE and LOHENGRIN. These
landmark Wagnerian productions often featured Magini-Coletti's La Scala colleague Giuseppe Borgatti Italy's greatest heldentenor.”
1499.. ANTONIO MAGINI-COLETTI & ALESSANDRO BONCI: I Pescatori di Perle – Del tempio al limitar.
10¾” AC U.S. Fonotipia 39340 (XPh436), POM-1905. A to M-A, choice copy has few faint rubs, inaud. MB 25
1485. ANTONIO MAGINI-COLETTI & ELISA PETRI: Falstaff – Quand’ero paggio /
VICTOR MAUREL: Au temps du grand roi (Tosti). 10¾” AC gold HRS Fonotipia 1024 (XPh1533/XPh2334),
POM-1906/’07, Numbered Copy #16 of an extremely Limited Edition. M-A, gleaming copy of this
superb German pressing has, Sd.2 only, infinitessimal pap.sr, positively inaud. MB 45
1500. ANTONIO MAGINI-COLETTI & ELISA PETRI: Falstaff – Quand’ero paggio / La Boheme - C’è Rodolfo?
10¾” AC Milano Fonotipia 39430/39381(XPh1533/496), POM-1905.
M-A, choice copy has few superficial pap.srs, Sd.2 only, inaud. MB 35
1501. ANTONIO MAGINI-COLETTI & ELISA PETRI: Falstaff – Reverenza! Buon giorno, 2s.
10¾” AC Milano Fonotipia 39435/36(XPh1536/37), POM-1905.
A-B, very decent unworn copy has lt.scrs & rubs, ltly audible, if at all. MB 25
1502. ANTONIO MAGINI-COLETTI, CORRADETTI & LUPPI:
Crispino e la Comare - Di Pandolfetti medico (Terzetto dei Dottori) (Ricci), 2s. 1
0¾” AC Milano Fonotipia 39396/97 (XPh481/82), POM-22 Nov., 1905. M-A, lovely copy has grainy surfaces. MB 25
1503. ANTONIO MAGINI-COLETTI, CORRADETTI & LUPPI:
Crispino e la Comare - Di Pandolfetti medico (Terzetto dei Dottori) (Ricci), 2s.
10¾” AC Milano Fonotipia 39396/97 (XPh481/82), POM-22 Nov., 1905. M-A, an extraordinary copy. MB 45
"I have over a hundred of the early (39000 series) Fonotipias in my collection, and I say without any
reservations that this one [above] is the best....Perfect singing, perfect artistry and perfect recording - for
what more could one ask?....Comedy and humour are well to the fore in this record and the interpolated
'asides'.”
- Hevingham-Root, RECORD NEWS, 1950
1504. ORESTE LUPPI: Manzoni Requiem – Confutatis (Verdi) / Stabat Mater – Pro peccatis (Rossini).
10¾” AC Milano Fonotipia 39588/89 (XPh1703/04), POM-14 March, 1906.
M-A, beautiful copy appears entirely unplayed (!), yet numerous infinitessimal pressing bumps. MB 35
“Oreste Luppi was Fonotipia’s star basso, and his records which dated from the company’s beginnings were
of fine quality and splendid execution. There was more than a hint of Arimondi in the ease and flexibility of
style and the expressive use of tone colour, and he pointed his phrases and sang with a clarity and sonority
only to be found in the true bass.”
- P.G. Hurst, THE GOLDEN AGE RECORDED, p.115
1505. ORESTE LUPPI: Norma – Ah! del Tebro (1904 Version) / Barbiere – La calunnia.
10¾” AC Milano Fonotipia 39070/39205 (XPh48/139), POM-22 Oct., 1904 / 22 Feb., 1905.
A-/B, lovely copy has, Sd. 2 only, cosmetic ndl cuts & lt.grey on peaks. MB 20
1506. ORESTE LUPPI: La Favorita – Splendon più belle / La Scala Chorus: Bell’alba foreira (1908 Versions).
10¾” AC Milano Fonotipia 92360/61 (XPh3443/33), POM-29/26 Sept., 1908.
A to M-A, choice copy has, Sd.2 only, 2 wee rubs, inaud. MB 35
1507. ORESTE LUPPI: La Favorita – Splendon più belle / Don Carlos – Dormiro sol.
10¾” AC Milano Fonotipia 39318/19 (XPh326/361), POM-19 Sept. / 5 May, 1905. A to M-A, a beautiful copy. MB 35
1508. ORESTE LUPPI: Don Giovanni – Madamina!, 2s. 10¾” AC Milano Fonotipia 39412/13 (xPh 1530/31),
POM-15 Dec., 1905. B, decent copy has rubs & lt.scrs. MB 20
1599. ORESTE LUPPI: Faust – Le veau d’or (in Italian) / Norma – Ah! del Tebro (1908 Version).
10¾” AC Milano Fonotipia 92376/77 (XPh3445/44), POM-29 Sept., 1908. M-A, an extraordinary copy. MB 35
1510. ORESTE LUPPI & FERRUCCIO CORRADETTI: Forza – Del mondo disinganni (Padre Guardiano & Fra Melitone) /
La Scala Chorus: La Gioconda – Feste e pane. 10¾” AC Milano Fonotipia 39376/37067 (XPh472/——),
POM-17 Nov., 1905/——). A to M-A, beautiful copy has numerous infinitessimal pressing bumps. MB 25
“Oreste Luppi made his début in 1892 at the Theatre in Foligno. His main houses were La Scala,
the Constanzi, Regio in Turin, Genoa, Florence and Naples. He was the first Prince Gremin in the 1900
La Scala premiere of EUGENE ONÉGIN. Luppi created a number of roles, but his most important creation
was in Mascagni’s LE MASCHERE. Luppi also guested outside of Italy, including Covent Garden and the
Teatro Colón. After his career he taught singing in Milan where he died at Verdi’s Casa di Riposo.”
1511. GIUSEPPE PACINI: I Pagliacci – Prologo / Andrea Chénier – Un dì m’era di gioia.
10¾“ AC Milano Fonotipia 39002/08 (XPh 12/17), POM-1904. A-, very decent copy has lt. rubs &
few superficial mks, inaud.; Sd. 1 has rim chip into ¼”, affecting only very beginning of performance. MB 25
“A big-voiced and important baritone, who created roles in Mascagni’s GUGLIELMO RATCLIFF and
SYLVANO, [Pacini] is shown to advantage in this version of [the Giordano aria]. The tone is dark and
voluminous, with broad sweeping phrases in this satisfying rendering.”
- Alan Bilgora, liner notes to Bill Breslin’s COLLECTORS’ TREASURES CD
“Giuseppe Pacini was one of the very first of Fonotipia recorders….Everything we have heard of Pacini’s
work points to his having been an artist of the highest standing, and any collectors possessing records by
him will consider themselves fortunate.”
- P.G. Hurst, THE GOLDEN AGE RECORDED
1512. FERRUCCIO CORRADETTI: Crispino e la Comare - Una volta un ciabattino (Ricci) /
Le Maschere - Descrizione di Tartaglia (Mascagni). (Sd.2 an Important Creator Record, 17 Jan., 1901,
Teatro Costanzi, Roma). 10¾” AC Milano Fonotipia 39699/39857 (Xm551/XPh2165), POM-1906.
NB: The registers have no Fonotipia issue with the number for Sd.1. A to M-A, superb copy has lt. grey on peaks. MB 45
“Ferruccio Corradetti created the role of Tartaglia at the Teatro Costanzi, Roma, 17 Jan., 1901,
in one of the six premieres (on that night) of Mascagni’s LE MASCHERE.”
1513. FERRUCCIO CORRADETTI: Barbiere – Manca un foglio / Manon – Ne bronchez pas, soyez gentille (in Italian).
10¾“ AC Milano Fonotipia 92176/77 (XPh 3170/85), POM-1908. M-A, an extraordinary copy. MB 35
1514. FERRUCCIO CORRADETTI: Forza – Fate la Carità (Melitone – beggars scene), 2s.
10¾“ AC Milano Fonotipia 39882/83 (XPh 2175/76), POM-24 Oct., 1906.
A-, lovely copy has faint rubs, inaud.; Sd 1 only has wee pap. mk, also inaud. MB 15
1515. FERRUCCIO CORRADETTI (as Fercor): Hans, le Joueur de Flûte – Padre, noi t’amiamo (in Italian) /
La Scala Chorus: Act III Chorus (Ganne). 10¾“ AC Milano Fonotipia 92198/99 (xPh 3122-2/3168-2),
POM-7 / 22 April, 1908). M-A, choice copy has occasional faint rub, barely visible & certainly inaud.. MB 15
1516. FERRUCCIO CORRADETTI (as Fercor): Boccaccio – Lo scrittor d’una nouvella / Mia moglia sempre grida
(von Suppé). 10¾“ AC Milano Fonotipia 62156/57 (XPh 2469/98), only form of issue, 15 Feb. / 11 March, 1907.
A/A-, lovely copy has, Sd. 2 only, few insignificant mks, inaud. MB 12
“Fercor was the ‘nom-du-disque’ of the baritone Ferruccio Corradetti….He also made Fonotipia and Odeon
records under the Fercor psuedonym.”
- Andrew Farkas, ENRICO CARUSO, p.570
1517. FERRUCCIO CORRADETTI & ALESSANDRO BONCI: Barbiere - Numero quindici.
10¾“ AC white & blue Okeh-Fonotipia 73002 (XPh 441), POM-10 Nov., 1905.
M-A, gleaming copy of preferred late pressing has faintest pap.rubs, inaud. MB 15
1518. FERRUCCIO CORRADETTI & IDA CATTORINI: L’Elisir – Io son ricco, e tu sei bella /
GIUSEPPE PAGANELLI: Quanto è bella . 10” AC pale green Col. E2303 (41968/141894), POM-1912.
M-A, an exceptional copy. MB 12
1519. FERRUCCIO CORRADETTI & ORESTE LUPPI: Fra Diavolo - Grazie al cielo (Duetto dei Briganti) |
(1905 Version) / GAETANO PINI-CORSI & GIUSEPPINA BALDASSARE: Fra Diavolo – Quell’uom dal fiero aspetto.
10¾” AC Milano brown Odeon 37030/37621 (Xm67/1058), POM-1905/’06. A to M-A, an outstanding copy. MB 45
1520. FERRUCCIO CORRADETTI & NAZZARENO de ANGELIS: Fra Diavolo - Io son, signori, un'infelice /
Grazie al cielo (Duetto dei Briganti) (1907 Version). 10¾” AC Milano Fonotipia 92097/96 (XPh3028/25), POM-1907.
A to M-A, an outstanding copy. MB 45
1521. FERRUCCIO CORRADETTI & GIANNINA RUSS: Amica – Più presso al Ciel /
FERRUCCIO CORRADETTI, GIANNINA RUSS & ELVINO VENTURA: La Traviata – Prendi, quest’è l’immagine.
10¾” AC Milano Fonotipia 39388/80 (XPh 476/454), POM-1905. A to M-A, an outstanding copy. MB 45
1522. FERRUCCIO CORRADETTI & ELISA PETRI: Forza – Chi siete? / Linda di Chamounix – Un buon servo.
10¾” AC Milano Fonotipia 39842/43 (XPh2155/94), POM-1906.
M-A, lovely copy has very few faint rubs, inaud., of course; Sd.1 only has infinitessimal pap.scr, inaud. MB 35
1523. FERRUCCIO CORRADETT & LINA PASINI-VITALE: Madama Butterfly – Ora a noi, 2s.
10¾“ AC Milano Fonotipia 92523/24 (XPh 3975/76), POM-1909.
A to M-A, lovely copy has few cosmetic rubs & very lt.scrs. MB 25
1524. FERRUCCIO CORRADETTI, ERNESTINA TEBRO & ALFREDO CECCHI: Il Trovatore – Di geloso amor / Miserere.
10¾” AC Milano brown Odeon 37011/36 (Xm31/94), POM-1905.
B-/A-B, decent copy has very lt.rubs, inaud.; Sd.1 primarily has considerable greying, primarily at end. MB 15
“Ferruccio Corradetti created the role of Tartaglia at the Teatro Costanzi, Roma, 17 Jan., 1901, in one of the
six premieres (on that night) of Mascagni’s LE MASCHERE. In 1904 he sang at the Teatro Lirico, Milano, in
the premieres of two prize-winning operas of the Sonzogno competition: 15 May, 1904 in MANUEL
MENENDEZ of Lorenzo Filiati, one day later, on the 16 th, in LA CABRERA of Gabriel Dupont (with Gemma
Bellincioni as his partner). In 1910 he created the title role at the premiere of the opera MALBRUK of
Leoncavallo, and in 1913 at the Teatro Costanzi, Rome in the premiere of Tommasini’s UGUALE
FORTUNA. In 1914 he went to North America where he first guested in Boston,then later in New York. He
was married to soprano Bice Adami; also his daughter, Iris Adami-Corradetti became a glorious singer and
pedagogue.”
