Auction 146: Section V

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 V: Nos. 1267 - 1315 -



1267. TADEUSZ LELIVA: LOHENGRIN – Atmest du nicht / DIE MEISTERSINGER – Morgenlich leuchtend (Preislied) (both in Italian). 10˝” Milano Fonotipia 94212/13 (XPh 3612/3707). B/A to M-A, very fine copy has, Sd.1 only, rubs & faint scrs plus 1 long scr, certainly audible. MB 35

1268. LILLI LEHMANN: Freudvoll und leidvoll (Schumann) / Heidenröslein (Schubert). 10˝” brown German Odeon IRCC ‘M’ 50390/89 (xB 3142/38), POM-2 July, 1907, (w.Lehmann’s signature embossed in shellac). M-A, spectacular copy of choice mid-1930s pressing has, Sd.2 only, faintest rub, inaud. MB 35

1269. LILLI LEHMANN: Intermezzo (Schumann) / Du bist die Ruh’ (Schubert). 10˝” brown German Odeon IRCC ‘N’ 50372/50432 (xB 3133/37), POM-2 July, 1907, (w.Lehmann’s signature embossed in shellac). M-A, spectacular copy of choice mid-1930s pressing has, Sd.2 only, faintest pap.rub, inaud. MB 35

1270. LILLI LEHMANN: LA TRAVIATA – Ah! fors’ č lui; Sempre libera (in Italian), 2s. 10˝” red Eng.Odeon Ux.52741/42 (xxB 2976/77), POM-18 June, 1907, (w.Lehmann’s signature embossed in shellac). M-A, spectacular copy of choice 1931 pressing. MB 45

1271. LILLI LEHMANN: LA TRAVIATA – Alfredo, Alfredo, in questo core (in Italian) / FIDELIO – Abscheulicher! (part 1). 10˝” red Eng.Odeon Ux.52699/52597 (xB 3047/49), POM-22 June, 1907, (w.Lehmann’s signature embossed in shellac). M-A, spectacular copy of choice 1931 pressing. MB 35

1272. LILLI LEHMANN: NOZZE – Porgi amor (in German) / DIE WALKÜRE – Du bist der Lenz. 10˝” Parl.-Odeon PO 63 (xB 3150/471), POM-5 July, 1907, (w.Lehmann’s signature embossed in shellac). M-A, spectacular copy MB 15

1273. LILLI LEHMANN: DON GIOVANNI – Don Ottavio, son morta! / Or sai che l’onore,2s. 10˝” red Eng.Odeon Ux.52577/78 (xB 1478/79), POM-20 July, 1906, (w.Lehmann’s signature embossed in shellac). M-A, spectacular copy of choice 1931 pressing. MB 65

“…this traversal of Donna Anna’s rage scene is the classic example of Lilli Lehmann in titanic mode. Heaven help any of the other singers in a performance of DON GIOVANNI who couldn’t keep the pace with her….altogether one of Lehmann’s most impressive recordings….”


- James Dennis, THE RECORD COLLECTOR, 1981


1274. LILLI LEHMANN: DON GIOVANNI – Non mi dir / Fors’ č un giorno il cielo, 2s. 10˝” red Eng.Odeon Ux.52575/76 (xB 3045/46), POM-22 June, 1907, (w.Lehmann’s signature embossed in shellac). M-A, spectacular copy of choice 1931 pressing. MB 65

1275. LILLI LEHMANN & HEDWIG HELBIG: NOZZE – Sull’aria! Che soave zeffiretto / COSĚ FAN TUTTE – Prederň quel brunettino (both in German). 10˝” red Eng.Odeon Ux.52605/52600 (xB 3060/61), POM-25 June, 1907. M-A, spectacular copy of choice 1931 pressing. MB 45

‘[Lehmann]...sent a thrill through the house which was intensified fourfold when her clarion tones rang out....Mme Lehmann's voice was a full-toned dramatic soprano, immense in volume and resonance, and of voluptuous quality....In moments of tragic fury her voiced pealed like a trumpet....her tone production was that of a consummate singer....What seems to me most important to record was the impressive grandure of her greatest operatic impersonations. This grandure was inherent in the woman."


