Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera
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 II: Nos. 1071 - 1135 -1071. ALESSANDRO BONCI: PARIDE ED ELENA
– O del mio dolce ardor (Gluck) /
ALESSANDRO BONCI & REGINA PINKERT: DON PASQUALE
– Tornami a dir.
10½” gold German Fonotipia-Odeon HRS 1022 (XPh 308/438), (w.Bonci’s signature embossed in shellac), POM-15 July / 13 Nov., 1905. Numbered Copy #61 of an extremely Limited Edition. M-A, spectacular copy of this choice mid-1930s pressing. MB 35
1072. ALESSANDRO BONCI: L'ELISIR
– Una furtiva lagrima / I PURITANI
– A te, o cara.
10½” red German Fonotipia-Odeon IRCC ‘D’ (XPh 153/494), POM-19 Oct., 1905,
(w.Bonci’s signature embossed in shellac), a very limited issue.
M-A, spectacular copy of choice mid-1930s pressing. MB 45
1073. ALESSANDRO BONCI: FEDORA
– Amor ti vieta (1906 Version) /
– La donna è mobile (1905 Version). 10½” US-Fonotipia 39696/39081
(XPh 1988/363). A to M-A. MB 15
1074. ALESSANDRO BONCI: FEDORA
– Amor ti vieta (1907 Version) /
– A te, o cara. 10½” US-Fonotipia 92103/39084 (XPh 2698/394),
Sd.1 label AUTOGRAPHED
by Bonci. A to M-A. MB 15
1075. ALESSANDRO BONCI: RIGOLETTO
– Questa o quella / Ella mi fu rapita.
10½” US-Fonotipia 39239/92098 (XPh 303/2733). M-A, superlative copy. MB 15
1076. ALESSANDRO BONCI: LES PÊCHEURS DE PERLES
– Je crois entendre (in Italian) (Bizet) / DON PASQUALE
- Cercherò lontana terra. 10½” Milano Fonotipia 39686/85
(XPh 1892/93). A-, very decent copy has lt. rubs; Sd.2 only has sev.wee pap.mks. MB 10
1077. ALESSANDRO BONCI: LUCIA
– Tombe degli avi miei; Fra poco a me ricovero, 2s.
10½” Milano Fonotipia 39693/94 (XPh 1982/83).
A-, very decent copy has lt. rubs & sev.minuscule pap.scrs. MB 10
1078. ALESSANDRO BONCI: LUCIA
– Tu che a Dio / ANDREA CHÉNIER
Un dì all’azzurro spazio. 10½” US-Fonotipia 39697/92102 (XPh 1984/2697).
M-A, lovely copy has, Sd.1 only, long very lt.scr, inaud. MB 15
1079. ALESSANDRO BONCI: LA FAVORITA
– Spirto gentil / L’AFRICAINE
– Ô Paradis!
(in Italian). 10½” Milano Fonotipia 39338/39 (XPh 393/395). A to M-A, superlative. MB 15
1080. ALESSANDRO BONCI: LA FAVORITA
– Spirto gentil / L'ELISIR – Quanto è bella.
10½” US-Fonotipia 39338/92100 (XPh 393/2695). M-A, superlative copy. MB 15
1081. ALESSANDRO BONCI & ORESTE LUPPI: LA FAVORITA
- E fia vero? /
La Scala Chorus: Bell’alba foriera. 10½” Milano Fonotipia 39331/37169 (XPh 367/Xm 391).
A to M-A, superlative copy. MB 151082. ALESSANDRO BONCI: LUISA MILLER
– Quando le sere al placido, (w.recit.), 2s.
10½” US-Fonotipia 39691/39692 (XPh 1990/1989).
A to M-A, lovely copy has, Sd. 2 only, faint rubs, inaud. MB 15
1083. ALESSANDRO BONCI & ANTONIO MAGINI-COLETTI:
I PESCATORI DI PERLE
– Del tempio al limitar. 10½” U.S. Fonotipia 39340 (XPh436).