1525. DOMENICO VIGLIONE-BORGHESE: Le Villi – Anima santa / RICCARDO STRACCIARI: I
Vespri Siciliani – In braccio alle dovizie. 10¾” AC Milano Fonotipia 92649 / C92623 (XPh4220/3849),
POM-15 Dec. / 27 April, 1909. A-/M-A, glorious copy has, Sd.1 only, infintessimal pap.scr, inaud. MB 15
“Domenico Viglione-Borghese studied under Antonio Cotogni in Rome. He made his début in 1899 at the
Teatro Verdi as the King's Herald in LOHENGRIN. After two years’ singing in different Italian theatres, he
emigrated to North America in 1901. On a recommendation of Enrico Caruso, impresario Scognamillo
engaged him in San Francisco, along with Luisa Tetrazzini, with whom he travelled in the 1905-06 season
Mexico, the Caribbean islands, the Antilles and Venezuela with great success. He then débuted in 1907 at
the the Teatro Regio of Parma as Amonasro. He sang regularly at La Scala and at the Teatro Costanzi of
Rome, where he also appeared in 1910 in the premiere of Leoncavallo's MAIA. In 1914 he appeared at the
Teatro Carlo Felice of Genoa in the Italian première of Wolf-Ferrari's I GIOIELLI DELLA MADONNA. In
1913 he sang at the Teatro Reale of Madrid, then in 1914 at the Arena di Verona. His star role was Jack
Rance in Puccini's LA FANCIULLA DEL WEST. Puccini called him jokingly 'Il principe degli sceriffi'. In 1919
he guested at the Teatro Colón, Buenos Aires. He also appeared as a guest in Paris and Warsaw. In 1925
he appeared at the Teatro Regio in the Italian première of Rimsky-Korsakov's LE COQ DÓR. His repertoire
was basically Verdi and verismo; he was a true dramatic baritone.”
1526. ENRICO NANI & GIANNINA RUSS: Nabucco – Oh, di qual'onta / Deh, perdona ad un padre.
10¾” AC Milano Fonotipia 69173/74 (XPh5037/38-2), POM-25 April, 1914.
M-A, choice copy has occasional faint rub, barely visible & certainly inaud.. MB 35
“Enrico Nani studied singing with the baritone Antonio Cotogni and débuted in 1899 at the Teatro Sociale of
Codogno in the rôles of Alfio in CAVALLERIA RUSTICANA and Silvio in PAGLIACCI. The milestone of his
artistic career was the season at the Teatro Comunale di Bologna where in November 1901 he sang the
Rigoletto with Enrico Caruso as the Duke. The following year he made his La Scala début as Peter in
Humperdinck’s HÄNSEL UND GRETEL, under the baton of Arturo Toscanini. He returned to La Scala in
1913 as Iago with Icilio Calleja’s Otello, conducted by Tullio Serafin. His final performance was as
Michonnnet in ADRIANA LECOUVREUR on 16 March,1924 at the Teatro Carlo Felice in Genoa. Nani was
a baritone especially noted in the Verdian repertoire; Rigoletto and Nabucco were his most popular roles.”
1527. ALBERTO de BASSINI: La Favorita – Vien Leonora. 10” AC flush black & silver Col. 1256,
only form of issue, 1904, spoken announcement identifies Sig. del Campo, de Bassini’s pseudonym.
A-B, very decent copy has lt. rubs & hint of grey on peaks, inaud. MB 35
1528. ALBERTO de BASSINI: Rigoletto – Miei signori. 10” AC flush black & silver Col. 1707,
only form of issue, 1904, spoken announcement identifies Sig. del Campo, de Bassini’s pseudonym.
B, decent copy has lt. rubs & scrs, plus sev. nds, positively audible. MB 35
“Alberto de Bassini was the son Achille de Bassini who created the rôles of Francesco Foscari (I DUE
FOSCARI), Pasha Seid (IL CORSARO), Miller (LUISA MILLER) and Fra Melitone (FORZA) for whom Verdi
wrote the rôle. Alberto, like his father, began as a tenor, eventually becoming a baritone in 1890, and as
such sang with touring companies in the US. He recorded between 1902-04.”
1529. TANCREDI PASERO, w.Sabino Cond.: Faust – Tu che fai l’addormentata (1943 Version) /
MAFALDA FAVERO, w.Ruotolo Cond.: L’OMBRA – O TU CH’EL SAI (Bottacchiari).
10” EL LVDP DA 11301, only form of issue, 3 Feb., 1943 / 19 Dec., 1946. M-A MB 12
“Ugo Bottacchiari was a favorite student of Pietro Mascagni at the Conservatory of Pesaro for four years and
at the age of 20 presented his first opera L'OMBRA a one act opera. After the first presentation at the
Teatro Lauro Rossi in Macerata, L'OMBRA was presented in various theatres in Italy and abroad and met
with great success everywhere by the public and the critics as well.”
1530. TANCREDI PASERO, w.Sabino Cond.: In questa tomba oscura (Beethoven; in Italian) / Pietà Signore (Stradella).
10” EL LVDP DA 5440, only form of issue, 16 May, 1944 / 20 Jan., 1943. M-A Exceedingly Elusive & beautiful! MB 15
1531. TANCREDI PASERO: L’Ultima canzone (Tosti) / Mia sposa sarà la mia bandiera (Rotoli).
12” EL red Italian Cetra PE 100, only form of issue, 24 Oct., 1940. M-A, a gleaming copy. Exceedingly Elusive! MB 25
"[Pasero] engraved into me something I have never forgotten: opera can be, and should be an exciting
event, and if you like exciting bass voices - listen to Tancredi Pasero....give him some of your time - he is
worth it, and you will not be disappointed."
- Joe Winstanley, CLASSIC RECORD COLLECTOR, Autumn, 2009
1532. TANCREDI PASERO: BARBIERE - La calunnia (early 1927 Version) /
La Gioconda – Il Trovatore – Abietta Zingara. 12” EL dark blue German Fonotipia O-8902 (XXPh5835/34),
POM-14 Jan., 1927. A to M-A, choice copy has occasional faint rub, inaud. MB 10
1533. TANCREDI PASERO: BARBIERE - La calunnia (later 1927 Version) /
La Gioconda – Si morir ella dè. 12” EL blue Italian Col.GQX 11069, POM-1927. M-A MB 10
1534. TANCREDI PASERO: LES HUGUENOTS – PIFF, PAFF / La Gioconda – Si morir ella dè.
12” EL blue Italian Col.GQX 10246, POM-1928. M-A. a gleaming copy. MB 12
1535. TANCREDI PASERO: ERNANI - Infelice, e tuo credevi / LA BOHEME- VECCHIA ZIMARRA (1927 Versions).
10” EL brown Italian Col.DQ 1086, POM-1927. M-A MB 8
1536. TANCREDI PASERO: Faust – Tu che fai l’addormentata / LA BOHEME- Vecchia zimarra (1927 Versions).
10” EL Argentinian Odeon 195003 (Pho 5836/30), POM-1927. M-A MB 8
1537. TANCREDI PASERO: ERNANI - .Infelice, e tuo credevi / LA BOHEME- Vecchia zimarra (1927 Versions).
10” EL red PW Eng. Col.D 12546, POM-1927. M-A MB 8
1538. TANCREDI PASERO: La Favorita – Splendon più belle in ciel /
ENZO DE MURO LOMANTO: Spirto gentil. 12” EL blue PW Eng. Col.D-18072, POM-1929. M-A MB 10
1539. TANCREDI PASERO: MIGNON - .Del suo cor calmai le pene (Berceuse) / LA SONNAMBULA – Tu non sai
(1928 Versions). 10” EL red PW Eng. Col.D 12572, POM-1928. M-A , a gleaming copy. MB 10
1540. TANCREDI PASERO: ERNANI - Infelice, e tuo credevi / MEFISTOFELE – Son lo spirito che nega (1927 Versions).
12” EL green Italian Odeon N 6571 (xxPh 5829/33), POM-1927. M-A, a gleaming copy. MB 12
1541. TANCREDI PASERO: MEFISTOFELE - ECCO IL MONDO / SON LO SPIRITO CHE NEGA (1927 Versions).
10” EL red PW Eng. Col.D 12545, POM-1927. M-A MB 6
1542. TANCREDI PASERO: MEFISTOFELE – AVE, SIGNOR! / SON LO SPIRITO CHE NEGA (1927 Versions).
10” EL black Viva-Tonal Col. 1976-D, POM-1927. M-A, a gleaming copy MB 8
1543. TANCREDI PASERO: Norma - Ite sul colle / Il Trovatore – Di due figli
12” EL black Viva-Tonal Col. 50211-D, POM-1927. M-A, a gleaming copy MB 10
1544. TANCREDI PASERO, w.Marzollo Cond.: GLI ORAZI - Io per l'antico diretto (Porrino), 2s. 12” EL LVDP DB 11305,
only form of issue, 14 July, 1944; Important Creator Record (La Scala, 1 Feb., 1941). MINT MB 10
“Ennio Porrino studied at the Accademia di Santa Cecilia in Rome with Mule, and later took a course with
Respighi (1932–35). He subsequently taught in Rome, Venice and Naples, and from 1956 he was director
of the Cagliari Conservatory. His opera GLI ORAZI premired at La Scala, 1 Feb., 1941.”
1545. TANCREDI PASERO, w.Sabino Cond.: DON GIOVANNI – Madamina, 2s.
10” EL LVDP DA 5415, only form of issue, 12 Dec., 1941. M-A MB 10
1546. TANCREDI PASERO & GINO BECHI, w.Ricci Cond.: RIGOLETTO - Quel vecchio maledivami /
PASERO & GINA BERNELLI: La SONNAMBULA - O ciel! che tento?
12” EL LVDP DB 11306, only form of issue, 5 July, 1943. MINT MB 8
“Tancredi Pasero is a splendid bass of unique beauty. In my opinion, the tonal opulence makes him one of
the most exquisite basses to be heard on recordings. His voice impresses by its richness and the evenness
of its quality from top to bottom of the wide range. Pasero added some baritone roles at the end of his
career. Pasero’s expression is not only distinguished by its lyrical qualities but also of great feeling and
dignity. He avoids exhibiting the voice in any overt emotionalism. In this, he is an antipode to Nazzareno de
Angelis. He considered the beginning of his artistic life on 15 December, 1918 as Rodolfo in Bellini’s
LA SONNAMBULA. Shortly afterwards he repeated the role at La Scala. Pasero’s illustrious and unusually
long career was mostly centered in Italy. His main house was La Scala, where Arturo Toscanini engaged
him for leading roles. He made guest appearances at Covent Garden, and also in Paris, Brussels,
Barcelona, Buenos Aires, Berlin and Hamburg. He was a member of the Met from 1929 until 1933 where he
appeared opposite an amazing number of glorious voices. In 1933 he enjoyed an enormous success at the
Maggio Musicale in Florence in Spontini’s LA VESTALE opposite Rosa Ponselle. He often appeared at the
Arena di Verona. In 1948 he sang at a concert commemorating the 100th anniversary of Donizetti’s death,
and in 1950 he appeared for the last time as Wotan in DIE WALKÜRE. Pasero’s most famous roles are
Mosè, Sarastro, Don Basilio, Philip, Boris Godunov and Escamillo, as well as several important Wagner
assumptions: King Heinrich, Gurnemanz, King Marke, Pogner and Hagen. He also participitated in the
world premières of several operas, among them Mascagni’s NERONE at La Scala and Pinzetti’s ORSEOLO
in Florence.”
- Andrea Shum-Binder, subito-cantabile
1547. TANCREDI PASERO: DON CARLOS – ELLA GIAMMAI M’AMO; DORMIRO SOL, 2S (1928 VERSION).
12” EL blue Italian Col.GQX 10239, POM-1928. M-A. a gleaming copy. MB 12
1548. TANCREDI PASERO: DON CARLOS – ELLA GIAMMAI M’AMO; DORMIRO SOL, 2S (1936 VERSION),2S.
12” EL Parl. E 11367, recorded 1936. M-A. a gleaming copy. MB 8
1549. TANCREDI PASERO, w.Sabino Cond.: ZAUBERFLÖTE – In diesen heil’gen Hallen (in Italian) /
NOZZE – Vedrò mentr’io sospiro. 10” EL LVDP DA 5438, only form of issue, 5 Feb., 1943. MINT MB 8
1550. TANCREDI PASERO, w.Ricci Cond.: La SONNAMBULA - Vi ravviso / BARBIERE - La calunnia (both 1943 Versions).
12” EL LVDP DB 05356, only form of issue, 5 July, 1943. MINT MB 10
1551. TANCREDI PASERO & GINO VANELLI: I PURITANI – IL RIVAL SALVAR TU PUOI; SUONI LA TROMBA, 2S.
12” EL green Italian Col.GQX 10248, POM-1928. M-A, a gleaming copy. MB 12
1552. TANCREDI PASERO, w.Tansini Cond.: I Vespri Siciliani – O tu Palermo / La Sonnambula – Vi ravviso.
12” EL dark green Italian Cetra BE 25065, only form of issue, 9 Nov., 1937. M-A MB 12
1553. TANCREDI PASERO, w.Sabino Cond.: NABUCCO - Tu sul labbro / LUISA MILLER - Il mio sangue.
12” EL LVDP DB 5440, only form of issue, 26 Jan., 1942. M-A MB 12
1554. MATTIA BATTISTINI: Caro mio ben (Tomasso Giordani).
12” AC La Société Suisse des Disques Phonographiques d’Art 302, POM-1920.
Battistini’s signature embossed in inner margin. A-, lovely copy has hint of grey on peaks. MB 175
“A letter was read from Sabajno reporting an interview [with Battistini, stating] that he had sung two records
in Zurich for a rival company and was offered a contract which he did not accept….Conclusive proof of
breach of contract [with Gramophone Company] can be found in the catalogues of the Swiss company. Two
records issued in Switzerland by La Société Suisse des Disques Phonographiques d’Art (and in Italy by La
Fonotecnica, Milan) are listed in a catalogue dated January, 1922….”