- W. J. Henderson, THE ART OF SINGING, pp.365-67


1276. LILLI LEHMANN: NORMA – Casta Diva / LILLI LEHMANN & HEDWIG HELBIG: Ah! sě, fa core e abbracciami (in German). 10˝” red Eng.Odeon Ux.52698/06 (xB 2978/3063), POM-18 / 25 June, 1907, (w.Lehmann’s signature embossed in shellac). M-A, spectacular copy of choice 1931 pressing. MB 65

1277. JULIEN LEPRESTRE: LES DRAGONS DE VILLARS – Ne parle pas, Rose (Maillart) / MANON – Ah! fuyez, douce image. 10˝” brown & gold French Odéon 36431/32 (XP 2138/39). A, fine copy has lt.rubs, inaud

“Having made his début in 1890 as Faust at the Théâtre des Arts in Rouen, Leprestre was hired at the Théâtre de la Monnaie. While at Brussels, he took part in the world premiere of Jan Blockx’s MAÎTRE MARTIN in November 1892. The young tenor was also featured in the local premieres of WERTHER in January 1893 (a few days after it opened at the Opéra-Comique) and Alfred Bruneau’s L’ATTAQUE DU MOULIN the following year. His success in WERTHER must have been brought to Massenet’s attention, since in September 1894, Leprestre made his Opéra-Comique début as Des Grieux at an important revival of MANON which marked the role début of Georgette Bréjean-Gravičre (not yet Silver), historically the third major exponent of the role, and for whom Massenet subsequently wrote the Fabliau as an alternative to the Gavotte. Leprestre’s own début was by no means eclipsed by hers: the Annales du théâtre et de la musique commented on the pleasant timbre of the ‘charming tenor’, adding that ‘the exquisite use he made of his mezza voce reminded us of the unforgettable creator of the part, poor Talazac.’ (Jean-Alexandre Talazac, who had premiered the parts of Hoffmann, Gérald, and Des Grieux, had just died on 26 December 1896.) Leprestre sang at the Opéra-Comique for four seasons and during that time was the company’s third most regular tenor, after his coeval Edmond Clément and along with Adolphe Maréchal, who joined its roster in 1895. When Leprestre recorded his 11 sides for Odéon in 1905, his operatic career was largely behind him, by then confined to the provinces. They do, however, convey a good impression of this fine singer, then only 41. He can be heard to particular advantage…the resonant, well projected voice, free at the top, is characterized by its clear, attractive, slightly nasal timbre…. Another classic French Opéra-Comique tradition is the effective use of voix mixte and ‘covering’ at the top. This feature is also in evidence in Sylvain’s romance from LES DRAGONS DE VILLARS….As for the MANON aria (missing the middle section as is often the case in early recordings) it is a classic account, vibrant yet free from exaggeration, with a subtle, unaffected use of portamento, and a useful testimony of an important revival of the work, for which Leprestre probably benefited from the composer’s advice.”


- Vincent Giroud, Marston Program Notes


1278. FÉLIA LITVINNE: L'AFRICAINE – Sur mes genoux / LOHENGRIN – Einsam in trüben Tagen (in French). 10˝” brown German Odeon IRCC ‘T’ X 39218/39182 (XPh 695/676), POM-1905, (w.Litvinne’s signature embossed in shellac). M-A, spectacular copy of choice mid-1930's pressing. MB 65

“Litvinne’s was one of the most powerful and penetrating female voices to have been captured by the early gramophone. As we listen to her records, we are squarely confronted both with the glories and the flaws of her amazing vocal instrument, and there is no doubt that we are hearing a completely individual voice driven by intense musical and dramatic conviction….In 1904 or 1905, Félia Litvinne recorded five sides in Paris for the Fonotipia label….the operatic sides are available both as original pressings and as 1930s Odeon reissues pressed from the metal masters on superior shellac….[and] we can only be grateful that Litvinne's [operatic] four sides are among the best sounding Fonotipias from this period….Over the past 15 years, I have been searching the great collections of the world to find superior copies of Litvinne's records and I have come to the conclusion that it would practically be a miracle to find unplayed copies of records this old.”


