Auction Number 143 - AUCTION Closing Date: Saturday, 8 May, 2010

Since 1972

Regarding AUCTION #143 (Closing Date: Saturday,, 8 May, 2010), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you.

TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Friday, when PETER FORD is available to take bids and answer any questions. Bids may be submitted by e-mail, FAX, telephone or (bearing closing date in mind) postal mail. [802 524-7673] or FAX [1 888 819 4831].

CONDITION GRADING, 78rpm: M-A - nearly MINT, albeit slightly used Copy. A - slightly used Copy, but with no defects.B - used Copy, with light wear and rubs, not affecting playing.Any other defects, e.g.: light (lt), edge chip (ec), lamination (lam), hairline crack (hlc), internal pressure crack (ipc),

scratch (scr); label damage, etc. are most clearly identified within each individual listing. POM - A Direct Pressing, Pressed from Original Master, (never a dubbing), whether an Original Pressing or Subsequent Issue. only form of issue - relates exclusively to 78rpm issues, only those which are Pressed from Original Masters.Scroll - relates exclusively to the best period of Victor, always featuring the Scroll Label, mid-1930's, and always offering remarkably quiet surfaces, very often on Z Shellac, although not always so indicated. Z Shellac - relates exclusively to the best pressings ever produced by Victor, mid-1930's, found on PW, Orth (Orthophonic), but primarily on Scroll Labels, always offering remarkably quiet surfaces, identifiable by the minuscule "z" found only in the upper portion of the inner margin of the shellac. In the event that there is no “z” embossed in such pressings, they will be identified as being “z-type shellac.”Master Works is Columbia's equivalent, offering the best pressings ever produced by Columbia, preceded (chronologically) by their notable Blue Shellac Pressings.

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Auction Number 143 - AUCTION Closing Date: Saturday, 8 May, 2010

Since 1972

TABLE OF CONTENTS:

Female Vocal 78rpm records Nos. G101 – G828Tenor Vocal 78rpm records Nos. G829 – G1178Baritone & Bass Vocal 78rpm records Nos. G1179 – G1567Personality, popular & Jazz 78rpm records Nos. G1568 – G1627Phonorecord Catalogues Nos. G1628 – G1701Chicago Opera Programs Nos. G1702 – G1748Metropolitan Opera Programs Nos. G1749 – G1983Autographed Vintage Photographs Nos. G1984 – G2048

We have a comprehensive stock of choice copies of thousands of vocal and instrumental 78s, all alphabetically organized in order that we may

fill your specific needs. We also have a vast inventory of vocal and instrumental LPs, all like new. In addition, we have hundreds of performer biographies as well as books on opera houses, etc.

We also have an extensive inventory of vintage photos and ephemera. Please let us know your needs.

We have a fine stock of 78rpm Storage Albums (normally containing twelve sleeves each),

priced at $7.50 per album, as slightly used, but EXCELLENT. When ordering, be sure to specify whether you want

10" (25cm) or 12" (30cm).

Our catalogue is also available at http://www.norpete.com

THE RECORD COLLECTORLarry Lustig, Editor

111, Longshots CloseBroomfield, Chelmsford

Essex CM1 7DU, ENGLANDEmail: Larry.Lustig@btinternet.com

Website: http://www.therecordcollector.orgBy annual subscription: £31 ($58.00) per year by air mail

Norbeck, Peters & Ford, LLC

59 Congress StreetSaint Albans, VT 05478-1611 USA

802-524-7673 - Fax: 1 888 819 4831

email: norpete@sover.net website: www.norpete.com

Auction Number 143 - AUCTION Closing Date: Saturday, 8 May, 2010

Nos. G101 – G828 are Female Vocal 78rpm records.

G101. JANE BATHORI (Self-Accompanied): Histoires naturelles – Le Paon; Le Grillon; Le Martin-Pêcheur (Ravel), 2s. 12” EL PW Eng. Col. D 15179, only form of issue, 1929. M-A, a gleaming copy. MB 45

G102. JANE BATHORI (Self-Accompanied): Fêtes Galantes, Set II – Les Ingénus; Le Faune; Colloque sentimental (Debussy), 2s. 12” EL PW Eng. Col. D 15196, only form of issue, 1929. M-A, a gleaming copy. MB 45

G103. JANE BATHORI (Self-Accompanied): Clair de lune (Fauré) / Lied (Chabrier). 10" EL PW Eng. Col. D 13097, only form of issue, 1929. M-A, a gleaming copy. MB 45

G104. JANE BATHORI (Self-Accompanied): Chansons de Bilitis – La flûte de Pan / La chevelure (Debussy). 10" EL PW French Col.D 13086, POM-1929. M-A, a gleaming copy. MB 45

G105. JANE BATHORI (Self-Accompanied): Chansons de Bilitis – Tombeau des Naïades / Ariettes oubliées – C’est l’éxtase langoureuse (both Debussy). 10" EL PW French Col. LF 50, POM-1929. M-A, a gleaming copy. MB 55

G106. JANE BATHORI, w.Darius Milhaud (Pf.): Fumée; Fête de Bordeaux; Fête de Montmartre (all Acc. by the Composer) / w.Darius Milhaud (Pf.): Daphénéo; La statue de bronze; Le chapelier (all Satie). 12” EL PW French Col. D 15195, both POM-1929, Sd.1 being only form of issue. M-A, a gleaming copy. MB 45

"I had admired [Bathori] a few weeks previously singing ‘Les Chansons de Bilitis’ to her own accompaniment at the piano. I was unaware, however, that she was capable of reading any manuscript at sight, and when at her request I showed her my music, I committed the faux pas of singing it myself. She did not bear any malice, and when I met her again a few years later she said to me: 'I'm sure you must have improved, come and see me!' This time she sang; ever after that, she was for me an exceptionally good interpreter and friend."

- Darius Milhaud, NOTES WITHOUT MUSIC, p.46

G107. JANE BATHORI, w.Darius Milhaud (Pf.): Poemes Juifs - Chant de nourrice / Chant de résignation; Chant d’amour (all Acc. by the Composer). 12” EL PW French Col. D 15194, only form of issue, 1930. M-A, a gleaming copy. MB 50

G108. JANE BATHORI, w.Darius Milhaud (Pf.): Les Soirées de Petrograd - L'ancien régime / La révolution (Acc. by the Composer). 12” EL PW Eng. Col.D 15135, POM-1929. M-A, a gleaming copy. MB 65

G109. CLAIRE CROIZA, w.Pierre de Bréville (Pf.): Une jeune fille parle / La belle au bois (both Acc. by the Composer). 10” EL PW French Col. D 13085, only form of issue, 1928. M-A, a gleaming copy. MB 75

G110. CLAIRE CROIZA, w.Albert Roussel (Pf.): Light / w.Pierre de Bréville (Pf.): Deux rondels (each Acc. by the Composer). 12” EL PW French Col. D 15129, only form of issue, 1928. M-A, a gleaming copy. MB 75

G111. CLAIRE CROIZA, w.Albert Roussel (Pf.): Quatre Poèmes – L’Invocation / w.Pierre de Bréville (Pf.): Les Fées (each Acc. by the Composer). 12” EL PW French Col. D 15187, only form of issue, 1928/’29, resp. M-A, a gleaming copy. MB 65

G112. CLAIRE CROIZA, w.Albert Roussel (Pf.): Amoureux séparés / w.Arthur Honegger (Pf.): Chansons de la Petite Sirène - Chanson des sirènes; Berceuse de la sirène (all Acc. by the Composer). 10” EL PW Eng. Col. D 13082, only form of issue, 1928. M-A, a gleaming copy. MB 75

G113. CLAIRE CROIZA, w.Albert Roussel (Pf.): Deux Melodies - Sarabande (Acc. by the Composer) (Croiza was the dedicatée of this Cycle, which she premièred 9 Dec., 1928, Paris / w.Francis Poulenc (Pf.): Ariettes oubliées - Il pleure dans mon coeur (Debussy). 10" EL PW French Col. D 13084, only form of issue, 1928. M-A, a gleaming copy. MB 65

G114. CLAIRE CROIZA, w.George Reeves (Pf.): Jardin d'amour (Vuillermoz) / L'amour de moy (arr. Tiersot). 10" EL PW French Col. LF 61, POM-1930. M-A, a gleaming copy. MB 50

G115. CLAIRE CROIZA, w.Francis Poulenc (Pf.): L'invitation au voyage (Duparc) / Le Bestiaire, ou Le cortège d’Orphée (Acc. by the Composer). 12” EL PW French Col. D 15041, POM-1928. M-A, a gleaming copy. MB 45

“It may come as a surprise to some (it did to me) that Claire Croiza, universally acknowledged as one of the high priestesses of French art song, dedicated the first half of her career to opera….It was not until after World War I that Croiza essentially forsook the opera house and, becoming a champion of modern French music, dedicated herself almost exclusively to the recital hall.”

- Victor Girard, Marston Program notesG116. CLAIRE CROIZA, w.de Vocht Cond. Anvers Ensemble; van Hertbruggen: Judith (Honegger), 4s. 2-12” EL PW Eng. Col. D 15240/41, POM-1929. M-A, a gleaming copy. MB 30, the Pair.

G117. CLAIRE CROIZA, w.de Vocht Cond. Anvers Ensemble; van Hertbruggen & van Steenbergen: LES CHOÉPHORES - L'Orestie d'Eschyle (Milhaud). 2-12” EL PW Eng. Col. D 15242/43, POM-1929. M-A, a gleaming copy. MB 30, the Pair.

"The program...also included LES CHOÉPHORES with Claire Croiza magnificently playing the speaking rôle. The same success was repeated in Paris. Like the Belgian audience, the Parisians appeared chiefly impressed by the exaltation and power of the voices under the electrifying direction of de Vocht, whose fervor and enthusiasm had a superhuman effect. It was after this performance that Columbia made recordings of extracts from LES CHOÉPHORES..."

- Darius Milhaud, NOTES WITHOUT MUSIC, p.46G118. CLAIRE CROIZA, w.Ivana Meedintiano (Pf.): Trois Ballades de Villon - Ballade que Villon fait à la requeste de sa mère / Deux Romances - Les Cloches; Les Angélus (all Debussy). 12” EL Lumen 32.045, only form of issue, 1936. M-A, a gleaming copy. MB 65

G119. CHARLOTTE MELLOT-JOUBERT, w.Le Boucher (Pf.): Die Schöne Müllerin - 3 Excerpts (in French) (Schubert), 2s.

10" EL PW French Col. D12034. M-A, a gleaming copy. MB 15

G120. AGNÈS CAPRI, w.France Olivier (Pf.): Dans la sciure (Doser) / Le Naturaliste (Honegger); La Grande Opéra (Karveno). 10" EL Boîte à Musique V.505, only form of issue, 1948. M-A, a gleaming copy. MB 25

"Agnès Capri was born in 1915, L'Arbresle, Rhône. She first studied drama with Charles Dullin and Louis Jouvet, and learned revolutionary ideas, becoming a member of the Association of Revolutionary Writers and Artists. In 1935, she embarked on the Boeuf sur le Toit Cabaret opened at the initiative of Jean Cocteau, where her success was immediate, and all Paris rushed to listen to this young woman whose voice and direction were quickly recognized. She caused a scandal on Easter Sunday by reciting a poem by Jacques Prévert ‘Our Father which art in heaven, stay there.’ Before opening her own place in 1938, Capricorn, in Paris, where she hosted many surrealist artists and friends such as Jacques Prévert, Michel Vaucaire, Joseph Kosma, and Germaine Montero. Always interpreting the work of Jacques Prévert, she created, ‘The big guy’, for which she wrote the lyrics, and recorded it that year. The arrival of German troops forced her to close the Capricorn. Pursued, she left France for Algiers. She presented and hosted performances in Algiers, then with the assistance of Jacques Canetti, the great talent scout, she returned to Paris in 1944, and created her Théâtre Agnès Capri which presented, among others, Catherine Sauvage, Cora Vaucaire, Mouloudji, Serge Reggiani and Jacques Brothers, all of whom won their first successes, but competition rendered it closed in 1958. Agnès Capri, author of many songs (‘The Great Opera’, ‘Lets talk about Jacob'), may truly be considered one of the pioneers of women in song.”

G121. IRENE JOACHIM, w.Jane Bathori (Pf.): L'Échelonnement des haies; Ariettes Oubliées - Green (Aquerelle #1) / Trois Chansons de Bilitis – La flûte de Pan; La cheveleure; Le tombeau des Naïades (all Debussy). 2–10" EL Boîte à Musique 54/55, only form of issue, 1948. M-A, a gleaming copy. MB 45, the Pair.

G122. IRÈNE JOACHIM, w.Jane Bathori (Pf.): L'Échelonnement des haies; Ariettes Oubliées - Green (Aquerelle #1) / Trois Chansons de Bilitis - Le tombeau des Naïades (all Debussy). 10" EL Boîte à Musique 55, only form of issue, 1948. M-A, a gleaming copy. MB 25

G123. IRÈNE JOACHIM, w.Jean Germain (Pf.): Réponse d’une épouse sage (Roussel) / La chanson de Tessa (Jaubert). 10" EL Boîte à Musique 48, only form of issue, 1948. M-A, a gleaming copy. MB 25

G124. IRÈNE JOACHIM, w.Ludwig Bergmann (Pf.): An Chloe / Dans un bois solitaire (both Mozart). 10” EL LVSM DA 4917, only form of issue, 1938. M-A, a gleaming copy. MB 20

G125. IR È NE JOACHIM , w.Ludwig Bergmann (Pf.): O wüsst’ ich doch den Weg zurück / Am Sonntag Morgen; Wie Melodien zieht es mir (all Brahms). 12” EL plum Disque Gram. L-1055, only form of issue, 1938. M-A, a gleaming copy. MB 35

G126. IR È NE JOACHIM , w.Leibowitz Cond.: Four Songs, Op.2 (Berg), 2s. 12” EL French Classic 2.084, only form of issue, 1949. M-A, a gleaming copy. MB 25

“Daughter of Herman Joachim and Suzanne Chaigneau, and grand-daughter of the violinist Joseph Joachim, Irène Joachim made her debut at the Opéra-Comique on 2 February, 1939. She is probably best remembered for her interpretation of Mélisande in PELLÉAS ET MÉLISANDE which she sang at the Opéra-Comique in 1940, 1949 and 1952, a rôle she recorded in 1942 under Roger Désormière. Irène Joachim also sang German lied (Schubert, Schumann, Berg): she won a 'Grand Prix du disque' in 1959 for her recording of lieder by Carl Maria von Weber (with Hélène Boschi at the piano). She was renowned for her impeccable diction, and was for many years a professeur of singing at the Conservatoire de Paris.”

G127. SOPHIE WYSS: Au clair de la lune / Il était une bergère (both French folk). 10” EL red Eng. Decca M.497. M-A, lovely copy has sev. tiny closed pressing blisters, ltly audible. MB 8

G128. SOPHIE WYSS, w.Kathleen Long (Pf.): La Bonne Chanson (Fauré), 9s / Sd. 10 = w.Josephine Southey-John (Pf.): L’échelonnement des haïes (Debussy); Nicolette (Ravel). 5–10” EL dark-blue Eng. Decca AF.9414/18. M-A, gleaming copy has, Sd. 3 only, infinitesimal pap. scr, inaud. MB 35

G129. SOPHIE WYSS, w.Josephine Southey-John (Pf.): Les berceaux (Fauré) / Villanelle des petits canards (Chabrier). 10” EL red Eng. Decca M.529. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

G130. SOPHIE WYSS, w.Benjamin Britten (Pf.): Le Roi n’en va-t-en chasse / La belle est au jardin d’amour (both French folk). Sophie Wyss, the Swiss soprano, premièred with the composer at Wigmore Hall, 30 Jan., 1940, was the dedicatée of Britten’s ‘Les Illuminations’.10” EL red Eng. Decca M.568. M-A MB 12

G131. MADELEINE MARTINETTI, w.Marcel Delannoy (Pf.): Le bateau à soupe – Nanou filhadoue (Méodie en forme de rumba) / Ginèvre – Berceuse du Grillon (both (Acc. by the Composer). 10” EL French Col. LF 254, only form of issue, 1947. M-A, a gleaming copy. Exceedingly elusive! MB 45

G132. MADELEINE MARTINETTI, w.Madge Wilmot (Pf.): La chanson de Tessa (Jaubert) / L’esclave (Lalo). 10” EL French Col. LF 252, only form of issue, 1946. M-A, a gleaming copy. Elusive! MB 35

G133. MADELEINE MARTINETTI, w.Margaret Azaïs (Pf.): Flavio – Amor, nel mio penar (Handel) / Amouri (John Blow). 10” EL French Col. LF 237, only form of issue, 1946. M-A, a gleaming copy. MB 25G134. MADELEINE MARTINETTI, w.Honegger Cond.: Poème de Verlaine; Poème de William Aguet / Psaume 130 – Mimaamaquan (all Cond. by the Composer). 12” EL French Col. LFX 741, only form of issue, 26 June, 1947. M-A, a gleaming copy. MB 20

G135. SOLANGE RENAUX, w.Andolfi Cond.: Mandrin – Stances d’Isabelle / Chanson d’Isabelle (Szulc). 10” EL dark-blue Pathé PA 469, only form of issue, 1934. M-A, gleaming copy has, Sd. 1 only, infinitesimal pap. scr, faintly audible 3 turns. Sd.1 truly exquisitely beautiful! MB 12

G136. SOLANGE RENAUX, w.Cauchie Cond.: Roland – Par le secours / Persée – O Mort! (both Lully). 12” EL Col. MasterWorks P-9154-M, POM-1935. M-A, a gleaming copy. MB 12

G137. MARGUERITE MÉRENTIÉ: Salammbó – Les colombes (Reyer) / Le Cid – Pleurez, mes yeux (Massenet).13½” AC US grey paper label H & D Pathé 80010 (0040/41), recorded 1911, Paris. M-A MB 25

“Marguerite Mérentié had been an immediate success. She made a most promising début at the Opéra in 1905 in the rôle of Chimène in LE CID, just one year after graduating from the Conservatoire national with first prize for singing and second prize for opera. She sang progressively heavier rôles at the Opéra, especially in contemporary French works, notably Ariane in the Massenet opera of the same name in 1907, and Salammbô in the same year. She became a noted Wagnerian, starting with Sieglinde in 1907, before going on to Brünnhilde and Isolde just before the First World War put a stop to opera in Paris and directly or indirectly to Mérentié’s own career. In the meantime, she had spent a few years at the Opéra-Comique, singing notably Carmen, which she recorded complete in 1911. In 1910 she sang Ariane in ARIANE ET BARBE-BLEUE, and later that year her first Tosca. In 1911 she created the title rôle in Albéric Magnard’s BÉRÉNICE.” Back at the Opéra, in 1912, she again sang Chimène in LE CID. Switching to the Gaîté Lyrique in April, she created the rôle of Naïl in Isidore de Lara’s opera of the same name. In 1913, she participated in the Opéra creation of Lalo’s SORTILÈGE, where she is said to have sung with real power and accuracy. A month later she was singing Armide, then in March her first Brünnhilde in LA VALKYRIE. In Paris she was regarded with the highest esteem. Mérentié left relatively few records.”

- John Humbley, Program notes to Marston’s LES FRÈRES DANILOG138. SUZANNE BALGUERIE: Ariane et Barbe Bleue - Oh! mes clairs diamants / Ah! ce n'est pas encore la clarté véritable (Dukas). 12” EL PW Eng.Col. LFX 23. M-A, a gleaming copy. MB 25

G139. SUZANNE BALGUERIE: Ariane et Barbe Bleue - Oh! mes clairs diamants / Voici la clef de votre aurore (Dukas). 12” AC PW Disque Gram. W 577, only form of issue, 16 June, 1924 – most elusive, late AC issue. M-A MB 85

G140. SUZANNE BALGUERIE: Alceste – Non! ce n’est pas un sacrifice (Gluck), 2s. 10” EL PW Eng.Col.LF 54. M-A, a gleaming copy. MB 25

G141. SUZANNE BALGUERIE: Iphigénie en Tauride – O malheureuse Iphigénie / Alceste – Divinités du Styx (both Gluck).

12" EL red Eng. Decca-Polydor LY.6065, POM-1932/’31, resp. M-A MB 15

G142. SUZANNE BALGUERIE: Tristan – Liebestod (in French), 2s. 10" EL PW black French Polydor 561.054, only form of issue, 1932. M-A MB 45

G143. SUZANNE BALGUERIE, w.Wolff Cond.: Tannhäuser – Allmacht'ge Jungfrau / Lohengrin - Einsam in trüben Tagen (both in French). 12” EL PW black French Poydor 566104, only form of issue, 1931. M-A, gleaming copy has, Sd. 1 only, 2 infinitesimal pap. scrs, positively inaud. MB 35

“Balguerie made her début at the Opéra-Comique as Ariane in Dukas’ ARIANE ET BARBE-BLEU. She remained a member of this opera house for more than twenty years, but she also appeared at the Paris Grand Opéra. She sang leading rôles in several contemporary French operas by composers such as Alfred Bachelet, Milhaud, Léo Sachs and Henri Rabaud. She was successful as Isolde at the Opéra-Comique, and her repertory also included Donna Anna, Contessa in LE NOZZE DI FIGARO, Brünnhilde in DIE WALKÜRE, Antonia, Marguerite, Tosca and Pénélope (Fauré). She was admired by the French public in Paris, Toulouse, Bordeaux, Monte Carlo and rarely appeared outside France. She finished her career in 1950 and became a renowned coach at the conservatory of Grenoble.”

G144. LUCY PERELLI: Mignon – Connais-tu le pays? / LOUIS MUSY: Hérodiade – Vision fugitive. 10" EL black Disque Gram. P-762, only form of issue, 24 Nov. / 27 Oct., 1927. M-A/A-, lovely copy has, Sd. 2 only, sev infinitessimal pap. scrs, inaud. MB 12

G145. LUCY PERELLI: La Favorite – O mon Fernand / Samson et Dalila – Amour viens aider ma faiblesse. 12" EL black Disque Gram. W-1161, only form of issue, c.1930. M-A MB 12

G146. LUCY PERELLI: Samson et Dalila – Mon coeur s’ouvre à ta voix / LUCY PERELLI & ÉMILE MARCELIN: Lakmé – C’est le Dieu de la jeunesse. 10" EL black Disque Gram. P-678, only form of issue, 21 Oct., 1926. M-A, lovely copy has minor adhesive on labels. MB 12

G147. LUCY PERELLI: Carmen – Les tringles des sistres tintaient / LUCY PERELLI & ÉMILE MARCELIN: Non, tu ne m’aimes pas. 12" EL black Disque Gram. W-836, only form of issue, 27 Oct. / 30 Sept., 1926. M-A/A, lovely copy has, Sd 2 only, hint of grey on peaks. MB 12

G148. YVONNE GALL: Ave Maria (Bach-Gounod) (in Latin) / Ave Maria (Schubert) (in English). 10” AC brown Pathé Actuelle 025102, recorded 1919-20. M-A, a gleaming copy. MB 12

G149. YVONNE GALL, w.Simone Petit (Pf.): Pour ta fête; Du haut de l’arbre / Devant le bazar aux jouets; Mon bon chien (all Büsser). 10” EL PW dark-blue Col. DF 930. M-A, a gleaming copy. Exceedingly elusive! MB 20G150. EMMA CALVÉ: Le message suprême (Deathbed Message), 4 Jan., 1942 / Où voulez-vous aller? (Gounod) – recorded 1920, Pathé. 12” EL / AC Société Française de Gramophilie AFG 2, Numbered Copy #252 of a Limited Edition. M-A MB 50

“On 2 January, 1942, three days before her death, Michel de Bry recorded the voice of Calvé reciting, most beautifully, in subdued though emotionally charged tones, two passages from her autobiography ‘Sous tous les ciels j’ai chanté’. A rare record…it is a moving experience.”

- Michael Aspinall, THE RECORD COLLECTOR, 2008“In fact, the ‘message’ is simply [Calvé’s] reading from pages 262-3 of her book….It takes the form of a diary of events in her life between 1891 to 1938. The section she reads concerns a war-charity concert she gave in New York in 1916 and was written one o’clock in the morning on board the ship returning to France

immediately afterwards….She was taken to the boat knowing she had raised $50,000 for the charity. She then says how she would sleep contentedly knowing she had done her duty to France….The last few sentences, read out in a tired voice, do sound like someone dying, but in fact I’m sure she is simply acting her part….Her reading is taken almost word for word from the book. It is interesting all the same, but not quite so morbid as the myth!”

- Richard Copeman, THE RECORD COLLECTOR, 1994G151. EMMA CALVÉ: In questa tomba oscura (Beethoven) / Carmen – En vain pour éviter. 10” AC orange IRCC 85, RRs-1920, Pathé. M-A MB 15

G152. EMMA CALVÉ: In questa tomba oscura (Beethoven); Derniers voeux (Hahn) / Norma - Casta Diva. 12” AC vinyl black IRCC 3141, RRs-1920, Pathé. M-A MB 10

G153. EMMA CALVÉ: Ma Lisette (18th Century); Le printemps (Gounod). 12” AC RCA Vla 88123, choice mid-1930s Elaine pressing, POM-6 March, 1908, Never Doubled in any regular series. M-A MB 20

"[In the above], hear one of the miracles of singing snatched by the early gramophone. In the folksong Ma Lisette, Calvé makes her famous leap up to a high, pianissimo D that is one of those notes from what she called her 'fourth voice'. She had learned the technique, she claimed, from Domenico Mustafa, one of the last of the Papal castrati. What is remarkable about the note is its fullness despite its quietness."

- Patrick O'Connor, INTERNATIONAL CLASSIC RECORD COLLECTOR, Autumn, 1997

G154. EMMA CALVÉ: Ma Lisette (18th Century); Le printemps (Gounod) / Sérénade du passant; Sapho – O Magali (in Provençal; introduced by Calvé into Massenet’s SAPHO (both Massenet). 12” AC silver Victor IRCC 134, POM-6 March, 1908 / RR-1902. Numbered Copy #65 of Limited Edition. M-A MB 25

G155. EMMA CALVÉ: Où voulez-vous aller (Gounod) / Carmen – Les tringles des sistres tintaient (both 1920 Versions). 11¾” AC grey US-H & D Pathé 59090 (2370/2304), both only form of issue, 1920. A-/A, lovely copy has, Sd.1 only, lt. rubs, inaud. MB 15

G156. EMMA CALVÉ: Chantez, riez, dormez (Gounod) (1920 Version) / Les Contes d’Hoffmann – Belle nuit, o nuit d’amour. 11¾” AC green H & D Pathé 0275 (2318/2303), only form of issue, 1920. M-A, a gleaming copy. MB 20

G157. EMMA CALVÉ: Chantez, riez, dormez (Gounod) (1ST 1908 Version). 12” AC Pat.’08 Vla 88119 (‘Take’ 1), only form of issue, 9 March, 1908. M-A MB 10

G158. EMMA CALVÉ: Chantez, riez, dormez (Gounod) (2ND 1908 Version). 12” AC Pat.’12 Vla 88119 (‘Take’ 2), POM-9 March, 1908; Never Doubled. M-A MB 10

G159. EMMA CALVÉ: Chantez, riez, dormez (Gounod) (1916 Version). 12” AC Vla 88119 (‘Take’ 9), POM-6 June, 1916. M-A MB 8

G160. EMMA CALVÉ: Plaisir d'amour (Martini). 12” AC GP V 88134, POM-6 March, 1908. Most Elusive in this original pressing which enjoyed a brief catalogue life. M-A, choice copy has faintest pap. rub, inaud. MB 30

G161. EMMA CALVÉ: Plaisir d'amour (Martini) / La Rosilla (Canción española) (Yradier). 12” AC Historic Catalogue #2 HMV DB 124, POM-6 March, 1908. A/M-A, choice copy has, Sd. 1 only, infinitesimal pap. scr, inaud. MB 20

“On the same exalted level is [Calvé’s] superb singing of ‘Plaisir d’amour’ in a very plain version, shorn of all ornament, relying entirely on the perfectly floated vocal line and infinite shadings of volume. This is one of the greatest examples of legato singing that I know, and I can understand why Calvé herself gasps an ecstatic ‘Ooh!’ at the end, overwhelmed by her own artistry.”

- Michael Aspinall, THE RECORD COLLECTOR, 2008G162. EMMA CALVÉ: La Rosilla (Canción española) (Yradier). 12” AC HMV 063003, POM-6 March, 1908. M-A, choice copy of this rarity, although recorded at Camden, this never appeared on Victor. MB 45

G163. EMMA CALVÉ: Trois chansons pour les tous petits. 12” AC V 88572, POM-6 June, 1916. A to M-A, lovely copy has faintest pap. rub, inaud.; tiny label tear. MB 15

“…If you would hear almost all the riches that Calvé has to give, on one record, play [the above]….no one save a very great artist could get them over with such humour, such a sense of drama, and such lovely tone in all her several voices. We may never listen to her like again….”

- Cedric Wallis, THE AMERICAN MUSIC LOVER, July, 1936G164. EMMA CALVÉ: La Marseillaise (de l'Isle). 12” AC Vla 88570, POM-8 June, 1916. A to M-A, lovely copy has mere hint of grey on peaks. MB 8G165. EMMA CALVÉ: Old folks at home (1907 Version) (Foster). 12” AC GP V 88089, only form of issue, 22 April, 1907. A-, lovely copy has lt. rubs, inaud.; faint nr on label. MB 10

G166. EMMA CALVÉ: Old folks at home (1916 Version) (Foster). 12” AC V 88089, POM-8 June, 1916. M-A MB 10

“In all her records, [Calvé’s] mastery of the legato style is evident, and when she chooses to show off her long line and her haunting pianissimo in ‘The Old Folks at Home’, even the muddy recording of the 1907 Victor cannot impair the thrill of such ravishing sounds….but there are also some memorable moments in the 1916 version for which she has carefully re-studied her phrasing and pronunciation.”

- Michael Aspinall, THE RECORD COLLECTOR, 2008G167. EMMA CALVÉ: Norma - Casta Diva / Sapho (Massenet) - Pendant un an je fus ta femme (Creator Record, 27 Nov., 1897, l’Opéra-Comique). 12” AC shellac black Collectors Record Shop CS 043200/01, RRs-1920, Pathé. M-A MB 10

G168. EMMA CALVÉ: Amadis de Gaule - Amour, que veux-tu de moi? (Lully) / Nozze - Voi che sapete (in French). 10" AC silver IRCC 196, RRs-1920, Pathé. Numbered Copy #26 of a Limited Edition; Calvé's Photo is affixed to Sd.2 label. M-A MB 20

G169. EMMA CALVÉ: Perle du Brésil – Charmant oiseau (‘Take’ 1), 1907 Version, w.Orch. & Flute). 12” AC GP V 89087, POM-22 April, 1907. M-A MB 12

G170. EMMA CALVÉ: Perle du Brésil – Charmant oiseau (‘Take’ 2), 1908 Version, w.Piano & Flute). 12” AC V 89087, POM-9 March, 1908. M-A, a gleaming copy. MB 12

G171. EMMA CALVÉ: Hérodiade – Il est doux, il est bon. 12” AC GP V 88130, POM-5 March, 1908. M-A MB 10

“Salome’s air from HÉRODIADE is a ‘desert-island disc’ for Massenet fans….the timbre of the voice is fresh and warm….and she never sings aggressively louder as she goes up the scale….she possessed a personal kind of feeling for the musical line together with a similar feeling for words, resulting in musical and dramatic eloquence.”

- Michael Aspinall, THE RECORD COLLECTOR, 2008G172. EMMA CALVÉ: Cavalleria – Voi lo sapete. 12” AC Pat.’08 Vla 88086, POM-22 April, 1907. M-A MB 10

G173. EMMA CALVÉ: Carmen - Habañera (1902 Version). 10" AC V Monarch 91000, Early "B" Plate Issue, (2058-R), POM-1902. A-B, very decent copy has numerous very lt. superficial scrs, inaud. MB 35

“What perfect singing [the above] is! The rich mezzo-soprano is as smooth as velvet, but there is an ocean of feeling beneath the even flow of creamy tone. These modern singers…should cease their would-be dramatic screams for a while and learn how to act with the voice and keep it beautiful at the same time.”

- Cedric Wallis, THE AMERICAN MUSIC LOVER, July, 1936G174. EMMA CALVÉ: Carmen - Habañera (1907 Version). 12” AC Pat.’12 Vla 88085, POM-22 April, 1907. M-A MB 8

G175. EMMA CALVÉ: Carmen - Habañera (1907 Version) / MATTIA BATTISTINI: Ernani – O sommo Carlo. 12” AC V 18144, POM-22 April, 1907 / 2 Sept., 1909. M-A MB 6

G176. EMMA CALVÉ: Carmen - Séguedille (2nd Version, described below). 10" AC GP V 91002, Early "E" Plate Issue, (2062-R2), POM-1902. A to M-A, lovely copy has infinitesimal nr, positively inaud. MB 25

“…in coming up to the final high note [above], Calvé had a small but noticeable disaster….This time Calvé's performance was still more intense. There was more dancing, and then the final phrase...emerged precisely as it had done before. 'Ah, Mon Dieu!' exclaimed Calvé through her teeth, and these words were also recorded. After that, they gave up on Carmen."

- Jerrold Northrop Moore, A MATTER OF RECORDS, pp.73-74G177. EMMA CALVÉ: Carmen – Les tringles des sistres tintaient. 12” AC Pat.’08 Vla 88124, POM-20 March, 1908. M-A MB 10

G178. EMMA CALVÉ & CHARLES DALMORES: Carmen - Là-bas dans la montagne. 12” AC Pat.'12 Vla 89019, POM-20 March, 1908, Never Doubled, USA. M-A MB 12

G179. EMMA CALVÉ, DIPPLE & JOURNET: Faust – Fragments, 15 Feb., 1902 / Emma Calvé, w.Bridewell & de Marchi: Cavalleria – Fragments, 22 Feb., 1902. 12” AC gold IRCC 163, RRs-Mapelson Cylinders, both from Actual Performances, Met Opera. Numbered Copy #51 of a Limited Edition. Photos of Calvé's Marguerite & Santuzza affixed to respective labels. M-A, lovely copy has, Sd. 1 only, tiny pap. rub, inaud. MB 35

“In CAVALLERIA RUSTICANA….She is singing intensely, with dark tone, and ascends easily to the higher-lying passages, but the great thing is to be able to hear her curse Turiddu….It is a spine-chilling moment.”

- Michael Aspinall, THE RECORD COLLECTOR, 2008G180. HÉLÈNE LUDOLPH, w.Herbert Dawson (Organ) & Gerald Moore (Pf.): Nuit d’étoiles (Debussy) / w.Herbert Dawson (Organ) & Cedric Sharpe (Cello): Atalanta – Care selve (Handel). 10” EL PW plum HMV B 8200. M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 12

“The Belgian-born Dutch soprano, Hélène Ludolph, moved after World War I, at young age, to Holland, where she settled down in Haarlem. In Holland, she received her entire musical training where her beautiful, shining voice and musicality were highly praised. Hélène Ludolph has sung - with great success - in opera, primarily 1930-41 with the Nederlandse Opera Ensemble.”

G181. 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 gleaming copy. MB 20

G182. GERMAINE MARTINELLI, w.Wolff Cond.: Ottone - Vieni, o figlio / Xerxes - Ombra mai fu (both in French). 12” EL black French Polydor 566.101, only form of issue, 1930. M-A MB 15

G183. GERMAINE MARTINELLI, w.Wolff Cond.: Marie-Magdeleine - O bien-aimé / C’est ici même à cette place (Massenet). 12” EL PW black French Polydor 566.100, only form of issue, 1930. M-A, gleaming copy has very occasional faintest pap. rub, inaud. MB 20

“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 BadeG184. GERMAINE MARTINELLI, w.Wolff Cond.: Aïda – Ritorna vincitor! / Otello – Ave Maria (both in French). 12” EL black French Polydor 566.112, only form of issue, 1930. M-A, lovely copy has a few ‘damp’ spots, inaud. MB 15

G185. GERMAINE MARTINELLI, w.Wolff Cond.: Werther – Va! laisse-les couler / Tosca – Vissi d’arte (in French). 10” EL PW black French Polydor 561.065, only form of issue, 1930. M-A, a gleaming copy. MB 25

G186. GERMAINE MARTINELLI & RENÉ VERDIÈRE, w.Defosse Cond.: Il Trovatore – Miserere (in French), 2s. 10” EL French Odéon 188.043, only form of issue, 1930. M-A, a gleaming copy. MB 20 G187. GERMAINE MARTINELLI & GEORGES THILL, w.Bigot Cond.: Lohengrin – Das süsse Lied verhallt (in French), 4s. 2–12” EL Eng. Col. LFX 455/56, POM-10 Oct., 1936. A to M-A, lovely copy w.faintest pap. rub, inaud. MB 25, the Pair

“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

G188. FÉLIA LITVINNE: La Favorite – O mon Fernand / Samson et Dalila – Mon coeur s’ouvre à ta voix. 10¾” AC French Odéon 56220/19 (XP 5023/22), POM-1908. A-, lovely copy has faintest rubs & very occasional superficial scr, positively inaud. MB 35

G189. FÉLIA LITVINNE: Cavalleria – Voi lo sapete / Aïda – I sacri nomi (both in French). 12” AC vinyl Historic Masters HMB 10, POM-1905, (10¾” record pressed onto a 12” blank). MINT MB 12

G190. FÉLIA LITVINNE: L'Africaine – Sur mes genoux / Lohengrin – Einsam in trüben Tagen (in French). 10¾" AC brown German Odeon X 39218 / 39182 (xPh 695/676), POM-1905. M-A, choice copy of preferred 1930's Pressing, produced for IRCC. MB 45

“…[one] had never heard another voice like Litvinne’s, for fullness of the sound itself, for the enchanting timbre, for the softness and the richness of the range of colourings, or for such music in the sound itself and its overtones….In each rôle, Litvinne’s voice seemed made for that particular rôle: in every sound was the music of the particular character. Irrespective of the tessitura and language in which she was singing, the articulation of every word was clear and somehow transparent….Every phrase was alive with her temperament and involvement….”

- Sergei Levik, THE LEVIK MEMOIRS, p. 307G191. SUZANNE JUYOL, w.Bigot Cond.: Faust – Le roi de Thulé / Air des bijoux. 12” EL LVSM DB 11.178, only form of issue, 1947. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10

G192. SUZANNE JUYOL, w.Bigot Cond.: Carmen – Les tringles des sistres tintaient / Habañera. 12” EL LVSM DB 11.192, only form of issue, 1947. M-A MB 12

G193. SUZANNE JUYOL, w.Fourestier Cond.: Le Roi d’Ys – Lorsque je t’ai vu / Tosca – Vissi d’arte (in French). 12” EL LVSM DB 11.203, only form of issue, 1947. M-A MB 12

G194. SUZANNE JUYOL, w.Fourestier Cond.: La Damnation de Faust – Autrefois un roi de Thulé / D’amour l’ardente flamme. 12” EL LVSM DB 11.188, only form of issue, 1947. A to M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 10

“Suzanne Juyol,the leading dramatic soprano of her era in France, made her professional début at the Palais Garnier, in 1942, as Margared in LE ROI D'YS, followed by Fauré's PÉNÉLOPE, Dukas' ARIADNE, Marguerite in Berlioz's LA DAMNATION DE FAUST and in Gounod's FAUST. Her début at the Opéra-Comique took place in 1946, as Charlotte in WERTHER; other rôles included: Carmen, Tosca, Santuzza in CAVALLERIA RUSTICANA, etc. She made her début at the Monte Carlo Opera in 1947, where she began singing Wagner rôles such as Kundry, the two Brünhildes and Ortrud. The success was such that she was invited to sing at the Berlin Staatsoper in TRISTAN UND ISOLDE, opposite Max Lorenz, in 1951. Just as an international career was in the making, Suzanne Juyol retired from the stage in 1960, aged only 40. She was married to Victor Serventi, a voice teacher at the Paris Opéra.”

G195. LAURE TESSANDRA, w.Defosse Cond.: Samson et Dalila – Mon coeur s’ouvre à ta voix / Il Trovatore – Stride la vampa (in French). 10” EL French Odéon 188.030. M-A MB 12G196. ELEN DOSIA, w.Fourestier Cond. l'Opéra Orch.: Thaïs - L'amour est une vertu rare / Dis-moi que je suis belle. 12” EL LVSM DB 11.225, only form of issue, 1948. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

“Elen Dosia, (born Hélène Odette Zygomala, sometimes known as Ellen Dosia), was a French opera singer of Greek origin. Dosia was born in Constantinople. She became a soprano singer, and enjoyed her first major success at age 20 with the title part in TOSCA. She quickly became one of the most popular singers at Opéra Garnier and Opéra-Comique, where she performed from 1935 through 1952. She appeared often in Massenet operas, performing in MANON and THAÏS, and appearing at the 1942 Massenet Gala singing the title rôle in a tableaux of ESCLARMONDE. In 1947 Dosia débuted at the Metropolitan Opera, again playing Tosca. She retired from the stage in 1952, and then concentrated on her family life.”

G197. HÉLÈNE BOUVIER, w.Bigot Cond. Lamoureux Orch.: Werther – Va! laisse-les couler, 2s. 10" EL Pathé PD 44, only form of issue, 1943. M-A, choice copy has, Sd. 2 only, tiny label tear. MB 15

G198. HÉLENE BOUVIER, w.Fourestier Cond. l'Opéra Orch.: Samson et Dalila - Printemps qui commence / Amour viens aider ma faiblesse. 12” EL Pathé PDT 188, only form of issue, 1943, not from any set. M-A MB 15

G199. MARCELLE DENYA, w.G.Courquin Fils Cond.: Les cent vièrges / Le jour et la nuit (both Lecocq). 10” EL dark-blue French Ultraphone AP 534. A to M-A MB 15

G200. BLANCHE ARRAL: El Bolero grande (Vasseur) / PAULINE DONALDA: Faust - Air des bijoux. 10" AC silver Victor IRCC 46, POM-19 March, 1909/9 July, 1906, resp. Numbered Copy #33 of an Limited Edition. Each Label is Autographed by the respective Artist, to which her Photo is affixed. M-A MB 45

G201. BLANCHE ARRAL: La véritable manola (Bourgeois) / Manon - Au Cours-la-Reine. 12” AC red & gold IRCC 100, RRs-1908, from Edison cylinders, Sd.2 Unpublished. Numbered Copy #60 of a Limited Edition. Sd. 2 label Autographed by Arral, but her photo is missing. M-A MB 25

G202. BLANCHE ARRAL: L’Amour Mouillé - Valse d’oiseau (Varney). 10” AC Pat.’12 V 64099, POM-19 March, 1909, Never Doubled. M-A MB 12

G203. BLANCHE ARRAL: Giroflé-Girofla - Le punch scintille (Lecocq) / Mignon - Je suis Titania. 12” AC pink IRCC 160, RRs-1908, Edison Cylinders. Sd.2 Label Autographed by Arral. M-A MB 25

G204. BLANCHE ARRAL: Der Bettelstudent – Le pauvre étudiant (Czardas) (Millöcker). 10” AC white Vla 64098, only form of issue, 18 March, 1909. A-, very decent copy has lt rubs & few isolated infinitesimal pap. scrs, inaud. MB 12

G205. BLANCHE ARRAL: Les Noces de Jeanette – Au bord du chemin (Air du rossignol) (Massé). 12” AC Pat.’08 V 74142, POM-19 March, 1909, only form of regular issue (other than AGS reissue). A-, lovely copy has few lt. rubs, inaud. 15

G206. BLANCHE ARRAL: Carmen - Je dis que rien ne m'épouvante / Le Coeur et la Main - Boléro (Lecocq). 12” AC yellow IRCC 135, RRs-1908, from Edison cylinders. Numbered Copy #46 of a Limited Edition; Sd.1 label Autographed by Arral, to which her photo is affixed. M-A MB 25

G207. BLANCHE ARRAL: Roméo – Je veux vivre. 12” AC Pat.’08 V 74151, POM-18 March, 1909, Never Doubled. M-A 15

G208. BLANCHE ARRAL: Faust – Air des bijoux. 12” AC Pat.’08 V 74147, POM-18 March, 1909, only form of shellac issue (other than vinyl RCA reissue). A-, lovely copy has few lt. rubs, inaud. 12

G209. BLANCHE ARRAL: I Lombardi – Quelle ivresse bonheur suprême. 12” AC white Vla 74146, POM-18 March, 1909. M-A MB 15

G210. BLANCHE ARRAL: I Lombardi – Quelle ivresse bonheur suprême / Faust - Air des Bijoux. 12” AC red vinyl Heritage RCA 15-1016, POM-18 March, 1909. M-A, as unplayed! MB 12

“[Arral’s] recordings show a technically well-trained virtuoso coloratura of the most beautiful quality, and bear the stamp of Marchesi training.”

- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.190G211. BERNADETTE DELPRAT, w.Andolfi Cond.: Madama Butterfly – Un bel dì / Tosca – Vissi d'arte (both in French). 10" EL Pathé PD 5, only form of issue, 1934. M-A, lovely copy has, Sd.1 only, faintest pap.rubs, inaud. MB 15

G212. BERNADETTE DELPRAT & GEORGES THILL, w.Bigot Cond.: Tosca – Mario! Mario! . . Perchè chiuso (in French), 2s. 12” EL PW French Col. LFX 315, POM-25 April, 1933. M-A MB 15

“When, in 1935, [Vallin] began recording what was anticipated as a complete Louise, the relationship between her and Thill worsened to the point that, in utter fury, she walked out of the recording sessions, leaving Columbia with an incomplete and disjointed set of recordings. In order to salvage the project, Columbia called in Bernadette Delprat to record some of Louise's music in the finale of the opera.”

- Vincent Giroud, Program notes to Marston’s Vallin IssueG213. INÈS JOUGLET: Louise – Depuis le jour / L’Enfant Prodigue – Azaël! Pourquoi m’as tu quittée? 12” EL Eng. Col. LX 315. M-A, a gleaming copy. MB 12

G214. JULIANA FARKAS, w.Erede Cond.: Lakmé – Où va la jeune Indoue, 2s. 12” EL French Decca K.28262, only form of issue, 1949. M-A, a gleaming copy. MB 12G215. BERTHE AUGUEZ de MONTALANT: La Charité (Rossini). 12” AC black Paris Pre-Dog 033069. A-, very decent copy has lt. rubs, inaud. MB 15

G216. BERTHE AUGUEZ de MONTALANT: Stabat Mater - Inflammatus (Rossini) / ALINE VALLANDRI & ANTONIO ROCCA: Lakmé – C‘est le Dieu de la jeunesse. 12” AC black Paris Pre-Dog 033047/020, POM-1908. A-, very decent copy has lt. rubs & superficial scrs, inaud. MB 12

G217. BERTHE AUGUEZ de MONTALANT & LÉON BEYLE: Marie-Magdeleine – Heureux ceux qui vivent dans l’amour (Massenet). 10” AC black Paris Pre-Dog G.C.-34220. M-A, Exceptional copy. MB 15

“Berthe de Montalant began a long and successful career as a concert soloist in works such as Berlioz’s L’ENFANCE DU CHRIST, ROMÉO ET JULIETTE, and LA DAMNATION DE FAUST. In 1892, she married Numa Auguez, a baritone who early in his career had sung comprimario parts at the Paris Opéra, but by the end of the 1880s had become a well-established concert singer, appearing regularly on the Lamoureux and Colonne programs. After their marriage, Berthe continued her career as Mme. Auguez de Montalant, and on 16 April 1899, she made her only appearance at the Opéra-Comique, substituting for Rose Caron as Fidelio. It should be mentioned here that her husband’s sister, Mathilde Auguez, was a light-soprano who had sung at the Opéra-Comique between 1887 and 1889. Some recent biographical sources have inadvertently confused and conflated the careers of these two very different sopranos. Berthe Auguez de Montalant made nearly 50 sides for French Gramophone, which display a powerful, dramatic voice that immediately commands the listener’s attention.”

- Vincent Giroud, Program notes to Marston’s MEYERBEER ON RECORDG218. JEANNE GUYLA, w.Mosse Cond.: Les jolies viennoises – Que je t'aime ô nid charmeur / w.MAX MOUTIA: Oh, ma Colombe; Trinquons, buvons, à nos amours (Air de la lettre) / (Johann Strauss, in French). 10” EL PW plum Disque Gram. K-7386, POM-1934. M-A, a gleaming copy. Exceedingly elusive! MB 20

G219. JEANNE GUYLA & ODETTE RICQUIER, w.Coppola Cond. Pasdeloup Orch.: La Damoiselle élue, 4s; Coppola Cond.: Printemps, 5s; Images – Cloches à travers les feuilles (all Debussy). 4-12” EL PW V 12051/54, POM-1934, in Orig. Album M-363. M-A MB 20, the Set.

G220. JEANNE GUYLA & MARTIAL SINGHER, w.Bret Cond.: Cantata #212 – Der Herr is mein getreuer Hirt (in French) (Bach), 4s. 2-12” EL PW Disque Gram. DB 4939/40, POM-28 March, 1934. M-A, Exemplary! MB 15, the Pair.

G221. ALICE ZEPPILLI: Manon – Obéissons quand leurs voix appellent / Les Contes d’Hoffmann – Les oiseaux dans la charmille. 10” AC Col. A1213, only form of issue, 14 March, 1912. M-A MB 10

“For an International artist with a repertory of about fifty rôles who usually sang in the best company, Zeppilli’s recorded output is tiny. Only two of the four sides recorded in her Chicago were released by Columbia….she made a worthwhile contribution to opera in the golden age.”

- Michael F. Bott, THE RECORD COLLECTOR, 1983G222. MARIE DELNA: Les Troyens – Chers Tyriens / FÉLIA LITVINNE: Adieu, Fière cité (Berlioz). 10” AC silver IRCC 200, RRs-1904. Numbered Copy #40 of a Limited Edition; Artists’ photos affixed to respective labels. M-A MB 15

G223. MARIE DELNA: La Vivandière – Viens avec nous, petit (Godard) / MARIE DELNA & ALBERT ALVAREZ: La Favorite – Viens, viens, je cède éperdu. 10” AC pink IRCC 88, RRs-1903/’05, Pathé, Sd.1 featuring Delna having performed the rôle first in Paris, 1 April, 1895, L’Opéra-Comique. Numbered Copy #10 of a Limited Edition; Artists’ photos affixed to respective labels. M-A MB 15

G224. MARIE DELNA: Werther – Va! laisse-les couler / GUILLAUME IBOS: Werther - Pourquoi me réveiller? (plus Ibos’ Autographe vocal, 1948). 12” AC Société Française de Gramophilie AFG 9, RR's-1907/'02, resp. Limited Edition. M-A, choice copy of Creator Record (French Version, 16 Jan., 1893, l’Opéra-Comique). MB 35

"Rehearsals [for the French première of WERTHER] began at the Opéra-Comique. The distribution of parts was superior even to my hopes, between Mlle Delna...and, furthermore, Ibos, the excellent tenor."

- Jules Massenet, ECHO DE PARIS, Jan., 1893G225. MIREILLE BERTHON: La Damnation de Faust – Autrefois un roi de Thulé, 2s. 10” EL PW black Disque Gram. P-806, only form of issue, 31 Oct., 1928. M-A MB 12

G226. MIREILLE BERTHON, w.Coppola Cond.: Otello – Salce, salce (in French), 2s. 10" EL PW black Disque Gram. P-815, only form of issue, 21 May, 1929. M-A, a gleaming copy. MB 15

G227. MIREILLE BERTHON & WILLY TUBIANA, w.Coppola Cond.: Faust – Scène de l’église, 2s. 12" EL PW black Disque Gram. W-880, only form of issue, 17 Nov., 1927. M-A MB 12

G228. IRENE PAVLOVSKA: I love you truly (Bond) / Long, long ago (Bayly). 10” AC blue Bruns.13014, only form of issue, 1920. A-, lovely copy has lt.rubs & very occasional superficial scr. MB 8

G229. IRENE PAVLOVSKA: Carmen – Habañera / La Boheme – Quando m’en vo. 10” AC blue Bruns.13004, only form of issue, 1920. Pavlovska’s sole recorded operatic titles. A to M-A, lovely copy has very occasional superficial scr, inaud.; Sd. 1 only has infinitesimal pressing bump. MB 10

“[Pavlovska, née Irène Lévi, born 17 Feb., 1889, St Jean, Québec] sang ‘a spirited, vivid, and impulsive Mercédès’ for the Montréal Opéra, 9 Nov., 1911, in a CARMEN featuring Fély Dereyne in the title rôle…with Edmond Clémont as Don José….’”

- Jim McPherson, THE RECORD COLLECTOR, 1999G230. FÉLY DEREYNE: Manon – Je marche sur tous les chemins / La Boheme – Quando m’en vo (in Italian, actually!). 10” AC Col. A1234, only form of issue, 12 April, 1912. M-A, a gleaming copy of Dereyne’s sole published disc. MB 15

G231. MARISE BEAUJON, w.Cohen Cond.: Hérodiade - Il est doux, il est bon / Charme des jours passés. 12” EL PW French Col. D.15095. A-/A, lovely copy has, beg. Sd. 1 only, 2 tiny edge scrs, faintly audible during first few turns. MB 10

G232. MARISE BEAUJON, w.Bigot Cond.: Madama Butterfly – Un bel dì / Tosca – Vissi d’arte (both in French). 12” EL PW French Col. LFX 76. M-A MB 10

G233. MARISE BEAUJON, w.Truc Cond.: Faust – Le Roi de Thulé / Air des bijoux. 12” EL Eng. Col. D15044. M-A MB 10

G234. MARISE BEAUJON & FRED BORDON, w.Grovlez Cond.: Faust – Scène de l’église, 2s. 12” EL PW French Col. D15045. M-A MB 12

G235. SUZANNE DANCO: Wohin / Die Forelle (both Schubert). 10” EL orange French Decca AG 658. M-A MB 12

G236. SUZANNE DANCO, w.Phyllis Spurr (Pf.): Amarilli (Caccini) / Deh piu a me non v’ascondete (Bononcini). 12” EL red Eng. Decca K.2070. M-A MB 8

G237. SUZANNE DANCO, w.Guido Agosti (Pf.): Chansons de Bilitis (Debussy), 2s. 12" EL orange Eng. Decca K.533. M-A MB 12

G238. SUZANNE DANCO, w.Guido Agosti (Pf.): Dichterliebe (Schumann), 6s. 3–12" EL red Eng. Decca AK.2310/12. M-A, a gleaming copy. MB 25

G239. SUZANNE DANCO, w.Ansermet Cond. Paris Conservatoire Orch.: Shéhérazade (Ravel), 4s. 2-12” EL red Eng. Decca AK.1966/67. M-A MB 15

"[Danco's] performance in [Shéhérazade] has been described as 'ravishing': surely no other word could describe adequately the magnificent singing of these poems....she has long had an enviable reputation as being one of the few great bel canto singers of to-day."

- Roger Musgrave, RECORD NEWS, Aug., 1949G240. SUZANNE DANCO, w.Perlea Cond.: Nozze – Voi che sapete / Così fan Tutte – Come scoglio. 12” EL beige French Decca GAG 1732. M-A MB 12

G241. SUZANNE DANCO, w.Perlea Cond.: Così fan Tutte – Per Pieta ben mio, 2s. 12” EL red Eng. Decca K.1815. M-A, lovely copy has, Sd. 2 only, infinitesimal nr, inaud. MB 10

G242. SUZANNE DANCO, w.Erede Cond.: Carmen – Je dis que rien ne m’épouvante, 2s. 12” EL orange Eng. Decca X.359. M-A MB 12

G243. SUZANNE DANCO, w.Erede Cond.: Manon – Adieu, notre petite table / Louise – Depuis le jour. 12” EL red Eng. Decca K.28310. M-A MB 12

G244. SUZANNE DANCO, w.Erede Cond.: La Traviata - Ah! fors’è lui / Sempre libera. 12” EL orange Eng. Decca KX.28311. M-A MB 12

“With a curious melding of a bright vocal timbre and a somewhat-reserved temperament, Suzanne Danco became a leading artist among the lyric sopranos of the 1940s and 1950s. She was a frequent visitor to the recording studio and left an appreciable legacy on disc, each one reflecting her high purpose and musical exactitude. Her choice of operatic rôles was wide-ranging, extending from Mozart to Alban Berg with several French heroines occupying a central place among them. After winning a prize in Vienna, she followed the advice of conductor Erich Kleiber and traveled to Prague to study with lyric tenor Fernando Carpi. Following a series of recitals in Italy in 1940, Danco's 1941 début as Fiordiligi attracted notice in Genoa and the rôle remained a central one in her subsequent career. She presented herself in the same part for a 1947 production at La Scala. Danco visited the United States on a recital tour with accompanist Paul Ulanowsky. For La Scala in 1947, she sang Ellen Orford in Milan's first performance of Britten's PETER GRIMES. In 1948, she presented her Jocasta in Stravinsky's OEDIPUS REX to La Scala audiences and in 1949, she ventured Marie in Berg's WOZZECK for the Teatro San Carlo, afterward declaring it a part holding no difficulties for her. At Rome, her Mélisande was acclaimed and she became a valued artist at the Edinburgh, Aix-en-Provence, and Glyndebourne festivals. In orchestral concerts, she was regarded as exemplary in Berlioz's LES NUITS D'ÉTÉ and Ravel's SHÉHÉRAZADE, both of which she commercially recorded. In her recital repertory, works by Berlioz, Gounod, Fauré, Chausson, Debussy, Ravel, and Poulenc alternated with ones by Schubert, Schumann, Berg, Schönberg, Falla, and Britten.”

- Erik Eriksson, All Music GuideG245. GRAZIELLA SCIUTTI, w.Gitton Cond.: Mozart – Excerpts (Reynaldo Hahn), 4s. 2–12” EL LVSM DB 11.255/56, only form of issue, 1952. M-A, a gleaming copy. MB 35, the Set.

G246. JEANNE FERENCZY & ALBERTO DE BASSINI: Carmen – Si tu m’aimes (Announced). 10” AC black & silver Col. 1247, only form of issue, 1903. A-, very decent copy has lt. rubs & few lt. mks. MB 15

G247. MARTHE COIFFIER, w.Bervily Cond.: Peer Gynt – Chanson de Solveig / Berceuse. 12” EL PW plum Disque Gramophone L-912, only form of issue, c.1930. M-A, lovely copy has adhesive on labels. MB 12

G248. MARTHE COIFFIER & GASTON REY, w.Carivan Cond.: Au temps des merveilleuses (Richepin), 2s. 12 EL PW dark-blue French Col. DFX 200, only form of issue, c.1931. M-A, a gleaming copy. MB 15G249. ALICE VERLET: Le carnaval de Venise (Benedict), 2s. 10” AC etched label Edison H & D 83070 (3826/55), only form of issue, 1917. M-A, a gleaming copy. MB 12

G250. ALICE VERLET: Chanson d’amour (Hollman) / MARIE TIFFANY & MARIO LAURENTI: Don Giovanni – Là ci darem la mano. 10” AC etched label Edison H & D 82178 (6336/50), only form of issue, 1919/’20, resp. M-A MB 12

G251. ALICE VERLET: La vièrge à la crèche (Perilhou) / Mireille – O légère hirondelle (Gounod). 10” AC paper label Edison H & D 80750 (4297/3559), only form of issue, 1923. M-A, lovely copy has, Sd. 1 only, faintest pap. rub, inaud. MB 10

G252. ALICE VERLET: Chanson de Florian (Godard) / Arminio - Pur dicesti (Lotti). 10” AC etched label Edison H & D 83060 (4889/21), only form of issue, 1916/’17, resp. A-, very decent copy has few lt. mks. MB 15

G253. ALICE VERLET: Serenata (Tosti) / ALICE VERLET & ARTHUR MIDDLETON: Lucia – Se tradirmi tu potrai. 10” AC paper label Edison H & D 82312 (3548/4789), only form of issue, 1924. M-A MB 10

“[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.”

- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.248G254. ALICE VERLET: Le Toréador – Ah! vous dirai-je maman (Adam) / Roméo – Je veux vivre. 10” AC paper label Edison H & D 83051 (5465/6182), only form of issue, 1919. M-A, a gleaming copy. MB 10

G255. ALICE VERLET: Mignon – Je suis Titania / ALICE VERLET & RALPH ERROLE: Roméo – Ange adorable. 10” AC paper label Edison H & D 82211 (4245/5961), only form of issue, 1921/’20, resp. M-A, a gleaming copy. MB 10

G256. ALICE VERLET: Ernani – Ernani, involami / Harry Humphrey: Explanatory talk. 10” AC etched label Edison H & D 82084 (4709/5657), only form of issue, 1917. M-A MB 12

G257. ALICE VERLET & GIOVANNI ZENATELLO: La Boheme – O soave fanciulla / Harry Humphrey: Explanatory talk. . 10” AC etched label Edison H & D 83057 (4836/4972), only form of issue, 1917. A to M-A MB 15

G258. ALICE VERLET & MARY ZENTAY (Violin): Il Re Pastore – L’amaró saró costante / ARTHUR MIDDLETON: Scipione – Tutta raccolta ancor (Hear me! Ye winds and waves!) (in English) (Handel). 10” AC etched label Edison H & D 82217 (4853/7426), only form of issue, 1920/’21, resp. M-A MB 15

G259. ALICE VERLET & RALPH ERROLE: Roméo – Ah! ne fuis pas encore! / ALICE VERLET & ANITA RIO: Norma – Mira, o Norma. 10” AC paper label Edison H & D 82299 (5967/4041), only form of issue, 1923. M-A, a gleaming copy. MB 10

“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 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 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 in the Thomas Beecham Opera Comique Season at His Majesty's Theater. As in her Paris Opéra 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. Verlet’s U.S. début was in 1896, followed by.her New York début at Carnegie Hall.] Some twenty-five years later, ending a concert tour, Verlet would revisit that hall on 17 March, 1922. Although primarily a concert singer in the United States, Verlet did perform some opera. In 1915 the Chicago Opera engaged her as Philine in several performances of Thomas's MIGNON. Also in the cast were Conchita Supervia, Charles Dalmorès, and Marcel Journet. She also performed with the Boston Opera. The sort of elaborate ornamentation in which she excelled having fallen out of fashion, Verlet retired from performing in 1920. Thereafter, she taught voice until her death in Paris in 1934. Verlet made both vertical and lateral cut recordings in Europe, and in the United States the Victor Talking Machine Company issued some of her European lateral records, but Verlet was most closely associated with the Edison company and its diamond discs.”

G260. MARY BOYER: Quand l’amour meurt (Crémieux). 10” AC black & silver Col. 50549, POM-1905. M-A, lovely copy has 2 wee edge lams, appearing playing side only. MB 20

G261. MARY BOYER: La Boheme – Mi chiamano Mimi (in French) / Mme Allens: Pour ton amour (Bosc). 10” AC black Col. E478, POM-1905. M-A, lovely copy has has, Sd. 1 only, infinitesimal pap. scr, inaud. MB 8

G262. SOLANGE MICHEL, w.Michel Dens, Lina Dachary, Marguerite Legouhy, Joseph Peyron, René Ronsil, Germain, Bonté, etc.; Gressier Cond.: La Fille de Mme Angot – Excerpts (Lecocq), 12s. 6–10” EL Pathé PG 125/30, POM-1950. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 50

G263. EDMÉE FAVART: La Fille de Mme Angot – Tournez, tournez / Chanson politique (Lecocq). 11½” AC H & D brown paper label Pathé 2552, recorded 1921. A-, lovely copy has hint of grey on peaks. MB 10

G264. EDMÉE FAVART: Le Petit Duc – Rondo de la paysanne (Lecocq) / Les Travaux d’Hercule – Air du rire (Terrasse). 10” EL green Pathé PG 28, only form of issue, 1934. Exuding infectious charm! M-A, a gleaming copy. MB 15G265. JEANNE MARI É de L’ISLE : Mignon – Connais-tu le pays / Prière (1906 Versions). 10” AC dark-green Paris Zonophone X-83080/77 (5927/6014). A to M-A MB 55

“Jeanne Marié de l’Isle made her L’Opéra-Comique début as Malika in LAKMÉ with the American-soprano, Marie Van Zandt, who had previously created the rôle of Lakmé. Coached by her aunt Célestine, the creator of Carmen, a fact which makes her recordings of special interest, Marié de l’Isle quickly established herself as a leading exponent of the part. Thanks also to Galli-Marié’s coaching, she was also a highly successful Mignon. Her most important rôle, however, was Charlotte in Massenet’s WERTHER, which she first sang for the 1903 revival, with Léon Beyle as Werther and Marguerite Carré as Sophie. Ten years after the Paris première, this new cast finally established the work’s masterpiece status. Though she never achieved the sensational fame of a Delna, she deserves to be remembered as one of the glories of French singing in the early years of the 20th century.

Marié de l’Isle has a light mezzo voice, free at the top; lacking the rich, contralto lower register of a Delna, she has to resort to chest coloring below the staff, though, by the standards of the time, she does not abuse it. These virtues are apparent in the MIGNON extracts, which one would like to think are a reflection of what Galli-Marié may have sounded like in 1866. ‘Connais-tu le pays’ is never oversung, and features an exquisite filé E-flat on ‘bleu’. Thomas’ abundant indications of dynamics (p, pp) and expression (dolce, sempre dolce) are scrupulously observed. The Act 3 prayer is done simply and movingly, also eschewing the lower options and ending on a middle B.”

- Vincent Giroud, Program notes to Marston’s Delna Issue

G266. YVONNE GUILLET: Romance (Crénieux) / Sadko – Chanson indoue (Rimsky-Korsakov). 10” AC dark-blue Eng. Odeon 49.142. A to M-A, lovely copy has, Sd. 1 only, wee label tears. MB 10

G267. HUGUETTE GREGORY & GUY FERRANT / HUGUETTE GREGORY, GAY MURIEL & JANE MORLET: Ô Mon Bel Inconnu – Excerpts (Reynaldo Hahn) (Cond. by the Composer), 2s. (All-Creator Record) 10” EL dark-blue Pathé PA 64, only form of issue, 1933. M-A, a gleaming copy. MB 45

G268. FANELY REVOIL, Lucie Thelin, Jeanne Mattio, René Herent, André Balbon, Alban Derroja & René Bonneval; Désormière Cond. L’Opéra-Comique Ensemble: L’ÉTOILE – Excerpts (Chabrier), 10s. 5-10" EL Pathé PD 21/25, only form of issue, 1943. M-A MB 55

“L’Étoile's first major revival was on 10 April 1941 at the Opéra-Comique in Paris under Nazi occupation, with Fanely Revoil, René Hérent, Lillie Grandval and André Balbon, at which time the highlights of the score were recorded, conducted by Roger Désormière”

G269. HÉLÈNE RÉGELLY, w.Minssart Cond.: Les Cloches de Corneville – Vive le cidre de Normadie / GEORGES FOIX: Je regardais en l’air (Planquette). 10” EL red Decca-Odeon G-20602. A-, very decent copy has has lt. rubs, inaud. MB 6

G270. HÉLÈNE RÉGELLY, Morlet, Morel, Henry-Laverne, Hirigaray & Duvaleix; w.Minssart Cond.: Les Saltimbanques – Pourquoi vous occupez de moi / C’est la première fois (Ganne). 10” EL dark-blue French Odéon 166.600. M-A, a gleaming copy. MB 8

G271. HÉLÈNE RÉGELLY, Morel, Henry-Laverne & Duvaleix; w.Minssart Cond.: Les Saltimbanques – Mademoiselle, je vous prie / La Bergère Colinette (Ganne). 10” EL dark-blue French Odéon 166.601. M-A, a gleaming copy. MB 8

G272. HÉLÈNE RÉGELLY, Morlet, Jysor, Henry-Laverne, Hirigaray & Duvaleix; w.Minssart Cond.: Les Saltimbanques – Tendre fleur de riant printemps / ROBERT JYSOR: Va, gentil soldat (Ganne). 10” EL dark-blue French Odéon 166.603. M-A, a gleaming copy. MB 8

G273. HÉLÈNE RÉGELLY, Morlet, Jysor, Henry-Laverne, Hirigaray, Duvaleix & Brouet; w.Minssart Cond.: Les Saltimbanques – Voleurs, vous en avez menti / Renonce à ton rêve (Ganne). 10” EL dark-blue French Odéon 166.604. M-A, lovely copy has faintest pap. rubs, inaud. MB 8

G274. HÉLÈNE RÉGELLY, w.Minssart Cond.: Rêve de Valse – C’est nous les p’tit’s musiciens / LE CLEZIO & GILLES: Oui c’est une valse de Vienne (Oscar Straus). 10” EL dark-blue French Odéon 250.232. M-A, a gleaming copy. MB 8

G275. HÉLÈNE RÉGELLY & JANE MORLET, w.Minssart Cond.: Rêve de Valse – Ah! Si j’étais artiste / BRIÈRE & LE CLEZIO: Pourquoi la voir, tout est fini (Oscar Straus). 10” EL dark-blue French Odéon 250.235. M-A, a gleaming copy. MB 8

G276. HÉLÈNE RÉGELLY & LE CLEZIO, w.Minssart Cond.: Rêve de Valse – Voyons puisque la destinée / HENRY-LAVERNE, DUVALEIX, DARBONNES, BRISON & CHABANCE: Suivant une loi commune (Oscar Straus). 10” EL dark-blue French Odéon 250.233. M-A, lovely copy has, Sd. 1 only, minor edge scr, inaud. MB 8

G277. HÉLÈNE RÉGELLY & HENRY-LAVERNE, w.Minssart Cond.: Rêve de Valse – Piccolo, Piccolo, Tsin! Tsin! / JANE MORLET, CLAIRE BRIÈRE, LE CLEZIO, HENRY-LAVERNE & DUVALEIX: Ah! tenez, la valse chantée (Oscar Straus). 10” EL dark-blue French Odéon 250.234. M-A, a gleaming copy. MB 8

G278. HÉLÈNE RÉGELLY, w.Robert Jysor, Duvaleix & Gillar; Minssart Cond.: La Mascotte – Excerpts (Audran), 10s. 5–10” EL dark-blue French Odéon 166.391/95. M-A MB 45

“Instead of joining the Opéra-Comique, Régelly signed with the Mogador Theatre Company and became a member of the hit revival of Offenbach’s LA VIE PARISIENNE. She became an instant star.”

- VRCS Program notesG279. CLAIRE BRIÈRE, JANE MORLET & DUVALEIX, w.Minssart Cond.: Rêve de Valse - Jamais je ne fus plus heureuse /

HENRY-LAVERNE, LE CLEZIO & DUVALEIX: Mesdam’s, Messieurs, j’ai de l’émoi (Oscar Straus). 10” EL dark-blue French Odéon 250.231. M-A, a gleaming copy. MB 8

G280. JANE MARNAC, w.Minssart Cond.: La Périchole – O mon cher amant (Air de la lettre) / La Belle Hélène – Dis-mois, Venus (both Offenbach). 10” EL dark-blue French Odéon 166.738. A to M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 10

G281. YVETTE GUILBERT: Les ingénues (Marinier) / Le fiacre (Xanrof). 10” AC dark-green Disque pour Gram. 233050/51 (5233/34h), POM-1904. M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud. MB 15

G282. YVETTE GUILBERT, w.Maurice Eisner (Pf.): L'hôtel du No. 3 (1918 Version) (Xanroff) / La défense inutile. 10” AC Col. A2739, POM-1918, only form of issue, Sd.2. M-A MB 15

G283. YVETTE GUILBERT, w.Maurice Eisner (Pf.): Le Roy a fait battre tambour / Est-il donc bien vrai? 10" AC Col. A2738, only form of issue, 1918. A-, lovely copy has, Sd. 1, faint rubs & sev. wee dust scrs, ltly audible. MB 10

G284. YVETTE GUILBERT, w.Maurice Eisner (Pf.): Saint-Nicolas / Le voyage a Bethléem (1918 Version). 10” AC Col. A2737, only form of issue, 1918. A to M-A, lovely copy has edge lam. MB 12

G285. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): La fille du Roi Loys, La Passion du doux Jésus, La ballade du Jésus-Christ, Le miracle de Sainte-Berthe, Les anneaux de Marianson, Le voyage à Bethléem, Enfance, Écoute dans le jardin (the latter two by Ferrari), L'Éloge des vieux, Verligodin (both Sung by the Composer). 6-10" EL PW plum Disque Gram. K-7063/68, in Orig. elaborate Album, w.Brochure. M-A MB 50, the Set.

G286. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): La fille du Roi Loys / Les anneaux du Marianson. 10" EL PW plum Disque Gram. K-7066, only form of issue 1933. M-A, a gleaming copy. MB 12

G287. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): Les vieux messieurs (Donnay) / Son nombril (Petitveau). 10” EL green LVSM SG.71, POM-1933; issued France only. M-A, a gleaming copy. MB 12

G288. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): Verligodin / L'loge des vieux (both Sung by the Composer). 10” EL green LVSM SG.70, POM-1933; issued France only. M-A, lovely copy has faintest pap. rubs, inaud. MB 12

G289. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): Madame Arthur (Sung by the Composer) / Le fiacre (Xanrof). 10" EL green LVSM SG.69, POM-1934. M-A, a gleaming copy. MB 12

G290. YVETTE GUILBERT, w.Sayejozin (Pf.): Dites-moi si je suis belle / Pourque me bat mon mari. 10” EL PW black HMV E 527, POM-1926. M-A MB 12

"[Guilbert’s] is an art that defies classification....Her voice is not a musical instrument - and I believe it is as musical now as ever it was. Yet there is no singer of our time who would not double his present artistic stature if he could borrow half of Guilbert's genius."

- Walter Legge, ON AND OFF THE RECORD, p.49G291. MERCEDES CAPSIR: Campanone (Mazza) / Tonadillas – El Majo discreto (Granados). 10” EL red Spanish Col. R 14709. M-A, a gleaming copy. Exceedingly elusive! MB 25

G292. MERCEDES CAPSIR: El salto del pasiego (Caballero) / Maruska (Rulli). 10” EL red Spanish Col. R 14710. M-A, a gleaming copy. Exceedingly elusive! MB 25

G293. MERCEDES CAPSIR, w.Molajoli Cond.: Barbiere – Una voce poco fa, 2s. 12” EL Eng. Col. DX 612 (WBX 610/14), from 1929 Complete Set), POM-1929. M-A, a gleaming copy. MB 8

G294. MERCEDES CAPSIR & DINO BORGIOLI, w.Molajoli Cond.: Rigoletto – Ah! veglia, o donna, 2s. 12” EL Eng. Col. DX 143 (WBX 860/61), from 1929 Complete Set), POM-1929. M-A, a gleaming copy. MB 8

G295. MERCEDES CAPSIR, w.Mannarini, de Muro Lomanto, Molinari, Baccaloni & Venturini; Molajoli Cond.: Lucia – Chi mi frena, 2s. 12” EL PW Col. 9145-M (WBX 728/35), from Complete 1928 Set), POM-1928. M-A, a gleaming copy. MB 8

“Curiously, Mercedes Capsir was born in the same house where, 14 years earlier, Maria Barrientos had been born. She studied in Barcelona and Italy, making her début as Gilda in 1914 at the Teatro Principal in Gerona. She sang in Spain and Portugal until 1918 and appeared at the Teatro Colón in 1916. Her most important roles were Lucia, Ophélie, Rosina, Gilda and Violetta. In 1919 she began her Italian career at Bologna and Florence, frequently appearing at Naples, Turin and Rome until 1943. She sang at La Scala from 1924-1934, taking also part in Giordano’s IL RE (1929), appearing opposite Chaliapin, Galeffi, Lauri-Volpi and Pinza, among others. She often returned to Spain. She was heard in Berlin in 1924, at Covent Garden in 1926 and at the Vienna State Opera in 1935. Her last appearance took place in 1949 at Barcelona.”

G296. BIANCA LAVIN DE CASAS, w.Ardoni & Gaetano Pini-Corsi: Mefistofele – La luna immobile. 10” AC white Vla 87561 (13833b), POM-3 Nov., 1909, Never Doubled. M-A MB 12

G297. BIANCA LAVIN DE CASAS & ELENA RUSZKOWSKA: La Gioconda – L’amo come il fulgor del creato. 12” AC red Milano Gram. Monarch 054271 (1864c), POM-1 Nov., 1909, Never Doubled USA. A-B, very decent copy has lt. rubs & grey on peaks. MB 10

G298. BIANCA LAVIN DE CASAS & ARISTODEMO GIORGINI: La Favorita – Pietoso al par d’un nume. 12” AC red Milano Pre-Dog 054196 (1284c). A, lovely copy has faintest pap. rubs, inaud.; wee label smudge. MB 20G299. BIANCA LAVIN DE CASAS: Pallide mammole (Trimarchi). 10” AC black GP V 52405 (2353I), POM-1904. A to M-A, lovely copy has tiny rub at end, inaud. MB 12

G300. BIANCA LAVIN DE CASAS: Pallide mammole (Trimarchi) / ENRICO PIGNATARO: Hamlet – Come il romito fior. 10” AC black V 63424, POM-1904/’05, resp. A-, lovely copy has few superficial scrs, inaud. MB 8

G301. BIANCA LAVIN DE CASAS: Orfeo – Che farò senza Euridice. 12” AC red Milano Pre-Dog 053168 (1343c). A, lovely copy has faintest pap. rubs, inaud. MB 20

G302. BIANCA LAVIN DE CASAS: Carmen – Séguedille (in Italian). 10” AC red Milano Pre-Dog G.C.-53529 (10926½b). A to M-A, lovely copy has very faint creases, inaud. MB 8

G303. BIANCA LAVIN DE CASAS: Carmen – En vain pour éviter (in Italian) / Sabajno Cond. La Scala Orch.: Overture. 10” AC black V 62617 (2354I/8000b), POM-1904. A to M-A, lovely copy has, Sd. 2 only, lt. rubs & nr on label. MB 8

G304. BIANCA LAVIN DE CASAS & RIZZO SANT’ELIA: Aïda – Ohimè, morir mi sento. 12” AC V 88270 (1871c), POM-6 Nov. 1909. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

G305. BIANCA LAVIN DE CASAS & ELENA RUSZKOWSKA: Aïda – Fu la sorte dell’ armee. 12” AC Milano Gram. Monarch 054272 (1860c), POM-1 Nov., 1909. M-A MB 20

G306. BIANCA LAVIN DE CASAS & ELENA RUSZKOWSKA: Aïda – Ebben, qual nuovo fremito. 12” AC Vla 89150 (1861c), POM-1 Nov., 1909. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

G307. BIANCA LAVIN DE CASAS & ELENA RUSZKOWSKA: Aïda – Pietà ti prendi. 12” AC plain label V 88373 (1862c), POM-1 Nov., 1909, Never listed in a North American Victor catalogue (although assigned this issue number), w.RCA embossed spiderweb verso; choice mid-1930s pressing, Never Doubled, USA. M-A, a gleaming copy. MB 25

“As Amneris, the Catalan contralto Bianca Lavin De Casas is a worthy antagonist, singing with incisive and sumptuously rich tones. Her voice, like that of many of her Spanish contemporaries, is warm, open, and free from excessive vibrato–an ‘old-fashioned’ Italian voice, in fact.”