- Paul Lewis, THE RECORD COLLECTOR, 1997
1555. MATTIA BATTISTINI: Le Soir (Gounod) / Paraphrase on Trauerwalzer #2 (as ‘Delizia’) (Schubert [albeit label states
Beethoven). 12” AC Historic Catalogue #2 HMV DB 214 (268aj / 229af)), POM-2 June, 1911 / 29 May, 1912. M-A MB 25
1556. MATTIA BATTISTINI: Non m’ama più (Tosti) / La gondola nera (Rotoli).
12” AC PW Disque Gram. DB 192 (295/93aj), POM-7 June, 1911. M-A Exceedingly Elusive! MB 35
1557. MATTIA BATTISTINI: Culto (Denza) / O ma charmante (Quaranta).
12” AC PW HMV DB 190, POM-6 June, 1911. M M-A, a gleaming copy. Exceedingly Elusive! MB 35
1558. MATTIA BATTISTINI: Don Sebastiano – O Lisbona / Lucia – Cruda, funesta smania.
12” AC PW Historic Catalogue #2 HMV DB 207, POM-1906 / 27 May, 1912. M-A, a gleaming copy. MB 15
1559. MATTIA BATTISTINI: Linda di Chamounix – Ambo nati in questa valle /
MATTIA BATTISTINI & MARIA MOSCISCA: Rigoletto – O mia Gilda! Fanciulla a me rispondi!
12” AC PW HMV DB 204, POM-25 / 28 May, 1912. A, lovely copy has faintest pap. rubs, inaud. MB 12
1560. MATTIA BATTISTINI: Marta – Io mio Lionel / Per la Patria – Or limpida m’appare (Cocchi).
12” AC PW Historic Catalogue #2 HMV DB 209, POM-12 Nov., 1906. M-A, exemplary copy. MB 20
1561. MATTIA BATTISTINI: I Pagliacci – Si può? / Un nido di memorie.
12” AC Historic Catalogue HMV DB 239 (260/61aj), POM-2 June, 1911. M-A MB 2
1562. MATTIA BATTISTINI: Ballo – Alla vita che t’arride / Eri tu. 12” AC DGG 85061 (877/886), POM-1906.
M-A, choice copy of this great late German pressing has faintest pap.rubs, positively inaud. MB 15
1563. MATTIA BATTISTINI: Barbiere – Largo al factotum / Don Giovanni – Finch’ han del vino.
10” AC mauve & gold HMV AGSA 24 (447/439z), POM-1902. M-A MB 15
1564. MATTIA BATTISTINI: La Favorita – A tanto amor / Martha – Io mio Lionel.
12” AC red vinyl Heritage RCA 15-1010 (884/833c), POM-1906. MINT MB 6
“…a richly rendered ‘A tanto amor’ which…displays the singer’s skill in bel canto in its fullest beauty.”
- P.G. Hurst, THE GOLDEN AGE RECORDED, p.95
1565. MATTIA BATTISTINI: L’Africaine – Avoir tant adorée / Quando amor m’accende (both in Italian).
12” AC mauve & gold HMV AGSB 4 (216/215af), POM-25 May, 1912. MINT MB 8
1566. MATTIA BATTISTINI: L’Africaine - Fille des rois /
Il Guarany – Senza tetto, senza cuna (both in Italian). 12” AC dark-blue Connoisseurs' Record Club ABHB 1
(214af/CK1432-3), POM-25 May, 1912 / 26 Feb., 1924. M-A Elusive! MB 20
1567. MATTIA BATTISTINI & ELVIRA BARBIERI: Il Trovatore – Mira d’acerbe lagrime / Vivra! Contende il giubilo.
12” AC vinyl Historic Masters HMB 5 (2815½/16c), POM-3 June, 1913. MINT MB 8
1568. MATTIA BATTISTINI: Don Carlos – Io morrò, ma lieto in core / MATTIA BATTISTINI & EBE BOCCOLINI:
Thaïs – Baigne d’eau (in Italian). 12” AC vinyl Historic Masters HMB 47 (CK1419-3/273ai),
POM-3 June, 1911 / 24 Feb., 1924, Sd.2 being First Edition. MINT MB 8
1569. MATTIA BATTISTINI: Zampa - Pourquoi trembler (Hérold; in Italian) /
Per la Patria – Or limpida m’appare (Cocchi). 12” AC mauve & gold HMV AGSB 52 (899/866c), POM-1906. MINT MB 12
1570. MATTIA BATTISTINI: Forza – Urna fatale del mio destino / Macbeth - Pietà, rispetto, amore. 12” AC dark blue
Connoisseurs' Record Club HMV ABHB 4 (CK1418-1/234af), POM-22 Feb., 1924 / 30 May, 1912. MINT MB 8
1571. MATTIA BATTISTINI: Don Carlos – Per me giunto (1913 Version), 2s.
12” AC dark-blue Connoisseurs' Record Club ABHB 2 (2808/09 ½ ), POM-2 June, 1913. M-A Elusive! MB 20
“Battistini incontestably was the most noble ‘cavalier’ among all singers of his time. With the exception of a
very few intimate friends, everyone called him Commendatore.…the last authentic representative of the era
of florid singing, of real bel canto….An ideal technique in breathing and using head resonance made him a
model for the messa di voce – the almost legendary art of crescendo and decrescendo on any tone. His
coloratura and shake were unique His sensational career (forty-nine years) lasted even longer than that of
Adelina Patti (forty-seven)….the noble timbre, the ease of singing, the sweet but manly mezza voce and
piano, the vehement forte were evident until his last appearance.”
- Viktor Fuchs, OPERA NEWS, 25 Nov., 1957
1572. BENVENUTO FRANCI: Ballo – Alla vita che t’arride / Andrea Chénier – Son sessant’anni .
10” EL LVDP DA 1093, POM-3 / 2 Dec., 1929. M-A MB 12
1573. BENVENUTO FRANCI: Ballo – Eri tu? / La Gioconda – O monumento (1920 Versions).
12” AC vinyl pressing of Phonotype M 2321/36, POM-7 / 10 April, 1920. MINT MB 12
1574. BENVENUTO FRANCI: Ballo – Eri tu? (1929 Version) / Guglielmo Tell – Resta immobil.
12” EL LVDP DB 5390, POM-25 June / 2 Dec., 1929. M-A MB 10
1575. BENVENUTO FRANCI: Ballo – Eri tu? (1929 Version) / FRANCI, MASINI & LUCINI:
Aïda – Quest’assisa ch’io vesto vi dica. 12” EL LVDP DB 1320, POM-25 / 28 June, 1929. M-A MB 10
“Franci’s voice was a big, bold instrument that its owner used unflinchingly to forceful effect….he had the
rudiments of technique and tradition firmly etched in him…by the great Cotogni….Italy just doesn’t seem to
produce voices of this calibre any more, so we listen to Franci with greater awe than his contemporaries
may have done.”
- Alan Blyth, Pearl CD liner notes
1576. BENVENUTO FRANCI: Ernani - O de' verd'anni miei (1927 Version, Mx.CD4797-2) /
BENVENUTO FRANCI, JOSÉ PALET & ANGELA D'URBINO: O sommo Carlo.
12” EL Orth Vla 6829, POM-23 Oct. / 14 Nov., 1927. M-A, superb copy has, Sd.2 only, faintest pap.scr, inaud. MB 10
1577. BENVENUTO FRANCI: Rigoletto – Pari siamo / BENVENUTO FRANCI & ENA SURINACH: Si, vendetta.
10” EL dark-blue Italian Col. D 5108. M-A, exemplary copy. MB 15
1578. BENVENUTO FRANCI: La Gioconda – Pescator, affonda l’esca / O monumento (1928 Version, CF 2502-2).
12” EL LVDP DB 1117, POM-21 Oct., 1927 / 28 Nov., 1928. M-A MB 10
1579. BENVENUTO FRANCI: La Gioconda – Pescator, affonda l’esca / O monumento (1927 Version, CD 4790-1).
12” EL Orth Vla 6830, POM / RR-21 Oct., 1927 (all US copies of Sd.2 are Pantograph RRs). M-A MB 6
1580. BENVENUTO FRANCI: Otello – Era la notte / Credo in un Dio crudel.
12” EL PW Disco Grammofono DB 1154, POM-8 Nov., 1927 / 15 Feb., 1928, never issued US.
M-A/A-, lovely copy has, Sd 2 only, lt. rubs, inaud. MB 8
1221. BENVENUTO FRANCI & FERNANDO de LUCIA: I Pescatori di Perle – Del tempio al limitar /
FERNANDO de LUCIA & ANGELA DE ANGELIS: Re di Lahore – Sia benedetto il dolore.
10¾” AC shellac white Photo Label Phonotype M 1808/2342. M-A, a spectacular copy. MB 150
1289.. BENVENUTO FRANCI & FERNANDO DE LUCIA: La Gioconda - Enzo Grimaldo! / O grido di quest'anima.
12” AC Special Vinyl Pressing of Phonotype C 2340/41, POM-1920. MB 8
1581. BENVENUTO FRANCI & AURELIANO PERTILE: Guglielmo Tell – Ah! Mathilde, io t’amo,
12” EL S/S vinyl RCA test pressing for Mx. CF 3677-1, POM-22 Dec., 1930. MINT MB 12
1582. BENVENUTO FRANCI & AURELIANO PERTILE: Forza – Invano, Alvaro! / Les Minaccie i fieri accenti.
12” EL Orth Vla 7190, POM-12 Dec., 1928. M-A MB 8
1583. BENVENUTO FRANCI & AURELIANO PERTILE: Otello – Sì, pel ciel /
AURELIANO PERTILE: L'Elisir – Una furtiva lagrima. 12” EL PW HMV DB 1402, POM-19 / 21 Nov., 1928. M-A MB 8
1584. BENVENUTO FRANCI & BRUNO LANDI: Barbiere – All’idea di quel metallo, 2s.
12” EL LVDP DB 1433, POM-29 March, 1930. M-A MB 12
“Benvenuto Franci studied at Accademia di Santa Cecilia in Rome with Antonio Cotogni and E. Rosato. He
débuted at the Teatro Costanzi in Rome in the rôle of Giannetto, (LODOLETTA) of Pietro Mascagni in 1918 ,
and soon after in Rome, he sang Pharaoh in Rossini’s MOSE , and Ford in FALSTAFF. Later he sang in the
première of Mascagni's IL PICCOLO MARAT. His career continued successfully at the Liceu in Barcelona ,
the Teatro Real in Madrid, the Arena of Verona, Covent Garden (where he was Scarpia in TOSCA in 1925
with Jeritza), Rigoletto in 1931, and ANDREA CHÉNIER (in 1946 ), l’Opéra of Paris , Berlin, the
Teatro Colón in Buenos Aires (from 1926 to 1930 ), and at la Scala he sang from 1923, where he sang
Phanuel in première of Boito’s NERONE. At the Costanzi in Rome took part in the première of Giordano’s
LA CENA DELLE BEFFE, and sang WILLIAM TELL by Rossini, with Giacomo Lauri Volpi, the centenary
performance of the work.
Franci worked steadily at Teatro dell ' Opera in Rome from 1928 to 1949 , where he was able to work with
great colleagues and distinguished conductors such as Toscanini. His repertoire included Verdi and the
verismo rôles.”
1585. RICCARDO STRACCIARI: Nina (Tanara) / Tu ca nun chiagne (de Curtis).
10” EL black PW Col. 4038-M, only form if issue, 1926. M-A, a gleaming copy. Elusive! MB 15
1586. RICCARDO STRACCIARI: Sto penzanno ‘a Maria /lLuntananza (both de Curtis). 10” EL black PW Col. 4035-M,
only form if issue, 1926. M-A, gleaming copy has, Sd.1 only, few lt greyed grooves. Elusive! MB 12
1587. RICCARDO STRACCIARI: Aprile (Tosti) / Occhi di fata (Denza). 12” EL PW dark blue Eng. Col. D18060,
POM-17 Dec., 1928; never issued USA. M-A, a spectacular copy. MB 15
1588. RICCARDO STRACCIARI: Mattinata (Tosti) /O sole mio (1929 Version) (di Capua).
10” EL dark blue Eng. Col. DB264, POM-9 April, 1929. M-A, a gleaming copy. MB 15
1589. RICCARDO STRACCIARI: O sole mio (1925 Version) (di Capua) / Lucia – Cruda, funesta smania.
10” EL black early PW Col. 4031-M, POM-30 March, 1925. A-, lovely copy has lt.rubs, inaud. MB 8
1590. RICCARDO STRACCIARI: La Spagnola (di Chiara).
10” AC Col. 79719, POM-1921, issued USA only. A -, fine copy has lt.rubs, inaud. MB 6
1591. RICCARDO STRACCIARI: La Spagnola (di Chiara) / Nostalgia (de Curtis). 10” AC gold Flags Label Col.33039-D,
POM-1921, issued USA only. A to M-A, beautiful copy of preferred Flags Label pressing has few lt.rubs, inaud. MB 15
1592. RICCARDO STRACCIARI: Ideale (1921 Version) (Tosti). 12” AC Col. 49971, POM-17 June, 1921. M-A MB 8
1593. RICCARDO STRACCIARI: Ideale (1921 Version) (Tosti) La Paloma (Yradier).
12” AC gold Flags Label Col.68050-D, POM-1921/’20, Sd.2 issued USA only.
