Baritone & Bass  Vocal  78rpm  Records:  1478 - 1715

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Auction Number 145 ­- AUCTION Closing Date: Sunday, 22 December, 2013



Regarding AUCTION #145 (Closing Date: Sunday, 22 December, 2013), 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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Nos. 1478 - 1715 are Choice Baritone & Bass Vocal 78rpm Records:



1478. VICTOR MAUREL: Rondel de l'adieu (de Lara) / Mandolinata (Paladilhe). 10¾" AC red German Odeon X 39246/45 (xPh 67/68-2), POM-1904. M-A, a gleaming copy of this superb mid-1930s German pressing (renowned for its quiet surface). MB 60

1479. VICTOR MAUREL: Ninon (Tosti) / Falstaff – Quand’ero paggio. 10¾" AC red Eng.Odeon PO 2 (xPh 69/2332), POM-1904/’07. M-A, gleaming copy of this choice mid-1930s pressing has very occasional superficial mk, inaud.; Sd.1 label has nr. MB 45

“…[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.”
- Alfred de Cock, THE RECORD COLLECTOR, 2013


1480. VICTOR MAUREL: Ninon (Tosti) / Don Giovanni – Deh, vieni alla finestra. 10" AC silver & blue blue shellac Columbia IRCC 9, (xPh 69-2/66), POM-1904. Numbered Copy #58 of a Limited Edition. M-A MB 45

“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 frequentlky at odds with the pianist but it hardly matters and just adds charm to the recording.”


- Alfred de Cock, THE RECORD COLLECTOR, 2013


1481. VICTOR MAUREL: Don Giovanni – Deh, vieni alla finestra / Otello – Era la notte (Creator, 5 Feb., 1887, La Scala). 10¾“ AC red Eng. Odeon PO 18 (xPh66/58-3), POM-1904. M-A, gleaming copy of choice mid-1930s pressing has occasional faint rub, positively inaud. MB 45

“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


1482. VICTOR MAUREL: Otello – Era la notte (Creator, 5 Feb., 1887. La Scala) / Falstaff – Quand’ero paggio (Creator, 9 Feb., 1893, La Scala). 10¾” AC gold IRCC Fonotipia 4 (XPh58-3/ XPh2832), POM-1904/’07, an extremely Limited Edition. M-A, gleaming copy of this superb German pressing (renowned for its quiet surface). MB 65

1483. VICTOR MAUREL: Otello – Era la notte (Creator, 5 Feb., 1887. La Scala) / Falstaff – Quand’ero paggio (Creator, 9 Feb., 1893, La Scala). 10¾” AC silver Columbia IRCC 4 (XPh58-3/ XPh2832), POM-1904/’07, an extremely Limited Edition. A to M-A, very decent copy of blue shellac pressing has various lams, audible, but harmless. MB 25

1484. VICTOR MAUREL: Falstaff - Quand'ero paggio (in Italian & French, with studio applause!); LUCIEN FUGÈRE: Joconde - Dans un délire extrème (Isouard) / PEDRO GAILHARD: Faust - Vous qui faites l'endormie (two separate renditions, in French & Italian). 12” AC Société Française de Gramophilie AFG 14, RRs-1905; '02 & '07. Numbered Copy #188 of a very Limited Edition. M-A, lovely copy has, Sd.1 only, infinitesimal dust scr, inaud. MB 15

“…the first Falstaff of all sings ‘Quand’ero paggio’ three times [twice in Italian and once in French], cheered on by a claque whose own vocal resources range from what James Joyce calls the bass-barreltone to a falsettist who, in a delirium of enthusiasm, cries ‘bis’ after everyone else has finished…. It is a delightful memento.”
- J.B. Steane, THE GRAND TRADITION, p.19


1485. VICTOR MAUREL: Au temps du grand roi (Tosti) / ANTONIO MAGINI-COLETTI & ELISA PETRI: Falstaff – Quand’ero paggio. 10¾” AC gold HRS Fonotipia 1024 (XPh2334/ XPh1533), POM-1907/’06, Numbered Copy #16 of an extremely Limited Edition. M-A, gleaming copy of this superb mid-1930s German pressing (renowned for its quiet surface) has, Sd.1 only, infinitessimal pap.sr, positively inaud. MB 45

“It was after returning to La Scala, Milan in 1882, and singing the title-role in the first performance of the revised edition of SIMON BOCCANEGRA, that [Maurel] 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 è 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. Notwithstanding his great successes as Iago and Falstaff, in the ‘90s, and approaching fifty, he continued to undertake other roles. At the Met he sang Don Giovanni [an interpretation rated ‘the perfection of vocal art,’ with critical references to ‘the inimitable manner in which he sang the Serenade, a performance of marvelous lightness and grace’].

