Historical Reissue Classical CDs, LPs, 78s,
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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 IV: Nos. 1202 - 1266 -1202. GIUSEPPINA FINZI-MAGRINI & ELVINO VENTURA:
– Èi sol dell’anima / LA TRAVIATA
– Parigi, o cara.
10½” Milano Fonotipia 39681/82 (XPh 1902/11). A to M-A, superb copy. MB 15
1203. NINI FRASCANI
: Crepuscolo triste (Giordano) / Ave Maria (Bach-Gounod).
10½” Milano Fonotipia 92643/44 (XPh 4309-2/10).
A/A-B, very decent copy has lt. rubs, & superficial tiny scrs., inaud. MB 15
1204. NINI FRASCANI & GIOVANNI ZENATELLO: AÏDA
– Misero appien mi festi /
La Scala Chorus: LA FAVORITA
– Opening chorus. 10½” US-Fonotipia 39528/37169 (XPh1663/xm391). A to M-A, superb copy. MB 15
“Nini Frascani made her début at Naples in LA FAVORITA. In 1903 she was at La Scala as Fricka in the Italian première of Wagner’s RHEINGOLD and appeared there also as Principessa in ADRIANA LECOUVREUR. In 1909 she appeared as Neris in an important première of Cherubini’s MEDEA. In 1905 she guested at the Teatro San Carlo in Naples in the premiere of Leopoldo Mugnone's opera VITA BRETONNE. In 1904 she sang at Covent Garden, in 1906 and from 1914-15 with great success she appeared at the Teatro Colón in Buenos Aires. In 1906 in this same theatre she sang in Franchetti‘s LA FIGLIA DI JORIO, in RIGOLETTO and in WALKÜRE. In 1909 she again appeared at the Teatro San Carlo in Naples, this time as queen in Thomas’ AMLETO, in 1911 at the Teatro Regio in Parma she guested as Laura in LA GIOCONDA. Since 1909 she had at Scala a persistently successful career; she participated there in among other works in 1911 in the première of Dukas’ AriANE ET BARBE-BLEUE. In 1913 she appeared at the Verdi-commemorative celebrations in many big Italian theaters. She married the tenor Gaetano Tommasini and appeared with him in North America. In 1921 with Favorita Opera Company in Manhattan Theatre, New York, later with San Carlo Opera Company. During the 1930s she picked up her career and then lived in Milan where she opened together with Gaetano Tommasini an opera studio."
- Ashot Arakelyan, Forgotten Opera Singers1205. EDOARDO GARBIN: ZAZÀ
– È un riso gentil (CREATOR Record
10 Nov., 1900, Teatro Lirico, Milano) / LA FAVORITA
– Una vergin un angiol di Dio.
10½” Milano Fonotipia 39075/29 (XPh 60/61). A-, fine copy has lt.grey on peaks;
Sd.1 only has superficial scrs, inaud. MB 15
1206. EDOARDO GARBIN: ZAZÀ
– Mai più, Zazà (CREATOR Record, 10 Nov., 1900,
Teatro Lirico, Milano) / MANON
- Ah! fuyez, douce image (in Italian).
10½” Milano plain label Test Pressing for Fonotipia 92253/52 (XPh 3452/3376).
A to M-A, splendid copy has wee nd, both sides; Sd.2 only has faintest rubs, inaud. MB 15
1207. EDOARDO GARBIN: MANON LESCAUT
– Dona non vidi mai /
– Siciliana. 10½” Milano Fonotipia 39116/39039 (XPh 62/86).
A to M-A, splendid copy has few superficial scrs. MB 15
1208. EDOARDO GARBIN: ADRIANA LECOUVREUR
– Non più nobile /
– E lucevan le stelle. 10½” Milano Fonotipia 39036/43 (XPh 54/57).