- Ward Marston


1279. FÉLIA LITVINNE: AĎDA – I sacri nomi / CAVALLERIA – Voi lo sapete (both in French). 10˝” red German Odeon IRCC ‘S’ X 39217/39052 (XPh 694/675), POM-1905, (w.Litvinne’s signature embossed in shellac). A to M-A, superlative copy of choice mid-1930's pressing has infinitessimal ‘dust’ mk, Sd.2, inaud. MB 45

1280. ORESTE LUPPI: MANZONI REQUIEM – Confutatis (Verdi) / STABAT MATER – Pro peccatis (Rossini). 10˝” Milano Fonotipia 39588/89 (XPh1703/04). A to M-A, superlative copy has various microscopic ‘pimples’. MB 15

1281. ORESTE LUPPI: DON GIOVANNI – Madamina!, 2s. 10˝” Milano Fonotipia 39412/13 (XPh 1530/31). B, decent copy has rubs & lt.scrs, certainly ltly audible. MB 10

1282. ORESTE LUPPI: LA FAVORITA – Splendon piů belle (1905 Version) / DON CARLOS – Dormiro sol. 10˝” Milano Fonotipia 39318/19 (XPh 326/361). A to M-A, superlative copy. MB 15

1283. ORESTE LUPPI: LA FAVORITA – Splendon piů belle (1908 Version) / La Scala Chorus: Bell’alba foreira. 10˝” Milano Fonotipia 92360/61 (XPh 3443/33). A to M-A, superlative copy has, Sd.2 only, faintest rub, inaud. MB 15

1284. ORESTE LUPPI: NORMA – Ah! del Tebro (1904 Version) / BARBIERE – La calunnia. 10˝” Milano Fonotipia 39070/39205 (XPh 48/139). A-, lovely copy has lt rubs & grey on peaks. MB 10

“Oreste Luppi made his début in 1892 at the Theatre in Foligno. His main houses were La Scala, the Constanzi, Regio in Turin, Genoa, Florence and Naples. He was the first Prince Gremin in the 1900 La Scala premiere of EUGEN ONÉGIN. Luppi created a number of roles, but his most important creation was in Mascagni’s LE MASCHERE. Luppi also guested outside of Italy, including Covent Garden and the Teatro Colón. After his career he taught singing in Milan where he died at Verdi’s Casa di Riposo. Oreste Luppi was Fonotipia’s star basso, and his records which dated from the company’s beginnings were of fine quality and splendid execution. There was more than a hint of Arimondi in the ease and flexibility of style and the expressive use of tone colour, and he pointed his phrases and sang with a clarity and sonority only to be found in the true bass.”


- P.G. Hurst, THE GOLDEN AGE RECORDED, p.115


1285. ORESTE LUPPI, ANTONIO MAGINI-COLETTI & FERRUCCIO CORRADETTI: CRISPINO E LA COMARE - Di Pandolfetti medico (Terzetto dei Dottori) (Ricci), 2s. 10˝” Milano Fonotipia 39396/97 (XPh 481/82), POM-22 Nov., 1905. A to M-A, superlative copy of this legendary, delightful performance. MB 25

"I have over a hundred of the early (39000 series) Fonotipias in my collection, and I say without any reservations that this one [above] is the best....Perfect singing, perfect artistry and perfect recording - for what more could one ask?....Comedy and humour are well to the fore in this record and the interpolated 'asides'.”