A to M-A, choice copy has few faint rubs, inaud. MB 15
1084. ALESSANDRO BONCI & FERRUCCIO CORRADETTI:
– Numero quindici (w.recit.), 2s. 10½” Milano Fonotipia 92330/31
(XPh 3505/13). A to M-A, superlative copy. MB 15
1085. ALESSANDRO BONCI & FERRUCCIO CORRADETTI: DON PASQUALE
– Sogno soave e casto. 10½” Milano Fonotipia 92329 (XPh 3503). M-A, superlative copy. MB 15
“Alessandro Bonci was an Italian lyric tenor known for his association with the bel canto repertoire. Bonci made his début in Parma in 1896, singing the rôle of Fenton in Giuseppe Verdi's FALSTAFF at the Teatro Regio. Such was his success that before the end of his first season he was engaged to sing at La Scala, where he débuted in Bellini's I PURITANI. Appearances elsewhere in Europe followed, including at London's Royal Opera House. He first sang at Covent Garden in 1900 and he would return there in 1903 and 1907-08. Bonci's voice was captured on disc by the Fonotipia, Edison and Columbia companies. His first records were made in 1905 and his last in 1926. On them, he is heard to best advantage in operatic arias by Bellini, Rossini, Donizetti and Gluck, but he was also renowned for his Rodolfo in Puccini's LA BOHEME, his Riccardo in Verdi's UN BALLO IN MASCHERA and his Duke of Mantua in Verdi's RIGOLETTO. Bonci was a small man and his voice was not overly large either; but it was sweet-toned, stylish and supple, with excellent high note."
- Zillah Dorset Akron
1086. FRANCESCO MARIA BONINI: Addò si ghiuto ammore? (Carelli).
10½” Milano Fonotipia 39125 (XPh 100). A to M-A MB 25
1087. FRANCESCO MARIA BONINI: Addò si ghiuto ammore? (Carelli) /
RIGOLETTO- Pari siamo. 10½” Milano Fonotipia 39125/39045 (XPh 100/145).
A-/A-B, very decent copy has lt.grey; Sd.2 only has various wee scrs, mainly cosmetic. MB 25
1088. FRANCESCO MARIA BONINI: I DUE FOSCARI – O vecchio cor /
IL TROVATORE – Il balen. 10½” brown & gold Milano Odeon 59055/54 (XPh 1884/2112).
A, lovely copy; Sd.2 only has lt grey on peaks & infinitessimal scr, inaud. MB 15
1089. FRANCESCO MARIA BONINI & ELISA PETRI:
FAUST – Mort de Valentin (in Italian), 2s . 10½” Milano Fonotipia 39125/45 (XPh 2136/37).
A to M-A, beautiful copy has, very beg.Sd.2, wee edge scuff before performance. MB 15
“Bonini was first on stage in Foggia, 1896, in Verdi’s LA FORZA DEL DESTINO. He was then heard in Malta, Cairo, Cremona, Palermo, and Odessa, as well as at the Teatro Colón (Buenos Aires), 1901. In Milan, Bonini was Athaniel in the Italian premiere of Massenet’s THAÏS at the Teatro Lirico and at La Scala in Ponchielli’s I LITUANI. In the season of 1911-12, he returned to La Scala as Hans Sachs, Raimondo (Mascagni’s ISABEAU) and Idraste (Gluck’s ARMIDA). He interpreted principal baritone roles in a host of operas and was active until the mid-1920s. Bonini’s only recordings were for Fonotipia (some released on Odeon as well) from 1904-1908.”
- Lawrence F. Holdridge, Marston Program Notes
1090. HERMINE BOSETTI: DIE FLEDERMAUS – Mein Herr Marquis,2s.
10½” blue & black German Odeon 52771/72 (xB 2696/3413-2).
A to M-A, superb copy has, Sd.1 only, wee pap.scuff &scr, inaud. MB 25
1091. HERMINE BOSETTI: FAUST – Faites-lui mes aveux /
FRA DIAVOLO – Voyez sur cette roche (Auber) (both in German).
