Auction 146: Section VIII

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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 VIII: Nos. 1434 - 1477 -



1434. AMELIA TALEXIS & LUCIEN RIGAUX: FAUST – Seigneur, daigne permettre, 2s. 10½” brown & white French Odéon 60541/20 (XP 3776/77). A-/A, lovely copy has superficial rubs & very lt.scrs, positively inaud. MB 15

“As evidenced by her recordings, Amélie Talexis’ voice was powerful with a wide range and a secure technique, equally comfortable in French and Italian. Talexis died tragically in a freak accident in the bathroom of a hotel in Calais on her way to London at 36 years of age.”/div>

- Vincent Giroud, Marston Program Notes


1435. HANS TÃNZLER: FIDELIO – Gott! Welch Dunkel hier / DIE MEISTERSINGER - Fanget an! 10½” brown & white German Odeon 99354/56 (xB 4654/56). A-, lovely copy has superficial rubs & very lt.scrs, positively inaud. MB 15

“In 1914 Hans Tänzler was engaged by the Court Theatre of Brunswick, where he appeared till 1918. As a guest he also performed at the Dresden Court Opera (1903), Municipal Theatre of Hamburg (1905), in the 1907-08 season in Frankfurt am Main, in 1910 at the German Theatre of Prague, in 1911 at the Court Theatre of Wiesbaden, in 1914 at the Berlin Court Opera. From 1907-09 he guested at the Court Opera of Munich, in 1906, 1908 and 1912 at the Vienna Court Opera. Tänzler also appeared in Paris, Budapest, Warsaw, Spain and Russia. In 1912 he sang at the Grand Opéra in Paris in TRISTAN UND ISOLDE. During the 1920’s he went to North America and became a pedagogue in Los Angeles. From 1927-29 he lived in Berlin and appeared still as a guest at Berlin State Opera among other things as Tristan and in EVANGELIMANN (1927). From 1929-31 he participated in the America tour as a member of the German Opera Company and had a great success in Wagner’s operas. Tänzler made a few records for Odeon and Pathe (1909/19)


- Ashot Arakelyan, Forgotten Opera Singers


1436. TAVIGNANO: GUILLAUME TELL – Asile héréditaire / WERTHER – J'aurais sur ma poitrine. 10½” red & gold ‘Art Label’ H & D Aérophone 8086 (4171/75). A to M-A, superlative copy has, Sd.1 only, 2 infinitessimal scrs, inaud. MB 20

1437. LUISA TETRAZZINI: LUCIA – Spargi d’amaro pianto. 10½” black Zonophone 10000 (3515), only form of issue, 8 Sept., 1904. A-B, very decent copy has lt. rubs & superficial scrs; hint of grey on peaks; minor ulc, of absolutely no consequence. MB 20

1438. LUISA TETRAZZINI: Rigoletto – Caro nome. 10½” black Zonophone 10001 (3511), only form of issue, 8 Sept., 1904. A-B, very decent copy has lt. rubs & superficial scrs; hint of grey on peaks. MB 20

1439. LUISA TETRAZZINI: Rigoletto – Caro nome. 10½” white ‘Tetrazzini Record’ label superimposed over Zonophone 10001 (3511), only form of issue, 8 Sept., 1904. A-, lovely copy has lt.rubs & tiny ndl cut, ltly audible sev. turns. MB 15

1440. ALBERT VAGUET: PAGLIACCI – Vesti la giubba (in French) / WERTHER – Pourquoi me réveiller? 9 ½” etched label H & D Pathé 157/191, center start, announced. A to M-A, lovely copy has, Sd.1 only, sev.faint scrs; wee ipc, not to grooves & lt.grey throughout. MB 10

1441. ALBERT VAGUET: La Libellule / Les trois roses (both Farjall). 8¼” etched label H & D Pathé 3683/85, center start. A to M-A, lovely copy has, Sd.1, tiny scuff. MB 20

1442. ALBERT VAGUET: L’étoile d’amour (Delmet) / Rancoeur lasse (Oble) 8¼” etched label H & D Pathé 4928/4983, center start, announced. A to M-A, lovely copy has hint of grey on peaks. MB 20