A-, fine copy has lt.grey on peaks. MB 15
1209. EDOARDO GARBIN & MARIO SAMMARCO: LA BOHEME
O Mimì, tu più non torni / GIANNINA RUSS & ORESTE LUPPI: FORZA
– Venite fidente alla croce. 10½” Milano Fonotipia 39223/39064 (XPh 254/40). A to M-A, splendid copy. MB 20
“Garbin’s teachers in Milan were Alberto Selva and Vittorio Orefice. He made his début (1891) as Don Alvaro in LA FORZA DEL DESTINO, in Vicenza. Then he performed in Milan (Teatro Dal Verme) and Naples (Teatro San Carlo). In 1892 he sang at the Teatro Carlo Felice in Genoa in the premiere of Franchetti’s CRISTOFORO COLOMBO. He repeated the role of Guevara in 1897 at La Scala. He sang Fenton in 1893 in the premiere of Verdi’s FALSTAFF, while his wife, the soprano Adelina Stehle created the role of Nannetta. They appeared together for many years, principally in the Puccini operas. In 1900 he sang the role of Dufresne at the Teatro Lirico in Milan in the premiere of Leoncavallo’s ZAZÀ. Garbin guested also in Vienna, Berlin, Lisbon, Barcelona and at the opera houses of Odessa and Warsaw. In 1905 at the Teatro Vittorio Emanuele in Turin he took part in the premiere of the Montemezzi’s opera GIOVANNI GALLURESE.“
- Ashot Arakelyan, Forgotten Opera Singers1210. JOSÉ GARCIA: I LOMBARDI
– De mia letizia infondere / La Scala Chorus: O Signor che dal tetto natio. 10½” Milano brown & gold Fonotipia-Odeon 37212/11(Xm 451/448).
M-A, spectacular copy has, Sd.2 only, 2 infinitessimal mks, positively inaud. MB 20
“José Garcia studied singing under Goula and Reynes and made his début in Spain. He went to Italy and made his Italian début in 1903 at the Politeama Piana of Badia Polesine in CAVALLERIA RUSTICANA and PAGLIACCI.”
- Ashot Arakelyan, Forgotten Opera Singers1211. JULES GAUTIER: SI J’ÉTAIS ROI
– J’ignorais son nom (Adam).
9 ½” etched label H & D Pathé 483, center start, announced.
A to M-A, lovely copy has hint of grey on peaks. MB 25
“In fact, there was only one Gautier and his name was definitely Jules. Only in [later years about recordings] does one find his first name [erroneously] listed as Franz. Perhaps the confusion over names was caused by the fact that the great dramatic tenor Paul Franz’s real name was Franz Gautier.”
- Vincent Giroud, Marston Program Notes1212. NICOLA GEISSE-WINKEL: IL TROVATORE
– Il balen / PETER MÜLLER:
– Ach so fromm. 10½” dark red paper label H & D Pathé 26005,
recorded 1913/’12, Berlin. A-, fine copy has lt.rubs & occasional superficial scr. MB 15
“After short engagements in Aachen and Mainz, in 1905 Geisse-Winkel began his real career at the Hoftheater in Wiesbaden and remained active till 1931. In 1908 he appeared for the first time at the Bayreuth Festival and remained until 1912. He made successful guest appearances in Vienna, Munich, Budapest, Amsterdam, the Hague and at the opera houses in Switzerland. In addition to his work on the stage, he was a famed concert singer; he sang in 1910 in the premiere of the 8th symphony by Gustav Mahler in Munich. Peter Müller made his début at the Hofoper in Stuttgart, in MARTHA,1890. In 1897 he made guest appearances at the Opernhaus in Frankfurt. He performed also at the Stadttheater in Zürich (1900), Opernhaus in Leipzig (1897), Hoftheater in Wiesbaden (1901) and Karlsruhe (1909), Hofoper in München (1904. In 1894 he sang at the Stuttgarter Oper in the premiere of Ferdinand Langer’s DER PFEIFER VON HARDT.”
- Ashot Arakelyan, Forgotten Opera Singers1213. ÉTIENNE GIBERT: FAUST
– Salut ô mon dernier matin /
LA REINE DE SABA
– Inspirez-moi (both Gounod). 10½” dark blue ‘Art Label’
Aérophone 1092/93. A, superb copy has mere hint of grey on peaks, inaud. MB 20
1214. ÉTIENNE GIBERT: LE ROI D’YS
– Vainement ma bien aimée /
– Adieu donc, vins objets. 10½” dark green ‘Art Label’ Aérophone 1094/95.
