Auction 146: Section I

Historical Reissue Classical CDs, LPs, 78s,
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Since 1972



Auction Number 146 ­- AUCTION Closing Date: Friday, 29 May, 2015



Regarding AUCTION #146 (Closing Date: Friday, 29 May, 2015), 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. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

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Section I: Nos. 1001 - 1070 -



1001. AINO ACKTÉ: FAUST – Air des bijoux / LOHENGRIN – Einsam in trüben Tagen (in French). 10½” brown Parl. Odeon PO 93 (XPr 1-2/4-2), (w.Ackté’s signature embossed in shellac). M-A, superlative copy. MB 35

“It is difficult to realise that Ackté's sensational début at Covent Garden was as Salome in Richard Strauss' opera. Here she sings…with grace and excellent coloratura technique, and although she was Finnish, the style is typically French, and with immaculate diction.


- John Freestone


1002. AGUSTARELLO AFFRE (The French Tamagno): ARMIDE – Plus j’observe ces lieux (Gluck) / MARCELLE DEMOUGEOT, AGUSTARELLO AFFRE, JUSTE NIVETTE: FAUST - Anges purs, anges radieux. 10½” brown & white French Odéon 97011/60895 (XP 4250/4267). A or better, choice copy has few faintest rubs, positively inaud. MB 15

1003. AGUSTARELLO AFFRE (The French Tamagno): SIGURD – Esprits, gardiens (Reyer) / L’ATTAQUE DU MOULIN – Adieux à la forêt (Bruneau). 10½” brown & gold / brown & white French Odéon 36682/36741 (XP 2460/2565). A to M-A, choice copy. MB 15

1004. AGUSTARELLO AFFRE (The French Tamagno): L’AFRICAINE – Pays merveilleux, 2s. 10½” brown & gold French Odéon 36695/72 (XP 2463/75). A to M-A, choice copy has, Sd.2 only, very few superficial pap.scuffs, barely visible & inaud. MB 15

1005. AGUSTARELLO AFFRE (The French Tamagno): GUILLAUME TELL – Asile héréditaire / LOHENGRIN – In fernem Land (in French). 10½” brown & gold French Odéon 36412/36532 (XP 2325/2397). A to M-A, choice copy has, Sd.2 only, very few superficial rubs, inaud. MB 15

1006. AGUSTARELLO AFFRE (The French Tamagno): FAUST – Salut! O mon dernier Matin / LA JUIVE – Dieu que ma voix tremblante (Halévy). 10½” brown & gold French Odéon 60137/60297 (XP 3071/3331). B, very decent copy has rubs & lt.scrs, ltly audible. MB 10

1007. AGUSTARELLO AFFRE (The French Tamagno): RIGOLETTO – Ballade (in French) / FAUST – Cavatine. 10½” brown & gold French Odéon 60064/65 (XP 3059/60). A-, lovely copy has lt. rubs & hint of grey on peaks, inaud. MB 10

1008. AGUSTARELLO AFFRE (The French Tamagno): CARMEN - La fleur que tu m'avais jetée / AGUSTARELLO AFFRE & NOTÉ: LA MUETTE DE PORTICI – Amour sacré (Auber). 10½” brown & white French Odéon 36685/36727 (XP 2583/2510). A-/B, very fine copy has lt.rubs, inaud.; Sd.2 only has lt.grey. MB 10

1009. AGUSTARELLO AFFRE (The French Tamagno) & AMELIA TALEXIS: AÏDA – O terra addio (in French) / LUCIEN RIGAUX & ÉTIENNE BILLOT: FAUST – Choral des épées. 10½” brown & white French Odéon 60562/60458 (XP 3715/3673). A-, lovely copy has faintest rubs; Sd.2 only has nd which will sound briefly. MB 35

1010. AGUSTARELLO AFFRE (The French Tamagno) & LUCIEN RIGAUX: GUILLAUME TELL - O Mathilde / Accours dans ma nacelle. 10½” brown & white French Odéon 97002/97068 (XP 4259/4356). A-/A-B, very fine copy has, primarily Sd.2, lt.rubs & scrs, inaud. MB 15

1011. AGUSTARELLO AFFRE (The French Tamagno) & JULIENNE MARCHAL: LUCIA – Verrano a te (in French) / AFFRE, RIGAUX, NARÇON, FRÉVILLE & BERNARD: L' AFRICAINE – Oui fallut-il perdre la vie. 10½” brown & white French Odéon 97030/97061 (XP 4417/4355). A -, fine copy has few faintest rubs & occasional minuscule scr. MB 15