1443. ALBERT VAGUET: Chanson (Marty) / LES CLOCHES DU RHIN – Ervine, écoute-moi (CREATOR Record, 6 Aug., 1898, Académie Nationale de Musique, Paris) (Samuel Rousseau). 8¼” etched label H & D Pathé 3536/37, center start, announced. A to M-A, superlative copy. MB 35

1444. ALINE VALLANDRI: GRISÉLIDIS – Il partait au printemps (Massenet) / LE ROI D’YS – Air de Rozenne (Lalo). 9 ½” etched label H & D Pathé 680/685, center start. A to M-A, superlative copy. MB 25

1445. ELVINO VENTURA: MANON LESCAUT – Donna non vidi mai / LUIGI LONGOBARDI & AMELIA TALEXIS: IL TROVATORE – Sull’orrida torre (Miserere). 10½” Milano Fonotipia 39293/39347 (XPh 323/396). A, fine copy has lt. rubs & occasional minuscule scrs, inaud. MB 25

“Elvino Ventura made his début in 1894 at the Teatro Epicarmo in Noto and soon was widely recognized as one of the most important tenors in Italy. In 1896 he appeared at the Teatro Regio in Turin as Marziale in Buzzi-Peccia’s FORZA DELL’AMORE. In 1900 he sang at the Teatro Carlo Felice in Genoa the role of Alfredo in LA TRAVIATA. The next year, Ventura appeared at the Teatro Massimo in Palermo as Osaka in Mascagni's IRIS with Fausta Labia (the wife of the famous tenor Emilio Perea), one of his most famous roles. In 1901 he created the role of Florindo in the premiere of Mascagni's LE MASCHERE at the Teatro La Fenice in Venice. In 1909, with the Castellano Opera Company, he was heard in Holland and Belgium. He appeared in almost all significant Italian opera stages, also made guest appearances in London, Paris, Buenos Aires, Madrid, St. Petersburg and Warsaw. In his book,Titta Ruffo wrote that he had the honour to sing with Elvino Ventura and soprano Pandolfini in LA TRAVIATA.”


- Ashot Arakelyan, Forgotten Opera Singers


1446. DANIEL VIGNEAU: L’AFRICAINE – Fille des Rois / Quand l’amour m’entraîne (Meyerbeer). 10½” brown & gold French Odéon 97325/97336. A, fine copy has lt.rubs, inaud.; occasional minuscule scrs, mainly cosmetic; lt.grey, Sd.2 only. MB 15

1447. DANIEL VIGNEAU: RICHARD COEUR DE LION – O Richard, o mon Roi (Grétry) / FAUST – Mort de Valentin. 10½” dark red paper label H & D Pathé 26001 (4659/4658) . M-A, choice copy. MB 10

1448. CÉSAR VEZZANI: WERTHER – J'aurais sur ma poitrine / TOSCA – E lucevan le stelle (in French). 10½” orange French Odéon X 111899/93 (XP 6405/12-2). M-A, exceptional copy. MB 45

” Vezzani was one of those rare tenors who had nearly everything: a large and gorgeous voice, a ringing top, a high degree of intelligence, the ability to sing with great sensitivity (listen to his excerpts from WERTHER), and excellent musicianship.”


- Tom Kaufman, Marston Program Notes


1449. CÉSAR VEZZANI: GUILLAUME TELL – Asile héréditaire / SIGURD – Esprits, gardiens (Reyer). 10½” brown & gold / brown, beige & orange French Odéon X 111288/111340 (XP 5790-2/5789-2). A, lovely copy has faint rubs & various minuscule scrs, inaud. MB 15

1450. CÉSAR VEZZANI: L'AFRICAINE – Pays merveilleux / PAGLIACCI - Vesti la giubba (in French). 10½” orange French Odéon X 111339/37 (XP 5788/86-1), Sd. 2 is ‘Take’ 1 (of 2 issued ‘takes’). A to M-A-, beautiful copy has, alas, very faint hlc. MB 12

1451. CÉSAR VEZZANI: L'AFRICAINE - Pays merveilleux / PAGLIACCI - Vesti la giubba (in French). 10½” brown & gold French Odéon X 111339/37 (XP 5788/86-2), Sd. 2 is ‘Take’ 2 (of 2 issued ‘takes’). B, decent copy has lt grey on peaks, audible & numerous scrs. MB 10