A, superb copy has mere hint of grey on peaks, inaud. MB 20
“Étienne Gibert made his début at the Opéra-Comique in 1889 as Chevalier Roland in Massenet’s ESCLARMONDE. He remained through 1892, then moved to the Grand Opéra in 1893 where he mostly sang heavy tenor parts. He remained active for five years at the Grand Opéra in Paris where he also appeared as Lohengrin and as Tannhäuser. In 1895 he appeared at Monte Carlo as Faust in Boito’s MEFISTOFELE and as Rinaldo in Gluck’s ARMIDA, and gave a guest performance at the Théâtre de la Monnaie in Brussels. In the 1901-02 season he was engaged at the Metropolitan opera where he sang in ROMÉO ET JULIETTE and in FAUST. For Paris he created two important parts: In 1892 he sang at the Opéra-Comique as Turiddu in CAVALLERIA RUSTICANA and in 1899 at the Théâtre Nouveau the title role in TRISTAN. In 1909 he appeared at the Théâtre Trianon-Lyrique in the title role of Grétry’s RICHARD COEUR-DE-LION.”
- Zillah Dorset Akron1215. MARIO GILION: GERMANIA
– Studenti! Udite (Franchetti) /
– Improvviso (1906 Version). 10½” pink Milano Fonotipia
Test Pressing for 39801/02 (XPh 2077/2108). A to M-A/A-B, beautiful copy has,
Sd.2 only, minuscule harmless & inaud edge patina, plus sev.lt.audible scrs. MB 15
1216. MARIO GILION: L’AFRICANA
– O Paradiso! / GUGLIELMO TELL
O muto asil. 10½” Milano Fonotipia 92241/40 (XPh 2293/95).
A-, lovely copy has lt.rubs & infinitessimal scrs, inaud. MB 251217. MARIO GILION: SAMSON ET DALILA
– Arrêtez, o mes frères! /
- Winterstürme (both in Italian). 10½” Milano Fonotipia 92743/
(XPh 4386/88). A-B, lovely copy has lt.rubs & few lt.scrs. MB 351218. MARIO GILION: OTELLO
– Dio mi potevi scagliar / Niun mi tema.
10½” Milano Fonotipia 92244/45 (XPh 3307/06). A to M-A, superb copy has,
Sd.2 only, faintest rubs, inaud. MB 251219. MARIO GILION: OTELLO
– Ora e per sempre addio / BALLO
– Ma se m’e forza perderti. 10½” Milano Fonotipia 92661/62 (XPh 3435/4384). A to M-A, superb copy. MB 25
1220. MARIO GILION: ANDREA CHÉNIER
– Improvviso (1908 Version),2s.
10½” Milano Fonotipia 92242/43 (XPh 3296/97).
A to M-A, beautiful copy has lt.grey on peaks. MB 15
1221. MARIO GILION: IL TROVATORE
– Di quella pira / Ah sì, ben mio.
10½” Milano Fonotipia 39654/53 (XPh 2084/85). A to M-A, beautiful copy has
lt.grey on peaks; Sd.2 only has very few infinitessimal scrs, inaud.;
2 additional holes have been neatly drilled through labels. MB 15
1222. MARIO GILION & FRANCESCO MARIA BONINI: IL TROVATORE
– [Tacea la notte]...Deserto sulla terra / FORZA
– [Solenne in quest’ora]…Or muoio tranquillo.
10½” Milano Fonotipia 39812/11 (XPh 2109/11).
A to M-A, superb copy has mere hint of grey on peaks, inaud. MB 25
“Gilion supposedly began his career as a baritone, then made his tenor début in 1901 at the Teatro Sociale in Monza as Vasco in L’AFRICAINE. That same year, Gilion appeared in Modena singing Raoul in LES HUGUENOTS and Arnold in WILLIAM TELL, his two most prominent roles. He also sang in Budapest, Warsaw, Venice, and Buenos Aires. Gilion appeared at the Paris Opéra in 1910 as Arnold, and the next year as Radames. He recorded exclusively for Fonotipia singing primarily in Italian. His sides sung in French are unquestionably his rarest records."