“Agustarello Affre held his own with Escalaïs, de Reszke, Van Dyck, Alvarez, Saléza, Scaramberg, Muratore and Franz in a career that lasted two decades. Affre made his début at the Paris Opéra in 1890 as Edgardo in Lucia with Nellie Melba. At the Opéra, he created rôles in operas by Massenet and Saint-Saëns and also sang Canio and Belmonte for the first time. Affre never sang at the Opéra-Comique, but during his career he made guest appearances in Lyon, Marseille, Brussels, London, New Orleans, Havana and San Francisco.”


- Robert Baxter, Program Notes for Marston’s CARMEN


1012. CHARLOTTE AGUSSOL: Le Nil (Leroux) / LES SAISONS – Aria (Massé). 10½” Test Pressing for A.P.G.A 1319/17, only form of issue, 1906, both sides announced. M-A, exceptional copy. Exceedingly elusive! MB 75

1013. CHARLOTTE AGUSSOL: MANON – Adieu, notre petite table / Je suis encore tout étourdie. 10½” Test Pressing for A.P.G.A 1310/16, only form of issue, 1906, both sides announced. M-A, exceptional copy has infinitessimal 2 dust mks, barely visible & inaud. Exceedingly elusive! MB 75

“Though her first names included Charlotte and Marie, she was known on stage as Pauline Agussol. She graduated from the Paris Conservatory and was recruited by the Paris Opéra. Her début was as Urbain in LES HUGUENOTS on 19 September 1888. That season also saw her as Stéphano in the first Paris Opéra performance of Gounod’s ROMÉO ET JULIETTE (28 November) with Adelina Patti, the de Reszké brothers, Léon Melchissédec and Jean-François Delmas. Agussol soon added Siébel in FAUST and she continued to perform these roles throughout her 20-year Paris Opéra career. Among other creations and first performances, Agussol sang Ascagne in the Paris Opéra’s staging of Berlioz’s PRISE DE TROIE in 1899. Her final season at the Paris Opéra was 1907. She recorded for G&T, beginning in 1901. She also recorded for Zonophone, Odéon, Favorite and APGA, [the latter] of which she was one of the founding members.”


- Vincent Giroud, Marston Program Notes


“Among those ‘minor’ companies that flourished in France before the end of the first decade, there is one that stands out above all the others for its originality of organization and its technical excellence. A.P.G.A. (L’Association Phonique des Grands Artistes) was founded in May, 1906…with a group of ten artists: Agustarello Affre, Charlotte Agussol, André Gresse, Jean Noté, Alice Verlet, Henri Weber, Bergeret, Dranem, Mayol & Polin….The records were uniform in size: 27cm. or about 10½ inches….All A.P.G.A. records play at an average speed of 86 r.p.m., and I know of many that go well over 90. These extraordinary speeds might have accounted for the lack of sales….However, when pitched properly, these records are astoundingly good – I might venture to say better than any other needle-cut record of the period.”


- Victor Girard, THE RECORD COLLECTOR, 1954


1014. HENRI ALBERS: L’ATTAQUE DU MOULIN - Berceuse (Bruneau) / GUILLAUME TELL – Sois immobile (Rossini). 8¼” etched label H & D Pathé 3517/18, center start, announced. A to M-A, superlative copy. MB 25

1015. ALBERT ALVAREZ: JOSEPH – Champ paternel (Méhul) / ALBERT ALVAREZ & MARIE DELNA: LA FAVORITE – Act IV Duet (Donizetti). 8¼” etched label H & D Pathé 1658/236, center start, announced. A to M-A, lovely copy has hint of grey on peaks. MB 25

1016. ALBERT ALVAREZ: Le Biniou (Durand) / Le soir (Gounod). 9 ½” etched label H & D Pathé 1626/46, center start, announced. A to M-A, superlative copy. MB 25

“Alvarez sang Nicias in the world premiere of Massenet’s THAÏS on 20 June,1894, and in 1895 sang in the world premiere of Augusta Holmès’ LA MONTAGNE NOIRE. Two years later appeared as Walther von Stolzing in the Paris premiere of DIE MEISTERSINGER. In 1897 he performed in the world premiere of Bruneau’s MESSIDOR, and in 1901 the world premiere of Xavier Leroux’s ASTARTE. He was well-aquainted with Jules Massenet and the then-known composer Isidore de Lara, and almost every year he guested frequently from 1893 to 1903 at Covent Garden. Here he sang on the 20 June 1894 the role of Araquil in the world premiere of the Massenet’s LA NAVARRAISSE. In the 1899-1903 seasons he appeared at the Metropolitan Opera in New York (début as Roméo in Gounod’s ROMÉO ET JULIETTE.”


