Auction 146: Section VII

Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera

Since 1972



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



Regarding AUCTION #146 (Closing Date: Friday, 29 May, 2015), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

If you would like to print the section you are viewing, place you cursor over the share bar at the top of the page and select the print option.

TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Friday, when PETER FORD is available to take bids and answer any questions. Bids may be submitted by e-mail, FAX, telephone or (bearing closing date in mind) postal mail. [802 524-7673] or FAX [1 888 819 4831].

Section VII: Nos. 1377 - 1433 -



1377. ALFRED PICCAVER: RIGOLETTO - La donna è mobile. 10½” brown, beige & gold German Odeon X 99934(xB 5658-2), label AUTOGRAPHED by Piccaver & inscribed to George T. Keating (a duly famous collector, benefactor of Historical Sound Recordings, Yale University). A to M-A, superb copy has very few greyed grooves at end. MB 25

1378. ALFRED PICCAVER: RIGOLETTO - Parmi veder le lagrime / ROMÉO - Ah! lève-toi, soleil! 10½” brown, beige & gold German Odeon X 99930/28 (xB 5663/65), Sd.1 label AUTOGRAPHED by Piccaver & inscribed to George T. Keating (a duly famous collector, benefactor of Historical Sound Recordings, Yale University). A to M-A, superlative copy. MB 25

“…in fact Alfred Piccaver was a superb operatic tenor. There is no other English-born tenor I can think of who even comes close. He was born in Northern England and emigrated at a young age, with his parents, to America. He spent his early youth in the US, and studied in New York. He never felt at home in America, however, and later became an English citizen….his career was almost exclusively in Vienna, where he made his début in 1910, and was an instant success. He would go on to sing over 25 years at the Staatsoper, enjoying an enormous success there. He was so fond of Vienna and the Viennese way of life that he essentially became a permanent resident. Gatti-Casazza, general manager of the Metropolotan Opera, reportedly offered him a very lucrative contract in the 1920's to sing at the Met, but he declined, simply because he was so happy in Vienna. The result of this snub was that he was never again offered an opportunity to sing at the Met. This might sound like a head-strong and foolish move on Piccaver's part (today it certainly would be) but one needs to remember that the Met was not the international house then that it is today. On the contrary, Vienna, a major European cultural center, would have out-ranked it. He was given a state funeral, so permanently had his memory been etched upon the Viennese.”


- Edmund St Austell


1379. IDA RAPPINI: DON SEBASTIANO – Terra adorata (Rappini’s début role in 1890, Teatro Sociale of Cento) / & ROSINA STORCHIO: LINDA DI CHAMOUNIX – Al bel destin (both Donizetti). 10½” Milano Fonotipia 92776/75 (XPh 4507/17). A-B, very decent copy has lt. rubs & minuscule scrs, mainly cosmetic. MB 15

1380. MAURICE RENAUD: Le Soir (1903 Version) (Gounod). 9 ½” etched label H & D Pathé 3384, center start, announced. A to M-A, lovely copy has hint of grey on peaks. MB 25

"Renaud is often termed, and rightly, the French Battistini: there's the same smoothness of tonal emission throughout his range, the same seamless line, the same care in matching text to that line. In other words, there's an object-lesson here in the aristocratic art of the French school, derived from Lassalle and Maurel, Renaud's great predecessors."


- Alan Blyth, GRAMOPHONE, March, 1998


1381. JEAN RIDDEZ: LA COUPE DU ROI DE THULÉ – Il est venu ce jour de lutte (Eugène Diaz de la Peña) / ÉMILIE DALMÉE: LOHENGRIN – Air d’Elsa. 9 ½” purple Lyrophone 197/147, announced. A-B, very decent copy has cosmetic rubs & lt.scrs. MB 15