- Vincent Giroud, Marston Program Notes1223. EUGENIO GIRALDONI: OTELLO
– Credo in un Dio crudel / Era la notte.
10½” Milano Fonotipia 39446/45 (XPh 1512/13).
B-, very decent copy has lt. rubs & various lt.scrs, a few are audible. MB 15
“Giraldoni successfully created the role of Scarpia in Puccini's TOSCA (Teatro Costanzi,1900). He followed this with success at La Scala, the Rome Teatro, and the Metropolitan Opera and Covent Garden (where he also sang their first Scarpia). He was a widely admired Boris, a part he first sang at Buenos Aires in 1909. He was also Italy's first Eugen Onégin in 1900, and Golaud in the Rome première of PELLÉAS ET MÉLISANDE. He was considered the best singer of Gérard in ANDREA CHÉNIER, and in 1906 took part in the première of Alberto Franchetti's LA FIGLIA DI IORIO.”
- Ashot Arakelyan, Forgotten Opera Singers1224. RINALDO GRASSI & PASQUALE AMATO:
– O grido di quest’anima, 2s . 10½” Milano Fonotipia C 92565/66
(XPh 4044/45-2). A to M-A, exceptional copy. MB 15
1225. NIELS HANSEN: PAGLIACCI
– Vesti la giubba (1st ‘Take’) /
NIELS HANSEN & ALBERT HØEBERG: MADAMA BUTERFLY
– Amore o grillo
(both in Danish). 10½” black, brown & beige German Odeon 116039/038 (kP 40/39), POM-1912. A to M-A, superlative copy has, Sd.2 only, few superficial scrs, inbaud. MB 15
1226. NIELS HANSEN: PAGLIACCI
– Vesti la giubba (2nd ‘Take’) /
NIELS HANSEN & ALBERT HØEBERG: MADAMA BUTERFLY
– Amore o grillo
(both in Danish). 10½” brown & gold German Odeon 116039/038 (kP 40-2/39),
POM-1912. A to M-A, superlative copy. MB 15
1227. NIELS HANSEN
: Gurre (Hvor Nilen vander Ægyterens Jord) (Henrik Rung) /
Vort Hjem (Alfred Toft). 10½” brown & gold German Odeon 116019/030 (kP 20/31), POM-1912. A to M-A, superlative copy. MB 15
1228. NIELS HANSEN: EVANGELIMANN
– Selig sind, die Verfolgung leiden (Kienzel) /
– Vesti la giubba (2nd ‘Take’) both in Danish). 10½” brown & gold
German Odeon 116026/039 (kP 27/40-2), POM-1912. A to M-A, superlative copy. MB 15
“Niels Hansen made his déࡒbut in Copenhagen as Rodolfo in a 1909 production of LA BOHEME at the Danish Royal Theatre, starting a career as one its favorite tenors for 40 years. He went to Paris and studied with Jean de Reszké in 1911. Lauritz Melchior was Hansen's understudy at the Danish Metropolitan Opera for a little time in 1921. He was appointed as Kongelig Kammersanger (Royal Chamber Singer), a prestigious title given only to about 50 opera singers since 1700, by the monarch Christian X.”
-Dorset Akron1229. POUL HANSEN: LIDEN KIRSTEN
– Sverkels Romance /
POUL HANSEN & IDA MÕLLER
: Tavlebordsduet. 10½” brown & gold
German Odeon 116005/06 (kP 6/7), POM-1912. A to M-A, superlative copy. MB 15
“Hansen made his operatic stage début in Copenhagen at the Royal Danish Theatre in 1908 as a tenor, when he appeared as Sverkel in the romantic opera LIDEN KIRSTEN. He later travelled to Berlin, where he studied under both Louise Reuss-Belce and Lilli Lehmann. He extended his vocal range during his time in Berlin and by 1919 he was able to take on both tenor and baritone roles. During his career he mastered 150 roles using both singer ranges, but tended to prefer operettas. As a young tenor he was popular in heroic leads and appeared in several classical Wagner interpretations, including the title roles in LOHENGRIN, TANNHÄUSER and PARSIFAL and as Walther von Stolzing in DIE MEISTERSINGER VON NÜRNBERG. Hansen also performed the roles of Don José in Bizet's CARMEN and the hunter Konrad in the romantic opera HANS HEILING by Heinrich Marschner. As a baritone he took on the title character in Verdi's RIGOLETTO.”