1452. CÉSAR VEZZANI & PAUL PAYAN: TOSCA – E sempre lava! / ROSE HEILBRONNER: Vissi d’arte (both in French). 10½” brown & gold French Odéon X 111558/97562 (XP 6096/4980). B, very decent copy has various lt. scrs, minimally audible; each side has ec, not to grooves. MB 12

“César Vezzani’s clarion voice and robust approach has won for him a secure place in the pantheon of great French tenors of the 20th Century. He made more than 170 sides, most of which were issued only in France and are, today, eagerly sought by collectors….Heilbronner was born in Paris, where she made her début at the Opéra-Comique in 1907. She sang lighter soprano roles such as Mélisande in ARIANE ET BARBE-BLEUE, Micaëla in CARMEN, Eurydice in ORPHÉE ET EURYDICE, and Rozenn in LE ROI D’YS. She also made occasional appearances at the Paris Opéra and at the Gaîté-Lyrique (CENDRILLON), as well as in many theaters and casinos in the French and Belgian provinces up to the First World War. After the First World War she continued her career in particular at La Monnaie (1910–1921), and in provincial theaters. She devoted herself thereafter mainly to concert work in France and Belgium during the late 1920s.”


- Ward Marston


1453. FRANCESCO VIÑAS: AÏDA – Celeste Aïda. 10½” US-Fonotipia 39136 (XPh 161). A+, beautiful copy has lt rubs & very few faintest mks, inaud. MB 20

“Viñas’ ‘Celeste Aïda’ is one of the very best, once we have accepted the fact that it is all going to be rather loud. His legato is exemplary, as is his use of portamento, though Verdi’s score calls for even more. His technical mastery is evident in the descending phrase on ‘vicino al sol’, five bars before the end, which he begins on a beautiful and quite soft F and continues to diminish in volume as he descends.”


- Michael Aspinall, Marston Program Notes


1454. FRITZ VOGELSTROM, ANNIE KRULL & HERMANN WEIL: TANNHÄUSER – O Fürstin / FRITZ VOGELSTROM & KARL ARMSTER: Der Sängerkrieg. 10½” brown & gold German Odeon 50701/04 (xB 4927/35). A to M-A, extraordinary. MB 10

“Vogelstrom’s first operatic appearance was in Mannheim, 1905, as Tamino in DIE ZAUBERFLÖTE. He became most closely identified with Wagner and appeared in several Wagnerian roles at Bayreuth early in his career. From 1912 through 1929 he was a leading tenor in Dresden, participating there in the house premieres of Strauss’s ARIADNE AUF NAXOS (1912) and DIE FRAU OHNE SCHATTEN (1919). He was a guest in many German and Austrian houses, as well as at Covent Garden. After retiring, he taught. Vogelstrom was an energetic recording artist, having graced several labels, including Pathé, Parlophon, and Homocord.”


- Ward Marston


1455. HERMANN WEIL: LA TRAVIATA – Di Provenza il mar / FAUST– Mort de Valentin (both inGerman). 10½” brown & gold / brown, beige & orange German Odeon Rx 99551/53 (xB 4946/52). A to M-A, lovely copy has, Sd.1 only, rubs & faintest nr, inaud.; Sd.2 only has wee closed blister. MB 15

“German baritone Hermann Weil made his début at the Municipal Theatre of Freiburg in the part of Wolfram in Wagner’s TANNHÄUSER. He spent the majority of his career in Stuttgart but appeared in Bayreuth in 1911, 1912, 1924, and 1925 in the roles of Günther (GÖTTERDÄMMERUNG), Amfortas (PARSIFAL), and as Hans Sachs in DIE MEISTERSINGER. He sang these three roles as well as Friedrich and Herald (LOHENGRIN), Wolfram (TANNHÄUSER), Wanderer (SIEGFRIED), Wotan (DIE WALKÜRE and DAS RHEINGOLD), and Kurwenal (TRISTAN UND ISOLDE) during his six seasons at the Metropolitan Opera (1911-1917).”