“Jean (Arthur) Riddez sang at the Paris Opéra, 1900-10, débuting in the title role of RIGOLETTO and sang as well Reyer’s SIGURD and SALAMMBO, and Saint-Saëns’ HENRY VIII and SAMSON ET DALILA, Xavier Leroux’s THE VAGABOND and Massenet's THAÏS. From 1908 to 1910 he sang roles such as Lohengrin, Faust, etc., but then returned to his baritone repertoire. He sang music composed by candidates for the Prix de Rome, including Caplet and Ravel. He sang for the Montréal Opera Company (1912-1913) where he débuted in Massenet’s HÉRODIADE (12 November, 1912). There he also sang in RIGOLETTO, ROMÉO ET JULIET, LE JONGLEUR DE NOTRE DAME, TOSCA, CARMEN, LES CONTES D’ HOFFMANN, THAÏS and Erlanger’s CHRISTMAS EVE. With the Boston Opera Company in the 1911-12 season he sang the French repertoire, especially Pelléas in 1912. Invited to perform again as Athanaël in THAÏS (1920), he moved to Montréal where he devoted himself mainly to teaching, privately and in institutions like the École Normale de Musique. Riddez became a naturalized Canadian on 2 Sep., 1939 in Montréal. His daughter Juanita Riddez débuted 24 June, 1947 at the Opéra-Comique in Paris, but soon abandoned her career.”


- Hélène Panneton, HISTORICA CANADA


1382. LUCIEN RIGAUX: CARMEN – Air du Toréador / FAUST – Jusqu’aux premiers feux. 10½” brown, beige & gold French Odéon 60525/14 (XP 3743/----). A to M-A, exceptional copy. MB 15

1383. LUCIEN RIGAUX: RIP – Vive la Paresse (Planquette) / LA PETITE MARIÉE – Le jour ou tu te marieras (Lecocq). 10½” brown & gold French Odéon 60452/60528 (XP 3620/3752). A, -lovely copy has faint rubs & very occasional tiny scr, inaud. MB 15

“Rigaux’s Paris Opéra début was as Beckmesser in DIE MEISTERSINGER on 16 April 1902. The following season, he made his début at the Opéra-Comique as Pelléas, and also sang the role of Clément Marot in Messager’s LA BASOCHE. In 1909–1911, Rigaux returned to the Paris Opéra, singing Valentin in FAUST, and reprising Beckmesser.”


- Vincent Giroud, Marston Program Notes


X1384. GIANNINA RUSS: FEDORA – O grandi occhi / GIANNINA RUSS & EDOARDO GARBIN: Tutto tramonta, tutto dilegua. 10½” Milano Fonotipia 92254/55 (XPh 3360/3501). A to M-A/A–, lovely copy has. Sd.2 only, very lt.rubs, inaud. MB 15

1385. GIANNINA RUSS: LA BOHEME – Mi chiamano Mimi (1906 Version) / GIANNINA RUSS, w. Alessandro Genesini (Violin): Il Libro santo (Pinsutti) (‘Take’ 1 of 2 issued ‘Takes’). 10½” Milano Fonotipia 39308/39056 (XPh 373/2066). A to M-A, superb copy has, Sd.1 only, faint pressure mk, inaud. MB 15

1386. GIANNINA RUSS: LA BOHEME – Mi chiamano Mimi (1906 Version) / GIANNINA RUSS, w. Alessandro Genesini (Violin): Il Libro santo (Pinsutti) (‘Take’ 2 of 2 issued ‘Takes’). 10½” Milano Fonotipia 39308/39056 (XPh 373/2066). A to M-A, superb copy. MB 15

1387. GIANNINA RUSS: LA BOHEME – Donde lieta uscì / MANON LESCAUT – In quelle trine morbide. 10½” Milano Fonotipia 92230/31 (XPh 3348-2/55). A–, lovely copy has very lt.rubs & hint of grey on peaks, inaud. MB 15

1388. GIANNINA RUSS: IL TROVATORE – Tacea la notte / ERNANI – Ernani, involami. 10½” US-Fonotipia 92232/33 (XPh 3357/61). A to M-A, lovely copy has, Sd.1 only, a few microscopic dust mks, positively inaud. MB 25

1389. GIANNINA RUSS: FORZA – La Vergine degli Angeli / LA BOHEME – Mi chiamano Mimi. 10½” US-Fonotipia 39031/39308 (XPh 2127/373). A to M-A, superb copy has, Sd.2 only, faintest nr, positively inaud. MB 15