- Michael Aspinall, Program notes to Marston’s Kruszelnicka – Ruszkowska IssueG308. INES SALVADOR & FRANCESCO CIGADA: Carmen – Si tu m’aimes (in Italian) / Sabajno Cond.: Intermezzo, Act III. 10” AC Pat.’12 black V 62102, POM-1907. A-, very decent copy has few lt. mks, inaud. MB 8

G309. CRISTINA SORO: Estrellita (Ponce) / El Carro del Sol – Canción veneciana (Serrano). 10” AC Vla 920, POM-18 Sept. / 3 Oct., 1922, Never listed in a North American Victor Catalogue. M-A MB 15

G310. ELVIRA de HIDALGO: I Puritani – Son vergin vezzosa / ISIDORO AGNOLETTO: A te, o cara. 10” AC black Col. E200. M-A, an exceptional copy. MB 15

G311. ELVIRA de HIDALGO: La Sonnambula – Ah! non giunge / MARCEL JOURNET: Vi ravviso. 10” AC dark-blue Col. C2396, POM-1905. M-A, an exceptional copy. MB 15

G312. ELVIRA de HIDALGO: Barbiere - Una voce poco fà / CESARE PREVE: La Calunnia. 10” AC blue Col.C2377. A/A-, lovely copy has, Sd.2 only, hint of grey on peaks. MB 12

“Elvira de Hidalgo made her début in 1908 at the Teatro San Carlo as Rosina, also the rôle of her Metropolitan début in 1910, where she also sang Amina. She appeared at La Scala, Rome, Buenos Aires and Covent Garden where she sang Gilda in 1924 with the British National Opera Company. Returning to the Metropolitan, she sang Gilda and Lucia. At San Francisco (1925) she sang Rosina, Violetta and Martha, then toured the United States in IL BARBIERE DI SIVIGLIA with Feodor Chaliapin. Her repertory included Elvira in I PURITANI, Linda di Chamounix and Marguerite de Valois in LES HUGUENOTS. She retired in 1932, taught in Athens where her pupils included Maria Callas.”

G313. 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 unquestionably Quartararo’s most beautiful rendition. M-A, a gleaming copy. MB 15

G314. FLORENCE QUARTARARO, w.Morel Cond.: Il Trovatore – Tacea la notte placida, 2s.

12” EL RCA 12-0530, only form of issue, 1947. M-A, a gleaming copy. MB 10

G315. FLORENCE QUARTARARO & RAMON VINAY: Tosca - Perchè chiuso?, 2s. 12” EL RCA 12-0531, Original Issue, 9 Dec., 1947. M-A, a gleaming copy. MB 8

“A surprise is the Vinay-Quartararo TOSCA duet, not so much for Vinay’s fine performance…but for the really lovely voice of the soprano, who, after only a few seasons at the Met, disappeared from the scene.”

- Harold Rosenthal, OPERA, Feb., 1970G316. FLORENCE QUARTARARO & RAMON VINAY: Carmen - Parle-moi de ma mère, 2s. 12” EL RCA 12-0687, Original Issue, 9 Dec., 1947. M-A, a gleaming copy. MB 8

"Intriguingly, Quartararo was Toscanini’s first choice for his Desdemona, but Edward Johnson refused to release her from her contract with the Met….The soprano is something of a revelation, her Italian heritage manifesting itself in her idiomatic performance, her coloring and lyricism, and her power, yet ease, of production. Quartararo’s was a voice suited to veristic opera….she was also an artist of some refinement and versatility....Lamentably, the attractive California-born soprano...left a somewhat lean discography....Her legacy includes only a handful of commercial recordings."

- Barry R. Ashpole, THE RECORD COLLECTOR, 2006G317. CONCHITA SUPERVIA: El relicario (Padilla) / El Huésped del Sevillano – Las lagarteranas (Reoyo). 10” EL red Decca-Odeon P-G-20462, POM-25 April, 1931. M-A MB 12

G318. CONCHITA SUPERVIA: Bésame (Habañera) (Godes) / El Panuelo de Lunares – Canción andaluza (Alonso). 10” EL red Decca-Odeon P-G-20464, POM-28/27 May, 1932. M-A MB 12

G319. CONCHITA SUPERVIA: La rosa oriental (Espigul) / Lamento borincano (sung in Cuban style) (Hernandez). 10” EL red Decca-Odeon P-G-20465, POM-27 Oct., 1932. M-A, lovely copy has 2 wee pressing bumps, ltly audible, merely a few turns. MB 10

G320. CONCHITA SUPERVIA: Clavelitos (1ST Version, 1927) (Valverde) / w.María Gil (Pf.): Cantares (Turina). 10” EL French Odéon 188.714 (SO 4620-3 / 4699), POM-1927. M-A, a gleaming copy. MB 20

G321. CONCHITA SUPERVIA: Clavelitos (2ND Version, 1931) (Valverde) / Tríptico – La farruca (Turina). 10” EL Parl.-Odeon RO 20154, POM-25 April, 1931 / 1928, resp. M-A MB 15

G322. CONCHITA SUPERVIA: El Corral de la Pachca – La presumida (Canción epigramática) (Vives) / w.María Gil (Pf.): Romanç de Santa Llucia (Toldrá). 10” EL French Odéon 188.746 (SO 4909/4698), POM-1928/’27, resp. A to M-A, lovely copy has, Sd. 2 only, faint hint of nr & wee edge lam, inaud. MB 20

G323. CONCHITA SUPERVIA: Ay-ay-ay (Freire) / w.Capdevilla Cond.: Las Hijas del Zebedeo – Al pensar en el dueño (Carceleras) (Chapì). 10” Parl.-Odeon RO 20165, POM-25 April, 1931 / 8 March, 1930. M-A MB 12

G324. CONCHITA SUPERVIA: Nozze – Voi che sapete / Non so più. 12” EL Parl.-Odeon R 20077, POM-1928. M-A MB 8

G325. CONCHITA SUPERVIA: El Amor Brujo - Canción del amor dolido / Canción del fuego fatuo (de Falla). 12” EL vinyl Historic Masters HMB 54, POM-13 Oct., 1930, (pressed onto 12" [30cm] Blank), otherwise published only in Spain. MINT MB 15

G326. CONCHITA SUPERVIA, w.María Gil (Pf.): Cantares (Turina) / w.Capdevilla Cond.: Canción del paje (Sartorio). 10” EL red Decca-Odeon P-G-20548, POM-1927 / 6 March, 1930, resp. M-A MB 12

G327. CONCHITA SUPERVIA, w.Gennai Cond.: Canzoncine – Il gallo / Preghiera della sera (both Acc.by Composer), all preceded by Supervia’s spoken introductions. 10” EL Italian Odeon M 6060, POM-7 Feb., 1929. M-A, a gleaming copy. MB 25

G328. CONCHITA SUPERVIA, w.Gennai Cond.: Canzoncine – Filastrocca del ‘asino / La scarpetta e la neve (both Acc.by the Composer), all preceded by Supervia’s spoken introductions. 10” EL Italian Odeon M 6061, POM-7 Feb.,1929. M-A, a gleaming copy. MB 25

“During the first war Conchita Supervia fell in love with an Italian lawyer named Francesco Santamaria, who was later to become the Mayor of Naples; he died in 1947. Their son Giorgio was born in October 1918; and some ten years later, in order to amuse her little ‘Giorgino’, she recorded a set of nursery songs by a composer named Gennai, each one with a spoken introduction. They are enchanting, and I believe that the Italian, spoken as well as sung, is pretty well flawless….Leopoldo Emanuele Gennai conducts the orchestra. How exciting to hear Supervia speaking: she introduces each song talking in exactly the same way that she sings–of course, she is “on stage” here, too, and may not have placed the voice so theatrically in the mask when chatting intimately to her ‘little Giorgio’, who, she claims, is in the studio with her.”

- Michael Aspinall, Program notes to Marston’s Supervia, Vols. II & III

G329. CONCHITA SUPERVIA, w.Frank Marshall (Pf.): Tonadillas (Granados), 4s. 2–10” EL Parl.-Odeon P.O. 161/62, POM-1932. M-A MB 15

G330. CONCHITA SUPERVIA, w.Frank Marshall (Pf.): Siete Canciones Populares Españolas (de Falla), 6s. 3–10” EL Parl.-Odeon P.O. 153/55, POM-24 Dec., 1928, in Orig. Parlophone Album P-52. M-A MB 25

G331. CONCHITA SUPERVIA, w.Romero Cond.: De la serrania (Fandanguillo de concierto) (2nd Version, 1929) (Cond. by the Composer) / w.Capdevilla Cond.: La Paloma (Yradier). 10” EL red Decca-Odeon P-G-20460, POM-1929 / 24 Oct., 1930. M-A MB 12

G332. CONCHITA SUPERVIA, w.Capdevilla Cond.: Pel teu amor (Rosá) (Rivas; in Catalán) / With a primrose (erroneously titled ‘Le Printemps’) (Grieg; in French). 10” EL Parl.-Odeon P.O. 180, POM-11 March, 1930.

A to M-A, lovely copy has occasional faintest pap. rub, inaud. MB 12

G333. CONCHITA SUPERVIA, w.Capdevilla Cond.: Occhietti amati (Falconieri) / Se tu m’ami (Pergolesi). 10” EL red Decca-Odeon G-20550, POM-4 April, 1930. M-A MB 12

G334. CONCHITA SUPERVIA, w.Capdevilla Cond.: Canción del paje (Sartorio) / Occhietti amati (Falconieri). 10” EL blue Italian Odeon M 6064, POM-4 / 6 March,1930. M-A, a gleaming copy. MB 15

G335. CONCHITA SUPERVIA, w.Capdevilla Cond.: L’ultima canzone (Tosti) / Pel teu amor (Ribas). 10” EL blue Italian Odeon M 6067, POM-28 Feb. / 11 March, 1930. M-A, a gleaming copy. MB 15

G336. CONCHITA SUPERVIA, w.Capdevilla Cond.: Siete Canciones Populares Españoles – Seguidilla murciana (‘Take’ 1) / Jota (de Falla). 10” EL blue Italian Odeon M 6065, POM-10 March, 1930. M-A, a gleaming copy. MB 15

G337. CONCHITA SUPERVIA, w.Minssart (?) Cond.: Damnation de Faust – Autrefois un roi de Thulé (Berlioz) / Faust - Il était un roi de Thulé (Gounod) (both in French). 12” EL vinyl Historic Masters HMB 11, POM-26 Oct., 1931, both from Unpublished Masters. MINT MB 12G338. CONCHITA SUPERVIA, w.Capdevilla Cond.: Bonjour, Suzon / w.Romero Cond.: Viens, une flûte invisible (Églogue) (both Delibes). 10” EL blue Italian Odeon M 6068, POM-7 March / 28 Feb., 1930. M-A, a gleaming copy. MB 15

“She had the rare gift which enabled her to penetrate beneath the externals of musical form and to recreate the human qualities of everything that she touched”

- H. M. Barnes and Victor GirardG339. CONCHITA SUPERVIA, w.Ivor Newton (Pf.): A lesson with the fan (d’Hardelot) / Sould he upbraid (Bishop) (both in English). 10” EL Parl.-Odeon RO 20186, Original Issue, 17 March, 1932. M-A, a gleaming copy. Enchantingly delightful! MB 20

G340. CONCHITA SUPERVIA, w.Ivor Newton (Pf.): O no, John! (Sharp) / Have you seen but a whyte lillie grow? (Dolmetsch). 10” EL Parl.-Odeon RO 20193, only form of issue, 17 March, 1932. M-A, a gleaming copy. MB 15

G341. CONCHITA SUPERVIA, w.Ivor Newton (Pf.): When I bring to you colour'd toys (Carpenter) / Lullaby (Scott) (both in English). 10” EL vinyl BIRS Historic Masters HMA 1, POM-17 March, 1932, both from Unpublished Masters. MINT MB 12

“In 1931 she married Ben Rubenstein and settled in London; and in the autumn of 1931 she made a long provincial concert tour in England. During this tour she sang a group of English songs, although she had only just begun to learn the language; and with these she created quite a sensation owing to the clarity and extraordinary charm of her enunciation.”

- Desmond Shawe-Taylor, OPERA, Jan., 1960G342. CONCHITA SUPERVIA, w.Romero Cond.: Granada (2nd Version) (Albéniz) / w.Frank Marshall (Pf.): Andaluza (Danza V) (Granados). 12” EL red Spanish Odeon 121.146 (XXS 6027-2 / 6071), POM-20 Nov. / 11 March, 1930, only form of issue, Sd.1 (being the rare ‘Take’ 2 [of two issued ‘takes’]). M-A, a gleaming copy. Exceedingly elusive! MB 85

G343. CONCHITA SUPERVIA, w.Romero Cond.: Granada (1st Version) (Albéniz) / w.Frank Marshall (Pf.): Andaluza (Granados). 12” EL Parl.-Odeon R 20130, POM-28 Feb./11 March, 1930. M-A MB 15

G344. CONCHITA SUPERVIA, w.Romero Cond.: Flor de España – En Zaragoza / El Niño Judío – De España vengo (both Luna). 12” EL French Odéon 123.694 (XXS 4618-1 / 4619), POM-1927. M-A Exceedingly Elusive! MB 65

“Both on the opera stage and on the concert platform [Supervia] displayed a communicative power which can hardly have been surpassed; and this warmth of temperament is evident too almost every one of the 200 or so recordings she made. She was incapable of dullness; even in the most trivial song there will come a phrase so personal and so completely genuine that the listener feels something akin to physical contact. In whatever language she sang – and she was a gifted linguist – she filled each word with meaning, and lent the utmost grace and point to the turn of every musical phrase….she always conveys to the listener an extraordinary sense of joy in the sheer act of singing.”

- Desmond Shawe-Taylor, THE OPERA BEDSIDE BOOK, pp.71-72

G345. CONCHITA SUPERVIA & INES MARIA FERRARIS: Hänsel und Gretel - Suse, liebe Suse; Brüderchen, komm, tanz' mit mir (in Italian). 12” EL red Decca-Odeon P-G-25872, POM-20 June,1928. M-A MB 8

G346. CONCHITA SUPERVIA & INES MARIA FERRARIS: Der Rosenkavalier – Mir ist die Ehre widerfahren (Presentation of the silver rose) (in Italian), 2s. 12” EL red Decca-Odeon P-G-25870, POM-20 June, 1928. A-/A-B, very decent copy has lt. rubs & occasional scr, occasionally very faintly audible. MB 8

G347. CONCHITA SUPERVIA & INES MARIA FERRARIS: Der Rosenkavalier – Ist ein traum (Final duet) (in Italian), 2s. 12” EL red Decca-Odeon P-G-25871, POM-20 June,1928. A-B/B, decent copy has lt. rubs & occasional scr, ltly audible; Sd.2 only has dust scrabble, positively ltly audible. MB 8

G348. CONCHITA SUPERVIA, w.Bastide Cond.: Frasquita – Qui a dit ‘voleurs’? (Entrée de Frasquita) / Ce que c’est que l’amour (Lehár). 10” EL French Ultraphone AP 1020, only form of issue, Sd.2; Supervia & Bastide were featured in the Paris première, 3 May, 1933. A/A-, lovely copy has, Sd.2, lt. grey on peaks. MB 45

G349. CONCHITA SUPERVIA, w.Bastide Cond.: Frasquita – Il y avait une fois (Lehár) / Tengo dos lunares (Valverde); Los ojos negros (Barta) (the latter two interpolated in Act II of Frasquita). EL 12” French Ultraphone EP 1024, only form of issue, 1934; Supervia & Bastide were featured in the Paris première, 3 May, 1933. M-A, gleaming copy has, end Sd. 2 only, infinitesimal pap. rub, inaud. Exceedingly elusive! MB 85

G350. CONCHITA SUPERVIA, w.Cloez Cond.: Samson et Dalila – Printemps qui commence / Mignon - Connais-tu le pays? 12” EL Parl.-Odeon R 20192, POM-24 Oct., 1931, issued Spain & UK only. M-A MB 15

G351. CONCHITA SUPERVIA, w.Cloez Cond.: Faust – Faites-lui mes aveux / La Boheme – Quando m’en vo (in French). 10” EL Parl.-Odeon R.O. 20180, POM-24 Oct., 1931. M-A MB 12

G352. CONCHITA SUPERVIA, w.Cloez Cond.: Carmen – En vain pour éviter (Card scene), 2s. 12” EL Parl.-Odeon R 20131, POM-1930. M-A MB 8

G353. CONCHITA SUPERVIA, w.Cloez Cond.: Carmen – Séguedille / Les tringles des sistres tintaient. 12” EL Parl.-Odeon R 20127, POM-1930. M-A MB 8

G354. CONCHITA SUPERVIA, w.Cloez Cond.: Carmen – Habañera / CONCHITA SUPERVIA & GASTON MICHELETTI: Non, tu ne m’aimes pas (2nd ‘Take’). 12” EL French Odéon 123.773 (xxP 7267/65-2), POM-1930. M-A, a gleaming copy. MB 15G355. CONCHITA SUPERVIA, w.Cloez Cond.: Carmen – Habañera / CONCHITA SUPERVIA & CARLO SCATTOLA, w.Albergoni Cond.: L’Italiana in Algeri – Oh! che muso. 12” EL red Decca-Odeon P-G-25837, POM-1930/’27, resp. M-A MB 8

G356. CONCHITA SUPERVIA & GASTON MICHELETTI, w.Cloez Cond.: Carmen – Non, tu ne m’aimes pas (2nd ‘Take’), 2s. 12” EL red Decca-Odeon P-G-25895, POM-1930. M-A MB 8

G357. CONCHITA SUPERVIA & GASTON MICHELETTI, w.Cloez Cond.: Carmen – C’est-toi? C’est moi! (Final scene), 2s. 12” EL red Decca-Odeon P-G-25897, POM-1930. M-A MB 10

G358. CONCHITA SUPERVIA & GIOVANNI MANURITTA: Barbiere – Contra io cor (Lesson scene), 2s. 12” EL red Decca-Odeon P-G-25834, POM-1928. M-A MB 8

G359. CONCHITA SUPERVIA, w.Albergoni Cond.: Carmen – Habañera / Séguedille (both in Italian). 10” EL red Milano Fonotipia M 6034 (Pho 6053 / 54-2), POM-1927. M-A, a gleaming copy. MB 15

G360. CONCHITA SUPERVIA, w.Albergoni Cond.: Samson et Dalila – Printemps qui commence (in Italian), 2s. 10” EL blue Italian Odeon M 6040, POM-1927. M-A, a gleaming copy. MB 15

G361. CONCHITA SUPERVIA, w.Albergoni Cond.: Barbiere – Una voce poco fà, 2s. 12” EL brown Fonotipia-Odeon L-305 (xxPh 6046/47), POM-1927. M-A, a gleaming copy. MB 15

G362. CONCHITA SUPERVIA, w.Albergoni Cond.: Barbiere – Una voce poco fà, 2s. 12” EL Parl.-Odeon R 20074, POM-1927. M-A, a gleaming copy. MB 8

G363. CONCHITA SUPERVIA, w.Albergoni Cond.: L’Italiana in Algeri – Amici, in ogni evento . . .Vedi per tutta Italia, 2s. 10” EL red Decca-Odeon P-G-20398, POM-1927. M-A MB 12

G364. CONCHITA SUPERVIA & GIOVANNI MANURITA, w.Albergoni Cond.: Barbiere – Contro un cor, 2s. 12” EL PW red Argentinian Odeon 125032, POM-1928. A to M-A, lovely copy has, Sd. 2 only, infinitesimal dust mk, inaud. MB 12

G365. CONCHITA SUPERVIA, w.Albergoni Cond.: La Cenerentola – Nacqui all’affanno; Non più mesta, 2s. 12” EL Parl.-Odeon R 20140, POM-1927. M-A MB 8

G366. CONCHITA SUPERVIA & VINCENZO BETTONI, w.Albergoni Cond.: La Cenerentola – Signore, una parola / Mignon – Légère hirondelle (in Italian). 12” EL red Milano Fonotipia U 556 (xxPh 6455/56-2), POM-8 Feb., 1929. M-A, a gleaming copy. MB 15

G367. CONCHITA SUPERVIA & VINCENZO BETTONI, w.Albergoni Cond.: La Cenerentola – Signore, una parola / CONCHITA SUPERVIA, NINO EDERLE, CARLO SCATTOLA & VINCENZO BETTONI: L’Italiana in Algeri - Per lui che adoro. 12” EL red Decca-Odeon P-G-25836, POM-1929/’27, resp. M-A MB 8

G368. CONCHITA SUPERVIA & VINCENZO BETTONI, w.Albergoni Cond.: L’Italiana in Algeri – Oh! che muso / CONCHITA SUPERVIA, NINO EDERLE, CARLO SCATTOLA & VINCENZO BETTONI: Per lui che adoro. 12” EL red Milano Fonotipia U 558 (xxS 4598/4617), POM-1927. M-A, a gleaming copy. MB 15

G369. CONCHITA SUPERVIA, w.Appoloni, Mannarini, Nessi & Baracchi; Albergoni Cond.: Carmen – Nous avons en tête une affaire (in Italian), 2s. 10” EL green Italian Odeon M 6037 (Pho 6059-2 / 6060-2), POM-1927. M-A MB 15

“[Supervia’s] singing is always “forward”, her tone bright–even brassy–and she is a great instrumentalist among singers, playing the legato line with infinite modulations of accent, color, and volume. She is a gypsy Patti…. If you like to be wheedled by a voluptuous kitten, then you will succumb with a sigh, but it will be a sigh of pleasure.”

- Michael Aspinall, Program notes to Marston’s Supervia, Vol. II

G370. ELSIE HOUSTON: Singing America – Santo San Juanito (Ecuador); From yon mountain verdant (Peru); Tutú Marambá (Brazilian) / Walter Preston: La cuisinière (French Canadian); Walter Preston & Margaret Daum: The turtle dove (English); Quartet: Boule’s Ball (French Canadian). 10” EL black PW V 27280. M-A, lovely copy has, Sd. 2 only, wee label tear. ‘Santo San Juanito’ alone is worth the price of this disc! MB 15

"Elsie Houston...of insinuating voice, was one of those rare artists who make every individual song sound important and still leave us with the impression of a unified, rounded program....Though she was thought of as essentially a diseuse, Houston's voice had been carefully trained; its quality, to my ears, was outstandingly beautiful."

- Philip L. Miller, VOCAL MUSIC, p.329G371. ELSIE HOUSTON, w.José Garcia (Bongo Drum): Jongo (Brazilian) / w.Augusto Mesquita (Guitar) & Antonio Silva (Violao) Fado (Portugese). 10" EL PW Liberty Music Shop L 232, only form of issue, 1938. B-C, decent copy has lt. rubs & scrs, ltly audible; Sd. 2 only has 2 ec, not to grooves. MB 10

G372. ELSIE HOUSTON, w.Pablo Miguel (Pf.): Siete Canciones Populares Españolas (de Falla), 4s. 4-12” EL vinyl RCA S/S Test Pressings of Unpublished Mx. CS-063377/80 (each side is ‘Take’ 2, except Sd.3, which is ‘Take’ 1), POM-1941. M-A MB 95

G373. ELSIE HOUSTON, w.Pablo Miguel (Pf.): Eleven Brazilian Songs, 6s. 3-12” EL RCA 13667/69,

POM-17 Jan., 1941, in Orig. Album M-798, w.Notes. M-A, a gleaming copy. MB 25

"The [above] recording does justice to Miss Houston's wholly delightful and searching interpretations."- Howard Taubman, THE NEW YORK TIMES, 1941

G374. ELSIE HOUSTON, w.Jonas e Zezimho (Clarinet, et al): O barão da Bajia (Barros) / w.Zezimho, Petit & Jonas (Tam-Tam, et al): Cadê minha pomba rôla (arr. Elsie Houston). 10” EL PW Brazilian Col. 7014, on blue shellac, only form of issue, 1930. M-A, a gleaming copy. Exceedingly elusive & enchanting! MB 60

G375. ELSIE HOUSTON, w.Mme Villa-Lobos (Pf.): Serestas – Realejo; Estrella do céo / Desejo; Na paz do outomno (Villa-Lobos). 10” EL PW black Disque Gram. P-760, only form of issue, 20 June, 1928. M-A, gleaming copy has, end Sd 2 only, infinitesimal pap. rub, inaud. Companion disc to #G1261, Abreu. MB 50

G376. ELSIE HOUSTON, w.Cy Walter (Pf.): Mon Ami (Herpin) / The Cherry Tree (Barlow). 10" EL PW Liberty Music Shop L 263, only form of issue, 1938. A to M-A, lovely copy has occasional lt. rub, inaud. MB 20

“Elsie Houston was born in Rio de Janeiro in 1902. She was the descendent of confederados, southern plantation owners who had come to Brazil after the American Civil War. Elsie's father was James Frank Houston, a prominent Rio dentist and Elsie Houston's mother, Arinda Galdo, was a native of Rio de Janeiro, and had Portuguese roots in the Madeira Islands. Elsie Houston figured in the Brazilian literary/art/music scene during a critical time in its history. It was an era of tremendous creative energy. In addition to Mário de Andrade and Patricia Galvão ( Pagu), Elsie Houston knew other famous members of this artists’ movement, including the composer Heitor Villa-Lobos, the painters Flavio de Carvalho, Anita Malfatti and Tarsila do Amaral, and the leader of Brazilian modernism, Oswald de Andrade.Elsie moved to Germany and studied with Lilli Lehmann, a notorious voice teacher. She then studied with another famed soprano, Ninon Vallin, first in Argentina and then in Paris. Houston's relationship with Heitor Villa Lobos began in her teens and she was a soloist at Villa Lobos' 1927 Paris concerts. In 1928 she married Benjamin Péret, French surrealist poet, with whom she lived in Brazil from 1929 to 1931. Their son, Geyser, was born in Rio de Janeiro in 1931. By the late 1930s, Elsie Houston had moved to New York. She was a brilliant singer, particularly skilled in the interpretation of Brazilian songs. The New York Times during this era praised her performances. She was also an active supporter of young Latin American composers, performing early pieces by composers such as Jayme Ovalle and Camargo Guarnieri. She died in 1943; her death was listed as an apparent suicide.”

G377. ADELINA PATTI, w.Landon Ronald (Pf.): Serenata (Tosti). 12" AC Pat.’08 Vla 95038 (548f), POM-1905, Never Doubled. A to M-A MB 15

G378. ADELINA PATTI, w.Landon Ronald (Pf.): Old folks at home (Foster). 12” AC Vla 95033 (540f), POM-1905, Never Doubled. M-A MB 15

G379. ADELINA PATTI, w.Landon Ronald (Pf.): Si vous n’avez rien à me dire (Baroness de Rothschild). 12” AC Vla 95036 (551f), POM-1905, special ‘Elaine’ 1930s pressing, Never Doubled. M-A, a gleaming copy. MB 35

G380. ADELINA PATTI, w.Landon Ronald (Pf.): Robin Adair (Keppel). 12” AC Canadian Pat.’08 Vla 95031 (549f), POM-1905, Never Doubled. M-A MB 15

"...I consider Patti the representative of the perfect art of singing, gifted with the most beautiful of voices and the utmost of musical talent....There is no more perfect model. [Patti] has also shown us how a voice can be preserved. She enjoys, of course, a rare gift of nature; her eternal youth borders upon the miraculous....not affected by the passage of time. But above all is her incomparable sense of beauty in music.

- Eduard Hanslick, VIENNA'S GOLDEN YEARS OF MUSIC, 1850-1900, pp.206-207G381. ADELINA PATTI, w.Landon Ronald (Pf.): Home, sweet home (Bishop). 12” AC Pat.’12 Vla 95029 (539f), POM-1905, Never Doubled. M-A MB 15

G382. ADELINA PATTI, w.Landon Ronald (Pf.): The last rose of summer (Moore). 12” AC Pat.’08 Vla 95030 (553f), POM-1905, Never Doubled. M-A, lovely copy has faintest pap. rub, inaud. MB 15

G383. ADELINA PATTI, w.Landon Ronald (Pf.): Arminio - Pur dicesti (Lotti). 12” AC pink LVDP S-03052 (538f), w.HMV embossed verso, RR-1905, Never Doubled in any regular series. M-A, a gleaming copy. MB 15

"Patti's last appearances, at which I sang, took place at the Queen's Hall for the benefit of her old accompanist Ganz. She was simply remarkable, and I shall never forget the timbre of her voice, just as I shall never forget Melba's....and she was then 65 years of age....One could never sing for several decades as she did, without perfect technique."

- Pauline DonaldaG384. ADELINA PATTI, w.Landon Ronald (Pf.): Arminio - Pur dicesti (Lotti) / Ave Maria (Bach-Gounod). 12” AC PW silver Vla IRCC 33, POM-1905, Sd.2 from Unpublished Master; Numbered Copy #27 of a Limited Edition. M-A, a gleaming copy. MB 45

G385. ADELINA PATTI, w.Landon Ronald (Pf.): Faust – Air des bijoux. 12” AC pink ‘Patti’ London Gram. 03056 (543f), POM-1905. Never Doubled. A to M-A MB 25

G386. ADELINA PATTI, w.Landon Ronald (Pf.): Nozze – Voi che sapete. 12” AC pink Historic Catalogue #2 HMV 03051 (537f), POM-1905, w.HMV embossed verso, Never Doubled. M-A MB 15

G387. ADELINA PATTI, w.Landon Ronald (Pf.): Don Giovanni – Batti, batti, o bel Masetto. 12” AC pink Historic Catalogue #2 HMV 03055 (541f), POM-1905, w.HMV embossed verso, Never Doubled in any regular series. M-A, a gleaming copy. MB 15

G388. ADELINA PATTI, w.Alfredo Barili (Pf.): La Sonnambula - Ah! non credea mirarti. 12” AC pink Historic Catalogue #2 HMV 03084 (683c), RR-1906, w.HMV embossed verso, never doubled; never issued USA. M-A, a gleaming copy. MB 12G389. ADELINA PATTI, w.Alfredo Barili (Pf.): Norma – Casta Diva! 12” AC pink Historic Catalogue #2 HMV 03082 (681c), RR-1906, w.HMV embossed verso, never doubled; never issued USA. M-A MB 12

G390. ADELINA PATTI, w.Alfredo Barili (Pf.): La calesera (Yradier) / NELLIE MELBA: Elaine - L'amour est pur (Bemberg).

12” AC silver PW Vla IRCC 17, POM-1906, Sd.2 Creator Record & previously Unpublished. Numbered Copy #8 of a Limited Edition. M-A, a gleaming copy. MB 45

"...'La calesera' is sensationally brilliant; the singer might be in the room, so powerfully does her voice ring out - not to mention the excitable Spanish screams which irritated her husband...and perhaps led to the cancellation of this famous record a few months after its issue in 1907 (a subsidiary cause may have been that the powerful recording was found to cause blast and wear, as indeed it still can)."

- Sackville-West & Shawe-Taylor, THE RECORD YEAR, 1952, p.362

G391. OLIMPIA BORONAT: Senza l’amore (Tosti). 10” AC red St Petersburg G & T G.C. -53347 (1771L), only form of issue, 1904, Stamper II. A-, very decent copy has few lt. mks, positively inaud.; upper portion of label is defaced. MB 45

G392. OLIMPIA BORONAT: Ave Maria (Bach-Gounod) / I Puritani – Qui la voce (1908 Version). 12” AC vinyl Historic Masters HMB 20, POM-1908. MINT MB 10

G393. OLIMPIA BORONAT: Martha – The last rose of summer (1904 Version) (in Italian) / ANTONINA NEZHDANOVA: Die Nachtigall (Alabieff). 10” AC white Archive HMV VA 19, POM-1904/’08, resp. MINT MB 8

G394. OLIMPIA BORONAT: Martha – The last rose of summer (1908 Version) (in Italian) / Les Huguenots – Ô beau pays. 12” AC vinyl Historic Masters HMB 29, POM-1908; First Edition, each Side. MINT MB 20

"[Boronat's] 'Last Rose of Summer' is an astonishing feat, and her 'Qui la voce' in Puritani will remain as a classic example of the truly lost art of rendering the music of Bellini as the master undoubtedly heard it in his own mind. The same may be said of the poignant and perfect beauty of the air in LES PÊCHEURS DE PERLES....As an exponent of the purest bel canto as a legitimate means of dramatic expression, this exquisite Spanish soprano occupies a place apart."

- P.G. Hurst, THE GOLDEN AGE RECORDED

G395. OLIMPIA BORONAT: Rigoletto – Caro nome. 10” AC red St Petersburg G & T G.C. -53348 (1772L), POM-1904, Stamper VI. A-, very decent copy has few lt. mks, positively inaud. MB 35

G396. OLIMPIA BORONAT: La Traviata – Sempre libera. 10” AC red St Petersburg G & T G.C. -53346 (1769L), only form of issue, 1904, Stamper II. A to M-A, lovely copy has wee pap. scr, positively inaud.; minuscule pressing bump is faintly audible, but only a few turns. MB 45

G397. OLIMPIA BORONAT: Les Pêcheurs de Perles – Comme autrefois (in Italian). 10” AC red St Petersburg G & T G.C. -53353 (1777L), POM-1904, Stamper III. A-, very decent copy has few lt. rubs, positively inaud.; minuscule pressing bump is faintly audible, but only 3 turns. MB 35

G398. OLIMPIA BORONAT: I Puritani – Qui la voce (1904 Version). 10” AC red St Petersburg G & T G.C. -53351 (1775L), POM-1904, Stamper II. A-, lovely copy has lt. grey on peaks, minimally audible; 2 tiny scrs, ever-so-faintly audible 2 or 3 turns; wee label smudge. MB 25

G399. OLIMPIA BORONAT: I Puritani – Qui la voce (1904 Version) / Mireille – O légère hirondelle. 10” AC PW silver Victor IRCC 50, POM-1904. Numbered Copy #85 of Limited Edition. M-A, gleaming copy has, beg. Sd. 2, 2 infinitesimal pap. scrs, inaud. MB 35

G400. OLIMPIA BORONAT: I Puritani – Qui la voce (1904 Version) / Les Pêcheurs de Perles – Comme autrefois (in Italian). 10” AC white Archive HMV VA 11, POM-1904. MINT MB 10

G401. OLIMPIA BORONAT: Zabava Putyatishna – Guai! No no! (Ivanov) / Mireille – Ô légère hirondelle (in Italian). 10” AC vinyl Historic Masters HMA 65 (10” record pressed onto 12” blank), POM-1904. MINT MB 10

G402. OLIMPIA BORONAT: Don Pasquale - So anch'io la virtù magica / Rigoletto - Tutte le feste al tempio. 12” AC red vinyl RCA 15-1023, POM-1908. M-A MB 15

Olimpia Boronat sang around the world, particularly the Spanish-speaking world, but was particularly associated with Russia; she first sang there at St Petersburg in 1894. She married a member of the Polish aristocracy, and retired from the stage for six years from 1896 to 1902. After her hiatus, she sang initially in Russia; it was not until 1909 that she returned to her native Italy to sing. Boronat was noted for a voice of great beauty and clarity, and exceptional technical ability, coupled with sensitive musicianship. She was particularly associated with the roles of Rosina, Violetta, Elvira, in I Puritani and Ophélie in Hamlet. After her retirement, Boronat founded a singing school in Warsaw.

G403. CESIRA FERRANI & GIOVANNI APOSTOLU: Faust – Il se fait tard (in Italian). 10” AC black Milano G & T G.C.-54035 (2931-w2), only form of issue, 1902. A-B, very decent copy has lt. grey on peaks & long lateral scr which clicks ltly during 1st inch. MB 25

G404. MARIA GRISI: Ernani – Ernani, involami / Huguet, Salvador, Cigada & Sillich: Ballo – O figlio d’Inghilterra. 10” AC Pat.’08 black V 63173, POM-1906/’07, resp. M-A MB 8

G405. MARIA GRISI & PIETRO LARA: Ruy Blas – O dolce voluttà (Marchetti). 12” AC Pat.’08 black V 58323, POM-1906. M-A, lovely copy has 2 wee dust mks, inaud. MB 8G406. EUGENIA MANTELLI: Der Asra (Rubinstein; in German). 10“ AC black (crossed bugles label) Zonophone 12619 (6499), only form of issue, 1906-07. A-, decent copy has lt rubs & scrs, inaud; tiny hlc into 1st inch, ever-so-faintly aud. MB 45

G407. EUGENIA MANTELLI: Carmen – Habañera (in French) / Les tringles des sistres (in Italian). 10“ AC dark-green (A Child’s Head ‘On Speaking Terms’ label) Zonophone 40075 (5973/6551), POM-1906.

A-B, decent copy has lt rubs & scrs., mainly cosmetic; lt. grey on peaks being only momentarily audible. MB 45

G408. EUGENIA MANTELLI: La Favorita – O mio Fernando / GUERRINA FABBRI: Barbiere – Una voce poco fà. 10“ AC shellac gold HRS 1098, RRs-1905/’03, resp. M-A MB 10

G409. EUGENIA MANTELLI: La Cenerentola – Nacqui all’affanno / Non più mesta. 10“ AC shellac red IRCC 3015, RRs-1905. M-A MB 10

G410. EUGENIA MANTELLI: La Cenerentola – Nacqui all’affanno / Non più mesta. 10“ AC dark-green (A Child’s Head ‘On Speaking Terms’ label) Zonophone 40080 (6553/54), POM-1905. B-, considerably rubbed & scratched copy plays remarkably well, with only the occasional click. MB 45

“Mantelli’s mastery of coloratura is such that we may point to her Rossini records. The florid music is executed with absolute precision combined with perfectly produced and beautiful tone in the style of Rossini’s own singers. Mantelli’s most important recording is the Rondo Finale from LA CENERENTOLA. The voice is most beautifully recorded, catching the lovely timbre; the voice is supported on the breath with admirable solidity. What a lesson she gives us in the properly defined execution of the runs, every note distinct without any hint of intrusive aspirates or diaphragmatic thrust; true to Garcia’s definition, her florid passages sound as though ‘played on the organ’. She interpolates two cadenzas, both similar to Rossini autograph variants. Rubinstein’s ‘Der Asra’ was a concert favorite, which Mantelli sings splendidly, giving full rein to the chest voice….”

- Michael Aspinall, Program notes to Marston’s Mantelli issueG411. 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 95

"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., 1937G412. BLANCHE MARCHESI: Hercules – My father; peaceful rest (Handel) / La lettre (Moret); Spanisches Liederbuch - Nun wandre, Maria (Wolf). 12" EL PW silver Victor IRCC 119, POM-1937. Numbered Copy #46 of Limited Edition, Sd.1 label is Autographed by Marchesi, to which her photo is affixed. M-A, a gleaming copy. MB 135

G413. BLANCHE MARCHESI: Amuri, amuri (Sicilian Cartdriver’s Song) (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 label Autographed by Marchesi. M-A, a gleaming copy. MB 95

“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. 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. Best described by John Williams, "the interpretation is almost unbearingly moving." 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-cantabileG414. ADALGISA ROSSI-MURINO & ERNESTO BADINI: La Gioconda – Vo’ farmi più gaia / Rossi-Murino, Bettoni, & Lopez-Nunes: Figlia che reggi. 12” AC blue V 55017, POM-4 / 11 April, 1910. M-A, lovely copy has, Sd. 1 only, 2 infinitesimal pap. scrs, inaud. MB 12G415. FAUSTA LABIA: Tre giorni son che Nina (Ciampi; att. Pergolesi) / Amica – Padre! Io vi chiamai così (Mascagni). 10¾“ AC Milano Fonotipia 39494/93 (XPh 221/341), only form of issue, 1905. Sd. 1 is particularly expressive, featuring exquisite shading and use of portamento to great effect! B, very decent bright & unworn copy has, primarily Sd.2, numerous lt. scrs. resulting in clicks, yet the performances come through most clearly. MB 35

“Fausta Labia, the elder sister of Maria Labia, had a relatively short career (1892–1912), which included performances as Sieglinde under Toscanini at La Scala. She retired shortly after her marriage to the tenor Emilio Perea.”

G416. MARIA de MACCHI: Lucrezia Borgia – Come è bello / Poliuto – Di qual soavi lagrime (both Donizetti). 10¾“ AC brown German Odeon RX 59135/36 (XPh 1916/2554), POM-1907.

M-A, a gleaming copy of choice 1930s pressing, produced for IRCC. MB 75

G417. MARIA de MACCHI: Norma – Casta diva / Ah! bello a me ritorna. 10¾” AC Milano Fonotipia 39495/96 (XPh 478/84), POM-1905. A, lovely copy has, beg. Sd. 1 only, minor ‘heat’ mk, causing very faint swish. MB 50

G418. ROSA CALIGARIS: Forza – Madre pietosa Vergine. 12” AC black Milano G & T 053011 (Con 564), POM-1903. A-, lovely copy has lt. grey on peaks. MB 45

G419. ELISA BRUNO: Le Prophète – Ah, mon fils! (in Italian). 10” AC Milano G & T G.C.-53228 (1725), only form of issue, 1902. A-, lovely copy has hint of grey on peaks & infinitesimal dust scr. MB 65

G420. ALICE CUCINI & FORTUNIO SANCOVY: Il Trovatore – Ai nostri monti. 10” AC red Milano G & T G.C. 54332 (10370b), POM-1907. A-B, very decent copy has lt. rubs & few superficial scrs causing no more than a few lt. clicks; this plays virtually as M-A. MB 35

G421. ALICE CUCINI & EMILIA CORSI: Lohengrin – Ortrud! Wo bist du? (in Italian). 12” AC red Milano G & T 054086 (603c), POM-1906. A-, very decent copy few lt. rubs & superficial mks, positively inaud. MB 45

G422. ALICE CUCINI & GIULIO ROSSI: Mignon – Légères hirondelles (in Italian). 12” AC red Milano G & T 054085 (602c), POM-1906. A-, very decent copy few lt. rubs & superficial mks, positively inaud. MB 45

“Alice Cucini made her theatrical début in Naples at the age of 21 and enjoyed a splendid career….Cucini has a vocal quality of real authority that, without any undue pressure on her lower register and an expressive range, immediately impresses the listener.”

- Alan Bilgora, liner notes to Bill Breslin’s Collectors’ Treasures CDG423. SANTA CHISSARI, w.Basile Cond.: Fra Diavolo – Quel bonheur (Auber, in Italian), 2s. 10” EL pale-blue Cetra AT 0360, only form of issue, 18 Nov., 1953. Remarkably agile coloratura, with quite a lovely voice! M-A, a gleaming copy. MB 25

G424. FERNANDA CHIESA, CARLO ALBANI & LUIGI MANFRINI: I Lombardi - Qual voluttà, 2s. 10¾” AC Milano Art Label ‘Disco Commemorative – Omaggio a Verdi’ Fonotipia 1813/1913. A-, lovely copy has few lt. mks, inaud; beg. Sd. 1 only has few greyed grooves. MB 20

“The pièce de resistance is the ‘Disco Commemorativo Omaggio a Verdi’, issued in 1913 in observance of Giuseppe Verdi's centenary. Verdi had only been dead 12 years, and the record is made by the regular cast and orchestra belonging to La Scala in 1913. So if one desires to hear the music of Verdi much as Verdi himself heard it, then Fonotipia: A Centenary Celebration is the place to go -- that in itself is a strong recommendation for this collection.”

- Uncle Dave Lewis, ALL MUSIC GUIDE

G425. MARIA BERNACCHI, LUIGI COLAZZA & ERNESTO CARONNA: Il Trovatore – Di geloso amor. 10” AC white Vla 16808-A (7027b), POM-1905. A to M-A MB 10

G426. MARIA BERNACCHI, LUIGI COLAZZA & TORRES DE LUNA: Ernani – Ferma crudel / MARIA GRISI, REMO SANGIORGI FRANCESCO CIGADA &: O sommo Carlo. 12” AC black V 35170, POM-1905/’06, resp. M-A MB 10

G427. LINA PASINI-VITALE & RINALDO GRASSI: Cavalleria – Tu qui Santuzza?, 2s. 12“ AC Milano Fonotipia 74149/50 (XXPh 3968-2/69-2), POM-1909. A-/A, lovely copy has, Sd. 1 primarily, few insignificant pap. mks, inaud. MB 35

G428. LINA PASINI-VITALE & FERRUCCIO CORRADETTI: Madama Butterfly – Ora a noi, 2s.. 10¾“ AC Milano Fonotipia 92523/24 (XPh 3975/76), POM-1909. A-/A-B, very decent copy has few lt. rubs, inaud.; Sd. 1 only has tiny pressing bump, faintly audible 3 turns; Sd. 2 only has wee ec, not to grooves. MB 25

G429. SARA SCUDERI, w.Erede Cond.: La Boheme – Donde lieta uscì / Manon Lescaut – In quelle trine morbide. 10” EL plum HMV B.9659, only form of issue, 1948. M-A MB 8

G430. SARA SCUDERI, w.Erede Cond.: La Boheme – Mi chiamano Mimi / Andrea Chénier – La mamma morta. 12” EL plum HMV C.4035, only form of issue, 1948. M-A MB 10

G431. SARA SCUDERI & ALDO FERRACUTI, w.Erede Cond.: Cavalleria – Tu qui Santuzza?, 2s. 12” EL plum HMV C.3769, only form of issue, 1948. M-A MB 12

The above appear to be the entire recorded output by Scuderi, perhaps best-remembered for her participation in the 1985 documentary about Milano’s Casa di Riposo per Musicisti Giuseppe Verdi, (constructed 1895-1899), most poignant and charming.

G432. GIUSEPPINA ARNALDI, w.Simonetto Cond.: Zauberflöte – Der Hölle Rache (Mozart, in Italian) / w.Basile Cond.: Barbiere – Una voce poco fá (w.no cabaletta). 10” EL pale-blue Cetra AT 0280, only form of issue, 18 April / 5 Aug., 1952. M-A, a gleaming copy. MB 35

G433. GIUSEPPINA ARNALDI, w.Basile Cond.: Barbiere – Una voce poco fá, 2s (w.cabaletta). 10” EL pale-blue Cetra AT 0290, only form of issue, 5 Aug., 1952. M-A, a gleaming copy. MB 35

G434. GIUSEPPINA ARNALDI, w.Basile Cond.: Manon – Adieu, notre petite table (Massenet, in Italian) / Lodoletta – Flammen perdonami (Mascagni), redolent of the unforgettable performance by Iris Adami Corradetti! Performances such as these clearly demonstrate why this repertoire is best left unsung by the current crop of singers!10” EL pale-blue Cetra AT 0326, only form of issue, 11 May, 1953. M-A, a gleaming copy. MB 35

G435. GIUSEPPINA ARNALDI, w.Basile Cond.: Fra Diavolo – Quall’ nom del fiero aspetto (not to be confused with the ever-popular ‘Or son sola’) / Nozze – Voi che sapete. 10” EL pale-blue Cetra AT 0343, only form of issue, 6 July, 1953. M-A, a gleaming copy. MB 35

G436. GIUSEPPINA ARNALDI, w.Basile Cond.: L’Elisir d'Amore – Prendi per me sei libero /

Linda di Chamounix – O luce de quest’anima. 10” EL pale-blue Cetra AT 0392, only form of issue, 11 / 16 June, 1954. M-A, lovely copy has occasional minuscule ‘damp’ spot, virtually inaud., in this remarkably quiet pressing. It should be noted that all the above Arnaldi issues are on beautiful quiet shellac. MB 35

G437. GRAZIELLA VALLE, w.Basile Cond.: La Boheme – Donde lieta uscì / Tosca – Vissi d’arte. 10” EL green Cetra TI 7063, only form of issue, 10 Sept., 1948. M-A, a gleaming copy. MB 25

G438. GRAZIELLA VALLE, w.Basile Cond.: Cavalleria – Voi lo sapete / I Puritani – O rendetemi la speme; Qui la voce. 10” EL green Cetra TI 7064, only form of issue, 11 / 13 Sept., 1948. M-A, gleaming copy has wee label tear, Sd.1; alas, heavy lateral edge lams cause thumping, beg. Sd.2 only, during first inch. MB 12

G439. GRAZIELLA VALLE, w.Basile Cond.: Adriana Lecouvreur – Poveri fiori / L’Amico Fritz – Non mi resta. 10” EL green Cetra TI 7065, only form of issue, 11 / 13 Sept., 1948. M-A, gleaming copy has wee label tear, Sd.1. MB 25

G440. GRAZIELLA VALLE, w.Basile Cond.: Iris – S’era ammalata la mia amica bambola / Lodoletta – Flammen, pietà (both Mascagni). 10” EL green Cetra TI 7069, only form of issue, 12 -13 Nov., 1948. M-A, a gleaming copy. MB 25

G441. ROSINA ZILIANI, w.Ermelinda Magnetti (Pf.): Ninna nanna (Castelnuovo-Tedesco) / Ninna nanna d’Uliva (Pizzetti). 10” EL green Cetra TI 7053, only form of issue, 2 Oct., 1947. M-A, a gleaming copy. MB 20

G442. ROSINA ZILIANI, w.Ermelinda Magnetti (Pf.): Pioggia (Respighi) / Strambotto in serenata (Trecate). 10” EL green Cetra TI 7054, only form of issue, 2 Oct., 1947. M-A, a gleaming copy. MB 20

“Rosina Ziliani Bianchi was born in Alexandria. She was a participant in the 1937 competitions of the National Theatre, Alexandria, where she shared honors with Clara Petrella. She was active in the Teatro Lirico Sperimentale which lasted until 3 May, 1944, when the Allied Forces bombed and destroyed the Municipal Theatre, thereby causing the interruption of a budding career.”

G443. JOLANDA di MARIA-PETRIS, w.Tore Wiberg (Pf.): I Pastori (Pizzetti) / Quelle fiamma (Marcello). 12” EL HMV DB 6697, only form of issue, 1946. M-A, a gleaming copy. MB 8

G444. JOLANDA di MARIA-PETRIS, w.Sixten Ehrling Cond.: Manon Lescaut - In quelle trine morbide / La Boheme - Donde lieta uscì. 10” EL HMV DA 1886, only form of issue, 1946. M-A MB 8

“Petris’ busiest concert season was 1940-1950, then after World War II she came to Scandinavia, appeared in Europe and also made an extensive American tour in which she was regarded as a sensation. She has recorded Verdi, Mascagni, Boito, Respighi, Granados and Pizzetti arias. In Stockholm, Jolanda di Maria Petris became acquainted with the Finnish Opera baritone Far Forsell. The couple's son Claudio was born in 1949. Petris then became lecturer at the Sibelius Academy from 1960 to 1977.”

G445. ELENA DANESE, w.Fighera Cond.: Lakmé – Où va la jeune Indoue (in Italian), 2s. 10” EL green Cetra TI 7067, only form of issue, 9 Nov., 1948. M-A, a gleaming copy. MB 20

G446. ELENA DANESE, w.Fighera Cond.: La Fille du Régiment – Il faut partir (in Italian) / Rigoletto – Caro Nome. 10” EL green Cetra TI 7068, only form of issue, 10 Nov., 1948. M-A, gleaming copy has, Sd. 1 only, wee label tear. MB 20

G447. MARINA CAMPANARI: Voci di primavera (Johann Strauss) / Roméo et Juliette – Je veux vivre. 10” AC dark-blue Okeh 6006, only form of issue, 1920. M-A, choice copy has, Sd. 2 only, mere hint of grey on peaks. Charming artist, the daughter of celebrated baritone Giuseppe Campanari (Met Opera, 1894-1912, and cellist with the Boston Symphony Orchestra and the La Scala Orchestra). MB 10

G448. MARINA CAMPANARI & FORREST LAMONT: Rigoletto – È il sol dell’anima / FORREST LAMONT: Questa o quella. 10” AC dark-blue Okeh 6009, only form of issue, 1920. A-B, very decent copy has lt. rubs, inaud.; Sd. 1 only has very faint nr & few lt. scrs. MB 8

G449. RENATA EGIZIA, w.Manno Cond.: Serenata (Clausetti) / Ave Maria (Bach-Gounod). 10” EL green Cetra TI 7015, only form of issue, 29 April, 1944. Uncommonly lovely singing. M-A, a gleaming copy. MB 20

G450. MARIA CAPPIELLO: Aïda - O tu che sei d'Osiride / Chi mai fra gl'inni. 12” AC blue V 55005 (Mx.1960/1964c), POM-5 / 7 April, 1909. A to M-A, lovely copy has faintest pap. rubs, inaud.; beg. Sd.1 only has wee scr, inaud. MB 10

G451. LIDIA STIX, w.Giorgio Favaretto (Pf.): Als Luise die Brefe Ihres ungetreuen (Unglückliche Liebe) / Warmung (both Mozart, in Italian). 10” EL green Cetra TI 7076, only form of issue, 15 July, 1949. M-A, a gleaming copy. MB 20G452. LIDIA STIX, w.Giorgio Favaretto (Pf.): An Chloe / Das Veilchen (both Mozart, in Italian). 10” EL green Cetra TI 7075, only form of issue, 16 /15 July, 1949. M-A, gleaming copy has, visible Sd. 2 only, infinitesimal internal lam, positively inaud. MB 20

G453. LIDIA STIX, w.Giorgio Favaretto (Pf.): Das Traumbild (Mozart, in Italian) / Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart], in Italian). 10” EL green Cetra TI 7081, only form of issue, 16 / 15 July, 1949. M-A, a gleaming copy. MB 20

G454. GABRIELLA BESANZONI: La Gioconda – Voce di donna. 10” AC Vla 64876, POM-9 March, 1920. M-A MB 8

G455. GABRIELLA BESANZONI: Il Trovatore – Stride la vampa. 10” AC Vla 64875, POM-9 March, 1920. M-A MB 8

G456. GABRIELLA BESANZONI: La Gioconda – Voce di donna / Il Trovatore – Stride la vampa. 10” AC LVDP DA 128, POM-9 March, 1920. M-A, choice late LVDP pressing. MB 12

G457. GABRIELLA BESANZONI: Samson et Dalila – Mon coeur s’ouvre à ta voix (in Italian). 10” AC Vla 64877, POM-11 March, 1920. M-A MB 8

G458. GABRIELLA BESANZONI: Samson et Dalila – Printemps qui commence (in Italian) / CRISTINA SORO: Il Trovatore – D’amor sull’ali rosee. 12” AC Vla 6409, POM-10 March, 1920 / 30 Sept., 1922. M-A MB 12

G459. GABRIELLA BESANZONI: Carmen – Habanera (in Italian). 12” AC Vla 74613, POM-20 Feb., 1920. M-A MB 8

G460. GABRIELLA BESANZONI: La Favorita – O mio Fernando. 12” AC Vla 74680, POM-2 March, 1921. M-A, a gleaming copy. MB 8

G461. GABRIELLA BESANZONI: Le Prophète – Ah, mon fils! 12” AC S/S Special vinyl Pressing of Unpublished C 24960, POM-24 Feb., 1921, from Unpublished Master (although Victor assigned Issue #74677, but never issued). MINT MB 25

“Gabriella Besanzoni was very successful at La Scala, as Orfeo and Amneris, and in 1932 as Carmen and Mignon. In the 1910s and ‘20s Besanzoni was a star of the Teatro Colón in Buenos Aires and other South American opera houses. Her rôles included Dalila, Carmen, Amneris, Lola, La Cieca, Preziosilla, Marina, Leonora in LA FAVORITA, Mignon, Adalgisa, Isabella in L’ITALIANA IN ALGERI, not to forget the first performances of Zandonai’s FRANCESCA DA RIMINI and Marinuzzi’s JACQUERIE. She returned to sing at the Colón until 1935. She also appeared at the Met opposite Caruso in the season 1919/20. Guest appearances followed at the opera houses of Chicago, Havana and Berlin. Carmen was the rôle that brought her fame and it was this part she chose for her farewell performance at the Terme di Caracalle in Rome (1939). After her retirement she dedicated herself to teaching.She recorded seven outstanding sides of 78s in the years 1920/21, then in 1932 she recorded some CARMEN with her brother Ernesto Besanzoni as Escamillo. Gabriella Besanzoni is one of the most eminent mezzo-sopranos to be heard on records. Hers is a full-toned and smoothly produced voice. In my opinion, there is but one Italian mezzo being her equal, namely Ebe Stignani. She has a rich low register, a secure middle and a brilliant top register. What I particularly like is not only the beauty of her voice but also its velvety quality. She is one of very few Italian mezzo-sopranos who are able to sing with flexibility, and she can be very charming. Listen to her Carmen! In her interpretation, Carmen is an Italianate “femme fatale” but still it is a subtle portrait. There is a lot of delicacy and grace in her singing which is so essential for this character.”

- Andrea Shum-Binder, subito-cantabileG462. EBE BOCCOLINI: La Wally – Ebben? Ne andrò lontana / GIUSEPPINA HUGUET: Il bacio (Arditi). 12” AC blue V 55024, POM-24 Nov., 1910 / 28 April, 1909. M-A, lovely copy has, Sd. 2, faintest pap. rubs, inaud. MB 25

G463. EBE BOCCOLINI & GUIDO CICCOLINI: L’Amico Fritz – Suzel, buon dì (Cherry Duet) / FANNY LOTTI & ERNESTO BADINI: Amica – Più presso al ciel (both Mascagni). 12” AC black Pat.’12 V 68376, POM-14 Dec. / 26 Nov., 1910. M-A, gleaming copy has, Sd. 2 only, needle run on label. MB 20

G464. EBE BOCCOLINI & LUCA BOTTA: Manon Lescaut – O tentatrice / IRENE SOLLOHUB & LUCA BOTTA: Mefistofele – Amore! Misterio! 12” AC black V 68418, POM-17/25 Sept., 1912. M-A, gleaming copy has, Sd. 2 only, infinitesimal pap. scr, inaud. MB 25

G465. EBE BOCCOLINI & ERNESTO BADINI: La Boheme – C’è Rodolfo? / SANIPOLI, PASSARI, CICCOLINI & BADINI: Addio dolce svegliare (both Act III). 12” AC black Gram. Monarch 054295/99, POM-25/23 Nov., 1910. A to A-, lovely copy has faintest pap.rubs, inaud. MB 15

G466. EBE BOCCOLINI & MATTIA BATTISTINI: Thaïs – Baigne d’eau (in Italian) / MATTIA BATTISTINI: Don Carlos – Io morrò, ma lieto in core. 12” AC vinyl Historic Masters HMB 47, POM-24 Feb., 1924 / 3 June, 1911, the latter being First Edition. MINT MB 8

“Ebe Boccolini first came to attention as Nedda (PAGLIACCI) at the Politeama in Pisa, 1906. Despite her youth, she was soon heard in a number of Italian houses in roles such as Charlotte in WERTHER, WALLY, MANON, MADAMA BUTTERFLY, CONCHITA (Zandonai), Desdemona, and Tosca. Her career encompassed most of the Italian theaters, and she also sang in Holland, Spain, Chile, Peru and Cuba, often appearing with Bernardo de Muro. They performed together in a highly acclaimed performance of Giordano’s ANDREA CHÉNIER in Havana in 1921. She returned to Italy in 1930 and performed throughout the country for the next six years. Her husband was Ermete Zacconi, a noted Italian actor. Boccolini recorded for the Italian Gramophone Company in 1910-11, among which are duets with Mattia Battistini.”

- Lawrence F. Holdridge, Program notes to VRCS 2006 Issue & Marston’s THE EDISON TRIALSG467. GIANNA PEDERZINI, w.Favaretto (Pf.): Ständchen (Strauss; in Italian) / Wiegenlied (Brahms, in Italian). 10" EL LVDP DA 5426, only form of issue, 1942. M-A, choice copy has, Sd. 2 only, sev. tiny pap. scrs, inaud. MB 25

G468. GIANNA PEDERZINI, w.Olivieri Cond.: Traum durch die Dämmerung (Strauss; in Italian) / Passione (Tagliaferri). 10" EL LVDP DA 5386, only form of issue, 1940. M-A, choice copy has, Sd. 1 only, faintest pap. rub, inaud. MB 25

G469. GIANNA PEDERZINI, w.Lualdi Cond.: La Canzone di Fraciscio (Cond. by the Composer) / Werther - Letter Scene (in Italian). 10" EL LVDP DA 5424, only form of issue, 1942. A, exemplary copy has faintest pap.rubs, inaud.; Sd. 1 only has infinitesimal pap. scr, inaud. MB 25

G470. GIANNA PEDERZINI, w.Salerno (Pf.): Vidalita (Williams) / Canta pe’ me (de Curtis). 10” EL dark blue Cetra AT 0118, only form of issue, 5 May, 1942. A to A-, lovely copy has faint rubs & mere hint of grey on peaks. Wartime Issue, Italy only. MB 25

G471. GIANNA PEDERZINI, w.Petralia (Cond.): ‘O surdato ‘nnammurato (Cannio) / L’addio del bersagliere (Lama). 10” EL pale blue Cetra AT 0119, only form of issue, 28 June, 1942. A, lovely copy has faintest pap. rubs, inaud. Wartime Issue, Italy only. MB 25

G472. GIANNA PEDERZINI, w.Tansini Cond.: L’Italiana in Algeri - Cruda sorta / Per lui che adoro. 12” EL dark-green Cetra BB 25092, only form of issue, 1942. M-A, a gleaming copy. MB 15

G473. GIANNA PEDERZINI, w.Tansini Cond.: L'Arlesiana - Esser madre È un inferno / Risurrezione - Dio pietoso. 12” EL dark-green Cetra BB 25027, POM-9 April, 1941. M-A, a gleaming copy. MB 15

G474. GIANNA PEDERZINI, w.Tansini Cond.: L'Arlesiana - Esser madre È un inferno / Risurrezione - Dio pietoso. 12” EL Parl.Odeon R.30020, POM-9 April, 1941. M-A, a gleaming copy. MB 12

G475. GIANNA PEDERZINI, w.Nastrucci Cond.: Carmen – Séguedille / En vain pour éviter (Card Scene) (in Italian).

12” EL dark-green Cetra BB 25025, POM-9 April, 1941. M-A, a gleaming copy. MB 15

G476. GIANNA PEDERZINI, w.Nastrucci Cond.: Carmen – Séguedille / En vain pour éviter (Card Scene) (in Italian). 12” EL Parl.Odeon R.30001, POM-9 April, 1941. M-A, a gleaming copy. MB 12

G477. GIANNA PEDERZINI & ANTONIO GELLI, w.Nastrucci Cond.: Forza - Al suon del Tamburo / Sabajno Cond. La Scala Chorus: Nabucco - Va, pensiero. 12” EL plum HMV JOX 43, POM-1930. M-A, a gleaming copy. MB 15

"...Pederzini [was] one of the best mezzos of my whole experience. Hers was not perhaps one of the greatest vocal organs, but she used it splendidly and had a beautiful vocal intensity onstage which made her performances riveting."

- Tito Gobbi, MY LIFE, p.156“Pederzini studied in Naples with Fernando de Lucia, and made her stage début in Messina, as Preziosilla, in 1923. She sang widely in Italy, notably as Mignon and Carmen, and made her début at the Teatro San Carlo in Naples, as Adalgisa, in 1928, and at the Teatro alla Scala in Milan, in 1930. Abroad, she appeared at the Royal Opera House in London in 1931, the Opéra de Paris in 1935, the Teatro Colón in 1938, and the Berlin State Opera in 1941. She took part in the 1930s’ revivals of rare operas by Rossini and Donizetti, while singing the standard mezzo roles; Azucena, Ulrica, Amneris, Laura, but also a few dramatic soprano roles such as Santuzza and Fedora, etc. In the 1950s, she began concentrating on ‘character rôles’ such as the Countess in PIQUE DAME, Mistress Quickly in FALSTAFF, Madame Flora in THE MEDIUM, and took part in the creation of LES DIALOGUES DES CARMÉLITES at La Scala, in 1957.”

G478. OLGA OLGINA: Lakmé – Où va la jeune Indoue, 2s. 12” EL black Eng. Decca S 10002. A-, very decent copy has lt. rubs & few superficial scrs, inaud. MB 8

G479. OLGA OLGINA, w.Basil Cameron Cond.: Barbiere – Una voce poco fà, 2s. 10” EL white Eng. Decca review copy for M92 (MB 748/49). A to M-A, lovely copy has, Sd. 2 only, few superficial scrs, inaud.. MB 8

G480. SALOMEA KRUSZELNICKA: Ti rivedrò (Tosti) / Forza – Pace, pace, mio Dio! 12” AC Milano Fonotipia 74026/25 (XXPh 2225/2215), POM-7 Nov., 1906. A-B, very decent copy has various cosmetic lt. rubs & faint scrs, virtually inaud.; this plays virtually as M-A. The Tosti song is among Kruszelnicka’s most enchanting performances! MB 45

“Tosti’s waltz ‘Ti rivedrò’ is one of the loveliest records in the Fonotipia catalogue. In contrast to the preceding matrix, the Wally aria, here her tone is warm and caressing, charmingly seductive. She gives us a lesson in how to sing a waltz, and her mastery of rhythm and rubato serve to remind us that, after all, she is a compatriot of Chopin….Her high standard of accuracy of execution, together with her cello-like legato and delicate expression, are typical of the artistic finish expected from the performances of great singers in the salon of a hundred years ago….She brings out all the pathos of ‘Poveri fiori’ with a beautifully sustained climax in which she is able to intensify her tone without any harshness.”

- Mark Bailey, Program Notes to Marston’s Kruszelnicka issue

G481. SALOMEA KRUSZELNICKA: Adriana Lecouvreur – Poveri fiori / Io son l’umile ancella (1907 Version). 10¾” AC Milano Fonotipia 92089/88 (XPh 2853/54), POM-14 Nov., 1907. A to M-A, choice copy has, Sd. 2 only, hint of grey on peaks and sev. infinitesimal dust mks, very faintly audible a turn or three. MB 45

G482. SALOMEA KRUSZELNICKA: Mefistofele – L’altra notte / Adriana Lecouvreur – Io son l’umile ancella (1906 Version). 10¾” AC Parl.-Odeon PO 132 (xxPH 2212/13), POM-6 Nov., 1906. A to M-A, lovely copy has very occasional pap. scuff, inaud. MB 35G483. ODA SLOBODSKAYA: w.Ivor Newton (Pf.): The Dreary Steppe (Gretchaninoff); From my Tears, Spring Flowers; Water Nymphs (all Borodin); Hebrew Melody (Balakirev). 12” EL Eng. Decca K.1206, only form of issue, 1939. M-A MB 15

G484. ODA SLOBODSKAYA: w.Nicolas Medtner (Pf.): To a dreamer / TATIANA MAKUSHINA, w.Nicolas Medtner (Pf.): Spanish romance; Butterfly (all Acc. by the Composer). 12” EL HMV DB 6565, only form of issue, 1947. M-A MB 15

G485. ODA SLOBODSKAYA, w.Percy Kahn (Pf.): Lilacs (Rachmaninoff); Roses (Rubinstein) / The Fair at Sorochintsi - Parassia's Reverie (Moussorgsky). 10" EL plum HMV EK.113, only form of issue, 1931. M-A MB 15

"[Slobodskaya] has a never-failing power to convey the precise significance of each song she sings to audiences ignorant of the Russian language. And it is with a Russian richness of temperament that she enjoys or suffers everything she sings....Working with her was always an adventure...."

- Ivor Newton, AT THE PIANO, THE WORLD OF AN ACCOMPANIST, p.111G486. ODA SLOBODSKAYA, w.Ivor Newton (Pf.): Songs by Taneiev, Tschaikowsky, Tcherepnin, Cui & Rachmaninoff, 8s. 4-12” EL orange Eng.Decca RVW.104/107, only form of issue, 1938. Privately issued by Rimington van Wyck. A to M-A MB 65

"...the [above] recordings were made and issued in a limited edition of 2,000 copies, bearing a classy orange label....the Rimington van Wyck set comprising four 12" 78rpm records, made in 1938, [includes] her own favourite recording, Tschaikowsky's 'Golden Cornfields' [and] captures Slobodskaya in her vocal prime, she was just 50, and at her interpretative best. Ivor Newton, her accompanist, is sensitive and supportive....Even if a Rimington van Wyck set can be discovered nowadays, and it is exceedingly rare, the records may be seriously impaired."

- Maurice Leonard, SLOBODSKAYA, A BiographyG487. MARIA MAKSAKOVA: You will soon forget me / It’s all the same to me (both Dargomyzhsky); My genius, my angel, my friend (Tchaikovsky). 10” EL orange CCCP Aprelevski Zavod 15807/06, recorded 1948. M-A MB 12

G488. MARIA MAKSAKOVA: Hug me, kiss me (Balakirev) / No, it is not you (Titov). 10” EL blue Aprelevski Zavod 12112/13, recorded 1944. M-A MB 12

G489. MARIA MAKSAKOVA: Esli est ne svete (Zhivotov) / Neva (Yurtaikin). 10” EL blue Aprelevski Zavod 14043/44, recorded 1946. M-A MB 12

G490. MARIA MAKSAKOVA: The beautiful maid no longer loves me / Listen, friends, to my song (both Borodin ). 10” EL black Aprelevski Zavod 14676/77, recorded 1947. M-A MB 12

G491. MARIA MAKSAKOVA: Krasavitsa-Rybachka (Borodin) / Tolko uzna (Glinka). 10” EL black Aprelevski Zavod 15660/61, recorded 1948. M-A MB 12

G492. MARIA MAKSAKOVA: Songs by Borodin / Varlamov. 10” EL red CCCP Aprelevski Zavod 21100/21099, recorded 1952. M-A MB 12

G493. MARIA MAKSAKOVA: Pique Dame – Dear friends for whom I sing (Pauline’s romance) / MARIA MAKSAKOVA & XENIA DERZHINSKAYA: Already shades of night. 10” EL red CCCP Aprelevski Zavod 16743/42, recorded 1949. M-A/A, lovely copy has, Sd. 2 only, few superficial pap. scrs. MB 10

G494. MARIA MAKSAKOVA: Khovanschina – Mysterious powers! (Martha’s divination) (Mussorgsky), 2s. 10” EL red CCCP Aprelevski Zavod 24442/43, recorded 1955. M-A MB 12

G495. MARIA MAKSAKOVA: The Stone Guest – Fog has decended on Granada / Here am I, Inezilla (Dargomyzhsky), 2s. 10” EL red USSR Aprelevski Zavod 15677/78, recorded 1948. M-A, lovely copy has, alas, hlc. MB 6

“Maria Maksakova was an ultimately Russian singer. Her timbre and intonation were so genuinely Russian that it was only natural that she fit so perfectly into the Russian classical format, especially when it came to portraying strong characters that gave such ample credit to her unique talent of a dramatic actress. The Bolshoi’s lead singers loved partnering with Maksakova on stage because she had that rare ability to feel her partner and latch onto his state of mind.”

- Olga Fyodorova, THE VOICE OF RUSSIAG496. OXANA PETRUSENKO: Swim, swim, little swan (Stetsenko) / Natalka Poltavka – The winds are blowing (Lysenko). 12" EL red CCCP Aprelevski Zavod 08690/05289, recorded 1939/’37, resp. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12

G497. CLAUDIA NOVIKOVA: Die Fledermaus – Mein Herr Marquis (Johann Strauss) / The Geisha – Song of the laugh (Lambelt; inserted into the Sidney Jones operetta ‘The Geisha’) (both in Russian). 10” EL purple Argee 1119, recorded 1940. A to M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud. MB 25

G498. CLAUDIA NOVIKOVA: La Périchole – Ah, quel diner! (in Russian) (Offenbach) / Pyatnitzky Chorus: The pathway (Russian Folksong). 10” Keynote 219, recorded 1939. A to M-A, lovely copy has, Sd. 1 only, infinitesimal pap. mk, inaud. MB 20

“Claudia M. Novikova was a leading singer of operetta and light opera. She was an excellent vocalist with a technique firmly based in the classical tradition, having studied with the great contralto Eugenia Zbruyeva. In 1926 she joined the prestigious Moscow Operetta Theatre where she remained until her retirement from the stage in 1958. Novikova’s voice was clear and beautifully focused. She was a very expressive singer….Her laugh may be the most infectious on record.”

- William R. Skinner, Program Notes to Eclectra’s ‘Laughing with Novikova’ CDG499. IRINA MASLENNIKOVA: The Evening is fading away (Rimsky-Korsakov) / Meadow song (Vasilenko). 10” EL red CCCP Aprelevski Zavod 16840/41, recorded 1949. M-A, choice copy has label tear, Sd. 1. MB 15

G500. IRINA MASLENNIKOVA: La Boheme – Mi chiamano Mimi (in Russian) / Tsar Saltan – Swan Princess’ Aria (Rimsky-Korsakov). 7¾” EL purple Aprelevski Zavod Extended Play 00901/02, recorded c.1950. M-A MB 15

G501. IRINA MASLENNIKOVA: Snegoroutchka – And yet I faint (Death of Snegoroutchka) (Rimsky-Korsakov). 10” EL green Aprelevski Zavod 16677/78, recorded 1949. M-A MB 15

G502. IRINA MASLENNIKOVA: Ruslan and Ludmilla – Soon I must leave thee (Glinka), 2s. 12” EL red CCCP Aprelevski Zavod 018434/35, recorded 1950. M-A MB 20

G503. IRINA MASLENNIKOVA & SERGEI LEMESHEV: La Traviata – Libiamo, libiamo / SERGEI LEMESHEV: De’ miei bollenti spiriti (both in Russian). 10” EL red CCCP Aprelevski Zavod 14915/16, recorded 1947. M-A MB 15

G504. IRINA MASLENNIKOVA & SERGEI LEMESHEV: La Traviata – Un dì felice, eterea (Act I) (in Russian), 2s. 10” EL red CCCP Aprelevski Zavod 12118/19, recorded 1944. A-, very decent copy has lt. rubs, inaud.; Sd. 1 only has few wee scrs, ever-so-faintly audible a few turns. MB 8

G505. IRINA MASLENNIKOVA, ANATOLI ORFENOV & IVAN PETROV: Two Trios (Dmitriyev / Dargomyzhsky). 12” EL red CCCP 021384/85, recorded 1952. M-A Beautiful & Exceedingly elusive! MB 15

“The Bolshoi's singer and Kozlovsky's partner in several operas, Irina Maslennikova, said: ‘At the beginning of my career at the Bolshoi I sang first in RIGOLETTO and than in THE BARBER OF SEVILLE. As a singer I was absolutely unknown to anyone. My first partners were such celebrities as Ivan Kozlovsky and Marc Reizen. Who was I? Just a beginner. But how they cared for me! At rehearsals they treated me like an accomplished singer making no difference between me and themselves’.”

- N. Victorova, AN INTERNATIONAL CONFERENCE IN THE MOSCOW KREMLIN, 2000G506. EUGENIA SMOLENSKAYA: Pique Dame – ‘Twill soon be midnight (Tchaikovsky), 2s. 10” EL purple Aprelevski Zavod 16802/03, recorded 1949. M-A MB 15

G507. YELIZAVETA CHAVDAR. Tsar’s Bride – In Novgorod / Snegoroutchka – And yet I faint (Death of Snegoroutchka) (both Rimsky-Korsakov). 7¾” EL red Aprelevski Zavod Extended Play 00843/44, recorded c.1950. M-A MB 15

G508. NINA SERVAL & SOFIYA PREOBRAZHENSKAYA: Mazeppa – Duet of Maria & Liubov (Tchaikowsky), 2s. 12” EL red CCCP Aprelevski Zavod 026298/99, recorded 1951. MINT MB 15

G509. NADEZHDA KAZANTSEVA: How fair this spot; In my garden at night (both Rachmaninoff) /

A midsummer night’s dream (Rimsky-Korsakov); I shan’t tell anyone (Dargomyzhsky). 7¾” EL red Aprelevski Zavod Extended Play 00699/700, recorded c.1950. M-A MB 15

G510. NADEZHDA KAZANTSEVA: Horch! Horch! die Lerch’ / Ständchen (both Schubert; in Russian). 10" EL red Aprelevski Zavod 21079/80, recorded 1952. M-A MB 15

G511. NADEZHDA KAZANTSEVA: G’schichten aus dem Wiener Wald (Johann Strauss; in Russian), 2s. 10" EL yellow Akkora 24377/78, recorded 1955. A to M-A, lovely copy has, very beginning Sd.2 only, very few damaged grooves affecting introduction only. MB 12

G512. NADEZHDA KAZANTSEVA: Puteshestvie - Valse (Offenbach) / Der Bettelstudent – Laura’s song (Millöcker) (both in Russian). 10" EL red Aprelevski Zavod 16280/81, recorded 1948. A to M-A, lovely copy has occasional pap. rub, inaud. MB 15

G513. NADEZHDA KAZANTSEVA: Lucia di Lammermoor – Ardon gl’incensi . . . Spargi d’amaro pianto (in Russian), 2s. 12" EL red CCCP Aprelevski Zavod 018856/57, recorded 1950. A to M-A, lovely copy has occasional pap. rub, inaud.; beg. Sd. 1 only has few minor scrs causing a few lt. clicks. MB 10

G514. NADEZHDA KAZANTSEVA: Pecheurs de Perles – Comme autrefois / KAZANTSEVA & LEMESHEV: Par cet étroit sentier (in Russian). 10" EL red Aprelevski Zavod Extended Play 1342/43, recorded 1935. A to M-A, lovely copy has, beg. Sd.2 only, very few damaged grooves affecting introduction only. MB 12

“Nadezhda Kazantseva made her début at age 17 and was engaged by the Bolshoi Opera in 1932. She became an instant success in lyric and coloratura soprano rôles, such as Lakmé, Gilda & Violetta. She was named a People’s Artist of the USSR in 1950.”