- Ashot Arakelyan, Forgotten Opera Singers


1017. PASQUALE AMATO: GERMANIA – Tu m’eri innnanzi / Ascolta, io morirò (Franchetti). 10½” Milano Fonotipia 92500/92499 (XPh 3939/54). A to M-A, pectacular copy has, Sd.2 only, microscopic dust mk, barely visible & inaud. MB 20

1018. PASQUALE AMATO: GERMANIA – Ferito, prigionier (Franchetti) / LE VILLI – Anima santa (Puccini). 10½” Milano Fonotipia 92512/11 (XPh 3874/89). A to M-A, spectacular copy has, Sd.2 only, faintest rubs, inaud. MB 20

1019. PASQUALE AMATO: ZAZÀ - Buona Zazà / Zazà, piccola zingara. 10½” Milano Fonotipia 92008/09 (XPh 2690/91). A to M-A, spectacular copy has, Sd.2 only, hint of grey on peaks, inaud. MB 20

1020. PASQUALE AMATO: LA GIOCONDA - Pescator, affonda l'esca / DINORAH - Sei vendicata assai. 10½” Milano Fonotipia 92513/14 (XPh 3950/3885). A to M-A, lovely copy has faintest rubs & occasional wee dust mk, inaud.; Sd.2 only has tiny cluster dust scrs. MB 15

1021. PASQUALE AMATO: OTELLO – Inaffia l’ugola. 10½” Milano Fonotipia 92760 (XPh 3948). A-B, very decent copy has lt. rubs & faint scrs, positively inaud. MB 10

1022. PASQUALE AMATO: FORZA – Urna fatale / Son pereda, son ricco d’onore. 10½” Milano Fonotipia 92503/04 (XPh 3904/05). A to M-A, spectacular copy. MB 15

1023. PASQUALE AMATO: ANDREA CHÉNIER – Un dì m’era di gioia / RICCARDO STRACCIARI: PAGLIACCI – Prologo. 10½” Milano Fonotipia 92497/69058 (XPh 3871/3772). A to M-A, spectacular copy. MB 15

1024. PASQUALE AMATO & GIUSEPPE TACCANI: FORZA – Le minaccie, 2s. 10½” Milano Fonotipia 92495/96 (XPh 3876/77). A-, lovely copy has faintest rubs, inaud. MB 15

"Stracciari made records to which one says at different times 'Fair', 'Good', 'Splendid', 'Excellent'. But there is also the cry of 'Great', and in my experience only one of the baritones now under discussion provokes that. This is Pasquale Amato."


- J.B. Steane, THE GRAND TRADITION, P.142


1025. GIUSEPPE ANSELMI: DON PASQUALE – Sogno soave e casto / LUISA MILLER – Quando le sere al placido. 10½” brown Parl. Odeon PO 61 (XPh 2559/2569), POM-22 / 25 April, 1907, (w.Anselmi’s signature embossed in shellac). M-A, spectacular copy. MB 25

1026. GIUSEPPE ANSELMI: RIGOLETTO – Ella mi fu rapita; Parmi veder le lagrime, 2s. . 10½” Milano Fonotipia 62150/51 (XPh 2607/08). A to M-A. MB 15

1027. GIUSEPPE ANSELMI: MIGNON – Elle ne croyait pas (in Italian) / PAGLIACCI – Vesti la giubba. 10½” Milano Fonotipia 62161/60 (XPh 2583/61). A-, lovely copy has faintest rubs, inaud.; Sd.2 only has lt.grey on peaks. MB 15

1028. GIUSEPPE ANSELMI: PAGLIACCI - O Colombina (Serenata d’Arlecchino) / MANRÙ – Come al sol cocente (Paderewski). 10½” US-Fonotipia 62288/89 (XPh 2844/45). A-, lovely copy has, primarily Sd. 2, lt. rubs, inaud. MB 15