1390. GIANNINA RUSS: CAVALLERIA – Voi lo sapete / SIBERIA – Nel suo amore (Giordano). 10½” US- Fonotipia 92228/29 (XPh 3345/70). A–B, very decent copy has rubs, inaud.; Sd.1 only has tiny scuff. MB 10

.….Worth singling out is a quite magnificent ‘Voi lo sapete’ from CAVALLERIA RUSTICANA – a truly heartfelt and radiantly sung version, which almost takes this music to a higher plane.”


- Vivian Liff, CLASSICAL RECORDINGS QUARTERLY, Autumn, 2010


1391. GIANNINA RUSS: AÏDA – Ritorna vincitor; I sacri nomi, 2s. 1 0½” Milano Fonotipia 39354/55 (XPh 400-A/400-B), POM-28 Oct., 1905, (w.Russ’ signature embossed in shellac). A to M-A, beautiful copy has very occasional faintest rub, inaud. MB 25

1392. GIANNINA RUSS: AÏDA – Ritorna vincitor; I sacri nomi, 2s. 10½” brown Parl. Odeon PO 108 (XPh 400-A/400-B), POM-28 Oct., 1905, (w.Russ’ signature embossed in shellac). M-A, spectacular copy. MB 45

1393. GIANNINA RUSS: NORMA - Casta diva (‘Take’ 2 of 2 issued ‘Takes’). 10½” pale & dark blue US-Okeh 72601 (XPh 2209-2). M-A, spectacular copy. MB 20

1394. GIANNINA RUSS: NORMA - Casta diva (‘Take’ 2 of 2 issued ‘Takes’). 10½” Milano Fonotipia 39892 (XPh 2209-2). M-A, spectacular copy. MB 20

“The sheer beauty of [Russ’] voice transcends the limitations of the acoustic recording. It has an immediately recognisable timbre, and her use of it embodies many of the virtues of an earlier generation of singers. She was considered the most accomplished Norma of her time, and ‘Casta Diva’ remains one of the finest versions from the acoustic era.”


- Vivian A. Liff, CLASSIC RECORD COLLECTOR, Summer, 2003


1395. GIANNINA RUSS: NORMA - Casta diva (‘Take’ 2 of 2 issued ‘Takes’) / La Scala Chorus: Non partì. 10½” Milano Fonotipia 39892/93 (XPh 2209-2/2210). M-A, spectacular copy has, Sd.2 only, a few wee dust mks, barely visible, inaud. MB 20

1396. GIANNINA RUSS & VIRGINIA GUERRINI: NORMA - Ah, bello a me ritorna / Deh, con te li prendi. 10½” Milano Fonotipia 69061/62 (XPh 4935/46). A/A-, very decent copy has lt.rubs, inaud.; Sd.2 only has various very lt.scrs, ltly audible, if at all. MB 15

1397. GIANNINA RUSS & VIRGINIA GUERRINI: NORMA - Mira, o Norma / Cedi, deh cedi, 2s. 10½” Milano Fonotipia 69063/64 (XPh 4947-2/4948). M-A, spectacular copy has a few faintest rubs, barely visible & positively inaud. MB 35

1398. GIANNINA RUSS & VIRGINIA GUERRINI: Norma - Sola, furtiva al tempio / Ah si, fa core. 10½” Milano Fonotipia 69065/66 (XPh 4949/50). M-A, Superlative Copy has, Sd.1 only, infinitessimal rub, barely visible & inaud. MB 35

“Norma became one of Russ’ most frequently performed and acclaimed roles. ‘Casta diva’, included here, receives a worthy performance. The attractive, silvery shimmer on the voice suits this moonlit aria, whilst the poised vocal line and accurately executed downward scales demonstrate a skilled florid technique. A further instance of this is even more masterfully revealed in Meyerbeer’s L’AFRICAINE where the concluding bars offer a technical agility and trill that would be the envy of many coloratura sopranos. Russ has the ability to lighten her tone for such passages and thus is able easily to encompass roles almost throughout the entire soprano repertoire.”