- VRCS Program Notes, 1992 LP issueG515. YELENA KATULSKAYA: Evening glow (Cui) / I love thee, Op.5, #3 (in Russian) (Grieg). 10” EL red CCCP Aprelevski Zavod 20011/12, recorded 1951. MINT MB 12

G516. YELENA KATULSKAYA: Night (Rubinstein) / Twilight (Rachmaninoff). 10” EL red CCCP Aprelevski Zavod 15774/75, recorded 1948. M-A MB 25

G517. YELENA KATULSKAYA: In an enchanting dream / Only one instant (both Glinka). 10” EL red CCCP Aprelevski Zavod 18587/88, recorded 1950. M-A MB 25

G518. ELENA KATULSKAYA: Demon – Calm and clear is the night (Rubinstein), 2s. 10” EL Art Label (commemorating the Bolshoi’s 175th Anniversary) red Aprelevski Zavod 16453/54, POM-1948. A to M-A, lovely copy has occasional dust scr. MB 20

G519. ELENA KATULSKAYA & SERGEI LEMESHEV: Do not tempt me (Glinka), 2s. 10” EL red USSR Aprelevski Zavod 15971/72, POM-1947. A-, lovely copy has faintest pap. rubs & occasional dust scr. MB 20G520. NADEZHDA OBUKHOVA. Romances by Kochubei, Bulakhov, Titov, etc., 2s. 7¾” EL red Aprelevski Zavod Extended Play 00853/54, recorded c.1950. A/A-, lovely copy has, Sd. 2 only, tiny dust scr, audible a few turns. MB 12

G521. NADEZHDA OBUKHOVA: Weeping willows are slumbering / A foggy morning. 10” EL red USSR Aprelevski Zavod 15339/57, recorded 1947. M-A, lovely copy has, Sd. 2 only, tiny pressing bump. MB 10

G522. NADEZHDA OBUKHOVA: Khovanschina – Mysterious powers! (Martha’s divination) (Mussorgsky), 2s. 10” EL yellow CCCP Aprelevski Zavod 10931/32, recorded 1941. MINT MB 12

G523. NADEZHDA OBUKHOVA, w.Melik-Pashaev Cond.: Sadko - Liubava's Recitative and Aria (Rimsky-Korsakov) / Khovantchina - Martha's Aria (Moussorgsky). 12" EL red CCCP Aprelevski Zavod 016088/89, recorded 1948. MINT MB 15

“Nadezhda Obukhova was born into a talented Russian family. Her great-grandfather was the poet Yevgeny Boratinsky, a close friend of Pushkin. Her grandfather was the pianist Adrian Mazaraki, a friend of Nikolay and Anton Rubinstein. Two uncles were singers, one of them became opera director of the Bolshoi. Obukhova’s family spent the summers in Nice where the girl received first singing lessons by Eleanora Lipman, a student of Pauline Viardot-Garcia . In 1907 she entered the Moscow conservatory, studying under Umberto Masetti, teacher also of Antonina Nezhdanova, Nina Koshetz, Beniamino Gigli, Tito Schipa, Riccardo Stracciari and Valeria Barsova. Nadezhda made her rather late operatic début at the Bolshoi in 1916, as Pauline in PIQUE DAME. She soon became one of the most acclaimed opera stars there, appearing as Carmen, Dalila, Marfa, Lyubasha, Spring Fairy in SNEGOROUTCHKA, Fricka, Marina, Clarissa in Prokofiev’s THE LOVE FOR THREE ORANGES and Lyubava in SADKO, among many other rôles. In 1922 she took part in the first radio concert in the USSR, singing Pauline’s aria. In the first radio broadcast from the Bolshoi she appeared in Rimsky-Korsakov’s THE TSAR’S BRIDE, opposite Nadezhdanova, Leonid Speransky and Vasily Petrov. In the 1930s, concert work began to occupy most of her time. In 1937 she was awarded the title ‘People’s Artist of the USSR’. It was not until that same year, that she was invited to record in the studio (!), but fortunately her voice was still in its prime. Her repertory was immense, and included opera rôles as well as many hundreds of songs and folk songs. Nadezhda Obukhova retired in 1943, spending her time with occasional singing in concerts, radio broadcasts and recording. Her last concert took place in June 1961, two months before her death in the same year.

Hers was a light, lyrical and colorful mezzo-soprano, easily reaching into the low register but with a curiously light, almost soprano timbre in the middle register. She was one of the singers who always sang within their means. You will never hear her darkening the voice or making it heavier for effect which is certainly one of the reasons for her longevity. If you compare her earlier recordings of 1937 with her final ones of 1960, breath and legato are not only intact but better than most singers half her age!”

- Andrea Shum-Binder, subito-cantabile

G524. MÁRIA BASILIDES: Komm, süsser Tod (Bach) / Xerxes – Ombra mai fu (Handel). 12” EL red Decca–Odeon 25017, ‘Take’ 2, Sd.1. A to M-A, lovely copy has few lt. rubs, inaud. MB 12

G525. MÁRIA BASILIDES: Komm, süsser Tod (Bach) / Xerxes – Ombra mai fu (Handel). 12” EL PW purple Parl. E 10757, ‘Take’ 1, Sd.1. A-, very decent copy has lt. rubs & few superficial scrs, iaud. MB 12

G526. MÁRIA BASILIDES: Nacht und Träume / Der Kreuzzug (both Schubert). 10” EL PW dark-blue Parl. R 1234. M-A, a gleaming copy. MB 25

G527. MÁRIA BASILIDES: Geistliches Wiegenlied (Brahms) / Ave Maria (Bach-Gounod). 12” EL red Decca-Odeon 25257. M-A, choice copy has, Sd. 2 only, faint pressing ripple inherent in original master (appearing in all copies), positively inaud. MB 15

G528. MÁRIA BASILIDES, w.Béla Berkes Cond.: Cserebogár zöldre van a rágsoskapu festve / Nem akar az ökörcsorda legelni érik a, érik a Buzakalász. 10” EL PW dark-blue Eng. Col. D 31036. M-A MB 25

G529. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Istenem, Istenem; Ha kimegyek arr’a magas tetörë/ Fekete föld; Asszonyok, asszonyok (all Hungarian Folksongs, arr. Béla Bartók). 10” EL PW plum Czech HMV AM 1671, only form of issue, 1928. M-A, a gleaming copy. MB 85

G530. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Kitrákotty mese / Szomorú füzfának (both Hungarian Folksongs, arr. Kodály). 10” EL PW plum Czech HMV AM 1672, only form of issue, 1928. A, lovely copy has very occasional pap. mk, inaud. MB 65

G531. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Rossz feleség / Elkiáltom magamat; Egy nagy orrú bóha (all Hungarian Folksongs, arr. Kodály). 10” EL PW plum Czech HMV AM 1673, only form of issue, 1928. M-A, a gleaming copy. MB 85

G532. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Akkor szép az erdö / Kocsi szekér, kocsi szán; Asszony, asszony ki az ágybol (all Hungarian Folksongs, arr. Kodály). 10” EL PW plum Czech HMV AM 1674, only form of issue, 1928. M-A, a gleaming copy. MB 85

G533. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Meghalok, meghalok; Szöllöhegyen keresztül / Körtéfa – Virágos kenderem elázott (all Hungarian Folksongs, arr. Kodály). 10” EL PW plum Czech HMV AM 1675, only form of issue, 1928. M-A, a gleaming copy. MB 85

G534. MÁRIA BASILIDES, w.Vilmos Komor Cond.: Székely Fonó (The Spinning Room of the Székélys) – Szomorú füzfának / A rossz feleség (Kodály). 10” EL red Hungarian HMV HUC 108. (Creator Record, 24 April, 1932, Budapest) A to M-A MB 45G535. MÁRIA BASILIDES, w.Meyerowitz Cond. Berlin Staatsoper Orch.: Samson et Dalila – Printemps qui commence / Mon coeur s’ouvre à ta voix (in German). 12” EL green Hungarian M.H.V. 8003 (2–20674/75). A to M-A, lovely copy has, Sd. 1 only, sev. infinitesimal dust scrs, positively inaud. Gorgeous performances! MB 25

“Basilides, one of the great contralto voices Hungary produced, had a large operatic repertory but was best known for her oratorio work and as the foremost interpreter of the music of Bartók and Kodály.”

- Andrew Farkas, OPERA AND CONCERT SINGERS, p.18G536. DEBORA PANTOFEL-NECHETSKAYA: Vocalise en forme de habanera (Ravel) / Le Cygne (Saint-Saëns) (both in Russian). 10" EL red CCCP Aprelevski Zavod 16643/44, recorded 1949. M-A MB 15

G537. DEBORA PANTOFEL-NECHETSKAYA: Song of the elpf / The spring is gone, the roses faded. 10" EL red CCCP Aprelevski Zavod 14035/36, recorded 1946. M-A MB 15

G538. DEBORA PANTOFEL-NECHETSKAYA: Tirolskaya Pesnia (Bollan) / Chudesnye Glazaki (Stigelli). 10" EL red Aprelevski Zavod 16092/93, recorded 1948. M-A MB 15

G539. DEBORA PANTOFEL-NECHETSKAYA: Pesn Pastushi (Godard) / Tarantella (Bizet) (both in Russian). 10" EL blue Aprelevski Zavod 13254/55, recorded 1945. M-A MB 15

G540. DEBORA PANTOFEL-NECHETSKAYA: Vesna Proshla / Pesenka Elva. 10" EL blue Aprelevski Zavod 14035/36, recorded 1946. M-A MB 15

G541. DEBORA PANTOFEL-NECHETSKAYA: Le Coq d’Or – Hymn to the sun (Rimsky-Korsakov), 2s. 10" EL red CCCP Aprelevski Zavod 13686/87, recorded 1946. M-A MB 15

“In December, 1939, they were holding a national competition of variety artists in Moscow. More than 700 reciters, dancers and singers, all under 35 years old were taking part, the most populous category being the singers of operas, operettas and popular songs. The highest award went to the 34 year-old Debora Pantofel-Nechetskaya, a coloratura soprano [highly reminiscent of Miliza Korjus] from Sverdlovsk in the Ural mountains. Her richly textured voice was like a perfectly-cut diamond and for many years was a highlight of countless gala concerts attended by top Soviet officials.”

- Olga Fyodorova, THE RUSSIAN MUSICAL HIGHLIGHTS OF THE 20TH CENTURYG542. HILDA CREVENNA, w.Schmalstich Cond.: Otello – Canzone del Salce; Ave Maria (in German), 2s. 12” EL plum PW HMV EH 715, POM-c.1930. M-A, lovely copy has, Sd. 1 only, wee pap. rub, inaud. MB 15

G543. URSULA VAN DIEMEN: An die Musik / Wanderers Nachtlied (both Schubert). 10” EL PW plum HMV EG 271, POM-1928. M-A MB15

G544. URSULA van DIEMEN: Ave Maria (Schubert) / Der Freischütz – Leise, leise, fromme Weisse. 10” EL dark-green German Orchestrola 5041 (B8519/20), only form of issue, 1929. A-, very decent copy has lt. rubs & pap. mks, inaud. Most Elusive, Orchestrola issues had extremely limited distribution! MB 25

G545. URSULA VAN DIEMEN: Der rote Sarafan (Varlamoff) / Zigeunermelodien – Als die alte Mutter (Dvorák). 10” EL black Orth V V-6037, POM-1928. M-A Exceedingly elusive! MB 25

G546. URSULA van DIEMEN, w.Árpád Sándor (Pf.): Es muss ein Wunderbares sein (Liszt) / Waldeinsamkeit (Reger). 10” EL plum PW HMV EG 813, POM-1928. M-A, a gleaming copy. Exquisitely beautiful! MB 25

G547. URSULA van DIEMEN, w.Siegfried Ochs Cond.: Vesperæ de Dominica, K.321 - Laudate Dominum (Mozart) / Loreley (Unfinished Opera, 1847) - Ave Maria (Mendelssohn). 12” EL plum HMV C.2736, POM-1928. M-A MB 10

“…Ursula van Diemen…is positively revelatory….Here, back in 1928, we have the female counterpart in perception to Fischer-Dieskau. To add to these virtues, van Diemen has a quite distinctive voice, its very slight edge adding character to the firm tone.”

- Alan Blyth, SONG ON RECORD, Vol. I, p.163G548. ADELAIDE ANDREJEWA de SKILONDZ: Roméo – Je veux vivre / Ballo – Saper vorreste (both in German). 10” AC black Berlin Concert Gram. G.C.-2–43432/31 (13149/44r), POM-10 Oct., 1913. M-A, an extraordinary copy! Andrejewa de Skilondz is perhaps best-remembered as the teacher of Elisabeth Söderström. MB 45

G549. LOLA ARTÔT de PADILLA: Don Giovanni – Batti, batti, o bel Masetto / Vedrai carino (in German). 12” AC black Schall Gram. 043280/81 (914/915m), POM-1915. M-A, exemplary copy has, Sd 1 only, 2 faintest pap. rubs, inaud. MB 35

“Lola Artôt de Padilla was the daughter of the famous Belgian mezzo-soprano Désirée Artôt and the Spanish baritone Mariano Padilla y Ramos. Her real name was Dolores de Padilla. She studied exclusively with her mother and in 1902 made her début in Thomas’ MIGNON at the Hoftheater Wiesbaden. After her retirement she became a well-known teacher in Berlin. She is a very fine lyric soprano of a pure and sweet color. Most of the recorded arias are sung in German but she sings them with perfect legato, the tone is superbly carried on the breath. She also recorded some duets with Karl Jörn and Björn Talen.”

- Andrea Shum-Binder, subito-cantabileG550. FRITZI SCHEFF, THOMAS SALIGNAC & EDOUARD de RESZKE; Mancinelli Cond.: Faust - Il t'aime, from Mapleson Cylinders recorded during Actual Performance, Met Opera, 14 Feb., 1903 / MARCELLA SEMBRICH, CHARLES GILIBERT & EMMA van CAUTERAN; Flon Cond.: Fille du Régiment – Selections, from Mapleson Cylinders recorded during Actual Performance, Met Opera, 30 Jan., 1903. 10” gold IRCC 170, Numbered Copy #57 of a Limited Edition; Sembrich's & Scheff's Photos affixed to respective labels. A to M-A, lovely copy has very minor spindle hole mks. MB 20G551. LILLI LEHMANN: Erlkönig (Schubert). 12” AC red IRCC 5005, RR-1906. Numbered Copy #25 of a Limited Edition. M-A MB 12

G552. LILLI LEHMANN: Die Loreley (Bungert) / LILLI LEHMANN & HEDWIG HELBIG: Crucifix (Jean-Baptiste Faure). 10” AC silver IRCC 204, RRs-1907. Numbered Copy #67 of a Limited Edition; Sd. 1 label, has Lehmann’s Photo affixed. A-, lovely copy has very occasional pap. scr. MB 12

‘[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.365-67G553A000. 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 15

G554. LILLI LEHMANN: Entführung – Marten aller arten / Ach ich liebte. 12” AC Eng. Odeon AA.57895/96 (xxB 3048/2980), POM-22 / 18 June, 1907. M-A, gleaming copy of choice 1931 pressing. MB 85

G555. 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 35

G556. LILLI LEHMANN: Don Giovanni – Don Ottavio, son morta! / Or sai che l’onore. 10¾” AC Eng. Odeon Ux.52577/78 (xB 1478/79), POM-20 July, 1906. M-A, gleaming copy of choice 1931 pressing has, Sd 2 only, faintest pap. rubs, inaud. . MB 75

“…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, 1981G557. LILLI LEHMANN: Don Giovanni – Non mi dir / Fors’ è un giorno il cielo. 10¾” AC Eng. Odeon Ux.52575/76 (xB 3045/46), POM-22 June, 1907. M-A, gleaming copy of choice 1931 pressing. MB 75

G558. LILLI LEHMANN: Don Giovanni – Non mi dir / Fors’ è un giorno il cielo. 12” AC vinyl Historic Masters HM 105 (xB 3045/46) (10¾” record pressed onto 12” blank), POM-22 June, 1907. MINT MB 12

“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, 1981G559. LILLI LEHMANN: La Traviata – Ah! fors’ è lui; Sempre libera (in Italian), 2s. 10¾” AC Eng. Odeon Ux.52741/42 (xxB 2976/77), POM-18 June, 1907. M-A, gleaming copy of choice 1931 pressing. MB 75

G560. LILLI LEHMANN: La Traviata – Alfredo, Alfredo, in questo core (in Italian) / Fidelio – Abscheulicher! (part 1). 10¾” AC Eng. Odeon Ux.52699/52597 (xB 3047/49), POM-22 June, 1907. M-A, gleaming copy of choice 1931 pressing has, Sd. 1 only tiny edge scr, very ltly audible during orchestral intro. MB 75

G561. LILLI LEHMANN: Fidelio – Abscheulicher! (parts 2 & 3). 12” AC Eng. Odeon UAA.79300/01 (xxB 3050/51),

POM-22 June, 1907. M-A, gleaming copy of choice 1931 pressing. MB 75

“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, 1981G562A000. 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, gleaming copy of choice 1931 pressing. MB 75

“Lehmann sang in the first Bayreuth Festival in 1876, performed in London in 1884, and appeared at the Metropolitan Opera in 1885-1890. Together with her Met colleagues Fischer, Alvary, Brandt and Seidl, she helped to popularise Wagner's music in America. She appeared at the Royal Opera House, Covent Garden, in 1899 and sang in Paris and Vienna in 1903 and 1909, respectively. In 1905, she sang at the Salzburg Festival, later becoming the festival's artistic director. Lehmann was also renowned as a Lieder singer and she continued to give recitals until her retirement from the concert stage in the 1920s.Her mature voice, of splendid quality and large volume, gained for her the reputation of being not only one of the greatest Wagnerian singers of her day but also an ideal interpreter of Bellini's NORMA and the operatic music of Mozart. She was considered unsurpassed in the rôles of Brünnhilde and Isolde but sang an astonishingly wide array of other parts. Indeed, across the span of her career, she performed 170 different parts in a total of 119 German, Italian and French operas. She was also a noted voice teacher. Her voice can be heard on the recordings which she made prior to World War I. Although past her peak as an operatic singer when she made these records, they still impress.”

G563A000. RIA GINSTER, w.Paul Baumgartner (Pf.): Herbstgefühl / Mit einem gemalten Bande (both Schoeck). 10" EL Swiss HMV DA 6009, only form of issue, 1943, Zürich. A, lovely copy has pap. rubs, inaud. Exceedingly elusive and ethereal Schoeck titles! MB 5045G564A000. RIA GINSTER, w.Gerald Moore (Pf.): Schöne Fremde; In der Fremde; Geisternähe / Meine Rose (all Schumann). 12” EL Scroll V 14025, on ‘Z’-type shellac, POM-1932. M-A, a gleaming copy. MB 25

G565A000. RIA GINSTER, w.Gerald Moore (Pf.): Entführung – Marten aller arten / w.Sargent Cond.: Nozze – Voi che sapete. 12” EL PW HMV DB 1832, POM-1932. M-A MB 15

G566A000. RIA GINSTER, w.Sargent Cond.: Nozze – Non so più. 10" EL S/S RCA shellac pressing of Mx. OB6401-1, POM-13 Jan., 1933, w.RCA embossed spiderweb verso. M-A MB 15

G567A000. RIA GINSTER, w.Holger Cond.: Misera dove son! / Vorrei spiegarvi o Dio! (both Mozart). 12” EL Scroll V 8871,

on ‘Z’-type shellac, POM-1933. M-A, gleaming copy has, Sd. 1 only, 2 infinitesimal pap. scrs, positively inaud. MB 25

G568A000. RIA GINSTER, w.Holger Cond.: Zauberflöte – Ach, ich fühl’s. 10" EL S/S RCA shellac pressing of Mx. OB4194-1, POM-1933, w.RCA embossed spiderweb verso. M-A MB 15

G569A000. RIA GINSTER, w.Sargent Cond.: Idomeneo – Zeffiretti lusinghieri (in German) / Se il padre perdei (in Italian). 12” EL PW HMV DB 1870, POM-13 Jan., 1933. M-A, a gleaming copy. MB 25

“Ria Ginster concentrated almost exclusively on concert performances and recitals (although she sang Mélisande and Suor Angelica in broadcasts). In 1931 she appeared in England where she was particularly admired in a number of oratorios. Ria Ginster worked with all the great conductors of her time: Wilhelm Furtwängler, Otto Klemperer, Felix Weingartner, Eugen Jochum, Othmar Schoeck, Serge Koussevitzky, Sir Thomas Beecham, Sir John Barbirolli, Sir Malcom Sargent, Herbert von Karajan, Clemens Krauss, among many others. From 1934 - 1939 she regularly visited the United States and Canada. In 1938 she took over a class for concert singing at the Music Academy of Zürich where she remained more than 30 years. Her reputation as a singer was transmitted to her teaching and her class soon became an international one. After several concerts with Wilhelm Furtwängler she was invited, in 1949, to work as a teacher at the Mozarteum, Salzburg. Ria Ginster’s voice was a delicate and subtle instrument, best suited to songs and the concert platform. Her singing was characterized by depth and purity; her achievement in Brahms, Schubert and Wolf is of utmost directness, honesty and truth.”

- Andrea Shum-Binder, subito-cantabile

G570. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Ave Maria (not to be confused with the ‘Ave Maria’ from OTELLO) / URSULA van DIEMEN, w.Siegfried Ochs Cond.: Vesperæ de Dominica, K.321 - Laudate Dominum (Mozart). 12” EL plum HMV E.H.1223, POM-1935. A desert-island disc! M-A MB 15

G571. MARGHERITA PERRAS, w.Walter Meyer (Organ): Cantata #68 - Mein gläubiges Herze / & Marcel Saillet (Oboe): Cantata #21 - Seufzer, Tränen (both Bach). 12” EL Swiss HMV DB 10093, only form of issue, 1944, Switzerland only. M-A, a gleaming copy. Exquisitely beautiful! MB 20

G572. MARGHERITA PERRAS, w.Walter Meyer (Organ) & André Jaunet (Flute): Cantata #69 – Brich dein Hungrigen / Johannes-Passion – Ich folge Dir (both Bach). 12” EL Swiss HMV DB 10094, only form of issue, 1944, Switzerland only. M-A, gleaming copy has occasional pap. rub, inaud. Exquisitely beautiful! MB 20

G573. MARGHERITA PERRAS, w.Walter Meyer (Organ) & André Jaunet (Flute): Cantata #151 – Süsser Trost, mein Jesus kömmt, 2s. (Bach). 12” EL Swiss HMV DB 10096, only form of issue, 1944, Switzerland only. M-A, a gleaming copy. Exquisitely beautiful! MB 20

G574. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Zigeunermelodien – Mein Lied ertönt (Dvorák). 10” EL S/S RCA shellac Test Pressing of HMV Mx. ORA 1857-1, POM-1937, w.RCA embossed spiderweb verso; choice mid-1930s pressing. M-A MB 15

G575. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Zigeunermelodien – Als die alte Mutter (Songs my mother taught me) (Dvorák). 10” EL S/S RCA vinyl Test Pressing of HMV Mx. ORA 1858-1, POM-1937, w.RCA embossed spiderweb verso; choice mid-1930s pressing. M-A MB 15

G576. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Entführung - Welcher Kummer; Traurigkeit / Il Pensieroso - Sweet bird (in German). 12” EL PW V 12328, POM-1937. M-A MB 10

G577. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Entführung - Welcher Kummer; Traurigkeit / Nozze – Deh vieni, non tardar (in German). 12” EL PW HMV DB 4484, POM-1937. M-A MB 10

G578. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Entführung - Ach, ich liebte / Marten aller arten. 12” EL Scroll V 12007, on ‘Z’-type shellac, POM-6 Nov., 1935. M-A, gleaming copy has, Sd. 1 only, infinitesimal pap. scr, positively inaud. Remarkably quiet surfaces! MB 12

G579. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Mignon – Je suis Titania / Martha – The last rose of summer (both in German). 12” EL Swiss HMV DB 4438, POM-1935. M-A MB 20

G580. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: La Traviata – Sempre libera / Madama Butterfly – Un bel dì (both in German). 12” EL HMV DB 4473, POM-1937. M-A MB 10

G581. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Tosca – Vissi d’arte / MARGHERITA PERRAS & HELGE ROSWAENGE: Ah! quegli occhi (both in German). 12” EL Electrola DB 4475, POM-1937. M-A, choice copy has, Sd. 1, infinitesimal edge scr, faintly audible only during orchestral introduction. MB 15G582. MARGHERITA PERRAS & WALTHER LUDWIG, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Carmen – Parle-moi de ma mère (in German), 2s. 12” EL Swiss HMV DB 4498, POM-1937. M-A, a gleaming copy. MB 12

G583. MARGHERITA PERRAS & HERBERT JANSSEN: Madama Butterfly - Ora a noi (in German), 2s. 12” EL black German Ultraphon G 213. A-, lovely copy has lt. rubs, inaud. MB 12

G584. MARGHERITA PERRAS & GERHARD HÜSCH, w.Müller Cond. Berlin Staatsoper: Zauberflöte – Bei Männern / Don Giovanni – Là ci darem la mano (in German). 10” EL PW V 4374, POM 20 Feb., 1935. M-A MB 8

G585. MARGHERITA PERRAS, WALTER LUDWIG & GERHARD HÜSCH, w.Seidler-Winkler Cond. Berlin Staatsoper: La Traviata – Excerpts (in German). 12” EL brown HMV FKX 181, POM 6 Nov., 1935. M-A, a gleaming copy. MB 10

“Margherita Perras studied at the Salonica State Conservatory and then at the Berlin Hochschule für Musik; where, in 1927, she caught the attention of Bruno Walter who heard her Norina, engaging her for the Städtische Oper. She appeared as Nuri in Eugen d᾽Albert's TIEFLAND and as Cupid in Gluck's ORFEO ED EURIDICE (and sang the title rôle in the Berlin première of Paul Graener's HANNELES HIMMELFAHRT). She later moved to the Berlin Staatsoper, having toured in Spain, Argentina and Brazil. In 1935 she was engaged by the Vienna Staatsoper and was highly praised as Mozart's Konstanze under Felix Weingartner. She repeated the rôle in Salzburg (1935) and at Glyndebourne (1937), and had further successes as the Queen of Night, Susanna, Pamina and other Mozart roles. In 1936 she sang Gilda at Covent Garden. Having married in 1943, she settled in Zürich, and until 1944 appeared only in recitals, but returned to the operatic stage for the 1946-47 season in Vienna. Her firm, well-schooled voice possessed a gently glowing tone colour.”

G586. GRETE FORST: Don Giovanni – Batti, batti, o bel Masetto / Vedrai, carino (in German). 10” AC black Wien G & T G.C.-43872/65 (9947/54u), POM-1906. M-A, a gleaming copy. MB 15

G587. GRETE FORST: Nozze – Non so più / Mignon – Je suis Titania (both in German). 10” AC black Wien Concert Gram. G.C.-2–43263/64 (13855/14666½u), POM-1908/’09, resp. A-, lovely copy has, Sd. 2 only, hint of grey on peaks. MB 12

G588. GRETE FORST & HERMINE KITTEL: Lakmé – Sous le dôme épais (in German) / ELISE ELIZZA, GRETE FORST, HERMINE KITTEL & RICHARD MAYR: Der Wildschütz – Kann es im Erdenleben (Lortzing). 10” AC black Wien Concert Gram. G.C.-3–44070/71 (15100/15312u), POM-1909. A-, lovely copy has, Sd. 1 only, hint of grey on peaks. MB 15

G589. GRETE FORST & GEORG MAIKL: Der Barbier von Bagdad – O holdes Bild / GRETE FORST, HERMINE KITTEL & GEORG MAIKL: Er kommt! (Cornelius). 10” AC black Wien Concert Gram. G.C.-3–44075/74 (11586/85L), POM-13 Oct., 1910. A to M-A, lovely copy has, Sd. 2 only, hint of grey on peaks. MB 15

“Grete Forst made her début in Cologne in 1900 as Lucia, and three years later, made her Hofoper début in the same rôle. She remained in Vienna until 1911 singing coloratura roles such as Olympia, The Queen of the Night, Oscar, and Fiordiligi, as well as lyric ones such as Cio-Cio-San. She continued her career as a concert singer and teacher in Vienna for many years. Because Forst was Jewish, she was deported in 1942 and died in Minsk, presumably the same year.”

- Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNAG590. LAURA HILGERMANN: Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart], in Italian) / Die Walküre – Du bist der Lenz. 9½” AC etched label center-start H & D Wien Pathé 19119/18 (39181/39267), Original 1905 issue, both sides announced. A to M-A, bright copy has hint of grey on peaks. MB 85

“Laura Hilgermann débuted in Prague in 1885 as Azucena. From 1890 to 1900 she was engaged in Budapest and then came to Vienna where she remained a popular member of the Hofoper ensemble until 1920. Gifted with a wide vocal range, she sang both mezzo and soprano roles, including many new works. Later in life she became a much-sought-after teacher in Budapest under the name Hilgermann-Radó; her pupils included Maria Németh and Gitta Alpar.”

G591. SIGRID ONÉGIN: Die Mainacht / Von eiger Liebe (both Brahms). 12” AC Schall. Gram. 72687 (1464/59s), POM-1919. A to M-A, exemplary copy has very few minuscule nicks, only occasionally minimally audible. MB 35

G592. SIGRID ONÉGIN: Carmen – Habañera / En vain pour éviter (in German). 12” AC Schall. Gram. 72693 (1467/68s), POM-1919. A-, lovely copy has hint of grey on peaks; end Sd. 2 only has tiny scr from label, ltly audible at end of performance. MB 20

G593. SIGRID ONÉGIN: Samson et Dalila – Printemps qui commence / Mon coeur s’ouvre à ta voix (1919 Versions) (in German). 12” AC Schall. Gram. 72695 (1469/65½s), POM-1919. M-A, a choice copy. MB 35

G594. SIGRID ONÉGIN, w.Blech Cond.: Samson et Dalila - Mon coeur s'ouvre à ta voix / Printemps qui commence (1929 Versions) (in French). 12” EL PW V 7320 (CLR 5800-1 / 5799-2), on ‘Z’ shellac, POM-19 Nov., 1929. M-A, exemplary copy. MB 15

G595. SIGRID ONÉGIN, w.Blech Cond.: Samson et Dalila - Mon coeur s'ouvre à ta voix / Printemps qui commence (1929 Versions) (in French). 12” EL Scroll V 7320 (CLR 5800-1 / 5799-2), on ‘Z’ shellac, POM-19 Nov., 1929. A to M-A, choice copy has faintest pap. rubs, inaud. MB 20

G596. SIGRID ONÉGIN, w.Blech Cond.: Samson et Dalila - Mon coeur s'ouvre à ta voix / Printemps qui commence (1929 Versions) (in German). 12” EL Orth Vla 7305 (CLR 5800-2 / 5799-3), POM-19 Nov., 1929. M-A, exemplary copy. MB 12G597. ELISE ELIZZA: Zauberflöte – O zittre nicht / LUCIE WEIDT & FRIEDRICH WEIDEMANN: Il Trovatore – Mira, di acerbe lagrime (in German). 12” AC black Wien G & T 043061/044044 (470c/805f), POM-1905/’04, resp. A to A-, lovely copy has hint of grey on peaks. MB 150

G598. ELISE ELIZZA: Tannhäuser – Gelibte, komm! Sieh dort die Grotte / Dich, teure Halle. 11¼” AC center start etched label H & D Pathé 19272/75, only form of issue, 1905. A to M-A, choice copy. MB 35

G599. ELISE ELIZZA: Cavalleria – Fior di giaggiolo (in German). 10” AC black Wien G & T G.C.-43878 (9955u), POM-1906. A-B, very decent copy has few minor scrs & lt grey on peaks. MB 15

G600. ELISE ELIZZA: Die Königin von Saba – Der Freund ist dein (the Goldmark aria is justly celebrated and famous!) / LEOPOLD DEMUTH, ARTHUR PREUSS & ELISE ELIZZA: Ernani – Solingo, errante e misero (in German). 10” AC black Wien Pre-Dog G.C.- 43752 / 3–42499 (704/701r), POM-1905. A-, lovely copy has lt. grey on peaks. MB 15

G601. ELISE ELIZZA: Faust – Scène de l’église / Manon – Obéissons quand leur voix appelle (both in German). 10” AC black Wien G & T G.C.-43952/53 (11085/86u), POM-1907. A-B, very decent copy has very lt. rubs & lt. grey on peaks. MB 15

G602. ELISE ELIZZA: Manzoni Requiem – Requiem aeternam (in Latin [although label indicates in German]). 10” AC black Wien G & T G.C.-43445 (899z), only form of issue, 1903. A-B, very decent copy has few lt. mks, minor scuff & long but faint hlc visible topside only. Exceedingly Elusive and ethereally beautiful! MB 15

G603. ELISE ELIZZA & HERMINE KITTEL: Hänsel und Gretel – Abends will ich shlafen geh’n / ELISE ELIZZA & FRIEDRICH WEIDEMANN: Nozze – Crudel, perchè finora (in German). 10” AC black Wien G & T G.C.- 2-44049/44194 (653r/10052u), POM-1905/’06. A-, lovely copy has lt. rubs & lt. grey on peaks. MB 20

G604. ELISE ELIZZA, FRIEDRICH WEIDEMANN & WILHELM HESCH: Don Giovanni – Masked Trio (in German) / Dora Keplinger, Philla Siegmann-Wolff, Hermine Kittel, Arthur Preuss, Rudolf Hofbauer & Carlo Böhm: Die Fledermaus – Bruderlein und Schwesterlein. 12” AC black Wien Gram. Monarch 044055/54 (150/154s), POM-1905. B, decent copy has considerable rubs & lt. scrs, audible. MB 15

“Elise Elizza was born Elisabeth Letztergroschen in Vienna. Marrying her first singing teacher Adolf Limley, Elizza also appeared under the name of Elise Limley. After three years as a soubrette, Elizza furthered her studies with Amalie Materna and made her Hofoper debut in 1895. She remained with the company until 1919 but returned as occasional guest until 1923. A most versatile artist, she sang an enormous variety of rôles including The Queen of the Night, Venus, and the SIEGFRIED Brünnhilde. Apart from smaller Wagner rôles, she was most often heard as Marguerite de Valois in LES HUGUENOTS and Philine in MIGNON. In many works she sang more than one rôle, e.g. Adele and Rosalinde in DIE FLEDERMAUS, Adalgisa and Norma in NORMA, and four roles in HÄNSEL UND GRETEL.”

- Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNA

G605. SENA JURINAC, w.Braithwaite Cond. Philharmonia Orch.: Prodaná Nevesta – Endlich allein (in German), 2s. 12” EL HMV DB 21136, only form of issue, 11 Sept., 1950. M-A MB 8

G606. SENA JURINAC, w.Busch Cond. Glyndebourne Festival Orch.: Idomeneo – Se il padre perdei / RICHARD LEWIS: Fuor del mar. 12” EL HMV DB 21529, only form of issue, 1951. M-A MB 8

G607. SENA JURINAC, w.Busch Cond. Glyndebourne Festival Orch.: Idomeneo – Quando avran fine amai / Padre, germani, addio! 12” EL HMV DB 21527, only form of issue, 1951. M-A MB 8

G608. SENA JURINAC, w.Busch Cond. Glyndebourne Festival Orch.: Idomeneo – Zeffiretti lusinghieri / SENA JURINAC, McNEIL, YOUNG & LEWIS: Andrò ramingo e soto. 12” EL HMV DB 21525, only form of issue, 1951. M-A MB 8

G609. SENA JURINAC, w.Busch Cond. Glyndebourne Festival Orch.: Così fan Tutte – Come scoglio / SENA JURINAC, BLANCHE THEBOM & MARIO BORRIELLO: Soave sia il vento. 12” EL HMV DB 21118, POM-12-15 July, 1950. M-A MB 8

G610. SENA JURINAC, w.Busch Cond. Glyndebourne Festival Orch.: Così fan Tutte – Per pietà, w.recit., 2s. 12” EL HMV DB 21120, POM-12-15 July, 1950. M-A MB 8

G611. SENA JURINAC & BLANCHE THEBOM, w.Busch Cond. Glyndebourne Festival Orch.: Così fan Tutte – Prenderò quel brunettino / BLANCHE THEBOM & ERICH KUNZ: Il core vi dono. 12” EL HMV DB 21119, POM-12-15 July, 1950. M-A MB 8

G612. SENA JURINAC, THEBOM, LEWIS, KUNZ & BORRIELLO, w.Busch Cond. Glyndebourne Festival Orch.:

Così fan Tutte – Sento, o Dio!, 2s. 12” EL HMV DB 21117, POM-12-15 July, 1950. M-A MB 8

G613. SENA JURINAC, THEBOM, LEWIS, KUNZ & BORRIELLO, w.Busch Cond. Glyndebourne Festival Orch.: Così fan Tutte – Excerpts, 12s (Complete, as recorded). 6–12” EL RCA 12–3177/82, POM-12-15 July, 1950, in Orig. Album DM-1500. M-A, gleaming copy of this elusive RCA pressing which offers remarkably quiet surfaces. MB 45

“[Jurinac’s] voice, in its pristine state, was about as beautiful a soprano sound as one could imagine: a warm, softly glowing instrument with a touch of smokiness, radiant on top, strong in the middle, always steadily and smoothly produced. When she caressed a musical phrase, the notes melted exquisitely into each other. Jurinac was, moreover, an eloquent and intensely personal interpreter. Her characters were vibrant and specific, never faceless….Indeed, her repertory was staggeringly diverse.”

- Ralph V. Lucano, AMERICAN RECORD GUIDE, Nov./Dec., 2001G614. EMILIE HERZOG: Barbiere – Una voce poco fa (part 2) (1904 Version) (in German) / Orch.: Overture. 10” AC purple Berlin Col. 40555 / 80, POM-1904. B, decent copy has lt. rubs & few lt. scrs. MB 15

G615. EMILIE HERZOG: Barbiere – Una voce poco fa (1905 Version) (in German), 2s. 10” AC black Berlin Pre-Dog G.C.- 43693/94 (151/152r), only form of issue, 10 June, 1905. A-B, decent copy has lt. grey & lt. scrs; Sd. 2 only has 2 heavy scrs, causing no more than lt. clicks. A delightful coloratura tour-de-force! MB 10

G616. EMILIE HERZOG: Robert le Diable – Robert, toi que j’aime / Les Huguenots – O beau pays (both in German). 10” AC black Berlin Pre-Dog G.C.- 43695/43863 (153r/9678½u), only form of issue, 10 June, 1905 / 1906, resp.; Sd.2 offers ‘Take’ 2 (of two issued ‘takes’). A to M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 35

G617. MARGARET MATZENAUER: Pregúntales á las estrellas (Mexican Folk) / La golondrina (Serradell). 10” EL Vla 1080, only form of issue, 18/19 March, 1925. M-A, Exemplary! MB 10

G618. MARGARET MATZENAUER: Aprile (in Italian) / Kiss me, love (in English) (both Tosti). 12” AC Col. A5698, POM-15 May, 1915, only form of issue, Sd.1. M-A, choice copy. MB 12

G619. MARGARET MATZENAUER: Home, sweet home (Bishop) / In the sweet bye and bye (Webster). 10” AC US Pathé Actuelle 027519, recorded 1921. A to M-A MB 12

“Margarete Matzenauer…the possessor of the greatest mezzo-soprano voice of my day….”- Rosa Ponselle, PONSELLE – A SINGER’S LIFE, p.43

G620. MARGARETE MATZENAUER: Orfeo – Che farò senza Euridice / Harry Humphrey: Explanatory talk. 10” AC paper label Edison H & D 83050 (4603/3787), only form of issue, 23 March, 1916. M-A, a gleaming copy. MB 15

G621. MARGARET MATZENAUER: L’Africaine – Sur mes genoux (in Italian) (Meyerbeer). 12” AC Pat. ’08 Vla 88360, Early ‘C’ Plate Issue, only form of regular issue, 8 March, 1912, (appeared otherwise only as the elusive IRCC 120). A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

G622. MARGARET MATZENAUER: L'Africana - In grembo a me / Die Walküre - Nicht weise bin ich. 12” AC silver Victor IRCC 120, POM-1907 (München) / 1912 (Camden). Numbered Copy #61 of a Limited Edition, Sd.1 Label Autographed by Matzenauer, to which her Photo is affixed. M-A, a gleaming copy. MB 45

G623. MARGARET MATZENAUER: Robert le Diable - Robert, toi que j’aime (in Italian) (Meyerbeer). 12” AC Vla 88365, Early ‘D’ Plate Issue, only form of issue, 25 March, 1912. M-A, a gleaming copy. MB 20

G624. MARGARET MATZENAUER: Les Huguenots – Nobles seigneurs, salut! (in Italian) / La Gioconda – Voce di donna. 12” AC Vla 6471, POM-12 Feb., 1924 / 26 Dec., 1923. M-A Elusive! MB 20

G625. MARGARETE MATZENAUER: Carmen – Séguedille. 10” AC Pat.’12 Vla 87103, POM-8 March, 1912, Never Doubled. A, lovely copy has sev. minuscule dust scrs, positively inaud. MB 12

G626. MARGARETE MATZENAUER: Carmen – Habañera / En vain pour éviter (Card Scene) (in German). 10” AC black Schall. Gram. 61774 (6626/27r), POM-1910. A to M-A, choice copy has faintest pap. rub & mere hint of nr, positively inaud. MB 15

G627. MARGARETE MATZENAUER: Carmen – Les tringles des sistres / GUIDO CICCOLINI: Lucia – Fra poco a me ricovero. 10” AC etched label Edison H & D 82570 (4604/5609), only form of issue, 1921. M-A MB 15

G628. MARGARETE MATZENAUER: Cavalleria – Voi lo sapete. 12” AC Pat. ’12 Vla 88430, Early ‘C’ Plate Issue, POM-27 Feb., 1913, issued USA only. M-A MB 12

G629. MARGARETE MATZENAUER: Parsifal – Ich sah das Kind. 12” AC Pat. ’12 Vla 88364, Early ‘D’ Plate Issue, POM-8 March, 1912. M-A, lovely copy has faintest pap. rub, inaud. MB 12

G630. MARGARETE MATZENAUER: Parsifal – Ich sah das Kind. 12” AC Vla 88364, POM-8 March, 1912, Label Autographed by Matzenauer. M-A MB 25

G631. MARGARETE MATZENAUER: Le Prophète – Ah, mon fils! / Samson et Dalila – Mon coeur s’ouvre à ta voix. 12” EL Vla 6531, POM-18 / 19 March, 1925, issued USA only. M-A MB 10

G632. MARGARETE MATZENAUER: Samson et Dalila – Printemps qui commence / Mon coeur s’ouvre à ta voix (in German). 10” AC black Schall. Gram. G.C.- 2-43377/76 (15240/39b), POM-7 Dec., 1910. A to M-A, choice copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 20

G633. MARGARETE MATZENAUER: Don Carlos – O don fatale / Faust – Faites-lui mes aveux (in Italian). 12” EL Orth Vla 6618, only form of issue, 5 Oct., 1926. M-A, a gleaming copy. MB 12

G634. MARGARETE MATZENAUER: Elijah – O rest in the Lord (Mendelssohn) / Messiah – He shall feed His flock (Handel). 12” EL Orth Vla 6555, only form of issue, 1 Dec., 1925. Sd. 2 Label Autographed by Matzenauer. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 20

G635. MARGARETE MATZENAUER: Lucrezia Borgia – Il segreto per esser felice (Brindisi) (‘Take’ 4) / Il Trovatore – Stride la vampa! 10” AC Vla 999, only form of issue, 12 Feb., 1924, (although Victor assigned Issue Nos. 87388 & 87387, but never used). M-A MB 10

G636. MARGARETE MATZENAUER & ALICE VERLET: Stabat Mater – Qui est homo / JACQUES URLUS: Cujus animam (Rossini). 10” AC etched label Edison H & D 83082 (3689/5434), only form of issue, 1919. A to M-A MB 15G637. MARGARETE MATZENAUER: Die Walküre – Fort denn, eile. 10” AC Pat. ’08 Vla 87102, Early ‘B’ Plate Issue, POM-8 March, 1912. Label Autographed by Matzenauer (above which original owner’s name appears). A to M-A MB 20

G638. MARGARETE MATZENAUER: Die Walküre – Fort denn, eile. 10” AC Pat. ’08 Vla 87102, POM-8 March, 1912. M-A MB 10

G639. MARGARETE MATZENAUER: Die Walküre – Ho-yo-to-ho / Lohengrin – Entweihte Götter. 10” AC black München G & T G.C.-43938/39 (3315/16r), POM-1907. A to M-A, choice copy. MB 25

“Marguerite [sic] Matzenauer was, I think, the finest artist I ever worked with. What a joy it was for me to hear her great golden voice ringing above the orchestra sound. I could relax and be sure of this superb singer, I can assure you.”

- Pierre Monteux, IT’S ALL IN THE MUSIC, p.104G640. MARGARETE MATZENAUER: La Favorita – O mio Fernando. 12” AC Pat. ’08 Vla 88363, Early ‘B’ Plate Issue, only form of issue, 8 March, 1912. A to M-A, lovely copy has infinitesimal pap. scr, positively inaud. MB 12

G641. MARGARETE MATZENAUER & PASQUALE AMATO: La Favorita – Ah! l’alto ardor. 12” AC Pat. ’12 Vla 89062, Early ‘F’ Plate Issue, POM-22 March, 1912. M-A MB 10

G642. MARGARETE MATZENAUER, RAPPOLD, ZENATELLO, MIDDLETON, CHALMERS & BARONI: Lucia – Chi mi frena / ALICE VERLET, CICCOLINI, MIDDLETON, SCOTT, ALCOCK & BARONI: Lucia – Chi mi frena. 10” AC paper label Edison H & D 82266 (5224/5787), only form of issue, 1922. M-A, lovely copy has very minor spindle hole mks. MB 20

“Margarete Matzenauer studied opera in Graz and Berlin making her début in 1901 as Puck in Weber's OBERON. She began singing major roles such as Azucena, Carmen, Mignon, Waltraute, Erda and Ortrud. She first achieved fame in Europe as an acclaimed dramatic alto and mezzo soprano. Soon she began to sing dramatic soprano parts as well; her vocal scope extending from contralto to high-dramatic soprano. She made her début at the Metropolitan Opera in Aïda on 13 November, 1911, singing Amneris on opening night with a cast that also featured Emmy Destinn as Aïda and Enrico Caruso as Radames, with Toscanini on the podium. A few days later she sang in TRISTAN UND ISOLDE. She saved the day on 1 January, 1912, when on a few days' notice she appeared as Kundry, a rôle she had not sung before. Matzenauer was at the Met for nineteen seasons in a wide variety of rôles including Eboli in the first Met production of DON CARLOS, Santuzza, Marina in BORIS GODUNOV, Leonore in FIDELIO and Brünnhilde in DIE WALKÜRE. She sang her final Met performance 17 February, 1930, as Amneris, but continued singing opera, giving concerts and teaching; one of her pupils was Blanche Thebom.”

G643. GJURGJA LEPPEE, w.Leo Demant (Pf.): Caro mio ben (Giordani) / Chansons de Bilitis – La flûte de Pan (Debussy). 10” EL HMV DA 1872. M-A MB 12

G644. IRMA BEILKE: Der Freischütz – Einst träumte meiner seligen Base / Trübe Augen. 10” EL Electrola DA 4495. M-A MB 12

G645. HILDE KONETZNI, w.von Nordberg (Pf.): Cäcilie / Heimliche Aufforderung (both Strauss). 10” EL Eng.Col.LB 101, only form of issue, 23 Dec., 1946. M-A MB 12

G646. HILDE KONETZNI, w.Schmidt-isserstedt Cond.: Tannhäuser – Dich, teure Halle / Allmächt’ge Jungfrau. 12” EL black German Telefunken SK 2151, POM-1937. A-, lovely copy has few lt. rubs, inaud. MB 12

G647. HILDE KONETZNI, w.Schmidt-isserstedt Cond.: Der Freischütz - Wie nahte mir der Schlummer; Leise, leise fromme Weise, 2s. 12” EL black German Telefunken SK 2160, POM-1937. M-A, a gleaming copy. MB 15

G648. HILDE KONETZNI, w.von Karajan Cond. Vienna Phil.: Der Rosenkavalier – Kann mich auch an ein Mädel, 2s. 12” EL Eng. Col. LX 1135, recorded 1947; issued England & Austria only. M-A, a gleaming copy. MB 10

G649. HILDE KONETZNI, w.von Karajan Cond. Vienna Phil.: Verkaufte Braut – Endlich allein, 2s. 12” EL Eng.Col.LX 1074, recorded 1947; issued England & Austria only. M-A, a gleaming copy. MB 8

G650. HILDE KONETZNI, w.Oskar Straus Cond.: Der Tapfere Soldat – Komm Held meiner Träme / Ein Walzertraum – Leise ganz Leise (Cond. by the Composer). 12” EL black French Harmona 15004. A to M-A, lovely copy has, Sd. 2 only, infinitesimal pap. scr, positively inaud. MB 15

G651. HILDE KONETZNI, w.Erwin Baltzer Cond. Vienna Staatsoper Orch.: Der Rosenkavalier – Da geht er Hin / HILDE KONETZNI, EMMI LOOSE & ELISABETH HÖNGEN: Hab’ mir’s Gelobt. 12” EL red French Telefunken Pacific SK-3732-137. M-A, lovely copy has, Sd. 2 only, infinitesimal pap. scr, positively inaud. MB 15

G652. HILDE KONETZNI, ELISABETH HÖNGEN, ALOIS PERNERSTORFER & GEORG OEGGL, w.Erwin Baltzer Cond. Vienna Staatsoper Orch.: Don Carlos – Ah! Si maledetto, sospetto fatale; Pietà! Perdon! Per la rea che si pente (in German). 12” EL dark-blue German Telefunken E-3853. M-A, a gleaming copy. A sublimely beautiful performance! MB 15

“Hilde Konetzni made her début in Gablonz, as Sieglinde, in 1929, and sang in Prague from 1932 to 1938. In 1936, she made her début at the Vienna State Opera and the Paris Opéra, as Donna Elvira. She appeared at the Royal Opera House in London 1938-39, returning in 1947, and at La Scala, in 1950, as Sieglinde with Furtwängler. A stylish singer, she possessed a voice of great beauty, other notable roles included; Agathe, Isolde, Brünnhilde, Elisabeth, Marschalin, Leonora, Chrysothemis, etc. She was very

popular in Vienna, and continued singing small roles until the 1970s. She had a sister, Anny Konetzni, who was also a soprano noted for Richard Wagner and Richard Strauss rôles.”

G653. ELISABETH HÖNGEN, w.Hans Zipper (Pf.): Die Kartenlegerin (Schumann) / Nur wer die sehnsucht kennt (Wolf). 10” EL Eng. Col. LB 62, POM-5 Nov., 1946. Sd.1 label has Höngen’s Autograph affixed. M-A MB 12

G654. ELISABETH HÖNGEN, w.Gerald Moore (Pf.): Auf eine Christblume (Wolf), 2s. 10” EL Eng. Col. LB 140, only form of issue, 10 Oct., 1947. M-A, a gleaming copy. MB 12

G655. ELISABETH HÖNGEN, w.Gerald Moore (Pf.): Wesendonck Lieder – Der Engel / w.Hermann von Nordberg (Pf.): Stehe still (Wagner). 12” EL Eng. Col. LX 1282, only form of issue, 14 April, 1948 / 7 Nov., 1947. M-A, a gleaming copy. MB 12

G656. ELISABETH HÖNGEN, w.Leitner (Pf.): Frauenliebe und Leben – Nos. 5 – 8 (first 4 songs appear on a different disc) (Schumann). 12” EL Variable Micrograde DGG 72010, only form of issue, 30 May, 1950. M-A, a gleaming copy. MB 12

G657. ELISABETH HÖNGEN, w.Leitner Cond.: Carmen – Habañera / Leitner Cond.: Écoute, compagnons! (in German). 10” EL Variable Micrograde DGG 36068, only form of issue, 17 Feb., 1953. M-A, a gleaming copy. MB 12

G658. ELISABETH HÖNGEN, w.Leitner Cond.: Samson et Dalila – Mon coeur s’ouvre à ta voix / Printemps qui commence (in German). 12” EL Variable Micrograde DGG 68442, only form of issue, 24 March, 1950. M-A, a gleaming copy. MB 12

G659. ELISABETH HÖNGEN & WALTER LUDWIG, w.Leitner Cond.: Il Trovatore – Condotta ell’era in ceppi; Ai nostri monti (in German), 2s. 12” EL Variable Micrograde DGG 72120, only form of issue, 28 May, 1951. M-A, a gleaming copy. MB 12

“Possessed of neither a great voice nor outstanding personal beauty, Elisabeth Höngen bewitched her collaborators on stage, the conductors who worked with her, and intensely loyal audiences in Austria, Germany, and elsewhere. Not a superstar, she was an ensemble player and valued colleague. Even without the vocal resplendence certain other artists brought to these rôles, her interpretations remain inescapably compelling. Among her Strauss creations, the Nurse in DIE FRAU OHNE SCHATTEN became as incisive an impersonation as her giddy Clairon in CAPRICCIO. The two addled mothers in SALOME and ELEKTRA also became largely Höngen's property in Vienna and they both figured in her single season at the Metropolitan Opera in 1952 where ten performances in all represented her entire Met career. She had been made a Kämmersängerin in 1947 and was equally celebrated at Salzburg (where her Orfeo was revered). She participated with Furtwängler in his La Scala RING in 1950 and was one of a handful of veteran artists invited to reopen the Bayreuth Festival in 1951.”

- Erik Eriksson, ALL MUSIC GUIDEG660. CHRISTEL GOLTZ, w.Heger Cond.: Oberon – Ozean, du Ungeheuer, 2s. 10” EL Variable Micrograde DGG 36052, only form of issue, 19 /25 Sept., 1952. M-A, a gleaming copy. MB 12

“Here is a worthy tribute to a dramatic soprano who enjoyed an international career in the middle years of the past century. She was trained originally as a dancer with voice lessons as an adjunct….The sound of a penetrating soprano voice riding above a full symphony orchestra can be a thrilling experience, and Goltz could manage it with ease….The noble lines of Gluck’s ALCESTE are thrillingly and fearlessly delivered, and both the testing arias from FIDELIO and OBERON are creditably surmounted.”

- Vivian A. Liff, AMERICAN RECORD GUIDE, March/April, 2010G661. CHRISTEL GOLTZ, w.Leitner Cond.: Aïda – O patria mia / Ritorna vincitor! (in Italian). 12” EL Variable Micrograde DGG 72116, only form of issue, 7 June, 1951. M-A, a gleaming copy. MB 12

G662. CHRISTEL GOLTZ, w.Leitner Cond.: Aïda – O patria mia / Ritorna vincitor! (in German). 12” EL Variable Micrograde DGG 72119, only form of issue, 31 July / 22 Aug., 1951. M-A, a gleaming copy. MB 12

G663. CHRISTEL GOLTZ, w.Rother Cond.: Il Trovatore – D’amor sull’ali rosee / Christel Goltz & Silvia Menz: Tacea la notte (in Italian). 12” EL Variable Micrograde DGG 72456, only form of issue, 5 April, 1954. M-A, a gleaming copy. MB 12

G664. CHRISTEL GOLTZ, w.Rother Cond.: Il Trovatore – D’amor sull’ali rosee / Christel Goltz & Silvia Menz: Tacea la notte (in German). 12” EL Variable Micrograde DGG 72449, only form of issue, 14 Dec., 1953. M-A, a gleaming copy. MB 12

G665. CHRISTEL GOLTZ & JULIUS KATONA, w.Schmidt-Isserstedt Cond.: Romeo und Julia – Excerpts (Sutermeister), 4s. 2-12” EL DGG Musica Nova 68148/49, POM-1944. Important Creator Record (Goltz) (13 April, 1941). M-A, a gleaming copy. MB 25

“One of the leading dramatic sopranos of her generation, Christel Goltz possessed a rich voice with a brilliant range and intensity. She was particularly associated with the operas of Richard Strauss, especially SALOME and ELEKTRA, and with contemporary operas. Born in Dortmund, she studied in Munich with Ornelli-Leeb and with Theodor Schenk, whom she later married. After singing small rôles, she made her official début in Fuerth, as Agathe, in 1935. She sang one season in Plauen, before joining the roster of principle sopranos at the Staatsoper Dresden through the invitation of Karl Böhm in 1936. She remained at that house until 1950. She began appearing at both the Berlin State Opera and the Stadtische Oper Berlin in 1947, and at the Munich State Opera and Vienna State Opera in 1950. Beginning in 1951, she also made guest appearances in Salzburg, Milan, Rome, Brussels, Paris, London, Buenos Aires, and sang at the Metropolitan Opera in 1954. Besides Salome and Elektra, her greatest successes included the title rôle in JENUFA, Marie in WOZZECK, Die Farberin in DIE FRAU OHNE SCHATTEN, Leonora in FIDELIO, and Elettra in IDOMENEO. She created the title rôle in Carl Orff's ANTIGONAE and Rolf Liebermann's PENELOPE. An intense singing-actress with a clear and powerful voice of great range, she also tackled a few Italian rôles, notably Turandot.”

G666. SIEGLINDE WAGNER, w.Schüchter Cond. Berlin Staatsoper Chorus & Orch.: Carmen – Habañera / SIEGLINDE WAGNER & LISA OTTO: En vain pour éviter (Card Scene) (in German). 12” EL Electrola DB 11570. M-A, a gleaming copy. MB 15

“Sieglinde Wagner, a genuine contralto (a rare species) had a wide range, enabling her to sing many mezzo rôles as well. Her long career lasted for 44 years, and 34 of those years were spent in Berlin at the Deutsche Oper. Her large repertory included a number of operas by her namesake Richard (no relation), but also works by Richard Strauss and several Italian composers, as well as operas by mid-20th-century composers. She was a fine concert singer with an affinity for Bach's Passions and Cantatas. Sieglinde Wagner was engaged by the Wiener Volksoper in 1947, remaining until 1952. Since 1952 she was active at the Städtischen Oper (later Deutsches Opernhaus Berlin), and remained their member until 1987. She made guest appearances at La Scala, the Rome Opera, in Amsterdam, Madrid and Barcelona. Beginning in 1949 Sieglinde Wagner participated in the Salzburg Festival where she sang many rôles. At the Bayreuth Festival she participated from 1962 through 1973.”

G667. MARGARETHE ARNDT-OBER, Arndt (Pf.): Heimweh (Wolf). 10" AC V 64444, POM-22 April, 1914, Never Doubled. M-A MB 15

G668. MARGARETHE ARNDT-OBER, Arndt (Pf.): An die Musik (Schubert). 10" AC V 64445, POM-22 April, 1914, Never Doubled. M-A MB 15

G669. MARGARETHE ARNDT-OBER, Arndt (Pf.): Ich liebe dich (Beethoven). 10" AC V 64446, POM-22 April, 1914, Never Doubled. M-A MB 15

G670. MARGARETHE ARNDT-OBER, Arndt (Pf.): Widmung (Schumann). 10" AC V 64448, only form of issue, 22 April, 1914. M-A MB 20

G671. MARGARETHE ARNDT-OBER, Arndt (Pf.): Wiegenlied (Humperdinck). 10" AC V 64449, only form of issue, 22 April, 1914. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

G672. MARGARETHE ARNDT-OBER, Arndt (Pf.): Liebestreu (Brahms). 10" AC V 64500, only form of issue, 22 March, 1915. A, lovely copy has wee pap.scr, inaud. MB 15

G673. MARGARETHE ARNDT-OBER: La Gioconda - Stella del marinar. 10" AC V 64442, Orig. ‘A’ Plate Issue, POM-2 April, 1914, Never Doubled. M-A, a gleaming copy. MB 15

G674. MARGARETHE ARNDT-OBER: La Gioconda – Voce di donna. 10" AC V 64443, POM-2 April, 1914, Never Doubled. M-A MB 15

G675. MARGARETHE ARNDT-OBER: Il Trovatore - Stride la vampa! 10" AC V 64506, POM-23 April, 1915, Never Doubled. A to M-A MB 10

G676. MARGARETHE ARNDT-OBER: Samson et Dalila – Amour, viens aider / Mon coeur s’ouvre à ta voix (in German). 12” AC Art Label (Girl at window with morning glory horn) Parlophon P.423/24, POM-1912. A-, very decent copy has lt. rubs, inaud.; Sd. 2 only has sev. scrs, absolutely inaudible. This plays as M-A. MB 12

G677. MARGARETHE ARNDT-OBER: Carmen – Habañera / Séguidille (both in German). 10” yellow IRCC 3001, RRs-1911, Berlin Pathé. Numbered Copy #49. M-A MB 8

G678. MARGARETHE ARNDT-OBER: Le Prophète - Ah! mon fils (1908 Version) (in German) / Der Evangelimann – O schöne Jugendtage (Kienzl). 10” AC green Berlin Concert Gram. V.23369/68 (83/82ab), POM-12 Jan., 1908. A to M-A, lovely copy has hint of grey on peaks. MB 15

G679. MARGARETHE ARNDT-OBER: Le Prophète – Ah! mon fils (1914 Version) (in German). 12" AC V 74397, only form of issue, 2 April, 1914. M-A, a gleaming copy. MB 20

G680. MARGARETHE ARNDT-OBER: Le Prophète – Qui je suis? … Je suis, hélas! la pauvre femme! / Grand Dieu, exaucez ma prière (in German). 11½” AC H & D grey paper label US-Pathé 60022 (54532/33), recorded 1911, Berlin. M-A, a gleaming copy. MB 15

G681. MARGARETHE ARNDT-OBER & REINALD WERRENRATH: Das Rheingold – Weiche, Wotan, weiche. 12" AC white Vla 74396, only form of issue, 2 April, 1914. M-A, a gleaming copy. MB 20

G682. MARGARETHE ARNDT-OBER & PAUL ALTHOUSE: Boris Godounov – Garden Scene (in Italian). 12" AC V 76031, Early ‘B’ Plate Issue, POM-23 April, 1915. M-A, a gleaming copy. MB 12

“Margarethe Ober studied in Berlin with Benno Stolzenberg and married eventually her second teacher Arthur Arndt. Making her début at the Frankfurt opera house as Azucena in 1906, she became a regular member of the Berlin State Opera from 1907 until her retirement in 1944. She sang Amneris with Caruso in 1908 and appeared as Kostelnicka in the Berlin premiere of Janacek’s JENŮFA. In 1913 she made a highly praised début at the Metropolitan as Ortrud and was an admired Octavian in the first American performance of Strauss’ DER ROSENKAVALIER. She took on most of the rôles from Ernestine Schumann-Heink. Her Waltraute was praised as ‘one of the grand figures of the drama’. In 1914 she appeared in Toscanini’s revival of Weber’s EURYANTHE, but on America’s entry into the war she was dismissed from the company and interned because of German-patriotic behaviour during a performance. She was forced to return to Germany where she resumed her career at the Berlin Opera and appeared regularly at the Zoppot Festival. Arndt-Ober retired in 1944.”

- Andrea Shum-Binder, subito-cantabileG683. MARIANNE SCHECH, w.Sawallisch Cond.: Cavalleria – Voi lo sapete / MARIANNE SCHECH & JAMES PEASE: Ah il Signore vi manda (in German). 10” EL Variable Micrograde DGG 62925, only form of issue, 17 March, 1954. M-A, a gleaming copy. MB 12

G684. MARIANNE SCHECH, LORENZ FEHENBERGER & JAMES PEASE: Cavalleria – Excerpts (in German), 2s. 12” EL Variable Micrograde DGG 72475, only form of issue. M-A, a gleaming copy. MB 12

“Marianne Schech made her début at Coblenz 1937 as Marta, in TIEFLAND. From 1937 to 1945 she sang in Münster, Munich, Düsseldorf and Dresden. She was a member of the Bavarian State Opera, Munich,

1945–70, specializing in Wagner and Strauss rôles. Her Covent Garden début was in 1956; her Metropolitan Opera début occured in 1957; her San Francisco Opera début was in 1959. Schech was one of the singers in the Final Trio from DER ROSENKAVALIER at Strauss' funeral, 1949.”

G685. ANNELIES KUPPER, w.Heger Cond.: Don Giovanni – Don Ottavio, son morta; Or sai chi l’onore (in German), 2s. 12” EL Variable Micrograde DGG 72049, only form of issue, 4 Jan., 1951. M-A, a gleaming copy. MB 12

G686. ANNELIES KUPPER, w.Lehmann Cond.: Daphne – O bleib’, geliebter Tag; Ich komme, grünende Brüder, 2s. 12” EL Variable Micrograde DGG 72172, only form of issue, 16 Nov., 1951. M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 12

G687. ANNELIES KUPPER, w.Leitner Cond.: Nozze – Dove sono / WALTHER LUDWIG: Dalla sua pace; Il mio tesoro (both in Italian). 12” EL Variable Micrograde DGG 72305, only form of issue, 11 Aug., 1952 / 3 Jan., 1953. M-A, a gleaming copy. MB 12

G688. ANNELIES KUPPER & ELISABETH HÖNGEN, w.Leitner Cond.: Aïda – Fu la sorte dell’armi (in German), 2s. 12” EL Variable Micrograde DGG 72099, only form of issue, 2 June, 1951. M-A, a gleaming copy. MB 12

G689. ANNELIES KUPPER & HANS REINMAR, w.Solti Cond.: Aïda – Ciel! Mio padre! (Nile scene) (in German), 2s. 12” EL DGG 68362, only form of issue, 15 June, 1949. M-A, a gleaming copy. MB 12

G690. ANNELIES KUPPER & KURT BÖHME, w.Rother Cond.: Tiefland – Ich weiss nicht, ver mein Vater war / WOLFGANG WINDGASSEN, w.Rother Cond.: Pedros Abschied; Wolfserzählung (d’Albert). 12” EL Variable Micrograde DGG 72378, only form of issue, 7 July, 1953. M-A, a gleaming copy. MB 12

G691. ANNELIES KUPPER, w.Leitner Cond.: Forza – Son giunta! Madre pietosa Vergine; Sds. 2–4 = ANNELIES KUPPER, JOSEF GREINDL & GUSTAV NEIDLINGER: Cloister scene (all in German), 3s. 2–12” EL Variable Micrograde DGG 72225/26, only form of issue, 2 July, 1952. M-A, a gleaming copy. MB 25

“Annelies Kupper sang Eva in Bayreuth, in 1944, and returned as Elsa in 1960. She created Danae in Richard Strauss' DIE LIEBE DER DANAE in Salzburg, in 1952. Kupper was especially admired as Countess Almaviva, in addition to Wagner and Strauss rôles, she also gained considerable acclaim as Aïda and Desdemona. A sensitive and warm-voiced singer, she retired in 1961 and taught at the Music Conservatory in Munich.”

G692. ANNY SCHLEMM, w.Schüchter Cond.: Nozze – Non so più / Voi che sapete (in German). 10” EL Electrola DA 5519. M-A, a gleaming copy. MB 12

G693. ANNY SCHLEMM, w.Leitner Cond.: Mignon – Connais-tu le pays / Elle est aimée (in German). 10” EL Variable Micrograde DGG 36091, only form of issue, 3 Nov., 1953. M-A, gleaming copy has mere hint of faintest pap. rubs, inaud. MB 12

G694. ANNY SCHLEMM, w.Reinshagen Cond.: Undine – So wisse, dass in allen Elementen / ANNY SCHLEMM & HANS BRAUN: Nun ist’s vollbracht (Lortzing). 12” EL Variable Micrograde DGG 72454, only form of issue, 13 Jan., 1954. M-A, a gleaming copy. MB 12

“Anny Schlemm joined the Berlin State Opera, where she remained until 1961, during which period her rôles included Susanna, Marenka, Donna Elvira, Desdemona, Manon Lescaut, Octavian, Arabella, etc. She also sang at the opera houses of Cologne, Hamburg, Dresden, Frankfurt, Stuttgart, Munich, and at the Bayreuth Festival, etc. She made guest appearances at the Vienna State Opera, the Royal Opera House, the Glyndebourne Festival, the Paris Opéra, the Holland Festival, etc. Later, as her voice darkened, she became a famous exponent of rôles such as Clytemnestra, Herodias, Kabanicha in KÁŤA KABANOVÁ, and Kostelnicka in JENŮFA, etc. A superb singing-actress and highly versatile artist, she was equally at home in comic and dramatic roles.”

G695. ELFRIDE TRÖTSCHEL, w.Leitner Cond.: Nozze – Venite, inginocchiatevi / Deh vieni, non tardar (in German). 10” EL Variable Micrograde DGG 36010, only form of issue, 20 Nov., 1951. M-A, a gleaming copy. MB 12

G696. ELFRIDE TRÖTSCHEL, w.Leitner Cond.: Der Waffenschmied – Wir armen, armen Mädchen (Lortzing) / Pagliacci – Stridono lassu (in German). 10” EL Variable Micrograde DGG 36043, only form of issue, 15 Aug., 1952. M-A, a gleaming copy. MB 12

G697. ELFRIDE TRÖTSCHEL, w.Leitner Cond.: Der Waffenschmied – Er schläft! Wir alle sind in Angst (Lortzing) / Prodaná Nevesta – Endlich allein (in German) (Smetana). 12” EL Variable Micrograde DGG 72398, only form of issue, 19 / 8 March, 1952. M-A, a gleaming copy. MB 12

G698. ELFRIDE TRÖTSCHEL & HORST GÜNTHER, w.Leitner Cond.: Der Jakobiner – In weiter Fremde irrten wir; Ach Gott, wie hoffmungslos (Dvorák), 2s. 12” EL Variable Micrograde DGG 72239, only form of issue, 1Oct., 1952. M-A, a gleaming copy. MB 12G699. ELFRIDE TRÖTSCHEL & LORENZ FEHENBERGER, w.Schmitz Cond.: La Boheme – Sono andati? / ELFRIDE TRÖTSCHEL, RITA STREICH, LORENZ FEHENBERGER & DIETRICH FISCHER-DIESKAU: Addio, dolce svegliare (in German). 12” EL DGG 68435, only form of issue, 4 / 12 Oct., 1949. M-A, gleaming copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 12

G700. ELFRIDE TRÖTSCHEL & WALTHER LUDWIG, w.Leitner Cond.: Carmen – Parle-moi de ma mère (in German), 2s. 10” EL Variable Micrograde DGG 36003, only form of issue, 15 Sept., 1951. M-A, a gleaming copy. MB 12

G701. ELFRIDE TRÖTSCHEL & HORST GÜNTHER, w.Leitner Cond.: Don Giovanni – Là ci darem la mano / ANNELIES KUPPER, w.Leitner Cond.: Nozze – Porgi amor (both in German). 10” EL Variable Micrograde DGG 36087, only form of issue, 12 Aug. / 3 March, 1952. M-A, a gleaming copy. MB 12

“Elfriede Trötschel began her career as a member of the Dresden Opera choir and became a soloist in 1933 after being selected by the Opera’s director, Karl Böhm. Her many rôles on the operatic stage included Lola,

Gretel, Esmeralda, Zerlina, Blondchen, Marie, Susanna, Nannetta, Zdenka, Jenufa, Donna Elvira, Bastienne, Oskar, Papagena, Marzelline, Sophie, Mimi and Madama Butterfly. She sang at the Salzburg Festival in 1941 and at the Berlin State Opera in 1950. In 1950 she sang Susanna at the Edinburgh and Glyndebourne Festivals, sang at the Vienna State Opera in 1952 and appeared at Covent Garden in 1953 in Strauss’ ARABELLA. Trötschel performed with some of the great conductors of the 20th century, such as Fritz Stiedry, Wilhelm Furtwängler, Krauss, Keilbert, Eugen Jochum, Kempe, Otto Klemperer, Karl Böhm and Fricsay.”

G702. ESTHER RÉTHY: Schön ist der Welt – Ich bin verliebt / Der Zarewitsch – Einer wird kommen (Lehár). 10” EL Electrola DA 4497. M-A MB 12

G703. ESTHER RÉTHY, w.Moralt Cond.: La Boheme – Quando m’en vo / Gianni Schicchi – O mio babbino caro (both in German). 10” EL Electrola DA 4506. M-A MB 12

G704. ESTHER RÉTHY, w.Paulik Cond.: Eine Nacht in Venedig – Einmal vergisst man sich / Schwipslied (Johann Strauss). 10” EL Austrian Elite 8290. A to M-A, lovely copy has, Sd.2 only, few minuscule dust scrs, inaud. MB 12

G705. ESTHER RÉTHY, w.Schönherr Cond.: Clivia – Ich bin verliebt (Dostal) / Ball im Savoy – Toujours l’amour (Abraham). 10” EL Austrian Elite 8128. M-A MB 12

G706. ESTHER RÉTHY & JOHANNES HEESTERS, w.Schönherr Cond.: Indian love call (Friml) / Maytime – Sweetheart (Romberg) (both in German). 10” EL Austrian Elite 8129. M-A MB 12

“In 1937 Réthy became a principal artist at the Vienna State Opera, where she remained until 1949. She made her first appearance at that house as Marguerite in Charles Gounod's FAUST with Jussi Björling in the title rôle. Her other roles with the company included Agathe in Carl Maria von Weber's DER FREISCHÜTZ, Countess Almaviva in Mozart's LE NOZZE DI FIGARO, Alice Ford in Verdi's FALSTAFF, Desdemona in OTELLO, Eva in DIE MEISTERSINGER VON NÜRNBERG, Lauretta in Puccini's GIANNI SCHICCHI, Mařenka in Smetana's THE BARTERED BRIDE, Micaela, Mimì, Pamina, Violetta, and the title rôle in Handel's Rodelinda. While singing in Vienna, Réthy was active as a guest artist with many European opera houses. She remained a frequent performer at the Hungarian State Opera House and appeared often as a guest at the Bavarian State Opera, Berlin State Opera, and Semperoper under such conductors as Karl Böhm, Victor de Sabata, Wilhelm Furtwängler, Hans Knappertsbusch, Clemens Krauss, and Josef Krips. She became internationally famous through her many appearances at the Salzburg Festival where she sang Susanna (1937-1939, 1941 with Ezio Pinza as Figaro), Sophie in DER ROSENKAVALIER (1937-1939), Donna Elvira (1950), and Europa in the first public performance of Strauss’ DIE LIEBE DER DANAE (1952). She also appeared at the 1940 Salzburg Festival in an operetta concert. In 1940, she was supposed to appear in several roles at the Metropolitan Opera, but the events of World War II made this impossible. After World War II, Réthy became a highly lauded performer in operettas, beginning with a triumphant portrayal of Rosalinde in DIE FLEDERMAUS under Herbert von Karajan at the Vienna State Opera. From 1948 she sang frequently at the Vienna Volksoper in the operettas of Emmerich Kálmán, Franz Lehár, and Strauss. Réthy retired from the stage in 1968, after which she taught singing in Vienna. She died there at the age of 91 in 2004. She was married first to conductor Anton Paulik and then for many years to Dr. Vincent Imre. Her son from her second marriage, Laszló Imre, became a successful conductor.”

G707. VIORICA URSULEAC, w.Clemens Krauss Cond.: Capriccio – Ihre Liebe schägt mir entgegen (Strauss), 2s. 12” EL black DGG Siemens Spezial 68125, only form of issue, 8 June, 1943. M-A Important Creator Record (28 Oct. 1943, München). MB 15

“Krauss chose me to create Clarion in the world première of CAPRICCIO in Munich on October 28, 1943, so I had plenty of opportunities to watch Ursuleac mold the enchanting rôle of the Countess, and she was a perfectionist. Singing with her was a joy, for she was totally secure and never tried to steal scenes from others….Although she had a lovely, facile top, I was constantly amazed at the two hours’ vocalizing she went through before each performance. Hers was, in my opinion, a marvelously constructed, not really natural voice which she used with uncanny intelligence.”

Hildegard Ranczak, THE LAST PRIMA DONNAS, p.232G708. VIORICA URSULEAC, w.Clemens Krauss Cond.: Cäcilie / Frühlingsfeier (both Strauss). 10” EL red Bruns.-Polydor 35032, POM-1936. A-, very decent copy of preferred mid-1930s Columbia pressing has lt rubs & few superficial scrs, inaud. MB 8

G709. VIORICA URSULEAC & MARGIT BOKOR, w.Clemens Krauss Cond.: Arabella – Aber der Richtige (Strauss), 2s. 10” EL black Grammophon 62712, POM 1933. M-A, a gleaming copy. MB 12G710. VIORICA URSULEAC & ALFRED JERGER, w.Clemens Krauss Cond.: Arabella – Das war sehr gut, Mandryka (Strauss), 2s. 10” EL black Grammophon 62711, POM 1933. M-A, lovely copy has, Sd. 2, wee pap. rub, inaud. MB 12

G711. VIORICA URSULEAC, ERNA BERGER & TIANA LEMNITZ; Clemens Krauss Cond. Berlin Staatsoper Orch.: Der Rosenkavalier – Hab' mir's gelobt / ERNA BERGER & TIANA LEMNITZ; Ist ein Traum . 12” EL black German Polydor 67075, POM-1936. M-A MB 12

“Viorica Ursuleac was the Strauss singer par excellence. She sang in a total of 482 performances of Strauss on stage….The few records which the singer has left us are not fully representative of the exceptional artist she undoubtedly was.”

- Dr Ulrich Dahmen, THE RECORD COLLECTOR, 1990G712. MARIA REINING, w.Krips Cond. Vienna Phil.: Nozze – Dove sono? (in German), 2s.12” EL Austrian Decca K 28354, POM-1950. M-A, a gleaming copy. MB 15

G713. MARIA REINING, w.Knappertsbusch Cond. Zürich Tonhalle Orch.: Tannhäuser – Dich, teure Halle / Allmächt’ge Jungfrau. 12” EL Austrian Decca K 28165, POM-23 June, 1949. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

G714. MARIA REINING, w.Knappertsbusch Cond. Zürich Tonhalle Orch.:

Der Rosenkavalier – Kann mich auch an ein Mädel, 2s. 12” EL Austrian Decca K 28164, POM-23 June, 1949. M-A, lovely copy has, Sd. 1 only, wee pressing bump, audible sev. turns. MB 12

G715. MARIA REINING, w.Lutze Cond.: Der Zarewitsch – Einer wird kommen / Paganini – Liebe, du Himmel auf Erden (both Lehár). 12” EL red German Telefunken E 1165, POM-1939. M-A, a gleaming copy. MB 12

G716. MARIA REINING & KARL FRIEDRICH, w.Reinschagen Cond. Zürich Tonhalle Orch.: Das Land des Lächelns – Wer hat die Liebe uns ins Herz gesenkt / Bei einem Tee en deux (Lehár). 12” EL Austrian Decca K 28167, POM-23 June, 1949. M-A, a gleaming copy. MB 15

G717. MARIA REINING & MAX LORENZ: Tannhäuser – O Fürstin!, 2s. 12” EL Electrola DB 7624, only form of issue, 24 Jan., 1942. M-A, a gleaming copy. MB 20

G718. MARIA REINING & PAUL SCHÖFFLER, w.Knappertsbusch Cond. Zürich Tonhalle Orch.: Die Meistersinger – Gut’n Abend, Meister!, 2s. 12” EL orange Eng. Decca X.312, POM-23 June, 1949. M-A, a gleaming copy. MB 15

G719. MARIA REINING & FRANZ KUBESCH, w.Dol Dauber Orch.: Wienerisch (Edmund Eysler; arr. Hruby), 4s. 2–12” EL pale-blue Austrian HMV BB 251/52, only form of issue, 12 Dec., 1930 (Reining’s first recording). M-A, lovely copy has very occasional faintest pap. rub, inaud. Exceedingly elusive! MB 35

“Maria Reining didn't begin her singing career until the age of 28, when she began at the Vienna State Opera, mainly in soubrette roles. Two years later, she moved to Darmstadt, then to the Munich State Opera, where she made her début as Elsa, under Hans Knappertsbusch. In 1937 she followed Knappertsbusch to the Vienna State Opera, where she sang Elsa again. Reining was a member of the Vienna State Opera ensemble between 1931 and 1933 and again between 1937 and 1957. Between 1937 and 1941, she sang at the Salzburg Festival with great success, conducted, among others, by Arturo Toscanini. She predominantly sang rôles by Mozart, Wagner and Richard Strauss. As a guest, she appeared at the leading European opera houses, at the Royal Opera House and at La Scala.”

G720. LORNA SYDNEY, w.Baltzer Cond. Vienna Staatsoper Orch.: Orfeo - Che farò senza Euridice / Che puro ciel (in German). 12” EL black Vienna 5004. M-A Truly distinguished renditions! MB 12

“In the middle of the 1930s Lorna Sydney’s voice was discovered by Lotte Lehmann during an Australian tour, enabling her to study in Vienna. In 1946 Lorna Sydney came to the Vienna Volksoper, at which she had a great career until 1954. The first rôle she sang was Carmen. She mastered altogether 47 major roles in operas of Verdi, Gluck, Wagner and Richard Strauss, under whom she sang Klytaemnestra, which she performed also at the New Orleans Opera. In 1951 and 1955 she made guest appearances at the New York City Center Opera in Prokofieff’s L'AMOUR DES TROIS ORANGES; on the American Television NBC she appeared as Herodias in Strauss’ SALOME. In addition, Lorna Sydney was a high-estimated concert and oratorio soloist and a splendid Lieder interpreter. She made very successful concert tours in Austria as in Germany, in Italy and France, in North America and in Africa. High points in her concert career were appearances in the USA with Philadelphia Orchestra under Eugene Ormandy and a recital in the New York Town Hall in 1955. Since 1965 she gave interpretation courses in the USA, mainly for Lieder singing.”