A to M-A, beautiful copy of preferred Flags Label pressing has mere hint of grey on peaks, inaud. MB 15
1594. RICCARDO STRACCIARI: Ideale (1927 Version) (Tosti) / Otello - Credo.
12” EL PW dark blue Eng. Col. D18037, POM-1927; Sd.1 never issued USA. M-A, a gleaming copy. MB 15
1595. RICCARDO STRACCIARI: Élégie (Massenet). 12” AC Col. 49333, POM-14 March, 1918. M-A MB 6
1596. RICCARDO STRACCIARI: Élégie (Massenet). 12” AC blue Eng. Col.7256, POM-14 March, 1918. M-A MB 6
1597. RICCARDO STRACCIARI: Until (Sanderson). 10” AC Col. 78099, POM-Oct., 1918. M-A MB 8
1598. RICCARDO STRACCIARI: Santa Lucia. 10” AC Col. 78100, POM-Oct., 1918, issued USA only.
M-A, fine copy has faint rubs, inaud. MB 6
1599. RICCARDO STRACCIARI: Canta pe’ me (de Curtis).
10” AC Col. 78101, POM-1918, issued USA only. M-A MB 8
1600. RICCARDO STRACCIARI: Funiculi-funiculà (Denza).
10” AC Col. 78104, POM-10 Oct., 1918, issued USA only. M-A MB 8
1601. RICCARDO STRACCIARI: Mattinata (Tosti). 10” AC Col. 79701, POM-29 Jan., 1921, issued USA only. M-A MB 8
1602. RICCARDO STRACCIARI: Mattinata (1921 Version) (Leoncavallo).
10”AC Col. 79720, POM-10 Feb.., 1921, issued USA only. M-A MB 8
1603. RICCARDO STRACCIARI: Parlatemi d’amor (de Curtis). 10” AC Col. 79737, POM-24 Feb., 1921. M-A MB 8
1604. RICCARDO STRACCIARI: When the evening bells are ringing (von Tilzer).
10” AC Col. 78107, POM-22 April, 1919, issued USA only. M-A MB 8
1605. RICCARDO STRACCIARI: Dear little boy of mine (Ball). AC 10” Col. 78686,
only form of issue, 22 Sept., 1919; Never Doubled. M-A MB 12
1606. RICCARDO STRACCIARI: There’s a long, long trail (Elliot).
12” AC Col. 49517, POM-28 Sept., 1918, issued USA only. A-, fine copy has faint rubs, inaud. MB 6
1607. RICCARDO STRACCIARI: The sunshine of your smile (Ray). 12” AC Col. 49590,
POM-20 Feb., 1919, issued USA only; ‘Take’ 2 (of two issued ‘takes’). A-, fine copy has faint rubs, inaud. MB 6
1608. RICCARDO STRACCIARI: ‘Cause of you (Waller).
12” AC Col. 49694, only form of issue, 17 Nov., 1919; Never Doubled. M-A MB 15
1609. RICCARDO STRACCIARI: Core ‘ngrato (Cardillo).
12” AC Col. 49522, POM-2 Oct., 1918, issued USA only. M-A MB 8
1610. RICCARDO STRACCIARI: La paloma (Yradier).
12” AC Col. 49758, POM-27 Feb., 1920, issued USA only. A to M-A, mere hint of grey on peaks. MB 6
1611. RICCARDO STRACCIARI: La Favorita – Vien Leonora / A tanto amor (1925 Versions).
10” AC PW dark blue Eng. Col. X 334, POM-1925. M-A, a gleaming copy. MB 12
1612. RICCARDO STRACCIARI: Lucia – Cruda, funesta smania / Faust – Dio possente (1905 Version).
10¾” AC Milano Fonotipia C 39058/39166 (xPh125 /193), POM-1904/ 05.
M-A, lovely copy has, Sd.1 only, lt. grey on peaks. MB 25
1613. RICCARDO STRACCIARI: / Faust – Dio possente (1905 Version / Stammi ad udir (Death opf Valentin).
10¾” AC Milano Fonotipia 92456/57 (xPh3775/ 67), POM-1909. A-, very decent copy has lt.rubs & scuffs, inaud. MB 15
1614. RICCARDO STRACCIARI: Hamlet – Come il romito fior (Thomas) / La Damnation de Faust –Serenata.
10” AC early PW black Col. 4008-M, POM-1925. M-A, gleaming copy has sev.wee lams, merely cosmetic. MB 10
1615. RICCARDO STRACCIARI: Hamlet – Brindisi (Thomas) / Tannhäuser –Allor che tu (both in Italian).
10” AC early PW black Col. 4027-M, POM-1925. A-, very decent copy has lt rubs & few tiny scrs, only ltly audible. MB 8
1616. RICCARDO STRACCIARI: La Damnation de Faust –Chanson de la puce / Voici des roses (in Italian).
10” AC early PW black Col. 4028-M, POM-6 April, 1925. M-A, a gleaming copy. MB 12
1617. RICCARDO STRACCIARI: La Favorita – Vien Leonora / A tanto amor.
10¾” AC Milano Fonotipia 92428/29 (xPh 3770/76), POM-1909.
A to M-A, lovely copy has, Sd.2 only, faintest rubs & pap. scr, inaud. MB 15
1618. RICCARDO STRACCIARI: Tosca – Mi dicon venal (1914 Version).
10¾“ AC white & blue Okeh-Fonotipia 72103 (XPh5003), POM-5 March, 1914.
A-B copy of preferred late pressing has lt.rubs & scuffs, plus lt.grey on peaks; tiny ec, not to grooves. Uncommon. MB 10
1619. RICCARDO STRACCIARI: La Wally – T’amo ben io / Tosca – Mi dicon venal (1925 Version).
10” AC PW dark blue Eng. Col. X 320, POM-20 March, 1925. A-, lovely copy has faint rubs, inaud. MB 8
1620. RICCARDO STRACCIARI: La Wally – T’amo ben io / RICCARDO STRACCIARI & MARIA BARRIENTOS: Rigoletto
– Si, vendetta. 10” AC early PW dark blue Col. 4010-M, POM-1925/’19. M-A, a gleaming copy. MB 10
1621. RICCARDO STRACCIARI: I Vespri Siciliani – In braccio alle dovizie. 10¾“ AC white & blue Okeh-Fonotipia 72105
(XPh3849), POM-23 April, 1909. M-A, gleaming copy of preferred late pressing has faintest wee pap.rub, inaud. MB 15
1525. RICCARDO STRACCIARI: I Vespri Siciliani – In braccio alle dovizie / DOMENICO VIGLIONE-BORGHESE:
Le Villi – Anima santa. 10¾” AC Milano Fonotipia C92623/49 (XPh3849/4220), POM-23 April/15 Dec., 1909.
M-A, choice copy has, Sd.2 only, infintessimal pap.scr, inaud. MB 15
1622. RICCARDO STRACCIARI: Andrea Chénier – Un dì m’era gioia I Vespri Siciliani – In braccio alle dovizie.
10¾” AC Milano Fonotipia 92624/23 (XPh3774/3849), POM-12 Feb./23 April, 1909.
M-A, choice copy has, Sd.2 only, infintessimal ndl cut, ltly audible, if at all. MB 15
1623. RICCARDO STRACCIARI: Ballo - Eri tu (1917 Version). 12” AC Col. 49221, POM-28 May, 1917. M-A MB 8
1624. RICCARDO STRACCIARI: Ballo - Eri tu / Il Trovatore –Il balen (1909 Versions).
10¾” AC Milano Fonotipia 92621/22 (xPh 3825/26), POM-17 April, 1909.
A to M-A, lovely copy has faintest rubs & mere hint of grey on peaks. MB 20
1625. RICCARDO STRACCIARI: I Due Foscari – O vecchio cor / PASQUALE AMATO: Otello – Inaffia l’ugola.
10¾” AC Milano Fonotipia C 39626/92760 (xPh 1816/3948), POM-22 April, 1906 / 17 June, 1909. M-A, Exemplary! MB 45
1626. RICCARDO STRACCIARI: Otello – Credo / La Gioconda – O monumento (1925 Versions).
12” EL dark blue Italian Col. GQX 16489, POM-1925. M-A MB 12
1627. RICCARDO STRACCIARI: Otello – Credo / Barbiere – Largo al factotum (1927 Versions).
12” EL dark blue Viva-Tonal Col. 9038-D, POM-1927. M-A, a gleaming copy. MB 12
1628. RICCARDO STRACCIARI: Ernani – O de verd’anni miei. 10”AC Col. 77088, POM-31 May, 1917. M-A MB 8
1629. RICCARDO STRACCIARI: Ernani – O de verd’anni miei / Ballo – Alla vita che t’arride.
10” AC PW dark brown Eng. Col. D 5042, POM-1917. M-A MB 8
1630. RICCARDO STRACCIARI: Ernani – O sommo Carlo / Tosca – Te Deum (1927 Version).
12” EL black Viva-Tonal Col. 9905-M, POM-30 Aug., 1927. M-A , a gleaming copy. MB 12
1631. RICCARDO STRACCIARI: Ballo – Alla vita che t’arride. 10” AC Col. 77085, POM-31 May, 1917. M-A MB 8
1632. RICCARDO STRACCIARI: La Gioconda – Pescator, affonda l’esca (1909 Version) /
La Scala Chorus: Feste e pane. 10¾” AC Milano Fonotipia 92426/27 (xPh 3759/58-2), POM-15 Jan., 1909.
A to M-A, lovely copy has, Sd.2 only, few minor dust scrs, inaud. MB 15
1633. RICCARDO STRACCIARI: La Gioconda – Pescator, affonda l’esca (1921 Version).
10” AC Col. 79636, POM-11 Jan., 1921. M-A MB 8
1634. RICCARDO STRACCIARI: Rigoletto – Pari siamo (1917 Version) / La Gioconda – Pescator, affonda l’esca
(1921 Version). 10” AC PW dark blue Eng. Col. X 312, POM-1917/’21. M-A MB 8
1635. RICCARDO STRACCIARI: Rigoletto – Cortigiani (1914 Version) / Don Carlos – O Carlo, ascolta.
12” AC Milano Fonotipia F74185/74186 (xxPh 5000/02), POM-5 March,1914.
A to M-A, lovely copy has faintest rubs & mere hint of grey on peaks. MB 15
1636. RICCARDO STRACCIARI: Rigoletto – Cortigiani (1914 Version) / Don Carlos – O Carlo, ascolta.
12” AC green Italian Odeon F 5517 (xxPh 5000/02), POM-1914. M-A , superb copy, Sd.1 only, sl.cloudy surface. MB 25
1637. RICCARDO STRACCIARI: La Traviata - Di Provenza il mar /
Tannhäuser – O du mein holder Abendstern (in Italian) (1909 Versions).
10¾” AC Milano Fonotipia 92458/59 (xPh 3792/3777), POM-1909.
A-, very decent copy has faintest rubs & scuffs, plus hint of grey on peaks. MB 15
1638. RICCARDO STRACCIARI: La Traviata - Di Provenza il mar (1917 Version).
12” AC Col. 49215, POM-24 May, 1917. M-A MB 6
1639. RICCARDO STRACCIARI: La Traviata - Di Provenza il mar / Rigoletto – Pari siamo (1927 Versions).
12” EL MasterWorks Col. 7298-M, POM-1927. M-A , a gleaming copy of preferred MasterWorks pressing. MB 12
1640. RICCARDO STRACCIARI: La Traviata - Di Provenza il mar / Rigoletto – Pari siamo (1927 Versions).
12” EL dark blue Viva-Tonal Col. 9036-M, POM-1927. M-A MB 10
1641. RICCARDO STRACCIARI: La Traviata - Di Provenza il mar / Ballo - Eri tu. (1927 Versions).
12” EL blue Italian Col. GQX 10173, POM-1927. M-A, a gleaming copy. MB 12
1642. RICCARDO STRACCIARI: Il Trovatore - Il balen / La Gioconda – Pescator, affonda l’esca (1927 Versions).
10” EL black Viva-Tonal Col. 4902-M, POM-1927. M-A, a gleaming copy. MB 8
1643. RICCARDO STRACCIARI: I Pagliacci – Prologo (1917 Version).
12” AC Col. 49180, POM-19 April, 1917. M-A MB 6
1644. RICCARDO STRACCIARI: Pagliacci – Prologo / Faust - Avant de quitter ces lieux (in Italian) (1917 Versions).
12” AC gold Flags Label Col. 68049-D, POM-1917. M-A, glorious copy of preferred Flags Label pressing. MB 25
1645. RICCARDO STRACCIARI: Barbiere - Largo al factotum (1917 Version).
12” AC Col. 49181, POM-19 April, 1917. M-A MB 6
1646. RICCARDO STRACCIARI: Pagliacci – Prologo (Si puó) (1914 Version).
11¾“ AC white & blue Okeh-Fonotipia 52101 (XXPh5081), POM-6 June, 1914.
A-, lovely copy of preferred late pressing has lt. rubs, inaud. MB 15
1647. RICCARDO STRACCIARI: Prologo (Si puó) / Barbiere – Largo al factotum (1914 Versions).
11¾“ AC red & gold Milano Fonotipia -5516 (XXPh5081/5001), POM-1914.
A to M-A, lovely copy has barely a hint of grey on peaks. MB 25
1648. RICCARDO STRACCIARI: Pagliacci – Prologo (Complete), 2s (1927 Version).
10” EL black Viva-Tonal Col. 4901-M, POM-29 Aug., 1927. M-A, a gleaming copy. MB 8
1649. RICCARDO STRACCIARI: Pagliacci – (Complete), 2s (1927 Version).
10” EL blue Italian Col. GQ 7149, POM-29 Aug., 1927. M-A, beautiful copy has, Sd.1 only, faint rubs, inaud. MB 8
1650. RICCARDO STRACCIARI: Nabucco – Chi mi toglie / Dio di Giuda.
10” AC early PW black Col. 4032-M, POM-1925. M-A, a gleaming copy. MB 10
1651. RICCARDO STRACCIARI: Nabucco – Chi mi toglie / Dio di Giuda.
10” AC PW red Eng. Col. D12470, POM-1925. M-A, gleaming copy has,
Sd. 1 only, infinitessimal pap.scr, positively inaud. MB 10
1652. RICCARDO STRACCIARI: Zazà – Zazà, piccola zingara / Buona Zazà.
10” AC early PW black Col. 4007-M, POM-17 March, 1925. M-A, a gleaming copy. MB 10
1653. RICCARDO STRACCIARI: Zazà – Zazà, piccola zingara /
MARIO SAMMARCO: Rigoletto – Pari siamo.