After a dinner in 1906, Maurel sang the ‘Credo’ from OTELLO, bits of FALSTAFF and Don Giovanni’s Serenade. Albert Spalding wrote that ‘his voice... had gone threadbare, but the majesty of an undying art was still there. He couldn’t possibly have sung a real forte. He had to suggest it, but how he suggested it! After all these years it is Maurel’s portrayal of the naked villainy of Iago, the sophistical and Rabelaisian philosophy of Falstaff, the elegant and unscrupulous licentiousness of [Don Giovanni] that I recall each time that I hear this music’. Fortunately we get a good idea of the effect he worked when we listen to those recordings he made at almost exactly the same time. He made his final stage appearance in Paris in 1909 alongside some pupils in Grétry’s LE TABLEAU PARLANT, a performance conducted by the then thirty-year old Thomas Beecham.”


- Michael Scott, Marston Program Notes


486. JUSTE NIVETTE: Faust – Vous qui faites l’endormie / O nuit. 10¾” AC Paris brown Odeon 60643/39 (Xm3878/3880), POM-1905/’06. A to M-A, outstanding copy has mere hint of grey on peaks. MB 25

“Having studied at the Paris Conservatory, Nivette made his début in 1892 at the Opéra-Comique as Sarastro in LA FLÛTE ENCHANTÉE, a role that would be closely associated with him throughout his career. He had great success there as well as in the French provinces and Monte Carlo, where he took part in the creation of LE JONGLEUR DE NOTRE DAME in 1902 as the painter monk. That same year, he appeared as Frère Laurent in ROMÉO ET JULIETTE, with Jean de Reszké in the title role. Nivette was a leading bass at the Paris Opéra between 1899 and 1908. Nivette was invited to La Scala in 1907 where he sang Hagen in DIE GÖTTERDÄMMERUNG with Toscanini conducting. In 1909 Nivette traveled to Boston for the inaugural season with that opera company, making his début on opening night as Alvise in LA GIOCONDA. The remainder of Nivette’s career and life have not been documented. All of his records display a sonorous voice, with a rich timbre and even scale.”


- Vincent Giroud, Marston Program Notes


1487. JEAN VALLIER: Jesus de Nazareth (Gounod) / Noël (Adam. 10” AC black Paris Pre-Dog G.C.-3–32726/28(5104/06h), POM-1907. A to M-A, exceptional bright copy has, Sd.1 only, faintest pap.scr, positively inaud. MB 15

1488. JEAN VALLIER: Les Boeufs (Dupont) / Le Pressoir (Fauré). 10” AC black Paris Pre-Dog G.C.-3–32742/43 (5185/86h), POM-1907. A-, lovely copy has cosmetic lt. rubs & scrs, inaud. MB 12

1489. JEAN VALLIER: Le rêve passe (Krier) / Faust – Le veau d’or. 10” AC PW dark blue Eng.Col.D 8082 (35819/21), POM-1919. A to M-A, lovely copy has faint rubs, inaud. MB 15

1490. JEAN VALLIER: Faust – Le Veau d’or. 10” AC red PW Eng.Col.D 51200 (35821), POM-1915. A to M-A, exceptional copy has fhint of grey on peaks. MB 15

1491. JEAN VALLIER: Hosanna (Granier) / L’homme et la Mer (Flégier). 12” AC red PW Eng.Col.D 17203 (6621/49), POM-1915. A to M-A/A-, lovely copy has faintest rubs, inaud.; Sd.2 only has hint of grey on peaks. MB 15

1492. JEAN VALLIER: Hérodiade – Astres étincelantes / Faust – Vous qui faites l’endormie. 12” AC red PW Eng.Col.D 17202 (6620/47), POM-1915. A to M-A, exceptional copy has faintest rubs, inaud. MB 20

1493. JEAN VALLIER: Benvenuto Cellini – De l’art splendeur. 12” EL S/S shellac Test Pressing for Pathé 250192-C1, POM-1931. M-A, exceptional copy has faintest pap. rubs, inaud. MB 20