10½” brown & gold German Odeon 99812/13 (xB 5580/83).
A-, fine copy has numerous very lt.scrs & rubs, mainly cosmetic. MB 10
1092. HERMINE BOSETTI: DIE ZAUBERFLÖTE – Zum Leiden bin ich auserkoren /
Der Hölle Rache. 10½” brown & gold German Odeon 64365/66 (xB 2694/2693-2).
A to M-A, beautiful copy has sev.minuscule dust mks, inaud. MB 15
1093. HERMINE BOSETTI & FRANZ NAVAL: LA DAME BLANCHE –
Cette main si jolie (Boieldieu) /LA TRAVIATA – Parigi, o cara (both in German).
0½” brown & gold German Odeon 50640/43 (xB 4663/69).
A, lovely copy has lt.rubs, inaud.; Sd.1 label has tiny tear. MB 15
1094. HERMINE BOSETTI & HERMANN WEIL: LA TRAVIATA – Act II duet –
Violetta & Germont, Parts III & IV (in German), 2s.
10½” brown & gold German Odeon 99653/54 (xB 5141/42).
A to M-A, lovely copy has lt.rubs, inaud. MB 15
1095. HERMINE BOSETTI & FRITZ VOGELSTROM: MADAMA BUTTERFLY –
Act I finale duet) / FRITZ VOGELSTROM & HERMANN WEIL: LA BOHEME –
Ah Mimì, tu più non torni (in German). 10½” brown & gold German Odeon 66932/33
(xB 4830/5157). A-, very fine copy has lt.rubs & a few superficial scrs. MB 15
“Hermine Bosetti was born Hermine von Flick in Vienna. She spent only one season at the Hofoper (1900-1901), where she appeared as Zerlina, Siebel, and Adele. She gained stardom in Munich, where she sang mainly coloratura repertoire, but also heavier roles such as Cio-Cio-San, Octavian, Salome, and Elsa. She returned to Vienna in 1908 as a guest in more substantial roles such as The Queen of the Night and Marguerite de Valois. She recorded for G&T, Odeon, and Gramophone.”
- Christopher Norton-Welsh, Marston Program Notes
1096. ALEXIS BOYER: Quand l’oiseau chante (Tagliafico) / Verse Margot (Doria).
8¼” etched label H & D Pathé 1081/1147, center start, announced.
A to M-A, superlative copy. MB 20
1097. ALEXIS BOYER: LA TRAVIATA – Di Provenza il mar (in French) /
LES CLOCHES DE CORNEVILLE – J’ai fait trois fois le tour du monde (Planquette).
8¼” etched label H & D Pathé 257/566, center start, announced.
A to M-A, lovely copy has hint of grey on peaks. MB 20
1098. ALEXIS BOYER: LA TOUSSAINT - Conte bleu (Paul Lacôme) /
A. DELCROIX & ALEXIS BOYER: Crucifix (Faure).
10½” brown & gold French Odéon X 33685/33718
(XP 509-1 /492-2). A-, very fine copy has lt.rubs & a few superficial scrs. MB 15
1099. MARY BOYER: Dernières étreintes (Goublier) / L' amour tient à peu de choses
(Mezzacapo). 10½” brown & gold French Odéon X 33586/33601 (XP 320/324).
A-, very fine copy is somewhat cloudy, w.superficial scrs. MB 10
1100. MARY BOYER: LES DRAGONS DE VILLARS – Espoir charmant (Maillart) /
MANON – Adieu, notre petite table. 8¼” etched label H & D Pathé 344/404,
center start, announced. A to M-A, superlative copy. MB 20
1101. GEORGETTE BRÉJEAN-SILVER: MANON – Oui, dans les bois (Fabliau) (CREATOR Record) / LA BOHEME – Mi chiamano Mimì (in French).