11¾“ AC Eng. Parlophone-Odeon PXO 90 (xxPh 3840/3369), POM-1909/’08. M-A , a gleaming copy. MB 20
1654. RICCARDO STRACCIARI: L’Africana – Figlia di regi / Zazà – Zazà, piccola zingara.
11¾“ AC Milano Fonotipia 74187/71 (XXPh5090/3840), POM-1914/’09.
A-, lovely copy has hint of grey on peaks; Sd.2 only has lt. rubs & ec forming into initial grooves. MB 25
1655. RICCARDO STRACCIARI: Faust - Avant de quitter ces lieux (in Italian).
12” AC Col. 49214, POM,-24 May, 1917. M-A MB 8
1656. RICCARDO STRACCIARI: Tannhäuser – O du mein holder Abendstern (in Italian) /
Tosca – Te Deum (1925 Version). AC 12” PW Eng. Col. 7372, POM-23 March, 1925. M-A MB 12
1657. RICCARDO STRACCIARI: Rigoletto – Pari siamo / Cortigiani (1927 Versions).
12” EL green Italian Col. GQX 10171, POM-1927. M-A, a gleaming copy. MB 10
1658. RICCARDO STRACCIARI: Rigoletto – Cortigiani (1917 Version).
12” AC Col. 49192, POM-3 May, 1917. M-A MB 6
1659. RICCARDO STRACCIARI: Rigoletto – Cortigiani / Barbiere – Largo al factotum (both 1926 Versions).
12” EL black Viva-Tonal Col. 9011-M, only form of issue, 1926.
M-A , gleaming copy has, Sd.1 only, faintest pap.rub, inaud. MB 20
1660. RICCARDO STRACCIARI: Rigoletto – Cortigiani / STRACCIARI, Apolloni & Ticozzi:
Carmen – Chanson du Toréador (in Italian) (both 1927 Versions).
12” EL Viva-Tonal Col. 9904-M, POM-1927. M-A, a gleaming copy. MB 12
1661. RICCARDO STRACCIARI: Carmen – Chanson du Toréador (in Italian) (1919 Version).
12” AC purple Eng. Col. 7250 (49968), POM-22 Sept., 1919. M-A, albeit faintest pap.rub, inaud. MB 8
1662. RICCARDO STRACCIARI: Il Trovatore - Il balen (1917 Version).
12” AC Col. 49220, POM-28 May, 1917. M-A MB 8
1663. RICCARDO STRACCIARI: Tannhäuser – O du mein holder Abenstern (in Italian) / La Traviata – Di Provenza il mar.
10¾” AC Milano Fonotipia 92459/58 (xPh 377/92), POM-12 / 17 Feb., 1909.
A to M-A, lovely copy has occasional faintest pap. rub, inaud.; Sd.2 only has wee pressing bump. MB 25
“I remember the baritone Riccardo Stracciari’s wonderful vocal control. One was first aware of a large,
ringing and joyful sound, rich in overtones. Every note held left behind a lingering echo, like the sound made
by striking a teaspoon on Baccarat glass. I don’t know why, but even though half a century has elapsed
since I heard it, this echo is still in my ears.”
- Sergei Levik, THE LEVIK MEMOIRS, pp. 105-06
1664. RICCARDO STRACCIARI & FERNANDA CHIESA: Rigoletto – Solo per me l’infamia; Sì, vendetta,2s.
10¾” AC Milano Fonotipia C 69163/64 (xPh 5088/89), POM-8 June, 1914.
A to M-A, lovely copy has hint of grey on peaks. MB 25
1665. RICCARDO STRACCIARI & FERNANDO CARPI: Barbiere – All’idea di quel metallo, 2s.
11¾” AC Milano Fonotipia F 74190/89 (xxPh 5082/83), POM-6 June, 1914.
A to M-A, lovely copy has hint of grey on peaks. MB 15
“Among Carpi’s very few Fonotipia recordings, this duet was made in conjunction with his performances in
BARBIERE with Stracciari at Parma’s Teatro Regio. After the end of his singing career, among his students
in Prague was Zinka Milanov during her tenure in that city.”
1666. RICCARDO STRACCIARI & FERNANDO CARPI: Barbiere – All’idea di quel metallo, 2s.
11¾”” AC green Italian Odeon F 5505 (xxPh 5082/83), POM-6 June, 1914.
M-A, beautiful copy of preferred late pressing has, Sd.2 only, faintest rubs, barely visible & certainly inaud. MB 25
1667. RICCARDO STRACCIARI & NICOLA FUSATI: Otello – Si, pel ciel /
STRACCIARI & AURORA RETTORE: Don Giovanni – La ci darem la mano.
12” EL red Spanish Regal D 18061 (BX 459/60), POM-18 Dec., 1928, neither side issued USA.
A-, lovely copy has occasional tiny scr, inaud.; Sd.2 only has tiny heavy scr, ltly aud. just a few turns. MB 15
1668. RICCARDO STRACCIARI & ROSA PONSELLE: Il Trovatore – Mira, d’acerbe lagrime.
12” AC Col. 49922, POM-30 Dec., 1920, issued USA only. A-, lovely copy has faintest rubs & hint of grey on peaks. MB 8
1669. RICCARDO STRACCIARI & MARIA BARRIENTOS: Rigoletto - Tutte le feste.
12” AC Col. 49611, POM-1 April, 1917. M-A MB 6
1670. RICCARDO STRACCIARI & MARIA BARRIENTOS: Barbiere - Dunque io son.
12” AC Col. 49612, POM-1 April, 1919. M-A MB 8
1671. RICCARDO STRACCIARI & MARIA BARRIENTOS: Rigoletto – Si, vendetta.
10” AC Col. 78363, POM-20 March, 1919, ‘Take’ 2 (of two issued ‘takes’). M-A MB 8
1672. RICCARDO STRACCIARI & CHARLES HACKETT: Forza - Solenne in quest’ora.
12” AC Col. 49666, POM-30 Sept., 1919. M-A MB 8
1673. RICCARDO STRACCIARI, MARIA BARRIENTOS, JEANNE GORDON & CHARLES HACKETT:
Rigoletto - Bella figlia dell’amore. 12” AC Col. 49782, POM-27 March, 1920. A-, fine copy has faint rubs, inaud. MB 6
1674. RICCARDO STRACCIARI, BARRIENTOS, HACKETT, MARDONES, NOE & MEADER: Lucia - Chi mi frena.
12” AC Col. 49768, POM-18 March, 1920, issued USA only. M-A MB 6
1675. RICCARDO STRACCIARI, MARIA BARRIENTOS, JEANNE GORDON & CHARLES HACKETT:
Rigoletto - Bella figlia dell’amore / STRACCIARI, BARRIENTOS, HACKETT, MARDONES, NOE & MEADER:
Lucia - Chi mi frena. 12” AC early PW Col. 9014-M, POM-1920. M-A, superb copy of choice pressing. MB 10
“One of several Italian baritones whose vocal endowment made them veritable lions among singers,
Riccardo Stracciari differed in timbre from the equally celebrated Titta Ruffo. If Ruffo's voice seemed to have
been cast from bronze, Stracciari's was swathed in ermine from its substantial bottom register to its
exuberant, resounding top. Moreover, Stracciari used his formidable instrument with great artistry, more
refined and less visceral than that which characterized Ruffo's approach. Stracciari remained in good form
into his early 50s, remarkable enough given his active performance schedule. His complete recordings of
RIGOLETTO and IL BARBIÈRE DI SIVIGLIA, made when the baritone was 53, are vivid examples of a
voice and art well preserved….Primarily singing in Italy, Stracciari remained a potent artist even into the
1930s. After beginning teaching in 1926, he gradually reduced the number of his appearances, bidding
official farewell to the stage in 1942.”
- Erik Eriksson, allmusic.com
1676. GIOVANNI INGHILLERI: Otello – Il Credo / Rigoletto – Pari siamo.
12” EL brown Parl.-Odeon GR 20058 (XXPh 6215/18), POM-22 March, 1928. M-A, a gleaming copy. MB 8
1677. GIOVANNI INGHILLERI: Otello – Il Credo / w.Albergoni Cond.: Il Trovatore – Il balen .
12” EL green Italian Odeon E 5084 (XXPh 6215/6041), POM-22 March, 1928 / 14 Oct., 1927.
M-A, gleaming copy has infinitessimal label tear, Sd.2. MB 12
1678. GIOVANNI INGHILLERI, w.Albergoni Cond.: Faust – Dio possente / Andrea Chénier – Nemico della Patria.
12” EL green Italian Odeon N 6644(XXPh 6425/26), POM-24 Oct., 1928.
M-A, gleaming copy has wee abel tear, Sd.1. MB 12
1679. GIOVANNI INGHILLERI, w.Albergoni Cond.: Pagliacci - Prologo / Barbiere – Largo al factotum.
12” EL red Decca-Odeon G-25868 (XXPh 6040/39), POM-14 Oct., 1927.
M-A, lovely copy has various minuscule pressing bumps. MB 6
1680. GIOVANNI INGHILLERI & FERDINANDO CINISELLI, w.Albergoni Cond.: La Boheme – O Mimi tu più non torni /
STEFANO BALLARINI, w.Albergoni Cond.: BALLO – Alla vita che t’arride.
10” EL dark blue Italian Odeon M 6052 (XXPh 6228//94), POM-1928 . M-A, a gleaming copy. MB 12
“This may not have been a golden age but there were a large number of first class Italian baritones active.
Giovanni Inghilleri had a lengthy career: he made his débu in Milan in 1919 and he was still singing in Italy
into the ninteen-fifties....made a few records in London after the 1939-45 war.”
- Michael Scott, THE RECORD OF SINGING
1681. GIOVANNI INGHILLERI, VENTURINI & NESSI, w.Panizza Cond.: Otello – Uragano / Brindisi.
12” EL red & gold Fonotipia U-538 (XXPh 6249-2 / 6250-2), POM-21 May, 1928. M-A, a gleaming copy. MB 12
1682. GIOVANNI INGHILLERI, w.Sabajno Cond.: La Traviata – Di Provenza il mar / Il Trovatore – Il balen.
10” EL dark blue LVDP AV 27, POM-1930. M-A, a gleaming copy. MB 12
1683. GIOVANNI INGHILLERI, w.Barbirolli Cond.: Ballo – Eri tu / Rigoletto – Pari siamo!
12” EL black PW HMV D 1823, POM-1928. M-A MB 8
1684. GIOVANNI INGHILLERI, w.Barbirolli Cond.: Barbiere - Largo al factotum /
GIOVANNI INGHILLERI, OCTAVE DUA & LUIGI CILLA: Otello - Inaffia l’ugola!
12” EL red PW HMV D 1698, POM-1929. M-A MB 8
1685. GIOVANNI INGHILLERI,.EMMA TEGANI; Erede Cond.: Il Tabarro - Nulla! Silenzio! / Perchè non m’ami più?
12” EL plum HMV C.3772, only form of issue, 1948. MINT MB 6
“Giovanni Inghilleri was born in Sicily, and he started working in opera as a 'répétiteur', until he realized he
could do better as a singer. He débuted in 1919 as Valentin, in FAUST, and soon was singing in all Italian
theaters, including La Scala, although his primary house was Naples' San Carlo. He also sang outside Italy,
for instance he was the baritone of the legendary 1930 TRAVIATA in London, with Ponselle. He retired in
1953 and, like many others, started a second career as a vocal teacher.”
1686. MARIANO STABILE: Don Giovanni – Finch’ han del vino / Deh! Vieni alla finestra.
10” EL red PW Eng. Col.D12528, POM-1928. M-A, a gleaming copy. MB 8
1687. MARIANO STABILE: Nozze – Se vuol ballare / Non più andrai.
10” EL blue PW Eng. Col.L2185, POM-1928. M-A, a gleaming copy. MB 8
1688. MARIANO STABILE & RINA AGOZZINO: Nerone – Fra giunchi di Genesarèth /
RINA AGOZZINO: Pater noster. 10¾“ AC Milano Fonotipia 152029/152597 (XPh 5443/44), POM-1924.
A-B, very decent copy has lt. rubs , scrs & scuffs, ltly audible, if at all. MB 10
“Rina Agozzino was born in Sicily and later she moved to Naples where she studied with Massimino Petrilli.
She made her début in 1906 at Mercadante of Neaples as Lola in CAVALLERIA RUSTICANA. In 1914 she
appeared at the Teatro Real in Madrid in LA WALKÜRE, with Ofelia Nieto, Guido Vaccari and Jose SeguraTallien. In 1916 she sang in LA FAVORITA at the Teatro Regio in Parma with Giuseppe Paganelli as
Fernando and Edoardo Faticanti as Alfonso XI.”
1689. MARIANO STABILE: Otello – Il Credo / Lucia - Cruda funesta smania.
12” AC green Italian Odeon F 5555 (XXPh5394/5436), POM-13/ 26 Feb., 1924. M-A, a gleaming copy. MB 12
1690. MARIANO STABILE: Tosca - Te Deum /
MARIANO STABILE, VENTURINI & NESSI: Otello - Inaffia l’ugola!
12” EL blue Viva-Tonal Col.7126-M, POM-1926. M-A MB 8
764. MARIANO STABILE: Andrea Chénier – Nemico della Patria! (1926 Version) /
BIANCA SCACCIATI: La mama morta! 12” EL dark blue Italian Col. GQX 16502, POM-1928. M-A MB 8
“The colouring and expression in Stabile’s voice were marvellous and he presented some of the greatest
character studies ever seen on the operatic stage....Of the older baritones with whom I myself sang I would
have to say my god was Stabile, to whose incomparable Falstaff I often sang Ford.”
- Tito Gobbi, MY LIFE, p.151
1691. MARIANO STABILE: Falstaff - L’Onore! Ladri! (1924 Version) /
MARIANO STABILE & BERETIN: Prima di tutto e senza complimenti.