G721. MAUD CUNITZ, w.Ackermann Cond. Vienna Phil.: Der Freischütz - Wie nahte mir der Schlummer; Leise, leise fromme Weise, 2s. 12” EL red German Decca K 23268. M-A, a gleaming copy. MB 15

G722. MAUD CUNITZ, w.Rother Cond. Berlin Staatsoper Orch.: Aïda – O patria mia / Ritorna vincitor! (in German). 12” EL Variable Micrograde purple German Telefunken VSK 9015. M-A, a gleaming copy. MB 15

“Maud Cunitz made her Salzburg Festival début in 1943, as the First Lady in DIE ZAUBERFLÖTE, followed by Zdenka in ARABELLA. She created the rôle of Semele in DIE LIEBE DER DANAE (Salzburg dress rehearsal, 1944). Cunitz joined the Bavarian State Opera in 1946, then made her Covent Garden début in 1953 as the Countess in CAPRICCIO, its first London performance.”

G723. Mme CHARLES-CAHIER, w.Meyerowitz Cond. Berlin Staatsoper Orch.: Ich bin der Welt abhanden gekommen / Resurrection Symphony #2 – Urlicht (both Mahler). 12” EL silver IRCC 209, RRs-20 Sept., 1928, Stockholm. Numbered Copy #17 of an extraordinarily Limited Edition. Sd.2 label is Autographed, w.Cahier's Photo affixed. Accompanied by original IRCC text. M-A, a gleaming copy. MB 35G724. Mme CHARLES-CAHIER, w.Meyerowitz Cond. Berlin Staatsoper Orch.: Ich bin der Welt abhanden gekommen / Resurrection Symphony #2 – Urlicht (both Mahler). 12” EL dark-blue Kalliope K770 (30372/71), POM-20 Sept., 1928, Stockholm. M-A Exceedingly Elusive! MB 65

“Sara Cahier, better known as Mme Charles Cahier, was actually born Sara Jane Walker in Nashville, Tennessee. Her teachers included Jean de Reszke, Victor Capoul, and Amalie Joachim. After her debut in 1904 she joined the Hofoper in 1907 and remained until 1911. Under Mahler, she sang Amneris, Carmen, Dalilah, Fidès, Ortrud, and Santuzza. She was also famous for her interpretation of Mahler’s works, creating the alto version of DAS LIED VON DER ERDE. Among her later pupils were Marian Anderson, Göta Ljüngberg, and Rosette Anday.”

- Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNAG725. SUSAN METCALFE-CASALS, w.Gerald Moore (Pf.): Lied der Mignon / Nachtstück (both Schubert). 12” EL yellow PW HMV Private Record JG 19, only form of issue, 7 July, 1937. A, lovely copy has faintest pap. rubs, inaud. MB 50

G726. SUSAN METCALFE-CASALS, w.Gerald Moore (Pf.): Die Junge Nonne / Liebesbotschaft; Die Liebe hat Gelogen (all Schubert). 12” EL yellow PW HMV Private Record JG 20, only form of issue, 7 July, 1937. A, lovely copy has faintest pap. rubs, inaud. MB 50

G727. SUSAN METCALFE-CASALS, w.Gerald Moore (Pf.): Die Lotusblume; Schneeglockchen; Zum Schluss / Herzeleid; Liebeslied (all Schumann). 12” EL yellow PW HMV Private Record JG 21, only form of issue, 7 July, 1937. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 50

G728. SUSAN METCALFE-CASALS, w.Gerald Moore (Pf.): Le Secret; Le don silencieux /

Soir; Nell (all Fauré). 12” EL yellow PW HMV Private Record JG 22, only form of issue, 7 July, 1937. A/A-, lovely copy has faintest pap. rubs, inaud.; Sd. 2 only has sev. superficial scrs, inaud. MB 50

“As a recitalist, Susan Metcalfe Casals made her début in New York in 1897 and gave few, but very select recitals each year. In 1904 she met the cellist Pablo Casals, gave a recital with him (Casals accompanying her at the piano), and briefly developed a 'fervid' friendship, which however was abated when Casals established his close relationship with Guilhermina Suggia in 1906. In 1908 Metcalfe embarked on a European tour during which she sang for the British royal family. As the Suggia relationship became strained, Metcalfe and Casals corresponded. They met again after Casals had given a concert in Berlin, and were married on 8 April, 1914. After this they moved together to Europe. The marriage lasted until 1928, when they were formally separated, but they did not divorce until 1957. During their artistic life together, Casals and his wife often gave recitals together in which he accompanied her song sets at the piano and also performed cello sets in the same concert. The marriage with Casals was stormy, and following their separation in 1929 Mme Metcalfe Casals lived in Paris. Her last known recital was at the École Normale de Musique there, in 1951. Later she moved back to the U.S. to live with her sister, and died there in 1959. Susan Metcalfe Casals made no fully commercial recordings, but she did record eight sides of 78rpm records (yellow label His Master's Voice) for private distribution, with Gerald Moore accompanying, in 1937.”

G729. EMMA ALBANI: Ave Maria (Bach-Gounod) / Xerxes – Ombra mai fu. 10” AC silver IRCC 182, RRs-1904, London, Pathé. Numbered Copy #1 of a Limited Edition; Sd. 2 label, has Albani’s Photo affixed. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12

G730. EMMA ALBANI: Xerxes – Ombra mai fu / BLANCHE MARCHESI: L’Été (Chaminade). 10” AC Les Amis de l’Art Phonique 1, RRs-1904/’06. Apparently a Limited Edition, stated “Il a été tiré de ce disque: 10 exemplaires”. A/A-, lovely copy has, Sd. 2 only, sev. wee scrs, cosmetic. MB 12

“The records of Emma Albani preserve the singing of a celebrated vocal artist whose career spanned the last thirty years of the nineteenth century and the first decade of the [twentieth]….Albani’s pre-eminence as a vocalist is incontestable and vocal attainments of a high order can be detected in her records….She endeared herself to her public, becoming a much-loved figure.”

- Paul Lewis, THE RECORD COLLECTOR, 1994G731. SUZANNE ADAMS: Coquette (Leo Stern) / Roméo – Je veux vivre. 10” AC silver Victor IRCC 98, RRs-1902, London. Numbered Copy #41 of a Limited Edition, Sd.2 Label has Adams’ Photo affixed. (Leo Stern, by the way, not only was Suzanne Adams’ husband, but also the cellist at the first performance of Dvorák’s Cello Concerto.) M-A, a gleaming copy. MB 25

G732. SUZANNE ADAMS (frequently attributed to Nellie Melba): Les Huguenots – A ce mot tout s'anime. 10” AC S/S mauve IRCC 5002, recorded during Live Performance by Lionel Mapleson, 1 March, 1902. Numbered Copy #148 of Limited Edition. Melba's Photo is affixed to Label. M-A, a gleaming copy. MB 45

“Adams had a very peculiar season at the Met this year [1901]. She made her first appearance, as Juliette, at the matinee on January 31st. This date, incidentally, coincides with a period when Mapleson was being exceptionally active with his recorder at the Metropolitan Opera House….Adams and he seemed to be on friendly terms, so why did he not seize the opportunity to record her?....there once was a labeled box, proving that Mapleson had indeed recorded the music. But the cylinder was not in its box. If it wasn’t there, then where was it? (No Melba box is known.)….One thing that surprises me about the Melba-champions is that they do not seem to have taken in how extremely small is the number of performances that the cylinder could even possibly be from. Really only two, as others than me have pointed out: if it isn’t Melba on March 11th, then it has just got to be Adams on March 1st, 1902, and this is the date on the box.”

- John Stratton, THE RECORD COLLECTOR, 1989G733. SUSAN STRONG: Die junge Nonne (Schubert) / Hérodiade – Il est doux, il est bon. 12” AC sliver Victor IRCC 159, POM-1907; Sd.2 = RR, 1908. Numbered Copy #18 of an extremely Limited Edition. Sd.1 Label Autographed by Strong, whose Photo is affixed. M-A, a gleaming copy. MB 35

“…an unusually imaginative and heart-felt account [of the Schubert song].”- J.B. Steane, SONG ON RECORD, Vol. 1, p.79

G734. EDYTH WALKER, w.Eduard Liechtenstein (Pf.): Die Allmacht (Schubert), 2s. 12” AC black German Gram. Monarch 043146/47 (453/54s), POM-20 April, 1910. M-A, choice copy has very occasional faintest pap. rub, inaud. MB 65

G735. EDYTH WALKER: Das Rheingold - Weiche, Wotan / Tannhäuser - Allmächtge Jungfrau. 12” AC black Hamburg Pre-Dog 043093/94 (349/55s), recorded 1907. A-, Exemplary copy has faintest pap.rubs & occasional cosmetic mk, inaud.; uncommonly bright labels. MB 85

G736. EDYTH WALKER: Das Rheingold - Weiche, Wotan / Tannhäuser - Allmächtge Jungfrau. 12” AC red & gold IRCC 221, RRs-1907, Numbered Copy #79; Sd. 1 label is boldly Autographed by Walker. A to M-A MB 20

“Edyth Walker was born in Hopewell, New York. She went to Europe and studied with Aglaja Orgeni, who arranged her début at the Berlin Court Opera as Fidès in Meyerbeer’s LE PROPHÈTE in 1894. She joined the Vienna Hofoper the following year and achieved immediate popular acclaim. There she created the rôle of Magdalena in Kienzl’s DER EVANGELIMANN. She fell foul of Mahler at once, although she did sing in the first performance of DAS KLAGENDE LIED in 1901. Mahler made life so unpleasant for Walker that she broke her contract in 1903. She returned to the U.S., singing three seasons at the Metropolitan. In 1906 she went to Germany continuing to sing mezzo roles, with the exception of Brünnhilde in DIE WALKÜRE. She joined the Hamburg opera in 1907, and there she took on the whole range of dramatic soprano parts, one of her most successful being Elektra, which she created for Hamburg, Bremen, and London. After leaving Hamburg in 1912, she sang guest appearances until 1918, and subsequently taught in France and America.”

- Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNA

G737. WINIFRED CECIL, w.Simonetto (Pf.): Tu lo sai (Torelli) / Radamisto – Sommi Dei (Handel). 10” EL green Cetra TI.7006, only form of issue, 8 July, 1939. M-A, a gleaming copy. MB 35

“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 SingingG738. ROSINA BUCKMAN: The Fairy Pipers (Brewer) / The Blackbird (Weatherly). 10” AC dark-blue Eng. Col. 2427. A-, lovely copy has lt. rubs, inaud. Enchanting! MB 12

“Rosina Buckman was a New Zealand soprano, and a professor of singing at the Royal Academy of Music. She was born in Blenheim, and studied in England at the Birmingham School of Music. She then returned to New Zealand, toured Australia and débuted in London in LA BOHEME at Covent Garden, appearing with the Beecham Company from 1915 to 1920. She excelled as Aïda, Madama Butterfly and Isolde. She continued performing into the 1920s, and recorded prolifically.”

G739. ROSINA BUCKMAN & THORPE BATES: Calm as the night (Goetz) / Maritana – Of fairy wand had I the power (Wallace). 10” AC dark-blue Eng. Col. 2495. A-, lovely copy has lt. rubs, inaud.; Sd.2 has wee audible scr. MB 12

G740. ROSINA BUCKMAN, COURTICE POUNDS & FREDERICK RANALOW; Ethyl Smyth Cond.: The Boatswain’s Mate – Excerpts (Cond. by the Composer), 4s. 4–12” AC S/S violet HMV 04183-85; 03527, POM-1916. B, very decent unworn copy has various lt. rubs & superficial scrs. All-Creator Recording (28 January, 1916, Shaftesbury Theatre, London). MB 45

“Ethyl Smyth was prone to grand romantic passions, most of them with women. She wrote to Harry Brewster, who may have been her only male lover, that it was ‘easier for me to love my own sex passionately, rather than yours’, calling this an ‘everlasting puzzle’. At age 71 she fell in love with Virginia Woolf, who, both alarmed and amused, said it was ‘like being caught by a giant crab’, but the two became friends.”“THE BOATSWAIN'S MATE, an opera in one act written by British composer and suffragette Ethel Smyth, was Smyth's fourth and most unabashedly feminist opera. The piece centers around a humorous battle of the sexes featuring a feisty and resourceful heroine, based loosely on Emmeline Pankhurst, who outwits her scheming suitor. THE BOATSWAIN'S MATE was first performed at the Shaftesbury Theatre, London on 28 January 1916 under Ethel Smyth. Thomas Beecham had entrusted the première to Eugene Goossens but on that day 'The composer herself elected to conduct the première of her work—much to my annoyance, as I had taken all the preliminary orchestral rehearsals. At the last moment she took over the baton, thinking herself the Heaven-sent conduct she was not’….A peppery woman, if I ever knew one!”

- Eugene Goossens, OVERTURE AND BEGINNERS, pp.117-18G741. LILLIAN NORDICA: Hunyadi László - Ah rebegés a mi vadúl háboritja lelkemet (Erkel) / Ständchen (Strauss). 12” AC burgundy Col. IRCC 87, POM-23 May, 1907 / 16 Feb., 1911. Numbered Copy #82 of a Limited Edition; Nordica's Photo affixed to Sd.1 Label. M-A Exceedingly Elusive and desirable IRCC issue! MB 75

"In the abridged air from HUNYADI LÁSZLÓ it immediately becomes obvious that this is not only a superb voice but also a prodigiously accomplished singer."

- Vivian A. Liff, THE RECORD COLLECTOR, 2001G742. LILLIAN NORDICA, SCHUMANN-HEINK & GEORG ANTHES; Hertz Cond.: Tristan - Liebesnacht, 2s. 10" AC gold IRCC 167, recorded during Actual Performance at Metropolitan Opera by Lionel Mapleson, 9 Feb., 1903. Numbered Copy #26 of a Limited Edition. Nordica's Photo is missing from Sd. 1 label. M-A/A-, lovely copy has, Sd. 2 only, faint scr. MB 15

G743. LILLIAN NORDICA, w.Hertz Cond.: Götterdämmerung - Immolation Scene (Completion). 10" AC S/S gold IRCC 155, recorded during Actual Performance by Lionel Mapleson, 28 Feb., 1903. Numbered Copy #5 of a Limited Edition; Nordica's Photo affixed to label. M-A MB 20

G744. LILLIAN NORDICA: Götterdämmerung – Immolation scene – fragment / DAVID BISPHAM: Die Walküre – Wotan's farewell – fragment. 10” AC red & silver IRCC 3030, RRs from the Mapelson Cylinders recorded during Actual Performance, Metropolitan Opera House, 1903. A to M-A, lovely copy has has faintest pap. rubs, inaud. MB 12

G745. LILLIAN NORDICA: Die Walküre – Ho-jo-to-ho! 12” AC S/S violet Columbia IRCC 95, RR-3 Feb., 1911, from Unpublished Matrix. Numbered Copy #21 of a Limited Edition. Nordica's Photo is affixed to label. M-A, a gleaming copy. MB 35

"The only issue of [the above] recording is from Columbia matrix XP 20986 cut in New York on 16 April, 1937 from a test pressing of the original matrix which was found in a second-hand store in Los Angeles."

- W.R. Moran, Discography in YANKEE DIVA, p.299G746. ADA CROSSLEY: The Gleaner’s slumber song / There is a green hill far away (Gounod). 11½” AC Belgian etched label H & D center-start Pathé 50300/01, only form of issue, 1904, London. A-/B, lovely copy has pressing bump at end resulting in, Sd 2 only, very large nd. MB 20

“Crossley’s first appearance was with the Philharmonic Society at Melbourne in 1892. She sang frequently in Melbourne in 1893 at concerts and in oratorio, and was the principal contralto at the Australian Church. In 1894 she went to Europe and studied under Mathilde Marchesi for voice production, and under Charles

Santley for oratorio work. Her first appearance in London was at the Queen's Hall on 18 May, 1895, when she had an immediate success. For many years she held a leading place at music festivals and on the concert platform, and she gave five command performances before Queen Victoria in two years.”

G747. FLORA NIELSEN, w.Gerald Moore (Pf.): Erstes Grün; Frülingsnacht / Requiem (all Schumann). 12” EL plum HMV C.3831, only form of issue, 1948. M-A, exemplary copy has, Sd. 2 only, faintest pap. rub, inaud. MB 8

“…the Canadian Flora Nielsen…sang two performances [in 1938] as Brangæne (with Eva Turner and Walter Widdop) in the English Opera Society Season at Covent Garden. After a period of study with Elena Gerhardt, she devoted herself to recitals.”

- John T. Hughes, THE RECORD OF SINGING, Vol. IV program notesG748. CLARAMAE TURNER, w.Sylvan Levin Cond: The Hills of Home (Calhoun) / Love me tonight (Rodgers–Hart). 12” EL red vinyl Silvertone 28, only form of issue, 1946. M-A-/A-, lovely copy has, Sd. 2 only, sev. fine scrs., causing very faint crackle. A truly sumptuous contralto voice! Turner sang at New York City Opera 1953-69; Metropolitan Opera, 1946-50. MB 8

G749. ANNE BROWN, w.Kjell Olsson (Pf.): Sometimes I feel like a motherless child (arr.Burleigh) / Hold on! (arr. Hall Johnson). 10” EL Danish Tono L 28021. M-A, lovely copy has, Sd.2 only, faintest pap. rubs, inaud. MB 30

“Anne Wiggins Brown was a Baltimore-born African American soprano who created the rôle of Bess in the original production of George Gershwin's folk opera PORGY AND BESS, in 1935 (the rôle having been written for her). She was also a radio and concert singer. Due to racial discrimination and limitations in her homeland, she settled in Norway in her 30's and later became a Norwegian citizen.”

G750. NADINE CONNER, w.Max Rudolf Cond. Metropolitan Opera Orch.: Les Contes d’Hoffmann – Elle a fui, la tourterelle / Louise – Depuis le jour. 12” EL Col. 72540-D, only form of issue, 1947. M-A MB 10

“…unlike many another perpetual ingénue, [Conner] would remain [at the Met] for eighteen seasons and earn star assignments as Mimi, Violetta, and Mélisande, finally gaining a gala farewell celebration and a comparison with Bori and Ponselle (who, like Conner, ‘left at the height of their powers – and much too early’) from Rudolf Bing, a manager little given to sentimental indulgence.”

- Paul Jackson, SATURDAY AFTERNOONS AT THE OLD MET, p.385G751. LOUISE HOMER & GERALDINE FARRAR: Sandmännchen (Becker). 10” AC Pat.'12 Vla 87506, POM-15 April, 1913. M-A, a gleaming copy. MB 8

"…for sheer voice [Homer] has few equals, and because of its strong edge and sharp focus her voice took exceptionally well to recording under pre-electrical conditions....By and large, she is the most satisfyingly recorded contralto of the period."

- J.B. SteaneG752. LOUISE HOMER: Alceste - Divinités du Styx (in Italian). 12” AC Pat.'08 Vla 88286, Orig. ‘A’ Plate Issue, only form of regular issue, 6 Feb., 1911, this appeared otherwise only as the rare IRCC. M-A, gleaming copy has mere hint of nr, positively inaud. MB 12

G753. LOUISE HOMER: Le Prophète - À toi qui m'abandonnes / Adriana Lecouvreur - Acerba voluttá. 12” AC silver PW Victor IRCC 103, POM-5 Oct., 1903 / 24 Oct., 1906, resp. Numbered Copy #88 of an extremely Limited Edition. Sd.1 label Autographed by Homer. M-A, lovely copy has, Sd. 2 only, infinitesimal pap. scr, positively inaud. Among the most desirable of all IRCC pressings, Sd. 1 is particularly ‘forward’, its brilliance being so great as to have been incompatible with home phonographs of that period; must be heard to be believed! Sd. 1 originally had a very brief catalogue life; the sole double-sided appearance of each. MB 45

G754. EMMA EAMES: Emma Eames Comments on her Records, 2s. 10" EL vinyl red IRCC 3142, broadcast 2 Feb., 1939, Eames' only radio broadcast, presented by Stephen Fassett. M-A MB 20

G755. EMMA EAMES: Si tu le veux (Koechlin); Chérubin – Vive amour qui rêve (Aubade) (Massenet). 12” AC white Vla 88135, POM-18 May, 1908, only form of regular issue, this appeared otherwise only as IRCC & AGS reissues. M-A MB 15

G756. EMMA EAMES: Chanson de baisers (Bemberg) / Cavalleria – Voi lo sapete (2nd 1906 Version). 12” AC silver PW Victor IRCC 90, POM-19 May, 1908 / 16 Nov., 1906. Numbered copy #55 of Limited Edition, Sd. 1 label Autographed by Eames, to which her photo is affixed. M-A, a gleaming copy. MB 45

G757. EMMA EAMES: L’incrédule (Hahn); The year’s at the spring (1st Version, 1905) (Beach) / Otello – Ave Maria (‘Take’ 2 of two issued ‘takes’). 12” AC silver Victor IRCC 125, POM-16 March, 1905 / 14 May, 1906. Numbered copy #7 of Limited Edition, Sd. 2 label has Eames’ photo affixed. M-A, gleaming copy has wee tear on corner of photo. MB 25

G758. EMMA EAMES: Spring (Henschel); The year’s at the spring (2nd Version, 1908) (Beach). 12” AC plain label RCA shellac pressing for Mx. C-6203-1, w.RCA embossed spiderweb verso, POM-18 May, 1908. M-A MB 25

G759. EMMA EAMES: Spring (Henschel); The Year’s at the spring (2nd Version, 1908) (Beach) / Gretchen am Spinnrade (Schubert). 12” AC mauve & gold HMV AGSB 22, POM-18 May, 1908 / 28 Nov.,1911. M-A MB 12

G760. EMMA EAMES: Gretchen am Spinnrade (Schubert). 12” AC Pat.'08 Vla 88367, POM-28 Nov., 1911, Orig. ‘A’ Plate Issue, only form of regular issue, this appeared otherwise only as IRCC & AGS reissues. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 25

“More than any other singer, I think, [Eames] captures the haunted, fear-ridden mood of the girl….beyond any others in these comparisons. The other two early recordings can be mentioned as worthy successors: Johanna Gadski and Meta Seinemeyer….Yet there is an additional quality about Emma Eames’ recording even in this company, and no doubt part of it lies in the quality of the voice itself, one of most exquisite purity and warmth.”

- J.B. Steane, SONG ON RECORD, Vol. 1, pp.78-79

G761. EMMA EAMES: Dopo (Tosti). 12” AC Pat.'08 Vla 88344, POM-27 Nov., 1911, Early "D" Plate Issue, only form of regular issue, this appeared otherwise only as IRCC & AGS reissues; Eames’ most moving, sensitive recording. M-A, a gleaming copy. MB 25

"Tosti's 'Dopo' [above] is…intensely conceived; and 'warm' is exactly the term that comes to mind to describe its tone and feeling. It has also a good example of those 'cross vibrations' that recording did manage to catch: the elegiac tone of the opening with its dark shading, and then the ending deliberately and beautifully drained of colour and vibrancy."

- J.B. Steane, THE GRAND TRADITION, p.126

G762. EMMA EAMES: Dopo (Tosti) / Roméo et Juliette - Je veux vivre (2nd Version, w.Orch.). 12” AC silver Victor IRCC 43, POM-27 Nov., 1911 / 13 Nov., 1906. Numbered Copy #78 of a Limited Edition. M-A MB 25

G763. EMMA EAMES: Good-bye (Tosti). 12” AC Pat.'08 Vla 88009, POM-16 March, 1905. M-A MB 10

G764. EMMA EAMES: An Sylvia (Schubert; in English). 12” AC Pat.'08 Vla 88013, POM-28 March, 1905, Never Doubled, USA. M-A MB 10

G765. EMMA EAMES: Still wie die Nacht (1905 Version) (Böhm). 12” AC S/S Special vinyl Pressing of C-2315-1 (85052), POM-20 Feb., 1905, Never Doubled. MINT MB 25

G766. EMMA EAMES: Still wie die Nacht (1906 Version) (Böhm). 12” AC Pat.'08 Vla 88005, POM-27 Nov., 1906, issued USA only, Never Doubled. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10

G767. EMMA EAMES: Love in May (Parker); I once had a sweet little doll, dears (Nevin). 12” AC Pat.'08 Vla 88131, POM-18 May, 1908, only form of regular issue. M-A, choice copy has faintest label nr. MB 20

G768. EMMA EAMES: The Star Spangled Banner (Key); Dixie (Emmett). 12” AC Pat.'08 Vla 88012, POM-28 March, 1905, Never Doubled. M-A MB 15

G769. EMMA EAMES, w.Josef Hollman (Cello): Ave Maria (1905 Version) (Bach-Gounod). 12” AC white Vla 88007 (Mx.C 2318), POM-20 Feb., 1905, Never Doubled. M-A, a gleaming copy. MB 20

G770. EMMA EAMES, w.Josef Hollman (Cello): Ave Maria (1906 Version) (Bach-Gounod). 12” AC Pat.’08 Vla 88016, POM-1 Feb., 1906. M-A MB 10G771. EMMA EAMES, w.Josef Hollman (Cello): Chanson d'amour (Acc. by the Composer). 12” AC Pat.’08 Vla 88015, POM-1 Feb., 1906. M-A, a gleaming copy. MB 10

G772. EMMA EAMES, w.Josef Hollman (Cello): Chanson d'amour (Acc. by the Composer). 12” AC Vla 88015, POM-1 Feb., 1906, Superb ‘Elaine’ Pressing. M-A, gleaming copy of choice mid-1930s pressing, w.RCA embossed spiderweb verso. MB 20

G773. EMMA EAMES: Roméo – Je veux vivre (1st Version, w.Piano, 1905). 12” AC white Test Pressing for Mx. C-2419-1, POM-28 March, 1905, Never Doubled. A-, very decent copy has lt. rubs & superficial scr, inaud. MB 12

G774. EMMA EAMES: Roméo – Je veux vivre (2nd Version, w.Orch., 1906). 12” AC Pat.’12 Vla 88011 (C-4032-1), POM-13 Nov., 1906, Never Doubled (other than on rare IRCC reissue). M-A MB 12

“All the good qualities of the piano version [of the above] remain, with additional enjoyment to be had from the better recording technique….The entire record is more animated and lighter in feeling than its predecessor, with the result that the top notes no longer sound strained. [Eames’] particularly excellent short trills and delicate coloratura…make this one of her very finest recorded performances of an operatic selection.”

- Louis Migliorini, THE RECORD COLLECTOR, 1953G775. EMMA EAMES: Faust – Le Roi de Thulé. 12” AC white Vla 88045 (Mx.C-4066-1), POM-27 Nov., 1906, Never Doubled. M-A MB 15

G776. EMMA EAMES: Faust – Air des bijoux (1st Version, w.Piano [C-2317-1]). 12” AC Vla 88006, POM-20 Feb., 1905, Superb ‘Elaine’ Pressing. A to M-A, lovely copy of choice mid-1930s pressing, w.RCA embossed spiderweb verso. MB 20

G777. EMMA EAMES: Faust – Air des bijoux (1st Version, w.Piano [C-2317-1]) / EMMA EAMES, CHARLES DALMORÈS & POL PLANÇON: Alerte! Alerte! ou vous êtes perdus! 12” AC gold Victor HRS 1016, POM-1905/'07. Numbered Copy #34 of an extraordinarily Limited Edition. Sd.1 Label Autographed by Eames; Sd.2 Label Autographed by Dalmorès, the only D/S issue, for both. M-A, lovely copy has, Sd. 1 only, wee dust scrabble, inaud. MB 75

G778. EMMA EAMES: Otello – Ave Maria (‘Take’ 4 of two issued ‘takes’). 12” AC white Vla 88035 (Mx.C-3385-4), POM-27 Nov., 1906, only form of issue. M-A, a gleaming copy. MB 25

G779. EMMA EAMES: Tosca – Vissi d’arte (1908 Version, w.Orch. [C-4033-4]). 12” AC Pat.’08 Vla 88010, POM-25 Jan., 1908, only form of issue. A to M-A MB 15

G780. EMMA EAMES: Tosca – Vissi d’arte (1905 Version, w.Piano [C-2401-1]). 12” AC GP V 88059, POM-16 March, 1905, Never Doubled (other than as rare IRCC reissue). A to M-A MB 15

G781. EMMA EAMES: Tosca – Vissi d’arte (1905 Version, w.Piano [C-2401-1]) / Carmen – Je dis que rien ne m’épouvante.

12” AC silver PW Victor IRCC 32, POM-16 March, 1905 / 14 May, 1906. Numbered Copy #1 of a Limited Edition. Sd. 1 label Autographed by Eames; her photo is affixed. M-A, lovely copy has, Sd. 2, faintest pap. rubs, inaud. MB 45

G782. EMMA EAMES: Cavalleria – Voi lo sapete (1st 1906 Version [C-3388-2]). 12” AC GP V 88037, POM-14 May, 1906. A-B, very decent copy has lt. rubs & grey on peaks. MB 15

G783. EMMA EAMES: Cavalleria – Voi lo sapete (2nd 1906 Version [C-4034-2]). 12” AC Pat.’08 Vla 88037, POM-16 Nov., 1906, Never Doubled (other than as rare IRCC reissue). A to M-A, lovely copy has few grey grooves, endemic to this issue. MB 15

G784. EMMA EAMES & EMILIO DE GOGORZA: Don Giovanni – Là ci darem la mano (1906 Version [C-3170-2]). 12” AC Pat.’08 Vla 89005, POM-9 March, 1906, Never Doubled (other than as rare IRCC reissue). M-A MB 12

G785. EMMA EAMES & EMILIO DE GOGORZA: Don Giovanni – Là ci darem la mano (1906 Version [C-3170-2]) / Nozze – Crudel, perchè finora. 12” AC silver PW Victor IRCC 20, POM-9 March, 1906 / 6 April, 1909. Numbered Copy #33 of a Limited Edition. A to M-A, lovely copy has mere hint of grey on peaks. MB 25

G786. EMMA EAMES & EMILIO DE GOGORZA: Nozze – Crudel, perchè finora. 12” AC Pat.’08 Vla 89023, POM-6 April, 1909, only form of issue, other than as rare IRCC reissue. A to M-A MB 12

G787. EMMA EAMES & EMILIO DE GOGORZA: Zauberflöte – Bei männern (in Italian) / Il Trovatore – Mira d’acerbe lagrime. 12” AC mauve & gold HMV AGSB 15, POM-9 March, 1906 / 7 April, 1909. M-A MB15

G788. EMMA EAMES & EMILIO DE GOGORZA: Zauberflöte – Bei männern (in Italian). 12” AC Pat.’08 Vla 89003, POM-9 March, 1906. M-A MB 10

G789. EMMA EAMES & EMILIO DE GOGORZA: Il Trovatore – Mira d’acerbe lagrime. 12” AC Pat.’08 Vla 89022, POM-7 April, 1909, only form of issue, other than as rare IRCC & AGS reissues. M-A MB 10

G790. EMMA EAMES & EMILIO DE GOGORZA: Véronique – Duo de l’escarpolette (Swing Song) (Messager; in English). 12” AC V 89063, only form of issue, 27 Nov., 1911. M-A, gleaming copy has insignificant ulc. MB 25

“The [above] music echoes the atmosphere of the Opéra-Comique….de Gogorza tenderly declares his love to Eames. We seem to share a private moment.”

- Harold Bruder, Program Notes to Romophone’s Eames issueG791. EMMA EAMES & LOUISE HOMER: Lohengrin – Du Ärmste kannst wohl. 12” AC Pat.'08 Vla 89021, POM-25 May, 1908, Early "B" Plate Issue; Never Doubled in any regular series. M-A, choice copy has infinitesimal pap. scr, inaud. MB 15G792. EMMA EAMES & LOUISE HOMER: Lohengrin - Du Ärmste kannst wohl / Lakmé – Dôme épais le jasmin. 12” AC silver PW Victor IRCC 44, POM-25 May, 1908. Numbered Copy #12 of a Limited Edition. M-A, gleaming. MB 35

G793. EMMA EAMES & MARCELLA SEMBRICH: Nozze – Sull’aria; che soave zeffiretto / EMMA EAMES & EMILIO DE GOGORZA: Zauberflöte – Bei männern (in Italian). 12” AC PW buff HMV Historic Catalogue #2 DK 121, POM-25 Jan., 1908 / 9 March, 1906. M-A, a gleaming copy. MB 15

“[Eames’] recording of the letter duet [above] with her friend Marcella Sembrich is excellent. The lovely phrasing, fine feeling for the music and the exquisite blending of their voices are important elements in creating this superlative record. In later life, Madame Eames recalled that she and Sembrich, in preparing this duet, rehearsed endlessly as Eames was afraid that her big voice would drown the more delicate tones of her friends….they worked constantly to achieve a perfect balance, and the result is peerless. One might even say it is unique among two soprano recordings for all time.”

- Louis Migliorini, THE RECORD COLLECTOR, 1953

G794. EMMA EAMES, CHARLES DALMORÈS & POL PLANÇON: Alerte! Alerte! ou vous êtes perdus! 12” AC white Test Pressing for Mx. C-4332-1, POM-25 March, 1907, Never Doubled in any regular series. A to M-A MB 15

G795. EMMA EAMES, EMILIO de MARCHI & ANTONIO SCOTTI; Mancinelli Cond.: Tosca - Ah! mostro, lo strazi / EMMA EAMES, EMILIO de MARCHI , ANTONIO SCOTTI & BERNARD BÉGUÉ: Vitoria! Vitoria! 10" AC gold IRCC 179-RRs from Mapleson Cylinders recorded during Actual Performance, Met Opera, 3 Jan., 1903. Numbered Copy #20 of an extremely Limited Edition. Eames' Photo affixed Sd.1 Label. M-A, lovely copy has faintest pap. rubs, inaud. MB 25

G796. EMMA EAMES, w.Mancinelli Cond.: Tosca - Final Scene, recorded during Actual Performance, Met Opera, 3 Jan., 1903 / MILKA TERNINA: Tosca - Final Scene, recorded during Actual Performance, Met Opera, 1 Feb., 1902 / MILKA TERNINA & JEAN de RESZKÉ: Tristan - Isolde extinguishes the torch; Liebesnacht - Fragment, recorded during Actual Performance, Met Opera, 13 March, 1901. 10” AC gold IRCC 216-RRs from Mapleson Cylinders. Numbered Copy #49 of an extremely Limited Edition. M-A/A-, lovely copy has, Sd. 2 only, minor dust scrabble. Accompanied by original IRCC notes. MB 20

“In the period justifiably described as ‘the Golden Age of Opera’ Emma Eames was a prima donna of major importance….Coming out of the Marchesi school, Eames’ voice had a pure, unforced beauty; it floated free of the throat, capable of all the runs, trills & accents of florid music…As a Victorian soprano, coming out of the classical tradition, she rejected the impulsive, combustible naturalism of the newer Italian school. In contrast, Eames created a calm but tense atmosphere within which the drama is expressed poignantly but without exaggeration. Eames always remained a singer in search of an ‘ideal’….Emma Eames is one of the finest representatives of a tradition of beautiful singing we may never encounter again. With her, the ‘Golden Age’ is again brought to life ‘in the pure tones of a noble voice’.”

- Harold Bruder, Program Notes to Romophone’s Eames issue

G797. EVELYN SCOTNEY: Lo, here the gentle lark (Bishop). 10” AC brown shellac Vocalion 30157. M-A MB 12

G798. EVELYN SCOTNEY: Your voice (MacDermid). 10” AC brown shellac Vocalion 30163. A-, lovely copy has superficial rubs, inaud. MB 8

G799. EVELYN SCOTNEY: Love’s old sweet song (Molloy). 10” AC brown shellac Vocalion 30159. A, lovely copy has superficial rubs, inaud. MB 8

G800. EVELYN SCOTNEY: Estrellita (Ponce) / Der Vogel im Wald (Taubert) (both in English). 10” EL PW HMV E 406, only form of issue, 1925. A, lovely copy has, primarily Sd.2, faintest pap.rubs. MB 12

G801. EVELYN SCOTNEY: Frühlingsstimmen (Joh. Strauss; in Italian) / Mignon – Je suis Titania. 12” AC brown shellac Vocalion 70014. A-, lovely copy has faint rubs & few minor scrs, inaud. MB 10

G802. EVELYN SCOTNEY: Frühlingsstimmen / An der schönen, blauen Donau (Joh. Strauss; in Italian). 12” EL black PW HMV D 1403. M-A MB 15

G803. EVELYN SCOTNEY: An der schönen, blauen Donau (Joh. Strauss; in Italian) / Roméo – Je veux vivre. 12” AC pale-blue Eng. Vocalion D-02135. A to M-A MB 15

G804. EVELYN SCOTNEY: Faust – Air des bijoux. 12” AC brown shellac Vocalion 52009. A-, lovely copy has superficial rubs, inaud. MB 10

G805. EVELYN SCOTNEY: Perle du Brésil – Charmant oiseau (David). 12” AC brown shellac Vocalion 52027. M-A, gleaming copy has pinpoint nd, faintly audible a turn or two. MB 15

G806. EVELYN SCOTNEY: Don Giovanni – Non mi dir / Mi tradi quell’alma ingrata. 12” EL black PW HMV D 1119. M-A MB 15

G807. EVELYN SCOTNEY & GIACOMO RIMINI: Rigoletto – Piangi, fanciulla. 12” AC brown shellac Vocalion 52016. M-A MB 12

“Evelyn Scotney was an Australian coloratura soprano of great renown in the period from 1913 to the late 1920s. Her range extended to E in altissimo. In her time she was considered by some to be the world's greatest soprano. She was compared very favourably with Amelita Galli-Curci, Luisa Tetrazzini and others. Her recording of ‘Caro nome’ from RIGOLETTO was described by a critic as ‘one of the best soprano records in existence’, and her recording of ‘The Blue Danube’ and other Strauss vocal waltzes was described as ‘absolutely perfect coloratura singing’.”

G808A000. CARMELLA PONSELLE: Ave Maria (Bach-Gounod) / Xerxes – Ombra mai fu. 12” AC silver Flags Label Col. A-6215, POM-10 Oct., 1921 / 11 Jan., 1922, only form of issue, Sd.1. A, lovely copy of preferred Flags Label pressing has occasional lt. rub or mk, inaud. MB 10

G809. CARMELLA PONSELLE: Minnelied (Brahms; in English) / Dream faces (Hutchison). 10” AC Col. A3369, only form of issue, 24 March / 2 Dec., 1920. M-A, a gleaming copy. MB 10

G810. CARMELLA PONSELLE: Somewhere a voice is calling (Tate) / Alice, where art thou (Ascher). 10” AC Col. A3818, POM-28 Dec., 1922, issued USA only. M-A, a gleaming copy. MB 10

G811. CARMELLA PONSELLE: L’heure exquise (Hahn) / Plaisir d’amour (Martini). 10” AC silver Flags Label Col. A3999, only form of issue, 11 July, 1923. M-A, a gleaming copy. MB 10

G812. CARMELLA PONSELLE: Mondnacht (Schumann; in English) / Still wie die Nacht (Böhm; in English). 10” AC silver Flags Label Col.20009-D, only form of issue, 11 Dec., 1923. A to M-A, lovely copy has, Sd. 1 only, lt. rubs & scuffs; Sd. 2 only has sev. faint lams. MB 8

G813. CARMELLA PONSELLE & ROSA PONSELLE: Les Contes d’Hoffmann – Barcarolle. 10” AC Col.78846, POM-8 Dec., 1919. M-A MB 8

G814. ROSA PONSELLE: Rose of my heart (Löhr) / w.Harrison, Miller, Croxton & Sarto: Little Alabama Coon (Starr). 10” AC gold Flags Label Col.33003-D, POM-13 April, 1922, issued USA only. (of dubious distinction, this politically incorrect issue was in the catalogue very briefly!). M-A, gleaming copy has, Sd. 1 only, wee pap. scr & hint of grey on peaks. Exceedingly elusive! MB 45

G815A000. ROSA PONSELLE: An der schönen, blauen Donau (Joh. Strauss; in English) / Maritana – Scenes that are brightest (Wallace). 12” AC early Col. 7062-M, POM-17 / 9 Sept., 1921. M-A, a gleaming copy. MB 15

G816. ROSA PONSELLE: Lullaby (Scott) / Wiegenlied (Brahms; in English). 10” AC Vla 1002, POM-8 Feb., 1924. This late AC-era issue enjoyed a very brief catalogue life. M-A MB 15

G817. ROSA PONSELLE: When I have sung my songs to you (Charles) / Luna d’estate (Tosti). 10” EL white Archive HMV VA 68, POM-31 Oct., 1939 / RR-18 May, 1926, Sd.1 from Unpublished Master. Both labels Autographed by Ponselle; Sd. 1 label also Autographed by Romano Romani. M-A MB 25

G818. ROSA PONSELLE: Home, sweet home (Bishop) / Ave Maria (Schubert). 12” EL white Archive HMV VB 74, POM-3 June, 1925 / 1 Nov., 1939, both from Unpublished Masters. MINT MB 20

G819. ROSA PONSELLE: La Vestale – Tu che invoco / O Nume tutelar (Spontini) (‘Takes’ 1/1).12” EL Orth Vla 6605, POM-18 May, 1926. M-A Choice copy of Ponselle’s most distinguished recording. MB 12

G820. ROSA PONSELLE: La Vestale – Tu che invoco / O Nume tutelar (Spontini) (‘Takes’ 1/2). 12” EL Special vinyl Pressing of CVE-35464-1 / 35465-2, POM-18 May, 1926, Sd.2 from Unpublished Master. MINT Remarkably quiet surfaces! MB 25

"Imagine Rostropovich playing with a circular bow on one string covering Ponselle's full compass, and there you have Rosa's legato. On top of this she had words and specific emotions to express, which she did without ever producing a sound that was not in itself musical, beautiful and meaningful....She was the supreme alchemist who turned to the purest gold everything - except Carmen - that she touched. We shall never hear her like again."

- Walter Legge, ON AND OFF THE RECORD, p.134G821. ROSA PONSELLE: Lohengrin – Einsam in trüben Tagen / La Juive – Il va venir. 12” AC white vinyl Col. AF.1, POM-21 Sept., 1923 / 11 Jan., 1924, both from Unpublished matrices. Both labels Autographed by Ponselle. M-A, lovely copy has, Sd. 2 only, the usual inherent pressing bumps. MB 25

G822A000. ROSA PONSELLE: I Vespri Siciliani – Mercè, dilette amiche (Bolero). 12” AC Col. 49686, POM-4 Nov., 1919. M-A, a gleaming copy. MB 15

G823. ROSA PONSELLE & GIOVANNI MARTINELLI: Aïda - Nile Scene, 2s. 12” AC white Archive HMV VB 73, POM-7 Feb., 1924, from Unpublished Masters (Sd.2 only having appeared otherwise as IRCC). MINT MB 25

G824. ROSA PONSELLE & GIOVANNI MARTINELLI: Aïda – Tomb Scene (1924 Version), 2s. 12” AC dark blue Connoisseur Society HMV ABHB 3, sole issue, 8 Feb., 1924, from Unpublished Masters. MINT MB 25

"Neither one of us was completely satisfied with [the above Aida recordings]. We did the Tomb Scene twice. The first time [in an acoustical recording session at Victor on 8 February, 1924] they had Martinelli [positioned] too far forward and I was too far in the background, so the balance was all wrong. We did the Nile Scene, too, and neither it nor the Tomb Scene [was] good enough, so I wouldn’t give permission to put them out. A little later, when they brought in the microphone [as electrical recording was being introduced at Victor, early in 1925], they had us come back and record the Tomb Scene again [in an electrical recording session on 17 May, 1926]. When they played the test [recordings] for me, I still didn’t like the balance, so I wouldn’t approve them. Finally, they set up a three-way call with Martinelli, [studio conductor] Rosario Bourdon and me, and Martinelli talked me into approving them. He said, ‘Look, Rosa, it’s great singing, and the musical public will accept the balance problem’. So I gave in.”

Rosa Ponselle, ROSA PONSELLE, A CENTENARY BIOGRAPHY, pp.193-94G825. ROSA PONSELLE & JOHN CHARLES THOMAS: Live Performance at the Republican Rally, Baltimore, MD, 25 Sept., 1952. 10” EL vinyl 33 1/3 rpm Private Rosa Ponselle Issue GR-101. Both labels of this Ponselle 1952 Christmas Issue feature Ponselle’s photo. Sd. 1 label Autographed by Ponselle. M-A MB 55G826. FLORENCE FOSTER JENKINS, w.Cosme McMoon (Pf.): The Musical Snuff Box (Liadoff); Like a Bird (Acc. by the Composer) / Lakmé – Où va la jeune Hindoue? 12” EL Melotone, only form of issue, 1941. M-A, Exceedingly elusive in this condition! MB 35

"Florence Foster Jenkins - dean of the coloraturas, first lady of the sliding scale....She was exceedingly happy in her work. It is a pity that so few artists are. And the happiness was communicated as if by magic to her hearers, who were stimulated to the point of audible cheeriness, even joyous laughter and ecstasy, by the inimitable singing."

- Robert Bagar, THE NEW YORK WORLD, TELEGRAM 26 Oct., 1944G827. FLORENCE FOSTER JENKINS, w.Cosme McMoon (Pf.): Biassy (based on Prelude XVI) (Bach) / Die Fledermaus - Mein Herr Marquis. 12” EL Melotone, only form of issue, 1941. M-A, lovely copy has faintest pap. rubs, inaud. MB 30

G828. FLORENCE FOSTER JENKINS, w.Cosme McMoon (Pf.): Serenata Mexicana (Acc. by the Composer) / Zauberflöte – Der Hölle rache (in English). 12” EL Melotone, only form of issue, 1941. M-A, choice copy has wee pressing bump. MB 35

"...the Queen of the Night declares that she is boiling with fury....Mrs. Jenkins' nightqueenly swoops and hoots, her wild wallowings in descending trill, her repeated staccato notes like a cuckoo in its cups, are innocently uproarious to hear...."

- TIME MAGAZINE, 16 June, 1941“Mme Jenkins’ visits to the studio were a distinct and radical departure from the customary routines of the many artists for whom Melotone has recorded. Rehearsals, the niceties of volume and pitch, considerations of acoustics – all were thrust aside by her with ease and authority. The technicians never ceased to be amazed at her capacity for circumventing the numerous problems and difficulties peculiar to recording. She simply sang; the disc recorded.”

- Melotone Recording Studio, 1946 brochure

Nos. G829 – G1178 are Tenor Vocal 78rpm records.

G829. JEAN de RESZKÉ, w.Flon Cond.: L'Africaine – O Paradis! / w.Damrosch Cond.: Siegfried – Forge Scene (fragments). 10” AC gold IRCC 110, RR's from Mapelson Cylinders, Live Performances, Met Opera, 15 / 19 March, 1901. Numbered Copy #111 of a Limited Edition. de Reszké's Photo affixed to both Labels. M-A MB 20

G830. JEAN de RESZKÉ, w.Damrosch Cond.: Lohengrin – Mein Herr und König, recorded during Actual Performance, Met Opera, 29 March, 1901 / JEAN de RESZKÉ & LUCIENNE BRÉVAL; Flon Cond.: L'Africaine – Selections, recorded during Actual Performance, Met Opera, 15 March, 1901. 12” AC gold IRCC 183, RRs from Mapleson Cylinders. Numbered Copy #40 of a Limited Edition; de Reszk‚'s photo missing from Sd.1 Label. M-A MB 25

G831. JEAN DE RESZKE, w.Mancinelli Cond.: Le Cid – O noble étincelante (fragment) / ALBERT ALVAREZ: Le Cid - O noble étincelante (fragment). 10” AC red & silver IRCC 3031, RRs from Mapelson Cylinders recorded during Actual Performance, Metropolitan Opera House, 1901/'02, resp. M-A/A-, lovely copy has, Sd. 2 only, few very lt. scrs. MB 15

G832. HENRI SAINT-CRICQ, w.Andolfi (Pf.): Der Nussbaum (Schumann) / Die Forelle (Schubert) (both in French). 10” EL green Pathé X.3472, only form of issue, 1930. M-A MB 25

G833. HENRI SAINT-CRICQ: Carmen – Air de la fleur / Les Pêcheurs de Perles – Je crois entendre. 10” EL green Pathé X.0694, only form of issue, 1928. M-A, lovely copy has, Sd. 1 only, tiny scr, audible sev. turns. MB 15

G834. LÉON ESCALAÏS: Pastorale languedocienne (Rupès) / Le Cid – Ô Souverain! (Massenet). 10¾“ AC Milano Fonotipia 39546/63 (XPh 1674/1720), only form of issue, 28 Feb. / 20 March, 1906. A-B, very decent unworn copy has lt. rubs & occasional very lt. scr, positively inaud. MB 75

G835. LÉON ESCALAÏS: L’Africaine – O paradis! / Robert le Diable – Ô fortune, à ton caprice (Sicilienne) (both Meyerbeer).

10¾“ AC Milano Fonotipia 39426/14 (XPh 491/498), only form of issue, 27 Nov. / 1 Dec., 1905.

A-/A-B, very decent copy has, Sd. 2 only, lt. grey on peaks; these brilliant performances come through clearly. A remarkably fine copy of Escalaïs’ duly celebrated recording, Sd. 2! MB 75

G836. LÉON ESCALAÏS: Polyeucte – Source délicieuse (Stances) (Gounod) / JEAN LASSALLE: Le Roi de Lahore – Promesse de mon avenir (Massenet). 12” AC Société Française de Gramophilie AFG 3, RRs-26 March, 1906 / 1901, resp. Choice 1948 pressing, with Escalaïs' & Lassalle’s signatures in inner margins of shellac. M-A, lovely copy has 2 infinitesimal dust scrs; Sd. 2 only has harmless lateral lam. Numbered copy #85. MB 25

G837. LÉON ESCALAÏS & AMÉLIE TALEXIS: Sigurd – Avec ces fleurs; Oublions les maux soufferts (Reyer), 2s. 10¾“ AC Milano Fonotipia 39525/26 (XPh 1636/37), only form of issue, 1 Feb., 1906. A-, lovely copy has, Sd. 2 only, lt. grey on peaks; various minuscule pressing ‘pimples’ are mainly cosmetic MB 75

“…Léon Escalaïs sang the most strenuous and demanding of the tenor repertoire and, as we have seen, he was unstinting in giving of himself to please his audiences. Little surprise, then, that during his career he was one of the most sought-after singers. That situation still remains, but now it is among collectors and lovers of thrilling tenor voices.”

- Larry Lustig, THE RECORD COLLECTOR, 2004G838. CÉSAR VEZZANI: U Banditu l’onore / U Trenu di Bastia (both Corsican songs). 10" EL plum Disque Gram. K-7152, only form of issue, 1933. M-A, gleaming copy has, Sd 2 only, sl. damaged upper portion of label. Exceedingly elusive! MB 65

G839. CÉSAR VEZZANI: Les Pêcheurs de Perles – Je crois entendre / LOUIS MORTURIER: Les Huguenots – Piff, paff. 10" EL black Disque Gram. P-733, only form of issue, 11 April, 1927 / 8 Oct., 1926. M-A MB 20

G840. CÉSAR VEZZANI: L'Africaine – Pays merveilleux / Pagliacci - Vesti la giubba (in French). 10¾" AC orange French Odéon X 111339/37 (XP 5788/86-1), POM-1912, Sd. 2 is ‘Take’ 1 (of 2 issued ‘takes’). A to A-, lovely copy has occasional insiginficant mk; alas, very faint hlc appears Sd. 2 only. MB 15

G841. CÉSAR VEZZANI: L'Africaine - Pays merveilleux / Pagliacci - Vesti la giubba (in French). 10¾" AC brown French Odéon X 111339/37 (XP 5788/86-2), POM-1912, Sd. 2 is ‘Take’ 2 (of 2 issued ‘takes’). B, decent copy has lt. grey on peaks, certainly audible, and numerous scrs. MB 15

G842. CÉSAR VEZZANI: Sigurd – Prince du Rhin / Oui, Sigurd est vainqueur (1924 Versions). 10" AC plum Disque Gram. U-73, only form of issue, 8 July, 1924; quickly deleted at end of AC Era, replaced by 1927 Versions. M-A, lovely copy has, Sd. 1 only, infinitesimal pap. scrs, inaud. MB 45

G843. CÉSAR VEZZANI: Sigurd - Prince du Rhin / Oui, Sigurd est vainqueur (1927 Versions). 10” EL black Disque Gram. P-728, only form of issue, 11 April, 1927. A to M-A, lovely copy has occasional superficial mk. MB 20

G844. CÉSAR VEZZANI: Sigurd – Esprits gardiens / Guillaume Tell – Asile héréditaire. 10¾" AC black & beige French Odéon X 111340/288 (XP 5790-2/5789), POM-1912. B, decent copy has very occasional superficial scrs, inaud.; Sd. 1 only has long ‘heat’ mk, causing no more than an occasional faint thump. MB 15

G845. CÉSAR VEZZANI: Sigurd – J'ai gardé mon âme ingénue / Esprits gardiens. 10" EL black Disque Gram.P-753, only form of issue, 12 April, 1927. M-A MB 25

G846. CÉSAR VEZZANI: Guillaume Tell - Asile héréditaire (1929 Version) / Otello - Niun mi tema (in French). 10" EL black Disque Gram. P-816, only form of issue, 1929. A to M-A, lovely copy has, Sd. 1 only, mere hint of grey on peaks. MB 25

G847. CÉSAR VEZZANI: Werther – J'aurais sur ma poitrine / Tosca – E lucevan le stelle (in French). 10¾" AC black & beige French Odéon X 111899/93 (XP 6405/12), POM-c.1913. A-/B, very decent copy has, Sd. 1 only, few lt. scuffs, inaud.; Sd. 2 only has lt. grey on peaks & few lt. scrs.; alas, neatly mended lateral hlc is ltly audible during initial inch. Very critically graded. MB 12

G848. CÉSAR VEZZANI: Werther – J'aurais sur ma poitrine / Invocation à la nature. 10" EL black Disque Gram. P-808, only form of issue, 26 / 27 Feb., 1929. M-A MB 25

G849. CÉSAR VEZZANI: Werther – Lorsque l’enfant revient / Carmen – Air de la fleur. 10" EL black Disque Gram. P-844, only form of issue, 27 Feb., 1929. M-A, lovely copy has, Sd. 2 only, ec not into grooves MB 20

G850. CÉSAR VEZZANI: Jérusalem – Je veux encore entendre (Verdi) / Le Pardon de Ploërmel – Les blés sont bon à faucher (Meyerbeer). 10" AC plum Disque Gram. U-67, POM-28 March, 1923. A-, lovely copy has hint of grey on peaks; alas, tiny hlc appears both sides. MB 15

G851. CÉSAR VEZZANI: Il Trovatore – Di quella pira / Deserto sulla terra (both in French). 10" EL black Disque Gram. P-803, only form of issue, 28 Feb., 1929. M-A MB 25

G852. CÉSAR VEZZANI: Il Trovatore – Ah! si, ben mio (in French) / L'Africaine - O Paradis! 10" EL black Disque Gram. P-854, only form of issue, 1931. M-A MB 25

G853. CÉSAR VEZZANI: Pagliacci - Vesti la giubba / Cavalleria - O Lola (both in French). 10" EL black Disque Gram.P-727, only form of issue, 1927. M-A, lovely copy has sl. damaged upper portion of label. MB 20

G854. CÉSAR VEZZANI: Rigoletto - Questa o quella / La donna e mobile (both in French) (1925 Versions). 10" AC black Disque Gram. P-600, only form of issue, 20 Feb., 1925; quickly deleted at end of AC Era, replaced by 1927/’29 Versions. A to M-A, lovely copy has, Sd. 2 only, 3 infinitesimal pap. scrs, inaud. MB 25

G855. CÉSAR VEZZANI: Rigoletto - Questa o quella / La donna e mobile (both in French) (1927/’29 Versions). 10" EL black Disque Gram. P-801, only form of issue, 11 April, 1927 / 19 Feb., 1929. M-A MB 25

G856. CÉSAR VEZZANI: Samson et Dalila – Arrêtez, ô mes frères; Implorons à genoux, 2s. 12” EL black Disque Gram. W-1069, only form of issue, 1931. M-A MB 35

G857. CÉSAR VEZZANI: Aïda - Celeste Aïda (in French) / Les Huguenots – Plus blanche que la blance hermine.

12” EL black Disque Gram. W-1087, only form of issue, 1931. M-A MB 35

G858. CÉSAR VEZZANI: Roméo – Ah, lève-toi, soleil! / Le Roi d’Ys – Vainement, ma bien aimée. 10¾" AC black & beige French Odéon X 111894/96 (XP 6413/17), POM-c.1913. A-, very decent copy has very occasional lt. scrs, ever-so-faintly audible. MB 20

G859. CÉSAR VEZZANI: Roméo – Ah, lève-toi, soleil! / Salut, tombeau. 12” EL Disque Gram. DB 4931, only form of issue, 10 Sept., 1931. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 25

G860. CÉSAR VEZZANI: Lohengrin – In fernem Land / Mein lieber Schwan (in French). 12” EL Disque Gram. DB-4828, only form of issue, 10 Sept., 1931. M-A, gleaming copy has faintest ‘heat’ mk, positively inaud.; Sd. 2 pressed off-center. Sensitive renditions! MB 25

G861. CÉSAR VEZZANI: Lohengrin – Atmest du nicht / Höchstes Vertrau’n (in French) (1929 Versions). 10" EL black Disque Gram. P-828, only form of issue, 28 Feb., 1929. M-A MB 35

G862. CÉSAR VEZZANI: Hérodiade – Ne pouvant réprimer / Manon – Ah! fuyez. 12” EL LVSM DB 4844, only form of issue, 28 Jan., 1932. M-A MB 25

G863. CÉSAR VEZZANI & PAUL PAYAN: Tosca – E sempre lava! / ROSE HEILBRONNER: Vissi d’arte (both in French). 10¾" AC brown French Odéon X 111558/97562 (XP 6096/- - -), POM-c.1913. B, very decent copy various lt. scrs, minimally audible; Sd. 2 only has ec, not to grooves. MB 15

G864. CÉSAR VEZZANI & WILLY TUBIANA: Faust – Mais ce Dieu, que peut-il pour moi…, 2s. 12” EL black Disque Gram. W-1041, only form of issue, 25 Feb., 1929. A to M-A, lovely copy has hint of grey on peaks. MB 20

G865. CÉSAR VEZZANI & JEANNE GUYLA: Hérodiade – Jean, je te revois / Quand nos jours s'énteindront. 12” EL Disque Gram. DB 4907, only form of issue, 22 Nov., 1932. M-A, a gleaming copy. MB 35

G866. CÉSAR VEZZANI & JEANNE GUYLA: Manon – J’ai marqué l’heure du départ; Non! je ne veux pas croire (Duo de la Rencontre), 2s. 12” EL Disque Gram. DB 4846, only form of issue, 28 Jan., 1932. M-A, lovely copy has, Sd. 2 only, faintest dust mks, positively inaud. MB 35

G867. CÉSAR VEZZANI & JEANNE GUYLA: Manon – Ah! Des Grieux; Le ciel lui-même te pardonne (Finale, Act V), 2s. 12” EL Disque Gram. DB 4847, only form of issue, 28 Jan., 1932. A to M-A, lovely copy has hint of grey on peaks. MB 45

G868. CÉSAR VEZZANI & MIREILLE BERTHON: Lohengrin – Das süsse Lied verhallt (in French), (Sds. 1 & 2 only [of 4 issued sides; the remaining two being ‘Atmest du nicht / Höchstes Vertrau’n’]) (1933 Versions), 2s. 12” EL Disque Gram. DB 4920, only form of issue, 13 Oct., 1933. M-A, lovely copy has, Sd. 2 only, infinitesimal dust mk, inaud. MB 45

G869. CÉSAR VEZZANI & LUCY PERELLI: Werther – Il faut nous séparer, 2s. 12” EL black Disque Gram. W-1138, only form of issue, 1931. A to M-A MB 30

G870. CÉSAR VEZZANI & LUCY PERELLI: Werther – Werther! Werther! Rien! Dieu! Ah! du sang (La mort de Werther) (Sds. 1 & 2 only [of 4 issued sides]), 2s. 12” EL Disque Gram. DB 4813, only form of issue, 10 Sept., 1931. M-A, gleaming copy has, (Orchestral) Sd. 1 only, tiny nr, positively inaud. MB 25

“César Vezzani’s clarion voice and robust approach has won for him a secure place in the pantheon of great French tenors of the 20th Century. He made more than 170 sides, most of which were issued only in France and are, today, eagerly sought by collectors.”

- Ward Marston, Program notes to Marston’s 1st Vezzani issue“Vezzani was born in Bastia on Corsica and came to Paris in 1908. He made his début in Grétry’s RICHARD COEUR DE LION at the Opéra-Comique in 1912. A disagreement with the management of the Opéra-Comique arose, after which his career was largely confined to the opera houses of Nizza, Marseille, Toulon and Toulouse and Brussels; he never returned to Paris. During World War II he lived in exile and appeared at the Opera of Algiers, where he was much admired. In 1947 he signed a contract for three years with the La Monnaie Brussels, but during a rehearsal on stage in Toulon he suffered a stroke which paralysed him completely. He died in 1951. Vezzani is a dramatic tenor of great brilliance and with a ringing top. There is a vibrant vitality in his singing.”

- Andrea Shum-Binder, subito-cantabile

G871. LUCIEN MURATORE: Berceuse d’amour (Delmet) / Sérénade florentine (Moret). 10½ AC Test Pressing for A.P.G.A 1502/03, only form of issue, 1907, both sides announced. M-A, lovely copy has, Sd. 2 only, wee scuff, ever-so-faintly audible a very few turns at very end. Exceedingly elusive! MB 45

G872. LUCIEN MURATORE: L’heure grise (Berger) / À quoi pensez-vous. 10½ AC Test Pressing for A.P.G.A 1569/70, only form of issue, 1907, both sides announced. M-A, lovely copy has, Sd. 1 only, infinitesimal pap. scr, positively inaud. Exceedingly elusive! MB 45

“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, 1954G873. LUCIEN MURATORE: Chanson de Barbarine (Loret) / Fortunio – La maison grise (Messager). 11¼” AC grey paper label H & D US Pathé 63009, recorded 1917, original form of issue. A to M-A MB 15

G874. LUCIEN MURATORE : Non m’amate più / Il pescatore canta! (both Tosti). 11¼” AC grey paper label H & D US Pathé 64009, recorded 3 Jan., 1917, original form of issue. M-A, a gleaming copy. MB 15

G875. LUCIEN MURATORE : Tu ne saurais jamais! (Rico) / Carmen – Halte-là! 11¼” AC grey paper label H & D US Pathé 63003, recorded 3 Jan., 1917 / 6 May, 1916, original form of issue. A-, lovely copy has faintest pap. rubs, inaud. MB 12G876. LUCIEN MURATORE : Le temps des cerises (Renard) / Werther – Pourquoi me réveiller? 11¼” AC grey paper label H & D US Pathé 64002, recorded 1916, original form of issue. M-A, gleaming copy has, Sd. 1 only, wee pressing bump. MB 15

G877. LUCIEN MURATORE : Reviens! (Christiné) / Roméo – Ah, lève-toi, soleil! 11¼” AC grey paper label H & D US Pathé 63015, recorded 1916 / ’17, resp., original form of issue. A-B, decent copy has lt. rubs & scrs. MB 8

G878. LUCIEN MURATORE : ‘O surdato ‘nnamorato (Cannio) / Rigoletto – La donna è mobile. 11¼” AC grey paper label H & D US Pathé 63014, recorded 3 Jan., 1917, original form of issue. M-A MB 15

G879. LUCIEN MURATORE : E comm’ ‘o zuccaro (Fonzo) / Pagliacci – Vesti la giubba. 11¼” AC grey paper label H & D US Pathé 63016, recorded 3 Jan., 1917, original form of issue; only form of issue, Sd. 1. A to M-A MB 15

“Muratore made a number of discs of French, Italian and Neopolitan songs, and in ‘mélodie’ he sensitively lightens his tone, vocalising in a relaxed manner, yet in the Italian ‘canzone’ he brings a genuine passion to bear, which shows a singer of exceptional abilities….In his singing, Muratore’s use of dynamics and tonal colour can convey an effect, at times, of a lovely voice. This is something not given to all singers. As an artist, he was indeed truly ‘surdoué’.”

- Alan Bilgora, THE RECORD COLLECTOR, 2009G880. LUCIEN MURATORE: La Marseillaise (de l'Isle) / LUCIEN MURATORE & LINA CAVALIERI: La forêt de Noël (Christmas Waltz) (Margis). 11¼” AC grey paper label H & D US Pathé 64003, recorded 6 May, 1916 / April, 1916, original form of issue. M-A/A-, lovely copy has, Sd. 2 only, faint rubs& superficial scrs, positively inaud. MB 12

G881. LUCIEN MURATORE: L’Africaine – O Paradis! 11¼” AC grey paper label H & D US Pathé 54006, recorded 1918, original form of issue. A-, lovely copy has few superficial scrs, inaud. MB 12

G882. LUCIEN MURATORE: Manon – Ah! fuyez. 11¼” AC grey paper label H & D US Pathé 54001, recorded 1916, original form of issue. M-A MB 12

G883. LUCIEN MURATORE: Roméo – Ah, lève-toi, soleil! 11¼” AC grey paper label H & D US Pathé 54008, recorded 1918, original form of issue. A to M-A, lovely copy has occasional superficial scr, inaud. MB 10

G884. LUCIEN MURATORE: Faust – Salut! demeure. 11¼” AC grey paper label H & D US Pathé 54018, recorded 1918, original form of issue. M-A MB 10

G885. LUCIEN MURATORE: Werther – Pourquoi me réveiller? 11¼” AC grey paper label H & D US Pathé 54003, recorded 1916, original form of issue. M-A, a gleaming copy. MB 12

G886. LUCIEN MURATORE: Monna Vanna – Elle est à moi (Février) / Roméo – Ah, lève-toi, soleil! 10” AC gold HRS 1092, RRs–1918, Pathé. Creator record, Sd. 1, 10 Jan., 1909, l’Opéra. Numbered Copy #282 of a Limited Edition. M-A MB 10

G887. LUCIEN MURATORE : Roméo – Ah, lève-toi, soleil! / Manon – Ah! fuyez. 10" AC silver IRCC 198, RRs-1918/’16, resp., Pathé. Numbered Copy #68 of a Limited Edition; Muratore's Photo is affixed to Sd.1 label. A to M-A, lovely copy has, Sd. 2 only, few lt. rubs, inaud. MB 12

G888. LUCIEN MURATORE: Pagliacci – Vesti la giubba. 11¼” AC grey paper label H & D US Pathé 54012, recorded 3 Jan., 1917, original form of issue. M-A, a gleaming copy. MB 12

G889. LUCIEN MURATORE : Fedora – Amor ti vieta / Il pescatore canta! (Tosti). 11¼” AC grey paper label H & D US Pathé 63010, recorded 1918/3 Jan., 1917, original form of issue. M-A, a gleaming copy. MB 15

G890. LUCIEN MURATORE: Fedora – Amor ti vieta / I Pagliacci – Vesti la giubba. 10” AC gold HRS 1058, RRs–1918/3 Jan., 1917, Pathé. Sd. 1 Label Autographed by Muratore. M-A MB 10

“Lucien Muratore made his début at the Odéon theatre in Paris, where he played opposite such actresses as Sarah Bernhardt and Réjane. He then studied at the Paris Music Conservatory, and made his operatic début 16 Dec., 1902 at the Opéra-Comique, creating the King in Reynaldo Hahn 's LA CARMÉLITE (performing with Calvé, Marié de l’Isle & Dufranne). He made his début at La Monnaie in 1904, as Werther, and the following year at the Palais Garnier, as Renaud in Lully's ARMIDE. He created several Massenet operas such as ARIANE AND BACCHUS, at the Opéra, and ROMA, in Monte Carlo. He also took part in the creation of LA CATALANE by Le Borne, MONNA VANNA by Henry Février, DÉJANIRE by Camille Saint-Saëns, and PÉNÉLOPE by Gabriel Fauré. He became principal French tenor at the Opera Houses of Boston and Chicago from 1913 until 1922. He also appeared at the Teatro Colón in Buenos Aires. Muratore retired from the stage in 1931. He was married first to soprano Magali Beriza, and later to soprano Lina Cavalieri, with whom he appeared in a silent movie, MANON LESCAUT, in 1914”

G891. GASTON MICHELETTI: Vado ben spesso (Buononcini) / Mitrane – Ah! rendimi quel core (Rossi). 12” EL French L’Anthologie Sonore 64, only form of issue, 1937. A to M-A,, lovely copy has, Sd. 1 only, sev. infinitesimal pap. scrs. MB 12

G892. GASTON MICHELETTI, w.Gerlin (Harpsichord): Comme une hirondelle; Sombres forêts (both Montéclair); J’ay surprise l’Amour (Lacoste); Amis, buvons nuit et jour (Renauld); Iris (L’Affilard); Le bon vin chasse let chagrin. 12” EL French L’Anthologie Sonore 98, only form of issue, 1938, accompanied by original notes and texts. A to M-A,, lovely copy has, Sd. 1 only, sev. infinitesimal pap. scrs. MB 12

G893. GASTON MICHELETTI, w.Cloez Cond.: L’Ajaccienne (Giacobini) /

Vocero (Corsican song). 10” EL French Odéon 188.712, only form of issue, 1931. M-A/A-, lovely copy has, Sd. 2 only, lt. rub, inaud. Most uncommon! MB 15G894. GASTON MICHELETTI, w.Cloez Cond.: Mireille – Anges du Paradis / Werther – Invocation à la nature. 10” EL French Odéon 188.510, only form of issue, 1927. M-A, a gleaming copy. MB 12

G895. GASTON MICHELETTI, w.Cloez Cond.: Manon – Ah! fuyez!, w.recit., 2s. 10” EL French Odéon 188.660, only form of issue, 1929. A to M-A, lovely copy has, Sd. 1 only, 2 wee scrs. MB 10

G896. GASTON MICHELETTI, w.Cloez Cond.: Manon – Le rêve / Werther – J’aurais sur ma poitrine. 10” EL French Odéon 188.655, only form of issue, 1929. A to M-A, lovely copy has, Sd. 2 only, faint rub, inaud.; Sd. 1 only has tiny insignificant lateral edge lam. MB 10

G897. GASTON MICHELETTI, w.Cloez Cond.: Le Roi d’Ys – Vainement ma bien aimée / Werther – Lorque l’enfant revient d’un voyage. 10” EL French Odéon 188.654, only form of issue, 1929. A to M-A, lovely copy has, Sd. 2 only, 2 infinitesimal pap. scrs, positively inaud. MB 10

G898. GASTON MICHELETTI, w.Cloez Cond.: Carmen – Air de la fleur / Faust – Salut! demeure. 12” EL French Odéon 123.650, only form of issue, 1929. M-A, a gleaming copy. MB 12

“Born at Tavaco on the island of Corsica, Micheletti studied at the Conservatoire de Paris and made his début at Reims in 1922, as Faust. Three years later he 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 RISURREZIONE, Mylio, Werther, Rodolfo, Cavaradossi and Roméo. He created numerous rôles in premières 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. There is a hint of rapid vibrato which I like very much. Micheletti is an ideal Faust. He is poetic and natural sounding, quite the contrary to the more ‘intellectuel’ and mannered Nicolai Gedda. He is also wonderful in Massenet’s HÉRODIADE. Micheletti’s intimate sound and inner emotion are perfectly adequate for Werther. His Don José opposite Conchita Supervia has become a classic.”

- Andrea Shum-Binder, subito-cantabileG899. CHARLES FRIANT: La Hulla – Nos destins sont écrits (Samuel-Rousseau) / Pagliacci – Vesti la giubba (in French). AC 11½" French H & D Pathé 0415, recorded 1924, only form of issue, Sd.1 (that being a Creator record, 9 March, 1923, l’Opéra-Comique). M-A MB 25

G900. CHARLES FRIANT, w.Cloez Cond.: Tosca - Recondita armonia / E lucevan le stelle (both in French). 10" EL French Odéon 188.544, POM-1927. M-A MB 12

G901. CHARLES FRIANT, w.Cloez Cond.: Carmen - La fleur que tu m'avais jetée (1927 Version) / L'Enfant Prodigue - O temps à jamais effacé (Debussy). 12” EL French Odéon 171.028, POM-1928. M-A, lovely copy has, Sd.2 only, faintest pap. rub, inaud. MB 15

G902. CHARLES FRIANT, w.Cloez Cond.: Werther – Lorsque l’enfant revient d’un voyage / J’aurais sur ma poitrine. 10" EL French Odéon 188.502, POM-1927. M-A, lovely copy has, Sd. 2 only, mere hint of grey on peaks. MB 12

G903. CHARLES FRIANT, w.Cloez Cond.: Werther – Pourquoi me réveiller? / Lakmé – Ah! viens dans la forêt profonde. 10" EL French Odéon 188.503, POM-1927. M-A, lovely copy has, Sd. 1 only, 3 minuscule dust mks, inaud. MB 12

G904. CHARLES FRIANT & MARGUERITE PRINVOT: Manon - Avez-vous peur; J'écris à mon père / SUZANNE BROHLY: Mireille - Voici la saison, mignonne. 12” AC black Disque Gram. W 491, only form of issue, 24 June / 25 Oct., 1921. A-, very decent copy has very lt. rubs, inaud.; wee edge dam., nowhere near grooves. MB 15

G905. CHARLES FRIANT & JANE ROLLAND, w.Cloez Cond.: Carmen - Parle-moi de ma mère, 2s. 12” EL red Decca-Odeon G-25918, POM-1932. M-A MB 12

G906. CHARLES FRIANT & GERMAINE CERNAY, w.Cloez Cond.: Werther - Au clair de la lune, 2s. 12” EL PW French Odéon 123.556, POM-1928. M-A MB 15

G907. CHARLES FRIANT & GERMAINE CERNAY: Werther – Mort de Werther, 3s / Sd. 4 = GERMAINE CERNAY, w.Cloez Cond.: Mignon – Elle est aimée. 2–12” EL French Odéon 123.585/86, POM-1928. M-A MB 35

G908. CHARLES FRIANT, w.Roger Bourdin & Pierre Dupré; Cloez Cond. l'Opéra-Comique Orch.: Le Jongleur de Notre-Dame - Le Miracle (Act III), 6s. 3-10” EL red Decca-Odeon G-20585/87, POM-1930. M-A, lovely copy has, Sds. 1, 2 & 5, wee pressing bump; Sds. 3 & 5 have tiny dust scrs, inaud. MB 20

“…the rôle that combined all of Friant’s talents and of which he was the greatest interpreter in France between the two wars was that of Jean in Massenet’s miracle LE JONGLEUR DE NOTRE-DAME, for it drew upon his grace and agility as a dancer, his presence as an actor and his musical instincts as a singer. Friant remained at the Opéra-Comique from 1920 until 1939, and he was often chosen to create rôles in operas composed in his own day. Friant cut a large number of records; he made acoustical discs for Pathé and the Compagnie Française du Gramophone, and electrical recordings for Odéon. He made a number of sides from some of the rôles he created, as in LE HULLA, LE BON ROI DAGOBERT, and LA PEAU DE CHAGRIN, which makes them of considerable historical interest. These recordings as well as his interpretations of the more common arias reveal the intensity of his performances. Vocally, the top of his range was not produced with ease, and sometimes it was forced, but his articulation, his musical sensibility, and his sense of phrasing are always evident. His dramatic sense of reality made the characters he portrayed unforgettable.”

- Lewis Morris Hall, Program Notes to Marston’s THREE TENORS OF L’OPÉRA-COMIQUEG909. AUGUSTIN (FRANCISCO) NUIBO: Faust – Salut! demeure. 12” AC Special red vinyl Pressing of C-2205, POM-25 Jan., 1905. from Unpublished Master. MINT MB 25

G910. AUGUSTIN (FRANCISCO) NUIBO: Marta – M’appari (1905 Version) (in French). 10” AC GP V 81057 (B2204), Orig. ‘A’ Plate Issue, POM-25 Jan., 1905, Never Doubled. A-, very decent copy has lt. rubs & various minor scrs at beginning, ever-so-faintly audible a few turns. MB 15

G911. JOSÉ MOJICA: Eres tú / Golondrina – Mensajera (both Oteo). 10” AC paper label Edison H & D 80792 (9527/28), only form of issue, 1924. M-A, a gleaming copy. MB 25

G912. JOSÉ MOJICA: Te he de querer (Oteo) / Morena mia (Villarrel). 10” AC paper label Edison H & D 60048 (10377/92), only form of issue, 1925. M-A, a gleaming copy. MB 25

G913. JOSÉ MOJICA: Cual pálida estrella (Garcia) / El nopal (Talavera). 10” AC paper label Edison H & D 60047 (10399/10402), only form of issue, 1925. M-A, a gleaming copy. MB 25

G914. JOSÉ MOJICA: Amores y amorios (del Moral) / La Cruz y la Espada - Gratia plena (Talavera). 10” EL Orth Vla 1297, POM-22 Sept., 1927. Never listed in a pre-1931 U.S. catalogue. B-, decent copy has lt. rubs & scrs, positively ltly audible. MB 12

G915. JOSÉ MOJICA: Miniatura / Unidos por siempre (both Sanders). 10” EL Brasilian RCA 4252, POM-1928. A to M-A, lovely copy has very occasional superficial pap. scrs, inaud. MB 20

G916. JOSÉ MOJICA: En donde estas? (Sanders) / Alguna vez (Stamper). 10” EL PW Argentinian V 4238, POM-1928. B-, decent copy has lt. rubs & lt. scrs. MB 12

G917. JOSÉ MOJICA: María la o (Lecuona) / Hojas muertas - Añoranza (Maduro). 10” EL Brasilian RCA 4240, RCA transcription, 1928. A-, lovely copy has lt. rubs, inaud; Sd. 2 has tiny scr at end. MB 15

G918. JOSÉ MOJICA: La Sultana (Fraga) / Que queres que jo li haga (Padilla). 10” EL Brasilian RCA 4237, RCA transcription, 1928. M-A, a gleaming copy. MB 25

G919. JOSÉ MOJICA: Júarme (Grever) / Un beso loco (Sanders). 10” EL silver RCA 423-0007, RCA transcription, 22 Sept., 1927 / 9 June, 1930. A-, lovely copy has faint rubs & hint of grey on peaks. MB 12

G920. JOSÉ MOJICA: Faust – Salut! demeure (in Italian). 12” EL S/S vinyl special pressing of Victor Mx CVE-42962-3 (released only as 6892-A), POM-20 Sept., 1928. Remarkably quiet playing surface. MINT MB 25

G921. JOSÉ MOJICA: Snegoroutchka – Full of wonders (in [impeccable] English) (Rimsky-Korsakov). 12” EL S/S vinyl special pressing of Victor Mx CVE-42963-1 (released only as 6892-B), POM-20 Sept., 1928. Remarkably quiet playing surface. MINT MB 25

“Born in México in poverty, but gifted with a fine voice and good looks, José Mojica joined the Chicago Opera Company in 1919 and remained there until 1930, when he went into films, returning once more to Chicago to sing Fenton in FALSTAFF in 1940. His parts ranged from Pelléas, which he sang opposite Mary Garden , to Don Basilio in LE NOZZE DI FIGARO. In 1921 he sang the Prince in the première of THE LOVE FOR THREE ORANGES, in which he scored a further success the following year in New York. On his mother's death in 1943 he gave up his career and became Father José Francisco de Guadaloupe , a Franciscan priest, working as a missionary in Peru. He undertook a concert tour of Central America to raise funds in 1954, and later wrote his autobiography, YO PECADOR (I, a sinner) (México City, 1956). His recordings show an attractive lyric voice often used with skill and imagination.”