- Thomas Staedeli1230. FRIEDA HEMPE
L: Air and Variations on 'Deh Torna, Mio Bene, Mio Tenere Amor'
for soprano (in German) (Proch), 2s. 10½” brown & gold German Odeon 99217/18
(xB 4330/31). A to M-A, superlative copy. MB 15
1231. FRIEDA HEMPEL
: Il bacio (in Italian, 1907 Version) (Arditi) /
: Ave Maria (Bach-Gounod). 10½” black, brown & beige
German Odeon Rx 99995/48 (xB 2273/4746). A, beautiful copy has, Sd.2 primarily,
superficial rubs & scrs, inaud.; infinitessimal edge patina, beg.Sd.1 only. MB 121232. FRIEDA HEMPEL
: Il bacio (in Italian, 1907 Version) (Arditi) /
– Letze Rose (The Last Rose of Summer) (Flotow).
10½” brown & gold German Odeon X 50249/54 (xB 2273/70). A, beautiful copy has superficial rubs & scrs, inaud.; Sd.1 only has a few dust scrs, inaud. MB 12
1233. FRIEDA HEMPEL: NOZZE
– Deh vieni, non tardar (in German) /
– Ach, ich liebte. 10½” brown & gold German Odeon 50335/50135 (xB 2644/1510). A-, very fine copy has lt.rubs & superfic ial scrs, inaud.;
Sd.1 only has lt nr, mainly cosmetic. MB 20
1234. FRIEDA HEMPEL: LES HUGUENOTS
– O beau Pays de la Touraine
(in German), 2s. 10½” brown & gold German Odeon 64968/69 (xB 3827/28).
A to M-A, superlative copy has, Sd.2 only, sev.faintest rubs, inaud.; label stkr, Sd.1. MB 20
1235. FRIEDA HEMPEL: LA TRAVIATA
– Ah! fors’ è lui / Sempre libera!
(1906 Version, in German). 10½” brown & gold German Odeon 50247/50132
(xB 1507/08-2). A-B, very fine copy has lt.rubs & superficial scrs.;
Sd.2 only has 2 wee pressing bumps. MB 10
1236. FRIEDA HEMPEL: LA TRAVIATA
– Sempre libera! (1907 Version, in German).
10½” dark blue US Okeh 70101 (xB 2272-2). M-A, glorious copy. MB 15
1237. FRIEDA HEMPEL & HERMANN JADLOWKER: LA BOHEME
O soave fanciulla (in German), 2s. 10½” brown & beige German Odeon X 99941 (xB 5375).
A-B, very fine copy has lt.rubs & superficial scrs.; wee edge bite, not to grooves. MB 10
1238. FRIEDA HEMPEL & HERMANN JADLOWKER: CARMEN
– Me voici
(Micaëla & Don José) (in German). 10½” brown & beige German Odeon LX 99900
(xB 5178). M-A, glorious copy has few faintest rubs, inaud. MB 15
1239. FRIEDA HEMPEL & HERMANN JADLOWKER: CARMEN
– Un baiser
(Micaëla & Don José) (in German). 10½” brown & beige German Odeon
LX 99901 (xB 5179). M-A, glorious copy has few faintest rubs, inaud. MB 15
1240. FRIEDA HEMPEL & HERMANN JADLOWKER:
– Me voici / Un baiser (Micaëla & Don José) (in German).
10½” black, brown & beige German Odeon Rx 98069/70 (xB 5178/79).
M-A, glorious copy has few faintest rubs, inaud.; Sd.1 label has faint nr.;
Sd.2 label AUTOGRAPHED
by Hempel. MB 20
1241. FRIEDA HEMPEL & FRANZ NAVÁL: CAVALLERIA
– Comare Lola …Vado a casa; brindisi / Kark Cond. Hofoper Chorus: A casa, a casa (both in German).
10½” brown & gold German Odeon 50605/99238 (xB 4357/56).