- Historic Opera


1456. KAPITON ZAPOROZHETS: SADKO – Song of the of the Varyag Guest (Rimsky-Korsakov) / ASKOLD´S TOMB –Unknown’s Aria - In olden days our forefathers lived (Verstovsky). 10½” brown & gold Russian Odeon 22405 (497/500), (Sd.1 label appears both sides). A to M-A, lovely copy has a few lt.rubs & few minuscule scrs, inaud.; Sd. 2 only has label run. MB 45

“Kapiton Denisovich Zaporozhets made his operatic début as a member of the Zimin Private Opera Company, performing there from 1909 to 1920. While there, on 7 October 1909, he created the role of General Polkan in the world premiere of Rimsky-Korsakov’s LE COQ D’OR. He toured with the Royal Opera in 1909 and performed the role of Pimen at the Paris Opéra in a production of BORIS GODUNOV. From 1910 to 1914 he sang at the Bolshoi Opera. In 1913 he appeared in two famous productions of KHOVANTSCHINA, one at the Théàtre des Champs Elysées and again at the Drury Lane Opera in London, in both instances singing Khovansky to Chaliapin’s Dosifei. He made further guest appearances in Rome and in the United States before WW I. After this and during the Russian Revolution he left Russia to reside in Paris. He sang repeatedly at the Monte Carlo in such roles at Kontchak in PRINCE IGOR, Ramfis, Sparafucile, Colline and Gudal in Rubinstein’s THE DEMON. He made guest appearances at the Teatro Colón in 1924, most notably in their premiere of PIQUE DAME. In 1926 he became closely associated with the Opéra Russe Ensemble and was heard in Paris as Sparafucile, Varlaam and in a celebrated production of Rimsky-Korsakov’s THE LEGEND OF THE INBVISIBLE CITY OF KITEZH”.


– Harold Bruder, Program Notes for the VRCS 2006 Issue


1457. GIOVANNI ZENATELLO: Vieni (Denza) / PAGLIACCI – Un tal giocco. 10½” pink Milano Fonotipia Test Pressing for 39996/95 (XPh 2454/2399). A to M-A, beautiful copy has, Sd.2 only, minuscule pressing bump, harmless & inaud. MB 25

1458. GIOVANNI ZENATELLO: LA FANCIULLA DEL WEST – Ch’ella mi creda libero / Or son sei mesi. 10½” Milano Fonotipia 92851/52 (XPh 4544/4709-2). A-, lovely copy has very lt. rubs & occasional superficial scr, inaud. MB 35

1459. GIOVANNI ZENATELLO: MEFISTOFELE – Dai campi, dai prati / Giunto sul passo. 10½” Milano Fonotipia 92205/04 (XPh 3398/99). A to M-A, lovely copy has few faint rubs, inaud. MB 20

1460. GIOVANNI ZENATELLO: OTELLO - Niun mi tema / La Scala Chorus: Fuoco di gioia. 10½” Milano Fonotipia 39973/39856 (XPh 2376/2192-2). A, lovely copy has lt. rubs & superficial scrs, inaud. MB 15

1461. GIOVANNI ZENATELLO: OTELLO – Ora e per sempre, addio / GIOVANNI ZENATELLO & PASQUALE AMATO: Si, pel ciel. 10½” brown Parl. Odeon PO 107 (XPh 4049/70), POM-1 / 6 Oct., 1909, (w.Zenatello’s signature embossed in shellac). A to M-A, spectacular copy. MB 25

1462. GIOVANNI ZENATELLO & MARIA BARRIENTOS: LUCIA – Sulla tomba / La Scala Chorus: DIE MEISTERSINGER – Kirchenchor (in Italian). 10½” Milano Fonotipia 39825/26 (XPh 1653/2172). A, lovely copy has few infinitessimal cosmetic scrs. MB 15

1463. GIOVANNI ZENATELLO & NINI FRASCANI: 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 has, Sd.1 only, 2 infinitessiml pap.scrs, inaud. MB 10

1464. GIOVANNI ZENATELLO: LA TRAVIATA – De’ miei bollenti spiriti / Questa donna conoscete? (1906 Version). 10½” Milano Fonotipia 39663/64 (XPh 1802/03). B/A-B, very decent copy has lt. rubs & scrs, inaud. MB 10