9¾” AC Milano Fonotipia 152027/26 (Pho 5390-2/5391), POM-12 Feb., 1924. M-A MB 8
1692. MARIANO STABILE: Falstaff - L’Onore! Ladri! (1926 Version) /
MARIANO STABILE & NATALIA de SANTIS: Quand ero paggio.
12” EL PW red Eng.Col.D14678, POM-1926. M-A, a gleaming copy. MB 8
1693. MARIANO STABILE, w.Erede Cond.: Falstaff - L’Onore! Ladri! (1948 Version) / Ehi! Tavernieri!
12” EL Eng.Col.LX 1081, only form of issue, 1948. MINT MB 6
1694. MARIANO STABILE & MARTIN LAWRENCE; Erede Cond.:
Don Pasquale - Cheti, cheti immantinente, 2s. 12” EL Eng.Col.LX 1094, only form of issue, 1948. MINT MB 6
1695. MARIANO STABILE & GIUSEPPE NESSI: Francesca da Rimini – Tieni, fratello (Zandonai), 2s.
12” EL red PW Eng.Col.D 14718, POM-1928. A to M-A, lbright copy has faintest pap.rubs, inaud. MB 8
1696. MARIANO STABILE, POLI, NESSI & DONAGGIO; Erede Cond. La Scala Orch.:
Falstaff - Signor! v’assista in ciel!, 2s. 12” EL black Eng. Telefunken GX.61009, POM-1942, Milano.
A stunning recording! M-A, a gleaming copy. MB 12
“Mariano Stabile was born in Palermo, and débuted there singing Marcello in 1909. Apart from Italy, he also
sang in Russia, Spain, France, but his breakthrough was when Toscanini selected him as Falstaff for the
reopening of La Scala, in 1921. He would sing this role more than one thousand times!. He was one of the
most highly regarded baritones in Italy until his retirement in 1955, with roles like Gérard, Scarpia, Iago,
Malatesta, Dulcamara, Gianni Schicchi,.etc. His top notes were very limited, and his timbre, rather
indifferent. However Stabile was a very good 'fraseggiatore', and his reputation as singer-actor was second
to none, especially in comic roles.”
1697. HANS HOTTER, w.Raucheisen (Pf.): Der Doppelgänger / Am Meer (1950 Versions) (both Schubert).
12” EL German Col. LWX 393 (CRX973/971), POM-4 Aug., 1950. M-A, a superlative copy. MB 15
“In many ways, Raucheisen defined for me the qualities of a really good accompanist….He figured very
importantly in my life because he was the first major chamber musician who believed in me, and our work
together was marked by a very special harmony….It has been suggested that he acquired his position at
[Berlin Radio] because of Nazi connections; I can personally attest that this totally untrue…and in many a
private conversation we both openly expressed our revulsion toward one event after another promulgated by
the regime that had taken over our country. So I know for a fact that the position at Berlin Radio was offered
to him exclusively because of his enormous musical expertise.”
- Hans Hotter, MEMOIRS, pp.227-28
1698. HANS HOTTER, w.von Nordberg (Pf.): Der Doppelgänger / Der Wanderer (1946 Versions) (Schubert).
12” EL Australian Col. LOX 677 (CHAX284/283), POM-6 Nov., 1946, issued UK & Austria only.
M-A, choice copy of preferred Australian pressing. MB 12
1699. HANS HOTTER, w.von Nordberg (Pf.): Der Doppelgänger / Der Wanderer (1946 Versions) (Schubert).
12” EL Eng. Col. LX 1004 (CHAX284/283), POM-6 Nov., 1946, issued UK & Austria only. MINT MB 10
1700. HANS HOTTER, w.von Nordberg (Pf.): Wer machte dich so krank; Alte Laute / Die Beiden Grenadiere
(all Schumann). 12” EL Eng. Col. LX 997, POM-7 Nov., 1946, issued UK & Austria only. MINT MB 8
1701. HANS HOTTER, w.Gerald Moore (Pf.): Ob der Koran von Ewigkeit sei?; So lang man nüchtern ist /
Der Tambour (all Wolf). 10” EL Eng. Col. LB 141, only form of issue, 21 May, 1951. MINT MB 10
1702. HANS HOTTER, w.Gerald Moore (Pf.): Akakreons grab;
Italienisches Lieberbuch – Schon streckt’ ich aus im bett; Ein Standchen euch zu bringen (all Wolf).
10” EL Eng. Col. LB 142, only form of issue, 21 May, 1951. MINT MB 10
1703. HANS HOTTER, w.Gerald Moore (Pf.): Vier ernste Gesänge (Brahms), 4s.
2-12”EL Eng. Col. LX 8933/34, only form of issue, 1951. M-A, as New, albeit infinitessimal pap.mk, Sd.1. MB 15, the Pair.
1704. HANS HOTTER, w.Gerald Moore (Pf.): An die Musik; Meeresstille / Im Frühling (all Schubert).
12” EL Eng. Col. LX 1305, only form of issue, 1 Oct., 1949. MINT MB 8
1705. HANS HOTTER, w.Gerald Moore (Pf.): Wanderers Nachtlieder - Der du von dem Himmel bist;
Über allen Gipfeln ist Ruh / Am Bach im Frühling (all Schubert).
12” EL Eng. Col. LX 1261, recorded 12 April, 1948 / 2 Oct., 1949, only form of issue. MINT MB 8
1706. HANS HOTTER, w.Gerald Moore (Pf.): Feldeinsamkeit / Mit vierzig Jahren (both Brahms).
12” EL Eng. Col. LX 1403, only form of issue, 22 May, 1951. MINT MB 8
1707. HANS HOTTER, w ANTHONY BERNARD Cond. Philharmonia Orch.:
ICH HABE GENUG – CANTATA #82 (Bach), 6s. 3–12” EL Eng.Col.LX 1290/92, only form of issue, 22 & 24 March, 1950.
M-A, beautiful copy has wee label tears. MB 20, the Set.
1708. HANS HOTTER, w GEORGE WELDON Cond. Philharmonia Orch.: GIULIO CESARE –
Aure, deh, per pietà (Handel), 2s. 12” EL Eng.Col.LX 1538, only form of issue, 10 Nov., 1951. MINT MB 10
1709. HANS HOTTER, w GEORGE WELDON Cond. Philharmonia Orch.:
SAMSON – Wie willig trägt mien Vaterherz / JOSHUA - Soll ich in Mamre’s Segens au’n (both Handel; in German).
12” EL Dutch Col.LX 1516, recorded 10 Nov., 1951, issued Holland, UK & Austria only. M-A, an extraordinary copy. MB 10
1710. HANS HOTTER, w.Rother Cond.Berlin Staatsoper Orch.: Pagliacci – Prologo / Carmen – Chanson du Toréador
(both in German). 12” EL DGG 67854, POM-1942. M-A, exceptional copy. MB 12
1711. HANS HOTTER, w.Hollreiser Cond. Bayerisches Staatsorchester:
Otello – Credo / Il sogno (both in German). 12” EL DGG 68298, POM-1943. MINT MB 12
1712. HANS HOTTER, w.Hollreiser Cond. Bayerisches Staatsorchester:
Der Fliegende Holländer – Die Frist ist um, 2s. 12” EL DGG 68297, POM-1943. M-A, exceptional copy. MB 12
1713. HANS HOTTER, w.Heger Cond.Berlin Staatsoper Orch.: Die Meistersinger – Fliedermonolog, 2s.
12” EL dark green Polydor Meisterklasse 67855, POM-1942. M-A, a glorious copy. MB 12
1714. HANS HOTTER, w.Heger Cond.Berlin Staatsoper Orch.: Die Meistersinger – Wahn, Wahn, 2s.
12” EL dark green Polydor Meisterklasse 67973, POM-1942. A to M-A, lovely copy has faint rubs, inaud. MB 8
1715. HANS HOTTER, w.Heger Cond.Berlin Staatsoper Orch.: Die Walküre – Wotans Abschied, 2s.
12” EL DGG 67972, POM-1942. M-A, superb copy has faintest pap.rubs, inaud. MB 10
“Nobody who heard Hotter in his prime - as the Dutchman, Sachs, Wotan or Gurnemanz - is ever likely to
forget the experience, nor indeed his interpretations of lieder. In all, his innate gift of making words tell
brought the given music to life. In spite of his vast voice, he could refine his tone down to a velvet-like
timbre in the most delicate, hushed mezza-voce, most memorably as Wotan bade a final farewell in DIE
WALKÜRE to his beloved Brünnhilde, voice, emotion and style in ideal harmony…..That tall, imposing figure
and voice of god-like proportions, allied to an innate intelligence and humanity, made his portrayal of the
anguished god unique and irreplaceable….And of course he was a teacher, both privately and in
masterclass, and a seasoned adjudicator at singing competitions. A man of many parts in every sense, and
endowed with native wit, he was a kind adviser to many aspiring artists, and a jovial bon viveur….”
- Alan Blyth, THE GUARDIAN, 11 Dec., 2003
Nos. 1716 - 1756 are Violin, Viola and Cello 78s:
1716. ANJA IGNATIUS, w.Järnefelt Cond. Städtisches Orch., Berlin: Concerto in d (Sibelius), 8s.
4-EL 12” DGG 69154/57, POM-25/26 Jan., 1943. M-A, appears unplayed. MB 45, the Set.
“Ignatius’ Sibelius is unusually intimate. She doesn’t make a big sound, doesn’t dig frantically into the
strings or indulge in luscious finger position changes. Her opening paragraphs are cool with one notably
cool slide (though she’s a fairly clean player when it comes to portamenti). There is nothing here of the
barbed wire intensity of Heifetz or the muscularity of Stern or even Ginette Neveu’s concentratedly profound
drama. What Ignatius develops instead is a compelling sense of narrative. She shapes and unfurls, muses
and drives with a sure sense of weight and structural acuity; these are long-term architectural ambitions and
can leave colourists and exploiters of incidental felicity seeming lesser musicians in the light of her surer
understanding. How well Järnefelt supports her, as well, underscoring those recurrent running orchestral
pizzicati and providing her with the elasticity of tempo to inflect. She sways with the first movement double
stops, has a strong affinity with Sibelian rubati, and is introspective and frequently musing in tone. The
orchestral tuttis aren’t as hammered and forceful as they often can be and that is consonant with their
interpretation as a whole. She isn’t out to impress in the cadenza; doesn’t engage in colouristic effect but
instead demonstrates the value of subtly holding back the rhetoric thereby implying far more. It is a
performance that forces one to reassess the work, even in the light of so many performances heard and
admired.”
- Jonathan Woolf
1717. YOVANOVITCH BRATZA: Aquarelles - Légende naïve (Jongen) / Concerto #2 in d - Romance (Wieniawski).
12” EL dark blue Eng. Col. 9358, POM-15 March, 1927. M-A, appears unplayed. MB 15
“Yovanovitch Bratza, properly Milan Yovanovitch Bratza, was an eminent Serbian violinist, born in Novisad,
1904. He performed in concert with singers such as Tetrazzini, John Charles Thomas and Charles Hackett.
His career was long-lasting: an article about the composer Walther Thomas Gaze Cooper notes that Bratza
was a regular player of the Violin concerto of 1945, and that he played in the premiere of Gaze Cooper’s
Horn Trio in January 1958.”
1718. ADOLF BUSCH: Partita in d for Violin Unaccompanied (Bach), 6s.
3-12” EL PW HMV DB 1422/24, POM-8 Nov., 1929. M-A, a gleaming copy. MB 150, the Set.
1719. ADOLF BUSCH & RUDOLF SERKIN: Kreutzer Sonata in A (Beethoven), 8s.
4-EL 12” PW Col. 71348/51, POM-12 Dec., 1941, in Orig. Album MM-496. M-A MB 45, the Set.
1720. ADOLF BUSCH & RUDOLF SERKIN: Sonata #1 in a (Schumann), 4s.
2-EL 12” PW V 15393/94, POM-9 Oct., 1937, in Orig. Album M-551. M-A, appears unplayed. MB 35, the Set.
1721. ADOLF BUSCH & RUDOLF SERKIN: Sonata #1 in G (Brahms), 6s.
3-12” EL Orth Vla 7487/89, POM-4 May, 1931, in Orig. Album M-121. M-A, appears unplayed. MB 35, the Set
1722. ADOLF BUSCH & RUDOLF SERKIN: Sonata #2 in A (Brahms), 4s.
2-12” EL PW V 8359/60, partially on ‘Z’ shellac, POM-20 Sept., 1932. M-A MB 35
1723. ADOLF BUSCH & ARTUR BALSAM: Sonata in e (Bach), 2s.
12” EL Col. 71582-D, only form of issue, 21 May, 1942. M-A, appears unplayed. MB 20
1724. ADOLF BUSCH & FRANCES MAGNES, w.Busch Chamber Players: Concerto in d for Two Violins (Bach), 4s.
2–12” EL Col. 71676/77-D, only form of issue, 26 April, 1945. M-A, appears unplayed, albeit faintest pap.rub, Sd.2. MB 20
1725. ADOLF & HERMANN BUSCH & RUDOLF SERKIN: Trio #2 in Eb (Schubert), 10s.
5-EL PW V 14469/73, POM-23 Oct., 1935, in Orig. Album AM-374, w.Brochure. M-A, appears unplayed. MB 45, the Set.
1726. ADOLF BUSCH, w.Busch Chamber Players: Concerto #2 in E (Bach), 5s. /
Sd.6 = Sonata #5 in g – Adagio (Corelli). 3–12” EL PW Col. 11914/16-D,
only form of issue, 27 May, 1942, in Orig. Album MM 530. M-A, appears unplayed. MB 45, the Set.
1727. BUSCH QUARTET: Quartet in B-flat (Schubert), 6s. 3-EL 12” PW V 16188/90, in Orig. Album AM-670, w.Brochure.
M-A, choice copy has, Sd.3 only, tiny spindle hole mk, of no consequence. MB 35, the Set.