- Hevingham-Root, RECORD NEWS, 1950


1286. ANTONIO MAGINI-COLETTI: La Danza (Rossini) / BARBIERE – Largo al factotum. 10˝” Milano Fonotipia 39351/92460 (XPh 443-2//3561). B/A -B, decent copy has, Sd.1 only, grey on peaks; Sd.2 has lt.rubs, inaud.. MB 12

1287. ANTONIO MAGINI-COLETTI: RIGOLETTO – Cortigiani, 2s. 10˝” Milano Fonotipia 39441/42 (XPh 527/28). A to M-A, choice copy has faintest rubs, inaud.; Sd.2 only has mere hint of nr, positively inaud. MB 15

1288. ANTONIO MAGINI-COLETTI & ELISA PETRI: FALSTAFF – Quand’ero paggio / LA BOHEME - C’č Rodolfo? 10˝” Milano Fonotipia 39430/39381(XPh 1533/496). A to M-A, superlative copy has, Sd.2 only, few superficial pap.srs, inaud. MB 25

1289. ANTONIO MAGINI-COLETTI & ELISA PETRI: FALSTAFF – Reverenza! Buon giorno, 2s. 10˝” Milano Fonotipia 39435/36(XPh 1536/37). A-B, very decent unworn copy has lt.rubs & occasional lt.scr, very ltly audible; Sd.2 only has wee pressing bump. MB 15

1290. ALFRED MAGUENAT: Grenade la jolie (Rousseau) / LES CLOCHES DE CORNEVILLE – J’ai fait trois fois le tour de monde (Planquette). 10˝” brown & gold French Odéon X 111645/46 (XP 6210/----). A-B, very fine copy has lt.rubs & few lt scrs. MB 10

“Beginning his career in 1908 in character and buffo roles at the Paris Opéra in 1908, Maguenat soon moved to more substantial repertoire. In 1913 he appeared in the Gaîte-Lyrique world premiere of Février’s CARMOISINE. From 1914-17 he sang a variety of roles at Monte Carlo, including Amonasro and Germont, as well as principal roles in MADAME SANS-GĘNE (Giordano) and LES CADEAUX DE NOËL (Gunsbourg). Maguenat was also with the Chicago Opera, Covent Garden, 1915-19, and in 1922 made his début at the Paris Opéra as Hérode in HÉRODIADE. He was also part of Melba’s 1924 Australian touring company. Beginning in 1914, Maguenat recorded acoustically for Odéon, and is in the electric Columbia set of excerpts from PELLÉAS ET MÉLISANDE (Debussy) with Nespoulous and Dufranne.”


- Lawrence F. Holdridge, Marston Program Notes


1291. VALERIA MANNA: AĎDA – Ritorna vincitor!, 2s. 10˝” pink Fonografia Nazionale Art Label 1055/56. A+, lovely copy has, Sd.2 only, few superficial rubs & scrs, inaud.; Sd.2 only has wee ec, very far from grooves. MB 12

“Valeria Manna made her début in 1916 at the Teatro Comunale of Catanzaro in IL TROVATORE. She had a significant career in the Italian provincial opera houses during the 1920s. In 1926 she made a guest appearance at the festival in the arena of Verona; she gave guest performances in Alessandria, Philadephia and South America. After end of her carrier she lived as a pedagogue in Bologna, and the tenor Gianni Poggi was one of her pupils.”


- Ashot Arakelyan, Forgotten Opera Singers


1292. GUSTAV MATZNER: DER OBERSTEIGER – Auftritt des Martin / Der alte Bergmann träumt davon (Zeller). 10˝” brown & gold Berlin Odeon 64810/06 (xB 3529/3531). M-A, spectacular copy has very occasional faintest rub, inaud. MB 15

“Gustav Matzner enjoyed a thriving career in Viennese Operetta at the turn of the last century, especially at the Neues Hamburg Operetten-Theater and in Berlin at the Berliner Theater, in operettas such as DER OBERSTEIGER, PUPPENMÄDEL, DIE LIEBE AUGUSTIN and DIE LUSTIGE WITWE, the latter in which he participated in the 1907 Gramophone recording. This first recording of a substantially complete version of the score was made in 1907 with Marie Ottmann and Gustav Matzner in the lead roles.”