M-A, glorious copy w.faintest rubs, inaud. MB 121242. FRIEDA HEMPEL & HERMANN JADLOWKER: LUCIA
– Sulla tomba
(in German). 10½” brown & beige German Odeon X 99905 (xB 5188).
M-A, glorious copy has few faintest rubs, inaud.;
by Hempel. MB 20
“In 1911, Richard Strauss gave Hempel the choice of the three feminine roles in ROSENKAVALIER for the Berlin premiere and she chose the Marschallin. From 1912–1919 she was on the roster of the Metropolitan Opera, making her début on 27 December 1912 as Marguerite de Valois in LES HUGUENOTS. Just under a year later on 9 December 1913, Hempel appeared as the Marschallin in the American premiere of DER ROSENKAVALIER. In 1919 she left the Metropolitan Opera and on 6 October 1920, the centenary of Jenny Lind’s birth, Hempel began giving a series of recitals in which she impersonated the ‘Swedish nightingale’ performing repertoire made famous by Jenny Lind, and wearing period costumes. These concerts were so successful that she continued giving them as well as other standard recitals until her retirement in 1951.”
- Vincent Giroud, Marston Program Notes1243. HEINRICH HENSEL: TIEFLAND
– Ich grüss noch einmal meine Berge /
: Tanzlied des Sebastiano (d’Albert).
10½” dark blue German Odeon X 52691/25979 (xB 5634/4404).
A-, very fine copy has lt.rubs; Sd.2 only has a few superficial scrs.; wee hlc at edge. MB 10
1244. MARGUERITE HERLEROY
: Berger ta voix m’appelle [Thème varié]
(Saint-Saëns) / ISABELLA SVICHER
: Il Bacio (Arditi).
10½” brown & gold French Odéon 99765/97355 (XP 5233/----)
A-, superb copy has lt.rubs & scrs, inaud. MB 175
“Herleroy’s vocal studies were with Pauline Viardot-Garcia in Paris, making her concert début at Monte-Carlo in 1906. Her first operatic appearance was in 1908 as Frasquita at the Gaîté in Paris, followed by the Opéra-Comique singing roles such as Manon, Micaëla and Prince Charming in Massenet’s CENDRILLON. At Monte Carlo she was Freia in that house’s first performance of DAS RHEINGOLD in1909. Herleroy was first heard at the Paris Opéra in 1921 as Thaïs. Aside from France she appeared at Covent Garden and in Spain, as well as St. Petersburg, Brussels and Holland. Her only recordings were three rare sides for Odéon and a few privately issued electrical recordings.”
- Lawrence Holdridge & Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.2231245. ALBERT HØEBERG: CARMEN
– Air du Toréador /
– Mein Herr und Gott (both in Danish).
10½” brown & gold German Odeon 116033/034 (kP 34/35), POM-1912.
A to M-A, superlative copy has, Sd.2 only, faintest rub, inaud. MB 151246. ALBERT HØEBERG: DON GIOVANNI
– Deh, vieni alla finestra
(in Danish) / ELVERSKUD
– Oluf’s Ballade (Gade).
10½” brown & gold German Odeon 116040/041 (kP 41/42), POM-1912.
A to M-A, superlative copy has, Sd.1 only 2 wee pressing bumps. MB 15
“Albert Alexander Høeberg was a Danish baritone who débuted in 1909 in the opera CAIN of Eugen d'Albert. Until 1939, he was one of the leading singers at the Royal Theatre in roles as Wotan in DIE WALKÜRE, Marskstig in KING AND MARSHAL and the title role in THE FLYING DUTCHMAN. He was appointed royal chamber singer in 1917. On film, in 1943 he played the role of the bishop of Carl Th. Dreyer's DAY OF WRATH."
- Zillah Dorset Akron1247. GRACE HOFFMAN
: Swiss Echo Song (Bishop) / PEER GYNT
– Solveig’s Song (Grieg). 10½” dark green paper label H & D Pathé 25008, original for of issue 1917.
M-A, glorious copy. MB 101248. KATHLEEN HOWARD: FAUST
– Faites-lui mes aveux /
KATHLEEN HOWARD & PAUL ALTHOUSE: IL TROVATORE
– Ai nostri monti
(both in English). 10½” grey paper label H & D Pathé 27509, only form of issue, 1917.