10½” Paris Fonotipia 39225/39181 (XPh 679/651-2). A-B, very decent copy has
lt. rubs & scrs, mainly cosmetic. MB 85
“[This] is the 1905 recording of Georgette Bréjean-Silver singing the ‘Fabliau’. This aria was written specifically for Bréjean-Silver and was intended to replace the famous ‘Gavotte’ in Act Three. The ‘Fabliau’ has rarely been performed in the complete opera.“
- Ward Marston
1102. ELISA BRUNO: LA FAVORITA – O mio Fernando / BALLO – Re dell’abisso.
9 ½” etched label H & D Pathé 86150/86138, center start, announced.
A to M-A, lovely copy has, Sd.2 only, infinitessimal scr, inaud. MB 15
1103. EUGENIA BURZIO: BALLO – Ma dall’arido stelo divulsa; Mezza notte, 2s.
10½” Milano Fonotipia 39513/14 (XPh 1543/44).
A to M-A, superb copy has faintest rubs, inaud. MB 25
1104. EUGENIA BURZIO: AÏDA – O Patria mia /
MEFISTOFELE – Spunta, l’aurora pallida. 10½” Milano Fonotipia 62414/15 (XPh 4268/72). A-B, very decent copy has lt. rubs, inaud. MB 15
1105. EUGENIA BURZIO & ANTONIO MAGINI-COLETTI: IL TROVATORE –
Qual voce; Conte! Ne cessi, 2s. 10½” US Fonotipia 39439/40 (XPh 1534/35).
A to M-A, lovely copy has few lt. rubs, inaud. MB 15
"What depth of feeling Burzio produces! Her very histrionic singing led the way for succeeding generations of emotive singers like Lina Bruna-Rasa, Gina Cigna, Licia Albanese and Magda Olivero….Some of Burzio’s records are left us with the generous voiced artistry of a very special singer who today would undoubtedly be acclaimed a genius."
- James Camner, FANFARE, Jan./Feb., 2000
1106. 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).
10½” Milano Fonotipia 92674/73 (XPh 4124/4366). A to M-A/A-, lovely copy has,
Sd.2 primartily, very lt rubs; Sd. 1 only has tiny 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 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. 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 TENORI
1107. LINDA CANNETTI: MADAMA BUTTERFLY – Mai più danzar / Morte di Butterfly.
10½” Milano Fonotipia 92986/87 (XPh 4841/42). A to M-A, lovely copy has
occasional pressing pits, endemic to masters. MB 25
1108. LINDA CANNETTI: FAUST – Le Roi de Thulé / Air des Bijoux (in Italian).
10½” Milano Fonotipia 92637/38 (XPh 4323/24).
A to M-A, lovely copy has sl.faded labels & faintest rubs, inaud. MB 25
1109. LINDA CANNETTI: LA TRAVIATA – Addio del passato / Ah! fors’ è lui.
10½” Milano Fonotipia 92736/35 (XPh 4459/60).
A to M-A, lovely copy has faintest rubs, inaud. MB 25
1110. LINDA CANNETTI & BETTINO CAPPELLI: LA TRAVIATA – Un dì felice /
Libiamo, liabiamo. 10½” Milano Fonotipia 92731/32 (XPh 4448/49).
A-, lovely copy has, primarily Sd.1, lt.rubs, inaud. MB 15
“Cannetti studied with Melchiorre Vidal in Vienna and made her début in 1899 at Fossombrone in FAUST. Later that year she sang in LOHENGRIN with the tenor Francesco Bravi, whom she subsequently married. His early death brought her career to a temporary halt, but upon its resumption in 1909 she achieved her greatest success to date as Chrysothemis in the Italian premiere of ELEKTRA, at La Scala. In 1913 she appeared in another Strauss premiere in Italy, that of FEUERSNOT, and at Turin in 1914 sang the title role in the world premiere of Zandonai's FRANCESCA DA RIMINI. Other notable events included commemorative performances of Boito's MEFISTOFELE under Arturo Toscanini and a personal triumph in Buenos Aires in Italo Montemezzi's L’AMORE DEI TRE RE. She retired in 1928. Her recordings show warmth of voice and emotion, with a quick, somewhat uneven vibrato, probably more acceptable then than it is now.”