- Patrick O'Connor, A VIENNESE WHIRL, Gramophone, Oct., 2005, pp. 48–52


1293. VICTOR MAUREL: Rondel de l'adieu (de Lara) / Mandolinata (Paladilhe). 10˝” red German Odeon IRCC ‘U’ X 39246/45 (XPh 67/68), POM-21 Nov.,1904, (w.Maurel’s signature embossed in shellac). M-A, spectacular copy of choice mid-1930's pressing. MB 45

1294. VICTOR MAUREL: DON GIOVANNI – Deh, vieni alla finestra / OTELLO – Era la notte (Creator, 5 Feb., 1887, La Scala). 10˝” red Eng. Odeon PO 18 (xPh 66/58-3), POM-21 Nov.,1904, (w.Maurel’s signature embossed in shellac). M-A, beautiful copy of choice mid-1930's pressing has occasional faint rub, inaud. MB 45

“Victor Maurel was not only a popular idol, highly regarded by critics, respected by managements, and held in awe by his colleagues…Calvé, then a young woman, remembers him as ‘a man of genius’. His dramatic gifts were so extraordinary that they dominated the minds of those who saw him, and almost made them overlook his voice, which was, nevertheless, of unusual quality, full of colour and exceptionally expressive….It was after returning to La Scala, in 1882, and singing the title-role in the first performance of the revised edition of SIMON BOCCANEGRA, that he began an association with Verdi that led to his creation of Iago in OTELLO in 1887, and six years afterwards, the title-role in FALSTAFF. He went on to sing both roles throughout the opera world, in Paris, St. Petersburg, Vienna, London and New York, always to great acclaim. In 1892 Maurel created Tonio in PAGLIACCI at the dal Verme, Milan. It was at Maurel’s suggestion that Leoncavallo composed the Prologue, and Tonio originally had the last words: ‘la commedia č finita,’ a practice which continued as long as Maurel sang the role. In 1894 he made his Met bow as Iago, following it two months later with Falstaff. Henderson, now at the New York Times, was very appreciative…’”


- Michael Scott, Marston Program Notes


1295. VICTOR MAUREL: Ninon (Tosti) / Don Giovanni – Deh, vieni alla finestra. 10˝” silver & blue blue shellac Columbia IRCC 9, (xPh 69-2/66), POM-23 / 21 Nov.,1904, (w.Maurel’s signature embossed in shellac). Numbered Copy #50 of a Limited Edition. M-A, spectacular copy of choice blue shellac pressing. MB 75

1296. VICTOR MAUREL: OTELLO – Era la notte (Creator, 5 Feb., 1887. La Scala) / FALSTAFF – Quand’ero paggio (Creator, 9 Feb., 1893, La Scala). 10˝” white & gold Fonotipia IRCC 4 (XPh 58-3/ XPh 2332), POM-21 Nov., 1904 / 8 Jan.,1907, (w.Maurel’s signature embossed in shellac). Numbered Copy #41 of a Limited Edition. M-A, spectacular copy of choice pressing. MB 75

“…[the ‘Quand’ero paggio’] is arguably Maurel’s most famous recording….He sings three verses, the first two in Italian; the last in French, yet each time varying his tonal quality, and with a lightness of touch and infinitely varying nuance. The over-effusive studio audience [with studio applause] further enhances the charm of the recording….The whole aria is rendered with a verve that almost allows you to ‘see’ his facial expression….Maurel is truly respectful of Tosti’s intentions and he sings con amore with his typical elegance of manner and beautifully enunciated text….It is the work of a masterful artist….One can imagine he would have sung the [Don Giovanni] aria with a melting mezza voce in his prime that would have been bewitching. He is frequently at odds with the pianist but it hardly matters and just adds charm to the recording….It was Verdi who chose Maurel to create Iago and Falstaff, despite the availability of many great Italian baritones. [Maurel] was indeed a unique genius and master of his art. Obviously, Verdi wanted his first Iago to be a master of nuance and vocal colour. He chose well with Maurel….it is a worthy memento of the creator.”