- J. B. Steane

G922. TOMAZ ALCAIDE: La Favorita - Spirto gentil / Les Pêcheurs de Perles - Je crois entendre (in Italian). 12” EL PW Eng. Col. LX 108, POM-10 Oct., 1930. M-A MB 10

G923. TOMAZ ALCAIDE: Mignon – Adieu, Mignon, courage / El ne croyait pas (in Italian). 10” EL black Viva-Tonal Col. 2447-D, POM-6 Oct., 1930. A-, lovely copy has lt.rubs. MB 6

G924. TOMAZ ALCAIDE: Rigoletto – La donna è mobile / MARIA CANIGLIA: Tosca – Vissi d’arte. 10” EL Italian Col. DQ 1138, POM-6 Oct., 1930/ ‘30. M-A MB 10

G925. PABLO CIVIL: Andrea Chénier – Si, fui soldato / Mefistofele – Giunto sul passo. 10” EL PW brown Eng. Col. D 6064. A to M-A, lovely copy has alas, long lam visible side 2 only, very ltly audible. MB 10

G926. PABLO CIVIL, w.Tansini Cond.: Lucrezia Borgia – Di pescatore ignobile / PABLO CIVIL & MARIA VINCIGUERRA: La Wally – M'hai salvato. 12” EL dark blue Cetra CC.2322, only form of issue, 25 April, 1942. M-A MB 15

G927. PABLO CIVIL, GINA CIGNA, IDA MANNARINI & TANCREDI PASERO: Mefistofele – Scena del giardino (Boito), 3s. / Sd. 4 = PABLO CIVIL, GINA CIGNA & TANCREDI PASERO: Faust – Final trio (in Italian). 2–12” EL dark-blue Italian Col. D 14581/82. M-A MB 25

“Civil’s voice was considered by some to be lyric tenor, but the rôles he undertook and the recordings he has left us, as a legacy of his art, demonstrate a true lirico-spinto. With a dark timbre to the centre, the tone takes on a full bodied dramatic edge in the upper register, an excellent control of the passaggio with notes from top G to the high B-natural having a thrilling ‘squillo’….an excellent control of line and tension, allowing the composers’ intentions and melodic creativity to be beautifully served.”

- Alan Bilgora, liner notes to Pearl’s THE CETRA TENORSG928. ANTONIO CORTIS: Una Vieja (Gaztambide) / La Alegria del Battalon – Canción del soledad (Serrano). 10" EL PW Disco Grammofono DA 762, POM-4 / 8 Sept., 1925. M-A, lovely copy has, beg. Sd. 2 only, mere hint of nr, positively inaud. MB 20

G929. ANTONIO CORTIS: Doña Francisquita – Mujer fatal (Vives) / El Dictator – Canción de la carta (Millán). 12" EL AC label Vla 6554, POM-3 Sept., 1925. M-A, lovely copy has very minor adhesive, on upper labels . Exceedingly elusive! MB 50

G930. ANTONIO CORTIS: L’Africaine – O Paradis! (in Italian) / Andrea Chénier – Io non o amato ancor (Credo a una

possanza). 10" EL Orth Vla 1527, POM-18 / 19 Sept., 1930. M-A, a gleaming copy. Exceedingly elusive! MB 25

G931. ANTONIO CORTIS: La Cena delle Beffe – Ahi che tormento / Mi svesti (Giordano). 10" EL Orth Vla 1240, POM-28 March, 1927. M-A, a gleaming copy. MB 12

“Outstanding are the two pieces from LA CENA DELLE BEFFE. I do not think anybody else has recorded them, and there is no need for anybody to try. Surely they cannot be bettered, and this is the Cortis record to own….Cortis had quite a success [in this opera, in Chicago] and recorded his two sides about the same time….The sides are a vocal tour-de-force, yet, as with all of Cortis’ discs there is never any apparent sense of strain; he makes it all sound as if it lay easily within his range….”

- James F. E. Dennis, THE RECORD COLLECTOR, 1971G932. ANTONIO CORTIS: La Cena delle Beffe – Ahi che tormento / Mi svesti (Giordano). 10” EL white Archive HMV VA 1, POM-28 March, 1927. MINT MB 6

G933. ANTONIO CORTIS: Carmen – La fleur que tu m'avais jetée / Manon – Ah, fuyez! (both in Italian). 12” EL LVDP DB 1363, only form of issue, 20 / 23 Sept., 1929. M-A, gleaming copy of preferred late LVDP pressing. MB 15

G934. ANTONIO CORTIS: Tosca – Recondita armonia / E lucevan le stelle. 10" EL LVDP DA 1074, only form of issue, 19 Sept., 1929. M-A, gleaming copy of preferred late LVDP pressing. MB 15

G935. ANTONIO CORTIS: Iris – Apri la tua finestra. 10" EL S/S red vinyl special pressing of Victor Mx MB 1122-1 (released only as 1462-B & LVDP DA 1076), POM-20 Sept., 1929. M-A, a gleaming copy. MB 12

G936. ANTONIO CORTIS: Iris – Apri la tua finestra / Werther – Pourquoi me réveiller? (in Italian). 10" EL LVDP DA 1076, POM-20 / 29 Sept., 1929. M-A, gleaming copy of preferred late LVDP pressing. MB 12

G937. ANTONIO CORTIS: Cavalleria – Siciliana / IRENE MINGHINI-CATTANEO: Il Trovatore – Stride la vampa! 10" EL LVDP DA 1277, only form of issue, 23 Sept., 1929/’29. M-A, a gleaming copy. MB 15

G938. ANTONIO CORTIS: Rigoletto – Questa o quella / La donna e mobile. 10" EL LVDP DA 1153, only form of issue, 18 / 27 Sept., 1930. M-A, a gleaming copy. MB 15

G939. ANTONIO CORTIS: Rigoletto – Ella mi fu rapita; Parmi veder le lagrime, 2s. 10" EL LVDP DA 1152, only form of issue, 17 / 18 Sept., 1930. M-A, a gleaming copy. MB 15

G940. ANTONIO CORTIS: Il Trovatore – Di quella pira / Ah! si, ben mio. 10" EL LVDP DA 1155, POM-25 Sept., 1930. M-A, gleaming copy of preferred late LVDP pressing. MB 12

G941. ANTONIO CORTIS: La Boheme – Mimi e una civetta / Favorita – Una vergine, un angiol di Dio. 10" EL LVDP DA 757, POM-8 Sept., 1925. M-A MB 12

G942. ANTONIO CORTIS: Turandot – Non piangere, Liù / Nessun dorma. 10" EL HMV DA 1075, only form of issue, 23 / 19 Sept., 1929. MINT MB 8

G943. ANTONIO CORTIS: La Boheme – Che gelida manina / Faust – Salut! demeure (in Italian). 12” EL LVDP DB 1468, POM-19 / 27 Sept., 1930. M-A, gleaming copy of preferred late LVDP pressing. MB 12

“In 1917, Cortis sang in South America as Arlecchino in PAGLIACCI; Enrico Caruso was Canio. The famous tenor tried to persuade the young singer to accompany him to the United States, but Cortis declined the offer. In 1919 Cortis departed with his family to Italy where he was soon contracted by the Teatro Costanzi of Rome, Napoli and Bari. He also appeared at La Scala and was re-invited to sing in South America. His career became essential when he he was engaged as a member of the Chicago Opera which Cortis considered the peak of his career. He continued to sing performances in London, at La Scala, in Verona, Torino, Monte Carlo, Barcelona, Boston, Baltimore, Los Angeles, Washington, Pittsburgh and Santiago de Chile. During this successful epoch he made some of his finest recordings for Victor and Voce del Padrone. His last performance was in Zaragoza in 1950, as Cavaradossi.Antonio Cortis is certainly the most beautiful and thrilling of all Spanish tenors. It was essentially a lyric, yet a ‘romantic’ voice. He was superior to Miguel Fleta, Hipolíto Lazáro and even to Francesco Vignas. It is the richness of his tone, which is ideally combined with a lively and spontaneous responsiveness of style that makes him one of the greatest tenors. There was undoubtedly a certain similarity in emission and style between Cortis and Caruso. Cortis’ recordings are a ‘must’!”

- Andrea Shum-Binder, subito-cantabileG944. ICILIO CALLEJA: Carmen – Mia tu sei (Final scene, as solo!) / IDA CATTORINI: Je dis que rien ne m’épouvante (both in Italian). 10” AC green Col. E2348 (41924/86), POM-1913. A to M-A, unusually bright copy. MB 20

G945. ICILIO CALLEJA: Andrea Chénier – Improvviso / Come un bel dì di maggio. 10” AC buff Brazilian Col. S60 (41917/19), POM-1913. A to M-A, lovely copy has hint of grey on peaks. MB 30G946. ICILIO CALLEJA: Otello – Ora e per sempre addio / ICILIO CALLEJA, ESTER MAZZOLENI, LAURA DEL LUNGO & DOMENICO VIGLIONE-BORGHESE: Aïda – Di Nàpata le gole (Act III finale). 10¾“ AC Milano Fonotipia 92674/73 (XPh 4124/4366), POM-30 Oct. 1909 / 10 Oct., 1910. A-, lovely copy has lt. rubs, inaud.; Sd. 1 only has faint scr, positively inaud MB 45

“The number of tenors throughout the first half of the twentieth century considered great exponents of the rôle of Otello ever since Francesco Tamagno premièred Verdi's opera in 1887, can be counted on the fingers of one hand. One of them was Icilio Calleja who became the second tenor after Tamagno to sing this demanding rôle at the same opera house, after he was auditioned and subsequently chosen by a La Scala Commission chaired by Arrigo Boito and Tullio Serafin, much to the consternation of other Italian tenors who felt they were being discriminated against to favour a ‘foreign' singer! The Commission set up for the specific purpose of organising these festivities decided on a production of OTELLO which had not been staged there for 26 years since Francesco Tamagno had created this rôle. After holding a number of auditons, both Arrigo Boito and Tullio Serafin were decided on the best choice for the title-rôle which fell on

Icilio Calleja. Letters in the press complained that the special occasion called for a choice of an Italian tenor rather than a foreigner. Tullio Serafin kept firm and reiterated that the Commission opted for the best interpreter and in the circumstances the Commission's decision was final. In order to portray as faithfully as possible the rôle of Otello, Calleja had made an in-depth study of the effects of convulsions, jerking and facial congestion that are brought about by a fit of epilepsy. He would then put them to good use in Act III when the Moor is overcome by his rage and emotion and falls in a swoon. The Italian newspaper ‘Adriatico’ of the 24 November, 1913 reported that Arrigo Boito felt duty bound to visit Calleja in his dressing room after the third act, to congratulate him for his excellent portrayal which he rated as the finest since Tamagno.”

- Emy Scicluna, GRANDI TENORIG947. JOSÉ SOLER, w.Basile Cond.: Il Trovatore – Di quella pira / Ah! si, ben mio. 10” EL pale-blue Cetra AT 0318, only form of issue, 21 Jan. / 3 Feb., 1953. M-A, a gleaming copy. Exceedingly Elusive late 78rpm era issue featuring the very young Soler! MB 50

G948. JOSÉ SOLER, w.Basile Cond.: Tosca – Recondita armonia / Pagliacci – Vesti la giubba. 10” EL pale-blue Cetra AT 0319, only form of issue, 21 Jan. / 3 Feb., 1953. M-A, gleaming copy has, Sd. 1 only, tiny ‘damp’ spot, inaud. Exceedingly Elusive late 78rpm era issue featuring the very young Soler! MB 50

G949. FRANCESCO SIGNORINI & INES de FRATE: Aïda – Il ciel dei nostri amori. 12” AC red Milano Gram. Monarch 054213 (1492c), POM-1908. A-B, very decent copy has lt. grey on peaks & 2 faint scrs, inaud.; pinpoint nd ticks ltly sev times. A stunning record which would list for $1000 if in superior condition. MB 395

“Born in Rome and trained at the Accademia di Santa Cecilia, Francesco Signorini made his début in 1882 in Florence, and after 1897 sang regularly in leading dramatic Italian rôles at La Scala. He made guest appearances in 1907 in San Francisco and Los Angeles, appearing also in Buenos Aires. He retired in 1910 and taught in Rome.”

- Stephen R. Clarke, Program notes to Marston’s CHATTERTON IssueG950. DANILO CESTARI , w.Simonetto Cond.: L’Africaine – O Paradis! / Werther – Pourquoi me réveiller? (both in Italian). 10” EL pale-blue Cetra AT 0398, only form of issue, 16 March, 1955. Absolutely stunning performances! M-A, lovely copy has considerable lt. rubs, inaud.; remarkably quiet surfaces. MB 50

G951. DANILO CESTARI , w.Basile Cond.: Manon – Ah fuyez (in Italian) / DANILO CESTARI & MARIA LUISA GEMELLI: La Boheme – O soave fanciulla. 12” EL red Cetra PE 194, only form of issue, 18 / 19 Nov., 1953. M-A, a gleaming copy. MB 50

G952. CARLO DANI: Don Pasquale – Cercherò lontana terra / Com’è gentil. 10¾“ AC Milano Fonotipia 39965/66 (XPh 2320/21), POM-1907. A-, lovely copy has faintest rubs, inaud.; somewhat ‘gritty’ copy, yet these ‘forward’ performances play beautifully. MB 15

G953. CONSTANZO GERO, w.Basile Cond.: Don Giovanni – Dalla sua pace / Il mio tesoro. 10” EL green Cetra TI 7045, only form of issue, 30 April, 1946. M-A, a gleaming copy. MB 25

G954. CONSTANZO GERO, w.Gallino Cond.: L’Elisir d'Amore – Quant’è bella / Cavalleria - Siciliana. 10” EL green Cetra TI 7041, only form of issue, 29 / 30 Oct., 1945. M-A, gleaming copy has, Sd 2 only, wee label tear. MB 25

G955. CONSTANZO GERO, w.Gallino Cond.: Don Pasquale – Sogno soave e casto / Barbiere – Se il mio nome. 10” EL green Cetra TI 7039, only form of issue, 11 Oct., 1945. M-A, gleaming copy has, Sd 1 only, infinitesimal pap. scr, positively inaud. MB 25

G956. CONSTANZO GERO, w.Gallino Cond.: La Traviata – De miei bollenti spiriti / Don Pasquale – Com’e gentil. 10” EL green Cetra TI 7040, only form of issue, 29 / 30 Oct., 1945. M-A, gleaming copy has, Sd 2 only, infinitesimal label tear. MB 25

“[Gero’s] by now very experienced account of the rôle of Ernesto in DON PASQUALE was also heard at the New York City Opera in the 1955 Spring season. Recordings of the two well known arias…give a good idea of Gero’s vocal qualities. A lyric tenor with a light tone that could be compared to a dry white wine….Certain notes in the upper register have been compared to the young Tagliavini, but that would be doing an injustice to that which, in the main, is an individual timbre and one that is well worth hearing for its own sake..”

- Alan Bilgora, liner notes to Pearl’s THE CETRA TENORSG957. FRANCO PACE , w.Gallino Cond.: Frasquita – Oh fanciulla all’imbrunir / Paganini – Se le donne vo’ baciar (both Lehár; in Italian). 10” EL red Cetra AA 416, only form of issue, 27 March, 1945. M-A, a gleaming copy. MB 20G958. AUGUSTO FERRAUTO, w.Barzizza Cond.: O mare ‘e Margellina (Falvo) / Carmela (de Curtis). 10” EL dark-blue Cetra DC 4453, only form of issue, 1938. M-A, gleaming copy has, Sd. 2 only, 3 infinitesimal dust scrs, positively inaud. MB 20

G959. AUGUSTO FERRAUTO, w.Petralia Cond.: Torna a Surriento (de Curtis) / ‘O Marenariello (Gambardella). 10” EL dark-blue Cetra DC 4446, only form of issue, 7 Nov., 1937. M-A, a gleaming copy. MB 20

“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 TENORSG960. MUZIO GIOVAGNOLI, w.Tansini Cond.: Werther – Pourquoi me réveiller? / Mignon – Elle ne croyait pas (both in Italian). 12” EL red Cetra PE 146, only form of issue, 4 Jan., 1942. M-A, a gleaming copy. MB 25

“A nastier figure was cut by the tenor Muzio Giovagnoli, who not only used Mussolini’s personal secretary to win parts at the Rome Opera and La Scala but denounced anti-fascist conductors who did not appreciate him at his true worth.”

- Mario del Monaco, LA MIA VITA E I MIEI SUCCESSI, pp.36-37G961. ARISTODEMO GIORGINI: Don Pasquale – Cercherò lontana terra / Com’è gentil.

13½” AC Milano etched label H & D center-start Pathé 86261/62 (77167/54), recorded 1913. M-A, superb copy has, Sd. 2 only, faintest pap. rub, inaud. MB 20

G962. ARISTODEMO GIORGINI: Fedora – Mia madre (sung as a solo); La fante mi svelà, 2s. 13½” AC Milano etched label H & D center-start Pathé 86247/48 (77218/19), recorded 1913. M-A, superb copy has, Sd. 2 only, faintest pap. rubs, inaud. Giorgini at his most extroverted, certainly leaning into his verismo period. MB 20

G963. ARISTODEMO GIORGINI: La Sonnambula – Predi l’anel ti dono / Manon – Ah fuyez! (in Italian). 11½" AC grey paper label H & D US Pathé 62007, recorded 1912, Milano. A-, lovely copy has few superficial mks. MB 15

G964. ARISTODEMO GIORGINI: La Traviata – De’ miei bollenti spiriti / ENRICO CARUSO: L'Elisir – Un solo instante. 12” AC white Archive HMV VB 16, POM-1908 / RR-1 Feb., 1904. M-A MB 8

G965. ARISTODEMO GIORGINI & EZIO PINZA: Faust – Eh bien? Que t’en semble (in Italian) / EZIO PINZA & ROBERT d’ALESSIO: La Favorita – Non sai tu che d’un giusto. 10” AC white Archive HMV VA 70, POM-19 Dec., 1924 / 20 June, 1923. M-A MB 10

G966. ARISTODEMO GIORGINI & MARIA GALVANY: Don Pasquale – Tornami a dir / La Sonnambula – Son geloso. 12” AC white Archive HMV VB 26, POM-1906. MINT MB 6

G967. ARISTODEMO GIORGINI, ANNITA SANTORO & NICOLICCHIA SALVATORE : Manon – O dolor (in Italian). 10” AC white Vla 87083 (13253b), POM-14 May, 1909. A-, lovely copy has lt. rubs & few superficial mks. MB 12

G968. ARISTODEMO GIORGINI & LISA MOGLIA: L’Amico Fritz – Suzel, buon dì (Cherry Duet) / ARISTODEMO GIORGINI & ELVIRA MAGLIULO: La Favorita – Sia vero lasciarti. 13½” AC Paris etched label H & D center-start Pathé 86371/72 (83089/82755), recorded 1913. M-A MB 25

G969. ARISTODEMO GIORGINI & ROMANO RASPONI: Forza – Solenne in quest’ora / ARISTODEMO GIORGINI & ELVIRA MAGLIULO: La Favorita – Vieni, ah! vieni. 13½” AC Paris etched label H & D center-start Pathé 86275/74 (89791/83139), recorded 1913. M-A/A-, lovely copy has, Sd. 2 only, faintest rub & wee nd, ltly audible at very beginning. MB 25

G970. ARISTODEMO GIORGINI, ROSINA TORRI, ERNESTO BADINI, etc; Sabajno Cond. La Scala Ensemble: LA BOHEME, 26s. 13-12” EL Orth Vla 9512/24, POM-1928, On ‘Z’ shellac, in Orig. Album M-35, w.Brochure. M-A, gleaming copy has rarely occasional faintest pap. rub, inaud. MB 75

“The recordings of Aristodemo Giorgini give the impression of an ample lyric tenor of a size similar to, for example, that of the early di Stefano. Although he was trained in a period when established Italian tenors sang in a bel-canto style…with a full-throated forte and a range that encompassed an easy top C, must have made him an exponent of the bel-canto and lyric tenor repertoire.”

- Larry Lustig, THE RECORD COLLECTOR, 1994G971. AMEDEO BASSI: Manon Lescaut – Tra voi belle / Pagliacci – Vesti la giubba. 13½” AC US grey paper label H & D Pathé 80012 (86396/97), recorded 1912, Milano. M-A MB 25

G972. AMEDEO BASSI: Tosca – Recondita armonia / La Fanciulla del West – Ch’ella mi creda libero. 10” AC gold HRS 1060, RRs–1912, Pathé. Numbered Copy #257 of a Limited Edition. M-A MB 12

”Amedeo Bassi belonged to that group of tenors who were graced with the luck of embracing the dawn of the era of recordings and starring in an avalanche of new operas at the turn of the 20TH century, above all in that genre described as the ‘new school’ – verismo. Rightly, he was the ‘tenor of opera prèmieres’. Conductor/Composer Luigi Mancinelli was so pleased with his performances that he chose him for the local première of his opera ERO E LEANDRO at the San Carlo in Naples (9 March, 1900). The world première had been in Madrid in 1897. He also appeared in LA BOHEME (4 March) with Lina Cavalieri. Like Caruso he was one of the first performers of the rôle of Cavaradossi in TOSCA. In Genoa (Politeama, October, 1900) he had to sing ‘E lucevan le stelle’ five times. He sang in the world première of MEDIO EVO LATINO (17 November), an opera by the Argentinian Composer/Conductor Ettore Panizza.”

G973. CESARE VALLETTI, w.Basile Cond.: Gianni Schicchi – Firenze è come un albero fiorito / LUIGI RUMBO, w.Fighera Cond.: Rigoletto – La donna è mobile. 10” EL green Cetra TI 7066, only form of issue, 12 Nov. / 21 Oct., 1948. M-A, a gleaming copy. MB 50

“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

G974. ENZO de MURO LOMANTO: Torna a Surriento / Voce è notte (both de Curtis). 10” EL red US Col. 14999-F, POM-7 Nov., 1934. M-A MB 10

G975. ENZO de MURO LOMANTO: Piscatore e’ pusilleco (Murolo) / Core ‘ngrato (Cardillo). 10” EL PW violet Italian Col. DQ 3768, POM-11 Feb. / 27 May, 1933. M-A, a gleaming copy. MB 15

G976. ENZO de MURO LOMANTO: Ständchen (Schubert; in Italian) / Ave Maria (Bach-Gounod). 10” EL PW violet Italian Col. DQ 2296, POM-22 March, 1937, only form of issue, Sd.2. M-A, a gleaming copy. MB 15

G977. ENZO de MURO LOMANTO: Marechiare (1927 Version) (Tosti) / La mattinata (Leoncavallo). 10” EL PW violet Italian Col. DQ 1102, POM-1927/’28, resp. M-A, a gleaming copy. MB 15

G978. ENZO de MURO LOMANTO: Marechiare (1935 Version) (Tosti) / Funiculì, funiculà (Denza). 10” EL PW violet Italian Col. DQ 1701, POM-22 Oct., 1935, only form of issue, Sd.1. M-A, a gleaming copy. MB 15

G979. ENZO de MURO LOMANTO: ‘A Vela (Frustaci, w.the Composer Cond.) / Maria Marì (di Capua). 10” EL PW violet Italian Col. DQ 1046, POM-17 Sept., 1934, only form of issue, Sd.1. M-A, a gleaming copy. MB 15

G980. ENZO de MURO LOMANTO: Tosca – Recondita armonia / E lucevan le stelle. 10” EL PW violet Italian Col. DQ 1061, POM-9 Nov., 1927 / 21 Feb., 1928. M-A, a gleaming copy. MB 15

G981. ENZO de MURO LOMANTO: Rigoletto – Parmi veder le lagrime / MARIA GENTILE: Tutte le feste. 10” EL PW dark-blue Eng. Col. 5147, POM-27 March, 1928 / ’26, resp. M-A MB 10

G982. ENZO de MURO LOMANTO: Rigoletto – Questa o quella / La donna è mobile. 10” EL PW dark-blue Eng. Col. 5060, POM-26 March, 1928. M-A MB 10

G983. ENZO de MURO LOMANTO: L’Arlesiana – E la solita storia / La Boheme – Che gelida manina. 12” EL green Italian Col. GQX 10251, POM–1928. M-A, a gleaming copy. MB 15

G984. ENZO de MURO LOMANTO: La Sonnambula – Prendi l’anel ti dono (as solo) / Manon – Le rêve (in Italian). 10” EL PW Australian Col. 03600, POM-27 Oct. / 24 Nov., 1927, both labels Autographed & dated ‘Sydney, 1928’ in de Muro Lomanto’s hand. M-A/A-, lovely copy has, Sd. 2, lt. scuffs, inaud. MB 25

G985. ENZO de MURO LOMANTO: La Sonnambula – Prendi l’anel ti dono (as solo) / Manon – Le rêve (in Italian). 10” EL green Viva-Tonal Col. 3847-X, POM-27 Oct. / 24 Nov., 1927. M-A/A-, lovely copy has, Sd. 2, lt. rubs, inaud. MB 10

G986. ENZO de MURO LOMANTO & MARIA GENTILE: La Sonnambula – Son geloso del Zeffiro, 2s. 10” EL black Viva-Tonal Col. 1931-M, POM-1927. M-A, a gleaming copy. MB 25

“If [de Muro Lomanto’s] style and voice remind me of anyone, it’s Ferruccio Tagliavini, though at his best he approaches Léopold Simoneau and Cesare Valletti. I imagine you have already guessed (if you were unfamiliar with him, as most people are) that he possessed a light, flexible voice and had a caressing way with the music he sang.”

- James Miller, FANFARE, May/June, 2003

G987. GIUSEPPE ANSELMI: Carmela (de Curtis) / Maria, Marì! (de Capua). 10¾“ AC Milano Fonotipia 62478/79 (XPh 4260/61), POM-19 Jan., 1910. A-B, very decent copy has lt. rubs & scrs, inaud.; Sd. 2 only has nd, positively audible a few turns. MB 15

G988. GIUSEPPE ANSELMI: Il Duca d’Alba – Angelo casto e bel (Donizetti) / La Traviata – De’ miei bollenti spiriti. 10¾“ AC Milano Fonotipia 62471/70 (XPh 4060/4257), POM-4 Oct., 1909 / 17 Jan., 1910. A to M-A, a choice copy. MB 15

G989. GIUSEPPE ANSELMI: Mignon – Elle ne croyait pas (in Italian) / Pagliacci – Vesti la giubba. 10¾“ AC Milano Fonotipia 62161/60 (XPh 2583/61), POM-29 / 22 April, 1907. A-, very decent copy has lt. rubs, inaud.; Sd. 2 only has lt grey on peaks. MB 15

G990. GIUSEPPE ANSELMI: Fedora – Amor ti vieta / Manon – En fermant les yeux (Le rêve) (in Italian). 10¾“ AC Milano Fonotipia 62164/65 (XPh 2562/68-2), POM-22 / 25 April, 1907, Sd. 2 is ‘Take’ 2 (of 2 issued ‘takes’). A-, lovely copy has very occasional cosmetic scr, inaud. MB 20

G991. GIUSEPPE ANSELMI: Luisa Miller – Oh! fede negar potessi / Quando le sere al placido. 10¾“ AC Milano Fonotipia 62159/66 (XPh 2836/2569), POM-8 Nov / 25 April, 1907. A-B/A-, very decent copy has lt. rubs, inaud.; Sd. 1 only has few cosmetic scrs, inaud. MB 15

G992. GIUSEPPE ANSELMI: Rigoletto – Ella mi fu rapita; Parmi veder le lagrime, 2s. . 10¾“ AC Milano Fonotipia 62150/51 (XPh 2607/08), POM-6 May, 1907. A-/B, very decent copy has lt. rubs & scrs, inaud.; Sd. 2 only has long scr causing lt. ticks. MB 10G993. GIUSEPPE ANSELMI: Lucia – Tu che a Dio / Harry Humphrey: Explanatory talk. 10” AC etched label Edison H & D 83018 (1377/2699), POM-15 Oct., 1913, London. M-A MB 15

G994. GIUSEPPE ANSELMI: Don Pasquale – Sogno soave e casto / Luisa Miller – Quando le sere al placido (1907 Version). 10¾” AC buff German Odeon O-5600 (XPh 2559/69), POM-22 / 25 April, 1907. M-A, lovely copy of preferred mid-1930s pressing. MB 25

G995. GIUSEPPE ANSELMI: Les Pêcheurs de Perles – Je crois entendre (w.recit.), 2s. 10¾“ AC Milano Fonotipia 62270/71 (XPh 2840/41), POM-8 Nov., 1907. A-/A-B, very decent copy has, Sd. 2 only, lt. rubs & few cosmetic scrs, inaud. MB 15

G996. GIUSEPPE ANSELMI: La Favorita – Una vergine, un angiol di Dio / Spirto gentil. 10¾” AC US Fonotipia 62318/19 (XPh 3068/67), POM-12 March, 1908. A-/A-B, very decent copy has, Sd. 2 only, few cosmetic scrs, inaud. MB 15

“In 1900, Anselmi made his début in Genoa, singing Rodolfo, the Duke and Edgardo (to Fanny Toresella’s Lucia). That same year he appeared at the San Carlo in Naples, where he sang with Angelica Pandolfini and Rina Giachetti (the sister of Caruso’s mistress) in LE MASCHERE, a new work by Mascagni. Anselmi made his London début at Covent Garden (1901) as the Duke in Rigoletto (with Suzanne Adams as Gilda). He returned to London on several occasions, but was especially admired in St. Petersburg, Buenos Aires, Milan (La Scala), Warsaw and Madrid in a variety of rôles that included Cavaradossi, Loris in FEDORA, Maurizio in ADRIANA LECOUVREUR, Osaka in Iris, Lensky, Edgardo, Nadir in PESCATORI DI PERLE and many others. He sang Almalviva to Adelina Patti’s Rosina in her last ever operatic appearance.Giuseppe Anselmi, a fine actor, was tall and handsome as well, and became very much a ‘matinée idol’ in his day, more or less in the tradition of Jean de Reszké. But good looks in his case were merely an eye-pleasing ornamentation, for he possessed an equally lovely voice and was very musically intelligent. The records speak for themselves so far as Anselmi’s vocal powers and musical intelligence are concerned. After listening to only a few, one senses that his sole concern in their making was the artistic presentation of the music he sang, as opposed to the glorification of his own voice. There are trills delivered with a coloratura skill that must have been the envy of many a soprano, and high Cs enough to satisfy the

multitudes who base their evaluation of a tenor’s talents on this one magical note. Anselmi proves why he is so highly regarded to this day by collectors of fine historical recordings.”

- Andrea Shum-Binder, subito-cantabileG997. ELVINO VENTURA: Manon – Ah! fuyez, douce image (in Italian) / REGINA PINKERT & ANTONIO MAGINI-COLETTI: Barbiere – Dunque io son. 10¾“ AC Milano Fonotipia 39350/45 (XPh 386/421), POM-1905. B, very decent copy has lt. rubs & few pap. scrs, inaud.; Sd.1 has tiny nr, also inaud. MB 12

G998. LUCCA BOTTA & IRENE SOLLOHUB: Tosca – Amaro sol per te / FRANCO DE GREGORIO & NOEMI CASINI: O dolci mani. 10” AC black V 67134 (1948/2670ah), POM-24 Sept., 1912 / 22 Feb., 1913. M-A MB 25

G999. LUCA BOTTA & EBE BOCCOLINI: Manon Lescaut – O tentatrice / LUCA BOTTA & IRENE SOLLOHUB: Mefistofele – Amore! Misterio! 12” AC black V 68418, POM-17/25 Sept., 1912. M-A, gleaming copy has, Sd. 2 only, infinitesimal pap. scr, inaud. MB 25

“…after singing his first note, [Botta] was the center of interest. Though small of stature, he is big of voice and sings with exhaustless power. His tonal purity and intelligent shading so aroused enthusiasm that…the whole audience rose as a body.”

- MUSICAL AMERICA, 1913 (after Botta’s US début, San Francisco)

G1000. CARLO ALBANI: O sole mio (di Capua) / Carmela (de Curtis). 10½” AC brown French Odéon 97294/96. A/A-, lovely copy has, Sd. 2 only, sev. infinitesimal dust mks, inaud. MB 20

G1001. CARLO ALBANI: La Favorita – Spirto gentil / Lucrezia Borgia – Di pescatore ignobile. 11½” AC Paris etched label H & D center-start Pathé 4153/56, recorded 1907, Paris; Sd. 2 announced. B, decent copy has considerable rubs & lt. scrs, very ltly audible. MB 15

G1002. CARLO ALBANI: Il Trovatore – Di quella pira / CARLO ALBANI & EMILIA CORSI: Poliuto – Al suon del’arpa angelica (Donizetti). 10½” AC brown French Odéon X 110197/98. A to M-A MB 20

G1003. CARLO ALBANI: Il Trovatore – Deserto sulla terra / Miserere. 11½” AC Paris etched label H & D center-start Pathé 4141/54, recorded 1907, Paris; both sides announced. A-B, very decent copy has lt. rubs & occasional lt. scr, inaud. MB 15

G1004. AUGUSTO SCAMPINI & CECILIA DAVID: Les Huguenots – O ciel! O ciel! où courez-vous (in Italian). 12” AC red Milano Pre-Dog 054179 (1275c), POM-1907. B, very decent copy has lt. grey, rubs & superficial scrs., occasionally very ltly audible. MB 35

G1005. AUGUSTO SCAMPINI, LUIGI MONTESANTO & BIANCA LENZI: Il Trovatore – Di geloso amor / AUGUSTO SCAMPINI, LUIGI MONTESANTO & ELVIRA MAGLIULO: Aïda – Io son disonorato. 11½" AC grey paper label H & D US Pathé 59071, recorded 1912, Milano. M-A MB 25

G1006. GIUSEPPE TACCANI & PASQUALE AMATO: Forza – Le minaccie, 2s. 10¾“ AC Milano Fonotipia 92495/96 (XPh 3876/77), POM-2 June, 1909. A-, lovely copy has faintest rubs, inaud. MB 25

G1007. GINO MATTERA, w.Basile Cond.: Manon – Le rêve (in Italian) / Rigoletto – La donna è movile. 10” EL pale-blue Cetra AT 0289, only form of issue, 5 Aug., 1952. M-A, gleaming copy has faintest rubs, inaud. MB 25G1008. ACHILLE BRASCHI, w.Basile Cond.: Cavalleria – Siciliana / ACHILLE BRASCHI & PELLEGRINI: Addio alla madre. 10” EL pale-blue Cetra AT 0278, only form of issue, 7 March, 1952. M-A, a gleaming copy. MB 25

G1009. ACHILLE BRASCHI & FERNANDA CADONI, w.Basile Cond.: Cavalleria – Viva il vino spumeggiante, 2s. 10” EL pale-blue Cetra AT 0279, only form of issue, 7 March, 1952. M-A, a gleaming copy. MB 25

G1010. GIOVANNI ZENATELLO, w.Delle Ponti (Pf.): Siberia – T’incontrai per via (Giordano). 10” AC Milano G & T G.C.-52775 (Con 396), only form of issue, 1903. Important Creator record, 19 Dec., 1903, La Scala.

A-, lovely copy has hint of grey on peaks & 2 infinitesimal pap. scrs, positively inaud., although inherently noisy surface. This enjoyed a very brief catalogue life. MB 85

G1011. GIOVANNI ZENATELLO: Faust – Salut! demeure (in Italian) / GIOVANNI ZENATELLO & MARIE RAPPOLD: Il Trovatore – Miserere. 10” AC paper label Edison H & D 82288 (4426/5007), only form of issue, 1923. M-A, a gleaming copy. MB 20

G1012. GIOVANNI ZENATELLO: Ballo – Dì tu se fedele / Ah! morte infamia (Morte di Riccardo). 12" EL mauve-&-gold HMV AGSB 20, POM-3 / 12 March, 1930. M-A MB 20

G1013. GIOVANNI ZENATELLO: La Traviata – De’ miei bollenti spiriti / Questa donna conoscete? 10½” AC Milano Fonotipia 39663/64 (XPh 1802/03), POM-20 April, 1906. B-/A-B, very decent copy has lt. rubs & scrs, inaud.; Sd. 1 only has heavier rubs & isolated scrs, ltly audible. MB 15

G1014. GIOVANNI ZENATELLO: Il Trovatore – Di quella pira / Otello – Ora e per sempre, addio. 10¾“ AC Milano Fonotipia 92607/08 (XPh 4068/49), POM-5 / 1 Oct., 1909. M-A MB 25

G1015. GIOVANNI ZENATELLO: Manon Lescaut – Guardate, pazzo son! / Donna non vidi mai. 10½“ AC US-Fonotipia 39994/93 (XPh 2450/51), POM-9 Feb., 1907. A-/A, lovely copy has, Sd. 1 only, lt. rubs, inaud. MB 20

G1016. GIOVANNI ZENATELLO: Carmen – La fleur que tu m’avais jetée (in Italian) / Tosca – E lucevan le stelle. 12" EL Orth Vla 6961, POM-31 / 29 Jan., 1929. M-A, choice copy has, Sd.2 only, tiny scr., ever-so-faintly audible. MB 20

G1017. GIOVANNI ZENATELLO: Andrea Chenier – Sì, fui soldato / Pagliacci – Un tal gioco. 10" EL Orth Vla 1433, POM-21 / 31 Jan., 1929. M-A MB 15

G1018. GIOVANNI ZENATELLO : Manon Lescaut - Ah! Manon, mi tradisce / GIOVANNI ZENATELLO & MARIA GAY: Tosca - O dolci mani. 10" EL Orth Vla 1399, POM-31 / 29 Jan., 1929 (Gay’s name does not appear Sd. 2 label), (this appeared otherwise only as the elusive AGSA 3). M-A MB 15

G1019. GIOVANNI ZENATELLO: Otello – Ora e per sempre addio! / GIOVANNI ZENATELLO & PASQUALE AMATO: Si, pel ciel. 10¾“ AC Parl.-Odeon PO 107 (XPh 4049/70), POM-1 / 6 Oct., 1909. M-A, lovely copy has, Sd. 1 only, infinitesimal dust mk, inaud. MB 15

G1020. GIOVANNI ZENATELLO & MARIO SAMMARCO: La Boheme – Nei cieli bigi. 10¾“ AC Milano Fonotipia 92611 (XPh 4072), POM-6 Oct., 1909. A-, lovely copy has faintest pap. rubs & sev. infinitesimal pap. scrs, inaud. MB 20

G1021. GIOVANNI ZENATELLO & ADAMO DIDUR: Mefistofele – Strano figlio del Caos … Se tu mi dono / LINA PASINI-VITALE & RINALDO GRASSI: Dimmi se credi, Enrico. 10¾“ AC Milano Fonotipia 39509/92567 (XPh 1631/4032), POM-20 Feb., 1906 / 1 July,1909. A/A-, lovely copy has, Sd. 2 only, faintest rubs, inaud. MB 15

G1022. GIOVANNI ZENATELLO & NINI FRASCANI: Aïda – Già i sacerdoti adunansi, 2s. 10¾“ AC Milano Fonotipia 39527/28 (XPh 1664/63), POM-26 Feb., 1906. A, lovely copy has lt. rubs, inaud.Sd. 2 only has few wee pressing bumps. MB 15

G1023. GIOVANNI ZENATELLO & ESTER MAZZOLENI: Aïda – O terra addio / Otello – Vengo la morte! 10¾” AC Milano Fonotipia 92809/10 (XPh 4690/4713), POM-25 May / 12 June, 1911. A-, lovely copy has occasional dust scr, minimally audible; Sd. 2 only has wee nd. MB 15

G1024. GIOVANNI ZENATELLO & MARIA GAY: Carmen – Final Scene (in Italian), 2s. 12” EL Orth Vla 7314, POM-12 March, 1930. M-A Most elusive in this form. MB 25

“[The above]...is a record which few collectors will be able to resist. Our better judgement may say 'No' to such reckless treatment of the music, but the torrential passion sweeps all objections aside....Zenatello's B flats on the second side are tremendous....Such a performance opens the door wide to all the bad singing in the world; without genius it would be merely coarse.”

- Desmond Shawe-TaylorG1025. GIOVANNI ZENATELLO, MATZENAUER, RAPPOLD, MIDDLETON, CHALMERS & BARONI: Lucia – Chi mi frena / ALICE VERLET, CICCOLINI, MIDDLETON, SCOTT, ALCOCK & BARONI: Lucia – Chi mi frena. 10” AC paper label Edison H & D 82266 (5224/5787), only form of issue, 1922. M-A MB 20

G1026. MARIO BERINI (Israel Burstein), w.Max Rudolf Cond. Met Opera Orch.: Wien, du Stadt meiner Träume (Sieczynski) / Ich muss wieder einmal in Grinzing sein (Benatzky). 12” EL Col. 72847-D, only form of issue, 1947. M-A, beautiful copy has, Sd. 2 only, 2 infinitesimal dust mks. Exceedingly elusive! MB 25

“The Met did not lack for good native tenors at the time of Mario Berini’s arrival, among them an exceptional artist with a voice of sumptuous tonal quality, someone like Berini, of Russian-Jewish heritage and just three months his junior, Richard Tucker. Brooklyn-born Tucker had made his début with the company in 1945….Like so many others, Berini parted company with the Met over a choice of repertory: he didn’t want to take on the rôle of Peter Grimes.”

- Michael F. Bott, THE RECORD COLLECTOR, 2009G1027. ROBERTO TURRINI, w.Narducci Cond.: La Fanciulla del West – Ch’ella mi creda / Turandot – Nessun dorma. 10” EL pale-blue Cetra AT 0292, only form of issue, 7 / 9 July, 1952. M-A, gleaming copy has faintest rubs, inaud. MB 50

G1028. ANTONIO SALVAREZZA, w.Basile Cond.: Il Trovatore – Di quella pira / Turandot – Nessun dorma. 10” EL dark-blue Cetra AT 0131, only form of issue, 11 / 7 Oct., 1948. M-A, gleaming copy has, Sd. 1 only, sev. lateral lams which cause lt. ticks during 1st half of the stunning performance; Sd. 2 plays perfectly. MB 35

G1029. ANTONIO SALVAREZZA, w.Basile Cond.: La Fanciulla del West – Ch’ella mi creda libero / LIDIA CREMONA, w.Simonetto Cond.: Adriana Lecouvreur – Io son l’umile ancela.10” EL dark-blue Cetra AT 0132, only form of issue, 11 Oct. / 18 Nov., 1948. M-A, a gleaming copy. 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 TENORSG1030. LICINIO FRANCARDI, w.Basile Cond.: Gloria – Pur dolente son io (Cilea) / Lodoletta – Ah ritrovarla nella sua campanna (Mascagni). 10” EL pale-blue Cetra AT 0323, only form of issue, 6 May, 1953. M-A, gleaming copy has, Sd 1 only, infinitessimal pap. rub, inaud. MB 50

G1031. LICINIO FRANCARDI, w.Basile Cond.: La Favorita – Una vergin, un angiol di Dio / I Puritani – A te, o cara. 10” EL pale-blue Cetra AT 0324, only form of issue, 7 May, 1953. M-A, a gleaming copy. MB 50

G1032. ERMANNO LORENZI, w.Basile Cond.: Luisa Miller – Quando le sere al Plácido / Martha – M’appari. 10” EL pale-blue Cetra AT 0367, only form of issue, 1 Dec. / 23 Nov., 1953. M-A, gleaming copy has, Sd 1 only, infinitesimal pap. scr, inaud. & wee label tear. MB 35

G1033A000. GIUSEPPE CAMPORA, w.Erede Cond. Suisse Romande Orch.: Tosca – E lucevan le stelle / ROSETTA NOLI: Turandot – Tu che di gel. 12” EL Eng. Decca K.28435. M-A, gleaming copy has, Sd 1 only, infinitesimal pap. rub, barely visible & certainly inaud. MB 20

G1034. CARLO BALLIN: Isabeau – Fù vile l’editto / CARLO BALLIN & FRANCESCA SOLARI: Dormivi? Sognavo (Mascagni). 10¾“ AC Milano Fonotipia 92971/70 (XPh 4864-2/66), POM-23 Nov. 1912. A-B, decent copy has lt. rubs & few superficial scrs, naud.; Sd. 2 only has heavy nd, positively audible sev. turns. MB 15

G1035. AROLDO LINDI (Gustav Lindau): For you alone (Geehl) / Until (Sanderson). 10” EL PW dark-blue Eng. Col. DB 173, only form of issue, 19 May, 1930. M-A, a gleaming copy. MB 12

G1036. AROLDO LINDI (Gustav Lindau): Pagliacci – No, Pagliaccio non son! / Il Trovatore – Di quella pira. 10” EL PW red Eng. Col. D12568, POM-1927. M-A, a gleaming copy. MB 10

G1037. AROLDO LINDI (Gustav Lindau): Tosca – Recondita armonia / E lucevan le stelle.

10” EL blue Viva-Tonal Col. 2043-M, POM-1926. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 8

G1038. AROLDO LINDI (Gustav Lindau): Carmen – Air de la fleur (in Italian) / Il Trovatore – Ah! si, ben mio. 12” EL PW blue Eng. Col. L 1816, POM-23 / 24 June, 1926. A-B, decent copy has lt. rubs & occasional dust scrs. MB 8

G1039. AROLDO LINDI (Gustav Lindau): Otello – Ora e per sempre addio (1927 Version) / Dio! mi potevi scagliar. 12” EL black Viva-Tonal Col. 52803-D, POM-16 / 18 Nov., 1927. A to M-A, beautiful copy has faintest pap. rubs, barely visible & certainly inaud. MB 12

G1040. AROLDO LINDI (Gustav Lindau): Otello – Ora e per sempre addio (1926 Version) / Niun mi tema. 12” EL blue Viva-Tonal Col. 7118-M, POM-18 June, 1926. M-A MB 12

“[Lindi’s] career lasted over 28 years and was a truly international one [singing] alongside colleagues who could be numbered among some of the very best singers of his generation. He sang with success as a leading dramatic tenor in many of the most important European opera houses….From 1932…he continued to sing as a principal tenor in every major operatic centre in the USA.”

- Alan Bilgora, THE RECORD COLLECTOR, 2001G1041. ABRAHAM BEHRMAN: Barditshewer kaddish / Menashe. 12” EL EMI Private Issue JG.364 (CTPX 14478-2/77-1). M-A, a gleaming copy. Sd. 1 label Inscribed & Autographed by Behrman, and dated June, ’56. MB 15

G1042. JOSEF BASSER: Zaddik katomor / Kol nidrei. 10” AC dark-green Wien Pre-Dog V.*102450/51 (4015/18L), POM-1906. B, decent copy has lt. rubs & scrs, only occasionally ltly audible. MB 10

G1043. ISAIAH MEISELS: Eitz chaim (Sultzer) / Shma Israël (Solomon). 10” AC black Pat.’11 Canadian V 16188 (B-4573/72), POM-10 June, 1907. B, decent copy has lt. rubs & scrs, inaud.; Sd. 1 only has wee ndl cut which ticks ltly 4 times. MB 10

G1044. SAWEL KWARTIN: Kadisch l’nila / Ow huachmin hu Jerachim. 12” AC green & black Opera Disc 0211510/11 (588/90m), POM-12 Jan., 1912, Vienna. A-, lovely copy has faintest pap. rubs, inaud.; Sd. 2 ony has sev. superficial scrs, also inaud. MB 15

G1045. WILLIAM SCHWARTZ: Jewish folk song / WILLIAM SCHWARTZ & CHARLIE COHEN: Vocal duet (both Friedsell): 12” AC pale-green Flags Label Col. E5261 (59755/52), POM-c.1919. M-A, choice copy has, Sd. 1, wee scr, inaud. MB 10

G1046. YOSSELLE ROSENBLATT: Élégie (Méodie for the Jewish War Victims) (Massenet) / Eili, Eili (1916 Version). 12” AC orange Col. E5143 (59454/58), only form of issue, 1916. A, lovely copy has 2 infinitesimal pap. scrs, inaud. MB 15G1047. YOSSELLE ROSENBLATT: Kol Nidre (1913 Version) / El Mole rachmin (für Titanik). 12” AC black V 35312, POM-3 / 29 July, 1913. A to M-A MB 12

G1048. YOSSELLE ROSENBLATT: Kol Nidre / Eili, Eili (1930 Versions). 12” EL Orth Vla 9792, POM-2 May, 1930, Rosenblatt’s final recordings. A to M-A/A-, lovely copy has, Sd. 2 only, long but faint scr, positively inaud. MB 12

G1049. YOSSELLE ROSENBLATT: Sefirah – Ribono Shel Olom (Sung by the Composer), 2s. 12” EL Orth Vla 9072, POM-9 March, 1927. M-A/A-, lovely copy has, Sd. 2 only, few lt. mks, positively inaud. MB 12

G1050. YOSSELLE ROSENBLATT: Hineni heoni mimaas / Yaale (both Sung by the Composer). 12” EL Orth Vla 9108, POM-3 Feb., 1927. M-A/A-, lovely copy has, Sd. 2 only, few lt. scrs, positively inaud. MB 12

G1051. YOSSELLE ROSENBLATT: Akavyo ben mahalalel / Wehu rachum (both Sung by the Composer). 12” EL plum HMV JOX.29, POM-18 Oct., 1928. M-A, gleaming copy has label stkr, Sd. 1. MB 12

G1052. YOSSELLE ROSENBLATT: Melech elyon – Kel dar bamoron / L’keil orech den. 12” EL Orth Vla 9119, POM-6 / 7 Sept., 1927. M-A, lovely copy has, Sd. 2 only, tiny ulc, nowhere near grooves. MB 15

G1053. YOSSELLE ROSENBLATT: Uvnucho yomar (Sung by the Composer), 2s. 12” EL Orth Vla 9234, POM-1 May, 1928. M-A, a gleaming copy. MB 20

G1054. GERSHON SIROTA: Wêseeraw olecho (1902 Version, Sung Unaccompanied) / Rezei (1903 Version). 10” AC black V 17740 (419/1683z), POM-1902/’03, resp. A-B, very decent copy w. lt. rubs & scrs, mainly cosmetic. MB 12

G1055. GERSHON SIROTA: Wêseeraw olecho (1909 Version, Sung w.Choir) / W’nemor loi hibit owoja. 10” AC black V 17744 (1235/23ab), POM-24 / 22 June, 1909. A-B, very decent copy has lt. rubs & scrs, mainly cosmetic. MB 12

G1056. GERSHON SIROTA: Rezei (1908 Version) / Yhi Rotzon Milfonecho. 12” AC pink Warsaw Favorite 2–75501/02 (140/141p), POM-1908. B, decent copy has rubs & lt. scrs, certainly audible although Sirota’s voice peals forth brilliantly. MB 15

G1057. GERSHON SIROTA: Odom yasoido meator. 12” AC GP V 71026 (169HP), POM-1903. This enjoyed a very brief catalogue life. A-, lovely copy has few lt. rubs, inaud. MB 20

G1058. GERSHON SIROTA: Yaale / Elohenu Velohei Avonseinu. 10” AC pink Warsaw Favorite 1-75597/1-75602 (4090/95-o), POM-1908. A-/A, lovely copy has, Sd. 1 only, faint rubs & 1 wee scr, ever-so-faintly audible 2 turns. MB 20

G1059. GERSHON SIROTA: Unsaneh Tokef / K'vakoras. 10” AC pink Warsaw Favorite 1-75598/1-75605 (4091/98-o), POM-1908. B, decent copy has, primarily Sd. 2, rubs & very lt. scrs, ltly audible; sl. damaged spindle hole. MB 15

G1060. GERSHON SIROTA: Tzadik Katomor Yifrach / Vehoser Soton. 10” AC black / pink Warsaw Favorite 1-75599/1-75606 (4092/99-o), POM-1908. A-, very decent copy has, primarily Sd. 2, rubs, positively inaud., this plays as M-A. MB 25

G1061. GERSHON SIROTA: Habein Yaker Li Ephraim / V'sayorev Alecho. 10” AC black / pink Warsaw Favorite 1-75600/1-75611 (4093/4104-o), POM-1908. A-, very decent copy has lt. rubs & occasional wee scr, positively inaud. MB 20

G1062. GERSHON SIROTA: B'rosh Hashono / Hayom Haras Olam. 10” AC pink Warsaw Favorite 1-75603/1-75604

(4096/97-o), POM-1908. A-, very decent copy has lt. rubs & occasional wee scr, positively inaud. MB 20

G1063. GERSHON SIROTA: Shishnas Yaacov / Haneros Hallalu. 10” AC pink Warsaw Favorite 1-75609/10 (4102/03-o), POM-1908. A-B, very decent copy has lt. rubs & occasional wee scr, positively inaud.; beg. Sd. 2 only has wee scr, ltly audible before Sirota’s entrance. MB 15

G1064. GERSHON SIROTA: Umsanei teikef / B’roish haschoni. 10” AC dark-green Eng. Zonophone 655 (7095/96L), POM-1908. A to M-A, lovely copy has faintest rubs, inaud. MB 15

G1065. GERSHON SIROTA: Hamchadeisch b’tuwo / Zur Israel. 10” AC dark-green Eng. Zonophone 654 (1230/31ab), POM-1909. A-/B, very decent copy has, primarily Sd. 2, lt. rubs & few superficial scrs. MB 10

G1066. GERSHON SIROTA: Himoze Iopu. 10” AC Pat.’08 V 61100 (1682z), POM-1903. A, lovely copy has faintest rubs, inaud.; infinitesimal edge scr. MB 15

“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

G1067. JOHANNES REINHARDT & JENNY POHLNER: La Traviata – Parigi, o cara / JOHANNES REINHARDT, JENNY POHLNER, BELLA PAALEN & JOSEF SCHWARZ: Rigoletto – Bella figlia dell'amore (both in German). 13½” AC Wien etched label H & D center-start Pathé 51181/75 (58987/59023), recorded 1911. M-A Choice copy of an exceptionally rare ensemble-issue of Josef Schwarz! MB 35

G1068. FRANZ NAVAL: Cavalleria – Siciliana (in German) / Kark Cond. Odeon Orch.: Introduction to the Opera. 10½” AC brown German Odeon 50604/99243 (XB4351/??), POM-1909. A to M-A MB 25G1069. FRANZ NAVAL, w.August Pilz (Pf.): DIE SCHÖNE MÜLLERIN – 1st 13 Songs (Schubert). 6–10¾” AC pale-blue, w.dark-blue print Odeon X.52807/18 (XB 4707-18), POM-1909. M-A, gorgeous bright copy has, Sd. 11 only, wee pressing bump. MB 125

“The main interest here will be that which it tells us about style….And it’s quite an interesting interpretation….The rapid pace suits the chamber quality of this interpretation….one hears much of the young miller’s character conveyed….It’s a beautiful sound: soft, warm, with minimal vibrato.”

- Nils-Göran Olve, THE RECORD COLLECTOR, 2007“Franz Naval studied in Vienna with Joseph Gänsbacher and made his début in 1888 in Frankfurt. He went to Berlin in1895, singing Rodolfo in the local première of Puccini’s LA BOHÈME in 1897. He was engaged for the Hofoper the next year, remaining until early 1902. He sang light to lyric roles, ranging from Tonio in LA FILLE DU RÉGIMENT to Don José and Hoffmann. He recorded for Berliner, G&T, and Odeon, including the first complete recording of the Schubert cycle, DIE SCHÖNE MÜLLERIN.”

- Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNAG1070. HERMANN WINKELMANN: Lohengrin – Höchstes Vertrauen. 12” AC black Wien Monarch G & T 042110 (479C), only form of issue, 1905. A to M-A, remarkable copy has, alas, long ¾” edge break into first few vocal measures. Regardless, one rarely finds such a clean copy of this rarity. MB 150

G1071. HERMANN WINKELMANN: Die Meistersinger – Morgenlich leuchtend / Tannhäuser – Der töne Lob! 10” AC black Wien G & T G.C.-3–42465/42370 (6769/71b), only form of issue, 1905. B/B-, decent copy has lt. rubs, inaud.; Sd. 2 primarily has 2 scuffs & audible grey on peaks, yet the brilliant performances come through. MB 125

“Hermann Winkelmann made his début in 1875 as Manrico and went to Hamburg three years later. He created Parsifal at Bayreuth on 26 July 1882 and joined the Vienna Hofoper the following year. There he sang the local premières of DALIBOR, OTELLO, and TRISTAN UND ISOLDE and remained at the house singing all the Wagner rôles until May 1906. During the Mahler era, he sang 440 performances of 22 rôles, the most frequent being Tannhäuser, which he sang 77 times.”

- Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNAG1072. TOM BURKE: La Serenata (Toselli) / Song of songs (Moya) (1932 Version). 12” EL red Eng. Imperial Z.120 (160/161-4), only form of issue, 1932. A to M-A, lovely copy has, Sd. 2 only, few superficial pap. scrs, inaud. MB 15

G1073. TOM BURKE: My dreams (Tosti) / Esmeralda – O vision entrancing (Goring Thomas). 12” EL PW dark-blue Eng. Col. L1951, only form of issue, 1927. M-A, a gleaming copy. MB 20

G1074. TOM BURKE: Rigoletto – Questa o quella. 12” AC purple Eng. Col. 7202 (76406), POM-c.1920. A to M-A MB 15

“During the 30s, [Burke] made a lot of records for minor companies, and some are very successful: the voice had darkened into an heroic tenor, and he would have been a first choice Radames or Otello in any opera house in the world….A great career was thrown away because of a fatal flaw in his character….”

- F.S. Winstanley, THE RECORD COLLECTOR, 1990G1075. HEDDLE NASH: La Danza (Rossini) / Manon – Le rêve (both in English). 10” EL dark-blue Eng. Col. DB 961, only form of issue, 30 June, 1931 / 9 Sept., 1932. M-A, a gleaming copy. MB 8

G1076. HEDDLE NASH: Wenn die kleinen Veilchen blühen (Wild Violets) (Stolz; in English) / Tell me Tonight – Tell me tonight (Spoliansky). 10” EL dark-blue Eng. Col. DB 979, only form of issue, 28 Oct., 1932. M-A, a gleaming copy. MB 8

G1077. HEDDLE NASH: Mary, kind and gentle is she (Richardson) / Sally in our alley (Carey). 10” EL PW dark-blue Eng. Col. 2293R, only form of issue, 28 June, 1927. A to M-A MB 8

G1078. HEDDLE NASH: Jephtha – Deeper and deeper still; Waft her, angels (Handel), 2s. 12” EL PW dark-blue Eng. Col. DX 295, only form of issue, 15 July, 1931. M-A, a gleaming copy. MB 10

G1079. HEDDLE NASH: Frederica – O Mädchen, mein Mädchen / Sah ein Knab (Lehár; in English). 12” EL PW dark-blue Eng. Col. DX 115, only form of issue, 3 Sept., 1930. M-A, gleaming copy has, Sd 2 only, 2 infinitesimal dust mks. MB 10

G1080. HEDDLE NASH: Zauberflöte – Die Bildnis bezaubernd schön / Wie stark ist doch dein Zauberton (both in English). 12” EL PW dark-blue Eng. Col. 9228, only form of issue, 3 June, 1927. M-A, choice copy has, Sd 1 only, infinitesimal dust mk. MB 10

G1081. HEDDLE NASH: Don Giovanni – Dalla sua pace / Il mio tesoro (both in English). 12” EL PW dark-blue Eng. Col. 9880, only form of issue, 27 June / 19 Sept., 1929. M-A, a gleaming copy. MB 10

G1082. HEDDLE NASH: Barbiere – Ecco ridente / Se il mio nome (both in English). 12” EL dark-blue Eng. Col. DX 18, only form of issue, 19 Sept., 1929. M-A, a gleaming copy. MB 10

G1083. HEDDLE NASH: L’Africaine – O Paradis! / L’Elisir d'Amore – Una furtiva lagrima (1926 Version) (both in English). 12” EL PW dark-blue Eng. Col. 9104, only form of issue, 24 Feb. / 23 April, 1926. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 10

G1084. HEDDLE NASH: La Jolie Fille de Perth - À la voix d’amant fidèle / La Boheme - Che gelida manina (in English). 12” EL dark-blue Eng. Col. DX 540, only form of issue, 9 Sept., 1932 / 9 June, 1933. M-A, a gleaming copy. MB 10

"Heddle Nash was probably the best of English lyric tenors on record....The individual timbre of his voice was ideally suited to the Serenade [above] from Bizet's JOLIE FILLE DE PERTH, and this was probably his most popular record [showing] the soft-grained quality of the voice and the poise of his style to perfection."

- J.B. Steane, THE GRAND TRADITIONG1085. HEDDLE NASH: Two eyes of grey (McGeoch) / To a wild rose (MacDowell); Diaphenia (1933 Version) (Moeran). 10” EL dark-blue Eng. Col. DB 1365, only form of issue, 26 July / 13 Oct., 1933. M-A, a gleaming copy. MB 10

G1086. HEDDLE NASH, w.Gerald Moore (Pf.): Eileen Alannah (Thomas) / Macushla (MacMurrough). 10” EL dark-blue Eng. Col. DB 603, only form of issue, 3 / 13 July, 1931. M-A, a gleaming copy. MB 8

G1087. HEDDLE NASH, w.Gerald Moore (Pf.): My pretty Jane / Bonnie Mary of Argyle. 10” EL dark-blue Eng. Col. DB 720, only form of issue, 13 July, 1931. M-A, a gleaming copy. MB 8

G1088. HEDDLE NASH, w.Gerald Moore (Pf.): Linden lea (Vaughan Williams) / Tolomeo – Silent worship (Handel). 10” EL plum HMV B.9719, only form of issue, 22 Nov., 1948. M-A, a gleaming copy. MB 10

G1089. HEDDLE NASH, w.Gerald Moore (Pf.): Diaphenia (1945 Version); The sweet o’ the year (both Moeran) / Ständchen (Strauss; in English). 10” EL plum HMV B.9412, only form of issue, 7 March, 1945. Sd.1 features Nash at his most captivating! M-A, a gleaming copy. MB 10

“[Heddle Nash] could have charmed the very birds off the trees. There were those who maintained that he sang Mozart better even than McCormack or Tauber. His fioriture in Rossini were as fluent de Lucia’s, or anybody else’s; his Handelian runs were as flexibly firm as Widdop’s. His legato, supple and floating free, was exemplary….”

- Eric Rees, THE RECORD COLLECTOR, 1996G1090. HEDDLE NASH, w.Gerald Moore (Pf.): Silent noon / The Vagabond song (both Vaughan Williams). 12” EL plum HMV C.4210, only form of issue, 6 March / 9 April, 1952. M-A, a gleaming copy. MB 10

G1091. HEDDLE NASH, w.Gerald Moore (Pf.): To the queen of my heart; Love's philosophy / Beecham Cond. London Phil.: Paris (opening section) (all Delius). 12” EL PW yellow Master Works Col. 11314-D, POM-18 Dec., 1934 / 2 Nov., 1936. M-A, lovely copy has, Sd. 1 only, harmless minuscule ipc. MB 8

G1092. HEDDLE NASH, w.Braithwaite Cond. Philharmonia Orch.: Judas Maccabeus – How vain is man; Sound an alarm, 2s. 12” EL plum HMV C.3550, only form of issue, 19 Nov., 1946. M-A, a gleaming copy. MB 8

G1093. HEDDLE NASH, w.Maurice Miles Cond. Philharmonia Chamber Orch.: Messiah – Every valley shall be exalted / Comfort ye, my people. 12” EL plum HMV C.3454, only form of issue, 10 Aug., 1945. M-A, a gleaming copy. MB 8

G1094. HEDDLE NASH, w.Sargent Cond. Liverpool Phil.: Les Pêcheurs de Perles – Je crois entendre / La Favorita – Spirto gentil (both in English). 12” EL plum HMV C.3409, only form of issue, 8 July, 1944. M-A, a gleaming copy. MB 10

G1095. HEDDLE NASH, w.Sargent Cond. Liverpool Phil.: Carmen – La fleur que tu m’avais jetée / Faust - Salut! demeure (both in English). 12” EL plum HMV C.3405, only form of issue, 5 July, 1944. M-A, a gleaming copy. MB 10

G1096. HEDDLE NASH, w.Süsskind Cond. Philharmonia Orch.: L’Elisir d'Amore – Una furtiva lagrima (1946 Version) / Roméo – Ah, lève-toi, soleil! (both in English). 12” EL plum HMV C.3492, only form of issue, 26 Feb., 1946. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 10

G1097. HEDDLE NASH, w.Ernest Irving Cond.: La Belle Hélène – The shepherd’s song (Offenbach) / Gräfin Dubarry – If I am dreaming (Millöcker) (both in English). 10” EL dark-blue Eng. Col. DB 815, only form of issue, 25 April, 1932. M-A, a gleaming copy. MB 8

G1098. HEDDLE NASH, w.Fritz Busch Cond. Glyndebourne Festival Orch.: Così fan Tutte – Un' aura amorosa. 12” EL HMV DB 7985, POM-26 June, 1935 (from Complete Performance). M-A MB 6

G1099. HEDDLE NASH & JOAN HAMMOND, w.Süsskind Cond. Philharmonia Orch.: Tosca – Non la sospiri / JOAN HAMMOND: Manon Lescaut – In quelle trine morbide (both in Italian). 10” EL plum HMV B.9705, only form of issue, 21 Feb., 1948. M-A, gleaming copy has, beg. Sd. 2 only, faint ‘heat’ mk, inaud. MB 10

G1100. HEDDLE NASH & JOAN HAMMOND, w.Süsskind Cond. Philharmonia Orch.: Pagliacci – Pagliacco, mio marito; O Colombina / JOHN HARGREAVES & JOAN HAMMOND: Decidi il mio destin (part 3 only) (both in English). 12” EL plum HMV C.3924, only form of issue, 14 June, 1949. M-A, a gleaming copy. MB 8

G1101. HEDDLE NASH & JOAN HAMMOND, w.Süsskind Cond. Philharmonia Orch.: Faust – Il se fait tard (Garden Scene, parts 1 & 2 only) (in English), 2s. 12” EL plum HMV C.3724, only form of issue, 20 Feb., 1948. M-A, a gleaming copy. MB 8

G1102. HEDDLE NASH & MIRIAM LICETTE: Il Trovatore - Miserere / HEDDLE NASH, MIRIAM LICETTE, MURIEL BRUNSKILL & DENNIS NOBLE: Rigoletto – Bella figlia dell'amore (both in English). 12” EL dark-blue Eng. Col. DX 302, only form of issue, 12 Oct., 1931. M-A, a gleaming copy. MB 10

G1103. HEDDLE NASH, HUBERT EISDELL, DENNIS NOBLE & NORMAN ALLIN: Passing by (Purcell) / Drink to me only with thine eyes (arr.Batten). 10” EL PW dark-blue Eng. Col. 5579, only form of issue, 19 July, 1929. M-A, a gleaming copy. MB 10

G1104. HEDDLE NASH, HUBERT EISDELL, DENNIS NOBLE & NORMAN ALLIN: Meet me by Moonlight (arr.Batten) / I know of two bright eyes (Clutsam). 10” EL PW dark-blue Eng. Col. 5526, only form of issue, 19 July, 1929. M-A, lovely copy has, Sd.2 only, infinitesimal edge lam, barely visible & inaud. MB 8

G1105. HEDDLE NASH, w.Eva Turner, Isobel Baillie, Elsie Suddaby, Stiles-Allen, Margaret Balfour, Astra Desmond, Muriel Brunskill, Mary Jarred, Parry Jones, Walter Widdop, Frank Titterton, Roy Henderson, Harold Williams, Robert Easton & Norman Allin; Henry J. Wood Cond. BBC S.O.: SERENADE TO MUSIC (Vaughan Williams), 4s. 2-12” EL Col. 70592/93-D, POM-15 Oct., 1938, in Orig. Album MX 121. M-A MB 25G1106. HEDDLE NASH, GLADYS RIPLEY, DENNIS NOBLE & NORMAN WALKER; Sargent Cond. Liverpool Phil.: THE DREAM OF GERONTIUS (Elgar), 24s. 12-12” EL plum HMV C.7611/22, only form of issue, 8 April, 1945. M-A MB 45

“Heddle Nash’s is an outstandingly beautiful and sweet-toned voice. In many of his recordings you can hear a singer with a sure grasp of technical principles, but also with the ability to sing with a remarkable spontaneity, quite a rare combination in (English) singers. His recordings in Elgar’s THE DREAM OF GERONTIUS and in Handel’s JEPHTHA are unsurpassed. There are many fine records. One of his famous 78s is the Serenade from Bizet’s LES PÊCHEURS DE PERLES. In this aria you can enjoy the soft-grained quality of the voice, his excellent breathing technique, and not to forget, his fine mezza voce and the marvelous head tones!”

- Andrea Shum-Binder, subito-cantabileG1107. AKSEL SCHIØTZ, w.Thomsen Cond.: Night and day (Cole Porter) / Trees (Rasbach) (both in impeccable English).

10” EL plum HMV X.6694, only form of issue, 2 Sept. / 26 June, 1941, Copenhagen. M-A Most Elusive & an absolute delight! MB 20

G1108. PETER PEARS, w.Benjamin Britten (Pf.): Im Frühling / Auf der Bruck (both Schubert). 12” EL HMV DB 21423, only form of issue, 29 Sept. / 15 Nov., 1950. M-A, lovely copy has, Sd. 1 label only, minor identification stamp. MB 10

G1109. PETER PEARS, w.Benjamin Britten (Pf.): The Holy Sonnets of John Donne (Acc. by the Composer), 6s. 3–12” EL HMV DB 6689/91, only form of issue, 29 Aug. & 12 Dec., 1947. M-A MB 20

G1110. PETER PEARS, w.Benjamin Britten (Pf.): Seven Sonnets of Michelangelo (Acc. by the Composer), 4s. 12” EL plum HMV C.3312 & 10” plum HMV B.9302, only form of issue, 20 Nov., 1942. M-A MB 15

G1111. PETER PEARS, w.Benjamin Britten (Pf.): Odes and Elegies – The Queen’s Epicedium (Acc. by the Composer), 2s. 12” EL HMV DB 6763, only form of issue, 12 Dec., 1947. M-A MB 8

G1112. PETER PEARS, w.Benjamin Britten (Pf.): OLD AMERICAN SONGS – The boatmen’s song; I bought me a cat; Simple gifts; The dodger; Long time ago (Copland), 4s. 2-10” EL HMV DA 7038/39, only form of issue, 29 & 30 Sept., 1950. M-A Pears at his most delightful & winsome! Delightful & elusive pair which rarely appears. MB 25

G1113. PETER PEARS, w.Benjamin Britten (Pf.): Folk Song Arrangements – The foggy, foggy dew; The ploughboy; Come you not from Newcastle?, 2s. 10” EL HMV DA 1873, only form of issue, 27 Aug., 1947. M-A MB 8

G1114. PETER PEARS, w.Benjamin Britten (Pf.): Folk Song Arrangements – O Wally, Wally / Six dukes went a-fishin’. 10” EL HMV DA 2032, only form of issue, 15 Nov., 1950. M-A MB 8

G1115. PETER PEARS, w.Benjamin Britten (Pf.): The Sally Gardens / Little Sir William; Oliver Cromwell. 10” EL red Eng. Decca M.555. M-A MB 8

G1116. PETER PEARS, w.Benjamin Britten (Pf.) & Zorian String Quartet: On Wenlock Edge (Vaughan-Williams), 6s. 3–10” EL black Australian Decca Y6140/42. M-A, choice copy has, Sd. 4 only, few lt. rubs, inaud. MB 20

“[Pears] was one of the great originals among singers….[his voice’s] supremely distinctive feature was the inexhaustible capacity for expression.”

- J. B. Steane, SINGERS OF THE CENTURY, Vol. II, pp.36-37G1117. PETER PEARS & ANN WOOD, w.Woodgarte Cond. BBC Chorus: Corpus Christi / Leslie Woodgate Cond. BBC Chorus: A Cornish Christmas Carol (both Warlock). 12” EL dark-blue Eng. Decca K.827, only form of issue, 24 June, 1936. M-A, choice copy has occasional dust mk, inaud. Very early Pears, recorded a year before his association with Britten began. MB 12

“There are few operatic or recital voices as unique and recognizable as that of British tenor Peter Pears. His bright timbre and musicality were hallmarks of British operatic and concert stages in the middle part of the twentieth century. Pears premiered several important British operatic rôles, most notably those penned by Benjamin Britten, and was known for his intellect as much as his musicianship. He was awarded honorary doctorates from Cambridge, Sussex, and York universities, and received a knighthood in 1977. Born on 22 June, 1910, Pears became renowned for his ability to produce a smooth vocal line while retaining clear diction. A natural and perhaps less refined voice, he was equally at home performing both modern operatic roles with ‘angular’ vocal lines, and the linear, more melodic songs of John Dowland and his contemporaries. He met Benjamin Britten in 1937, and they developed a deep personal and professional relationship that would last until Britten's death. They spent nearly thirty years living together in the Red House, near the

Aldeburgh Festival.”- Steve York, SIR PETER PEARS: AN ANNOTATED BIBLIOGRAPHY

G1118. JOSEF LOCKE: A dream (Bartlett) / It is no secret (Hamblen). 10” EL dark-blue Eng. Col. DB 2940, only form of issue, 1949. A to M-A MB 8

G1119. JOSEF LOCKE, w.George Scott-Wood Cond.: Santa Lucia / Come back to Sorrento (de Curtis). 10” EL dark-blue Eng. Col. DB 2322, only form of issue, 1947. M-A MB 10

G1120. JOSEF LOCKE, w.George Scott-Wood Cond.: My heart and I (Tauber) / White Horse Inn - Goodbye (Stolz). 10” EL dark-blue Eng. Col. DB 2336, only form of issue, 1947. M-A MB 10

“It was John McCormack who encouraged Joseph to take his talents across the Irish Sea and try his luck on the English variety shows. Joseph McLaughlin became Josef Locke in 1945, a name he was to keep for the rest of his life. It took a further two years for Josef Locke to get his very first record contract. He signed to Colombia Records in 1947 after he was recommended to them by George Formby.”

G1121. MARIO CHAMLEE (as Archer Chamlee): Élégie (1919 Version) (Massenet). 10” AC green Bruns. 10003, only form of issue, 1919. M-A MB 15

G1122. MARIO CHAMLEE: Thank God for a garden (del Riego). 10” AC green Bruns. 10026, only form of issue, 1920. M-A MB 15

G1123. MARIO CHAMLEE: Absent (Metcalf) / A perfect day (Bond). 10” AC purple Bruns. 10104, POM-1919/’20, resp. M-A MB 12

G1124. MARIO CHAMLEE: O sole mio (di Capua). 10” AC green Bruns. 10042, only form of issue, 1921. A, lovely copy has lt. rub & 2 wee pap. scrs, inaud. MB 10

G1125. MARIO CHAMLEE: Dreams of long ago (1921 Version) (Caruso). 10” AC green Bruns. 10040, only form of issue, 1921. M-A MB 12

G1126. MARIO CHAMLEE: Your voice (Quirke) / Call me no more (Cadman). 10” AC purple Bruns. 10111, POM-24 April, 1923, issued USA only. M-A MB 12

G1127. MARIO CHAMLEE: Lolita (Buzzi-Peccia) / Mattinata (Leoncavallo) (1922 Versions). 10” AC gold Bruns. 15037, POM-1922, issued USA only. M-A MB 12

G1128. MARIO CHAMLEE: Lolita (Buzzi-Peccia) / Mattinata (Leoncavallo) (1928 Versions). 10” EL gold Bruns. 15207, only form of issue, 10 April / 18 May, 1928. M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud. MB 12

G1129. MARIO CHAMLEE: The old refrain (Kreisler) / Serenade (Drigo). 10” AC gold Bruns. 15077, POM-25 / 29 July, 1924, issued USA only. M-A MB 12

G1130. MARIO CHAMLEE: Out of the dusk to you (Lee) / Moon dream shore (Lockhart). 10” AC purple Bruns. 10117, POM-4 March / 14 Feb., 1924. M-A MB 12

G1131. MARIO CHAMLEE: Last hour (Kramer) / Dreams dimly lying (Roxas). 10” AC gold Bruns. 15065, POM-24 Dec., 1923, issued USA only. M-A, a gleaming copy. MB 12

G1132. MARIO CHAMLEE: The Vagabond King – Only a rose (Friml) / Dearest Enemy – Here in my arms (Rodgers). 10” AC purple Bruns. 10214, only form of issue, 12 / 20 Jan., 1926. A-/M-A, lovely copy has, Sd. 1 only, lt. scuff & various lt. dust scrs, only occasionally very ltly audible. MB 8

G1133. MARIO CHAMLEE: When my ships come sailing home (Dorel) / In a Persian Garden – Ah! moon of my delight (Liza Lehmann). 12” AC gold Bruns. 50040, recorded 26 Sept. / 15 Oct., 1923, issued USA only. M-A MB 12

G1134. MARIO CHAMLEE: Agnus Dei (Bizet) / Ave Maria (Kahn). 12” AC gold Bruns. 50021, only form of issue, 1922. M-A, a gleaming copy. MB 20

G1135. MARIO CHAMLEE: Paquita (1924 Version) (Buzzi-Peccia) / Jocelyn - Berceuse (Godard). 10” AC purple Bruns. 10126, POM-4 Aug., 1924, issued USA only. M-A MB 12

G1136. MARIO CHAMLEE: Canzoni d’Amante – L’alba separa dalla luce l’ombra (Tosti) / Triste ritorno! (Barthélemy). 12” AC gold Bruns. 50020, only form of issue, 1922. M-A Among Chamlee’s very best! MB 20

G1137. MARIO CHAMLEE (as Archer Chamlee): Cavalleria – Siciliana (1919 Version). 10” AC green Bruns. 10008, only form of issue, 1919. M-A MB 15

G1138. MARIO CHAMLEE: Cavalleria – Siciliana (1919 Version) / Tosca – Recondita armonia. 10” AC gold Bruns. 15008, POM-1919/’20, resp., issued USA only. M-A, lovely copy has, Sd. 1 only, infinitesimal dust mk, positively inaud. MB 12

G1139. MARIO CHAMLEE: Cavalleria – Brindisi (1923 Version) / La Gioconda – Cielo e mar. 10” AC gold Bruns. 15056, only form of issue, 28 March, 1923. M-A, lovely copy has, Sd. 2 only, sev faint scrs, inaud. MB 10

G1140. MARIO CHAMLEE: Cavalleria – Brindisi / Siciliana (1928 Versions). 10” EL gold Bruns. 15175, POM-26 April, 1928, issued USA only. A-, very decent copy has lt. rubs & occasional superficial scr, inaud. MB 10

G1141. MARIO CHAMLEE: Tosca – Recondita armonia. 10” AC green Bruns. 10020, POM-1920, issued USA only. A to M-A, lovely copy has faint rubs, inaud. MB 10

G1142. MARIO CHAMLEE: Tosca – E lucevan le stelle. 10” AC green Bruns. 10024, POM-1920, issued USA only. M-A, choice copy has wee pressing bump at very beginning, ltly audible, just a few turns, before vocal performance. MB 10

G1143. MARIO CHAMLEE: Pagliacci – Vesti la giubba / Tosca – E lucevan le stelle. 10” AC gold Bruns. 15007, POM-1919/’20, resp., issued USA only. A to M-A, lovely copy has, Sd. 2 only, few wee dust scrs, very ltly audible. MB 10

“In many of Chamlee’s recordings, the influence of Caruso is very striking….It is not simply a matter of

copying the externals of the interpretation…but the production of the voice itself, the attack, the way of launching ascending phrases and general conception of tone is almost a carbon print of Caruso.”