- Ashot Arakelyan, Forgotten Opera Singers
1111. GEORGINA CAPRILE: LA BOHEME – Mimì Pinson (Leoncavallo) /
L’AMICO FRITZ – Bel cavaliere. 10½” Milano Fonotipia 92575/76 (XPh 3986/87).
A-, lovely copy has faintest rubs & few superficial scrs, inaud.; Sd.2 primarily has ipc. MB 10
“Daughter of tenor Uberto Caprile, Giorgina was raised in a musical milieu and studied voice in Milano with Carignani. Her début was at the Rome Costanzi, February, 1900, in L’AMICO FRITZ, followed a month later by Mimì in LA BOHÈME. Noted for her acting as well as her beauty, Caprile found her niche in roles requiring particular dramatic skills….In addition to success throughout Italy, she was a favorite in South America, particularly as Violetta, and also appeared in Russia. Caprile recorded for the Italian Gramophone Company on their status Red Label and was also a Fonotipia artist.”
- Zillah Dorset Akron
1112. EMMA CARELLI: LA GIOCONDA – Suicidio! / TOSCA – Vissi d’arte.
9 ½” etched label H & D Pathé 4378/79, center start, announced.
A to M-A, lovely copy has hint of grey on peaks. MB 25
1113. MARIE CHARBONNEL & PAUL PAYAN: LOUISE - Crois-tu qu'il m'aime! /
MARIE CHARBONNEL & PAUL PAYAN: O, mon enfant. 10½” brown & gold French Odéon 111538/111508 ( 6046/6050). A-, very fine copy has lt.rubs & a few superficial scrs.. MB 20
“Marie Charbonnel made her opera début in 1901 at the Grand Théâtre de Lyons in SAMSON ET DALILA (Dalila) and then appeared there in WERTHER, CARMEN, AND ORPHÉE. She made her Paris Opéra début as Dalila on 2 June 1908. During that season, she also participated in the first Paris Opéra performances of GÖTTERDÄMMERUNG (First Norn) and DAS RHEINGOLD (Erda), and sang in HAMLET, AÏDA, and RIGOLETTO. The following year, she sang in SIEGFRIED, DIE WALKÜRE and HENRY VIII. She made her début at the Opéra-Comique on 27 October 1910 in CARMEN, followed by performances in GALATHÉE, LOUISE and DER FLIEGENDE HOLLÄNDER. She appeared in Switzerland, Germany, Belgium, and Monaco, and gave a number of recitals, notably at the Salle Gaveau in Paris. Her resplendent voice is immediately recognizable, and her secure technique places her in the front rank of French contraltos.”
- Christopher Norton-Welsh, Marston Program Notes
1114. FERNANDA CHIESA, CARLO ALBANI & LUIGI MANFRINI:
I LOMBARDI - Qual voluttà, 2s. 10½” Milano Art Label ‘Disco Commemorative –
Omaggio a Verdi’ Fonotipia 1813/1913. A-, lovely copy, few rubs & lt. mks, inaud. MB 15
“The pièce de resistance is the ‘Disco Commemorativo Omaggio a Verdi’, issued in 1913 in observance of Giuseppe Verdi's centenary. Verdi had been dead only 12 years, and the record is made by the regular cast and orchestra belonging to La Scala in 1913. For some listeners, this version will have a vibrancy and drama more thrilling than the more famous recording by Caruso, Alda and Journet. So if one desires to hear the music of Verdi much as Verdi himself heard it, then Fonotipia is the place to go.”
- Uncle Dave Lewis, ALL MUSIC GUIDE
1115. ESPERANZA CLASSENTI: El Geloso (Danza Habanera) (Alvarez) /
Las Hijas del Zebedeo – Al pensar en el dueño (Carceleras) (Chapi).
10½” Milano Fonotipia 59455/54 (XPh 1579/1575-2).