M-A, glorious copy. MB 101249. HERMANN JADLOWKER: LOHENGRIN
- Atmest du nicht.
10½” dark blue US Okeh 70203 (xB 2666). A to M-A, spectacular copy. MB 15
1250. HERMANN JADLOWKER: LOHENGRIN
– In fernem Land.
10½” dark blue US Okeh 70202 (xB 2665-2). A to M-A, spectacular copy has
infinitessimal dust scr, positively inaud. MB 15
1251. HERMANN JADLOWKER: DIE MEISTERSINGER
– Morgenlich leuchtend (Preislied) / EVANGELIMANN
– Selig sind, die Verfolgung leiden (Kienzel).
10½” brown & gold German Odeon 64344/57 (xB 2664/62).
M-A, glorious copy has few faintest rubs & scrs, inaud.; very fine ulc appears Sd.2. MB 10
1252. HERMANN JADLOWKER: DIE MEISTERSINGER
– Am stillen herd.
10½” dark blue US Okeh 702031 (xB 2663). A-, very fine copy has lt.rubs
& few superficial scrs, merely cosmetic. MB 10
“Hermann Jadlowker was one of the most unusual tenors of the twentieth century. His recorded voice has a slightly baritonal timbre, but he also was able to produce high notes with ease and exhibit unbelievable agility….Jadlowker’s voice and skills were unique. How many tenors could sing Lohengrin or Otello one night, Almaviva or Fra Diavolo the next, and do justice to all four of them?”
-Tom Kaufman, Marston Program Notes1253. HERMANN JADLOWKER: IL TROVATORE
– Ah si, ben mio (in German).
10½” lilac & brown German Odeon JX 118516 (xB 4055-2).
M-A, lovely copy has few faintest rubs, inaud. MB 15
1254. HERMANN JADLOWKER: BALLO
– Di tu se fedele /
– Viva il vino (both in German). 10½” brown & gold German Odeon 64362/63 (xB 2674/82). A-, very fine copy has lt.rubs & few superficial scrs, merely cosmetic. MB 10
1255. HERMANN JADLOWKER & MARIA LABIA: BALLO
– Non sai tu che se l'anima mia (in German) JADLOWKER & ERNA DENERA: TANNHAÜSER
– Den Gott der Liebe
sollst du preisen. 10½” brown & gold German Odeon X.50634/99372 (xB 4564/76).
A to M-A, lovely copy has lt.rubs, inaud. MB 15
“Maria Labia made her operatic début in Stockholm, 1905, as Mimi in LA BOHÈME. In 1907 she had great success at the Berlin Komische Opera. She was similarly received at Hammerstein’s Manhattan Opera, 1908–1910, the Vienna Opera, and many other important houses. She was La Scala’s first Salome (1913) and at Rome’s Costanzi she created Giorgetta in the 1919 Italian premiere of Puccini’s IL TABARRO. Her sister, Fausta, was also a noted soprano. "
- Ward Marston
1256. SALOMEA KRUSZELNICKA: ADRIANA LECOUVREUR
- Io son l'umile ancella /
ADELINA STEHLE & EDOARDO GARBIN
: Ma dunque é vero.
10½” dark green & gold German Fonotipia-Odeon HRS-1017 (XPh 2213/95),
POM-8 Dec., 1906 / 21 Dec., 1904, (w.Kruszelnicka’s signature embossed in shellac).
A to M-A, superlative copy of choice mid-1930's Pressing. MB 75
1257. SALOMEA KRUSZELNICKA: ADRIANA LECOUVREUR
- Io son l'umile ancella /
– L’altra notte. 10½” Milano Fonotipia 39922/21 (XPh 2213/12).
A to M-A, superlative copy has minuscule edge patina, Sd.2 only, inaud. MB 451258. SALOMEA KRUSZELNICKA: AÏDA
- Ritorna vincitor, 2s.