- Vivian Liff, CLASSICAL RECORDINGS QUARTERLY, Autumn, 2010


1399. GIANNINA RUSS, w.Alessandro Genesisi (Violin): Ave Maria (Bach-Gounod) / FORZA – La vergine degli angeli. 10½” Milano Fonotipia 39046/31 (XPh 2065-2/2127-2). M-A, spectacular copy. MB 15

1400. GIANNINA RUSS: Il Libro Santo (Pinsuti) / GIANNINA RUSS, w.Alessandro Genesisi (Violin): Leggenda Valacca (‘Take’ 1 of 2 issued ‘Takes’) (Braga). 10½” US-Fonotipia 39056/49 (XPh 2066/67). A to M-A, superb copy. MB 12

1401. GIANNINA RUSS: MESISTOFELE – Spunta l’auora pallida / LA TRAVIATA – Addio del passato. 10½” Milano Fonotipia 92236//37 (XPh 3347/51) A to M-A, beautiful copy has faintest rubs, inaud. MB 25

1402. GIANNINA RUSS, VIRGINIA GUERRINI & FERRUCCIO CORRADETTI: AMICA – Più presso al ciel (Mascagni) / GIANNINA RUSS, w.VENTURA & CORRADETTI: LA TRAVIATA – Prendi, quest'è l’immagine. 10½” Milano Fonotipia C 39388/80 (XPh 476/454). M-A, Superlative Copy. MB 35

“Russ’ voice, of marvelous timbre and silvery brightness, homogeneous and resonant in every register, was emitted with a fluidity and lightness truly ‘belcantistic’.... probably the only Italian singer in the first twenty years of the 20th century who succeeded in expressing completely the old formula of the ‘soprano drammatico d’agilità’.”


- Rodolfo Celletti


1403. MARIO SAMMARCO: L’AFRICAINA –Adamastor, re dell’acque profonde / OTELLO – Inaffia l’ugola. 10½” Milano Fonotipia 92337/36 (XPh 3483/84). A to M-A, superb copy. MB 35

1404. MARIO SAMMARCO: TANNHAÜSER – O du mein holder Abendstern (in Italian) / BALLO – Eri tu. 10½” US-Fonotipia 39272/70 (XPh 327/329). A to M-A, superb copy has very lt.rubs, inaud. MB 15

"The years of Mario Sammarco's career saw a glut of great Italian baritones....Sammarco's voice was clearly a fine one, sturdy, rounded and easy at the top....so many rare and historically interesting 78s."


- Patrick Bade, INTERNATIONAL CLASSIC RECORD COLLECTOR, May, 1995


1405. ÉMILE SCARAMBERG: FEDORA – Amor ti vieta (in French) / WERTHER – J’aurais sur me poitrine. 10½” Paris Fonotipia 39173/79 (XPh 673-3/662). A-B, very decent copy has lt.rubs & a few wee scrs; minor ‘heat’ damage at edge. MB 75

1406. ÉMILE SCARAMBERG: WERTHER – Pourquoi me réveiller? / MIREILLE – Anges du Paradis. 10½” Milano Fonotipia 39186/89 (XPh 760-3/686). A-B/ A to M-A, lovely copy has, Sd.1 primarily, lt.rubs & a few wee scrs, inaud. MB 85

“Émile Scaramberg’s [recordings] are undeniably among the great treasures of pre-1914 French singing. They reveal a remarkably phonogenic voice of considerable intrinsic beauty, effortlessly produced, even throughout its range, admirably supported, and particularly impressive in piano singing. Equally importantly, they show Scaramberg to be a committed performer, a tasteful yet generous artist who, not just seemingly undaunted by the unenviable conditions under which the recordings were made, always conveys the impression that he is going to try to give the performance of his life. One can only marvel at the thought of the extraordinary roster of forts ténors the Paris Opéra had on its roster when he sang there between 1903 and 1907: Affre, Rousselière, Alvarez, Muratore, and others. On the evidence of his recorded legacy, Scaramberg may have been the best of them.”