A to M-A/A-, lovely copy has, Sd.2 only, lt.rubs & faintest nr, inaud. MB 25
1116. ESPERANZA CLASSENTI: GLI UGONOTTI – La tenera parola / O lieto suol della Turena (Meyerbeer), 2s. 10½” brown & gold Milano Odeon 59127/28 (XPh 1554/1681).
A to M-A, choice copy has, Sd.2 only, one tiny scr, inaud. MB 25
“Born in Havana in 1882, Classenti went to Madrid, where in 1896 she studied piano at the Conservatory, then studied singing under Anthony Ponsini and with Melchiorre Vidal in Milano, making her début in 1900 at Spalato in OTELLO. After retiring she devoted her to teaching and spent the last years in the Casa di Riposo Giuseppe Verdi in Milan.”
- Zillah Dorset Akron
1117. FERRUCCIO CORRADETTI: Se!... (Denza) / FEDORA – Egli mi disse.
10½” Milano Fonotipia 39554/53 (XPh 1699-2/1698).
A-/A-B, very decent copy has, Sd.2 primarily, lt.rubs, inaud. MB 10
1118. FERRUCCIO CORRADETTI: BARBIERE – Manca un foglio /
MANON – Ne bronchez pas, soyez gentille (in Italian).
10½” Milano Fonotipia 92176/77 (XPh 3170/85). M-A, superlative copy. MB 15
1119. FERRUCCIO CORRADETTI: IL TROVATORE – Il balen / Per me ora fatale.
10½” Milano Fonotipia 92294/95 (XPh 3199/3481). M-A, superlative copy. MB 15
1120. FERRUCCIO CORRADETTI: FORZA – Fate la Carità
(Fra Melitone – beggars scene), 2s. 10½” Milano Fonotipia 39882/83 (XPh 2175/76).
A-, lovely copy has faint rubs, inaud. MB 10
1121. FERRUCCIO CORRADETTI & NAZZARENO de ANGELIS:
FRA DIAVOLO - Io son, signori, un infelice / Grazie al cielo (1st 1907 Version).
10½” Milano Fonotipia 62046/47 (XPh 2511/2471).
A-, very fine copy has lt.rubs & a few superficial scrs. MB 20
1122. FERRUCCIO CORRADETTI, ERNESTINA TEBRO, ALFREDO CECCHI:
IL TROVATORE – Di geloso amor / Miserere. 10½” Milano brown & gold Odeon 37011/36 (Xm31/94). B-/A-B,very decent copy has very lt.rubs, inaud.;
Sd.1 primarily has greying, primarily at end. MB 10
1123. FERRUCCIO CORRADETTI & NAZZARENO de ANGELIS:
FRA DIAVOLO - Io son, signori, un infelice / Grazie al cielo (2nd 1907 Version).
10½” Milano Fonotipia 92096/97 (XPh 3025/28). M-A, extraordinary copy. MB 45
1124. FERRUCCIO CORRADETTI: CRISPINO E LA COMARE - Una volta un ciabattino (Ricci) / LE MASCHERE - Descrizione di Tartaglia (Mascagni). (Sd.2 an Important
Creator Record, 17 Jan., 1901, Teatro Costanzi, Roma). 10½” Milano Fonotipia 39699/39857 ( Xm551/XPh2165). The registers have no Fonotipia issue with the number for Sd.1. A to M-A, superb copy has hint of grey on peaks. MB 45
1125. FERRUCCIO CORRADETTI & ORESTE LUPPI: FRA DIAVOLO - Duetto dei briganti / GAETANO PINI-CORSI & GIUSEPPINA BALDASSARE: Quell'uom dal fiero aspetto.