“Adolf Busch (1891-1952) was not only an all-round musician; he was also a moral beacon in troubled times.
Now remembered as the first violin of the Busch String Quartet, which he founded in 1912, he was the
greatest quartet-player of the last century and also the busiest solo violinist of the inter-War years, regularly
performing the great concertos with such conductors as Toscanini, Walter, Furtwängler, Boult, Barbirolli and
many others. He was, moreover, an outstanding composer whose works enjoyed performances both at
home in Germany and further afield. But at the peak of his popularity his profound sense of decency and his
simple human dignity brought about a dramatic reversal in his fortunes. His courageous decision to boycott
his native country from April 1933 - despite Hitler's efforts to persuade 'our German violinist' to return drastically reduced his income and damaged his career as soloist and composer. In 1938, because of
Mussolini's race laws, he imposed a similar boycott on Italy, where he had been one of the most popular of
classical performers. The following year he emigrated with his quartet colleagues to the United States.
1728. LIONEL TERTIS: Partita #2 in d – Chaconne (Bach), 4s. 2-12” AC Eng. Col. L 1644/45, POM-25 Nov., 1924.
M-A, a gleaming copy. Rare 1924 late AC-era issue which enjoyed a brief Catalogue life. MB 45, the Pair.
1729. LIONEL TERTIS, w.Harriet Cohen (Pf.): Sonata #1 in f (Brahms), 6s. 3-12” EL Col. 68114/16-D,
on blue shellac, POM-17 Feb., 1933, in Orig. Album 183, w.Brochure. M-A, a gleaming copy. MB 45, the Set.
1730. ANDRÉ PASCAL & ISIDOR PHILIPP (Pf.): Sonata #1 in d (Saint-Saëns), 6s.
3-EL 12” PW Col. P-71214/16-D, POM-28 June, 1934, in Orig. Album MM-471, w.Brochure.
M-A, choice copy has, Sd.6 only, faintest pap.scuff, inaud. MB 150, the set.
Fernando Laires said that Philipp insisted that the music and the tone should arise from deep within the
piano, not pounded out at the keyboard, and by that he meant that he must come deep within one's soul, not
at the fingertips. "The quality most desirable in piano playing is tone. Tone should be worked at from the
first, and the pupil must listen attentively to it. To produce a beautiful tone, Thalberg said, 'one should in a
way knead the keyboard with a hand of velvet, the key being rather felt than struck'. It is essential to
maintain the utmost relaxation in the arms, wrists and hands."
- Isidor Philipp
Isidor Philipp studied piano under Georges Mathias (a pupil of Frédéric Chopin and Friedrich Kalkbrenner) at
the Conservatoire de Paris and won First Prize in piano performance in 1883. Other teachers included
Camille Saint-Saëns, Stephen Heller (a pupil of Carl Czerny, one of Beethoven's students) and Theodore
Ritter (a pupil of Franz Liszt). At the Conservatoire, he met fellow student Claude Debussy. They remained
lifelong friends, and Philipp often played his compositions. After Debussy's death, Philipp was regarded as
the leading authority on his piano music.
1731. HENRI MERCKEL, w.Charles Münch Cond.: Sérénade Concertante, 5s. / Sd.6 =Cendrillon ou la pantoufle de vair –
Danse de Nérillons (both Delannoy). 3–12” EL Disque Gram. DB 5184/86, only form of issue,21 July, 1916.
M-A, choice copy has very occasional infinitessimal dust scr, inaud. MB 65, the Set.
“Marcel Delannoy enjoyed some fame as a composer through the efforts of conductor Charles Münch, but
his star has certainly faded. The twenty-minute Sérénade Concertante moves rather idiomatically for the
violin, though its content remains strictly that of a light suite in three movements. A cabaret sensibility
insinuates itself, with the solo serving as a commentator while the figures become more hectic. As a vehicle
for Merckel’s suave style, the piece can be genially effective. To fill out the original shellac set, Munch
chose two excerpts from Delannoy’s Cinderella ballet, the ‘Dance of the Little Negroes and Apotheosis’, the
former of which in a pseudo-Brazilian style provides lithe figures for Merckel’s easy grace.” - Gary Lemco
1732. HENRI & ALICE MERCKEL, MARCESINI & ZURFLUH-TENROC: Quartet #1 in c (Fauré), 8s.
4-12” EL PW V 12481/84, in Orig. Album M-594, w.Brochure. M-A, eappears unplayed. MB 45, the Set.
1733. MIGUEL CANDÉLA, w.Joaquin Nin (Pf.): Cantos de españa – Granadina (Acc. by the Composer) /
w.Joseph Benvenuti (Pf.) Hora staccato (Dinicu). 10 EL MasterWorks Col. 4194-M, POM-10 Nov.,1933.
M-A , a gleaming copy of preferred MasterWorks pressing. MB 25
“Mr. Candéla, a pioneer recording artist in the early days of electrical reproduction, is almost certain to have
studied at Madrid Conservatory, perhaps with Quiroga's teacher, and later in Paris. He was the first to
record the Saint-Saens b minor Concerto, with Gaubert conducting, and later the Glazanov a minor, the only
recording of this anywhere, on the Columbia 78 label. Candéla must have given premieres of numerous
new works in France and Spain and was well enough thought of to record the above work by Joachim Nin,
with the composer at the piano.”
- Tom Clear
1734. BRONISLAW HUBERMAN: Partita #1 in b for Violin Unaccompanied – Sarabande & Double /
w.Siegfried Schultze (Pf.): Nun Komm’ der Heiden Heiland (both Bach). 12” EL Master Works Col. 68940-D,
POM-26 June, 1934 / 14 May, 1935. M-A, choice copy has, Sd.1 only, infinitessimal dust scr, inaud. MB 25
1735. GIOCONDA de VITO, w.Erede Cond. Philharmonia Orch.: Romance #2 in F (Beethoven), 2s.
12" EL HMV DB 6727, only form, of issue, 8 & 29 May, 1948. M-A, appears unplayed. MB 20
1736. SIEGFRIED BORRIES, w.Schüler Cond. Berlin Phil.: Romance #2 in F (Beethoven), 2s.
12” EL HMV DB 4661. M-A, pristine copy has, Sd.2 only, wee pressing bump. MB 12
“As early as 1933, at the age of only 21 years, Borries was named Concertmaster of the Berlin Philharmonic
by Wilhelm Furtwängler. From 1941 to 1945 Borries was Concertmaster of the Philharmonic and director of
its Chamber Music Association.”
1737. JASCHA HEIFETZ, w.Beecham Cond. London Phil.: Concerto in d (Sibelius), 8s. 4-12" EL PW V 14016/19,
POM-26 Nov., 1935, in Orig.Album M 309, w.Brochure. Sd.1 Autographed by Heifetz. M-A MB 35, the Set.
1738. JASCHA HEIFETZ, w.Sargent Cond. London S.O.: Concerto in b (Elgar), 10s.
5-12” El RCA 12–1235/39, POM-6 June, 1949, in Orig. Album DM 1385. M-A, beautiful bevelled-edge pressing
appears unplayed. Extremely rare in this 78rpm format, unknown as such in Creighton Discoopaedia. MB 65, the Set.
1739. JASCHA HEIFETZ, w.Steinberg Cond. RCA Orch.: Scottish Fantasy (Bruch), 6s.
3-12” El red vinyl RCA 18-0087/89, POM-12 Sept.,1947, in Orig. Album DV 11. M-A, appears unplayed. MB 25, the Set.
1740. MICHAEL ZADORA: Sonatina 'ad usum infantis Madeline M* Americanae (Busoni), 2s.
12” EL Friends of Recorded Music 23, only form of issue, 1940. A to M-A, lovely copy has faint rubs, inaud.;
Sd.1 only has few faint lams, endemic to these Columbia pressings. MB 20
“Michael von Zadora was born in America of Polish parents. He first learnt to play the piano from his father
and then at the age of seventeen he enrolled at the Paris Conservatoire. From there he travelled to Vienna
for lessons with Theodor Leschetizky before continuing his studies with Ferruccio Busoni in Berlin. Periods
of teaching followed at institutions including the Hochschule für Musik and the Klindworth-Scharwenka
Conservatory in Berlin, but as World War I approached Zadora returned to America and took a post at the
Institute for Musical Art in New York, later to become the Juilliard School of Music. In 1940 he made some
discs for the Friends of Recorded Music Society in America.”
\
1741. SHINICHI SUZUKI, w.Manfred Gurlitt (Pf.): Sonata in A (Franck), 8s. 4–12” EL gold Bruns.90397/90400,
POM-1929. M-A, choice copy has, Sd.4 only, faint pap.scuff, inaud.; Sd.5 only has wee pressing bump. MB 65, the Set.
“At the age of 26, Shin'ichi Suzuki studied in Germany, under Karl Klingler. While in Germany, he spent
time under the guardianship of Albert Einstein. Upon his return to Japan, he formed a string quartet with his
brothers and began teaching at the Imperial School of Music and at the Kunitachi Music School in Tokyo
and started to take interest in developing the music education of young students in violin. Shin'ichi Suzuki
was the inventor of the international Suzuki method of music education and developed a philosophy for
educating people of all ages and abilities. Considered an influential pedagogue in music education of
children, he often spoke of the ability of all children to learn things well, especially in the right environment,
and of developing the heart and building the character of music students through their music education.
Suzuki was also responsible for the early training of some of the earliest Japanese violinists to be
successfully appointed to prominent western classical music organizations. During his lifetime, he received
several honorary doctorates in music including from the New England Conservatory of Music (1956), and
the Oberlin College Conservatory of Music, was proclaimed a Living National Treasure of Japan, and was
nominated for the Nobel Peace prize.”
1742. ANTONIO BROSA, w.Goehr Cond.: Concerto in e - Andante (Mendelssohn), 2s.
12” EL plum HMV C 2928, only form of issue, 4 Oct., 1937. M-A, appears unplayed. MB 15
“Antonio Brosa was a Spanish violinist who was a great friend of Benjamin Britten who consulted him on the
difficulties of Britten's concerto. He gave the first performance of Benjamin Britten's violin concerto Op. 15 at
Carnegie Hall on 28 March, 1940, playing on his Vesuvius Stradivarius of 1727 with the New York
Philharmonic Orchestra under John Barbirolli. This performance launched his career as a solo violinist.”
1743. EMIL TELMÁNYI, w.GERALD MOORE (Pf.): FANTASY PIECES - Romance (Nielsen) /
Danse champêtre #2 in G (Sibelius). 12” EL PW Electrola DB 2503, POM-28 March, 1935.
M-A, choice copy has, Sd.2 only, infinitessimal pap.scr, inaud. MB 20
1744. EMIL TELMÁNYI, w.Georg von Vásárhelyi (Pf.): Sonata #2 in A (Brahms), 4s.
2–12”EL PW HMV DB 4640/41, only form of issue, 1939. M-A, appears unplayed. MB 25, the Pair.
“Emil Telmányi was a Hungarian violinist who invented the Bach bow, designed to play and sustain three or
four notes on a violin for Bach's sonatas and partitas for solo violin. Telmányi was also an exponent of the
composer Carl Nielsen, having recorded some of his violin sonatas and his violin concerto.”
1745. JOSEPH JOACHIM: Hungarian Dance #1 in g (Brahms) /
EDVARD GRIEG: Norwegian Bridal Procession (Played by the Composer).
12” AC vinyl Symposium 1014 Special vinyl Pressing of Berlin G & T 047907 (Mx.219Y) /
Paris G & T 35517 (Mx.2151F), POM-1903. MINT MB 25
1746. PABLO CASALS: Suite #1 in G, 6s; Suite #6 in D, 14s.
7-12” EL PW V 17658/64, POM 1938/’39, Paris, in Orig. Album M-742. M-A, appears unplayed. MB 175, the Set.
1747. PABLO CASALS: Suite #2 in d, 6s.; Suite #3 in C, 6s.
6-12” EL PW V 15677/82, POM-1936, London, in Orig. Album AM-611. M-A, appears unplayed. MB 175, the Set.
“Pablo Casals recorded J.S. Bach's 6 Cello Suites for EMI between 1936 and 1939 in London and Paris,
and these legendary recordings have been in print for many decades without break. There is a mystique
attached to these performances…. Since Casals' day, the Cello Suites have been played in many ways,
including efforts to play them in an authentic Baroque manner, as well as more Romantic attempts at
individual expression, but Casals still seems to be the standard against which other performances are
measured, and these recordings are indispensable to any serious collector.”
- Blair Sanderson, allmusic.com
1748. HANS KINDLER (Cello) & HARSANYI (Pf.): Cello Sonata (Acc. by the Composer), 5s. /
TIBOR HARSANYI (Pf.): Cinq préludes brefs (Played by the Composer), 3s.
4-12” EL dark blue PW French Col. DFX 5/8. M-A, exceptional copy MB 45, the Set.
“Hans Kindler was born in Rotterdam, and at 18 Kindler appeared as cello soloist with the Berlin
Philharmonic and was named first cellist with the Charlottenburg Opera; at 19, he was made a professor of
cello at the Klindworth-Scharwenka Conservatory in Berlin. In April 1914, he performed the cello part in the
world premiere of Schönberg's PIERROT LUNAIRE. On a concert tour of the United States that same year,
Kindler was stranded by the outbreak of war in Europe and then accepted the first chair cello with the
Philadelphia Orchestra under Leopold Stokowski, under the proviso that he could continue his solo career,
and he first recorded for Victor in 1916, being one of the first famous cellists to make phonograph records.