- Michael Scott, THE RECORD OF SINGINGG1144. MARIO CHAMLEE: La Boheme – Che gelida manina / Manon – Ah! fuyez (1922 Versions). 12” AC gold Bruns. 50003, only form of issue, 1922. M-A, a gleaming copy. MB 12

G1145. MARIO CHAMLEE: La Boheme – Che gelida manina / Manon – Ah! fuyez (1926 Versions). 12” EL gold Bruns. 50075, only form of issue, 8 / 9 March, 1926. M-A, gleaming copy has, Sd. 2 only, infinitesimal ndl cut, faintly audible 1 turn. MB 12G1146. MARIO CHAMLEE: Fra Diavolo – Pour toujours disait-elle (in English) / The Bohemian Girl – Then you’ll remember me (Balfe). 10” AC purple Australian Bruns. 10227, only form of issue, 9 Feb., 1926. M-A/A-, bright copy has, Sd. 2 only, fw wee dust scrs, ever-so-faintly audible a turn or three. MB 12

G1147. MARIO CHAMLEE: Rigoletto – La donna è mobile / Don Pasquale – Com’e gentil. 10” EL gold Bruns. 15194, POM-22 / 19 Oct., 1928. A/A-, lovely copy has lt. rubs, inaud. MB 10

G1148. MARIO CHAMLEE: Rigoletto – Questa o quella. 10” AC green Bruns. 10014, POM-1920, issued USA only. M-A MB 12

G1149. MARIO CHAMLEE: L'Elisir – Una furtiva lagrima / Faust – Salut! demeure. 12” AC gold Bruns. 50030, only form of issue, 15 Feb. / 15 March, 1923. M-A MB 12

G1150. MARIO CHAMLEE: L’Africaine – O Paradis! (in Italian) / Manon – Le rêve (in French). 10” AC gold Bruns. 15040, only form of issue, 1923. M-A MB 12

G1151. MARIO CHAMLEE: Carmen – Air de la fleur. 12” AC green Bruns. 30018, only form of issue, 1921. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

G1152. MARIO CHAMLEE & SIGRID ONÉGIN: Il Trovatore – Ai nostri monti / Mal reggendo. 10” AC gold Bruns. 15093, POM-5 March, 1924. M-A, choice copy has, beg. Sd. pinpoint nd, ltly audible 3 turns. Remarkably quiet surfaces! MB 15

G1153. MARIO CHAMLEE & JOHN CHARLES THOMAS: Crucifix (Faure) / JOHN CHARLES THOMAS: The lost chord (1925 Version) (Sullivan). 10” EL purple Bruns. 10218, only form of issue, 23 April, 1925. A-, lovely copy has lt. rubs, inaud.; beg. Sd. 2 only has few superficial scrs, inaud. MB 12

G1154. MARIO CHAMLEE & FLORENCE EASTON: La Traviata – Parigi, o cara / Faust – Laisse-moi. 12” EL gold Bruns. 50157, only form of issue, 8 Oct., 1928. A to M-A, lovely copy has very occasional superficial scr, inaud. Remarkably quiet surfaces! MB 20

G1155. MARIO CHAMLEE & RICHARD BONELLI: Martha – Solo profugo / Forza – Solenne in quest’ora. 12” EL gold Bruns. 50142, POM-15 May, 1928. M-A, lovely copy has very occasional superficial rub, inaud. Remarkably quiet surfaces! MB 20

“On 20 November 1920, Chamlee débuted at the Metropolitan Opera singing Cavaradossi. Engagements followed with various opera companies later in his career in the United States and Europe, including the Ravinia Summer Opera in Chicago; the San Francisco Opera; his acclaimed appearance in Henri Rabaud's MAROUF at the Paris Opéra and the Brussels Théâtre de la Monnaie; the Vienna Volksoper and the Deutsches Theater in Prague. He later reprised MAROUF in his return to the Met. With a powerful yet beautiful sound, Chamlee's lyric tenor voice emerged as one of the world's finest tenors in the era which followed Caruso's death in 1921. Chamlee's abilities were underestimated, however, and although he was always well received by opera fans and critics alike across America and around the world, and his records sold well, he never achieved the same level of recognition of his talents and abilities that Caruso had.”

G1156. PAUL ALTHOUSE: There is no death (O’Hara) / The blind plowman (Clarke). 9¾” AC grey paper label H & D US Pathé 27029, only form of issue, 1917-18, missing in Girard & Barnes. A-, very decent copy has occasional lt. scrs, merely cosmetic. MB 15

G1157. PAUL ALTHOUSE: When Johnny comes marching home (Lambert) / The Star-Spangled Banner (Key). 10½” AC grey paper label H & D US Pathé 27011, only form of issue, 1917. M-A MB 15

G1158. PAUL ALTHOUSE: Christ in Flanders (Stephens) / Waiting (Coke). 10½” AC grey paper label H & D US Pathé 27022, only form of issue, 1918. A to M-A MB 15

G1159. PAUL ALTHOUSE: The sunshine of your smile (Ray) / A Sevilla love song (de Nogero). 11½” AC grey paper label H & D US Pathé 59015, only form of issue, 1918. M-A MB 15

G1160. PAUL ALTHOUSE: The Creation – In native worth (Haydn) / REINALD WERRENRATH: By the waters of Babylon (Cowell). 12” AC blue V 55076, only form of issue, 3 Sept., 1915 / 23 July, 1914. M-A, choice copy has, Sd. 1 only, sev. infinitesimal pap. scrs, inaud. MB 8

G1161. PAUL ALTHOUSE: In a Persian Garden – Ah, moon of my delight (Liza Lehmann) / Hiawatha’s Wedding Feast – Onaway! awake, beloved! (Coleridge-Taylor). 12” AC blue V 55059, POM-29 June / 3 Sept., 1915. M-A, a gleaming copy. MB 12

G1162. PAUL ALTHOUSE: Die Walküre – Winterstürme / La Gioconda – Cielo e mar! 10” AC blue V 45076. Althouse sang Siegmund to the then unknown Flagstad’s Sieglinde at her Met début, 2 Feb., 1935. M-A MB 8

G1163. PAUL ALTHOUSE: Tosca – E lucevan le stelle / I Pagliacci – Vesti la giubba. 10” AC blue V 45055, POM-1 May, 1914. M-A, choice copy has, Sd. 2 only, 2 infinitesimal pap. mks, inaud. MB 8

G1164. PAUL ALTHOUSE & LUCY MARSH: Aïda – Fuggiam gli ardori (Act III) / PAUL ALTHOUSE & OLIVE KLINE: Madama Butterfly – O quanti occhi fisi. 12” AC blue V 55058, POM-30 June, 1915. M-A, a gleaming copy. MB 10

“[Jan] Peerce probably did his biggest favor for Tucker by bringing him to Paul Althouse, who was enjoying far more success as a singing teacher than he had during his modest Metropolitan career competing with

Caruso, and later with Melchior. Althouse and Tucker hit it off instantly, a fruitful teacher-pupil relationship in which the older singer instilled a lifetime of good vocal habits into his impetuous young charge and gradually build a rather small but securely placed voice into a brilliant lyric tenor of operatic proportions.”

- Peter G. Davis, THE AMERICAN OPERA SINGER, p.426G1165. DAVID LLOYD: Don Giovanni – Dalla sua pace / Il mio tesoro. 12” EL dark-blue Eng. Col. DX 983, only form of issue, 10 Sept., 1940. M-A MB 10

G1166. DAVID LLOYD, w.Gerald Moore (Pf.): Bless this house (Brahe) / Sylvia (Speaks). 10” EL dark-blue Eng. Col. DB 2012, only form of issue, 8 April, 1941. M-A MB 10

“The American tenor, David Lloyd, was educated at the Minneapolis College of Music, graduating in 1950, and studied voice with Richard Bonelli at the Curtis Institute of Music in Philadelphia. In 1950 David Lloyd made his operatic début as David in DIE MEISTERSINGER at the New York City Opera, where he sang regularly until 1958. He appeared there again in 1965 and 1976. His other operatic engagements took him to Boston, Washington, D.C., New Orleans, and St. Paul. In 1955 he sang at the Athens Festival and in 1957 at the Glyndebourne Festival. He also pursued an active career as a concert and oratorio singer. David Lloyd taught at the University of Illinois in Urbana from 1971, and was a director of the Lake George Opera Festival in New York from 1974.”

G1167. ROLAND HAYES: Were you there? (1939 Version) (Unaccompanied) / w.Reginald Boardman (Pf.):Hear de lambs a cryin'; Plenty good room. 12” EL Eng. Col. DX 1132, POM-29 Sept.,1939. M-A, a gleaming copy. MB 15

G1168. ROLAND HAYES: Were you there? (Unaccompanied) / w.Reginald Boardman (Pf.): Lit’l boy (1948 Versions). 12” EL vinyl Angel-Mo’ 3122, only form of issue,.29 Jan., 1948. M-A, as New. MB 20

G1169. ROLAND HAYES: Swing low, sweet chariot (1917 Version) (arr.Burleigh). 10” AC Col. Personal Record 62050, only form of issue, 21 Dec., 1917. Never ‘officially’ released, this rarity was subsidized by Hayes himself near the time of his legendary Symphony Hall (Boston) recital, 15 Nov., 1917. This was Hayes’ very first recording. M-A MB 45

G1170. ROLAND HAYES: By and by (1917 Version) (arr. Burleigh). 10” AC Col. Personal Record 91012, only form of issue, 15 June, 1918. Never ‘officially’ released. M-A MB 45

G1171. ROLAND HAYES: Pagliacci – Vesti la giubba. 10” AC Col. Personal Record 62281, only form of issue, 4 May, 1918. Never ‘officially’ released. M-A MB 65

G1172. ROLAND HAYES: Pagliacci – Vesti la giubba. 10” AC Col. Personal Record 62281, only form of issue, 4 May, 1918. Never ‘officially’ release. A-B, very decent copy has lt. rubs & superficial scrs, inaud.This plays beautifully except for very lt ‘swish’ throughout. Most of the label print is gone. MB 35

“I had made a few discs at home, back in 1917, in order to earn a little extra money, and had set up a small distributing office…in Boston, with a sales manager and a letterhead which read ‘Roland W. Hayes, Sole Owner’ in small letters, and ‘Roland W. Hayes, Phonograph Records’, in capitals. My best salesman was my mother, who sold a good many records to members of her church.”

- Roland Hayes, ANGEL MO’ AND HER SON ROLAND HAYES, p. 166G1173. ROLAND HAYES, w.Lawrence Brown (Pf.): Steal away (arr. Brown) / Swing low, sweet chariot (1922 Version) (arr. Burleigh). 10” AC Canadian Vocalion 21003, only form of issue, 1922, England. M-A. MB 20

G1174. ROLAND HAYES, w.Lawrence Brown (Pf.): Go down, Moses / By an’ by (1922 Version) (both Burleigh). 10” AC Canadian Vocalion 21002, only form of issue, 1922, England. M-A MB 20

G1175. ROLAND HAYES, w.Reginald Boardman (Pf.): Micheu banjo (Mister Banjo) (Louisiana Creole folksong) / Xango (arr. Villa-Lobos). 10” EL PW Col. 17294-D, only form of issue, 20 Feb., 1941. M-A MB 10

G1176. ROLAND HAYES, w.Reginald Boardman (Pf.): Lit’l boy (1941 Version) / I want to go home; You’re tired, chile! 10” EL PW Col. 17275-D, only form of issue, 20 Feb., 1941. M-A MB 10

G1177. ROLAND HAYES, w.Reginald Boardman (Pf.): Du bist die Ruh’ (Schubert). 12” EL S/S vinyl special pressing of Unpublished Columbia Mx 32633, 7 April, 1942. M-A MB 45

G1178. ROLAND HAYES, w.Reginald Boardman (Pf.): A Song [& Aria] Recital, incl. Songs by Bach, Monteverdi, Galuppi, Bononcini, Beethoven, Quilter, etc.; Manon – En fermant les yeux (Le rêve), 8s. 4-10” EL PW Col. 17174/78-D, only form of issue, 1939, in Orig. Album M-393, w.Brochure. M-A MB 35

“[After his celebrated 1917 Symphony Hall recital], Hayes promptly set out on a cross-country tour, billing himself as ‘Roland W. Hayes, Celebrated Negro Tenor,’ and his handbills could quote a rave review from the New York Tribune comparing him to the great French tenor Edmond Clément.”

- Peter G. Davis, THE AMERICAN OPERA SINGER, pp.331-32In early 1918 Hayes began a U.S. tour, which he managed himself, and in 1920 he set sail for London, England. After a year of scraping by with whatever small performances came their way, Hayes and his accompanist, Lawrence Brown, were booked to perform at the prestigious Wigmore Hall. Although he was suffering from pneumonia, Hayes sang masterfully. Two days later he gave a command performance for King George V and Queen Mary. While in London, Hayes also studied lieder singing with Sir George Henschel. Upon his return to the United States in 1922, the world famous Hayes performed at Symphony Hall in Boston to rave reviews. Shortly afterward he became the first black singer to appear at Carnegie Hall. Hayes then began a series of concert tours that took him to nearly every corner of the country. By 1924 he was performing more than eighty concerts per year, many with major orchestras, such as those in Boston, Philadelphia, New York, and Detroit. He was widely praised for his interpretations of German and French songs, as well as his renditions of black folk songs and spirituals.”

G1179. ADRIEN LEGROS, w.Semler-Collery Cond.: La médaille militaire (Fauré-Moret) / La Complainte des barbèles (Laffont). 10” EL dark-green Pathé PG 695, only form of issue, 1953. M-A, a gleaming copy. MB 12

Nos. G1179 – G1567 are Baritone & Bass Vocal 78rpm records.

G1180. VICTOR MAUREL: Rondel de l'adieu (de Lara) / Mandolinata (Paladilhe). 10¾" AC red German Odeon X 39246/45 (xPh 67/68-2), POM-21 Nov., 1904. M-A, gleaming copy of this choice mid-1930s pressing has very occasional superficial mk, inaud. MB 95

G1181. VICTOR MAUREL: Ninon (Tosti) / Don Giovanni – Deh, vieni alla finestra. 10" AC silver & blue blue shellac Columbia IRCC 9, (xPh 69-2/66), POM-23 / 21 Nov., 1904. Numbered Copy #58 of a Limited Edition. M-A MB 75

G1182. 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 (xPh 58/66), POM-21 Nov., 1904. M-A, gleaming copy of choice mid-1930s pressing. MB 95

G1183. VICTOR MAUREL: Otello – Era la notte (Creator, 5 Feb., 1887. La Scala) / FRANCESCO TAMAGNO: Ora e per sempre addio (Creator, 5 Feb., 1887. La Scala). 10" AC silver Victor IRCC 193, Sd. 1 = RR-1904; Sd. 2 = POM-1903. Numbered Copy #108 of a Limited Edition; M-A, lovely copy has, Sd. 1 only, sev infinitesimal superficial mks, inaud. & pinpoint closed blister. MB 25

G1184. POL PLANÇON: Le Soupir (Bemberg) / Dinorah – En chasse (Meyerbeer). 10” AC gold PW Victor HRS 1021 (B-2335-1 / B-2338-1), POM-25 Feb., 1905. Numbered copy #27 of extremely Limited Edition. M-A, a gleaming copy. MB 35

G1185. POL PLANÇON: Credo (J.B. Faure) / Martha – Chi mi dirà. 10" AC silver Victor IRCC 133, POM-25 Feb., 1905 / 27 March, 1907. Numbered Copy #14 of a Limited Edition. M-A MB 35

G1186. POL PLANÇON: Roméo – Allons! jeunes gens (Gounod) [Sung one half tone low]. 10” AC white Vla 81035, POM-29 Jan., 1904, Never Doubled, US. M-A MB 20

G1187. POL PLANÇON: La Damnation de Faust – Une puce gentille. 10” AC white Vla 81087, POM-27 March, 1907, Never Doubled, US. M-A MB 20

G1188. POL PLANÇON: La Damnation de Faust – Voici des roses (Berlioz). 12” AC white Vla 85117 (w.Victor spiderweb embossed verso), POM-27 March, 1907, Never Doubled, US. M-A MB 20

G1189. POL PLANÇON: Stabat Mater – Pro peccatis (Rossini), 1908 Version / L’Étoile du Nord – O jours heureux (Meyerbeer). 12” AC PW silver Victor IRCC 81, POM-14 Apr., 1908. Numbered copy #87 of A Limited Edition. Plançon’s Photo affixed to Sd. 2 label. M-A, a gleaming copy. MB 35

G1190. POL PLANÇON: Don Carlos – Elle ne m’aime pas (Verdi). 12” AC white Vla 85116, POM-27 March, 1907, Never Doubled in any regular series. M-A MB 35

G1191. POL PLANÇON: Don Carlos – Elle ne m’aime pas (Verdi) / La Sonnambula – Vi ravviso (Bellini). 12” AC PW silver Vla IRCC 49, POM-27 March, 1907 / 23 Dec., 1903, neither side ever doubled in any regular series. Numbered copy #34 of Limited Edition. Among the most sought-after IRCC issues – truly legendary performances! M-A, gleaming copy has, Sd 1 only, faintest pap. rub, inaud. MB 35

G1192. POL PLANÇON: La Sonnambula – Vi ravviso (Bellini). 12” AC white Vla 85018, POM-23 Dec., 1903 (w.Victor spiderweb embossed verso), Never Doubled in any regular series. M-A MB 25

G1193. POL PLANÇON: Zauberflöte – In diesen heil’gen Hallen (in Italian). 12” AC Vla 85077 (w.Victor spiderweb embossed verso), POM-25 Feb., 1905, Never Doubled, US. M-A, choice copy of mid-1930s Elaine pressing. MB 20

G1194. POL PLANÇON, EMMA EAMES & CHARLES DALMORÈS: Faust – Alerte! Alerte! (Final Trio). 12” AC white Vla 95300, POM-25 March, 1907, Never Doubled in any regular series. M-A Elusive issue, in catalogue less than 2 months. MB 20

"With such a combination of gifts and achievements it is not surprising that Plançon passes down to history as the most accomplished and artistic basso in the operatic constellation....[Journet, the] great basso was the natural successor to Plançon, and had a marvellous operatic career. A vivid and striking stage personality, whose repertoire was enormous."

- P.G. Hurst, RECORDED MEMORIES

G1195. MARTIAL SINGHER, w.Reynaldo Hahn Cond.: Le Marchande de Venise – Air de Bassanio / ANDRÉ PERNET, w.Reynaldo Hahn Cond.: Air de Shylock (both Cond. by the Composer). All-Creator Record, (21 March, 1935, l’Opéra). 10" EL PW Disque Gram. DA 4871, only form of issue, 1935 (possibly Japan also). M-A, a gleaming copy. MB 35

G1196. MARTIAL SINGHER: French Folk Songs for Children, 4s. 2–10” EL vinyl Decca 88103/04, only form of issue, c.1950. M-A, a gleaming copy. MB 20

G1197. MARTIAL SINGHER, w.Darius Milhaud (Pf.): Chants Populaires Hébraïques (Acc. by the Composer), 4s. 2-10” EL MasterWorks Col. 4213/14-M, POM-1932. M-A, a gleaming copy. MB 35

G1198. MARTIAL SINGHER, w.Coppola Cond.: Don Quichotte à Dulcinée, 3s / Sd. 4 = Ronsard à son âme (both Ravel). 2-10” EL PW Disque Gram. DA 4865/66, POM-20 Nov,. 1934 (prior to Première Performance, 1 Dec., 1934, in which Singher created this work [of which Singher was the dedicatée]). M-A, a gleaming copy. MB 35

G1199. MARTIAL SINGHER & JEANNE GUYLA, w.Bret Cond.: Cantata #212 – Der Herr is mein getreuer Hirt (in French) (Bach), 4s. 2-12” EL PW Disque Gram. DB 4939/40, POM-28 March, 1934. M-A, Exemplary! MB 15, the Pair.G1200. LOUIS NOUGERA: Chant des aviateurs / Le Roi de l’air (both Delagneaux). 10” EL burgundy La Voix des Nôtres DR 556, only form of issue, 1946. M-A Exceedingly elusive! MB 20

G1201. LOUIS NOUGERA, w.Blot Cond.: Don Giovanni – Madamina! (in French), 2s. 10” EL blue French Col. LF 272, only form of issue, 1949. M-A, a gleaming copy. MB 12

G1202. LOUIS NOUGERA, w.Fourestier Cond.: Zauberflöte – Der Vogelfänger bin ist ja / Ein Mädchen oder Weibchen (in French). 12” EL blue French Col. LFX 900, only form of issue, 1950. M-A, gleaming copy has, Sd Sd. 2 only, sev. infinitesimal dust mks, positively inaud. & barely visible. MB 12

G1203. CHARLES GILIBERT: Malgré moi (Pfeiffer). 10” AC GP V 81090, Orig. ‘A’ Plate Issue, POM-1 April, 1907, Never Doubled. A, lovely copy has faint label nr. MB 20

G1204. CHARLES GILIBERT: Plaisir d’amour (Martini). 12” AC RCA Vla 85118, only form of issue, 1 April, 1907, choice mid-1930s Elaine pressing. M-A MB 20

G1205. CHARLES GILIBERT: Les Rameaux (Faure). 12” AC Col. 30089 (w.Manhattan Record label superimposed), Original Issue, 29 March, 1907. M-A, choice copy has, 2 infinitesimal pap. scrs, inaud. MB 15

G1206. CHARLES GILIBERT: La Vierge à la crèche (Périlhou). 12” AC Col. 30088 (w.Manhattan Record label superimposed), Original Issue, 29 March, 1907. A-, very decent copy has lt. rubs, various edge lams & few tiny scrs, inaud. MB 12

G1207. CHARLES GILIBERT: Xerxes – Ombra mai fu (in French) (Handel). 12” AC V 74155, POM-28 Jan., 1910. M-A, a gleaming copy. MB 12

G1208. CHARLES GILIBERT: Don Giovanni – Deh, vieni alla finestra (in French) (2nd Version). 12” AC Col. 30121, POM-1908. M-A MB 25

G1209. CHARLES GILIBERT: Don Giovanni – Deh, vieni alla finestra (1st Version). 12” AC Col. 30096 (w.Star Record label superimposed), POM-29 March, 1907. M-A, lovely copy has numerous edge lams, visible topside only, inaud. MB 15

G1210. CHARLES GILIBERT: Bergerette (arr.Weckerlin); Margoton va-t-à l’iau. 12” AC GP V 85120, POM-1 April, 1907, Never Doubled (other than elusive IRCC issue). A-B, very decent copy has few lt. scrs, inaud.; pinpoint nd will sound briefly. MB 10

G1211. CHARLES GILIBERT: Margoton va-t-à l’iau (delightfully introduced in English (as ‘Old French Song’) spoken introduction by Gilibert); Don Giovanni – Deh, vieni alla finestra (1st Version) / LILLIAN BLAUVELT: Home, sweet home (Bishop). 12” AC Col. A5008, POM-29 / 27 March, 1907. M-A/A-, lovely copy has, Sd. 2 only, sev. pap. scrs, inaud. & tiny label tear. MB 15

G1212. CHARLES GILIBERT: Véronique – Strophes de la lettre (Messager) / JEAN NOTÉ: Guillaume Tell – Sois immobile. 10" AC silver IRCC 187, RRs-1906/’05, Edison. Numbered Copy #82 of a Limited Edition. M-A MB 15

G1213. CHARLES GILIBERT: Lakmé – Lakmé, ton doux regard. 12” AC Col. 30107 (w.Manhattan Record label superimposed), Original Issue, 12 Oct., 1907. A to M-A, exemplary copy has few faint pap. scrs & infinitesimal edge lams, visible topside only & inaud. MB 15

G1214. CHARLES GILIBERT: La Jolie Fille de Perth – Quand la flamme de l’amour (1907 Version) (Bizet). 12” AC Col. 30108 (w.Manhattan Record label superimposed), Original Issue, 12 Oct., 1907. A to M-A, choice copy has infinitesimal edge lams, barely visible topside only & inaud. MB 20

G1215. CHARLES GILIBERT: La Jolie Fille de Perth – Quand la flamme de l’amour (1910 Version) (Bizet). 12” AC Pat.’08 V 74208, POM-28 Jan., 1910. M-A MB 12

G1216. CHARLES GILIBERT: La Jolie Fille de Perth – Quand la flamme de l’amour (1910 Version) (Bizet) / CHARLES GILIBERT, w.Lejeune, Duchêne, Dumesnil & Leroux: Carmen – Nous avons en tête une affaire. 12" AC mauve-&-gold HMV AGSB 73, POM-28 Jan./25 March, 1910. MINT MB 20

G1217. CHARLES GILIBERT, w.Lejeune, Duchêne, Dumesnil & Leroux: Carmen – Nous avons en tête une affaire. 12” AC Pat.’08 Vla 88237, only form of issue (other than the elusive AGSB issue), 25 March, 1910. A MB 15

G1218. JULIEN LAFONT, w.Cloez Cond.: Louise – Les pauvres gens peuvent-ils être heureux? / Voir naître une enfant. 10” EL French Odéon 188.538, POM-1927. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

G1219. JULIEN LAFONT, w.Cloez Cond.: Les Contes d’Hoffmann – Je me nomme Coppélius . . . J’ai des yeux / Faust – Vous qui faites l’endormie. 10” EL French Odéon 188.620, POM-1928. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

G1220. JULIEN LAFONT, w.Cloez Cond.: La Favorite – Léonore, viens! / Pour tant d’amour. 10” EL French Odéon 188.569, POM-1928. A to M-A, lovely copy has faintest pap. rubs, inaud.; Sd. 2 only has wee ec into initial grooves, far from performance. MB 6

G1221. JULIEN LAFONT, w.Cloez Cond.: Boris Godounov – I have attained the highest power (in French), 2s. 10” EL French Odéon 188.549, POM-1927. M-A Exceedingly elusive! MB 10

G1222. JULIEN LAFONT, w.Cloez Cond.: Tosca – Te Deum (in French), 2s. 10” EL French Odéon 188.632, POM-1928. M-A MB 10

G1223. GAETAN AUZENEAU (des Concerts Colonne et lauréat du Concours Internat. de Genève), w.André Collard (Pf.): Les roses d’Ispahan (Fauré) / La Jolie Fille de Perth – Quand la flamme de l’amour (Bizet). 10” EL pale-blue French Col. LF 251, only form of issue, 1947. M-A, a gleaming copy. MB 12

G1224. ANDRÉ BAUGÉ: Si J’Étais Roi – Dans la sommeil (Adam) / Le Comte de Luxembourg – Bonheur, n’est-ce pas toi? (Lehár). 10½” AC green paper label H & D French Pathé 2104, recorded c.1925. M-A MB 10

G1225. ANDRÉ BAUGÉ: La Basoche – Quand tu reconnaîtras Colette (Messager) / La Traviata – Di Provenza il mar (in French). 10½” AC green paper label H & D French Pathé 0399, recorded 1923. M-A MB 10

G1226. ANDRÉ BAUGÉ, w.Andolfi Cond.: Quand Madelon (Robert) / Auprès de ma blonde (arr.Andolfi).

10” EL dark-blue Pathé X.94.180, only form of issue, 1931. M-A, a gleaming copy. MB 10

G1227. ANDRÉ BAUGÉ, w.Andolfi Cond.: Sérénade (Gounod) / Don Giovanni – Deh, vieni alla finestra (in French). 10” EL dark-blue Pathé PA 973, only form of issue, 1936. A-, lovely copy has faintest pap.rubs, inaud. MB 8

G1228. ANDRÉ BAUGÉ, w.Andolfi Cond.: Les Mousquetaires au Couvent – Pour faire un brave mousquetaire (Varney) / Si J’Étais Roi – Dans la sommeil (Adam). 10” EL green Pathé PG 73, only form of issue, 1936. M-A, gleaming copy has, Sd. 2 only, infinitesimal rub at very end, inaud. MB 10

G1229. ANDRÉ BAUGÉ, w.Andolfi Cond.: Monsieur Beaucaire – La rose rouge (Messager) / Paganini – J’ai toujours cru qu’un baiser (Lehár). 10” EL green Pathé PG 66, only form of issue, 1935. M-A, a gleaming copy. MB 10

G1230. ANDRÉ BAUGÉ, w.Andolfi Cond.: Benvenuto Cellini – De l’art splendeur immortelle / La Traviata – Di Provenza il mar (in French). 10” EL Pathé X.90.042, only form of issue, 1931. M-A, choice bright copy has faintest pap. rubs, inaud. MB 8

G1231. ANDRÉ BAUGÉ, w.Andolfi Cond.: Ariodant – Femme sensible (Méhul) / w.Mme Cariven (Harp): Plaisir d’amour (Martini). 12” EL MasterWorks Col. P-9155, POM-1933. M-A, a gleaming copy. MB 10

G1232. ANDRÉ BAUGÉ & SUZANNE LAYDEKER, w.Andolfi Cond.: Véronique – Duo de l’escarpolette (Swing Song) / De ci, de là (Duo de l’âne) (Messager). 10” EL green Pathé PG 67, only form of issue, 1935. M-A, gleaming copy has, Sd. 1 only, lt. scr at end, ever-so-faintly audible. MB 10

G1233. ÉTIENNE BILLOT, w.Piano: Cimetière de campagne (Hahn) / Ariodant – Femme sensible (Méhul). 10” EL French Odéon 188.680, POM-1929. M-A, choice copy has, Sd. 2 only, few infinitesimal dust mks, only occasionally very ltly audible. Exquisitely beautiful artistry here! MB 10

G1234. ÉTIENNE BILLOT, w.Cloez Cond.: Manon – Épouse quelque brave fille / Hérodiade – Vision fugitive. 10” EL French Odéon 188.527, POM-1927. M-A, choice copy has, Sd. 2 only, few infinitesimal dust mks. MB 8

G1235. ÉTIENNE BILLOT, w.Cloez Cond.: Faust – Vous qui faites l’endormie / Le veau d’or. 10” EL French Odéon 188.528, POM-1927. M-A MB 10

G1236. ÉTIENNE BILLOT, w.Cloez Cond.: Les Contes d’Hoffmann – Scintille diamant / Je me nomme Coppélius . . . J’ai des yeux. 10” EL French Odéon 188.529, POM-1927. M-A, choice copy has, Sd. 2 only, few wee pap. mks. MB 8

G1237. ÉTIENNE BILLOT, w.Cloez Cond.: Le Jongleur de Notre-Dame – Il pleure . . . un peu de foi (Massenet) / La Boheme – Vecchia zimarra (in French). 10” EL French Odéon 188.531, POM-1927. Billot was involved in the first performance of JONGLEUR at l’Opéra-Comique, 10 May, 1904, albeit in a different rôle. M-A MB 10

G1238. ÉTIENNE BILLOT, w.Cloez Cond.: Le Châlet – Arrêtons-nous ici / Entendez-vous ces airs (Adam). 10” EL French Odéon 188.674, POM-1929. M-A MB 10

G1239. ÉTIENNE BILLOT, w.Cloez Cond.: L’Africaine – Adamastor, roi des vagues, 2s. 10” EL French Odéon 188.677, POM-1927. M-A MB 10

G1240. ÉTIENNE BILLOT, w.Cloez Cond.: Guillaume Tell – Sois immobile / Rigoletto – Pari siamo! (in French). 10” EL French Odéon 188.676, POM-1929. M-A Sd. 2 is most heartfelt, sensitive singing! MB 10

G1241. ÉTIENNE BILLOT, w.Cloez Cond.: La Damnation de Faust – Devant la maison (Berlioz) / La Traviata – Di Provenza il mar (in French). 10” EL French Odéon 188.530, POM-1927. M-A MB 10

G1242. ÉTIENNE BILLOT, w.Cloez Cond.: Thaïs – Hélas, enfant encore / Toi qui mis la pitié dans nos âmes. 10” EL French Odéon 188.725, POM-1930. M-A MB 10

G1243. ÉTIENNE BILLOT, w.Cloez Cond.: Pelléas – Il avait toujours suivi / La Damnation de Faust – Voici des roses. 10” EL red Decca-Odeon G-20539, POM-1930. M-A MB 8

G1244. ÉTIENNE BILLOT, w.Cloez Cond.: Die Meistersinger – Was duftet doch der Flieder (Fliedermonolog) (in French), 2s. 10” EL French Odéon 188.730, POM-1930. M-A, choice copy has, Sd. 2 only, sev. infinitesimal dust mks, inaud. Billot at his most poetic! Exceedingly elusive! MB 12

G1245. ÉTIENNE BILLOT & CHARLOTTE TIRARD, w.Defosse Cond.: Faust – Scène de l’église, 4s. 2–10” EL red Decca-Odeon G-20512/13, POM-1930. M-A MB 20

“Étienne Billot was a member of l’Opéra-Comique for over thirty years…. He was involved in five premières at l'Opéra-Comique…and sang a total of nineteen different rôles during this time. He performed at the Théâtre de la Monnaie in Brussels during the period of 1910-14 and returned as a guest until 1928.”

- Lewis R. M. Hall, Program Notes to VRCS 2001 IssueG1246. GÉRARD SOUZAY, w.Jean Michel Damase (Pf.): En sourdine / Après un rêve (both Fauré). 10” EL burgundy Italian Decca 4003, POM-10 Oct., 1946. A-, lovely copy has various lt. rubs & occasional scr., minimally ltly audible. MB 12

G1247. GÉRARD SOUZAY, w.Jean Michel Damase (Pf.): L’Horizon Chimérique (Fauré), 2s. 12” EL red French Decca K.1693, POM-7 Oct., 1946, issued UK & France only. M-A, lovely copy has, Sd. 1 only, wee pap. rub, inaud. MB 15

G1248. GÉRARD SOUZAY, w.Irène Aïtoff (Pf.): None but the lonely heart / At the ball (both in French) (both Tschaikowsky). 10” EL red Eng. Decca M.633, POM-10 Aug., 1948, issued UK & France only. M-A, lovely copy has, Sd. 1 only, faint pap. rubs, inaud. MB 12

G1249. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): Sept poèmes de François Maynard (Leguerney), 4s. 2–10” EL buff French Souzay Photo Label Decca AF 21369/70, only form of issue, c.1951. M-A, gleaming copy has, Sd 3 only, 2 infinitesimal dust scrs. MB 25

G1250. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.):

Clavierbüchlein für Anna Magdalena Bach – Willst du dein Herz mir schenken / Wie wohl ist mir (Bach). 12” EL buff Trésors de la Musique TM 1, only form of issue, 10 Feb., 1950, Salle Chopin, Paris. A-, very decent unworn copy has a few tiny scrs, only occasionally audible. Extremely late 78-era rarity! MB 10

G1251. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): Nacht und Träume / Der Wanderer an den Mond (both Schubert).

10” EL red Eng. Decca M.618, only form of issue, 27 Oct., 1947. M-A, lovely copy has faintest pap. rubs, inaud. MB 12

G1252. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): O ma belle rebelle / À la brise; Quanti mai (all Gounod). 12” EL red Eng. Decca K.1991, only form of issue, 27 Oct., 1947. M-A MB 10

G1253. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): O cessate di piagarmi (Scarlatti) / Posate, dormite (Bassani). 10” EL green Boîte à Musique 61, only form of issue, 1948. A-, very decent copy has lt. rubs & superficial scrs. MB 10

G1254. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): Vergin tutt’amor (Durante) / Cadmus et Hermione – Vous êtes le charme (Lully). 10” EL green Boîte à Musique 62, only form of issue, 1948. M-A, a gleaming copy. MB 20

G1255. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): Dein Angesicht / Der Sandmann (both Schumann). 10” EL green Boîte à Musique 70, only form of issue, 1949. M-A, a gleaming copy. MB 20

G1256. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): Der Arme Peter (Schumann), 2s. 10” EL green Boîte à Musique 69, only form of issue, 1949. M-A, a gleaming copy. MB 20

G1257. GÉRARD SOUZAY & GENEVIÈVE TOURAINE, w.Irène Aïtoff (Pf.): My dearest, my fairest / Sound the trumpet (both Purcell). 10” EL green Boîte à Musique 77, only form of issue, 1949. M-A, a gleaming copy. MB 20

“Gérard Souzay was still in the early dawn of his career when he recorded his discs for the French label Boîte à Musique; the tone is wonderfully fresh, the manner delightfully spontaneous.”

- Alan Blyth, THE RECORD OF SINGING, Vol. IV, Program Notes

G1258. GÉRARD SOUZAY, w.Lindenberg Cond. Paris Conservatoire Orch.: Mandoline; Chansons de France – La Grotte / Trois Ballades de François Villon – Ballade que fait Villon à la requeste de sa mère (all Debussy). 12” EL red Eng. Decca K.2333, only form of issue, 14 Feb., 1950. A to M-A, lovely copy has very occasional superficial pap. mk, inaud. MB 10

G1259. GÉRARD SOUZAY, w.Lindenberg Cond. Paris Conservatoire Orch.: In questa tomba oscura (Beethoven) / Berenice – Si tra i ceppi (Handel). 12” EL red Eng. Decca K.2290, POM-2 June, 1949. Sd.2 won the Grand Prix du Disque, 1951. M-A, a gleaming copy. MB 10

G1260. GÉRARD SOUZAY & GERMAINE LUBIN: Signes (Leguerney) / Per valli, per boschi (Blangini). 12” EL vinyl Historic Masters HMA 94 (10” record pressed onto a 12” blank), POM-25 April, 1944, both from Unpublished Masters. MINT MB 15

“Gérard Souzay's art carried the DNA of the great French tradition. Studies and close associations with such greats as Claire Croiza, Vanni-Marcoux, Pierre Bernac, and Germaine Lubin burnished that which nature gave him….a warm, supple baritone, an instinctive sense for flowing phrasing, and a gift for perfectly balancing the text with the musical line. ‘Elegant’ is an appropriate description, as he never exploited the music for cheap effects nor did he lapse into the prosaic blandness of some singers undeservedly described with that term. If I dwell on Souzay's flexible top, that should not imply anything other than its place in a vocal arsenal centered on a firm, strong timbre. Fauré's songs often seem insubstantial when sung by wispy voices with misconceived notions of ‘French’ style, but Souzay's warm timbre is like a soft covering of a shaft of granite. He's always sensitive to a song's particular demands.”

-- Dan Davis, classicstoday.comG1261. ABREU, w.Mme Villa-Lobos (Pf.): Serestas – Cancão do Carreiro / Poemas indigenas – Canide youne sabath; Xangô (Chant africain) (all Villa-Lobos). 10” EL PW black Disque Gram. P-761, only form of issue, 20 June, 1928. M-A, choice copy has, Sd.2 only, faintest pap. rub, inaud. Companion disc to #375, Elsie Houston (also acc. by Mme Villa-Lobos), Sd.1 is a compelling version of Houston’s which is far better-known. Abreu’s sole recordings. MB 25

G1262. ANDRÉ PERNET, w.Cloez Cond.: Les Contes d’Hoffmann – Scintille diamant / Je me nomme Coppélius . . . J’ai des yeux. 10” EL French Odéon 188.715, POM-1930. M-A MB 10

G1263. ANDRÉ PERNET, w.Cloez Cond.: Die Walküre – Wotan’s farewell (in French), 2s. 12” EL French Odéon 123.728, POM-1930. M-A Exceedingly elusive! MB 15G1264. PAUL PAYAN: Paul et Virginie – L’oiseau s’en voile / Galathée – Tristes amours (both Massé). 10½” AC Paris etched label H & D Aérophone 1086/87, recorded c.1912, Paris, missing in Girard & Barnes. A to M-A MB 15

G1265. PAUL PAYAN: Barbiere – La calunnia (in French) / L’Étoile du Nord – Au jours heureux (Meyerbeer). 10½” AC Paris etched label H & D Aérophone 908/911, recorded c.1912, Paris, missing in Girard & Barnes. A-, very decent copy has lt. grey on peaks, positively audible; Sd. 2 only has 2 wee scrs, very ltly audible. MB 10

G1266. PAUL PAYAN, w.Cloez Cond.: La Juive – Si la rigeur / Les Huguenots – Pif! Paf! Pouf! 12” EL French Odéon 123.567, POM-1929. M-A/A-B, lovely copy has, Sd. 2 only, few lt. scrs, positively ltly audible. MB 8

G1267. PAUL PAYAN, w.Cloez Cond.: Barbiere – La calunnia (in French) / La Jolie Fille de Perth – Quand la flamme de l’amour (Bizet). 12” EL French Odéon 123.655, POM-1929. M-A MB 10

“Paul Payan studied with Jacques Isnardon at the Paris Conservatory. His first engagement was with the Paris Opéra-Comique in 1906 as the Philosopher in LOUISE. His lengthy career there encompassed dozens of principal and secondary roles. He created a number of parts as well. His work outside of France included the Chicago Opera (1921), the Colón in Buenos Aires (1924), and Covent Garden (1928). His extensive discography includes recordings for French HMV, Aérophone, acoustic and electric Odeon, and ten four-minute Edison cylinders.”

- Vincent Giroud, Program notes to Marston’s MEYERBEER ON RECORDG1268. EMILIO de GOGORZA: In the gloaming (Harrison) / Drink to me only with thine eyes. 10” AC Vla 1061, POM-11 Jan. / 28 March, 1924, Sd. 1 being ‘Take’ 7 (of 2 issued ‘takes’),. A to M-A, lovely copy has, Sd. 1 only, sev. faint pap. scrs, inaud. Elusive very late AC-era issue enjoyed a brief catalogue life! MB 10

G1269. EMILIO de GOGORZA (as Carlos Francisco): La paloma (1904 Version) (Yradier). 12” AC black V 31346 (C-1917), ‘Take’ 2, POM-9 Nov., 1904. A, lovely copy has few faint rubs & pap. scrs, positively inaud. MB 10

G1270. EMILIO de GOGORZA (as Carlos Francisco): La golondrina (Serradell) / La paloma (1913 Version) (Yradier). 10” AC black Pat.’12 V 17442, POM-3 / 5 Sept., 1913. A to M-A, lovely copy has, Sd. 1 only, 2 infinitesimal pap. scrs, positively inaud. MB 8

G1271. EMILIO de GOGORZA: La paloma (1926 Version) (Yradier) / La golondrina (Serradel). 10” EL Orth Vla 1141, POM-12 Jan., 1926. M-A MB 8

G1272. EMILIO de GOGORZA: Juanita (Norton) / In old Madrid (Trotère). 10” EL Orth Vla 1179, POM-12 Jan., 1926. M-A MB 8

G1273. EMILIO de GOGORZA: Teresita mia (Nicto) / La Sevillana (Yradier). 10” EL Orth Vla 1203, POM-12 Jan., 1926. M-A MB 8

“Probably [de Gogorza] was one of the greatest singers ever to have recorded; the critic W.J. Henderson in 1926 characterized de Gogorza as ‘the supreme artist of them all’.”

- John Stratton, SEVENTY YEARS OF ISSUES, p.IVG1274. EMILIO de GOGORZA: El relicario (Padilla) / Rosario de la aurora. 10” EL Orth Vla 1294, POM-18 May, 1927. M-A/A-, lovely copy has, Sd. 2 only, few lt. mks, inaud. MB 8

G1275. EMILIO de GOGORZA: Romanza andaluza, Op.22, #1 (as Perlas Gadiranas – Ay!) (Sarasate, arr. Hernandez) / Noche serena. 10” EL Orth Vla 1278, POM-17 / 18 May, 1927. A to M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud.; minor ‘heat’ mk is ltly audible during 1st inch, both sides. Exceedingly elusive, Sd. 1 being particularly enchanting! MB 10

G1276. EMILIO de GOGORZA: For all eternity (Mascheroni). 10” AC black Monarch 4084 (B-1734), POM-5 Oct., 1904. A, choice copy has occasional lt. scr, positively inaud.; few ‘stressed’ grooves at beg.; uncommonly bright label. MB 12

G1277. EMILIO de GOGORZA (as Sig. E. Francisco): The lost chord (Sullivan). 10” AC black Monarch 1963 (B-1540), POM-29 June, 1904. A-, very decent copy has lt. rubs & lt. scrs. MB 15

G1278. EMILIO de GOGORZA (as Carlos Francisco): The lost chord (Sullivan). 10” AC black Pat.’08 V 1963 (B-1540), POM-29 June, 1904. A, lovely copy has few entirely superficial scrs, positively inaud. MB 8

G1279. EMILIO de GOGORZA (as Sig. Francisco): Consejos (Alvarez). 10” AC black Monarch 2999 (B-972), only form of issue, 26 Jan., 1904. A-, lovely copy has lt. rubs & 3 wee mks, ever-so-faintly audible 3 times. MB 15

G1280. EMILIO de GOGORZA (as Herbert Goddard): Good bye (1901 Version) (Tosti). 10” AC black flush label Eldridge R. Johnson Monarch 3331 (M-3331), only form of issue, 6 May, 1901. A-, lovely copy has few lt. entrely superficial scrs, positively inaud.; faintest label nr; label pressed off the ellipse, thus final grooves run into it. MB 25

G1281. EMILIO de GOGORZA (as Herbert Goddard): Good bye (1905 Version) (Tosti). 10” AC black GP V 1852 (B-2613),

POM-8 June, 1905. A-, very decent copy has lt. rubs & few lt. scrs, minimally audible. MB 8

G1282. EMILIO de GOGORZA (as Herbert Goddard): Still wie die Nacht (Böhm; in English). 10” AC black GP V 1849 (B-65), ‘Take’ 10 (of 2 issued ‘takes’), only form of issue, 30 July, 1903. A-, very decent copy has lt. rubs & few lt. scrs, minimally audible. MB 12

G1283. EMILIO de GOGORZA (as Sig. Francisco): Tango del café (Nieto). 10” AC black GP V 4291 (B-2191), ‘Take’ 3 (of 2 issued ‘takes’), only form of issue, 1 Feb., 1905. A-B, very decent copy has lt. rubs & few superficial scrs, positively inaud. MB 10G1284. EMILIO de GOGORZA (as Herbert Goddard): Dear heart (Mattei). 7” AC black flush label Eldridge R. Johnson Victor A-782, only form of issue, 6 May, 1901, Announced. B, decent copy has rubs & various scrs, positively audible. MB 25

G1285. EMILIO de GOGORZA (as Herbert Goddard): Charity (Faure). 7” AC black depressed label V 1334, only form of issue, 196 March, 1902, Announced. A-, lovely copy has lt. rubs & few superficial mks, inaud. MB 25

G1286. EMILIO de GOGORZA (as Señor Francisco): Ständchen (Schubert; in Spanish). 10” AC black Pat.’12 V 4643 (B-3085), POM-5 Feb., 1906, ‘Take’ 2 (of 2 issued ‘takes’; ‘Take’ 1 issued in Canada). A to M-A MB 10

G1287. EMILIO de GOGORZA (as Sig. Francisco): Dormi pure (Scuderi). 10” AC black GP V 1343 (B-1456), ‘Take’ 1, only form of issue, 9 June, 1904. A-, very decent copy has lt. scuffs, inaud.; infinitesimal mk is ltly audible at very end. MB 8

G1288. EMILIO de GOGORZA (as Carlos Francisco): Dormi pure (Scuderi) / Santa Lucia (Braga). 10” AC black V 62595 (B-1456/1916), Sd. 1 being ‘Take’ 4 (of 2 issued ‘takes’), POM-29 June / 9 Nov., 1904. M-A MB 10

G1289. EMILIO de GOGORZA (as Sig. Francisco): Ideale (Tosti). 12” AC black GP V 31184 (C-967), POM-26 Jan., 1904. A-, lovely copy has few lt. rubs, inaud. MB 10

G1290. EMILIO de GOGORZA: El Canto del Presidiario (1928 Version) (Alvarez) / La Partida – Canción española (Alvarez). 12” EL Orth Vla 6839, only form of issue, 6 April, 1928. M-A, lovely copy has, end Sd. 2 only wee pap. scr, ever-so-faintly audible. Exceedingly elusive! MB 15

G1291. EMILIO de GOGORZA: The clang of the forge (Rodney). 12” AC black DeLuxe 31326 (C-1763), POM-12 Oct., 1904. A-, lovely copy has few lt. rubs & pinpoint nd. MB 25

G1292. EMILIO de GOGORZA: Goodbye, sweetheart, goodbye (1905 Version) (Hatton). 12” AC black GP V 31431 (C-2612-2), POM-8 June, 1905, ‘Take’ 2 (of 2 issued ‘takes’). B-, very decent copy has lt. rubs & few lt. scrs. MB 8

G1293. EMILIO de GOGORZA: Goodbye, sweetheart, goodbye (1904 Version) (Hatton) / The Bohemian Girl – The heart bow’d down (Balfe). 10” AC black Pat.’08 V 16064 (B-2612-3 / 1464), POM-8 / 9 June, 1904. A to M-A, lovely copy has, Sd. 2 only, 2 infinitesimal scrs, positively inaud.; wee label nr, Sd. 2. MB 8

G1294. EMILIO de GOGORZA (as Carlos Francisco): Martha – Chi mi dirà (Porter Song) (Flotow) / FRANCESCO CIGADA: Il Trovatore – Il balen. 10” AC black Pat.’12 V 16812 (B-1106/7310½b), POM-11 March, 1904 / 1905. A to M-A MB 8

G1295. EMILIO de GOGORZA (as Sig. E. Francisco): Carmen – Chanson du Toréador (1902 Version). 10” AC black Monarch 1453 (A-1543), only form of issue, 25 June, 1902. B-, decent copy has rubs & numerous lt. scrs, possibly ltly audible. MB 15

G1296. EMILIO de GOGORZA (as Sig. Francisco): Carmen – Chanson du Toréador (1904 Version). 10” AC black Monarch 4074 (B1105), POM-11 March, 1904. A-, lovely copy has lt. rubs few superficial scrs, positively inaud.; uncommonly bright label. MB 10

G1297. EMILIO de GOGORZA (as Sig. Emilio de Gogorza): Pagliacci – Prologo, 2s. 2–10” AC black Monarch 2822/23 (B-1430 A & B), both sides are ‘Take’ 2 (of 2 issued ‘takes’), only form of issue, 7 June, 1904. A-B, very decent copies have lt. rubs & wee scrs.; uncommonly bright labels MB 25

G1298. EMILIO de GOGORZA: Patrie - Jadis elles chantaient gaiment (Paladilhe) / Benvenuto Cellini – De l'art, splendeur immortelle (Diaz). 12” AC silver Victor IRCC 141, POM-19 Sept., 1911 / 1 Feb., 1909, resp; Sd.2 from Unpublished Master. Numbered Copy #22 of a Limited Edition. Sd.1 label Autographed by de Gogorza. M-A, lovely copy has very occasional wee pressing bump. Among the most desirable and elusive IRCCs! MB 65

G1299. EMILIO de GOGORZA, w.Helen Winslow (Pf.): Bergère légère (arr.Weckerlin) / Menuet (Exaudet). 10 ” AC Vla 1108, only form of issue, 4 Feb., 1925 / 11 Dec., 1922. M-A Elusive very late AC-era issue enjoyed a brief catalogue life! MB 15

G1300. EMILIO de GOGORZA & TITO SCHIPA: A la luz de la luna (Anton & Michelena) / Los rumberos (Guaracha). 10” EL Orth Vla 3049, POM-17 Feb., 1928. M-A MB 10

G1301. EMILIO DE GOGORZA & EMMA EAMES: Zauberflöte – Bei männern (in Italian) / Il Trovatore – Mira d’acerbe lagrime. 12” AC mauve & gold HMV AGSB 15, POM-9 March, 1906 / 7 April, 1909. M-A MB15

“de Gogorza was an American baritone of Spanish descent. He spent his youth in Spain, France and in England, where he sang as a boy soprano. He returned to New York and made his début as assistant to Marcella Sembrich in 1897. Because he was extremely short-sighted he never sang in opera, but he soon found a place as a leading recitalist and festival soloist, often appearing jointly in recitals with Emma Eames, whom he married in 1911. From about 1898 he was very active in various recording studios, using a variety of pseudonyms (Carlos Francisco, M. Fernand, Herbert Goddard, etc.); eventually under his own name he became one of the most successful and prolific Victor Red Seal artists. Because of his own success and his association with many of the leading singers of his day, he became artistic director for Victor and supervised many recording sessions. In 1925 he joined the faculty of the Curtis Institute. His voice was a vibrant and virile baritone of wide range and ample power, as can be heard on numerous recordings. He was master of many styles, especially admired in music of the French and Spanish schools, but he had a gift of lending distinction to simple home songs and popular selections.”

- Philip Lieson MillerG1302. FERRUCCIO CORRADETTI (as “FERCOR’): Gli ultimi istanti de Cesare Battisti / La Battaglia del Monte Corno (both Vitullo). 10” AC green Col. E4176 (84606/07), POM-c.1919. A-, very decent copy has lt. rubs, inaud.; Sd. 2 only has wee ec, not to grooves. This spoken, delightful rarity is missing from the definitive McPherson RECORD COLLECTOR 1998 discography. MB 20

G1303. FERRUCCIO CORRADETTI: Ave Maria (Cherubini) / Panis Angelicus (Franck). 10½” AC Milano Fonotipia 39555/39885 (XPh 1705/2217), POM-14 March / 6 Nov., 1906. A-, bright unworn copy has, Sd. each Sd., very lt. scrs, ever-so-faintly audible, if at all. MB 20

G1304. FERRUCCIO CORRADETTI: Barbiere – La calunnia / FERRUCCIO CORRADETTI & ELISA TROMBEN: Dunque io son. 10¾" AC brown Milano Fonotipia Odeon 37009/37121 (Xm22/127), POM-1908. A-, very decent copy has few lt. rubs, inaud.; Sd. 2 only has lt. scuff & tiny nd., very ltly audible a few turns. MB 15

G1305. FERRUCCIO CORRADETTI: Ernani – Lo vedremo / FERRUCCIO CORRADETTI, ERNESTINE TEBRO & ALFREDO CECCHI: O, sommo Carlo. 10¾“ AC brown Milano Fonotipia Odeon 37102/37063 (Xm 228/295), POM - 1905. A-, lovely copy has very occasional pap. scr or rub, inaud. MB 15

G1306. FERRUCCIO CORRADETTI & GIUSEPPE de LUCA: Don Pasquale – Cheti, cheti immantinente, 2s. 10¾“ AC Milano Fonotipia 39975/76 (XPh 2294/95), POM-12 Jan., 1907. A to M-A, exemplary copy has, Sd 1 only, faintest pap. rub, inaud. MB 20

G1307. FERRUCCIO CORRADETTI & GIUSEPPE ARMANINI: Don Pasquale – Prender moglie / Sogno soave e casto. 10¾“ AC Milano Fonotipia 92112/13 (XPh 2973/74), POM-4 Dec., 1907. A to A-, lovely copy has few minuscule pressing bumps, very ltly audible. MB 15

G1308. FERRUCCIO CORRADETTI, GIUSEPPE de LUCA & AÏDA GONZAGA : Don Pasquale – Via, da brava / La Scala Chorus: I Lombardi – Coro della Processione. 11¾“ AC Milano Fonotipia 74023/24 (XXPh 2388/2133), POM-31 Jan., 1907 12 Oct., 1906. Sd. 1 is ‘Take’ 1 (of 2 issued ‘takes’). A to M-A/B, lovely copy has, Sd. 2 only, sev. lt. scrs, ltly audible; Sd. 1 plays as M-A MB 15

G1309. PASQUALE AMATO: Andrea Chénier – Un dì m’era di gioia / RICCARDO STRACCIARI: Pagliacci – Prologo. 10¾“ AC Milano Fonotipia 92497/69058 (XPh 3871/3772), POM-1 June / 8 Feb., 1909. A to M-A MB 20

G1310. PASQUALE AMATO: Forza – Urna fatale / Son pereda, son ricco d’onore. 10¾“ AC Milano Fonotipia 92503/04 (XPh 3904/05), POM-8 June, 1909. A to M-A, choice copy has few wee pressing bumps MB 20

G1311. PASQUALE AMATO: Otello – Inaffia l’ugola. 10¾“ AC Milano Fonotipia 92760 (XPh 3948), POM-17 June, 1909. A-, very decent copy has lt. rubs & faint scrs, positively inaud. MB 15

G1312. MARIO SAMMARCO: Carmen – Chanson du Toréador (in Italian) / Don Giovanni – Deh, vieni alla finestra - 13½” AC US grey paper label H & D Pathé 80027 (86400/04), recorded 1912, Milano. A-, lovely copy has very occasional wee scr, inaud. MB 20

G1313. MARIO SAMMARCO: La Traviata – Di Provenza il mar / Il Trovatore – Il balen. 13½” AC US grey paper label H & D Pathé 80026 (86398/86402), recorded 1912, Milano. B-C/A-, very decent copy has lt. rubs & scrs, inaud.; Sd. 2 only has numerous heavy scrs, positively audible albeit causing no more than lt. clicks. MB 12

G1314. MARIO SAMMARCO: I Pagliacci - Prologo (1903 Version). 12” AC red Milano G & T 052041 (Con 711), only form of issue, 1903. A-, lovely copy has occasional lt. rub & infinitesimal pap. scr, inaud.; tiny edge spiderweb hlc, visible topside only; unusually bright label. MB 25

G1315. MARIO SAMMARCO: Otello – Credo (1903 Version). 12” AC red Milano G & T 052034 (Con 701), only form of issue, 1903. B-C, decent copy has rubs & numerous lt. scrs, positively audible. MB 25

G1316. MARIO SAMMARCO: Otello – Era la notte (1903 Version). 12” AC red Milano G & T 052039 (Con 707), only form of issue, 1903. B-, decent copy has lt. rubs & few lt. scrs, ltly audible; tiny hlc at edge. MB 25

G1317. MARIO SAMMARCO: L’Africaine – Adamastor, roi des vagues (in Italian). 12” AC red Milano G & T 052025 (Con 690), only form of issue, 1903. B, decent copy has lt. rubs & tiny scrs.; faint label nr MB 25

G1318. MARIO SAMMARCO & EDOARDO GARBIN: La Boheme – O Mimi, tu più non torni / GIANNINA RUSS & ORESTE LUPPI: Forza – Venite fidente alla croce. 10¾“ AC Milano Fonotipia 39223/39064 (XPh 254/40), POM-15 May, 1905 / 21 Oct., 1904. A-, lovely copy has, Sd. 2 only, lt grey on peaks. MB 20

G1319. MARIO SAMMARCO & ARMIDA PARSI-PETTINELLA: La Favorita – Quando le soglie paterne varcal … Ah! l’alto ardor, 2s. 10¾“ AC Milano Fonotipia 39683/84 (XPh 1930/31), POM-30 May, 1906. A-B, very decent copy has lt. rubs & faint scrs, ltly audible, if at all. MB 20

G1320. MARIO SAMMARCO: Rigoletto – Cortigiani / SAMMARCO & MARCELLA SEMBRICH: Tutte le feste al tempio. 12” AC PW gold V HRS 1005, POM-23 March, 1911 / 26 March, 1910, Neither side ever doubled in any regular series. Numbered Copy #23 of a Limited Edition. M-A, a gleaming copy. MB 45

G1321. MARIO SAMMARCO & EMMA CARELLI: Tosca – Act II duet, beginning ‘Quanto? Il prezzo!’ to the introduction to ‘Vissi d’arte’. (Carelli’s name is missing on label) 12” AC red Milano G & T 054028 (Con 703), only form of issue, 1903. B, decent copy has lt. rubs & scrs. MB 35

G1322. FRANCESCO M. BONINI: I Due Foscari – O vechio cor / Il Trovatore – Il balen. 10½” AC Milano Fonotipia 39831/39671 (XPh 1884/2112), POM-16 May / 3 Oct., 1906. A-B, decent copy has lt. rubs & scrs, mainly cosmetic. MB 20G1323. GIOVANNI MILANI: Aïda – Rivedrai le foreste. 7” AC black Milano flush label Zonofono 1293, only form of issue, 1901. A to M-A, superlative copy. MB 25

G1324. GIOVANNI MILANI: Don Carlos – O sommo Carlo. 7” AC black Milano flush label Zonofono 1325, only form of issue, 1901. A-, very decent copy has lt. grey. MB 25

G1325. GIOVANNI BARDI: Faust – Souviens-toi du passé (Church scene) / Vous qui vaites l’endormie (both in Italian). 13½” AC Milano etched label H & D center-start Pathé 84124/25 (60915/13), recorded 1908. A to M-A MB 20

G1326. GIOVANNI BARDI & GIUSEPPE SALA: Ernani – Duetto della congiura / BINDO GASPARINI & ADOLFO PACINI: Forza – Amici in vita e morta. 13½” AC Milano etched label H & D center-start Pathé 86270/91 (82771/83095), recorded 1913. M-A MB 25

G1327. GIOVANNI BARDI, Baldassari-Tedeschi, Lopez-Nunez, di Bernardo, Giuseppe Sala & Adolfo Pacini: Lucia – Chi mi frena / Ranzato Cond. La Scala Chorus: Il Trovatore – Coro di zingari. 13½” AC Milano etched label H & D center-start Pathé 86350/51 (89474/88506), recorded 1912. A to M-A MB 20

G1328. VINCENZO RESCHIGLIAN: Il Guarany – Senza tetto, senza cuna (Gomez). 7” AC black Milano flush label Zonofono 472, only form of issue, 1901. A-, lovely copy has lt. scuffs, inaud. MB 25

G1329. TITO GOBBI, w.Olivieri Cond.: Musica Proibita – Femme sunnà cu ‘tte (Luccione) / Musica proibita (Gastaldon). 10” EL LVDP AV 51 (OBA.5166/67), only form of issue, 1942, Italy only. M-A Exceedingly elusive virtually unknown, missing from Steane discography in Gobbi’s autobiography! MB 35

G1330. TITO GOBBI, w.la rosa Parodi Cond. London S.O.: Marechiare (Tosti) / Santa Lucia (Cottrau). 10” EL HMV DA 2022, only form of issue, 2 Oct., 1952. M-A MB 12

G1331. TITO GOBBI, w.Erede Cond.: ‘A vucchella (Tosti) / Occhi di fata (Denza). 10” EL HMV DA 1887, only form of issue, 17 Feb., 1948. M-A MB 10

G1332. TITO GOBBI, w.Erede Cond.: Dicitencello vuje (Falvo) / Torna (Valente). 10” EL purple RCA 25-7146, POM-17 Feb., 1948, missing from Steane discography in Gobbi’s autobiography! M-A MB 12

G1333. TITO GOBBI, w.Erede Cond.: I Pagliacci – Prologo, 2s. 12” EL LVSM DB 6822, only form of issue, 2 Feb., 1948. M-A, gleaming copy of preferred French pressing. MB 12

G1334. TITO GOBBI, w.Erede Cond.: Otello –Era la notte / Barbiere – Largo al factotum. 12” EL HMV DB 6626, only form of issue, 2 Feb., 1948. M-A, lovely copy has, Sd. 2 only, wee pap. rub, inaud. MB 8

G1335. TITO GOBBI, w.Berrettoni Cond.: Don Giovanni – Deh, vieni alla finestra / La Fanciulla del West – Minnie, dalla mia casa. 10” EL LVDP DA 5430, only form of issue, 1942, Italy only. M-A Wonderful example of the very young Gobbi! MB 15

G1336. TITO GOBBI, w.Berrettoni Cond.: Don Carlos – Per me giunto, 2s. 12” EL LVDP DB 5447, only form of issue, 1942, Italy only. M-A MB 15

G1337. TITO GOBBI, w.Berrettoni Cond.: Zazà - Zazà, piccola zingara / Buona Zazà. 10” EL LVDP DA 5429, only form of issue, 1942, Italy only. M-A MB 15

G1338. TITO GOBBI, w.Robertson Cond. Philharmonia Orch.: Nozze – Aprite un pò quegli occhi / Non più andrai. 10” EL HMV DA 1946, only form of issue, 14 March, 1950. M-A MB 8

G1339. TITO GOBBI, w.Robertson Cond. Philharmonia Orch.: Otello –Credo / Forza – Urna fatale del mio destino. 12” EL HMV DB 21071, only form of issue, 14 March, 1950. M-A MB 8

G1340. TITO GOBBI, w.Green Cond.: The Glass Mountain – Song of the mountains (Pigarelli) / Take the sun (Rota). 10” EL HMV DA 1940, only form of issue, 29 March, 1950. M-A MB 10

”Tito Gobbi made his operatic début in the town of Gubbio in 1935, as Count Rodolfo in LA SONNAMBULA. He sang the rôle of Germont in LA TRAVIATA at the Teatro Reale in Rome in 1937. In the same year he sang Lelio in Ermanno Wolf-Ferrari's LE DONNE CURIOSE, and was promoted to primary rôles; in 1941 he sang Ford in Verdi's FALSTAFF during a visit by the company to Berlin in 1941. Meanwhile, in a guest appearance at Rieti, he first sang the rôle of Scarpia in TOSCA in 1940. Gobbi made his (official) La Scala début in as Belcore in L'ELISIR D'AMORE. He first appeared in Stockholm in 1947 as Rigoletto; in 1948 he went to Covent Garden in concerts and to San Francisco to début as Figaro in Rossini's BARBER OF SEVILLE. His London operatic début was at Covent Garden as Belcore when the La Scala Company toured there. He appeared in Chicago in 1954 as Rossini's Figaro, and débuted at the Metropolitan Opera as Scarpia, 13 January, 1956. He sang Don Giovanni in Salzburg in 1952 under von Karajan's direction.He took up producing as well, often at Chicago, where he made regular appearances, and producing opera became an ever more important part of his career after 1965, which is when he produced a performance starring himself in the title rôle of Verdi's SIMON BOCCANEGRA in London. Although he was particularly well known for his portrayal of Verdi's baritone roles, he had a very large repertory of well over 100 rôles. He was an excellent actor, had a high degree of musicianship and intelligence, had a flexible, rich, but not large baritone voice, and was at home in a wide variety of parts. He also appeared in 26 movies. He was the brother-in-law of another eminent singer, Boris Christoff. Gobbi retired from the operatic stage in 1979. He published an autobiography (Tito Gobbi: My Life, 1979) and Tito Gobbi and His World of Italian Opera (1984). He left a significant legacy of recorded performances, mainly made in the 1950s and 1960s.”

- Joseph Stevenson, All Music GuideG1341. EZIO PINZA: L'ultima canzone (Tosti) / La Boheme – Vecchia zimarra. 10” EL HMV DA 908, only form of issue, 17 Feb., 1927, although recorded USA, never issued there! M-A MB 8

G1342. EZIO PINZA: Norma – Ah! del Tebro (1923 Version) / EZIO PINZA & ROBERT d’ALESSIO: La Favorita – Non sai tu che d’un giusto. 10” AC PW HMV DA 566, POM-12 July / 20 June, 1923. M-A MB 8

G1343. EZIO PINZA: Norma – Ah! del Tebro (1929 Version) / Faust – Le veau d’or. 10” EL Orth Vla 3053, POM-8 April, 1929. M-A MB 6

G1344. EZIO PINZA & ROBERT d’ALESSIO: La Favorita – Non sai tu che d’un giusto / EZIO PINZA & ARISTODEMO GIORGINI: Faust – Eh bien? Que t’en semble (in Italian). 10” AC white Archive HMV VA 70, POM-20 June, 1923 / 19 Dec., 1924. M-A MB 10

G1345. EZIO PINZA: Lucia di Lammermoor – Dalle stanze / I Puritani – Cinta di fiori. 12” AC white Archive HMV VB 70, POM-11 July, 1923 / 17 Dec., 1924. MINT MB 6

G1346. EZIO PINZA: Simon Boccanegra – Il lacerato spirito / Lucia di Lammermoor – Dalle stanze. 12” AC PW Disco Grammofono DB 699, POM-19 June / 11 July, 1923, never issued US. M-A MB 12

G1347. EZIO PINZA: Mignon – De son coeur j’ai calme la fièvre (Berceuse) (1924 Version) / La Favorita – Splendon più belle (1924 Version). 10” AC Vla 1103, POM-17 Dec., 1924, Never listed in a North American Victor Catalogue. A-, decent copy has lt. rubs & scrs, mainly cosmetic. MB 8

G1348. EZIO PINZA: Mignon – De son coeur j’ai calme la fièvre (Berceuse) (1927 Version) / Le Caïd – Enfin chéri (Air du Tambour-Major) (Thomas). 12” EL PW Czech Gramola DB 1086, POM-29 March / 14 April, 1927. A to M-A, lovely copy of preferred Czech pressing. MB 15

G1349. EZIO PINZA: Robert le Diable – Nonnes, qui reposez / Zauberflöte – O Isis und Osiris (both in Italian). 12” EL LVDP DB 1088, POM-22 March, 1927. M-A, lovely copy of preferred LVDP pressing. MB 10

G1350. EZIO PINZA: La Juive – Si la rigeur (1923 Version) (in Italian) / EZIO PINZA & ANNA MARIA TURCHETTI: Mose in Egitto – Dal tuo stellato soglio. 12” AC LVDP DB 698, only form of issue, 12 / 11 July, 1923. M-A, lovely copy of preferred LVDP pressing. MB 15

G1351. EZIO PINZA: La Juive – Si la rigeur (1927 Version) / Vous qui du Dieu vivant. 10” EL Orth Vla 1246, POM-22 March, 1927. M-A MB 8

G1352. EZIO PINZA: Don Giovanni – Deh, vieni alla finestra / Finch'han dal vino. 10” EL Orth Vla 1467, POM-28 March, 1930. M-A MB 6

G1353. EZIO PINZA: Don Giovanni – Finch'han dal vino (sung twice, to enthusiastic applause). 10” EL S/S private acetate of undated broadcast performance. A to M-A MB 15

G1354. EZIO PINZA: Don Carlos – Ella giammai m’amò / NINA KOSHETZ: Prince Igor – Arioso of Jaroslavna (Borodin). 12” EL grey CCCP 013598/99, RRs-17 Feb., 1927 / 13 April, 1928. A to M-A MB 12

G1355. EZIO PINZA: La Favorita – Splendon più belle (1930 Version) / Ernani – Infelice e tu credevi. 12” EL V 7552, POM-9 April, 1930 / 7 May, 1929. Sd. 1 label has Pinza’s Autograph affixed. M-A MB 20

G1356. EZIO PINZA, w.Stevenson Barrett (Pf.): Il cacciatore del bosco (arr. Sinigaglia) / L’amour xe una pietanza (arr.Sadero). 10” EL Canadian Col. C10198, POM-12 Dec., 1947. M-A, lovely copy has, Sd. 1 only, lt. lams, ltly audible. MB 8

G1357. EZIO PINZA, w.Stevenson Barrett (Pf.): La Girometta (arr.Sibella) / Il maritino (arr. Sinigaglia). 10” EL Canadian Col. C10197, POM-12 Dec., 1947. M-A MB 10

G1358. EZIO PINZA, w.Gibner King (Pf.): Deep River (arr. Burleigh) / Thunderin' wonderin' (MacGimsey). 10” EL Col.17383-D, only form of issue, 30 Jan., 1945. M-A MB 8

G1359. EZIO PINZA, w.Gibner King (Pf.): Into the night (Edwards) / Do you remember? (Levitzki). 10” EL Col.17378-D, POM-30 Jan., 1945; issued USA & Australia only. M-A MB 8

G1360. EZIO PINZA, w.Fritz Kitzinger (Pf.): Songs & Arias by Monteverdi, Falconieri, Cavalli, Legrenzi, Sarti, Handel, Giordani, Buononcini, Torelli, Paisiello & Scarlatti, 6s. 3-12” EL PW V 17914/16, only form of issue, 9 & 10 May, 1940, in Orig. Album M-766, w.Brochure. M-A MB 25

"...The set of old Italian arias M-766 is a definite ‘must’....Some of [the arias] are hauntingly beautiful, especially the 'Oblivion soave' from Monteverdi's L'INCORONAZIONE DI POPPEA and Falconieri's 'O bellissimi capelli'....a collector's item to be snatched up, if you manage to get hold of it."

- Leo Riemens, RECORD NEWS, Dec., 1950

G1361. EZIO PINZA, w.The Guadalajara Trio: Mr Imperium – You belong to my heart (in Spanish & English) (Lara) / w.Johnny Green Cond.: Let me look at you (Arlen). 10” EL white vinyl Promotional Copy RCA 10-3225, POM-16 / 21 Jan., 1951. B, decent unworn copy w.various scrs, positively audible. Sd. 1 label appears both sides. MB 8

G1362. EZIO PINZA, w.Norman Leyden Cond.: My Concerto (Alstone) / Paint Your Wagon – I still see Elisa (Loewe). 10” EL white vinyl Promotional Copy RCA 20-4313, only form of issue, 14 Sept., 1951. M-A MB 10

G1363. EZIO PINZA, w.Johnny Green Cond.: Knickerbocker Holiday – September Song (Weill) / Roberta - Yesterdays (Kern). 10” EL white vinyl Promotional Copy RCA 10-3256, POM-16 Dec., 1950, issued USA only. M-A MB 10G1364. EZIO PINZA, w.Lehman Engel Cond.: Fanny – Welcome home / Love is a very light thing (Rome). 10” EL black Canadian RCA 20-6011, only form of issue, 21 Nov., 1954. Uncommon late 78-era issue. M-A MB 12

G1365. EZIO PINZA, w.Johnny Green Cond.: Strictly Dishonorable – I'll see you in my dreams (Jones) / Everything I have is yours (Lane). 10” EL RCA 10-3395, only form of issue, 7 May, 1951. M-A MB 8

G1366. EZIO PINZA, w.Johnny Green Cond.: Mr Imperium – Let me look at you / EZIO PINZA & FRAN WARREN: Andiamo (both Arlen). 10” EL RCA 10-3391, POM-21 Jan., 1951 / 15 Dec., 1950, issued USA only. M-A MB 8

G1367. EZIO PINZA, w.Voorhees Cond.: Don Carlos – Ella giammai m’amò / BIDU SAYÃO, w.Barlow Cond.: The last rose of summer. 12” EL vinyl V Disc 209, only form of issue, Live Broadcasts, 15 Jan. / 5 Feb., 1945, from Bell Telephone Hour / Voice of Firestone, resp. A-B, very decent copy has lt.rubs & scrs, endemic to this series, positively audible. MB 10

G1368. EZIO PINZA, w.Voorhees Cond. Bell Telephone Hour Orch.: Xerxes – Ombra mai fu / RICHARD CROOKS, w.Barlow Cond.: L'Elisir – Una furtiva lagrima. 12” EL vinyl V Disc 327, only form of issue, from broadcasts 5 June / 1 May, resp., 1944, NBC Studios, New York. M-A, choice copy appears unplayed has, Sd. 1 only, faint pap. scr, positively inaud. Extraordinary for this series which usually turns up quite battered! MB 35

G1369. EZIO PINZA & JAN PEERCE, w.Alfred Newman Cond.: Faust – Vous qui faites l’endormie (w.recit.) / ROBERTA PETERS, w.Alfred Newman Cond.: Faust – Air des bijoux; La Traviata – Sempre libera. 12” EL HMV DB 21577, only form of issue, 4 Sept., 1952. M-A Exceedingly elusive! MB 15

G1370. EZIO PINZA, JAN PEERCE, ROBERTA PETERS & ISAAC STERN; Alfred Newman Cond.: Tonight We Sing – Excerpts, 4 Sept., 1952, incl.: Kalinka; Song of the Volga Boatmen; Boris Godounov - Coronation Scene & Death Scene (all Pinza); Faust - Air des bijoux; La Traviata - Sempre libera (Peters); Mme Butterfly - Bimba degli occhi; Faust - Garden Scene (both Peters & Peerce); Mattinata (Leoncavallo); Mme Butterfly - Addio fiorito asil (both Peerce); Faust - Mais ce Dieu (Pinza & Peerce); Faust - Alerte! Alerte! ou vous ˆtes perdus! (Pinza, Peters & Peerce); Zigeunerweisen (Sarasate) & Concerto #2 in d – Excerpt (Wieniawski) (both Isaac Stern), 16s. 8-12” EL 20th Century Fox Special Private Issue, w.typewritten titles on 20th Century Fox printed labels. M-A MB 150

“…the mellow fruitfulness of Pinza’s tone, the richness of its colouring, the sturdiness of its growth and the strength of its flavour….He remains now as one of the great basses of the century.”

- J. B. Steane, SINGERS OF THE CENTURY, Vol. I, pp.59-60G1371. CESARE SIEPI, w.Gallino Cond.: Occhi di fata (Denza) / Malia (Tosti). 10” EL pale-blue Cetra AT 0133, only form of issue, 19 Oct., 1948. M-A, a gleaming copy. MB 25

G1372. CESARE SIEPI, w.Basile Cond.: Don Carlos – Ella giammai m’amò; Dormirò sol, 2s. 12” EL Parl.-Odeon R.30016, POM-11 July, 1947. A-, lovely copy has faintest pap. rubs, inaud. MB 8

G1373. CESARE SIEPI, w.Basile Cond.: I Vespri Siciliani – O tu, Palermo / Mefistofele – Son lo spirito che nega. 12” EL Parl.-Odeon R. 30007, POM-13 July, 1947. A-, very decent copy has lt. rubs & faint scrs, inaud. MB 8

G1374. CESARE SIEPI, w.Basile Cond.: L’Italiana in Algeri – Le femmine d’Italia / La Gioconda – Si, morir ella dè. 12” EL dark-green Cetra BB 25249, POM-18 / 16 Oct., 1948. A-, lovely copy has faintest pap. rubs, inaud. MB 8

“Siepi began singing as a member of a madrigal group. After his 1941 début (in Schio, near Venice, as Sparafucile in RIGOLETTO), Siepi, an opponent of the fascist regime, fled to Switzerland. After the end of the war his career immediately took off. Success as Zaccaria in NABUCCO at La Fenice was followed by the first of many engagements at La Scala. His early engagements there were in the Verdi bass roles, the title rôle in Boito's MEFISTOFELE under Arturo Toscanini. His international reputation was established in 1950, when Rudolf Bing brought him to the Metropolitan Opera to open the 1950 season as King Philip II in DON CARLOS. He was to remain principal bass at the Met until 1974. In 1953 Siepi débuted at the Salzburg Festival with a legendary DON GIOVANNI conducted by Wilhelm Furtwängler, staged by Herbert Graf, and designed by Austrian architect Clemens Holzmeister. He made an immediate impact at the Salzburg Festival in the title rôle of Don Giovanni which became perhaps his best known rôle, as it had been for the most famous Italian bass of the generation before, Ezio Pinza. Siepi was a frequent guest at the Vienna State Opera. He was a particularly fine recital artist and a sensitive interpreter of German lieder.”