1029. GIUSEPPE ANSELMI: FEDORA – Amor ti vieta / MANON – En fermant les yeux (Le rêve) (in Italian). 10½” Milano Fonotipia 62164/65 (XPh 2562/68-2); Sd. 2 is ‘Take’ 2 (of 2 issued ‘takes’). A to M-A, a beautiful copy. MB 20

1030. GIUSEPPE ANSELMI: TOSCA – Recondita armonia / IRIS – Apri la tua finestra. 10½” Milano Fonotipia 62185/84 (XPh 2604/05). A- to B, fine copy has lt.rubs & few lt.scrs, inaud. MB 10

1031. GIUSEPPE ANSELMI: DON PASQUALE - Sogno soave e casto / DON GIOVANNI – Il mio tesoro. 10½” US-Fonotipia 62183/67 (XPh 2559/71). A-, lovely copy has, primarily Sd. 2, lt. rubs, inaud. MB 10

1032. GIUSEPPE ANSELMI: LA FAVORITA – Una vergine, un angiol di Dio / Spirto gentil. 10½” pink Milano Fonotipia Test Pressing for 62318/19 (XPh 3068/67). A to M-A, beautiful copy has, beg.Sd.1, 3 minuscule edge patinas, harmless & inaud. MB 15

1033. GIUSEPPE ANSELMI: LA FAVORITA – Una vergine, un angiol di Dio / Spirto gentil. 10½” US-Fonotipia 62318/19 (XPh 3068/67). M-A/A-, superb copy has, Sd.2 only, hint of grey on peaks. 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….he possessed [a] 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-cantabile


1034. PAUL AUMONIER: Le Credo du Paysan (Goublier) / Le Val d’Andorre (Halévy). 10½” brown & gold French Odéon X 33748/33796 (XP 813 /856). A or better, choice copy has few faintest rubs, positively inaud.; minuscule hlc, inaud. MB 10

1035. PAUL AUMONIER: FAUST – Le Veau d’or / Vous qui faites l’endormie. 8¼” etched label H & D Pathé 56/58, center start, announced. A to M-A, lovely copy has hint of ulc, visible primarily Sd.2 & inaud. MB 15

1036. PAUL AUMONIER: L’ÉTOILE DU NORD - Romance (Meyerbeer) / LE CAÏD - Air du tambour-major (Thomas). 10½” brown & gold French Odéon X 33820/33751 (XP 853 /855). A to M-A, choice copy has, Sd.2 only, few minuscule cosmetic scrs. MB 15

“Aumonier entered the Paris Conservatory as a pupil of Léon Melchissédec. Most of his career was spent on the stages of provincial theaters including Monte Carlo, Lausanne, Brussels, Algiers, Nice, and Rouen. He appeared with van Dyck, Albers, Demougeot, and Caruso. Aumonier took part in the premiere of Edouard Trémisot’s PYRAME ET THISBÉ (Monte Carlo, 1904), Mazellier’s GRAZIELLA (Andréa, Theatre des Arts in Rouen, 1913), and Trémisot’s STAMBOUL (Mehmed Pacha, Algiers Opera, 1924). He also sang at the Paris Opéra in SAMSON ET DALILA, SALAMMBÔ, AÏDA, ROMÉO ET JULIETTE, AND RIGOLETTO. Aumonier, who recorded extensively for all of the French record labels, possessed one of the most beautiful basso profondo voices of his time.


- Vincent Giroud, Marston Program Notes


1037. LUIGI BALDASSARI & LAURA del LUNGO: LA FAVORITA – Quando le soglie paterno varcai / FRANCO de GREGORIO: Spirto gentil. 10½” Phonodisc Mondial ‘Art Label’ 56/89. A-/M-A, lovely copy has, Sd.1 only, few wee cosmetic rubs & mks. MB 15

“Franco de Gregorio began his career in italian provincial theaters where he sang during the first decade of the 20th century. In 1908 he appeared at the Teatro Nazionale in Rome as Edgardo in Donizetti’s LUCIA DI LAMMERMOOR. In the next year, he performed at the Teatro Rossi in Pisa as Fra Diavolo in Auber’s opera of the same name. In 1911 De Gregorio guested during a season at the Italian opera in Holland. From 1915 to 1920 he traveled with smaller opera troups throughout North America. In 1919 he sang with the San Carlo Opera Company in New York as Turiddu with Rosa Ponselle in Mascagni’s CAVALLERIA RUSTICANA.”