Kindler made his début as a conductor in 1927 with Philadelphia. In 1930 he held a pilot concert in
Washington, D.C., with out-of-work musicians themselves stranded by the advent of talking pictures; this
proved so successful that in 1931 he founded the National Symphony Orchestra there. Kindler's
temperament as a conductor was very similar to Stokowski's, and he also favored the same divided
arrangement of the string section that resulted in the ‘Stokowski Sound’."
- Uncle Dave Lewis, allmusic.com
“Tibor Harsányi was a Hungarian-born composer and pianist who studied at the Budapest Conservatory
under Zoltán Kodály. He toured as a pianist around Europe and the Pacific, then settled in Holland in 1920
and worked there as a pianist, conductor and composer before relocating to Paris in 1923. There, he
became involved with the group of composers in l'École de Paris, which included emigré composers such as
Alexandre Tansman, Bohuslav Martinů, Alexander Tcherepnin and Marcel Mihalovici.”
1749. MR. BUSONY: Serenade (Toselly) / Servus you (Stolz).
10” AC black Symphony Concert Record 2771 [5301/02], POM-c.1914. Issued by the ‘Isi Works International Record Co.’,
Saxony. A to M-A, bright copy has lt.rubs & occasional faint pap.scr, positively inaud. MB 15
1750. JACQUES THIBAUD & ALFRED CORTOT: Kreutzer Sonata in A (Beethoven), 8s.
4-12" EL vinyl pressings of Mx. Cs3716/23, POM-27/28 May, 1929. MINT MB 95, the Set.
1751. JACQUES THIBAUD & ALFRED CORTOT: Sonata in A (Franck), 8s.
4-12”EL Orth Vla 8179/82, on Z Shellac, POM-28 May, 1929. M-A, choice copy has minir spine split. MB 75, the Set.
1752. JACQUES THIBAUD, PABLO CASALS & ALFRED CORTOT: Archduke Trio in Bb, Op.97 (Beethoven), 10s.
5-12” EL Orth Vla 8196/8200, POM-19 Nov., 1928, on ‘Z’ shellac, Orig. Album M-92, w.Brochure. M-A MB 75, the Set.
“[Thibaud's] playing was imbued with his yearning for sensual pleasure, with an unchastity that was all the
more seductive for its refinement....he struck us all as the exponent of a hitherto unknown style of violin
playing...an eroticism that remained unadulterated even though he ennobled it. You could not compare him
to any other violinist, and public opinion had already placed him in the ranks of the very greatest; he even
seemed to be considered heir presumptive to Ysaÿe."
- Carl Flesch, MEMOIRS, p.197
1753. JACQUES THIBAUD, PABLO CASALS & ALFRED CORTOT: Trio #1 in Bb (Schubert), 8s.
4-12”EL Orth Vla 8070/73, on ‘Z’ shellac, POM-5-6 July, 1926, in Orig. Album, w.Brochure. M-A, as New. MB 35, the Set.
1754. JACQUES THIBAUD, PABLO CASALS & ALFRED CORTOT: Trio in d (Schumann), 8s.
4-12” EL Orth Vla 8130/33, POM-15 & 18 Nov.; 3 Dec., 1928, in Orig. Album M-52, w.Brochure.
M-A, appears unplayed. MB 45, the Set.
1755. JACQUES THIBAUD & PABLO CASALS; Alfred Cortot Cond. Barcelona S.O.:
Double Concerto in a (Brahms), 8s. 4-12” EL Scroll V 8208/11, POM-1 May, 1929, on ‘Z’ shellac,
in Orig. Album M-99, w.Brochure. M-A, choice copy has very occasional lt. pap. rub, inaud. MB 75, the Set.
1756. JACQUES THIBAUD & PABLO CASALS, w.Isnard, Vouifman, Blanpain & Eisenberg:
Concerto in D (Chausson), 9s. / Sd.10= JACQUES THIBAUD & PABLO CASALS: Berceuse (Fauré).
5-12” EL PW HMV DB 1649/..53, POM-1 /2 July, 1931, in Orig. HMV Album 159. M-A, certainly unplayed. MB 65, the Set
Nos. 1757 -1768 are Piano 78rpm disks:
1757. BENJAMIN BRITTEN & COLIN McPHEE (Pfs.); GEORGES BARRÈRE (Flute):
The Music of Bali, 6s. 3-10” EL Schirmer 513/515, only form of issue, 1941, New York.
A to M-A, lovely copy has, Sds. 3 & 4 only, lt.rubs & superficial scrs; album spine is split. MB 25, the Set.
“In the early 1940s McPhee lived in a large brownstone in Brooklyn, shared with other artists and literary
figures such as Leonard Bernstein and Benjamin Britten among many others. McPhee, Britten, and
Bernstein are said to have fought all the time over who got to play the grand piano. Britten and McPhee
participated in the first recording of McPhee's ‘Balinese Ceremonial Music for two pianos and flute’ in 1941.
The strain of Balinese sounds that runs through Britten's music clearly originated with McPhee. While
Canadian composer Colin McPhee lived in Bali for the decade of the 1930s, he was so enamored of the
music of the island's local percussion orchestra, the gamelan, that it shaped his entire compositional style.
While in Bali, McPhee made over 40 direct transcriptions of Balinese gamelan compositions. Back in New
York in 1941, McPhee recorded these three. His partner was the young British expatriate composer,
Benjamin Britten. The set of transcriptions comprises three works, arranged in a typically Western
fast/slow/fast suite.”
- Joseph Stevenson, allmusic.com
1758. LEONARD BERNSTEIN: Seven Anniversaries, Nos. 4 & 5 (Played by the Composer);
LEONARD BERNSTEIN (Pianist & Conductor [Philharmonia Orch.]): Piano Concerto (1932) (Ravel), 5s.
3-12”EL red vinyl RCA 18-0115/17, POM-1946/'47, in Orig. Album DV 15, issued USA only. MINT MB 25, the Set
1759. LEONARD BERNSTEIN Cond. NYC S.O.,w.Robert Shaw (Narrator), Charles Holland (T) & Walter Scheff (Bar.):
The Airborne Symphony, 13s / Sd.14 = Walter Scheff, w.Leonard Bernstein (Pf.): Dusty Sun (both Blitzstein).
7-12" EL RCA 11-9531/37, only form of issue, 1946, in Orig. Album DM-1117, w.Brochure & Libretto. M-A MB 35, the Set.
1760. MARGUERITE de VALMALÈTE: Le Tombeau de Couperin (Ravel), 6s.
2-10” EL red Eng.Decca-Polydor PO.5088/89 & 1-12” EL red Eng.Decca-Polydor LY 6079, POM-1932.
M-A, pristine copy has, 12” disk only, faintest pap.rubs, positively inaud. MB 45, the Set.
"This is another kind of playing altogether – a luminous, dazzling pianism, full of delicacy, passion, polish,
exquisitely shaped, with hushed, shaded pianissimos….[This is] the first Ravel 'Tombeau de Couperin' ever
recorded….[a] marvelous performance."
– David Mulbury, AMERICAN RECORD GUIDE, Nov./Dec., 2005
1761. VERA FRANCESCHI: Early Italian Piano Music, incl. Cimarosa, Galuppi & Scarlatti, 4s.
2-12”EL dark blue Cetra CB 20373/74, only form of issue, 20/21 May, 1948, in Orig. Album 13. M-A, Exemplary! MB 20
“Vera Franceschi studied with Carlo Zecchi, Alfredo Casella, and Germano Arnaldi at the Santa Cecilia Accademia at
Rome, graduating in 1939. She then attended the Manhattan School of Music in New York studying with Harold Bauer and
Carl Friedberg. Franceschi made her Paris début in 1939, her Milan début in 1940, and first appeared with the San
Francisco Symphony Orchestra under the direction of Pierre Monteux in 1948. So impressed with her pianistic abilities was
Monteux that he took her on as his protégée and conducted her performances in Chicago and New York. Her performances
showed an ease of execution, a musicality, and interpretative playfulness rarely heard from young performers.”
\
1762. FANNY DAVIES: Kinderszenen (Schumann), 4s. 2-12” EL PW Eng. Col. L 2321/22,
POM-2 Feb., 1929, issued UK & Australia only. M-A, a glorious copy. MB 45, the Set.
1763. FANNY DAVIES: DAVIDSBÜNDLERTÄNZE (Schumann), 6s. 3-12” EL Viva-Tonal Col.67797/99-D,
blue shellac pressings, POM-1930, in Orig. Album 142, w.Brochure. M-A, appears unplayed. MB 65, the Set.
1764. FANNY DAVIES, w.Ansermet Cond. Royal Phil.: Concerto in a (Schumann), 8s. 4-12” EL PW Eng. Col. 9616/19,
POM-15-16 June, 1928, issued UK only, in Orig. Eng. Col. Album. M-A, appears unplayed. MB 75, the Set.
“On 8 June 1928 Davies gave a recital in London of Schubert and Schumann, and a week later made her
first recordings for Columbia. With the Royal Philharmonic Orchestra and Ernest Ansermet she recorded
Schumann’s Piano Concerto Op. 54. In February 1929 she returned to record Schumann’s ’Kinderszenen’
Op. 15 and in December 1930 the same composer’s ‘Davidsbündlertänze’ Op. 6. That was the extent of
Davies’ published recording career; she died four years later.
The performance of Schumann’s Piano Concerto is so fresh and spontaneous that it is a surprise to learn
that Davies was in her late sixties when she recorded it. If one reads the reminiscences of any of Clara
Schumann’s pupils the same ideas of interpretation abound, and it is in this recording that they are
preserved and demonstrated. As Davies remembered, Clara Schumann had said, ‘Schumann is nothing if
he is not rhythmic. He is a poet, full of sentiment and fantasy, but he is never sentimental; you must never
make his music sound sentimental.’ The performance style of this concerto has changed over the years,
distorting the work into an overblown romantic warhorse, but listening to the simplicity and purity of Davies,
one cannot help but imagine that this must be close to the way the work would have sounded in Schumann’s
time.”
- Jonathan Summers, Naxos’ A–Z OF PIANISTS
1765. ADELINA de LARA: Clara Schumann and her Teachings; plus Robert Schumann Recital, 14s.
7-12” EL Clara Schumann Society 361/374, recorded early 1950s, in Orig. Clara Schumann Society Album.
M-A, Pristine Copy appears unplayed. MB 175, the Set.
"What you will hear, in good sound, is a wise and dedicated pupil of Clara Schumann, for whom those
lessons were the greatest experience of her life, playing in a way virtually forgotten by the early 1950's - to
say nothing of the middle 1980's - with heart and soul at the service of the music rather than the player's ego
or instrument."
- Jerrold Northrop Moore
Adelina de Lara was educated at the Hoch Conservatory in Frankfurt under Iwan Knorr, and studied piano
with Fanny Davies and Clara Schumann, whose work she championed for most of her life. She was close
friends with Johannes Brahms through her studies. As an adult, Adelina de Lara performed in public for the
first time following her studies in 1891 and continued for over seventy years, making her final appearance on
15 June 1954 at the Wigmore Hall London.
1766. CAMILLE SAINT-SAËNS & GABRIEL WILLAUME (Violin): Suite Algérienne – Rêverie à Blidah /
Le Déluge - Prélude (both Played by the Composer). AC 12” Historic Catalogue #2 HMV DB 705 (03280/84v),
POM-24 Nov., 1919. M-A, a gleaming copy. Exceedingly Elusive! MB 50
1767. CONRAD ANSORGE: Romance #1 in B-flat (Schumann) / Glanes de Woronince [as ‘Mélodies polonaises’]
(Chopin-Liszt). 12” EL dark-blue Australian Parlophon A 4219 (20865-2/20869), POM-1928.
M-A, pristine copy of preferred Australian pressing. Contemporaneous Gisborne label sticker remains. MB 45
“Conrad Eduard Reinhold Ansorge was a German pianist, teacher and composer who studied at the Leipzig
Conservatory between 1880 and 1882, and under Franz Liszt in Weimar in 1885 and 1886. He toured
Europe and the United States. In 1920 he became head of the piano master class at the German Academy
(Deutschen Akademie für Musik und Darstellende Kunst) in Prague. Conrad Ansorge's students included
Selim Palmgren, Eduard Erdmann, James Simon, Alice Herz-Sommer and Wilhelm Furtwängler.”
1768. JOAN MASSIÀ & BLANCHE SELVA: Sonata in A (Franck), 8s. 4-12” EL PW French Col. LFX 100/103,
POM-1930. M-A, choice copy has 2 insignificant pap.rubs, certainly inaud. MB 95, the Set
“Joan Massià (1890–1969) was a virtuoso violinist trained in Brussels by Alfred Marchot (himself a pupil of
the legendary Eugène Ysaÿe). In his youth, Massià formed a magnificent duo with Blanche Selva – the
French pianist who gave the première in Paris of Albéniz’s IBÉRIA – and for some years they undertook
intensive and successful concert tours throughout Europe. Many of Massià’s compositions were for the
piano – he was a distinguished amateur pianist and a talented improviser. Blanche Selva, one of the most
revered of French pianists of her generation, made pitifully few recordings and even those were compressed
into a two-year period. Her discography in fact amounts to no more than a mere eleven works, three of
them in collaboration with the Catalan violinist Joan Massià. Trained at the Schola Cantorum, Selva was
appointed by d’Indy himself as teacher at the early age of eighteen. In all she taught there for twenty years
and was adventurous enough to add her own twist to the usual continental drift westwards of Czech
musicians – Selva herself moving to Prague to teach (at around the time Martinů and so many others were
off to Paris) and encountering Suk and Novák along the way. She was a front rank exponent of Albéniz and
d’Indy himself. She gave the complete Bach keyboard works as a cycle (beginning in Paris in 1904 and a
number of times afterward) as she subsequently gave the complete ‘32’ of Beethoven on several
occasions.”
- Jonathan Woolf, MusicWeb International