G1375. GIUSEPPE TADDEI, w.Basile Cond.: Guglielmo Tell – Resta immobile / La Fanciulla del West – Minni, della mia casa. 10” EL pale-blue Cetra AT 0404, only form of issue, 17 March, 1955. A-, lovely unworn copy has lt rubs, inaud. Recommended copy of an extremely late 78-era issue. MB 25

G1376. GIUSEPPE TADDEI, w.Basile Cond.: Falstaff – L’onore / Don Giovanni – Deh, vieni alla finestra. 10” EL pale-blue Cetra AT 0403, only form of issue, 17 March, 1955. A-, lovely unworn copy has lt rubs, inaud. Recommended copy of an extremely late 78-era issue. MB 25

“Taddei was born in Genoa, Italy, and studied in Rome, where he made his professional début in 1936 as the Herald in LOHENGRIN. He sang at the Rome Opera until he was conscripted into the army in 1942. After the war, he resumed his opera career and appeared for two seasons at the Vienna State Opera. He made his début in London in 1947, at the Cambridge Theatre. The following year, 1948, saw his début at the Salzburg Festival, La Scala in Milan, and the Teatro di San Carlo in Naples. His American début took place at the San Francisco Opera in 1957, followed by the Lyric Opera of Chicago in 1959. He sang regularly at the Royal Opera House in London from 1960 to 1967.Taddei was equally effective in comedy and drama. His vocal longevity allowed him to continue singing into old age, including a début at the Metropolitan Opera, on 25 September, 1985, as Falstaff, at the age of 69.”

G1377. GIAN PIERO MALASPINA, w.Piero Pavesio (Pf.): Tti ricordi / Con te ho vissuto una vita (both Mascheroni). 10” EL green Cetra DC 5643, only form of issue, 10 Nov., 1952. M-A, a gleaming copy. MB 30

G1378. GIAN PIERO MALASPINA, w.Piero Pavesio (Pf.): Verde ucrania (Olivieri) / Show Boat – Ol’ man river (as Vecchio fiume) (Jerome Kern; in Italian). 10” EL green Cetra DC 5644, only form of issue, 10 Nov., 1952. M-A, a gleaming copy. Most elusive, Jerome Kern certainly never sounded like this – nor so beautifully sung! MB 30

G1379. GIULIO NERI, w.Basile Cond.: Simon Boccanegra – Il lacerato spirito / Barbiere – La calunnia. 12” EL red Cetra BB 25295, POM-17 Oct., 1951. M-A, a gleaming copy with remarkably quiet surfaces. Sd. 1 is a particularly magnificent example of Neri’s dignified singing and eloquent black bass quality. One would be most unlikely to encounter a Fiesco so beautifully-sung these days! MB 25

G1380. GIULIO NERI, w.Basile Cond.: Boheme – Vecchia zimarra / Mefistofele – Son lo spirito che nega (same as below).

10” EL pale-blue Cetra AT 0269, POM-17 Oct., 1951. M-A, a gleaming copy. Quite appropriately named (Neri’s nickname in early life was ‘Bronzone’), Neri’s deep, dark voice displays an especially sonorous pure bass quality! MB 25

G1381. GIULIO NERI, w.Basile Cond.: La Favorita – Splendon più belle / Mefistofele – Son lo spirito che nega. 10” EL pale-blue Cetra AT 0268, POM-17 Oct., 1951. M-A, gleaming copy has, Sd. 2 only, infinitesimal ipc nowhere near edge, positively inaud. MB 15

“Neri sang throughout Italy, making his La Scala début in 1941. After the war he began appearing abroad, notably at the Royal Opera House in London, the Liceo in Barcelona, the Munich State Opera, the Teatro Colón in Buenos Aires, etc. He sang most of the great bass roles in opera by Verdi and some Wagner with his dark, powerful, cavernous voice and a strong stage presence.”

G1382. GIUSEPPE VALDENGO,w.Petralia Cond.: Sogno / L'ultima canzone (both Tosti). 12” EL red Italian Cetra PE 98, only form of issue. A to M-A, lovely copy has, Sd. 1 only, tiny edge flake & faintest edge lams, visible topside only. MB 10

G1383. GIUSEPPE VALDENGO,w.Basile Cond.: Nozze – Non più andrai / Andrea Chénier – Nemico della Patria. 12” EL red Italian Cetra PE 197, only form of issue, 4 / 5 Dec., 1953. M-A, gleaming copy has, Sd. 1 only, 2 faintest pap. rubs, positively inaud. MB 25

G1384. GIUSEPPE VALDENGO, w.Erede Cond.: La mia canzone / ‘A vucchella (both Tosti). 10” EL red London R.10126, POM-1949. M-A MB 15

G1385. GIUSEPPE VALDENGO, w.Erede Cond.: T’amo ancora (Tosti) / Mia sposa sara la mia bandiera (Rotoli). 12” EL red London T.5259, POM-1949. M-A MB 12

G1386. GIUSEPPE VALDENGO, w.Erede Cond.: E’il canta il grillo (Billi) / Se (Denza). 12” EL red London T.5260, POM-1949. M-A, a gleaming copy. MB 12

G1387. GIUSEPPE VALDENGO, w.Erede Cond.: Aprile / L’ultima canzone (both Tosti). 12” EL red London T.5258, POM-1949. M-A MB 12

G1388. GIUSEPPE VALDENGO, w.Erede Cond.: Rigoletto – Cortigiani / Pari, siamo! 12” EL orange Eng. Decca X.304, POM-1949. M-A, a gleaming copy. MB 15

G1389. GIUSEPPE VALDENGO, w.Erede Cond.: Pagliacci – Prologo, 2s. 12” EL orange Eng. Decca X.303, POM-1949. M-A, a gleaming copy. MB 15

G1390. GIUSEPPE VALDENGO, w.Erede Cond.: Pagliacci – Prologo, 2s.

12” EL red London T.5255, POM-1949. M-A MB 10

G1391. GIUSEPPE VALDENGO, w.Erede Cond.: Hamlet – Brindisi / Faust – Avant de quitter ces lieux (both in Italian). 12” EL red London T.5257, POM-1949. M-A, a gleaming copy. MB 12

“After studying in Turin, Valdengo made his début in 1936 at Parma as Rossini 's Figaro, then sang Sharpless at Alessandria. Though engaged at La Scala in 1939, he did not sing there (because of military service) until 1941 , when he made his début as Baron Douphol. In 1946 he performed at the New York City Opera, then in 1947 made his San Francisco début as Valentin, returning as Escamillo, Sharpless, Iago, Amonasro and Rigoletto. At the Metropolitan (1947–54) he sang Tonio, Marcello, Germont, Count Almaviva, Belcore, Ford, Paolo (SIMON BOCCANEGRA) and Giacomo Puccini 's Lescaut. In 1955 he sang Don Giovanni and Raimbaud (LE COMTE ORY) at Glyndebourne, and in 1961 he created the Lawyer in Renzo Rossellini's UNO SGUARDO DAL PONTE in Rome. His recordings of Iago, Amonasro and Falstaff, deriving from NBC broadcasts (1947–50) conducted by Arturo Toscanini, are vividly and firmly sung, with an even, flexible line.”

- Alan Blyth

G1392. LUIGI MONTESANTO: Pagliacci – Prologo, 2s. 11½” AC H & D grey paper label US-Pathé 59070 (84159/60), recorded 1912, Milano. This issue number missing in Girard & Barnes. M-A, a gleaming copy. MB 15

G1393. LUIGI MONTESANTO & ELVIRA MAGLIULO: Aïda – Rivedrai le foreste, 2s. 13½” AC Milano etched label H & D center-start Pathé 84167/68 (70228/70065), recorded 1911. M-A MB 25

G1393a. NICOLA ROSSI-LEMENI: Lament of the Siberian prisoner (Unaccompanied, in Russian) (same as above) / w.Basile Cond.: Boris Godounov – Ah! I am suffocating (Clock scene) (in Russian). 12” EL red Cetra BB 25279, POM-26 / 27 Nov., 1950. Sd. 1 is hauntingly beautiful. M-A, a gleaming copy. MB 15

G1394. NICOLA ROSSI-LEMENI, w.Giorgio Favaretto (Pf.): Come raggio di sol (Caldara) / Widmung (in German) (Schumann). 10” EL pale-blue Cetra AT 0234, only form of issue, 26 Nov., 1950. M-A, a gleaming copy. MB 25

G1395. NICOLA ROSSI-LEMENI, w.Giorgio Favaretto (Pf.): Ich grolle nicht (in German) (Schumann) / Occhi neri (in Russian). 10” EL pale-blue Cetra AT 0236, only form of issue, 23 Feb., 1951. M-A, a gleaming copy. MB 25

G1396. NICOLA ROSSI-LEMENI, w.Giorgio Favaretto (Pf.): Verborgenheit (Wolf) / Der Doppelgänger (Schubert) (both sung, exquisitely, in Italian). 12” EL Parl.-Odeon R 30046, POM-22 Feb., 1951. M-A, a gleaming copy. MB 20

G1397. NICOLA ROSSI-LEMENI, w.Giorgio Favaretto (Pf.): Song of the flea (in Russian) (Mussorgsky) / Don Quixote – Chanson de la mort (in French) (Ibert). 10” EL pale-blue Cetra AT 0233, only form of issue, 26 Nov., 1950. M-A, a gleaming copy. MB 25

G1398. NICOLA ROSSI-LEMENI, w.Basile Cond.: Boris Godounov – I have attained the highest power (in Russian), 2s. 12” EL red Cetra BB 25278, POM-27 Nov., 1950. M-A, gleaming copy has, Sd. 2 only, sev. infinitesimal rubs, positively inaud. MB 15

G1399. NICOLA ROSSI-LEMENI, w.Basile Cond.: Faust – Le veau d’or (in French) / Mefistofele – Ecco il mondo (in Italian). 10” EL pale-blue Cetra AT 0235, only form of issue, 24 Feb., 1951. M-A, a gleaming copy. MB 25

G1400. NICOLA ROSSI-LEMENI, w.Benintende-Neglia Cond.: Faust – Vous qui faites l’endormie / w.Fistoulari Cond.: Le veau d’or (both in French). 10” EL HMV DA 2050, only form of issue, 1 / 6 Aug., 1952. M-A MB 10

G1401. NICOLA ROSSI-LEMENI, w.Benintende-Neglia Cond.: A Life for the Tsar – They guess the truth / w.Braithwaite Cond.: Prince Igor – I hate a dreary life (both in Russian). 12” EL HMV DB 21559, only form of issue, 4/5 Aug., 1952. M-A MB 10

“Rossi-Lemeni was born in Istanbul, Turkey, the son of an Italian colonel and a Russian mother. In his prime he was one of the most respected bassos in Italy. The composer Ildebrando Pizzetti wrote the opera ASSASSINIO NELLA CATTEDRALE (1958) specifically for Rossi-Lemeni. He was also a prize-winning poet and a painter. The basso made his début as Varlaam in BORIS GODOUNOV, at Venice, in 1946. He sang at La Scala from 1947 to 1960, the Teatro Colón (1949) and Covent Garden (1952). He appeared at the Metropolitan Opera, opening the 1953-54 season, in FAUST (with Jussi Björling, Victoria de los Ángeles and Robert Merrill, conducted by Pierre Monteux and directed by Peter Brook in his Met début), followed by the title roles of DON GIOVANNI and BORIS GODOUNOV. Rossi-Lemeni was married to Romanian soprano Virginia Zeani.”

G1402. KIM BORG, w.Hjalmar Jensen (Organ): Komm, süsser Tod / O Jesuslein süss (both Bach). 10” EL yellow Danish Felix 231/232, only form of issue, 1952. M-A MB 10

G1403. KIM BORG, w.Arthur Rother Cond. Münchener Phil.: Boris – Pimen’s Monologue (in Russian) / Barbiere – La calunnia (in Italian). 10” EL Variable Micrograde DGG 36095, only form of issue, 30 Dec., 1953. M-A, a gleaming copy. MB 10

G1404. KIM BORG, w.Arthur Rother Cond. Münchener Phil.: Boris – Pimen’s Monologue / Barbiere – La calunnia (both in German). 10” EL Variable Micrograde DGG 36088, only form of issue, 29 Sept., 1953. M-A, a gleaming copy. MB 10

G1405. KIM BORG, w.Arthur Rother Cond. Münchener Phil.: Zauberflöte – In diesen heil’gen Hallen / O Isis und Osiris. 10” EL Variable Micrograde DGG 36089, only form of issue, 20 March, 1953. M-A, a gleaming copy. MB 10

“Finnish bass-baritone and composer, Kim Borg made his operatic début in 1952 at Århus, Denmark, as Colline in LA BOHÈME. An international career opened up in 1956 when he sang at Salzburg and Glyndebourne, his rôles there being Don Giovanni, Pizarro and Prince Gremin. He made his Metropolitan début in 1959 as Count Almaviva. From 1960 he was a member of the Swedish Royal Opera, also singing regularly in Hamburg where in 1966 he appeared in the world première of Gunther Schüller's THE VISITATION. Borg retired from the stage in 1980. From 1972 to 1989 he was professor of singing at the

Copenhagen Conservatory. A fine linguist and a cultivated musician, he can be heard in many recordings from the 1950s and 60s when his firm, full-bodied voice was in its prime.”

G1406. ALEXANDER SVÉD, w.Charles Benci’s Gypsy Orchestra: Alexander Svéd in the ‘Csarda’, 8s. 4-10” EL purple RCA 25-6056/59, only form of issue, c.1949, in Orig.Album S-47. M-A, choice copy has occasional pap. rub, inaud. MB 20

G1407. ALEXANDER SVÉD, w.Olivieri Cond.: Macbeth - Pietà, rispetto, amore / Guillaume Tell – Sois immobile (in Italian).

12” EL LVDP DB 5366, only form of issue, 1940. M-A, a gleaming copy. MB 12

G1408. ALEXANDER SVÉD, w.Simonetto Cond.: Ballo – Eri tu?, 2s. 12” EL dark-green Cetra BB 25191, only form of issue, 27 / 28 June, 1947. M-A, a gleaming copy. MB 12

G1409. ALEXANDER SVÉD, w.Simonetto Cond.: Rigoletto – Cortigiani / Guillaume Tell – Sois immobile (in Italian). 12” EL dark-green Cetra BB 25203, only form of issue, 5 July / 29 June, 1947. M-A, a gleaming copy. MB 12

G1410. ALEXANDER SVÉD, w.Simonetto Cond.: Rigoletto – Pari siamo / ALEXANDER SVÉD & LINA PAGLIUGHI: Figlia! Mio padre!, 3s. 2–12” EL dark-green Cetra BB 25199/25200, only form of issue, 1-5 July, 1947. M-A, a gleaming copy. MB 20

G1411. ALEXANDER SVÉD & LINA PAGLIUGHI, 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 10G1412. ALEXANDER SVÉD, w.Simonetto Cond.: Die Meistersinger – Wahn! Wahn! Überall Wahn! (in German), 2s. 12” EL dark-green Cetra BB 25198, only form of issue, 3 July, 1947. M-A, a gleaming copy. MB 15

G1413. ALEXANDER SVÉD, w.Simonetto Cond.: Die Meistersinger – Was duftet doch der Flieder (Fliedermonolog) / Tannhäuser – O du mein holder Abendstern (both in German). 12” EL dark-green Cetra BB 25205, only form of issue, 6 July, 1947. M-A, a gleaming copy. MB 15

G1414. ALEXANDER SVÉD, w.Simonetto Cond.: Otello – Era la notte / Credo. 12” EL dark-green Cetra BB 25192, only form of issue, 27 / 28 June, 1947. M-A, lovely copy has, Sd. 2 only, long laterla lam, ltly audible during 1st inch. MB 8

G1415. ALEXANDER SVÉD, w.Kossuth Cond.: Don Giovanni – Finch'han dal vino / w.Vilmos Cond.: Deh, vieni alla finestra (both in Hungarian). 10” EL pale-green Budapest M.H.V. MK 1553. A to M-A, lovely copy has occasional lt. rub, inaud. MB 12

G1416. ALEXANDER SVÉD & MIHÁLY SZÉKELY, w.Varga Cond.: Rigoletto – Quel vecchio maledivami! (Sparafucile & Monterone duet) / Simon Boccanegra – Del mar sul lido fra gente ostile (Simon & Fiesco) (in Hungarian). 12” EL pale-green Budapest M.H.V. MN 1127. A to M-A, beautiful copy has, Sd. 2 only, 3 infinitesimal dust mks, inaud. Remarkably quiet surfaces. MB 12

G1417. ALEXANDER SVÉD, w.Gyukovics, Tiszay & Simandy, w.Kulka Cond.: Rigoletto – Bella figlia dell’amore / w.Littassy & Kulkey: Lucia – Chi mi frena (both in Italian). 12” EL blue & white Qualiton MX 2553/52. M-A, a gleaming copy. Remarkably quiet surfaces. MB 12

“Alexander Svéd studied singing with Fritz Feinhals in Berlin, and with Mario Sammarco and Riccardo Stracciari in Milan. He made his début in Budapest in 1928 as Count di Luna in IL TROVATORE. He made his first appearance at the Vienna Staatsoper in 1936 and continued to sing there until 1939. He also sang at Covent Garden in 1936, and at the Salzburg festivals of 1936-38. In 1938 he appeared at La Scala in the title rôle of MACBETH, the first of several Milan rôles that included Germont, Prince Igor, William Tell and Amfortas. After his 1940 Metropolitan début in UN BALLO IN MASCHERA, he sang there regularly until his return to Hungary in 1950, when he rejoined the Budapest opera.”

G1418. IGOR GORIN, w.Donald Voorhees Cond. Bell Telephone Orch.: Homing (del Riego); Brother Will, Brother John (Sacco); Barbiere – Largo al factotum / GEORGE LONDON: When I’m looking at you (Stothart); For you alone (Geehl); Nozze – Non più andrai. 12” EL Lloyd Garrison 33 1/3 rpm Professional Acetate of Live Performances, 27 Dec., 1954 / 3 Jan., 1955. M-A MB 35

G1419. IGOR GORIN, w.Adolph Baller (Pf.): El Vito / Viallancico Vasco (both Nin). 10” EL V 2213, only form of issue, 2 July, 1941. A to M-A MB 10

G1420. IGOR GORIN, w.Albert Hay Malotte (Pf.): Pledge to the Flag / The Lord’s Prayer (both Acc. by the Composer). 10” EL PW V 4535, only form of issue, 16 / 22 Aug., 1940; Sd. 2 being a Creator Record. M-A MB 10

G1421. IGOR GORIN, w.Albert Hay Malotte (Pf.): Among the living / My friend (both Acc. by the Composer). 10” EL V 4554, only form of issue, 16 / 22 Aug., 1940. M-A MB 10

G1422. IGOR GORIN, w.Max Rabinowitsch (Pf.): Songs and Dances of Death; To the little star; The banks of the Don; The forgotten one; Sorochintski Fair – Reverie of the young peasant (all Mussorgsky), 8s. 4–10” EL PW V 2036/39, only form of issue, 23 June / 10 April, 1939, in Orig. Album M-636. M-A, a gleaming copy. MB 35

G1423. IGOR GORIN, w.Pilzer Cond.: Songs by Cadman, Romberg, Malotte, Kálmán, etc., 6s. 3-10” EL RCA 10-1290/92, POM-8 Feb., 1945 & 24 Sept., 1946, issued USA only, in Orig. Album M-1125. M-A, a gleaming copy. MB 15

G1424. IGOR GORIN, w.Shilkret Cond.: Caucasian melody (Sung by the Composer) / Kasbek (arr. Bolin). 10” EL PW V 4337, only form of issue, 26 Jan., 1937. A-B, very decent copy has lt. rubs, inaud. MB 8

G1425. IGOR GORIN, w.Pelletier Cond.: Over the steppe (Gretchaninoff) / Gopak (Moussorgsky). 10” EL PW V 4414, POM-28 April / 4 May, 1938. M-A MB 10

G1426. IGOR GORIN, w.Pelletier Cond.: Pagliacci – Prologo, 2s. 10” EL PW V 4409, POM-4 May, 1938. A, lovely copy has, Sd. 2 only, lt. grey on peaks. MB 10

G1427. IGOR GORIN, w.Pelletier Cond.: Non è ver (Mattei) / Barbiere – Largo al factotum. 12” EL PW V 12437, POM-28 April, 1938. M-A MB 12

G1428. IGOR GORIN, w.O’Connell Cond.: The song of the United Nations (Shostakovich) / Khovanschina – All is quiet in the camp (Act III) (Moussorgsky). 12” EL V 11-8250, only form of issue, 8 June, 1942. M-A MB 10

G1429. IGOR GORIN, w.Reibold Cond.: Attila – Dagli immortali vertici (Verdi; in Italian) / Die Königin von Saba – Blick empor zu jenen Räumen (Goldmark; in English). 12” EL V 18402, POM-3 July, 1941. M-A MB 10

“It was during NBC’s The Standard Hour programs that Gorin met the composer Albert Hay Malotte. As a result, Gorin was the first to perform Malotte’s famous setting of ‘The Lord’s Prayer’. It was to become Gorin’s most popular song on radio, television and in concerts. Notable future performances included portrayals of Rigoletto on the television program NBC Opera Theatre in 1958 and Giorgio Germont with NBC, again in 1960. He appeared with Boris Christoff in 1962 at the Lyric Opera of Chicago in Borodin’s PRINCE IGOR, directed by Vladimir Rosing. In 1963 Gorin sang with the New York City Opera, as Rigoletto, and Giorgio Germont in LA TRAVIATA (opposite Beverly Sills). He made one guest appearance at the Metropolitan Opera in LA TRAVIATA in 1964.

- J.B. SteaneG1430. MARK REIZEN: Oh, thou Volga / A young eagle flew over the Volga (both Russian folksongs). 7¾” EL red Aprelevski Zavod Extended Play D-00219/20, recorded c.1950. A to M-A, lovely copy has few lt. rubs, only momentarily ltly audible. MB 15

G1431. MARK REIZEN: A tear trembles / Autumn (both Tchaikovsky). 7¾” EL red Aprelevski Zavod Extended Play D-00616/17, recorded c.1950. M-A, a gleaming copy. MB 25

G1432. MARK REIZEN: Anchar / The gloomy day has faded (both Rimsky-Korsakov). 7¾” EL red Aprelevski Zavod Extended Play D-00713/14, recorded c.1951. M-A, a gleaming copy. MB 25

G1433. MARK REIZEN: The daring hawks (Mokroussov), 2s. 10” EL red CCCP Aprelevski Zavod 19423/24, recorded 1951. M-A, a gleaming copy. MB 15

G1434. MARK REIZEN: Farewell joy (Russian folksong) / SERGEI LEMESHEV: Russian folksong. 10” EL dark-blue Aprelevski Zavod 5945/5579, recorded 1937. M-A, lovely copy has, Sd. 2 only, few faint mks. MB 20

G1435. MARK REIZEN: I am sad (Dargomyzhsky) / Ich grolle nicht (Schumann; in Russian). 10” EL pale-blue Aprelevski Zavod 9154/55, recorded 1938. M-A MB 25

G1436. MARK REIZEN: The night wind / The titular councillor; The miller (all Dargomyzhsky). 10” EL taupe Aprelevski Zavod 9151/9664, recorded 1938. M-A MB 25

G1437. MARK REIZEN: O could I but express in song (Malashkin) / Gold rolls here below (Persian love song) (Rubinstein [although att. on label to Rimsky-Korsakov]). 10” EL pale-lavender Aprelevski Zavod 9152/53, recorded 1938. M-A MB 35

G1438. MARK REIZEN: Frenzied nights / The nightingale (both Tchaikovsky). 10” EL red USSR Aprelevski Zavod 9601/02, recorded 1938. A, lovely copy has very few superficial rubs. MB 15

G1439. MARK REIZEN: Night / Song of the Volga boatmen (both Russian folksongs). 10” EL red CCCP Aprelevski Zavod 10615/16, recorded 1940. M-A MB 15

G1440. MARK REIZEN: The tempest rages (Sokolov) / Speak to me not, bride (Russian folksong). 10” EL red CCCP Aprelevski Zavod 14047/48, recorded 1946. M-A MB 15

G1441. MARK REIZEN: So slowly pass my days / O, if you could for a moment (both Rimsky-Korsakov). 10” EL red USSR Aprelevski Zavod 14267/68, recorded 1946. M-A MB 15

G1442. MARK REIZEN: Octave (Rimsky-Korsakov) / We parted proudly (Dargomyzhsky). 10” EL burgundy Aprelevski Zavod 14269/14349, recorded 1947. A-, lovely copy has, Sd. 2 only, sev. lt rubs, positively inaud.; Sd. 1 only has few wee dust mks, only occasionally ever-so-faintly audible. Among Reizen’s most beautiful! MB 15

G1443. MARK REIZEN: Song of the flea (Mussorgsky) / Es war einmal (Song of the flea) (Beethoven; in Russian). 10” EL red CCCP Aprelevski Zavod 14910/15399, recorded 1947. M-A MB 15

G1444. MARK REIZEN: Sebastopol stone (Mokrousov), 2s. 10” EL burgundy CCCP Bellaccord Electro 15349/50 (651/47), recorded 1947 (missing in Linnell RECORD COLLECTOR discography). M-A MB 25

G1445. MARK REIZEN: An die Musik (1947 Version) (Schubert; in Russian) / A song of travel (Glinka). 10” EL red CCCP Aprelevski Zavod 15432/33, recorded 1947. M-A MB 15

G1446. MARK REIZEN: Der Wanderer; An die Musik (1952 Version) / Die Schöne Müllerin – Das Wandern (all Schubert; in Russian). 7¾” EL red Aprelevski Zavod Extended Play D-00951/52, recorded c.1952. M-A, gleaming copy has, Sd 2 only, faintest pap. scr, inaud. MB 25

G1447. MARK REIZEN: Der Döppelganger / Aufenthalt (1950 Version) (both Schubert; in Russian). 12” EL red CCCP Aprelevski Zavod 07521/20, recorded 1938. M-A, lovely copy has, Sd. 1 only, faintest pap. rub, inaud. MB 25

G1448. MARK REIZEN: The sailor’s last voyage (Alnaes) / Aufenthalt (1950 Version) (Schubert; in Russian). 12” EL pale-green Aprelevski Zavod 017774/75, recorded 1950. A-, lovely copy has few lt. rubs, inaud. MB 25

G1449. MARK REIZEN: I bless you, forests (Pilgrim’s song) / Night (both Tchaikovsky). 12” EL black Aprelevski Zavod 07518/19, recorded 1938. M-A MB 25

G1450. MARK REIZEN: Arise, red sun (Slonov) / On a high burial mound (Russian folksong). 10” EL red USSR Aprelevski Zavod 16053/52, recorded 1948. M-A MB 15

G1451. MARK REIZEN, w.Steinberg Cond.: Faust – Il était temps (Garden Scene) (in Russian) /

Steinberg Cond: Faust – Waltz. 10” EL red CCCP Aprelevski Zavod 9917/18, recorded 1939. A-/A, lovely copy has, Sd. 1 only, few faintest scrs, ever-so-faintly audible, if at all. MB 15

G1452. MARK REIZEN, w.Melik-Pashaev Cond.: Ruslan and Ludmilla – The happy day is gone (Farlaf’s rondo) (Glinka) / Judith – Holofernes’ war cry (Serov). 10” EL red Aprelevski Zavod 15685/16312, recorded 1948. M-A MB 15

G1453. MARK REIZEN, w.Nebolsin Cond.: Prince Igor – How goes it, Prince?, 2s. 12” EL purple CCCP Aprelevski Zavod 017451/52, recorded 1941. M-A MB 25

G1454. MARK REIZEN, w.PREOBRAZHSKAYA & NECHAYEV; Khaikin Cond.: Khovanschina – Final scene (Mussorgsky), 2s. 10” EL red CCCP Aprelevski Zavod 16443/44, recorded 1948. M-A/A-, lovely copy has, Sd. 2 only, lt. rub, positively inaud. MB 15

G1455. MARK REIZEN, w.Melik-Pashaev Cond.: Eugen Onégin – Everyone knows love on earth (Gremin’s aria) (Tchaikovsky), 2s. 10” EL yellow CCCP Aprelevski Zavod 16266/67, recorded 1948. M-A, a gleaming copy. Another of Reizen’s most distinguished and beautiful records, this was the rôle of his Bolshoi farewell, 3 July, 1985, on his 90th birthday! MB 15

G1456. MARK REIZEN, w.Khaikin Cond.: Khovanschina – Scene of Dosifey (Act V) (Mussorgsky), 2s. 10” EL red CCCP Aprelevski Zavod 16439/40, recorded 1948. M-A, a gleaming copy. MB 15

“Ukrainian bass Mark Reizen studied at the Khar’kiv Conservatory and made his début with the Khar’kiv Opera as Pimen in BORIS GODUNOV in 1921. In the following seasons he appeared in a wide variety of rôles, including Méphistophélès in FAUST, Saint-Bris in LES HUGUENOTS, Ruslan and Farlaf in RUSLAN AND LYUDMILA and Dosifey in KHOVANSHCHINA. From 1925 to 1930 he was a member of the Leningrad Opera, where in 1928 he sang his first Boris. He then became principal bass at the Bolshoi, Moscow, remaining there for the rest of his long career. He also sang in Germany, Hungary and France, with appearances at the Paris Opéra and at Monte Carlo in MEFISTOFELE and IL BARBIERE DI SIVIGLIA. One of the greatest of Russian singers, Reizen had a voice of exceptional beauty, scrupulously used and so well preserved that he could sing at the Bolshoi to celebrate his 90th birthday. He was also an imposing figure and an accomplished actor. His recordings, dating from 1929 to 1980, include complete performances of BORIS GODUNOV, KHOVANSHCHINA and MOZART AND SALIERI, together with an impressively wide repertory of songs, mainly Russian.”

- J.B. Steane

G1457. JOSEF GREINDL, w.Hertha Klust (Pf.): Edward / Der Nöck (both Löwe). 12” EL Variable Micrograde DGG 72063, only form of issue, 13 March, 1951. M-A, a gleaming copy. MB 12

G1458. JOSEF GREINDL, w.Hertha Klust (Pf.): Archibald Douglas (Löwe), 2s. 12” EL Variable Micrograde DGG 72102, only form of issue, 13 March, 1951. M-A, gleaming copy has, Sd 1 only, faintest pap. rub, inaud. MB 12

G1459. JOSEF GREINDL, w.Fritz Lehmann Cond.: Nozze – Non più andrai / Abrite un po’ (in German). 10” EL Variable Micrograde DGG 36025, only form of issue, 27 March, 1952. M-A, a gleaming copy. MB 12

G1460. JOSEF GREINDL, w.Fritz Lehmann Cond.: Boris Godounov – Death of Boris (in German), 2s. 10” EL Variable Micrograde DGG 36039, only form of issue, 2 Sept., 1952. M-A, a gleaming copy. A profoundly beautifuly sung and deeply moving performance! MB 12

G1461. JOSEF GREINDL, w.Rother Cond.: Don Carlos –Ella giammai m’amò; Dormirò sol (in German), 2s. 12” EL DGG 67999, POM-1942. M-A, a gleaming copy. MB 12

G1462. JOSEF GREINDL, w.Rother Cond.: Die Meistersinger – Das schöne Fest / Lohengrin – Gott grüss euch. 12” EL DGG 67975, POM-1942. M-A, a gleaming copy. MB 12

G1463. JOSEF GREINDL, w.Rieger Cond.: Faust – Le veau d’or / Vous qui faites l’endormie (1952 Versions) (both in German). 10” EL DGG 62887, only form of issue, 17 March, 1952. M-A, a gleaming copy. MB 12

G1464. JOSEF GREINDL, w.Schüler Cond.: Faust – Le veau d’or / Vous qui faites l’endormie (1948 Versions) (both in German). 10” EL Electrola DA 5419, only form of issue, 1948. M-A, lovely copy has, Sd. 1 only, few insignificant pap. mks, positively inaud. MB 12

G1465. GOTTLOB FRICK, w.Schüchter Cond.: La Juive – Si la rigeur / Eugen Onégin – Everyone knows love on earth (Gremin’s aria) (Tchaikovsky) (both in German). 12” EL Electrola DB 11566, only form of issue, 15 March, 1954. M-A, a gleaming copy. Gloriously beautiful and strong performances; remarkably quiet surfaces, as well! MB 20

G1466. GOTTLOB FRICK, w.Striegler Cond.: Die Kluge – O hätt ich meiner Tochter nur geglaubt / Fehenberger, Löbel & Kurt Böhme: Als die Treue ward geboren (w.Striegler Cond.) (Orff). 12” EL Musica Nova DGG 68151, POM-1944. M-A, a gleaming copy. MB 12

“Frick’s voice, instantly recognisable by its dark, evil-sounding, almost reptilian timbre, was aptly described by Wilhelm Furtwängler as 'the blackest bass in Germany' (der schwärzeste Bass in Deutschland). This made up for the fact that it was somewhat smaller than others such as Josef Greindl's, Ludwig Weber's, and Kurt Böhme's.”

G1467. JOSEF von MANOWARDA, w.Arpad Sandor (Pf.): Die Uhr (Löwe), 2s. 10” EL PW dark-green German Grammophon 23157, POM-1930. M-A, a gleaming copy. MB 12

G1468. JOSEF von MANOWARDA, w.Arpad Sandor (Pf.): Auf dem Kirchhofe / Der Tod, das ist die kühle Nacht (Brahms). 10” EL PW dark-green German Polydor 23158, POM-1930. A-, very decent copy has lt. rubs & few lt. mks, inaud, MB 8

G1469. JOSEF von MANOWARDA, w.Arpad Sandor (Pf.): Die Fussreise / Verborgenheit (both Wolf). 10” EL PW dark-green German Polydor 23160, POM-1930. M-A, lovely copy has, Sd. 2 only, sev. infinitesimal pap. scrs, positively inaud. MB 10

G1470. JOSEF von MANOWARDA, w.Arpad Sandor (Pf.): Gesang Weylas / Gebet (both Wolf). 10” EL PW dark-green German Polydor 23159, POM-1930. M-A MB 10

G1471. WALTER BERRY, w.Rossmayer Cond.: Was soll das bedeuten / ANNY FELBERMAYER & HILDE RÖSSEL-MAJDAN: Stille Nacht (both Weihnachtslied). 10” EL blue Austrian Decca F 49425. M-A, lovely copy has, Sd. 1 only, wee harmless ‘damp’ spot. An example of the very young Walter Berry, recorded shortly after his début at the Vienna Staatsoper, 1947. MB 12G1472. HEINRICH REHKEMPER: Carmen – Chanson du toréador / Don Giovanni – Deh, vieni alla finestra (both in German). 10” AC black Schall Gram. 62402 (1953/54ar), only form of issue, 1922. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 25

G1473. HEINRICH REHKEMPER: Ballo – Eri tu? / Pagliacci – Si puo (Prologo) (both in German). 12” AC black Schall Gram. 65702 (918/19as), only form of issue, 1922. M-A, a gleaming copy. MB 25

“[Rehkemper’s] acoustics fall into a fairly rare category, some being available only for a year or two before electrical records forced their withdrawal. Further, most of his records were sold over a period when record buying was hit by uneasy financial conditions.”

- Dennis Brew, THE RECORD COLLECTOR, 1975G1474. HEINRICH REHKEMPER: Zauberflöte – Papagena, Papagena / Ein Mädchen oder Weibschen. 12” EL black PW German Polydor 66714 (877/78bm), POM-1928. M-A, gleaming copy has, Sd. 2 only, infinitesimal pap. scr, ever-so-faintly audible, if at all. MB 20

G1475. HEINRICH REHKEMPER: Schwanengesang – Der Doppelgänger / Abschied (Schubert). 12” EL PW dark-blue German Polydor 95102, only form of issue, 1928. A-, lovely copy has faintest pap. rubs, inaud.; labels have tiny stickers. MB 12

G1476. HEINRICH REHKEMPER, w.Raucheisen (Pf.): Der Rattenfänger / Auftrag (both Wolf). 10” EL dark-green German Gram. 23149 (1685/88BH), POM-1929. M-A, a gleaming copy. Incl. Orig. Grammophon texts. MB 15

G1477. HEINRICH REHKEMPER, w.Raucheisen (Pf.): Zur Johannisnacht / Im Kahne (both Grieg). 10” EL dark-green German Polydor 23150 (1686/87BH), only form of issue, 1929. M-A MB 15

G1478. HEINRICH REHKEMPER, w.Raucheisen (Pf.): Nicht mehr zu dir zu gehen / Die Botschaft (both Brahms). 10” EL dark-green German Polydor 23148 (1689/90½BH), only form of issue, 1929. M-A MB 12

G1479. HEINRICH REHKEMPER, w.Raucheisen (Pf.): Der Feuerreiter / Storchenbotschaft (both Wolf). 12” EL dark-green Grammophon 27186 (874/75bi), POM-1929. M-A MB 12

G1480. HEINRICH REHKEMPER, w.Prüwer Cond.: Nozze – Non piu andrai / Se vuol ballare (in German). 10” EL DGG 26510 (1691½/92½), POM-1929. M-A, a gleaming copy. MB 12

G1481. HEINRICH REHKEMPER, w.Horenstein Cond.: Kindertotenlieder (Mahler), 6s. 3-12” EL PW black German Polydor 66693/95 (696-701bm), POM-1928. M-A, gleaming copy has, Sd 1 only, few infinitesimal scrs, occasionally faintly audible at beg.. MB 45

“From 1921 to 1924 Rehkemper was engaged at the Stuttgart opera, and during the first three years of this time he sang over forty different lead roles. At the end of three years he broke his contract, and was therefore legally forbidden to make stage appearances for the final year. In that time he began to develop his concert repertoire and persona. He gave recitals of songs by Schubert, Schumann, Wolf and Mahler….In 1925, he returned to the operatic stage, joining the Munich opera, where Hans Knappertsbusch was taking over direction from Bruno Walter. The leading baritone Friedrich Brodersen found a successor in Rehkemper, who remained at Munich for the next eighteen years. He seldom sang outside Germany, but he made guest appearances at other centres such as Berlin, Bremen, Darmstadt and Cologne. Rehkemper also had a wide repertoire of Lieder and Mahler's LIEDER EINES FAHRENDEN GESELLEN and KINDERTOTENLIEDER, the latter being preserved in an effective recording.”

G1482. JOSEF METTERNICH, w.Schüchter Cond.: Im Reiche Des Indra – Es war einmal (Lincke) / Gasparone – Dunkelrote Rosen (Millöcker). 10” EL plum Electrola EG 7990, only form of issue, 1953. M-A MB 15

G1483. JOSEF METTERNICH, w.Schüchter Cond.: La Traviata – Di Provenza il mar / Rigoletto – Cortigiani (both in German). 12” EL Electrola DB 11549, only form of issue, 13 June, 1953. M-A, a gleaming copy. MB 15

G1484. JOSEF METTERNICH, w.Schüchter Cond.: Ballo – Alla vita che t’arride / Eri tu?, w.recit. (both in German). 12” EL Austrian HMV DB 11558, only form of issue, 29 Aug., 1953. M-A, lovely copy has, Sd. 2, faintest pap. rubs, inaud. MB 15

G1485. JOSEF METTERNICH, w.Schüchter Cond.: Faust – Avant de quitter ces lieux / Barbiere – Largo al factotum (both in German). 12” EL Electrola DB 11547, only form of issue, 19 April, 1953. M-A, a gleaming copy. MB 15

G1486. JOSEF METTERNICH & WILHELM LANG, w.Schüchter Cond.: Il Trovatore – Qual suono … Per me ora fatale / Il balen (both in German). 12” EL Electrola DB 11568, only form of issue, 28 May, 1954. M-A, a gleaming copy. Remarkably wonderful and strong performances; remarkably quiet surfaces, as well! MB 15

G1487. JOSEF METTERNICH & DIETRICH FISCHER-DIESKAU, w.Fricsay Cond.: Falstaff – Signore, v’assista il ciel! (in German), 4s. 2-10" EL DGG Variable Micrograde 36016/17, only form of issue, 10 Jan., 1952. M-A, a gleaming copy. MB 20

“Josef Metternich made his début at Covent Garden in 1951. From 1952 until 1959 he was a member of the Vienna State Opera and appeared at La Scala, the Opéra of Paris, the Edinburgh Festival (1952) and at several German opera houses. From 1953 until 1956 he sang at the Met, where he débuted as Don Carlos in LA FORZA DEL DESTINO. His rôles at the Met included 22 performances (Tonio, Renato, Amonasro, Wolfram and Kurwenal). From 1954 he was a member at the opera houses of Munich, Berlin and Hamburg. His singing career lasted until 1971! Metternich was a singer with a vibrant voice of outgoing directness. He

managed to sing Verdi’s high tessitura with ease, his metallic top register was almost that of a tenor.” - Andrea Shum-Binder, subito-cantabile

G1488. LEOPOLD DEMUTH: Hand in Hand (Hans Cesek). 10” AC black Wien G & T G.C.- 2–42720 (888z), only form of issue, 1903. A to M-A, choice copy has very few superficial mks, inaud. MB 45

G1489. LEOPOLD DEMUTH: Wieder möcht’ ich dir begegnen (Liszt) / Die Uhr (1908 Version) (Löwe). 10” AC black Schall Gram. 61648 (13160/61u), POM-1908. A to M-A, lovely copy has mere hint of grey on peaks. MB 25

G1490. LEOPOLD DEMUTH: Die Uhr (1903 Version) (Löwe). 12” AC black flush Wien G & T 042059 (51Hp), only form of issue, 1903. A-B, lovely copy has lt rubs & scrs, inaud.; minor pressing indent will be ever-so-faintly audible only a few turns; uncommonly bright label. MB 35

G1491. LEOPOLD DEMUTH: Ich denke oft an’s blaue Meer (Weingartner) / Tiefland – Hüll’ in die Mantille (d’Albert). 10” AC black Schall Gram. 61650 (13837/13080u), POM-1908. A-, lovely copy has hint of grey on peaks & very occasional superficial mk, inaud. MB 25

G1492. LEOPOLD DEMUTH: Es muss ein Wunderbares sein (Liszt) / The Bohemian Girl – A heart bow’d down (Balfe; in German). 10” AC black Wien Gram. Concert G.C.-4–42265/64 (14645/44u), POM-1909. A to M-A/A-, lovely copy has, Sd. 2 only, hint of grey on peaks; Sd. 1 label has heavy nr. MB 25

G1493. LEOPOLD DEMUTH: Am Meer (Schubert) / Liebesglück (Silcher). 10” AC black Schall Gram. 61638 (11185/86u), only form of issue, 1907. A to M-A/A-, lovely copy has, Sd. 2 only, hint of grey on peaks, inaud. MB 25

G1494. LEOPOLD DEMUTH: Feldeinsamkeit / Die Mainacht (both Brahms). 10” AC black Schall Gram. 61602 (6733/6833b), POM-1905. A to M-A, lovely copy has, Sd. 1 only, sev ‘stressed’ grooves, positively inaud. MB 20

G1495. LEOPOLD DEMUTH: Prinz Eugen (Löwe) / Sängers Vorüberziehn (Grünfeld). 10” AC black Schall Gram. 62035 (10923/11089u), POM-1907. A-/A to M-A, lovely copy has, Sd. 1 only, hint of grey on peaks, inaud. MB 25

G1496. LEOPOLD DEMUTH: Don Giovanni – Deh, vieni alla finestra (in German). 10” AC black flush Wien G & T G.C.- 2–42732 (889z), only form of issue, 1903. A-, very decent copy has few lt. rubs & 2 wee scuffs, ever-so-faintly audible a few turns; uncommonly bright label. MB 45

G1497. LEOPOLD DEMUTH: Ballo – Alla vita che t’arride / Eri tu? (both in German). 10” AC black Wien G & T G.C.-3–42395/42557 (6734b/4255L), POM-1905/’06. A-/A to M-A, lovely copy has, Sd. 1 only, lt. grey on peaks & infinitesimal nr, inaud. MB 25

G1498. LEOPOLD DEMUTH: La Traviata – Di Provenza il mar (in German). 10” AC black flush Wien G & T G.C.- 42907 (1094x), only form of issue, 1902. A to M-A, lovely copy has mere hint of grey on peaks, infinitesimal nd near end will sound ltly a few times. MB 35

G1499. LEOPOLD DEMUTH: Faust – Avant de quitter ces lieux (in German) / Die Meistersinger – Wie duftet doch der Flieder. 12” AC black Schall. Gram. 65398 (0991/92v), POM-1909. A, lovely copy has faintest pap. rubs, positively inaud.; Sd. 1 label is smudged. MB 25

G1500. LEOPOLD DEMUTH: Faust – Écoute-moi bien (Death of Valentin) (in German). 10” AC black Wien G & T G.C.- 3–42749 (9935u), only form of issue, 1906. A-, lovely copy has sev wee rubs & infinitesimal scr, positively inaud.; uncommonly bright label. MB 35

G1501. LEOPOLD DEMUTH: Rigoletto – Piangi, piangi, fanciulla / Faust – Écoute-moi bien (Death of Valentin) (both in German). 10” AC black Wien G & T G.C.- 3–42300/12629 (6835b/4250L), POM-1905/’06, only form of issue, Sd.2.

A to M-A, beautiful copy has very faint nr on Sd. 2 label only; uncommonly bright label. MB 35

G1502. LEOPOLD DEMUTH: Rigoletto – Piangi, piangi, fanciulla / Pari siamo (both in German). 10” AC black Wien Gram. Concert G.C.- 3–42300/42807 (6835b/10836u), POM-1905/’07, only form of issue, Sd.2. A to M-A, beautiful copy has, Sd. 2 only, 3 infinitesimal mks, inaud.; both sides have numerous tiny ‘damp’ spots, positively inaud. MB 35

G1503. LEOPOLD DEMUTH: Aïda – Quest’ assisa ch’ io vesto vi dica (in German) / Undine – Nun ist’s vollbracht. 10” AC black Wien Gram. Concert G.C.- 3–42345/73 (6847/34b), POM-1905, only form of issue, Sd.1. A to M-A, beautiful copy has, Sd. 2 only, 2 infinitesimal rubs, positively inaud. MB 35

G1504. LEOPOLD DEMUTH: Pagliacci – Prologo (1903 Version) (in German). 12” AC black flush Wien G & T 042049 (54½Hp), POM-1903. A-, lovely copy has faintest rubs, inaud. MB 35

G1505. LEOPOLD DEMUTH: Pagliacci – Prologo (1903 Version, as above) / LEOPOLD DEMUTH & GRETE FORST: Sei là? credea che te ne fossi andato (both in German). 12” AC black Monarch Gram. 042049/044155 (54½Hp/01216v), POM-1903 / 7 Oct., 1909. A to M-A, lovely copy has, Sd. 1 only; mere hint of grey on peaks. MB 25

G1506. LEOPOLD DEMUTH: Pagliacci – Prologo (1905 Version) (in German) / Das Glöckchen des Eremiten – Wenn man bein wein sitzt (Maillart). 10” AC black Schall Gram. 61606 (803r/4248L), POM-1905/’06. A to M-A, lovely copy has, Sd. 2 only, infinitesimal pap. scr, positively inaud. MB 25

G1507. LEOPOLD DEMUTH: Der Trompeter von Säkkingen – Behüt’ dich Gott (Nessler). 10” AC black Wien G & T G.C.- 3–42738 (9934u), POM-1906. A-, very decent copy has few lt. rubs & wee scuff, ever-so-faintly audible only at edge. MB 35

G1508. LEOPOLD DEMUTH: Der Trompeter von Säkkingen – Ihr heisset mich willkommen (Nessler) / FRIEDRICH WEIDEMANN: Der Waffenschmied – Du lässt mich kalt von hinnen scheiden (Lortzing). 10” AC black Wien Pre-Dog G.C.- 4–42035/36 (11088/99u), POM-1907. A to M-A, lovely copy has, Sd. 2 only, faintest pap. rub, positively inaud. MB 35

G1509. LEOPOLD DEMUTH: Zar und Zimmermann – Sonst spielt ich mit Zepter (Lortzing) / L’Africaine – Adamastor, roi des vagues (in German). 10” AC black Czech HMV

(w.Gramola half-labels superimposed) ER 156 (9937/38u), POM-1906. A to M-A MB 25

G1510. LEOPOLD DEMUTH: Wintermärchen – O Menschenglück / ARTHUR PREUSS & GRETE FORST: Du bist’s Gelibte (Goldmark). 10” AC black Wien Pre-Dog G.C.- 4–42112/2–44400 (13091/13050u), only form of issue, 1908. A to M-A, lovely copy has faintest pap. rubs, positively inaud. MB 35

G1511. LEOPOLD DEMUTH: Tannhäuser – O du mein holder Abendstern (1903 Version). 12” AC black flush Wien G & T 042037 (48Hp), only form of issue, 1903. A, lovely copy has lt. rubs & few superficial mks, inaud. MB 35

G1512. LEOPOLD DEMUTH: Tannhäuser – Dir, hohe Liebe / Lohengrin – Dank, König, dir (Telramunds Klage). 10” AC black Schall Gram. 61664 (15095/15146u), POM-14 / 21 Sept., 1909. A to M-A MB 35

G1513. LEOPOLD DEMUTH: Die Meistersinger – Wahn! Wahn! Überall Wahn!, 2s. 10” AC black Gram. Concert G.C.-4–42283/84 (15093/94u), POM-14 Sept., 1909. A to M-A MB 35

G1514. LEOPOLD DEMUTH: Das Rheingold – Abendlich strahlt. 10” AC black flush Wien G & T G.C.- 42888 (1024x), only form of issue, 1902. A-, very decent copy has few lt. rubs, inaud. MB 45

G1515. LEOPOLD DEMUTH: Die Walküre – Der Augen leuchtendes Paar (Wotans Abschied). 10” AC black Gram. Concert G.C.- 4–42124/25 (12951/52u), POM-1908. A to M-A MB 35

G1516. LEOPOLD DEMUTH, ARTHUR PREUSS & ELISE ELIZZA: Ernani – Solingo, errante e misero (in German) / ELISE ELIZZA: Die Königin von Saba – Der Freund ist dein. 10” AC black Wien Pre-Dog G.C.- 3–42499/43752 (701/704r), POM-1905. A-, lovely copy has hint of grey on peaks; Sd. 2 only has 2 superficial pap. scrs, inaud. MB 20

“Leopold Demuth studied with Josef Gänsbacher in Vienna and came to the Hofoper in 1898, remaining there until his sudden death during a concert in 1910. He was highly praised for the beauty and size of his voice and the ease of its production. He was best in the standard Verdi rôles but also sang all the Wagner baritone parts….Erwin Stein wrote ‘vocal splendour had often to make up for his lack of stage personality’.”

- Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNAG1517. HERMANN UHDE, w.Leitner Cond.: Carmen – Chanson du Torréador / Rigoletto – Cortigiani (both in German). 10” EL Variable Micrograde DGG 36085, only form of issue, 17 Feb. / 4 March, 1953. M-A, a gleaming copy. MB 12

G1518. JULIUS von RAATZ-BROCKMANN, w.August Pilz (Pf.): WINTERREISE – Irrlicht / Gute Nacht (Schubert). 10¾” AC pale-blue, w.dark-blue print Odeon X.52851/52 (XB 5922/23), POM-1913. M-A, gorgeous bright copy has, Sd. 2 only, 2 wee pap. mks, inaud. MB 35

“Julius von Raatz-Brockmann [stands] out among his compatriots partly because his vibrato is faster and stronger and his rhythmic drive more urgent than theirs.”

- Alan Blyth, SONG ON RECORD, Vol. I, p.99G1519. ROBERT RADFORD: Blow, blow thou winter wind (Sargent) (1918 Version) / La Juive – Si la rigeur (in English). 10” AC red Eng. Zonophone GO 32, X-3–42876/77 (y21021/18e), POM-21 Feb., 1918. A, lovely copy has lt. rubs, inaud. MB 10

G1520. ROBERT RADFORD: Blow, blow thou winter wind (Sargent) (1912 Version) / Erlkönig (Schubert; in English). 12” AC black PW HMV D 257, POM-13 Nov., 1912 / 26 May, 1924. M-A MB 10

G1521. ROBERT RADFORD: The Sargent’s song (Holst) / The mill wheel. 10” EL black PW HMV E 472, only form of issue, 26 April, 1927 / 17 Sept., 1926. M-A, lovely copy has, Sd. 1 only, wee pap. rub, inaud. MB 10

G1522. ROBERT RADFORD: The Princess of Kensington – Four jolly sailormen (Edward German) / Die Lustigen Weiber von Windsor – Als Büblein klein (When that I was a tiny boy) (Nicolai; in English). 10” EL black PW HMV E 498, only form of issue, 22 Dec., 1927. M-A MB 10

G1523. ROBERT RADFORD: Scipio – Hear me ye winds and waves (Handel) / Son and stranger – I ’m a roamer (Mendelssohn; in English). 12” EL black PW HMV D 1300, only form of issue, 2 Dec. / 3 Sept., 1926. M-A MB 10

G1524. ROBERT RADFORD: The Creation – Roaming in foaming billows (Haydn) / Messiah – Why do the nations? (Handel). 12” EL Scroll V 9654, POM-6/15 Jan., 1926, on ‘Z’ shellac. M-A MB 15

G1525. ROBERT RADFORD: The Creation – Roaming in foaming billows (Haydn) / Messiah – Why do the nations? (Handel). 12” EL PW black HMV D 1213, POM-6/15 Jan., 1926. M-A MB 8

G1526. ROBERT RADFORD: Acis and Galatea – I rage, I melt, I burn . . . O ruddier than the cherry (Handel). 12” AC black HMV 02128 (2317f), POM-1908. A, lovely copy has faint rubs, inaud. MB 10

G1527. ROBERT RADFORD, w.Goossens Cond.: Die Meistersinger – Verachtet mir die Meister nicht / TUDOR DAVIES & ROBERT RADFORD: Morgenlich leuchtend (Preislied) (both in English). 12” EL blue AC label V 55288, POM-10 July, 1925. M-A MB 10

“Robert Radford, in my view one of the greatest basses to have trodden the concert or opera stage….was one of the few to straddle the rather different worlds of the ‘basso profondo’ and ‘basso cantante’. He was one of the great singers of Handel, blessed with a firm attack, a focused tone, an impressive degree of flexibility, a beautiful legato and a fine trill….He was a great Mozartian….[and] a great Wagnerian, who could rival the best ‘black’ basses but also sing with wonderful, unforced warmth….”

- Tully Potter, THE RECORD COLLECTOR, 2009G1528. OSCAR NATZKE: Sanctuary of the heart / In a monastery garden (both Ketelbey). 12” EL Eng. Parl. E11439, POM-15 Dec., 1939. M-A, lovely copy has, Sd 2 only, 2 infinitessimal pap. scrs. MB 10

G1529. OSCAR NATZKE: Captain Stratton’s fancy (Warlock) / Invictus (Hunn). 10” EL Eng. Parl. R 2737, POM-12 / 9 Jan., 1940. M-A MB 12

G1530. OSCAR NATZKE: Merrie England – The Yeomen of England / The Princess of Kensington – Four jolly sailormen (both Edward German). 10” EL Eng. Parl. R 2723, POM-20 Oct., 1939. M-A, lovely copy has very faint hlc. MB 8

G1531. OSCAR NATZKE: The song of Hybrias the Cretan (Elliott) / Scipio – Hear me ye winds and waves (Handel). 12” EL Eng. Parl. E 11426, POM-2 / 23 Feb., 1939. M-A MB 10

G1532. OSCAR NATZKE: Song of the flea (Mussorgsky) / w.Herbert Greenslade (Pf.): Oh, could but I but express in song (Malashkin). 10” EL Eng. Col. DB 2363, POM-9 Jan., 1940 / 14 Nov., 1947. A/M-A, lovely copy has, Sd. 1 only, faintest pap. rub, inaud. MB 10

G1533. OSCAR NATZKE, w.Herbert Greenslade (Pf.): Asleep in the deep (Petrie) / Friend o’ mine (Sanderson). 12” EL Eng. Parl. E 11415, POM-1939. M-A MB 10

G1534. OSCAR NATZKE, w.Herbert Greenslade (Pf.): Pilgrim's Song (Tschaikowsky) / In a Persian Garden - Myself when young (Liza Lehmann). 12” EL Eng. Parl. E 11397, POM-1939. M-A MB 10

G1535. OSCAR NATZKE, w.H. Robinson Cleaver (Organ): The lost chord (Sullivan) / The Holy City (Adams). 12” EL Eng. Parl. E 11430, POM-5 Nov., 1939. M-A, a gleaming copy. MB 10

G1536. OSCAR NATZKE, w.Eric Wild Cond.: Shenandoah / Blow the man down; Hullabaloo Ballay. 10” EL Eng. Col. DB 2167, POM-16 March, 1945. M-A MB 12

G1537. OSCAR NATZKE, w.Geehl Cond.: The village blacksmith (Weiss) / Samson – Honour and arms (Handel). 12” EL Eng. Parl. E 11402, POM-2 Feb., 1939. M-A MB 10

"Natzke’s career as a professional singer amounted to only ten years….The commercial recordings he left are a treasured legacy of his career in that they represent every facet of his opera and concert repertoire. We are fortunate indeed to have them."

- Peter Downes, RECORD COLLECTOR, 2001G1538. OSCAR NATZKE, w.Geehl Cond.: Zauberflöte – O Isis und Osiris (in German) / Barbiere – La calunnia (in Italian). 12” EL Eng. Parl. E 11423, POM-2 Feb., 1939. M-A, a gleaming copy. MB 10

G1539. OSCAR NATZKE, w.Braithwaite Cond.: Don Giovanni – Il catologo (in Italian), 2s. 10” EL Eng. Col. DB 2291, POM-29 Dec., 1939. M-A, a gleaming copy. MB 10

G1540. OSCAR NATZKE, w.Rankl Cond.: Zauberflöte – In diesen heil'gn Hallen / O Isis und Osiris (both in English). 12” EL Eng. Col. DX 1370, POM-10 May, 1947. M-A, a gleaming copy. MB 8

G1541. OSCAR NATZKE, w.Rankl Cond.: Die Lustigen Weiber von Windsor – Als Büblein klein (When that I was a tiny boy) (Nicolai) / w.Braithwaite Cond.: Entführung – Wer ein Liebchen hat gefunden (both in English).

12” EL Eng. Col. DX 1473, POM-10 May, 1947 / 29 Dec., 1939. M-A, a gleaming copy. MB 10

"[Natzke] became the leading bass of the New York City Opera Company and his versatility was demonstrated when, in 1947, he sang six new operas there, in five different languages within the space of ten weeks....it was while singing Pogner [there] in October, 1951, during the first act that he suffered a cerebral hemorrhage....He never recovered and died [in New York] on November the 4th, 1951, at 39 years of age. The New York City Opera Company were stunned and expressed deep regret at the loss of their principal bass."

- Charles I. Morgan, RECORD COLLECTOR, 1985G1542. ROBERT WEEDE, w.Pablo Miguel (Pf.): City called Heaven (arr. Hall Johnson) / Show Boat – Ol’ man river (Kern).

10” EL Col. 17293-D, only form of issue, 1941. M-A, choice copy has minor ‘heat’ mks near edge. MB 8

G1543. ROBERT WEEDE, w.Pablo Miguel (Pf.): Until (Sanderson) / Das Land des Lächelns – Dein ist mein ganzes Herz (Lehár; in English). 10” EL PW Col. 17282-D, only form of issue, 1941. M-A MB 10

G1544. ROBERT WEEDE, w.Leinsdorf Cond.: Rigoletto - Cortigiani / w.Weissmann Cond.: Pagliacci - Prologo. 12” EL PW Col.71261-D, only form of issue, 1941. M-A MB 10

“Weede made his Metropolitan Opera début in 1937, as Tonio in PAGLIACCI. His other rôles at the Metropolitan included Rigoletto (opposite Jussi Björling), Amonasro (AÏDA), Manfredo (L'AMORE DEI TRE RE), Shaklovity (KHOVANSHCHINA) and Baron Scarpia (TOSCA). Singing the rôle of Rigoletto, he made his débuts in Chicago (1939), San Francisco (1940), and at the New York City Opera (1948). At the New York City Opera, Weede also sang in PAGLIACCI and in the world première of William Grant Still's TROUBLED ISLAND, opposite Marie Powers, Marguerite Piazza and Robert McFerrin (Sr.). In Mexico City, the baritone appeared with Maria Callas in 1950 in AÏDA and TOSCA. Later, he sang again with Callas in Chicago, in IL TROVATORE and MADAMA BUTTERFLY. In 1956, he scored a great success on Broadway as Tony Esposito in the original production of Frank Loesser's THE MOST HAPPY FELLA, which was recorded complete by Columbia Records. He was also seen on Broadway in MILK AND HONEY (1961-63, also recorded) and CRY FOR US ALL (1970).”

G1545. WILLIAM WARFIELD, w.Adolph Deutsch Cond.: Show Boat – Ol’ man river / w.KATHRYN GRAYSON: You are love (Kern). 10” EL heavy vinyl M-G-M 30381, only form of issue, 1951. A-, lovely copy has lt.rubs, inaud. MB 8G1546. RICHARD BONELLI: On the road to Mandalay (Speaks) / Tim Rooney’s at the fightin’ (Flynn). 12” AC dark-blue Bruns. 35000 (11925/55), POM-c.1924. M-A MB 15

G1547. RICHARD BONELLI: Tommy, Lad! / Calling me home to you (both Teschemacher). 10” AC dark-blue Bruns. 13009, only form of issue, 1920. M-A MB 15

G1548. RICHARD BONELLI: Les Rameaux (in English) (Faure) / The Holy City (Adams). 10” AC purple Bruns. 5181, POM-1922/’23. A-, lovely copy has faintest pap. rubs, inaud. MB 12

G1549. RICHARD BONELLI: Smilin’ through (Penn) / Mother o’ mine (Tours). 10” AC dark-blue Bruns. 13015, POM-1920. A-, lovely copy has lt. rubs, inaud.; Sd. 1 only has sev. wee scrs. MB 8

G1550. RICHARD BONELLI: Danny Deever (Damrosch) / The Clang of the forge (Rodney). 10” AC purple Bruns. 5166, only form of issue, 1922. A to M-A MB 15

G1551. RICHARD BONELLI: Rolling down to Rio (Edward German) / Song of the ‘Mush on’ (Victor Herbert). 10” AC purple Bruns. 5085, only form of issue, 1922. M-A MB 15

G1552. RICHARD BONELLI: For all eternity (Mascheroni) / The Bohemian Girl – A heart bow’d down (Balfe). 10” AC dark-blue Bruns. 13020, only form of issue, 1921/’20, resp. M-A, choice copy has, Sd. 2 only, infinitesimal pressing bump. MB 15

G1553. RICHARD BONELLI, w.Ernesto Lopez (Pf.): Time to go (Sanderson) / Come to the fair (Martin). 10” EL PW Col. 17277-D, only form of issue, 18 March, 1940. M-A, exemplary copy. MB 12

G1554. RICHARD BONELLI, w.Theodore Paxson (Orgatron): Annie Laurie (Scott) / Would God I were the tender apple blossom (Londonderry Air) (arr.Hinkson). 10” EL PW Col.17248-D, only form of issue, 1940. M-A, a gleaming copy. MB 12

G1555. RICHARD BONELLI, w.Theodore Paxson (Orgatron): Xerxes – Ombra mai fù (Handel) / La Basoche – Je suis aimé de la plus belle (Chanson ancienne) (Messager). 10” EL PW Col.17287-D, only form of issue, 1940. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

G1556. RICHARD BONELLI, w.Macklin Marrow Cond.: The Prayer perfect / Star-eyes (both Speaks). 10” EL M-G-M 30327, only form of issue, 1950. M-A, a gleaming copy. Exceedingly elusive! MB 20

G1557. RICHARD BONELLI, w.Macklin Marrow Cond.: The lane to Ballybree / On the road to Mandalay (both Speaks). 10” EL M-G-M 30329, only form of issue, 1950. M-A, a gleaming copy. Exceedingly elusive! MB 20

G1558. RICHARD BONELLI, w.Marie Tiffany, Elizabeth Lennox & Theo Karle: Martha – Good-night quartet (Flotow) / The Mikado – Madrigal (Sullivan). 10” AC gold Bruns. 13051, only form of issue, 1922; these titles missing in the excellent Larry Lustig 2006 discography. M-A, choice copy has, Sd. 2 only, infinitesimal pap. scr, positively inaud. Exceedingly elusive! MB 20

“On Richard Bonelli’s few commercial recordings we can certainly hear a timbre that, although lyrical and unconstricted in emission, was also dark-tinged and virile, with a wonderfully free upper extension and fully relaxed, resonant lower notes. From contemporary reviews he also looked well on stage and his histrionic ability, coupled with a well-schooled vocal technique, enabled him not only to be a considerable actor with his voice but to delineate each rôle physically with its required character.”

- Alan Bilgora, THE RECORD COLLECTOR, 2006

G1559. DAVID BISPHAM: Mistress Magrath (Duncan) / Die beiden Grenadier (Schumann; in English). 10” AC brown Perfect 11532, recorded 1917, issued USA only. B, decent, unworn copy has lt. rubs & scrs, only very occasionally very ltly audible. Sd.1 being a grand example of Bispham’s delightful ‘character’ singing! MB 15

G1560. DAVID BISPHAM: Our country forever (Meredith) / Dixie (Emmett). 10½” AC grey paper label H & D Pathé 27002, only form of issue, 1917. M-A MB 15

G1561. DAVID BISPHAM: She wandered down the mountain side (Clay) / Die beiden Grenadier (Schumann; in English). 11¼” AC grey paper label H & D Pathé 59001, original form of issue, 1917. M-A MB 15

G1562. DAVID BISPHAM: O that we two were maying (Gounod) / Tannhäuser – Als du in kühnem Sange. 12” AC silver Victor IRCC 152 (02046 [268C] / 042050), POM-1904 / RR-1904. Numbered copy #21 of Limited Edition. M-A, exemplary copy. MB 35

G1563. ROYAL DADMUN: Stein song / ROYAL DADMUN & REED MILLER: Hunting song (both Bullard). 10” AC dark-blue Okeh 4009. A/A-, lovely copy has few lt. rubs; Sd. 2 only has insignificant pap. scr, inaud. MB 8

G1564. ROYAL DADMUN: Vittoria,vittoria mio core! (Carissimi) / Come raggio di sol (Caldara). 10” EL PW V 4003, only form of issue, 31 Dec., 1926. Never listed in a pre-1931 U.S. catalogue. M-A MB 8

G1565. ROYAL DADMUN, w.Myrtle C. Eaver (Pf.): Caro mio ben (Giordani) / The Indian Queen – I attempt from love’s sickness to fly (Purcell). 10” EL PW V 4009, only form of issue, 22 Feb., 1927. M-A MB 8

G1566. ROYAL DADMUN (as Ralph Crane): Euridice – Funeste piaggie (Peri) / Euridice – Non piango e non sospiro (Caccini). 10” EL black PW V 21752, only form of issue, 10 May, 1928. M-A, a gleaming copy. MB 8

G1567. ROYAL DADMUN (as Ralph Crane): Orontea – Intorno all’idol mio (Cesti) / O cessate di piagarmi (Scarlatti); Orfeo – Ecco purch’a voi ritorno (Monteverdi). 10” EL black Orth V 21747, only form of issue, 10 May, 1928. M-A MB 8

Nos. G1568 – G1627 are Personality, Popular & Jazz Vocal 78rpm records.

G1568. LOTTE LENJA: Aufstieg und Fall der Stadt Mahagonny – Alabama-Song (in English) / Denn wie man sich bettet (in German) (Brecht-Weill). 10” EL black Homocord 4–3671 (H-62611/12), only form of issue, 1930. B, decent copy has lt. rubs & scrs, occasionally audible. MB 15

G1569. LOTTE LENJA, w.Theo Mackeben Jazz Orch.: Aufstieg und Fall der Stadt Mahagonny – Alabama-Song (in English) / Denn wie man sich bettet (in German) (Brecht-Weill). 10” EL dark-blue Ultraphon A 371 (10710/11), only form of issue, 24 Feb., 1930. A-, very decent copy has lt. rubs & superficial mks, inaud. MB 15

G1570. LOTTE LENJA, w.Hans Soomer Cond.: Aufstieg und Fall der Stadt Mahagonny – Potpourri (Brecht-Weill), 2s. 12” EL plum PW Electrola EH 736, POM-1932. A to M-A, beautiful copy has faintest pap. rubs, inaud. MB 15

G1571. LOTTE LENJA, w.Theo Mackeben Jazz Orch.: Happy End – Suabaya-Jonny / Bilbao-Song (Brecht-Weill). 8” EL dark-green German Orchestrola 2311 (A 8717/18), only form of issue, 1929. A-, very decent copy has lt. rubs & pap. mks, inaud. Most Elusive, these Orchestrola issues were pressed in extremely limited numbers! MB 25

“Lotte Lenya was born in 1898 in Vienna, moving to Berlin to seek work in 1921. In 1922 Lenya was seen by her future husband, the German composer Kurt Weill, during an audition for his first stage score Zaubernacht, but she declined the rôle. She accepted the part of Jenny in the first performance of DIE DREIGROSCHENOPER in 1928 and the part became her breakthrough rôle. During the last years of the Weimar Republic, she was busy in film and theatre, and especially in Brecht-Weill plays. She also made several recordings of Weill's songs. With the rise of Nazism in Germany, she left the country. Sprechstimme was used in some famous songs in the Brecht-Weill plays, but later Lenya used it even more to compensate for the shortcomings of her voice. Lenya was aware of this as a problem; in other contexts she was very careful about fully respecting her late husband's scores. In 1956, Lotte Lenya won a Tony Award for her rôle as Jenny in Blitzstein's somewhat softened version of THE THREEPENNY OPERA, which played off-Broadway at the Theater de Lys in Greenwich Village for a total of 2,707 performances. Blitzstein had translated the work into English; Lenya, Weill's wife since the 1920s, had sung both Jenny and Polly earlier in Germany. The production was important in New York's musical theatre history as it showed that musicals could be profitable off-Broadway in a small-scale, small orchestra format. In 1966, Lenya originated the rôle of Fräulein Schneider in the original Broadway cast of the musical CABARET. Kander's and Ebb's score was inspired by Weill's music, so Lenya was considered a particularly appropriate casting choice.”

G1572. CAROLA NEHER, w.Theo Mackeben Jazz Orch.: Die Dreigroschenoper – Barbara-Song / Die Seeräuberjenny (Brecht-Weill). 8” EL dark-green German Orchestrola 2132 (A 8475/76), only form of issue, 1929. A, lovely copy has faintest pap. rubs, inaud. Most Elusive, these Orchestrola issues were pressed in extremely limited numbers! MB 25

“In 1926 Neher went to Berlin to work with Bertolt Brecht. He wrote the rôle of Polly Peachum [for Neher] in DIE DREIGROSCHENOPER, but late in rehearsals her husband died, thus she was therefore unable to appear at the première, but acted the rôle of Polly in subsequent performances. Brecht wrote several roles for her and she embodied and immortalized Polly in G.W. Pabst's film of DIE DREIGROSCHENOPER.In 1932 she married Anatol Becker and left Germany after Adolf Hitler's ascension to power in spring 1933. She first emigrated to Prague, where she worked at the New German Theater, but went on to the Soviet Union in 1934. Here she met Gustav von Wangenheim and worked with him at his German language Cabaret ‘Kolonne links’. In 1936, throughout the Stalinist Great Purge, Wangenheim denounced Neher and her husband Anatol Becker as Trotskyites; she was arrested on July 25, 1936. Becker was executed in 1937; Neher was sentenced to ten years in prison and died in a Gulag near Orenburg on26 June, 1942. Her fate caused protests among other emigrants outside the Soviet Union, especially as Bertolt Brecht did not aid her.”

G1573. CAROLA NEHER, KURT GERRON & ARTHUR SCHRÖDER: Die Dreigroschenoper – Potpourri (Brecht-Weill)., 2s 12” EL plum PW Electrola EH 301, POM-1929. M-A, gleaming copy has, Sd. 1 only, mere hint of nr, inaud. MB 15

“Kurt Gerron was a German Jewish actor and film director. He appeared in such films as THE BLUE ANGEL opposite Marlene Dietrich, and on stage originated the rôle of Brown (the chief of police in London) in the première production of DIE DREIGROSCHENOPER in Berlin in 1928. Gerron was offered a trip to Hollywood but refused and stayed behind in Europe. He later left Germany, traveling first to France and later to the Netherlands. There, he kept on working as an actor and director in several movies. After the German army occupied the Netherlands, he was interned in the transit camp at Westerbork before being sent to Theresienstadt concentration camp. There he ran a cabaret called The Karussell to entertain the inmates. In 1944, Gerron was either persuaded or coerced by the Nazis to make a propaganda film showing how humane the conditions were at Theresienstadt. After shooting finished, Gerron was deported on the camp's final transport to Auschwitz. He was murdered immediately upon arrival.”

G1574. COMEDIAN HARMONISTS: Hallo, was machst du heut, Daisy! (Donaldson) / Ich hab dich lieb, Braune Madonna (Rotter). 10” EL plum PW Electrola EG 2435, POM-1931. A, lovely copy has lt. rubs, inaud. Sd. 1 is particularly enchanting and delightful! MB 15

G1575. COMEDIAN HARMONISTS: Hunderttausendmal (Green) / Mein lieber Schatz, bist du aus Spanien (Santeugini). 10” EL plum PW Electrola EG 2405, POM-1931. A to M-A MB 15

G1576. COMEDIAN HARMONISTS: Wochenend und Sonnenschein (Happy days are here again (Ager) / Veronika, der Lenz ist da (Jurmann). 10” EL plum PW Electrola EG 2033, POM-22 Aug., 1930. A to M-A MB 15G1577. COMEDIAN HARMONISTS: Auf Wiedersehen, my dear (Ager) / Das Lied einer Nacht – Heute Nacht oder nie (Spoliansky). 10” EL plum PW Electrola EG 2606, POM-1932. A to M-A MB 12

G1578. COMEDIAN HARMONISTS: Das Lied vom Leben – Baby (Holländer) / Ihre majestät die Liebe – Du bist nicht die erste (Jurmann). 10” EL plum PW Electrola EG 2238, POM-1931. A-, lovely copy has faintest pap. rubs, inaud.; beg. Sd. 2 only has wee scr, positively inaud. MB 12

G1579. COMEDIAN HARMONISTS: Gassenhauer – Marie, Marie! / Hof-Serenade (both Roland). 10” EL plum PW Electrola EG 2204, POM-19 Jan., 1931. A-, lovely copy has faintest pap. rubs, inaud.; Sd. 1 only has faint nr, positively inaud. MB 12

G1580. COMEDIAN HARMONISTS: Gassenhauer – Marie, Marie! / Hof-Serenade (both Roland). 10” EL plum PW HMV B.3862, POM-19 Jan., 1931. M-A MB 10

“The Comedian Harmonists were an internationally famous, all-male German close harmony ensemble that performed between 1927 and 1934 as one of the most successful musical groups in Europe before World War II. The hallmark of the Comedian Harmonists was its members' ability to blend their voices together so that the individual singers could appear and disappear back into the vocal texture. Delightful, joyous interpretations of classical and popular standards of the day are the fare of the quintet. A light piano accompaniment is provided by the sixth member who was also the arranger. Founded in 1927, they peaked in 1930-1932 before their three Jewish members became the focus of Nazi hatred. The Nazis progressively made the group's professional life more difficult, initially banning pieces by Jewish composers, and finally

prohibiting them from performing in public. The group's last concert was in Munich on March 25, 1934.”G1581. LALE ANDERSEN, w.Seidler-Winkler Cond.: Lili Marlen (Lied eines jungen Wachtpostens) / Drei rote Rosen (Gedenken) (both Schultze). 10” EL plum HMV EG 6993, POM-2 Aug., 1939. M-A MB 15

“From 1933 to 1937 Lale Andersen performed at the Schauspielhaus in Zürich, where she also met Rolf Liebermann who would remain a close friend for the rest of her life. In 1938, she was in Munich at the cabaret Simpl, and soon afterwards joined the prestigious Kabarett der Komiker in Berlin. While at the Kabarett der Komiker, she met Norbert Schultze, who had just written the music for ‘Lili Marleen’. Andersen recorded the song in 1939, not initially a success, but on 18 August, 1941, a German shortwave radio station in Belgrade happened to include Andersen’s recording in its program directed to Rommel’s troops in Africa, and the song became an immediate hit. Marlene Dietrich, among others, subsequently sang it. In the United States, the title is spelled ‘Lilli Marleen’. Nevertheless, Nazi officials did not like the sad song about parted lovers, and Joseph Goebbels prohibited its being played on the radio. Andersen was not allowed to perform publicly for nine months, not just because of the song but also because of her friendship with Rolf Liebermann, who was Jewish, and other Jewish artists she had met in Zürich. In desperation, she attempted to commit suicide. When she was allowed to perform again, it was only subject to several conditions, one of which was she would not sing ‘Lili Marleen’. Goebbels did order her to make new ‘military’ version of the song (with a significant drum) which was recorded in June, 1942. In the remaining war years, Andersen had one minor appearance in a propaganda movie and was made to sing several propaganda songs in English.”

- (partially) James J. Fuld, THE BOOK OF WORLD-FAMOUS MUSIC, pp.331-32

G1582. MAHALIA JACKSON: Prayer changes things (Haines) / Walk with me. 10” green Apollo 217, only form of issue, 21 July, 1949. A-, very decent copy has lt. rubs, inaud.; alas, very fine hlc. MB 8

G1583. MAHALIA JACKSON: He’s the one / I’m getting nearer my home.. 10” vinyl green Apollo 258, only form of issue, 11 Sept., 1950. A to M-A, lovely copy has, Sd. 1 only, lt. rub, inaud. MB 15

G1584. MAHALIA JACKSON: Said He would (He calmed the ocean) / God spoke to me. 10” vinyl green Apollo 269, only form of issue, 21 March, 1952. A-, very decent copy has lt. scuffs, inaud. MB 12

“In 1950 Mahalia Jackson became the first gospel singer to perform at Carnegie Hall. She started touring Europe in 1952 and was hailed by critics as the ‘world's greatest gospel singer’. In Paris she was called the ‘Angel of Peace’, and throughout the continent she sang to capacity audiences. Jackson's career in the late 1950s and early 1960s continued to rise. She began a radio series on CBS and signed to Columbia Records in 1954. Down Beat music magazine stated on 17 November, 1954: ‘It is generally agreed that the greatest spiritual singer now alive is Mahalia Jackson’."