10½” Milano Fonotipia Odeon 37030/37621 (Xm 67/1058). M-A, extraordinary. MB 35
“Gaetano Pini-Corsi débuted c.1881 in Empoli as Ernesto in DON PASQUALE. In 1886 at the Teatro Comunale in Catania he appeared as Elvino in Bellini’s LA SONNAMBULA, then later he specialized in comprimario roles and was known as a Mime, David and Cassio. From 1892 to 1906 Pini-Corsi appeared frequently as a guest at La Scala. In 1899 he sang there as David in DIE MEISTERSINGER and also created the role of Mime in the Italian première of SIEGFRIED. On 17 Feb., 1904 he sang Goro in the La Scala premiere of Puccini’s MADAMA BUTTERFLY, and in 1907 he took part at the Teatro Comunale in Bologna in the premiere of Montemezzi’s PAOLO E FRANCESCA.”
- Ashot Arakelyan, Forgotten Opera Singers
1126. FERRUCCIO CORRADETTI & ORESTE LUPPI: FORZA – Del mondo disinganni
(Padre Guardiano & Fra Melitone) / La Scala Chorus: LA GIOCONDA – Feste e pane.
10½” Milano Fonotipia 39376/37067 (XPh 472/----). A to M-A, beautiful copy has
numerous infinitessimal pressing bumps; very end Sd.1 has minuscule scr. MB 15
“Ferruccio Corradetti sang in the premieres of two prize-winning operas of the Sonzogno competition: 15 May, 1904 in MANUEL MENENDEZ of Lorenzo Filiati, one day later, on the 16th, in LA CABRERA of Gabriel Dupont (with Gemma Bellincioni as his partner). In 1910 he created the title role at the premiere of the opera MALBRUK of Leoncavallo, and in 1913 at the Teatro Costanzi, Rome in the premiere of Tommasini’s UGUALE FORTUNA. In 1914 he went to North America where he first guested in Boston, then later in New York. He was married to soprano Bice Adami; his daughter, Iris Adami-Corradetti, also became a glorious singer and pedagogue.”
- Zillah Dorset Akron
1127. ROBERT COUZINOU [on labels as ‘Cousinou’]: LA TRAVIATA – Il Provenza il mar (in French) / BENVENUTO CELLINI – De l’art splendeur immortelle (Diaz).
10½” brown & gold French Odéon 111611/11592 (XP 6129/6105).
A-B, acceptable copy has lt.rubs & a few superficial scrs.; ‘heat’ mk will sound. MB 15
1128. JULIA MERTEN-CULP, w.Erich Wolff (Pf.): Es blinkt der Tau / Der Asra
(both Rubinstein). 10½” brown & gold German Odéon 64010/64007 (xA 2179/2182).
A to M-A, beautiful copy has, Sd.2 only, faintest rubs, inaud. MB 75
1129. JULIA MERTEN-CULP, w.Erich Wolff (Pf.): Frauenliebe und Leben – Ich kann’s nicht fassen / Du Ring an meinem Finger (Schumann). 10½” brown & gold German Odéon 30645/46 (xA 892-2/893). A to M-A, lovely copy has, Sd.2 primarily, faint rubs, inaud. MB 75
"It is remarkable how a young singer of twenty-six could bring out so wonderfully the bleak and stark tragedy of this [Cycle]. Culp informs the words with such meaning that it is as if she had lived a long life full of bitter experience....Not even Elisabeth Schumann, in her famous recording of the Cycle, approaches her."
- Floris Juynboll, THE RECORD COLLECTOR, May, 1986
1130. CHARLES DALMORÈS: LE PROPHÈTE – Roi du ciel.
10½” RCA shellac Test Pressing of B 4395-3, POM-25 March, 1908, choice mid-1930s ‘Elaine’ pressing, w.RCA spiderweb verso. Typed label.
M-A, superb copy has minuscule pap.scr, positively in aud. MB 15
1131. CARLO DANI: DON PASQUALE – Cercherò lontana terra / Com’è gentil.
10½” Milano Fonotipia 39965/66 (XPh 2320/21).
M-A, superb copy has various minuscule pimples, merely cosmetic. MB 15
1132. CARLO DANI: LUCIA – Fra poco a me ricovero; Tu che a Dio, 2s.
10½” Milano Fonotipia 39971/72 (XPh 2336/37).