- Ashot Arakelyan, Forgotten Opera Singers


1038. LUIGI BALDASSARI & LAURA del LUNGO: LA FAVORITA – Quando le soglie paterno varcai / FRANCO de GREGORIO: Spirto gentil. 10½” Phonodisc Mondial ‘Art Label’ 56/89. A-/M-A, lovely copy has, Sd.1 only, few wee cosmetic rubs & mks. MB 15

1039. CARLO BALLIN: ISABEAU - Sogno di Folco / FRANCESCA SOLARI: Questo mio bianco manto (Mascagni). 10½” Milano Fonotipia 92961/60 (XPh 4869/72). M-A, an extraordinary copy. MB 35

1040. DALTON BARKER: THE SORCERER – The Vicar’s Song (Sullivan) / THE DUTCHESS OF DANTZIC – A Gentleman of France (Caryll). 10½” brown & white English Odeon 57616/23(Lx 3014/3040). A to M-A, choice copy has, Sd.2 only, wee rubs, inaud. MB 15

“After 1902, when Barker (Baker) sang at a St James Hall Ballad Concert in London, he became known as a baritone of rare musicianship. In 1905, along with Mary Garden, Nellie Melba, and Giovanni Zenatello, he sang at Windsor Castle at a state concert in honour of the King of Greece. He toured the USA in 1908 and, with Albani, the British Isles in 1909, and was described as Great Britain's greatest baritone. Barker emigrated to the USA in 1913 and moved to Canada in 1914 as the first organist-choirmaster at Timothy Eaton Memorial Church, Toronto. The critic of The World described his singing after a Toronto recital with Healey Willan at the piano, 1 Dec., 1915: 'His voice is fine in timbre, his presentation sincere and unaffected, and his technical attack precise and accurate'. He was conductor of the CBC programs 'Vesper Hour' and 'Eventide' from 1939 until 1956.”


- Mary Willan Mason, HISTORICA CANADA


1041. DALTON BARKER: Marching along (White) / Lanagan’s Log (Löhr). 10½” pale green & white English Odeon 44951/52(Lx 2227/29). B-, very decent copy has lt. scrs & rubs, inaud. MB 10

1042. MARIA BARRIENTOS: Voci di Primavera (Johann Strauss) / ALESSANDRO BONCI: I PURITANI – A te, o cara. 10½” Milano Fonotipia 39012//39084 (XPh 31/394). M-A, extraordinary copy has, Sd.2 only, infinitessimal dust scr, inaud. MB 15

1043. MARIA BARRIENTOS: FRA DIAVOLO – Or son sola, alfin respiro. 10½” Milano Fonotipia 39538 (XPh 1632). M-A, an extraordinary copy. MB 15

1044. MARIA BARRIENTOS: FRA DIAVOLO – Or son sola, alfin respiro; Già per la danza, 2s. 10½” red German Fonotipia-Odeon IRCC ‘D’ (XPh 1632/33), POM-20 Feb., 1906, (w.Barrientos’ signature embossed in shellac), a very limited issue. M-A, spectacular copy of choice mid-1930s pressing has, Sd.2, faintest rub, inaud. MB 45

1045. MARIA BARRIENTOS: MIGNON - Je suis Titania / PEER GYNT Suite #2 – Solveig's song (both in Italian). 10½” Milano Fonotipia 39461/62 (XPh 1621/1607). M-A, extraordinary copy has infinitessimal edge patina, barely visible, certainly inaud. MB 15

1046. MARIA BARRIENTOS: DINORAH – Ombra leggiera, 2s. 10½” US-Fonotipia 39503/04 (XPh 1634/35). M-A, an extraordinary copy. MB 15

1047. MARIA BARRIENTOS: I PURITANI - Son vergin vezzosa / NOZZE - Deh! vieni, non tardar. 10½” Milano Fonotipia 39010/26 (XPh 81/80). M-A, extraordinary copy has, Sd.2 only, faintest rubs, inaud.. MB 15

1048. MARIA BARRIENTOS: LA SONNAMBULA - Come per me sereno, 2s. 10½” brown Parl. Odeon PO 76 (XPh 1608/09), POM-12 Feb., 1906, w.Barrientos’ signature embossed in shellac). M-A, spectacular copy. MB 35

1049. MARIA BARRIENTOS: LA SONNAMBULA - Come per me sereno, 2s. 10½” Milano Fonotipia 39457/58 (XPh 1608/09). A-B, fine copy has lt.rubs & tiny pimples; Sd.2 has minor audible ‘heat’ damage. MB 10

1050. MARIA BARRIENTOS: RIGOLETTO - Caro nome. 10½” US-Fonotipia 39542 (XPh 1654). M-A , an extraordinary copy. MB 15

“Maria Barrientos was one of the most eminent sopranos of her time. She was not only a fabulous singer but also a beautiful woman. She made a valuable set of recordings for Fonotopia and Columbia. Her voice is of almost instrumental limpidity….an extraordinary legato similar to the sound of a Stradivari violin.”