- Vincent Giroud, Marston Program Notes


1407. PIERO SCHIAVAZZI: CAVALLERIA – Avete altro a dirmi? / Addio alla madre. 10½” Milano Fonotipia 39902/03 (XPh 2186/85). A to M-A, lovely copy has lt rubs & infinitessimal scrs, inaud. MB 15

“Schiavazzi was charmed by the dynamic style of Verismo and devoted himself to the verismo school of which he soon became one of the most representative singers. His voice had a charming timbre of pure tenor color which was described as having a glossy texture and golden quality."


- Ashot Arakelyan, Forgotten Opera Singers


1408. LEO SLEZAK: PAGLIACCI – Vesti la giubba (in German). 10½” dark blue US Okeh 72001 (xB 5673). A-, very fine copy has lt.rubs, inaud. MB 10

1409. LEO SLEZAK: RIGOLETTO – La donna è mobile (in German) / TANNHÄUSER- Dir töne Lob. 10½” brown & gold German Odeon 38015/38303 (xB 1435/36). B, very decent copy has rubs & lt.scrs, some surely audible. MB 10

1410. GABRIEL VALENTIN SOULACROIX & JEANNE LECLERC: LES DRAGONS DE VILLARS – Allons ma chère (Maillart) / LE PRÉ AUX CLERCS – Les rendez-vous de noble compagnie (Hérold). 10½” brown & gold French Odéon 36152/60 (XP 1718/19). M-A, exceptional copy has, Sd.2 only, 2 minuscule mks, inaud. MB 35

1411. GABRIEL VALENTIN SOULACROIX: LES DRAGONS DE VILLARS – Pour imiter son charme séducteur (Maillart) / MARTHA – Chi mi dirà (in French) (Flotow). 10½” brown & gold French Odéon 33425/33440. A-, fine copy has lt.rubs, inaud.; occasional minuscule scrs, merely cosmetic. MB 25

1412. GABRIEL VALENTIN SOULACROIX: LES DRAGONS DE VILLARS – Le sage qui s'éveille (Chanson à boire) (Maillart) / LE MAÎTRE DE CHAPELLE - Air (Paer). 10½” brown & gold French Odéon 33426/33444. A, fine copy has lt.rubs, inaud.; occasional minuscule scrs, mainly cosmetic. MB 25

1413. GABRIEL VALENTIN SOULACROIX: IL TROVATORE – Il balen (in French). 9 ½” etched label H & D Pathé 3690, center start, announced. A to M-A, lovely copy has infinitessimal scr, inaud.. MB 25

1414. GABRIEL VALENTIN SOULACROIX: BARBIERE – Air de Figaro (in French) / LA FAVORITE – Pour tant d’amour. 10½” brown & gold French Odéon 33394/33430. A, fine copy has lt.rubs, inaud.; occasional lt scrs, mainly cosmetic. MB 25

1415. GABRIEL VALENTIN SOULACROIX: RICHARD COEUR DE LION – O Richard, o mon Roi (Grétry) / JEAN NOTÉ: HAMLET – Être ou ne pas être. 10½” brown & gold French Odéon 33396/33188. M-A, superb copy has lt.rubs, inaud.; Sd.1 only has sev.minuscule scrs, inaud. MB 25

1416. GABRIEL VALENTIN SOULACROIX: LA VÉRITABLE MANOLA – Avec Castagnettes (Bourgeois) / SOULACROIX & JEANNE LECLERC: Au clair de la lune (Lully). 10½” brown & gold French Odéon 33423/36165. M-A, exceptional copy. MB 45

“Gabriel-Valentin Soulacroix…had an extremely striking career, encompassing a number of prestigious opera houses and an unlikely array of roles. During his seven seasons in Brussels, he was a regular spring guest at Covent Garden, where he made his début in 1881. This came to an end with his engagement at the Opéra-Comique, where he was a favorite as Figaro and where Hérold’s ZAMPA was revived for him. He was the first Clément Marot in Messager’s LA BASOCHE (1890) as well as Ford for the French premiere of FALSTAFF (1894), among many other creations. After nine seasons at the Opéra-Comique, he left to star in a successful revival of Planquette’s RIP at the Gaîté, where he also created the same composer’s title role in PANURGE (1895)."