A, lovely copy has lt.rubs & tiny superficial scrs, inaud. MB 10
1133. CARLO DANI: TOSCA – Recondita armonia / MANON LESCAUT –
Donna non vidi mai. 10½” Milano Fonotipia 39959/60 (XPh 2335/38).
A, lovely copy has lt.rubs, inaud. MB 10
1134. CARLO DANI & AÏDA GONZAGA: RIGOLETTO – Giovanni, ho dei rimorsi; Èi sol dell’anima, 2s. 10½” Milano Fonotipia 62020/21 (XPh 2284/85). M-A, superb copy. MB 20
“Dani made his début in 1894 in Firenze as Duke in RIGOLETTO. In 1898 he again appeared as Duke and Edgardo, but this time at the Teatro Alfieri in Livorno, where he sang together with Titta Ruffo. Then, at the Teatro Politeama in Pisa, he sang the role of Manrico in IL TROVATORE. In the 1902-03 season he appeared at the Metropolitan opera where he sang in RIGOLETTO, PAGLIACCI, LA TRAVIATA, LA BOHÈME and DON PASQUALE with Marcella Sembrich and Antonio Scotti. At the Teatro Coliseo in Buenos Aires he guested in 1907 as Elvino in LA SONNAMBULA, as Alfredo in LA TRAVIATA (with Luisa Tetrazzini), as Almaviva in IL BARBIERE DI SIVIGLIA and as Nemorino in L’ELISIR D'AMORE. In 1907 he was also sang at the Teatro Politeama of São Paulo. In 1913 he appeared in his native Firenze, Teatro Della Pergola as de Grieux in MANON. Dani made his Metropolitan Opera début as the Duke in RIGOLETTO on 5 December, 1902 opposite Marcella Sembrich as Gilda, Louise Homer as Maddalena, Antonio Scotti in the title role and Marcel Journet as Sparafucile. His contract required him to be available for a four-month season. In addition to the Duke, his roles were Alfredo, Canio, Rodolfo, and Ernesto in DON PASQUALE. Dani sang at the Met only during 1902-03. The next season his roles, except Ernesto, were assumed by Enrico Caruso.”
- Ashot Arakelyan, Forgotten Opera Singers
1135. NAZZARENO de ANGELIS: SIMON BOCCANEGRA– A te estremo addio;
Il lacerato spirito, 2s. 10½” Milano Fonotipia 92440/41 (XPh 3752/53).
M-A, superlative copy. MB 45
“During his 36-year career, de Angelis appeared on stage on more than 1500 occasions, performing a repertoire of 57 different operas. He was especially celebrated for his powerful portrayal of the title rôle in Boito's MEFISTOFELE, which he sang at least 500 times between 1906 and 1938. Making his début at La Scala in 1907, and appearing often under the baton of La Scala's principal conductor, Arturo Toscanini, in 1913, he created there the rôle of Archibaldo in Montemezzi's L'AMORE DEI TRE RE. He also sang at the Paris Opéra, in 1909, as the High Priest in Spontini's LA VESTALE. Other than singing at the Lyric Opera of Chicago during the years 1910-11 and 1915–20, de Angelis' career was based almost entirely in Europe. He did, however, make a sequence of acclaimed appearances at the Teatro Colón in Buenos Aires, beginning with the 1911 season.
de Angelis possessed one of the most impressive bass voices produced by Italy; his was a big, dark and well blended vocal instrument with strong top notes and plenty of stamina and carrying power. Chronologically, de Angelis succeeded the famous late-19th century basses Francesco Navarini and Vittorio Arimondi and anticipated the rise to prominence in the 1920's of Ezio Pinza and Tancredi Pasero. He made his first recordings in 1907/08 for Fonotipia, and his last in the late 1920's and early '30s for Columbia. In 1931, he recorded MEFISTOFELE in Milano. It is the only rôle that he recorded in its entirety.”
David Cutler THE RECORD COLLECTOR, 2014