G1585. BESSIE SMITH: Nobody in town can bake a sweet jellyroll like mine / If you don’t, I know who will (both Clarence Williams). 10” AC blue Col. A3942, POM-22 June, 1923. A-B, very decent copy has rubs throughout, inaud. MB 15

G1586. BESSIE SMITH: Sam Jones’ blues / St. Louis gal (both Robinson). 10” AC gold Flags Label Col. 13005-D, only form of issue, 24 Sept., 1923. B, decent copy has rubs throughout, inaud. & few lt. scrs, ltly audible. MB 20

G1587. BESSIE SMITH: The bye bye blues / Weeping willow blues (both Carter). 10” AC gold Flags Label Col. 14042-D, POM-26 Sept., 1924. C/C-, playable copy has heavy rubs throughout; Sd. 2 only has various heavy scrs & 1 sticking groove, positively audible. MB 10

G1588. BESSIE SMITH: Preachin’ the blues / Thinking blues. 10” EL blue, gold & white Parl. R 2483 (143490/145626), POM-17 Feb., 1927 / 9 Feb., 1928. A to M-A, lovely copy has, Sd. 2 only, few superficial mks, positively inaud. MB 15

G1589. BESSIE SMITH: Do your duty / I’m down in the dumps. 10” EL blue, gold & white Parl. R 1793 (152577/80), POM-24 Nov., 1933. A to M-A, lovely copy has few superficial mks, positively inaud. MB 15G1590. BESSIE SMITH: Money blues (Eller) / Muddy water (Trent). 10” EL blue, gold & white Parl. R 2478 (21871/43), POM-4 May, 1926 / 2 March, 1927. M-A MB 15

G1591. BESSIE SMITH: Weeping willow blues (Carter) / Careless love blues (W.C. Handy). 10” AC / EL blue, gold & white Parl. R 2479 (21837/22), POM-26 Sept., 1924 / 26 May, 1925. M-A, lovely copy has, Sd. 2 only, mere hint of grey on peaks, inaud. MB 15

G1592. BESSIE SMITH: In the house – blues / Seven Gallon Jug Band: Wipe ‘em off. 10” EL dark-blue Parl. R 2329 (151594/149690), POM-11 June, 1931 / 3 Jan., 1930. A-, lovely copy has, Sd. 1 only, few wee dust scrs, ever-so-faintly audible a very few turns at end; Sd. 2 only has sev. wee scuffs, positively inaud. MB 15

G1593. BESSIE SMITH: St Louis blues (W.C. Handy) / Cold in hand blues. 10” AC dark-blue Parl. R 2344 (140241/50), POM-14 Jan., 1925. A-B, lovely copy has lt. rubs & few superficial scrs, inaud. MB 15

G1594. BESSIE SMITH: St Louis blues (W.C. Handy) / Reckless blues (Gee). 10” AC early PW Col. 3171-D (21821/38), POM-14 Jan., 1925. A-, very decent copy has lt. rubs & very few superficial mks, positively inaud.; Sd. 1 only has long faint lateral lam, positively inaud. Remarkably quiet surfaces. MB 15

G1595. BESSIE SMITH: At the Christmas ball (Longshaw) / Preachin’ the blues. 10” EL red PW Col. 35842, (141283/143490), POM-18 Nov., 1925 / 17 Feb., 1927. A to M-A, lovely copy has, Sd. 1 only, few entirely superficial dust mks, inaud. MB 15

G1596. BESSIE SMITH: Baby doll / Lost your head blues. 10” EL red PW Col. 35674, (142147/27487), POM-4 May, 1926. M-A, lovely copy has, Sd. 2 only, few entirely superficial dust mks, inaud. MB 15

G1597. BESSIE SMITH: Do your duty / I’m down in the dumps (both Wilson). 10” EL white & blue PW Commodore UHCA 47/48, (152577/80), POM-24 Nov., 1933. M-A, lovely copy has, Sd. 1 only, few entirely superficial dust mks, inaud. MB 15

G1598. BESSIE SMITH: Gimme a pigfoot / Take me for a buggy ride (both Wilson). 10” EL white & blue PW Commodore UHCA 49/50, (152578/79), POM-24 Nov., 1933. A-/M-A, lovely copy has, Sd. 1 only, sev. lt scrs, ever-so-faintly audible the occasional turn. MB 15

G1599. BESSIE SMITH: After you’ve gone / A good man is hard to find. 10” EL vinyl yellow Hot Jazz Club of America HC 65, RRs-2 March / 27 Sept., 1927. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

G1600. BESSIE SMITH: Squeeze me (Waller) / Jazzbo Brown from Memphis Town (Brooks). 10” EL vinyl yellow Hot Jazz Club of America HC 81, RRs-5 / 18 March, 1926. M-A MB 10

G1601. BESSIE SMITH: Shipwreck blues / Long old road. 10” EL vinyl yellow Hot Jazz Club of America HC 62, RRs-11 June, 1931. A/A-B, very decent copy has lt. rubs, inaud.; Sd. 2 only has scuffs & few dust scrs, ltly audible. MB 8

“In 1920, sales figures for ‘Crazy Blues’, an Okeh Records recording by singer Mamie Smith (no relation) pointed to a new market. The recording industry had not directed its product to blacks, but the success of the record led to a search for female blues singers. Bessie Smith was signed by Columbia Records in 1923 and her first session for Columbia was 15 February, 1923. For most of 1923, her records were issued on Columbia's regular A- series; when the label decided to establish a ‘race records’ series, Smith's ‘Cemetery Blues’ (26 September, 1923) was the first issued. Bessie Smith made some 160 recordings for Columbia, often accompanied by the finest musicians of the day, most notably Louis Armstrong, James P. Johnson, Joe Smith, Charlie Green and Fletcher Henderson.”

G1602. GREEK EVANS: Homeward bound (Meyer) / Over the top (Wells & Wendling). 10” AC blue Col. A2423, only form of issue, 4 Oct., 1917. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

G1603. GREEK EVANS: Our country’s in it now (Morgan) / EDDIE NELSON: Oh! How I hate to get up in the morning (Irving Berlin). 8” AC dark-blue Emerson 970, only form of issue, 1918. A-, very decent copy has lt pap. rubs, & few wee scrs, inaud. MB 10

G1604. GREEK EVANS: The clang of the forge (Rodney) / REED MILLER: The maid of the mill (Adams). 10” AC H & D dark-blue Okeh 1013, only form of issue, 1918; Greek Evans’ sole listing in Girard & Barnes. A-, very decent copy has lt pap. rubs, inaud. MB 10

G1605. GREEK EVANS: Because you believe in me (Ball) / Stirling Trio: Alice, I’m in Wonderland (Morse). 10” AC H & D dark-blue Okeh 1059, only form of issue, 1918. A-, very decent copy has lt pap. rubs, inaud. MB 10

G1606. GREEK EVANS, w.Victor Herbert Cond.: Eileen – Free trade and a misty moon / SCOTT WELSH: The Irish have a great day tonight (both Cond. by the Composer). 10” AC black V 18285, only form of issue, 5 April, 1917.

A, lovely copy has faintest pap. rubs, inaud. (all-Creator Record, 19 March, 1917, Schubert Theatre, New York). MB 12

“Not long after Greek Evans recorded this robust hit from EILEEN for the number one record company (accompanied by the show's composer, Victor Herbert), Greek descended to the number two label (Columbia), then to Okeh, then to Emerson, and finally to lowly Olympic.

- Tim BrooksG1607. EDITH DAY: Irene – Irene / Alice blue gown (Tierney). 10” AC blue V 45176, POM-2 Feb., 1920. A to M-A, lovely copy has, Sd. 1 only, 2 infinitesimal pap. mks, inaud. (Creator Record, 18 Nov., 1919, Vanderbilt Theatre, New York). Edith Day’s sole USA issue (since she left permanently for London shortly after the close of IRENE). MB 12G1608. ROGER HARDING: A stage struck coon. 10” AC black flush label Victor Monarch 850 (3453), only form of issue, 10 June, 1901, Announced. B-, decent copy has rubs & various lt. mks. MB 25G1609. EDWARD M. FAVOR: She lisped when she said yes. 10” AC black flush label Eldridge R. Johnson Monarch 3280, only form of issue, 25 April, 1901, Announced. B-, decent copy has considerable rubs & scrs; heavy nd is very ltly audible a few turns; enlarged spindle hole. MB 20G1610. SILAS LEACHMAN: Don’t you hear dem bells? 10” AC black flush label Monarch 803, (being ‘Take’ 5 [of various issued ‘takes’]), only form of issue, 6 Dec., 1901. B, very decent copy has rubs & various lt. mks. This realized a pressing of only 635 copies, returned to factory 12 Feb., 1902. MB 25G1611. SILAS LEACHMAN: Quit that tickling me. 10” AC black flush label Victor Monarch 1129, only form of issue, 7 Dec., 1901, Announced. A-, very decent copy has lt. rubs & various lt. mks. MB 25G1612. COLLINS & HARLAN: A sail on the tail of a whale (von Tilzer). 10” AC black Victor Monarch 4214 (B-1964), (being ‘Take’ 3 [of two issued ‘takes’]), POM-22 Nov., 1904. B, very decent copy has lt rubs & scrs. MB 15G1613. COLLINS & HARLAN: Bye-bye, ma Eva (Helf). 10” AC black GP V 4505 (B-2761), (presumably being ‘Take’ 1 [of various issued ‘takes’]), only form of issue, 19 Sept., 1905. A-B, very decent copy has lt rubs. MB 15G1614. HARLAN & STANLEY: An evening call in Jayville Centre. 10” AC black GP V 4475 (B-2579), (being ‘Take’ 4 [of various issued ‘takes’]), only form of issue, 26 May, 1905. A-B, very decent copy has lt rubs & scrs. MB 20G1615. SPENCER & GIRARD: Daybreak at Calamity Farm. 10” AC black flush label Monarch 1381, only form of issue, 9 May, 1902, Announced. B, very decent copy has lt. rubs & various lt. mks.; an extra drilled hole thru label. Hysterically funny barnyard imitations. MB 20G1616. GEORGE P. WATSON: Hi-le, hi-lo (German hunter’s song). 7” AC black flush label Eldridge R. Johnson Victor A-675, only form of issue, 15 Feb., 1901, Announced. B, decent copy has rubs & various lt. mks. This realized a pressing of only 749 copies, returned to factory as early as 8 Oct., 1901. MB 25G1617. HARRY MACDONOUGH: When the harvest days are over (von Tilzer). 7” AC black flush label Eldridge R. Johnson Victor A-652, only form of issue, 6 Feb., 1901, Announced. A-B, very decent copy has rubs & various lt. mks. MB 25

G1618. HARRY MACDONOUGH: Fare thee well, Molly darling. 10” AC black flush label Monarch 1656, (being ‘Take’ 2 [of various issued ‘takes’]), only form of issue, 2 Oct., 1902, Announced. A-B, very decent copy has rubs & various lt. mks. This realized a pressing of only 200 copies, returned to factory as early as 6 Nov., 1902. MB 25

G1619. HARRY MACDONOUGH: The maiden with the dreamy eyes (Cole). 7” AC black V 1353, only form of issue, 8 April, 1902. B, very decent copy has lt rubs & sev. faint nrs. MB 20

G1620. MACDONOUGH & STANLEY: Tho’ your sins may be as scarlet (Doane). 10” AC black GP V 4516 (B-2530), (being ‘Take’ 3 [of various issued ‘takes’]), only form of issue, 8 May, 1905. A-B, very decent copy has lt rubs. MB 20

G1621. WALTER B. ROGERS Cond. Victor Orch. & Chorus: The Darkies’ Jubilee (pastimes on the levee) (Turner). 10” AC black GP V 5371 (B-4762), POM-5 Aug., 1907. A-B, very decent copy has lt rubs. This issue number is missing in Fagan & Moran. Remarkably resonant recording. MB 15

G1622. ARTHUR PRYOR’S BAND Darkies’ Spring Song (Ragtime Two-Step) (van Alstyne). 10” AC black GP V 5395 (B-4820), (presumably being ‘Take’ 1 [of two issued ‘takes’]), POM-19 Sept., 1907. A-B, very decent copy has lt rubs & faint mks. MB 15

G1623. PRINCE’S MILITARY BAND: Pirates of Penzance – Potpourri (Sullivan). 7” AC black & silver flush label Col. 542, only form of issue, 1902. A-B, very decent copy has sl. steeled grooves, yet plays remarkably well; uncommonly bright label. MB 20

G1624. SOUSA’S BAND (presumably Henry Higgins, Cond., although Arthur Pryor’s name embossed in shellac): Loreley (Nesvabda). 7” AC etched label Berliner 130, only form of issue, 28 May, 1898. A-, lovely copy has very lt. rubs, inaud. MB 45

G1625. WALTER DAMROSCH ORCH.: Carmen – Chanson du Torréador / Orquesta Méxicana de Curti: La Boheme – O soave fanciulla. 10” AC black Col. A137, POM-1903/’04, resp. A-, lovely copy has few lt. rubs, inaud. Most probably, Damrosch’s sole recording from this period. MB 20G1626. GEORGE GERSHWIN: Tip-Toes – Sweet and low down / Looking for a boy (Played by the Composer). 10” EL dark-blue PW Eng. Col. 4065, POM-6 July, 1926, London. B/B-, decent copy has, primarily Sd. 2, lt. rubs & scrs, positively audible; Sd. 2 only has cut groove which ticks ltly twice. MB 10G1627. PETERSON’S HOBO Orch.: Submarine waltz (Winter) / From Frisco to Cape Cod – Waltz. 10” EL Orth Canadian V 20677, only form of issue, 1 April, 1927. A-, very decent copy has lt. rubs & hint of grey on peaks, inaud. MB 10

“Olle I. Skratthult (Hjalmar Peterson) was a Swedish-American vaudeville artist who achieved great popularity during the 1910s and 1920s. Arriving in the United States in 1906, Hjalmar Peterson eventually settled in Minneapolis. In 1909 he returned to Sweden as a member of The Swedish-American Quartet, and during its two-year tour he gathered the songs, stories and jokes he would later use as a solo performer. Back in America, Peterson adopted the stage name Olle I. Skratthult (Olle from Laughtersville) and began performing on the Scandinavian-language vaudeville circuit. Olle was a bondkomiker (peasant comic), and he dressed the part with a blacked-out tooth and straw-colored wig. Between 1916 and 1929, he recorded 46 songs, primarily for Columbia and Victor Records. In addition his Hobo Orchestra recorded 18 instrumental tracks for Victor.”

Nos. G1628 – G1701 are Phono Record Catalogues.

G1628. EDISON Blue Amberol Catalogue, c.1913. 16pp. MB 15

G1629. EDISON Diamond Disc Re-Creations, May, 1917. 184pp. Excellent, missing front cover. MB 15

G1630. EDISON Diamond Disc Re-Creations, Feb., 1918. 231pp. Photos. MB 20

G1631. EDISON – Composers & Artists Catalogue, c.1920, c.85pp. 8” x 11”. Many full-page photos of Anselmi, Bonci, Bori, Case, Chalmers, Cherniavsky Trio, Ciccolini, Delna, Destinn, Ferrari-Fontana, Flesch, Hackett, Hempel, Laurenti, Carolina Lazzari, Matzenauer, Middleton, Miller, Rappold, Rice, Shepperd, Spalding, Tiffany, de Treville, Urlus, Verlet, Willeke & Zenatello; numerous smaller photos, many Mishkin. Handsome presentation. MB 35

G1632. EDISON Re-Creations, 1919. 271pp., plus 24 additional pp. of 130 photos. MB 25

G1633. EDISON Re-Creations, 1922. 434pp., plus 33 additional pp. of 194 photos. Sl.yellowed brittle paper, covers detached. MB 25

G1634. EDISON Records, undated, c.1921. (Form 4817) 555pp. Excellent, very few mks. MB 25

G1635. EDISON Records, Jan., 1923. 160pp. Numerous phonograph illus. MB 15

G1636. EDISON Records, 1924. 495pp. MB 20

G1637. EDISON Diamond Disc Supplement No. 20, Oct., 1914. 4–face foldout. Excellent, lt. fold. MB 4

G1638. EDISON Diamond Disc Supplement No. 21, Oct., 1914. 4–face foldout. Excellent, lt. fold & tear. MB 4

G1639. EDISON Diamond Disc Supplement No. 47, undated, c.1917. 4–face foldout. MB 4

G1640. EDISON Re-Creation Supplement, undated, c.1920. 4–face foldout, Spalding on cover. MB 4

G1641. EDISON Dealer’s Supplement, 1927. 16pp. MB 8

G1642. EDISON – Along Broadway (the Edison Musical Magazine), Jan., 1919. 12pp. Photos incl. Chalmers, Henri Scott, Rappold & Carolina Lazzari (the latter being full page). Excellent, sl. fold. MB 6

G1643. EDISON – Along Broadway (the Edison Musical Magazine), July, 1920. 12pp.

Front cover photo of Chalmers. MB 6

G1644. EDISON – Along Broadway (the Edison Musical Magazine), Sept., 1920. 12pp. Full-page photo of Matzenauer; Front cover photo of Spalding. MB 6

G1645. EDISON – Along Broadway (the Edison Musical Magazine), Jan., 1921. 10pp. Photos incl. Anna Pavlowa, Michel Fokine, Vera Fokina, Sonia Serova, Rudy Wiedoeft, Verlet, etc.; Front cover photo of Merle Alcock. Excellent, back cover missing. MB 6

G1646. EDISON – Along Broadway (the Edison Musical Magazine), March, 1921. 12pp. Photos incl. Marilynn Miller, Duncan Sisters, Helen Mellette, Sodero, Chalmers & Harry E. Humphrey (the ubiquitous voice); Full-page photo of Anna Case; Front cover photo of Mario Laurenti. MB 8

G1647. EDISON – Along Broadway (the Edison Musical Magazine), April, 1921. 12pp. Photos incl. Alice Delysia, Francis Wilson, De Wolf Hopper, Percy Heming, Sylvia Melis, Arthur Wynne, Lena Maitland, Anthony Giammatteo, etc.; Full-page photo of Zoellner String Quartet; Front cover photo of Alice Verlet. MB 8

G1648. EDISON – Along Broadway (the Edison Musical Magazine), July, 1921. 12pp. Photos incl. Vasa Prihoda, Mario Laurenti, Cecil Arden, Harry Breen, Jules Levy, etc.; Front cover photo of Kitty Arthur. MB 6

G1649. EDISON – Along Broadway (the Edison Musical Magazine), Aug., 1921. 12pp. Photos incl. Frieda Hempel, Eleanor Painter, Eleanor Griffith, Harry Fender, etc.; Front cover photo of Arthur Middleton. Excellent, sl. fold. MB 6

G1650. EDISON – Along Broadway (the Edison Musical Magazine), Sept., 1921. 12pp. Photos incl. Lauri Kennedy, Nora Bayes, Lew Fields, De Wolf Hopper, Delyle Alda, J.Harold Murray, Ross Hamilton, etc.; Front cover photo of Allan Case. Excellent, sl. fold. MB 6

G1651. EDISON – Along Broadway (the Edison Musical Magazine), Feb., 1922. 12pp. Photos incl. 8 of Thomas Chalmers, plus Odette le Fontenay, Betsy Lane Shepherd, Lewis James, Charles Hart, Elliott Shaw, etc.. Excellent, sl. fold & minor cover tear. MB 6

G1652. US-BRUNSWICK Records 1921. 47pp. Numerous Photos. MB 15

G1653. US-BRUNSWICK Records 1922. 96pp. Numerous Photos. MB 15

G1654. US-BRUNSWICK Records 1923. 122pp. Numerous Photos. MB 15

G1655. US-BRUNSWICK Records 1924. 142pp. Numerous Photos MB 15

G1656. US-BRUNSWICK Records 1925. 180pp. Numerous Photos. MB 15

G1657. US-BRUNSWICK Records 1927. 220pp. Numerous Photos. Excellent, sl. used copy. MB 15

G1658. US-BRUNSWICK Records Jan., 1930. 131pp. MB 15

G1659. US-BRUNSWICK Records Dec., 1930. 140pp. MB 15G1660. French POLYDOR, 1929. 64pp. Sl.yellowed; minor notations; detached covers. MB 15

G1661. French POLYDOR, 1951. 109pp. MB 8

G1662. German POLYDOR, Sept., 1935. 240pp. Excellent, mended covers. MB 20

G1663. German POLYDOR, July, 1938. 222pp. Excellent, sl. torn cover. MB 20

G1664. German POLYDOR, 1951/52. 151pp. Photos. MB 8

G1665. Italian ODEON Supplement, May, 1934. 16pp. Many photos, primarily popular. MB 6

G1666. French PATHÉ, c.1907. 148pp. Photos; Excellent, mended spine. MB 25

G1667. US-PATHÉ Double Disc Records, 1918. c.64pp. Incl. 14” records; Excellent, few lt. mks. MB 20

G1668. US-PATHÉ Double Disc Records, c.1919. c.200pp. Incl. 14” records; Excellent, very sl. damaged spine. MB 20

G1669. US-PATHÉ Double Disc Records, 1920. c.200pp. MB 20

G1670. US-PATHÉ Double Disc Records, 1920 Supplement. 27pp. sl. used, w.damaged covers. MB 10

G1671. La Voix de Son Maitre, July, 1923. 248pp. MB 35

G1672. La Voix de Son Maitre, 1924. 385pp. MB 35

G1673. La Voix de Son Maitre Supplement, July, 1924. 4–face foldout. MB 4

G1674. La Voix de Son Maitre, 1928. 311pp. MB 35

G1675. La Voix de Son Maitre, 1930. 355pp. MB 35

G1676. La Voix de Son Maitre, 1931. 311pp. MB 35

G1677. La Voix de Son Maitre, 1936. 314pp. MB 20

G1678. La Voix de Son Maitre, 1938. 448pp. MB 25

G1679. La Voix de Son Maitre, Columbia & Pathé Catalogue, 1949. 208pp. MB 15

G1680. La Voix de Son Maitre, 1950. 243pp. MB 10

G1681. La Voix de Son Maitre, Columbia & Pathé Catalogue, 1950. 395pp. Excellent, sl. damaged spine. MB 15

G1682. La Voce del Padrone, June, 1928. 300pp. ‘Artist’ section; Historic section; Photos; Full-page photo of a bellicose Mussolini! MB 35

G1683. La Voce del Padrone, April, 1930. 423pp. ‘Artist’ section; Historic section; Photos; Full-page photo of a bellicose Mussolini! MB 35

G1684. La Voce del Padrone, Oct., 1934-35. 448pp. ‘Artist’ sections; Historic section; Photos; Excellent copy has sl. yellowed paper. MB 25

G1685. La Voce del Padrone, Jan., 1943. 48pp. MB 10

G1686. La Voce del Padrone, 1946. 77pp. MB 10

G1687. La Voce del Padrone, Jan., 1948. 264pp. MB 10

G1688. La Voce del Padrone, Jan., 1950. 240pp. MB 10

G1689. La Voce del Padrone, Jan., 1951. 287pp. MB 10

G1690. La Voce del Padrone, Jan., 1952. 315pp. MB 10

G1691. Dischi Columbia – Catologo numerico, June, 1946. 287pp. MB 25

G1692. Dischi Columbia – Catologo numerico, June, 1948. 159pp. MB 15

G1693. Dischi Columbia – Catologo numerico, Dec., 1949. 190pp. Also incl. additional pages of more catalogue numbers, Jan.-Sept., 1950. MB 15

G1694. Italian ODEON Catalogue, 1949. 179pp. MB 15

G1695. German Parlophon-Beka Catalogue, 1928-29. 192pp. Photos. MB 25

G1696. German ODEON Catalogue, 1950. 48pp. MB 8

G1697. German Electrola & Columbia Catalogue, 1952. 224pp. Thumb-indexed. MB 15

G1698. Telefunken Hauptkatalog, 1932-33. 96pp. MB 15

G1699. Telefunken Hauptkatalog, c.1934. 100pp. loose pages & sl. yellowed paper; sl. damaged cover. MB 10

G1700. Telefunken Hauptkatalog, c.1935. 87pp. sl. yellowed paper; sl. damaged cover. MB 10

G1701. US-ODEON – Der deutsche Heimatsrekord Haupt Kagalog – General Phonograph Corp., June, 1924. 60pp. Excellent, mended covers. MB 20

G1702 – G1748 are CHICAGO GRAND OPERA Programs; MB $6.00 per program.

G1702. 10 Nov., 1934 Turandot – Papi; Maria Jeritza, Frederick Jagel (début), Hilda Burke, Chase Baromeo, etc.

G1703. 12 Nov., 1934 Andrea Chénier – Papi; Giovanni Martinelli, Franca Somigli (début), Carlo Morelli, etc.

G1704. 13 Nov., 1934 Tosca – Papi; Maria Jeritza, Giuseppe Bentonelli, Pasquale Amato, etc.

G1705. 14 Nov., 1934 Il Trovatore – Papi; Franca Somigli, Giovanni Martinelli, Carlo Morelli, Eleanor La Mance, etc.

G1706. 17 Nov., 1934 (M) Turandot – Papi; Maria Jeritza, Frederick Jagel, Leola Turner, Chase Baromeo, etc.

G1707. 19 Nov., 1934 La Traviata – Papi; Edith Mason, Giuseppe Bentonelli, John Charles Thomas, etc.

G1708. 20 Nov., 1934 Aïda – Papi; Franca Somigli, Giovanni Martinelli, Carlo Morelli, Eleanor La Mance, etc.

G1709. 21 Nov., 1934 Tosca – Papi; Maria Jeritza, Myron Duncan (début), Joseph Royer, etc.

G1710. 24 Nov., 1934 (M) La Boheme – Papi; Ethel Mason, Giuseppe Bentonelli, Margery Maxwell, Claudio Frigerio, etc.

G1711. 24 Nov., 1934 La Forza del Destino – Papi; Franca Somigli, Giovanni Martinelli, Carlo Morelli, Ada Paggi, etc.

G1712. 26 Nov., 1934 Lohengrin – Weber; Maria Jeritza, Frederick Jagel, Eleanor La Mance, Carl Schiffeler, etc.

G1713. 27 Nov., 1934 Carmen – van Grove; Coe Glade, Myron Duncan, Hilda Burke, Joseph Royer, Belarsky, etc.

G1714. 28 Nov., 1934 Salome; van Grove; Maria Jeritza, Sonia Sharnova, Frederick Jagel, Joseph Royer, etc.; Pagliacci, Act I – Kopp; John Pane-Gasser, Carlo Morelli, Lucia Diano, etc.

G1715. 1 Dec., 1934 (M) Madama Butterfly – Papi; Edith Mason, Giuseppe Bentonelli, Claudio Frigerio, Belarsky, etc.

G1716. 1 Dec., 1934 Aïda – Weber; Hilda Burke, Frederick Jagel, Eleanor La Mance, Carlo Morelli, Guido Guidi, etc.

G1717. 4 Dec., 1934 Martha – Papi; Edith Mason, Giuseppe Bentonelli, Mae Barron (début), etc.

G1718. 8 Dec., 1934 (M) Tannhäuser – Weber; Lotte Lehmann, Paul Althouse, Coe Glade, Chase Baromeo, Belarsky, etc.

G1719. 8 Dec., 1934 La Boheme – Papi; Jean Tennyson (début), Mario Chamlee, Margery Maxwell, Frigerio, etc.

G1720. 11 Dec., 1934 Madama Butterfly – Papi; Hilda Burke, Giuseppe Bentonelli, Claudio Frigerio, Sidor Belarsky, etc.

G1721. 12 Dec., 1934 Lohengrin – Weber; Elisabeth Rethberg (début), Mario Chamlee, Eleanor La Mance, etc.

G1722. 15 Dec., 1934 Don Giovanni – van Grove; Ezio Pinza, Virgilio Lazzari, Charles Hackett, Anna Turkel, Hilda Burke, Edith Mason, etc.

G1723. 18 Dec., 1934 Tristan – Frederick Stock (Guest Conductor); Lauritz Melchior, Elsa Alsen, Maria Olszewska, Chase Baromeo, Julius Huehn, etc.

G1724. 22 Dec., 1934 (M) Rigoletto – van Grove; Carlo Morelli, Giuseppe Bentonelli, Rosalinda Morini, Guido Guidi, etc.

G1725. 22 Dec., 1934 Aïda, Act II – Papi, Hilda Burke, John Pane-Gasser, Coe Glade, Joseph Royer, Baromeo, etc.; La Traviata, Act I – Papi; Edith Mason, Giuseppe Bentonelli, etc.; Gold Standard (Ibert) – Ganz; Ruth Page, Bentley Stone, etc.; Syringomylia (Anon.) – Kopp; Sonia Sharnonva, Joseph Royer, Carlo Morelli, Blake Scott, etc.

G1726. 6 Nov., 1935 Martha; Papi; Edith Mason, Mario Chamlee, Virgilio Lazzari, Mari Barova, etc.

G1727. 9 Nov., 1935 Il Trovatore; Bigalli; Anna Leskaya, John Pane-Gasser, Eleanor La Mance, Carlo Morelli, Virgilio Lazzari, etc.

G1728. 12 Nov., 1935 Lohengrin – Weber; Lotte Lehmann, Mario Chamlee, Eleanor La Mance, Carl Schiffeler, etc.

G1729. 13 Nov., 1935 La Boheme – Papi; Jean Tennyson, Armand Tokatyan, Lola Fletcher (début), Carlo Morelli, Virgilio Lazzari, etc.

G1730. 20 Nov., 1935 Turandot – Papi; Rosa Raisa, Armand Tokatyan, Marion Claire, Norman Cordon, etc.

G1731. 23 Nov., 1935 Gale (Leginska) – Cond. by the Composer; John Charles Thomas, Frank Forest, etc.; Love Song (Schubert) – Ganz; Ruth Page, Bentley Stone, Virginia Nugent, etc.; Pagliacci, Act I – Canarutto; Jean Tennyson, John Pane-Gasser, Carlo Morelli, etc.

G1732. 26 Nov., 1935 La Boheme – Hageman; Jean Tennyson, Armand Tokatyan, Lola Fletcher, Carlo Morelli, etc.

G1733. 4 Dec., 1935 La Traviata – Bigalli; Rosalinda Morini, Frank Forest, Jean Fardulli, etc.

G1734. 9 Dec., 1936 Otello – Canarutto; Giovanni Martinelli, Edith Mason, Richard Bonelli, etc. Excellent, albeit one minor cutout of an ad, not affecting program.

G1735. 3 Nov., 1937 Il Trovatore – Moranzoni; Elisabeth Rethberg, Giovanni Martinelli, Carlo Morelli, Eleanor La Mance, Virgilio Lazzari, etc.

G1736. 5 Nov., 1937 Manon – Hasselmans; Elen Dosia (début), André Burtino (début), John Brownlee (début), etc.

G1737. 12 Nov., 1937 Thaïs – Hasselmans; Helen Jepson, John Charles Thomas, William Martin, etc. G1738. 13 Nov., 1937 Tosca – Moranzoni; Elen Dosia, Galliano Masini, George Czaplicki, , etc.

G1739. 15 Nov., 1937 L’Amore dei Tre Re – Moranzoni; Helen Jepson, José Luccioni, Virgilio Lazzari, Carlo Morelli, etc.

G1740. 17 Nov., 1937 Manon – Hasselmans; Grace Moore (début), André Burdino, John Brownlee, Baromeo, etc.

G1741. 20 Nov., 1937 (M) Lohengrin – Weber; Grete Stückgold, René Maison, Eleanor La Mance, George Czaplicki, etc.

G1742. 22 Nov., 1937 Norma – Samossoud; Gina Cigna (début), Frederick Jagel (replacing Martinelli, w.insert), Coe Glade, Ezio Pinza, etc.

G1743. 4 Dec., 1937 La Juive – Kopp; Rosa Raisa, Vivian della Chiesa, Giovanni Martinelli, Chase Baromeo or Ezio Pinza, etc.

G1744. 2 Nov., 1938 Die Meistersinger – Weber; Joel Berglund (début), René Maison, Maria Reining (début), Dezo Ernster (début), Adolph Vogel (début), etc.

G1745. 5 Nov., 1938 (M) Samson et Dalila – Weber; René Maison, Bruna Castagna, Jean Fardulli, etc.

G1746. 5 Nov., 1938 Madama Butterfly – Monanzoni; Maria Reining, James Melton (début), George Czaplicki, etc.

G1747. 7 Nov., 1938 Les Contes d’Hoffmann – Hasselmans; Josephine Antoine, Elen Dosia, André Burdino, Lawrence Tibbett, Desiré Defrère, Francesco Daddi, etc.

G1748. 19 Nov., 1938 (M) Turandot – Kopp; Eva Turner (début), Galliano Masini, Annunciata Garrotto, Virgilio Lazzari, etc.

G1749 – G1983 are METROPOLITAN OPERA Programs; MB $6.00 per program.

G1749. 14 March, 1912 Mona (Horatio Parker) – World Première - Hertz; Homer, Fornia, Witherspoon, Reiss, Martin, etc.;

G1750. 6 Dec., 1912 Die Meistersinger – Hertz; Destinn, Homer, Jörn, Weil, Goritz, Reiss, etc.

G1751. 24 March, 1913 Cyrano (Walter Damrosch) – Hertz; Amato, Alda, Martin, Reiss, etc.

G1752. 22 March, 1915 Die Meistersinger - Toscanini; Hempel, Sembach, Weil, Goritz, Reiss, etc.

G1753. 17 Jan., 1916 Hänsel und Gretel – Hageman; Mason, Mattfeld, Reiss, Goritz, etc.

G1754. 23 Feb., 1917 Die Walküre – Bodanzky; Sembach, Kurt, Gadski, Matzenauer, Ruysdael, Whitehill, etc.

G1755. 19 March, 1917 Die Meistersinger – Bodanzky; Gadski, Urlus, Whitehill, Goritz, Braun, etc.

G1756. 14 April, 1917 (M) The Canterbury Pilgrims (de Koven) – Bodanzky; Sembach, Ober, Mason, Leonhardt, Althouse, Bloch, Laurenti, etc.

G1757. 19 April, 1918 L’Elisir d'Amore – Papi; Barrientos, Caruso, de Luca, Didur, etc.

G1758. 19 Jan., 1919 Sunday Night Concert – Hageman; Zimbalist, Sundelius, Althouse & Mardones.

G1759. 21 Nov., 1919 Faust – Wolff (début); Martinelli, Farrar, Rothier, Couzinou, etc.

Excellent, albeit waterstained cover.

G1760. 22 Nov., 1919 (M) La Juive – Bodanzky; Ponselle, Caruso, Rothier, Scotney (début), Harrold (début), Chalmers, etc. Excellent, albeit sl. waterstained cover.

G1761. 16 Feb., 1920 Barbiere – Papi; Barrientos, Hackett, de Luca, Mardones, Malatesta, etc.

G1762. 13 March, 1921 Sunday Night Concert – Cavalleria – Setti; Peralta, Telva, Gigli, Chalmers, etc.; Pagliacci – Setti; Sundelius, Zerola, Amato, Laurenti, etc.

G1763. 3 April, 1921 Sunday Night Concert – Hageman, Kreisler, Howard, Harrold & Amato. Excellent, few tears.

G1764. 16 April, 1922 Sunday Night Concert – Setti; Claussen, Delaunois, Chamlee, Sembach, Kingston, Chalmers, Picco, Rothier, etc.: Rigoletto – Act II; Samson et Dalila – Act I; Carmen – Act I.

G1765. 23 Nov., 1922 Die Walküre – Bodanzky; Jeritza, Matzenauer, Taucher (début), Whitehill, Bender, Gordon, etc.

G1766. 1 Jan., 1923 Thaïs – Hassemans; Jeritza, Whitehill, Harrold, etc.

G1767. 15 Jan., 1923 Guillaume Tell – Papi; Ponselle, Martinelli, Danise, Mardones, Didur, Sundelius, Bloch, etc.

G1768. 26 March, 1923 Lohengrin – Bodanzky; Taucher, Kemp, Claussen, Whitehill, Bohnen, etc.

G1769. 19 Nov., 1923 Die Meistersinger – Bodanzky; Rethberg, Laubenthal, Whitehill, Schützendorf, Bloch, etc.

G1770. 29 Nov., 1923 (M) Parsifal – Bodanzky; Laubenthal, Whitehill, Gustafson, Bender, Schützendorf, Matzenauer, Roessler, etc.

G1771. 23 Jan., 1924 Fedora – Papi; Jeritza, Martinelli, Scotti, Picco, Queena Mario, etc.G1772. 6 Feb., 1924 Die Walküre – Bodanzky; Matzenauer, Branzell (début),

Delia Reinhardt, Taucher, Bohnen, Gustafson, Telva, etc.

G1773. 10 March, 1924 Le Roi de Lahore – Hasselmans; Delia Reinhardt, Lauri-Volpi, de Luca, Rothier, Mardones, etc.

G1774. 20 Nov., 1924 Der Rosenkavalier – Bodanzky; Easton, Jeritza, Mario, Bender, Schützendorf, Roessler, etc.

G1775. 27 Nov., 1924 (M) Parsifal – Bodanzky; Laubenthal, Whitehill, Ananian, Bender, Schützendorf, Matzenauer, Roessler, Telva, etc.

G1776. 6 Dec., 1924 (M) Jenufa (American Première) – Bodanzky; Jeritza, Matzenauer, Öhman, Laubenthal, Schützendorf, etc. Clean copy is somewhat torn & shopworn.

G1777. 15 Jan., 1925 Tristan – Bodanzky; Taucher, Easton, Telva, Bender, Schorr, Gábor, Bloch, etc.

G1778. 3 April, 1925 Der Freischütz – Bodanzky; Müller, Kandt, Laubenthal, Schützendorf, Bohnen, Rothier, Gábor, etc. Excellent copy has very sl. frayed spine.

G1779. 14 Nov., 1925 Lohengrin – Bodanzky; Taucher, Roeseler, Claussen, Whitehill, Bender & Schützendorf. Excellent copy has very sl. frayed spine.

G1780. 17 Feb., 1926 Rigoletto – Serafin; de Luca, Lauri-Volpi, Talley (début), Mardones, etc.

G1781. 23 Jan., 1927 Sunday Night Concert – Bamboschek; Galli-Curci, Fleischer, Mario, Sabanieeva, Telva, Chamlee, Tokatyan, de Luca, Tibbett, Didur, Cehanovsky, etc.

G1782. 22 Feb., 1928 (M) Mignon – Hasselmans; Bori, Talley, Gigli, Whitehill, etc.

G1783. 9 April, 1928 Mignon – Hasselmans; Bori, Talley, Gigli, Rothier, etc.

G1784. 8 April, 1929 Aïda – Serafin; Müller; Branzell, Lauri-Volpi, Pinza, Basiola, etc.

G1785. 6 Dec., 1929 Hänsel und Gretel – Bodanzky; Fleischer, Queena Mario, Manski, Schützendorf, etc.; Pagliacci – Bellezza; Lauri-Volpi, Tibbett, Biondo, Cehanovsky, etc.

G1786. 31 Jan., 1930 Norma – Serafin; Ponselle, Telva, Jagel, Pasero, etc.

G1787. 16 March, 1930 Sunday Night Concert – Pelletier; Bori, Swarthout, Tokatyan, Basiola, Rothier, etc.

G1788. 14 April, 1930 Aïda – Bellezza; Corona, Claussen, Martinelli, Pinza, de Luca, etc.

G1789. 29 Dec., 1930 Le Preziose Ridicole (Lattuada) – Bellezza, Bori, Swarthout, Tokatyan, Basiola, etc.; The Fair at Sorochintzy (Mussorgsky) – Serafin; Pinza, Danise, Olga Didur, Bourskaya, etc.

G1790. 9 Feb., 1931 Boccaccio – Bodanzky; Jeritza, Morgana, Manski, Kirchhoff, Schützendorf Telva, Fleischer, Meader, Clemens, etc.

G1791. 31 Jan., 1932 Sunday Night Concert – Pelletier; Martinelli, Mario, Swarthout, Rothier, Grischa Goluboff, etc.

G1792. 19 Feb., 1932 Lakmé – Hasselmans; Pons, Swarthout, Thill, Rothier, de Luca, etc.

G1793. 22 Feb., 1932 (M) La Juive – Hasselmans; Rethberg, Morgana, Martinelli, Rothier, Altglass (replacing Tedesco), etc.

G1794. 22 Feb., 1932 Les Contes d’Hoffmann – Hasselmans; Pons, Bori, Corona, Swarthout, Tokatyan, Ludikar, Basiola, de Luca, etc.

G1795. 13 March, 1932 Sunday Night Concert – Pelletier; Corona, Swarthout, Jagel, Basiola, Pasero, etc.

G1796. 16 March, 1932 La Sonnambula – Serafin; Pons, Gigli, Pinza, etc.

G1797. 27 April, 1932 Rigoletto – Bellezza; Basiola, Gigli, Pons, Pinza, Swarthout, etc.

G1798. 4 Dec., 1932 Sunday Night Concert – Pelletier; Bampton, Halstead, Gleason, Swarthout, Tokatyan, Bonelli, Pasero, etc.

G1799. 14 Jan., 1933 (M) Lohengrin – Bodanzky; Rethberg, Branzell, de Loor, Schorr, Hofmann, etc.

G1800. 22 Jan., 1933 Sunday Night Concert – Pelletier; Ellen Ballon, Fleisher, Bampton, Swarthout, Pinza, etc.

G1801. 5 Feb., 1933 Sunday Night Concert – Pelletier; Bori, Corona, Rethberg, Swarthout, Martinelli, Armando Borgioli, Pinza, etc.

G1802. 19 Feb., 1933 Sunday Night Concert – Pelletier; Pons, Gleason, Bampton, Swarthout, Jagel, Bonelli, Pinza, etc.

G1803. 22 Feb., 1933 Roméo – Hasselmans; Noréna, Johnson, de Luca, Pinza, Swarthout, etc.

G1804. 26 Feb., 1933 Sunday Night Concert (25th Gatti-Casazza celebration, w.Operatic Surprise Party) – Setti, Sturani, Serafin, Hasselmans, Bodanzky & Bellezza; Pons, Noréna, Sabanieeva, Rosa & Carmela Ponselle, Bori, Stückgold, Rethberg, Mario, Fleisher, Telva, Swarthout, Lauri-Volpi, Crooks, Chamlee, Johnson, Schipa, Martinelli, Tokatyan, Jagel, Melchior, de Luca, Amato, Chalmers, Schützendorf, Schorr, Armando Borgioli, Bonelli, Pinza, Pasero, Didur, etc. Rare!

G1805. 9 March, 1933 L’Amore dei Tre Re – Serafin; Bori, Johnson, Pasero, Bonelli, etc.

G1806. 1 Jan., 1934 La Traviata – Serafin; Muzio, Schipa, Bonelli, etc.

G1807. 11 Jan., 1934 Die Walküre – Bodanzky; Kappel, Lehmann (début), Branzell, Melchior, Hofmann, Liszt, etc.

G1808. 19 Jan., 1934 Gianni Schicchi – Bellezza; de Luca, Fleisher, Bourskaya, Martini, Pinza, etc.; Salome – Bodanzky; Ljungberg, Manski, Lorenz, Schorr, Clemens, Liszt, etc.

G1809. 27 Jan., 1934 Tannhäuser – Riedel; Melchior, Bonelli, Pinza, Clemens, Müller, Halstead, etc.

G1810. 9 Feb., 1934 Manon – Hasselmans; Bori, Schipa, de Luca, Rothier, etc.

G1811. 24 Feb., 1934 L’Africaina – Serafin; Rethberg, Mario, Martinelli, Lazzari, Pinza, Armando Borgioli, etc.

G1812. 10 March, 1934 La Traviata – Serafin; Bori, Martini, Bonelli, etc.

G1813. 14 March, 1934 Rigoletto – Bellezza; de Luca, Hackett, Pons, Lazzari, Bourskaya, etc.

G1814. 17 March, 1934 Cavalleria – Bellezza; Carmela Ponselle, Petina, del Corso, Armando Borgioli, etc.; Salome – Riedel; Ljungberg, Manski, Jagel, Schorr, Clemens, Liszt, etc.

G1815. 18 March, 1934 Sunday Night Concert – Henrotte & Pelletier; Falco, Mario, Bampton, Swarthout, Jagel, Lorenz, Martini, de Luca, Pinza, etc.

G1816. 23 March, 1934 Merry Mount (Hanson) – Serafin; Petina, Wakefield, Corona, Johnson, Bonelli, Windheim, etc.

G1817. 1 April, 1934 Sunday Night Concert (Gala Easter Concert) – Pelletier; Leider, Ljungberg, Fleisher, Corona, Carmela Ponselle, Swarthout, Melchior, Jagel, Martini, de Luca, Schorr, Rothier, etc.

G1818. 1 Feb., 1935 Faust – Hasselmans; Martinelli, Noréna, Pinza, Bonelli, etc.

G1819. 9 Feb., 1935 Aïda – Panizza; Rethberg, Olszewska, Martinelli, Tibbett, Rothier, etc.

G1820. 14 Feb., 1935 Lohengrin – Bodanzky; Lehmann, Melchior, Olszewska, Schorr, Liszt etc.

G1821. 4 March, 1935 La Serva Padrona – Bellezza; Fleischer, d’Angelo & Bada; Don Pasquale – Panizza; Bori, Schipa, de Luca, Pinza, etc.

G1822. 10 March, 1935 Sunday Night Concert – Henrotte; Noréna, Corona, Jepson, Martinelli, Crooks, Bonelli, etc.

G1823. 13 March, 1935 La Serva Padrona – Bellezza; Fleischer, d’Angelo & Bada; Don Pasquale – Panizza; Bori, Schipa, de Luca, Pinza, etc.

G1824. 1 Feb., 1936 Madama Butterfly – Panizza; Burke, Bentonelli, Bonelli, etc.

G1825. 18 Feb., 1936 Aïda – Panizza; Rethberg, Bampton, Jagel, Tibbett, Pinza, etc.

G1826. 26 Feb., 1936 La Boheme – Papi; Bori, Martinelli, Gleason, Morelli, Pinza, etc.

G1827. 29 Feb., 1936 (M) Pagliacci – Papi; Mario, Martinelli, Bonelli, etc.; Serenade (Tchaikovsky) – Cimara; American Ballet Ensemble; Gianni Schicchi – Papi; Huehn, Burke, Bentonelli, Bourskaya, Windheim, etc.

G1828. 7 March, 1936 Tristan – Riedel; Kappel, Melchior, Branzell, Schorr, Windheim, Habich, etc.

G1829. 21 March, 1936 (M) La Rondine – Panizza; Bori, Martini, Fleischer, d'Angelo, etc.

G1830. 5 Feb., 1938 Otello – Panizza; Carron, Tibbett, Jessner, Moscona, etc.

G1831. 14 March, 1938 Amelia al Ballo (Menotti) – Panizza; Dickson, Chamlee, Brownlee, Cordon, etc.; Salome – Panizza; Marjorie Lawrence, Manski, Maison, Huehn, Cordon, etc.

G1832. 12 Jan., 1939 Fidelio – Bodanzky; Flagstad, Maison, Schorr, List, Huehn, etc.

G1833. 15 March, 1940 (M) Carmen – Pelletier; Swarthout, Martinelli, Albanese, Pinza, etc.

G1834. 23 Dec., 1940 Louise – Panizza; Moore, Kullman, Doe, Pinza, etc.

G1835. 3 Jan., 1941 Rigoletto – Papi; Tibbett, Kullman, Pons, Moscona, Kaskas, etc.

G1836. 27 Jan., 1941 Faust – Pelletier; Kullman, Jepson, Cordon (replacing Pinza), Bonelli, etc.

G1837. 23 Feb., 1941 Sunday Night Concert – Cimara; Greco, Steber, Castagna, Tuminia, Burke, Manski, Carron, Jobin, de Paolis, Valentino, Brownlee, Cordon, etc.

G1838. 15 March, 1941 Cavalleria – Calusio; Giannini, Jagel, Valentino, Kaskas & Doe; Pagliacci – Calusio; Martinelli, Greco, Bonelli, Valentino & Dudley.

G1839. 13 Dec., 1941 La Traviata – Panizza; Sayão (replacing Novotná), Kullman, Tibbett, etc.

G1840. 1 March, 1942 Sunday Night Concert – Cleva; Greco, Tuminia, Novotná, Branzell, Kullman, Carron, Valentino, Harrell, Pechner, List, etc.

G1841. 9 Dec., 1942 La Serva Padrona – Breisach; Sayão, Baccaloni & de Paolis; Salome – Szell (début); Djanel, Branzell, Jagel (replacing Maison), Janssen, etc.

G1842. 17 Feb., 1943 Aïda – Pelletier; Milanov, Martinelli, Castagna, J.C. Thomas, etc. (Excellent, albeit comments at bottom of title page indicating singers’ behavior [Milanov falling off ladder & wearing her ridiculous costumes]).

G1843. 3 March, 1943 Il Trovatore – Sodero; Roman, Carron, Castagna, Bonelli, etc.

G1844. 16 March, 1943 La Traviata – Sodero; Sayão (replacing Albanese), Kullman, Tibbett, etc. (Excellent, albeit comments at bottom of title page indicating singers’ performances [Sayão notably fine, but Tibbett’s voice is going]).

G1845. 27 Nov., 1943 (M) La Forza del Destino – Walter; Roman, Jagel, Tibbett, Pinza, Baccaloni, Kaskas, etc. (Excellent, albeit comments on title page indicating singers’ performances).

G1846. 27 Nov., 1943 La Boheme – Sodero; Novotná, Tokatyan, Valentino, Greer, etc.

G1847. 11 Dec., 1943 (M) Tristan – Beecham; Melchior, Traubel, Thorborg, Cordon, Janssen, Darcy, etc.

G1848. 18 Dec., 1943 (M) Rigoletto – Sodero; Warren (replacing Tibbett), Kullman, Pons, Moscona, Kaskas, etc.

G1849. 25 Dec., 1943 (M) Mignon – Beecham; Stevens, Munsel, Melton, Cordon, de Paolis (replacing Dame), etc.

G1850. 8 Jan., 1944 (M) Lucia – Sodero; Pons, Melton, Warren, Moscona, etc.

G1851. 9 Jan.,1944 Gala Sunday Night Program – Breisach; Djanel, Jessner, Harshaw, Paulee, Thorborg, Petina, de Paolis, Tokatyan, Lazzari, Moscona, Brownlee, etc.

G1852. 12 Feb., 1944 (M) Norma – Sodero; Milanov, Castagna, Jagel, Lazzari, etc.

G1853. 26 Feb., 1944 (M) Les Contes d’Hoffmann – Beecham; Munsel, Djanel, Novotná, Jobin, Pinza, Singher, Oliviero, Harrell, de Paolis, etc.

G1854. 4 March, 1944 (M) La Boheme – Sodero; Sayão, Martini, Brownlee, Carroll, Lazzari, etc.

G1855. 11 March, 1944 (M) Falstaff – Beecham; Warren, Steber, Greer, Harshaw, Brownlee, Kullman, etc.

6. 11 March, 1944 Rigoletto – Sodero; Valentino, Tokatyan, Munsel, Moscona, Castagna, etc.

G1857. 18 March, 1944 (M) Il Trovatore – Sodero; Milanov (replacing Roman), Baum, Warren, Harshaw, etc. Excellent, albeit comments on title page indicating singers’ performances – Baum couldn’t be heard in the Family Circle!

G1858. 8 April, 1944 (M) Tosca – Sodero; Moore, Kullman, Svéd, etc.

G1859. 2 Dec., 1944 (M) Die Walküre – Szell; Bampton, Traubel, Melchior, Kipnis, Thorborg, Hober (début), Jessner, Harshaw, etc.

G1860. 10 Dec., 1944 Gala Sunday Night Program – Breisach; Djanel, Resnik, Varnay, Conner, Harshaw, Votipka, Baum, Valentino, Brownlee, Baccaloni, etc.

G1861. 6 Jan., 1945 (M) Lucia – Sodero; Munsel, Peerce, Warren, Moscona, etc.

G1862. 20 Jan., 1945 (M) Rigoletto – Sodero; Warren (replacing Tibbett), Björling (replacing Kullman), Sayão (replacing Antoine), Cordon, Kaskas, etc.

G1863. 27 Jan., 1945 Faust – Pelletier, Jobin, Conner, Cordon, Valentino, Paulee, etc.

G1864. 31 March, 1945 (M) Il Trovatore – Sodero; Milanov, Baum, Warren, Castagna, etc. Autographed by Milanov & Castagna. Incomplete - Title page and covers only.

G1865. 7 Dec., 1945 Barbiere – Sodero; Sayão, Landi, Pinza, Singher, Baccaloni, etc.

G1866. 15 Dec., 1945 (M) Die Meistersinger – Szell; Steber, Thorborg, Kullman, Synrod (replacing Janssen), List, etc.

G1867. 19 Dec., 1945 Roméo – Cooper; Kirsten, Jobin, Singher, Valentino, Hayward, etc.

G1868. 21 Dec., 1945 La Gioconda – Cooper; Milanov, Tucker, Warren, Pinza, Stevens, Harshaw, etc.

G1869. 22 Dec., 1945 (M) Lohengrin – Busch; Melchior, Traubel, Thorborg, Janssen, Cordon, etc.

G1870. 12 Jan., 1946 (M) Les Contes d’Hoffmann – Pelletier; Alarie, Novotná, Thebom, Jobin, Singher, etc.

G1871. 12 Jan., 1946 Don Giovanni – Szell; Pinza, Baccaloni, Kullman, Milanov, Steber, Sayão, etc.

G1872. 25 Jan., 1946 Die Walküre – Breisach; Varnay, Traubel, Thorborg, Melchior, Berglund, Kipnis, Harshaw, etc.

G1873. 2 Feb., 1946 Barbiere – Sodero; Munsel, Martini, Pinza, Valentino, Baccaloni, etc.

G1874. 9 Feb., 1946 (M) Tosca – Sodero; Moore, Peerce, Tibbett, etc.

G1875. 9 Feb., 1946 Die Meistersinger – Szell; Steber, Thorborg, Ralf, Berglund, Pechner, List, etc.

G1876. 13 Feb., 1946 Les Contes d’Hoffmann – Alarie, Novotná, Djanel, Jobin, Singher, de Paolis, etc.

G1877. 23, Feb., 1946 Tosca – Sodero; Flesch, Tokatyan, Svéd, etc.

G1878. 9 March, 1946 (M) Lucia – Cimara; Munsel, Peerce, Valentino, Moscona, etc.

G1879. 23 March, 1946 Tannhäuser – Busch; Ralf, Huehn, Cordon, Varnay (replacing Traubel), Thebom, etc.

G1880. 30 March, 1946 (M) Die Walküre – Breisach; Melchior, List, Janssen, Varnay, Traubel, Thorborg, Harshaw, etc.

G1881. 31 March, 1946 Gala Sunday Night Program benefitting musicians for French-American friendship – Walter & Pelletier Cond. Charles Boyer, Kirsten, Moore, Djanel, Novotná, Jobin, Tibbett, Singher, Brownlee, Zino Francescatti, Robert & Gaby Casadesus. Complete 4–page foldout.

G1882. 11 Nov., 1946 OPENING NIGHT – Lakmé – Fourestier (début); Pons, Irene Jordan (début), Jobin, Vaghi, Singher, etc.

G1883. 13 Nov., 1946 Nozze – Busch; Steber, Greer, Stevens, Pinza, Brownlee, Chabay (début), Baccaloni, etc.

G1884. 18 Nov., 1946 Aïda – Sodero; Milanov, Vinay, Thebom, Warren, Moscona, etc.

G1885. 4 Dec., 1946 Aïda – Sodero; Milanov, Svanholm, Turner, Warren, Moscona, etc.

G1886. 13 Dec., 1946 Tristan – Busch; Svanholm (replacing Ralf), Traubel, Thebom, Ernster, Berglund, etc.

G1887. 16 Dec., 1946 Siegfried – Stiedry; Svanholm, Janssen, List, Traubel, Harshaw, Conner, etc.

G1888. 23 Dec., 1946 Faust – Fourestier; Björling, Mazella, Pinza, Merrill, Turner, etc.

G1889. 31 Dec., 1946 Rigoletto – Sodero; Tibbett, Peerce, Munsel, Lipton, Moscona, Chabay, etc.

G1890. 6 Jan., 1947 Boris Godounov – Cooper; Pinza, Moscona, Valentino, Harrell, Baccaloni, Alarie, Hines, etc.

G1891. 8 Jan., 1947 Der Rosenkavalier – Busch; Jessner, Novotná, Conner, List, Lechner, Hayward, etc.

G1892. 10 Jan., 1947 La Boheme – Sodero; Tagliavini (début), Albanese, Valentino, Benzell, etc.

G1893. 11 Jan., 1947 Aïda – Sodero; Flesch (replacing Roman), Baum, Thebom, Merrill, Moscona, etc.

G1894. 18 Jan., 1947 (M) Entführung – Cooper; Steber, Alarie, Ernster, Kullman, etc. Kullman,

G1895. 18 Jan., 1947 Lakmé – Pelletier; Munsel, Knight (replacing Jobin), Jordan, Singher, Moscona, Benzell, etc.

G1896. 22 Jan., 1947 Siegfried – Stiedry; Melchior, Berglund, Szekely, Harshaw, Traubel, Benzell, etc.

G1897. 27 Jan., 1947 Il Trovatore – Sodero; Roman, Björling, Harshaw, Valentino, Vaghi, etc.

G1898. 29 Jan., 1947 La Traviata – Sodero; Sayão, Melton, Tibbett, etc.

G1899. 31 Jan., 1947 The Warrior (Bernard Rogers) – Rudolf; Harrell, Resnik, etc.; Hänsel und Gretel – Stiedry; Stevens, Conner, Votipka, Turner, Brownlee, etc.

G1900. 1 Feb., 1947 Die Meistersinger – Busch; Varnay, Harshaw, Svanholm, Janssen, Pechner, Ernster, Harrell, etc.

G1901. 8 Feb., 1947 Der Rosenkavalier – Busch; Jessner, Stevens, Steber, Ernster, Hayward, Chabay, etc.

G1902. 12 Feb., 1947 La Gioconda – Cooper; Milanov, Tucker, Warren, Vaghi, Stevens, etc.

G1903. 21 Feb., 1947 Lucia – Sodero; Munsel, Tagliavini, Valentino, Vaghi, etc.

G1904. 22 Feb., 1947 Otello – Busch; Ralf, Quartararo, Warren, Moscona, etc.

G1905. 28 Feb., 1947 Roméo – Cooper; Munsel, Jobin, Singher, Moscona, Hayward, etc.

G1906. 3 March, 1947 Entführung - Cooper; Steber, Ernster, Thompson, Benzell, Knight, etc.

G1907. 8 March, 1947 Lucia – Sodero; Munsel, Peerce, Valentino, Vaghi, etc.

G1908. 10 March, 1947 Tristan – Busch; Melchior, Palmer (replacing Traubel), Harshaw, Ernster, Janssen, etc.

G1909. 14 March, 1947 La Traviata – Sodero; Kirsten, Peerce, Valentino, etc.

G1910. 19 March, 1947 La Boheme – Sodero ; Tagliavini, Kirsten, Valentino, Greer, Baccaloni, etc.

G1911. 31 March, 1947 Rigoletto – Cimara (replacing Sodero); Warren, Tagliavini, Antoine, Vaghi, Browning, etc.

G1912. 2 April, 1947 Parsifal – Stiedry; Svanholm, Janssen, Ernster, Berglund, Pechner, Bampton, Harshaw, etc.

G1913. 3 April, 1947 Carmen – Fourestier; Tourel, Jobin, Quartararo, Merrill, etc.

G1914. 5 April, 1947 (M) Il Trovatore – Sodero; Ilitsch, Björling, Warren, Harshaw, Moscona, etc.

G1915. 5 April, 1947 Barbiere – Cimara; Munsel, Tagliavini, Baccaloni, Valentino, Vaghi, etc.

G1916. 7 Nov., 1947 Pre-Season Gala Performance: Don Giovanni – Rudolf; Pinza, Baccaloni, Kullman, Bampton, Stoska (début), Conner, Harrell, etc.

G1917. 26 Nov., 1947 Tristan – Martin; Lorenz, Schlüter (début), Thebom, Ernster, etc.; Includes Olin Downes’ NYT review which who reports “one of the dullest performances of Tristan that we recall, with a new Isolde who is certainly, beyone doubt or per adventure,

the worst impersonator of the title part in our considerable experience of the opera….She sings very badly, explosively, off pitch, with tones that are customarily shrill and unsteady.”

G1918. 17 Nov., 1947 Don Giovanni – Rudolf; Pinza, Baccaloni, Kullman, Resnik, Quartararo, Conner, Hines & Alvary (replacing Harrell).

G1919. 28 Nov., 1947 Il Trovatore – Cooper; Roman, Baum, Warren, Elmo, Vaghi, etc.

G1920. 2 Dec., 1947 La Boheme - Sodero; Claudia Pinza, Peerce, Valentino, Greer, etc.

G1921. 5 Dec., 1947 Aïda – Cooper; Ilitsch, Ralf, Harshaw, Warren, Vaghi, etc.

G1922. 6 Dec., 1947 Carmen – Fourestier; Stevens, Baum, Claudia Pinza, Singher, Chabay, etc.

G1923. 10 Dec., 1947 Ballo – Antonicelli; Roman, Tucker, Warren, Elmo, Alarie, Moscona, etc.

G1924. 11 Dec., 1947 Il Trovatore – Cooper; Ilitsch, Baum, Elmo, Merrill, Vaghi, etc.

G1925. 13 Dec., 1947 Die Meistersinger – Martin; Stoska, Lipton, Ralf, Berglund, Pechner, Ernster, Chabay, Hines, etc.

G1926. 16 Dec., 1947 Lucia – Cimara; Pons, Tagliavini, Merrill, Moscona, etc.

G1927. 17 Dec., 1947 Carmen – Fourestier; Petina, Baum, Conner, Singher, etc.

G1928. 19 Dec., 1947 Cavalleria – Antonicelli; Elmo, Jagel (replacing Berini), Valentino, Claramae Turner & Lipton; Pagliacci – Antonicelli; Albanese, Jobin, Valdengo (début), Chabay & Thompson.

G1929. 21 Dec., 1947 Special Sunday Performance: Barbiere – Cimara; Munsel, Pinza, Valdengo, Baccaloni, etc.

G1930. 22 Dec., 1947 Louise – Fourestier; Kirsten, Jobin, Harshaw, Brownlee, etc.

G1931. 31 Dec., 1947 Cavalleria – Antonicelli; Resnik, Björling, Jordan, Valentino & Claramae Turner; Pagliacci – Antonicelli; Albanese, Jagel, Valdengo, Chabay & Thompson.

G1932. 1 Jan., 1948 Manon – Fourestier; Sayão, Kullman, Singher, Moscona, Greer, Claramae Turner, etc.

G1933. 5 Jan., 1948 Tosca – Antonicelli; Tassinari, Tagliavini, Svéd, etc.

G1934. 7 Jan., 1948 Barbiere – Cimara; Pons, Kinght, Baccaloni, Valdengo, Vaghi, etc.

G1935. 10 Jan., 1948 Rigoletto – Cimara; Warren, Pons, Peerce, Vaghi, Browning, etc.

G1936. 12 Jan., 1948 Aïda – Cooper; Roman, Ralf, Thebom, Valdengo, Moscona, etc. Incl. photo of Roman wearing the ancient jewelry she will wear at this performance.

G1937. 13 Jan., 1948 Carmen – Fourestier; Petina, Berini, Singher, Claudia Pinza, etc.

G1938. 14 Jan., 1948 La Traviata – Antonicelli; Sayão, Melton, Valentino, etc.

G1939. 17 Jan., 1948 (M) Lucia – Cimara; Pons, Tagliavini, Merrill, Moscona, etc.

G1940. 19 Jan., 1948 Carmen – Fourestier; Stevens, Baum, Merrill, Conner, etc.

G1941. 23 Jan., 1948 Tosca – Antonicelli; Tassinari, Tagliavini, Tibbett, etc.

G1942. 29 Jan., 1948 Barbiere – Cimara; Carmen Gracia (début), Kinght, Luise, Valdengo, Vaghi, etc.

G1943. 31 Dec., 1948 (M) La Boheme – Antonicelli; Sayao, Tagliavini, Brownlee, Benzell, Baccaloni, etc.

G1944. 7 Feb., 1948 (M) Carmen – Pelletier; Stevens, Vinay, Singher, Conner, etc.

G1945. 7 Feb., 1948 Ballo – Busch; Ilitsch, Tucker, Valentino, Elmo, Manski, Vaghi, etc.

G1946. 8 Feb., 1948 Special Sunday Performance: La Traviata – Antonicelli; Sayão, Tagliavini, Valdengo, etc.

G1947. 11 Feb., 1948 La Boheme – Antonicelli; Sayão, Tagliavini, Valentino, Benzell, Vaghi, etc.

G1948. 14 Feb., 1948 Cavalleria – Antonicelli; Resnik, Berini, Valentino, Lipton & Claramae Turner; Pagliacci – Antonicelli; Quartararo, Vinay, Valdengo, Chabay & Thompson.

G1949. 19 Feb., 1948 Louise – Cooper; Kirsten, Vinay, Harshaw, Brownlee, etc.

G1950. 26 Feb., 1948 La Boheme – Antonicelli; Tassinari, Tagliavini, Valentino, Greer, Moscona, etc.

G1951. 1 March, 1948 Il Trovatore – Cooper; Ilitsch, Björling, Merrill, Elmo, Vaghi, etc.

G1952. 6 March, 1948 Madama Butterfly – Antonicelli; Kirsten, Peerce, Valdengo, etc.

G1953. 8 March, 1948 Die Meistersinger – Busch; Varnay, Harshaw, Svanholm, Janssen, Pechner, Ernster, Harrell, Hines, etc.

G1954. 12 March, 1948 Carmen – Pelletier; Stevens, Baum, Quartararo, Singher, etc.

G1955. 13 March, 1948 Tristan – Busch; Melchior, Traubel, Thorborg, Szekely, Berglund, Chabay, etc.

G1956. 22 March, 1948 La Boheme – Antonicelli; Sayão, Tucker, Valentino, Benzell, Baccaloni, etc.

G1957. 24 March, 1948 Parsifal – Stiedry; Svanholm, Singher, Moscona, Berglund, Pechner, Bampton, Harshaw, etc.

G1958. 27 March, 1948 Tosca – Antonicelli; Tassinari, Tagliavini, Brownlee, etc.

G1959. 30 Nov., 1948 L’Elisir d'Amore – Antonicelli; Sayão, Tagliavini, Valdengo, Baccaloni, etc.

G1960. 10 Dec., 1948 Louise – Cooper; Kirsten, Kullman, Harshaw, Brownlee, etc.

G1961. 15 Dec., 1948 Rigoletto – Cimara; Warren, Peerce, Pons, Elmo, Vichegonov, etc.

G1962. 23 Dec. 1948 Mignon – Pelletier; Stevens, di Stefano, Munsel, Moscona, Jean Browning-Madeira, etc.

G1963. 25 Dec., 1948 (M) La Boheme – Antonicelli; Sayão, Björling, Valentino, Benzell, Baccaloni, etc.

G1964. 28 Dec., 1948 Barbiere – Cimara; Carmen Gracia (replacing Pons), Knight, Tajo (début), Valdengo, Baccaloni, etc.

G1965. 30 Dec., 1948 L’Elisir d'Amore – Antonicelli; Sayão, Tagliavini, Valdengo, Baccaloni, etc.

G1966. 3 Jan., 1949 Il Trovatore – Cooper; Roman, Björling, Valdengo, Elmo, Hines, etc.

G1967. 13 Jan., 1949 Rigoletto – Cimara; Tibbett, di Stefano, Munsel, Vichegonov, Browning, etc.

G1968. 23 Jan., 1949 Special Sunday Performance: L’Elisir d'Amore – Antonicelli; Cotlow, di Stefano, Valdengo, Tajo, etc.

G1969. 28 Jan., 1949 Rigoletto – Cimara; Tibbett, di Stefano, Conner, Ernster, Browning, Jean Browning-Madeira, etc.

G1970. 4 Feb., 1949 Gianni Schicchi – Antonicelli; Tajo, di Stefano, Conner, Elmo, Lazzari, Pechner, etc.; Salome – Reiner (début); Welitsch (début), Lorenz, Thorborg, Berglund (replacing Janssen), etc.

G1971. 9 Feb., 1949 Aïda – Cooper; Welitsch, Jagel, Thebom, Guarrera, Hines, etc.

G1972. 14 Feb., 1949 Gianni Schicchi – Antonicelli; Tajo, di Stefano, Conner, Elmo, Lazzari, Pechner, etc.; Salome – Reiner; Welitsch, Lorenz, Thorborg, Janssen, Sullivan, etc.

G1973. 21 Feb., 1949 Pelléas – Cooper; Jacques Jansen, Dosia, Brownlee, Harshaw, Moscona, etc.

G1974. 3 March, 1949 Falstaff – Reiner; Warren, Valdengo, di Stefano, Chabay, Resnik, Albanese, Elmo, etc.

G1975. 7 March, 1949 Falstaff – Reiner; Warren, Valdengo, di Stefano, Chabay, Resnik, Albanese, Elmo, etc.

G1976. 14 March, 1949 Nozze – Busch; Valentino (replacing Brownlee), Brownlee (replacing Tajo), Baccaloni, Stoska, Sayão, Stevens, etc.

G1977. 12 April, 1949 Gala Performance: La Traviata – Antonicelli; Albanese, Tagliavini, Merrill, etc.

G1978. 21 Nov., 1949 Opening Night: Der Rosenkavalier – Reiner; Steber, Stevens, Berger (début), List, Thompson, di Stefano, etc.

G1979. 28 Feb., 1950 Gala Testimonial in honor of Edward Johnson (in elaborate program): Tosca – Antonicelli; Welitsch, Tagliavini, Tibbett (replacing Schöffler), etc.; Opera Pageant: Pelletier; Bori, Quartararo, Albanese, Berger, Welitsch, Stoska, Novotná, Jessner, Conner, Steber, Varnay, Thebom, Jobin, Martinelli, Tagliavini, Conley, Peerce, Tucker, Baum, Jagel, Svanholm, de Luca, Harrell, Warren, Tibbett, Merrill, Schorr, etc. Includes Irving Jerome D. Bohm’s review in which he states “…the ensuing stage-business, including the kicking of the dying Scarpia, was a bit of melodrama in dubious taste.”

G1980. 13 Nov., 1950 Der Fliegende Holländer – Reiner; Hotter, Sven Nilsson, Svanholm, Varnay, Harshaw & Hayward.

G1981. 19 Dec., 1950 Faust – Cleva; Björling, Steber, Siepi, Guarrera, Votipka, etc.

G1982. 12 Jan., 1951 Der Fliegende Holländer – Reiner; Hotter, Sven Nilsson, Kullman, Varnay, Madeira & Hayward.

G1983. 17 March, 1951 Faust – Cleva; Conley, de los Angeles (début), Hines, Guarrera, Votipka, etc.

Collectors of Vocal Music are encouraged to subscribe to the invaluable and indispensable THE RECORD COLLECTOR, featuring in-depth articles on singers of the past, discographies,

critical reviews of relevant historical-interest CDs and related Books.

THE RECORD COLLECTORLarry Lustig, Editor

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Nos. G1984 – G2048 are Autographed Vintage Photographs.

G1984. MARIA KURENKO (as Martha, in Tsar’s Bride). 8” x 10” glossy,Signed & dated 1959. Excellent, w.1 chipped corner. MB 45

G1985. LAWRENCE TIBBETT. 7” x 9” Sepia photo, Signed. MB 45

G1986. LICIA ALBANESE (as Madama Butterfly). 8” x 10” glossy photo, Signed. MB 45

G1987. ZINKA MILANOV (as Tosca). 8” x 10” glossy photo, Signed. MB 45

G1988. ROSE BAMPTON. 8” x 10” Abresh sepia photo, Signed & dated 1950. MB 35

G1989. ROSE BAMPTON (as Sieglinde). 8” x 10” glossy photo, Signed. MB 25

G1990. DUSOLINA GIANNINI. 7” x 8½” Schmiedt (Hamburg) Sepia photo, Signed & dated 1949. MB 45

G1991. LJUBA WELITSCH (as Tosca). 8” x 10” glossy, Signed & dated 1953. MB 75

G1992. HERBERT JANSSEN (as Wolfram). 8” x 10” glossy photo, Signed. Excellent, w.1 wee tear (not near image). MB 35

G1993. MARJORIE LAWRENCE (as Venus, in Tannhäuser). 4½” x 6½” image on 8” x 10” photo, Signed. MB 45

G1994. SALVATORE BACCALONI (as Leporello). 5½” x 9¼” image on 8” x 10” glossy photo, Signed & dated 1958. MB 25

G1995. JOHN CHARLES THOMAS (as Figaro). 8” x 10” Elzin (NY) glossy photo, Signed. MB 35

G1996. EMMA ALBANI. H.J. Smith (Brighton) Postcard, Signed & Dated 1909. MB 50

G1997. EMMA ALBANI. Rotary (England) Postcard, Signed & Dated 1911. MB 50

G1998. LUCILLE MARCEL. Postcard, Signed & Dated ‘Wien 1911’. MB 75

G1999. Mme CHARLES CAHIER (as Orfeo). Hamburg Postcard, Signed & dated 1910. MB 40

G2000. EVA TURNER (as Brünnhilde, in Siegfried). 3½” x 4½” image on 4” x 10” photo, Signed. MB 45

G2001. ZELIE de LUSSAN. Postcard, boldly Signed. MB 75

G2002. CLARA BUTT. Postcard, boldly Signed ‘Clara Butt Rumford’. MB 50

G2003. BELLE COLE. Tinted Rotary (England) Postcard, Signed. MB 85

G2004. BLANCHE MARCHESI (as Santuzza). Beagles (London) Postcard, Signed. MB 50

G2005. CLEMENTINE de VERE SAPIO. Rotary (England) Postcard [from Reutlinger], Signed. MB 50

G2006. FÉLIA LITVINNE (as Brünnhilde). La Monnaie Postcard, Signed. MB 60

G2007. LISE LANDOUZY (as Manon). Postcard, Signed & Dated, 1909. MB 30

G2008. MARY GARDEN (as Mélisande). Rotary (England) Postcard, Signed. MB 95

G2009. MARY GARDEN (as Salome). Mishkin Postcard, Signed. MB 85

G2010. HENRI ALBERS (probably as Hérode, in Hérodiade). Wagener-Geraerts (Brussels) sepia Postcard, Signed. MB 75

G2011. HENRI ALBERS (as Mefisto, La Damnation de Faust). Wagener-Geraerts (Brussels) sepia Postcard, Signed & dated 1906. MB 75

G2012. RIA GINSTER. Schöwetter Glarus Postcard, Signed & dated ‘Pittsburgh 1st of July’. MB 50

G2013. MARIA NÉMETH (as Tosca). Manasse (Wien) Postcard, Signed. MB 75

G2014. PIERRE D’ASSY (as Morik in Blockx’s La Fiancée de la Mer). Klar Postcard, Signed. MB 50

G2015. SIGRID ONÉGIN. Maillard Kassiera (NY) Postcard, Signed & dated 1931. MB 75

G2016. JOSEF SCHWARZ. Leiser (Berlin) sepia Postcard, Signed & dated 1917. MB 75

G2017. JOSEF SCHWARZ. Leiser (Berlin) sepia Postcard, Signed & dated 1917. MB 75

G2018. JOSEF SCHWARZ. Gutmann sepia Postcard, Signed. MB 75

2019. HERMANN JADLOWKER. sepia Postcard, Signed & dated ‘Oktober 19’. MB 75

G2020. MAX LORENZ (as Siegfried). Berger (Dresden) Postcard, Signed & dated 1925. MB 65

G2021. ERIK SCHMEDES (as Parsifal). Postcard, Signed. MB 35

G2022. HELENE WILDBRUNN (as Fidelio). Postcard, Signed & dated ‘Wien 1928’. MB 75

G2023. FRIEDRICH SCHORR (as Wanderer, in Siegfreid). Postcard, Signed. MB 75

G2024. JOHN COATES. Rotary (England) Postcard, Signed. MB 45

G2025. CHARLES DALMORÈS (as Lohengrin). Mishkin Postcard, Signed. MB 50

G2026. LÉON CAMPAGNOLA (as Cavaradossi). Skoff sepia Postcard, Signed & dated 1911. MB 75

G2027. TOTI dal MONTE. Castagneri sepia Postcard (Milano), Signed & dated 1930. MB 35

G2028. TOTI dal MONTE (as Madama Butterfly). Postcard, Signed & dated 1958. MB 35

G2029. AUGUSTA OLTRABELLA. Postcard, Signed & inscribed. MB 50

G2030. JULIA CULP. Postcard, Signed. MB 50 G2031. JULIA CULP. Postcard, Signed. MB 50

G2032. ASTRID VARNAY (as Kundry). Postcard, Signed. MB 35

G2033. DOLORES WILSON. Postcard, Signed. MB 15

G2034. JEANETTE SCOVOTTI (as Queen of the Night). Lieske Postcard, Signed. MB 15

G2035. IRENE DALIS (as Amneris). Melançon 8” x 10” glossy, Signed. MB 35

G2036. ANNY KONETZNI. Postcard, Signed. MB 35

G2037. ANNY KONETZNI. Postcard, Signed. MB 35

G2038. MERCEDES CAPSIR. Badodi (Milano) Postcard, Signed & dated 1931. Capsir’s written message on the verso states ‘I shall be very muchs obliger to you, if you will find a way to let me have some India stamps the most characteristic you can. Truly yours, Mercedes Capsir. MB 125

G2039. JEANNE GERVILLE-RÉACHE (as Dalila). Breitkopf & Härtel sepia Postcard, Signed. Rare! MB 150

G2040. RICCARDO MARTIN (as Faust). Dupont Postcard, Signed and dated 1907. MB 75

G2041. NICOLA ZEROLA. Postcard (from Tournée de la Troupe F. Castellano), Signed. MB 50

G2042. GERALDINE FARRAR. Berlin Postcard, Signed. MB 65

G2043. LÉON DAVID (as The Duke, Rigoletto). Tinted Wagener-Geraerts (Brussels) Postcard, Signed. MB 85

G2044. JOSÉ MOJICA . 8” x 10” de Gueldre (Chicago) sepia photo, Signed & dated 1938. MB 125

G2045. AGNES NICHOLLS. Postcard, Signed. MB 50

EVENING AT THE OPERAwith DOUG FOX

Broadcasting Tuesdays 8-12 PMNew York time

on WMNR-FM, Monroe, CT

www.wmnr.org

G2046. LINA CAVALIERI. Dupont Cabinet Photo, boldly Signed. MB 125

G2047. Concert 24 Jan., 1909, Manhattan Opera House . . . Queries Invited.

G2048. PIOTR ILYITCH TCHAIKOVSKY. 5¼” X 8¾” Reutlinger Cabinet Photo, Signed, Inscribed toMarie Panthès (who won First Piano Prize in the class of Henry Fissot, 1888, Paris) & dated 2 June, 1891.Excellent, w.very slightly chipped upper right corner. (A different, smaller [4¼” x 6½”] cabinet photo of asimilar image is currently being offered by a UK dealer for £14,500.00) . . . Queries Invited.