- Andrea Shum-Binder, subito-cantabile


1051. HIPPOLYTE BELHOMME: Le Chant du départ (Méhul) / LE CAÏD – La Diane (Thomas). 9 ½” etched label H & D Pathé 400/379, center start, announced. A to M-A, lovely copy has, Sd.2 only, hint of grey on peaks. MB 25

1052. HIPPOLYTE BELHOMME: HAYDÉE – A la voix seduisante (Auber) / PHILÉMON ET BAUCIS – Air de Vulcan ((Gounod). 10½” H & D brown paper label US-Pathé 26002, (4557/4559). M-A, glorious copy. MB 15

1053. HIPPOLYTE BELHOMME & JANE MARIGNAN: LE PRÉ AUX CLERCS – Les rendez-vous de noble compagnie (Hérold) / HIPPOLYTE BELHOMME & ALINE VALLANDRI: MIGNON – Légères hirondelles. 10½” H & D brown paper label US-Pathé 26004, (534/703). M-A, glorious copy. MB 15

“Belhomme studied at the Paris Conservatory winning second prizes for singing and for opéra-comique. He made his début at the Opéra-Comique on 11 November 1879 in Félicien David’s LALLA-ROUCK (Baskir). At the Opéra-Comique, Belhomme sang in the world premieres of Offenbach’s LES CONTES D’HOFMANN (Crespel) and Charpentier’s LOUISE (the minor role of ‘le vieux Bohême’). He also participated in lesser-known world premieres by Paladilhe, Lecocq, Pierné, Rousseau, and others. In addition to being a member of the Opéra-Comique, Belhomme sang with the opera houses in Lyons, Marseilles, Brussels, Monte Carlo, and Nice. Belhomme was known to be a fine actor and was a favorite with the public. He recorded a large group of cylinders and discs for Pathé and a lesser number of sides for G&T and Odéon.


- Vincent Giroud, Marston Program Notes


1054. GEMMA BELLINCIONI: LA BOHEME – Mi chiamani Mimì / FAUST - Le Roi de Thulé (in Italian). 9 ½” etched label H & D Pathé 4398/99, center start, announced. A to M-A, lovely copy has hint of grey on peaks. MB 45

1055. JUANA BENITEZ: CHATEAU-MARGAUX – Canción de Angelita / Sor. MORENO: Capricho comico (Caballero). 10½” brown & gold Spanish Odeon 41459/41337 (xS 687/---). A-B, very decent copy has lt.rubs & few superficial scrs. MB 15

1056. DAVID BISPHAM: Tommy Lad (Margetson) / Marching through Georgia (Henry Clay Work). 10½” AC grey paper label H & D Pathé 27003, only form of issue, 1917. M-A, glorious copy. MB 15

1057. DAVID BISPHAM: Our country forever (Meredith) / Dixie (Emmett). 10½” grey paper label H & D Pathé 27002, only issue, 1917. M-A, glorious copy. MB 15

“In 1886 Bispham went to Italy where he studied with Vannuccini in Florence and Francesco Lamperti in Milan; later he studied in London with Shakespeare and Randegger. He made his operatic début as Longueville in Messager’s LA BASOCHE (English Opera House, London,3 Nov., 1891), in which his comic acting ability, as well as his singing, won praise. He made his first appearance in serious opera as Kurwenal in TRISTAN UND ISOLDE (Drury Lane, 25 June, 1892). He was particularly effective in the Wagnerian baritone roles and made his American début with the Metropolitan Opera as Beckmesser (18 Nov., 1896), and was on the Metropolitan roster 1896-97, 1898-99, and 1900-03. His autobiography, A QUAKER SINGER’S RECOLLECTIONS, was published in 1920, New York.”