-Alfred de Cock, THE RECORD COLLECTOR, 2013


1297. ESTER MAZZOLENI: IRIS - Un děŤ, ero piccina / I VESPRI SICILIANI – Arrigo, ah parli a un core. 10˝” Milano Fonotipia 92543/44 (XPh 4127-2/3837). A to M-A, superlative copy has, Sd.1 only, 3 minuscule dust mks. Choice copy of this important and beautiful rarity! MB 85

1298. ESTER MAZZOLENI: LORELEY – Dove son? donde vengo / O forza recondita (Catalani). 10˝” AC Milano Fonotipia C 69269/70 (XPh 5164/65). A to M-A, glorious copy has, Sd.2 only, faint rubs, inaud. MB 45

1299. ESTER MAZZOLENI: NORMA - Teneri figli / ESTER MAZZOLENI & GIOVANNI ZENATELLO: In mia man alfin tu sei. 10˝” Milano Fonotipia 92812/11 (XPh 4696/97). A to M-A, lovely copy has lt.rubs; Sd.1 has few superficial scrs, inaud. MB 20

"[Mazzoleni] was considered a great Norma in her time ....a superb antidote to the vibrato-less, white voiced, seemingly interchangeable sopranos who now abound."


- Vivian A. Liff, AMERICAN RECORD GUIDE, March/April, 2010


1300. ESTER MAZZOLENI & GIOVANNI ZENATELLO: AĎDA - O terra addio / OTELLO - Venga la morte! 10˝” Milano Fonotipia 92809/10 (XPh 4690/4713). A to M-A, lovely copy has lt.rubs; Sd.2 only has various clusters of very lt.scrs. MB 15

1301. ESTER MAZZOLENI & ELISA PETRI: LA GIOCONDA - L'amo come il fugor / ESTER MAZZOLENI, ELISA PETRI & EDOUARDO GARBIN MEFISTOFELE – La luna immobile. 10˝” Milano Fonotipia 92424/25 (XPh 3651/3664). A to M-A, superlative copy has, Sd.2 only, a few wee pressing bumps. MB 35

1302. JOHN McCORMACK: The Ould Plaid Shawl (Fahy-Haynes). 10˝” dark blue US Odeon 70005 (Lx 3167), POM-7 Sept., 1909. A-, very fine copy has lt.rubs & wee pressing bumps, inaud. MB 10

1303. JOHN McCORMACK: Dear little Shamrock. 10˝” dark blue US Odeon 70001 (Lx 1569), POM-4 Dec., 1906. A to M-A, beautiful copy has wee identification etched in label. MB 20

1304. JOHN McCORMACK: The Croppy Boy (McBurney). 10˝” red German Odeon 57552 (Am 33014) (Lx 1568), POM-4 Dec., 1906, (w.Odeon logo embossed on verso). M-A, spectacular copy. MB 20

1305. JOHN McCORMACK: Savourneen deelish (‘Take’ 1 [of 2 issued ‘takes’]) / Mary of Allendale. 10˝” US-Fonotipia 57550/57602 (Lx 2133/2850). A to M-A, superb copy has few faint rubs, inaud. MB 15

1306. JOHN McCORMACK: TOSCA – E lucevan le stelle / RIGOLETTO – La donna č mobile. 10˝” pale green & white English Odeon 66191/66201 (Lx 2501/2491), POM-3 Feb. / 31 Jan., 1908. A-, lovely copy has very faintest scrs & rubs, inaud. MB 20

1307. JOHN McCORMACK: CAVALLERIA – Siciliana / PAGLIACCI – Vesti la giubba (both in English).10˝” brown, beige & gold Irish Odeon 57523/24 (Lx 2488/89). A/A-B, very decent copy has a few faint rubs, inaud.; Sd.2 only has cluster of dust scrs, most certainly ltly audible. MB 10

1308. MELGATY (here, as MELGATI): Mes Moutons (Legay) / LES CLOCHES DE CORNEVILLE – J'ai fait trois fois le tour du monde ((Planquette). 10˝” H & D etched label Aérophone 674/673. M-A, spectacular copy. MB 15

1309. HANS MELMS: CARMEN – Air du Toréador / L’AFRICAINE – Ballade des Nelusco (both in German). 10˝” brown & gold Wien Odeon 38347/53 (xB 1375/77). B, decent copy has lt grey & rubs, inaud.; Sd.2 only has 2 serious nd, positively audible. MB 10

“Melms sang at various minor houses before he came to the Hofoper in October 1902, singing 18 of the “ Mahler held Melms in high regard and praised him for his ability to step in at a moment’s notice to replace an ailing colleague. Early in 1904 he moved on, but returned to Vienna to sing at the Volksoper from 1907 to 1914.”