- Christopher Norton-Welsh, Marston Program Notes


1417. ROSINA STORCHIO: LINDA DI CHAMOUNIX – O luce di quest’anima / FRA DIAVOLO – Si domani, si domani. 10½” Milano Fonotipia 39402/39597 (XPh 1794/1502). A to M-A/A-, beautiful copy has faint rubs, inaud; Sd.2 only has few lt.mks & hint of grey on peaks. MB 25

“Storchio was an important Italian lyric soprano who starred in the world premieres of operas by Puccini, Leoncavallo, Mascagni and Giordano. Renowned throughout her homeland for her vivacious acting and sparkling stage presence, she possessed a smallish voice which deteriorated prematurely due to hard use, over-parting, and flaws in her technique. Storchio studied at the Milan Conservatory before making her operatic début as Micaëla in Bizet’s CARMEN at Milan’s Teatro Dal Verme in 1892. Three years later, she débuted at Italy's most famous opera house, La Scala, performing in Massenet’s WERTHER. Milan became her home base from then on, but she also appeared during the pre-World War I period at theatres in other key Italian cities, including Rome and her native Venice. She toured South America and Spain, too, and undertook singing engagements in Paris and Moscow, unwisely venturing parts as heavy as that of Tosca. In 1921, by which time her voice was in marked decline, she sang in Chicago and New York. Her final public performance was as Cio-Cio San in Puccini's MADAMA BUTTERFLY at Barcelona in 1923. (She had sung this same part in the first performance of Butterfly, at La Scala, in 1904.) Storchio left a small legacy of 78-rpm gramophone recordings made during the early years of the 20th century.“


- Ashot Arakelyan, Forgotten Opera Singers


1418. RICCARDO STRACCIARI: LUCIA – Cruda, funesta smania / FAUST – Dio possente (1905 Version. 10½” Milano Fonotipia C 39058/39166 (XPh 125 /193). M-A, lovely copy has, Sd.1 only, lt. grey on peaks. MB 25

1419. RICCARDO STRACCIARI: FAUST – Dio possente (1909 Version / Stammi ad udir (Death of Valentin). 10½” Milano Fonotipia 92456/57 (XPh 3775/ 67). A-, very decent copy; Sd.2 primarily has lt.rubs & scuffs, inaud. MB 10

1420. RICCARDO STRACCIARI: LA FAVORITA – Vien Leonora / A tanto amor. 10½” Milano Fonotipia 92428/29 (XPh 3770/76). A to M-A, beautiful copy has, Sd.2 only, infinitessimal scr, inaud. MB 15

1421. RICCARDO STRACCIARI: LA TRAVIATA - Di Provenza il mar / TANNHÄUSER – O du mein holder Abendstern (in Italian). 10½” Milano Fonotipia 92458/59 (XPh 3792/3777). A to M-A, lovely copy has occasional faint rub, inaud.; Sd.1 only has pressing bump. MB 15

1422. RICCARDO STRACCIARI: LA GIOCONDA – Pescator, affonda l’esca / La Scala Chorus: Feste e pane. 10½” Milano Fonotipia 92426/27 (XPh 3759/58-2). M-A, superlative copy. MB 25

1423. RICCARDO STRACCIARI: TOSCA – Già, mi dicon venal. 10½” pale & dark blue US-Fonotipia 72103 (XPh 5003). A-B, very decent copy has lt.rubs, inaud.; lt.grey on peaks; tiny edge scrape, not to grooves. MB 10

1424. RICCARDO STRACCIARI & FERNANDA CHIESA: LA TRAVIATA - Pura siccome un angelo; È grave il sacrifizio; Dite alla giovine, 2s. 10½” Milano Fonotipia C 69159/60 (XPh 5084/85). A to M-A, beautiful copy has hint of grey on peaks. MB 15