10½” Milano Fonotipia 92086/87 (XPh 2849/50). A-, superlative copy. MB 65
“Salomea Kruszelnicka [was praised] both by audiences and prominent early twentieth-century collaborative musicians who deeply admired her vocal and acting abilities. Arturo Toscanini, for instance, was pleased to conduct her in several roles and secured an invitation for her to perform at the Metropolitan Opera (which never came to pass). Richard Strauss reportedly said that Kruszelnicka’s interpretations of both title roles in his operas ELEKTRA and SALOME were ‘perfect’. Giacomo Puccini was deeply indebted to her for stepping in to rescue the title role in MADAMA BUTTERFLY, therefore helping to revive the now famous opera after its disastrous début…. Kruszelnicka’s achievements as a singer and dramatic interpreter at the beginning of the twentieth century certainly allow her a place of prominence on any list of great singers who unquestionably have advanced the art of singing and the dramatic interpretation of opera and song literature."
- Mark Bailey, Marston Program Notes1259. CHRISTINE LANGENHAN
: Kde domov muj? / Nehnevej se máti drahá
(both Czech Folksongs). 8¾” red & dark blue Emerson 1411 (3540-2/3543).
A-B, very decent copy has cosmetic lt.rubs & few tiny scrs. MB 151260. LISE LANDOUZY: GUILLAUME TELL
– Sombres forêts /
LISE LANDOUZY, LAUGER-DUBOIS, AFFRE & BILLOT: ROMÉO
– Dieu de bonté.
10½” brown & gold French Odéon 56101/59 (XP 3550/3678-2).
A to M-A, superlative copy has, Sd.1 only, 2 microscopic scrs, positively inaud. MB 30
1261. LISE LANDOUZY: L’AFRICAINE
– Adieu mon beau rivage /
– Nobles seigneurs, salut! 1
10½” brown & gold French Odéon 56078/56110 (XP 3502/3578).
A to M-A, lovely copy has, Sd.2 only, lt.rubs & few microscopic scrs, inaud. MB 20
1262. LISE LANDOUZY: LE PARDON DE PLOËRMEL
- Ombre légère (Meyerbeer) /
LISE LANDOUZY, LAUGER-DUBOIS, DUBOIS, BILLOT & RÉGIS:
- Chi mi frena (in French). 10½” brown & gold French Odéon 56088/56140
(XP 3518/3641). A-B, very decent copy has lt.rubs and various lt.scrs, mainly cosmetic. MB 151263. LISE LANDOUZY & GASTON DUBOIS: LAKMÉ
- Ah! c'est l'amour /
- N'est-ce plus ma main? 10½” brown & gold French Odéon 56134/72
(XP 3654/3752). M-A, superlative copy. MB 30
1264. LISE LANDOUZY & ÉDOUARD CODOU: MANON
- Toi, vous;
N'est-ce plus ma main (Duo de St Sulpice, 2s. 10½” brown & gold French
Odéon 56030/31 (XP 2799/2800), announced. A, lovely copy has lt.grey on peaks;
Sd.2 only has a few superficial mks, inaud. MB 20
1265. LISE LANDOUZY & AMELIA TALEXIS: LE ROI DÝS
– En silence pourqoi souffrir? /
– Dôme épais. 10½” brown, beige & gold French Odéon 56128/45 (XP3623/30).
A to M-A, superlative copy. MB 30
1266. LISE LANDOUZY, BILLOT & RÉGIS: LA FILLE DU RÉGIMENT
– Grand Air, 2s. 10½” brown & gold French Odéon 56099/56129 (XP 3516/3633).
B, very decent copy has rubs and various scrs, ltly audible. MB 15
“Landouzy was a stalwart of the Opéra-Comique where she made her début as Rosina in IL BARBIÈRE DI SIVIGLIA (11 November 1889). She also appeared in various French provincial houses, notably Royan, Nice, and Aix-les-Bains. Outside France, she frequently appeared at the Monnaie and Monte Carlo. Landouzy created the role of Marie d’Angleterre in Messager’s LA BASOCHE (30 May 1890, Opéra-Comique) and Clorinde in Pierné’s LA FILLE DE TABARIN. She also participated in the French premiere of Verdi’s FALSTAFF (Nanette) in the presence of the composer at the Opéra-Comique on 18 April 1894. Her recording legacy is particularly important. There is no difficulty in reconciling her recorded voice with her solid reputation.”
- Vincent Giroud, Marston Program Notes