- Christopher Norton-Welsh, Marston Program Notes


1310. OTTILIE METZGER: XERXES – Ombra mai fu (Handel) / CARMEN – En vain pour éviter (in German). 10˝” brown & gold German Odeon 64948/05 (xB 3720/10). A to M-A, superb copy has, Sd.1 only, very few superficial minuscule scrs, positively inaud. MB 35

1311. OTTILIE METZGER: BALLO - E' lui, č lui nei palpiti / DJAMILEH - Sans doute l'heure est prochain (in German) (Bizet). 10˝” brown & gold German Odeon 64897/96 (xB 3701/02). M-A, spectacular copy. MB 45

1312. OTTILIE METZGER: EVANGELIMANN - O schöne Jugendtage (Kienzl) / SAMSON ET DALILA – Printemps qui commence (in German). 10˝” dark blue German Odeon 51584/83 (xB 3625/26). B-, decent copy has rubs & numeropus lt.scrs, some of them, audible. MB 15

“This splendidly gifted contralto spent three years at Cologne before being named the principal contralto at Hamburg; there she sang with many of the greats of her day, including Caruso during his guest appearances. Metzger sang at Bayreuth in 1901, 1902, 1904 and 1912, where she was most noted for her stately interpretations of Waltraute in GÖTTERDÄMMERUNG and Erda in SIEGFRIEDShe taught in Berlin until her being Jewish made escape necessary; she fled to Brussels. She was deported to Auschwitz in late 1942….It becomes clear almost instantly that Metzger took her records quite seriously, and it is probably fair to assume we are left with a relatively accurate account of what was heard by her audiences. On records, Metzger displays the sort of otherworldly, deep and compelling voice needed for Wagner’s earth mothers and all-knowing goddesses.”


- Andrea Shum-Binder, subito-cantabile


1313. ANTON MOSER: Der Doppelgänger / Der Wegweiser (both Schubert). 10˝” brown & gold Wien Odeon 63325/27 (xB 2854/56). M-A, spectacular copy. MB 25

1314. ANTON MOSER: Der arme Peter / Du bist wie eine Blume(both Schumann); Elfersucht und Stolz (Schubert). 10˝” dark blue & gold Wien Odeon 51569/70 (xB 2857/59). M-A, spectacular copy. MB 25

“Anton Moser was admired in Mozart, singing Masetto in the first Salzburg Mozart festival in 1906. Additionally, he portrayed the two Wagner Alberichs, Verdi’s Giorgio Germont, and both Falke and Frank in DIE FLEDERMAUS. He sang Frédéric in the local premiere of LAKMÉ and the High Priest in SAMSON ET DALILA. His records of Schubert songs for Odeon are surprisingly modern in concept.”


- Christopher Norton-Welsh, Marston Program Notes


1315. LUCIEN MURATORE: TOSCA – Recondite armonia / E lucevan le stelle (in French). 10˝” A.P.G.A 1496/97, only form of issue, 1907, both sides announced. A-B, lovely copy has lt rubs & a few superficial cosmetic scrs. MB 35

“In virtually every recording [Muratore] demonstrates a very well-schooled technique. The voice, although of considerable weight, is bright and beautifully controlled. His singing through the passaggio allows a smooth transition into his extension (upper register), which contains some very impressive ringing top A naturals and B flats. He had mastery over his mezza voce, understood chiaroscuro by colouring his tone and was able to produce floated piano head tones, using these vocal effects with good taste. This is coupled with informed phrasing, a good legato and, where required, a true sense of drama….In his singing, Muratore’s use of dynamics and tonal colour can convey an effect, at times, of a lovely voice. This is something not given to all singers.”


- Alan Bilgora, THE RECORD COLLECTOR, 2009