1425. RICCARDO STRACCIARI: I DUE FOSCARI – O vecchio cor / PASQUALE AMATO: OTELLO – Inaffia l’ugola. 10½” Milano Fonotipia C 39626/92760 (XPh 1816/3948). M-A, superlative copy. MB 25

1426. RICCARDO STRACCIARI: BALLO - Eri tu / IL TROVATORE –Il balen. 10½” Milano Fonotipia 92621/22 (XPh 3825/26). A to M-A, lovely copy has faintest rubs, inaud. MB 15

"I remember the baritone Riccardo Stracciari’s wonderful vocal control. One was first aware of a large, ringing and joyful sound, rich in overtones. Every note held left behind a lingering echo, like the sound made by striking a teaspoon on Baccarat glass. I don’t know why, but even though half a century has elapsed since I heard it, this echo is still in my ears."


- Sergei Levik, THE LEVIK MEMOIRS, pp.105-06


1427. MIHÁLY TAKÁTS: There is only one girl in the world (Elemer Szirmay [Janos Nemeth]; [Sarasate used this in his ‘Zigeunerweisen’ without any change] / Blue forget-me-not (Lajos Serly –Antal Kazaliczky) (well-known Hungarian songs). 10½” brown & gold Budapest Odeon 35245/48 (hX 766-2/785). B-, acceptable copy has rubs, lt.grey & various scrs, positively audible. MB 20

“Takács made his his stage debut In 1883, at the National Opera in Budapest, and up to his death he was a famed member of the National Opera. In 1902 he sang in Budapest in the premiere of Goldmark’s GÖTZ VON BERLICHINGEN. In 1903 he sang Scarpia in the Budapest premiere of Puccini's TOSCA. In 1893 he sang Biterolf at the Bayreuth Festival in TANNHÄUSER. His repertoire included roles in operas of Mozart, Meyerbeer, Wagner, Rossini and Verdi.”


- Ashot Arakelyan, Forgotten Opera Singers


1428. AMELIA TALEXIS: PIQUE DAME – Ah, la mia mente non regge / LA GIOCONDA – Suicidio! (1905 Version). 10½” Milano Fonotipia 39309/15 (XPh 356/388). A-/B-, decent copy has lt.rubs, inaud.; Sd.2 has lt.grey on peaks. MB 15

1429. AMELIA TALEXIS: IL TROVATORE – Tacea la notte / AMELIA TALEXIS & MARIO GILION: Ah! che la morte ognora (Miserere). 10½” Milano Fonotipia 92407/06 (XPh 3461/31-2). A to M-A, superb copy has, Sd.2 only, infinitessimal scr, positively inaud. MB 35

1430. AMELIA TALEXIS & FERRUCCIO CORRADETTI: CAVALLERIA – Turridu, mi tolse l’onore / GIUSEPPE ARMANINI & FERRUCCIO CORRADETTI: Avete altro a dirmi. 10½” Milano Fonotipia 92134/35 (XPh 2890/2985). A to M-A, superlative copy has, Sd.2 only, 2 infinitessimal pressing bumps, inaud. MB 35

1431. AMELIA TALEXIS & EDOARDO GARBIN: MADAMA BUTTERFLY – Vogliatemi bene, 2s. 10½” Milano Fonotipia 92258/59 (XPh 3448/49-2). A to M-A, superb copy has wee pressing bump, inaud. MB 35

1432. AMELIA TALEXIS & GASTON DUBOIS: LA TRAVIATA – Brindisi / IL TROVATORE – Ah! che la morte ognora (Miserere) (1907 French Version). 10½” brown & white French Odéon 60521/34 (XP 3778/18). A-, lovely copy has few very lt.scrs, mainly cosmetic. MB 15

1433. AMELIA TALEXIS & JUSTE NIVETTE: LES HUGUENOTS – Dans la nuit toute seule, 2s. 10½” brown & gold French Odéon 60644/51 (XP 3883/82). A-B, very decent copy has occasional lt.scr.; Sd.1 only has lt.nr, faintly audible. MB 12