- Ashot Arakelyan, Forgotten Opera Singers


1058. JUSSI BJÖRLING, w.Harry Ebert (Pf.): Die böse Farbe (Schubert). 10½” RCA shellac ‘Test’ Pressing for Unpublished Mx. BS-046745-1, POM-30 Jan., 1940, New York, w.RCA spiderweb verso. M-A, superlative copy. MB 25

1059. RAMÓN BLANCHART: L’AFRICANA – Averla tanto amor / Figlia di regi. 10½” Milano Fonotipia 39383/82 (XPh 428/420). M-A, superlative copy has, Sd.2 only, faintest rubs, inaud. MB 25

1060. MÁLKA BOBKOVÁ: HUBICKA – Ukolébavka / Skrivánci pisen (Smetana). 10½” black Prague Odeon X29083/84 (ZX 470/71). A to A-, very fine copy has lt.rubs & a few superficial scrs.. MB 45

“This is a very important disc as Bobková, who was one of the leading sopranos in Prague, was also the creator of the Water Nymph (RUSALKA). The voice is of lovely quality and it is very well recorded for the time.”


- John Freestone


1061. ALESSANDRO BONCI: Tre giorni son che Nina (Ciampi [att.Pergolesi]) / LALLA ROUKH – I’ll sing thee songs of Araby (in English) (Clay). 10½” US-Fonotipia 39292/48 (XPh 305/311). A to M-A, beautiful copy has occasional faint rub, inaud.; Sd.2 has label stickers. MB 20

1062. ALESSANDRO BONCI: Caro mio ben (Giordani) / L’ELISIR – Una furtiva lagrima. 10½” Milano Fonotipia 39128/39083 (XPh 176/153). M-A, superlative copy. MB 15

1063. ALESSANDRO BONCI: Ave Maria (Bach-Gounod) / WERTHER – Pourquoi me réveiller? (1906 Version, in Italian). 10½” US-Fonotipia 92104/39698 (XPh 2699/1993). M-A, superlative copy has, Sd.1 only, 2 very lt.cosmetic scrs. MB 15

1064. ALESSANDRO BONCI: Vieni, amor mio! (Leoncavallo, [Pf. Acc. By the COMPOSER]) / BARBIERE – Se il mio nome. 10½” US-Fonotipia 62301/39687 (XPh 2693/1891). A to M-A, beautiful copy has very occasional faint rub, inaud.; Sd.2 only has wee dust scr, inaud. MB 20

1065. ALESSANDRO BONCI: Vieni, amor mio! (Leoncavallo, [Pf. Acc. By the COMPOSER]) / AÏDA – Celeste Aïda. 10½” US-Fonotipia 62301/39695 (XPh 2693/1985). A to M-A, beautiful copy has, Sd.2 only, lt rubs & faintest pap.scrs, inaud. MB 20

1066. ALESSANDRO BONCI: PARIDE ED ELENA – Spiagge amate (Gluck). 10½” Milano Fonotipia 39127 (XPh 178). A-, fine copy has lt. rubs & very lt.scrs. MB 10

1067. ALESSANDRO BONCI: PARIDE ED ELENA – Spiagge amate (Gluck) / Das Veilchen, K.476 (in Italian) (Mozart). 10½” US-Fonotipia 39242/39127 (XPh 178/302). A to M-A/A-, lovely copy has, Sd. 2 only, faint rubs, inaud. MB 15

1068. ALESSANDRO BONCI: MARTHA – M’appari (1906 Version) / WERTHER – Pourquoi me réveiller? (1907 Version, in Italian). 10½” US-Fonotipia 39674/92105 (XPh 1890/2735). A- to B, fine copy, lt.rubs & few lt.scrs, inaud.; minor hlc, Sd.2. MB 10

1069. ALESSANDRO BONCI: MANON – Ah! fuyez, douce image (in Italian) / RIGOLETTO – La donna è mobile (1908 Version). 10½” US-Fonotipia 92221/92220 (XPh 3406/05). A to M-A, beautiful copy has, Sd. 2 only, infinitessimal dust scr, inaud. MB 15

1070. ALESSANDRO BONCI: MANON – Ah! fuyez, douce image (in Italian) / RIGOLETTO – La donna è mobile (1908 Version). 10½” US-Fonotipia 92221/92220 (XPh 3406/05). A to M-A, beautiful copy has, Sd. 2 only, infinitessimal dust scr, inaud. MB 15