1465. GIOVANNI ZENATELLO: LA TRAVIATA – De’ miei bollenti spiriti / Questa donna conoscete? (1908 Version). 10½” Milano Fonotipia 92206/07 (XPh 3392/85). A to M-A, spectacular copy. MB 35

1466. GIOVANNI ZENATELLO & ADAMO DIDUR: MEFISTOFELE – Se tu mi dono / RINALDO GRASSI & LINA PASINI-VITALE: Dimmi se credi, Enrico. 10½” Milano Fonotipia 39509/92567 (XPh 1631/4032). A-, very decent copy has lt rubs & few wee scrs, inaud. MB 15

1467. GIOVANNI ZENATELLO & MARIO SAMMARCO: LA BOHEME – Nei cieli bigi. 10½” Milano Fonotipia 92611 (XPh 4072), (w.Odeon logo embossed on verso). A-, lovely copy has faintest rubs & sev. infinitesimal cosmetic scrs. MB 15

1468. ALICE MAGDALA, ZORAÏDA SARZANINI, PIERO STRAZZA, PRUDENZA, RENATO MERONI, MEDARDO MEDOSI & GAETANO MAZZANTI: LA BOHEME – Quando m’en vo / SARZANINI, STRAZZA, MAZZANTI, PRUDENZA, MERONI & MEDOSI: Questa è Mimì. 10½” Milano brown & gold Fonotipia-Odeon 11001/11000. A to M-A, lovely copy has very faint rubs, inaud. MB 15

1469. STETTINGER SÄNGER (Robert und Fritz Steidl, Albert Boehme, Carl Roehl & Carl Nebe): Heitere Weisen (Meisel), 2s. 10½” brown & gold German Odeon 64317/64330 (xB 2608/11). A to M-A, beautiful copy has faintest rubs, inaud.; Sd.1 has 2 tiny scrs. MB 12

1470. JAN KUBELIK: LE CARNAVAL DES ANIMAUX – Le Cygne (Saint-Saëns). 10½” pale & dark blue US-Fonotipia 72305 (XPh 4557). A to M-A, spectacular copy. MB 20

1471. JAN KUBELIK: Souvenir (1907 Version, ‘Take’ 1 (of 2 issued ‘takes’) (Drdla) / Der Zephir (Hubay). 10½” US-Fonotipia 39162/39925 (XPh 2402/2228). A to M-A, beautiful copy has faintest rubs. MB 15

1472. JAN KUBELIK: LE CARNAVAL DES ANIMAUX – Le Cygne (Saint-Saëns). 10½” pale & dark blue US-Fonotipia 72305 (XPh 4557). A to M-A, spectacular copy. MB 20

1473. JAN KUBELIK: Serenade #1 in A (1910 Version) (Drdla). 10½” Milano Fonotipia 39193 (XPh 4307). A to M-A, beautiful copy has minor cosmetic scuff. MB 15

1474. JAN KUBELIK: Serenade #1 in A (1905 Version) / Souvenir (1907 Version, Take’ 2 (of 2 issued ‘takes’) (both Drdla). 10½” Milano Fonotipia 39193/62 (XPh 284-2/2402-2). A to M-A, spectacular copy. MB 20

1475. JAN KUBELIK: Serenade #1 in A (1905 Version, Take’ 1 (of 2 issued ‘takes’)) / Souvenir (1905 Version) (both Drdla). 10½” Milano Fonotipia 39193/62 (XPh 284/271). A to M-A, beautiful copy has, Sd.1 only, minor cosmetic scuff. MB 15

1476. JAN KUBELIK: Serenata (d’Ambrosio) / Scherzo-tarantelle (Wieniawski). 10½” US-Fonotipia 39191/39884 (XPh 271/2231). M-A, choice copy has, Sd. 1 only, infinitesimal pap. scr, inaud. MB 15

1477. JAN KUBELIK: Kinderszenen - Träumerei (Schumann) / Faust – Fantaisie brilliante (Aria de Mefisto) (Gounod-Wieniawski). 10½” US-Fonotipia 39194/64 (XPh 285-2/273-2). A to M-A, spectacular copy has very frew faint patinas, inaud. & of no consequence. MB 20