“Jean Vallier was engaged at the Grand-Théâtre in Marseilles (1895–1896) as ‘première basse noble’ singing Hermann in TANNHÄUSER. He returned in 1898–1899 singing Don Diègue in Massenet’s LE CID. He was on the Bordeaux roster for the 1899–1900 season, singing roles such as Marcel in LES HUGUENOTS, Bertram in ROBERT LE DIABLE, Zacharie in LE PROPHÈTE, and Don Pedro in L’AFRICAINE. In 1902, he sang Hagen in the French premiere of GÖTTERDÄMMERUNG at the Théâtre du Château d’Eau in Paris, directed by Alfred Cortot. Vallier was on the roster of the Monnaie (1903–1907) singing such roles as DIE ZAUBERFLÖTE, King Henry in LOHENGRIN, appeared at the Monte Carlo Opera first in 1903 and again in the 1908–1910 season. There in 1908, he sang Fafner in DAS RHEINGOLD to Nivette’s Wotan, and in 1909, he sang Hunding in DIE WALKÜRE and Hagen in GÖTTERDÄMMERUNG to Delmas’ Wotan. Vallier was praised for his singing of Sparafucile in Monte Carlo’s 1909 RIGOLETTO, replacing Nivette from the previous year, as he also did as Alvise in LA GIOCONDA. During the season of 1909–1910, Vallier joined the Manhattan Opera Company, singing Phanuel in Massenet’s HÉRODIADE on opening night. Returning to the Paris Opéra in 1910, Vallier sang Hunding in DIE WALKÜRE and two roles in RIGOLETTO: Sparafucile and Monterone. He again sang in Marseilles during the 1913–1914 season as Hagen in both SIGURD and GÖTTERDÄMMERUNG, as well as Gurnemanz in PARSIFAL. Vallier’s last traced appearance was in 1922 at Monte Carlo where he sang Mephistophélé in Gounod’s FAUST and Frère Laurent in ROMÉO, both opposite the Belgian soprano, Fanny Heldy.”


1494. GEORGES VILLIER, w.Bernard Cond.: La Mascotte – Les Envoyés du Paradis (Audran) / Les Mousketaires au Couvent – Pour faire un brave mousquetaires (Varney). 10” EL red PW Eng. Col.RF 3, POM-1929. M-A MB 12

1495. GEORGES VILLIER, w.Cohen Cond.: Résurrection – Oh! non, non! gardez-vous croire (Alfano) / Mireille – Si les filles d’Arles (Gounod). 10” EL red PW Eng. Col.D 12051, POM-1929. M-A MB 15

1496. GEORGES VILLIER, w.Cohen Cond.: Les Pêcheurs de Perles – L’orage s’est calme / La Traviata – Di Provenza il mar (in French). 12” EL red PW Eng. Col.D 14247, POM-1929. M-A MB 15

“Georges Villier, a Belgian, was a fine singer of international repute and sang with consummate artistry. He débuted at the l’Opéra-Comique in 1925 and remained with the company for ten consequtive seasons. He sang Escamillo to the Carmens of Vallin and Chenal, and will be remembered for his Lescaut in the complete recording of MANON with Féraldy & Rogatchewsky.”


1497. HENRI BERRIEL (on label as Henri Beriel), w.Salvatore Cottone (Pf .): 12”” AC black Milano G & T 052015 (Con581), only form of issue, 1903. This is one of Berriel’s very few records. A to M-A, unusually bright copy has hint of grey on peaks. MB 35

“Umberto Giordano recommended Berriel to Sardou regarding his forthcoming MADAME SANS-GENE, and for this the composer offered him the role of Napoléon. Giordano gave it to Sonzogno, the publisher who promised the opera to Gatti Casazza, the manager of the Metropolitan in New York. When the opera finally premiered at the Met, 25 January 1915, conducted by Arturo Toscanini, Napoléon was sung by Pasquale Amato! On an unrelated note, Berriel was married to the soprano Amélie Talexis whom he met most probably at the New Orleans Opera where he was the director and first baritone during the 1898–1899 season.”


1498. ANTONIO MAGINI-COLETTI: Rigoletto – Cortigiani, 2s. 10¾” AC Milano Fonotipia 39441/42 (XPh527/28), POM-15 Dec., 1905. A to M-A, beautiful copy has hint of grey on peaks; Sd.1 only has infinitesimal dust mk. MB 15

“Magini-Coletti studied singing during the 1870s with the distinguished pedagogue Venceslao Persichini at Rome's Conservatorio di Santa Cecilia. (Persichini's other students included the lyric tenor Francesco Marconi and Magini-Coletti's fellow baritones Mattia Battistini, Giuseppe De Luca and Titta Ruffo.) In 1880, Magini-Colleti made his operatic début at Rome's Teatro Costanzi, as Valentin in Gounod's FAUST. He continued to perform regularly at that opera house for the next seven years, in addition to making guest appearances in Venice, Florence, Naples and other Italian cities. In 1887 he joined the roster at La Scala, remaining there for three seasons and singing a variety of leading baritone roles. Between 1888 and 1891, Magini-Coletti sang to acclaim in Spain, Portugal, Germany, Austria and France. He also crossed the Atlantic for a series of operatic engagements in Argentina, receiving further plaudits. In 1891 he joined the stellar roster of singers at the Metropolitan Opera, participating in a two-month North American tour. His first performance with the Met touring company occurred on 9 November, in Chicago, as Telramund in LOHENGRIN. On 14 December, 1891, Magini-Coletti made a successful début at the Metropolitan Opera House singing Capulet in Gounod's RoMÉO ET JULIETTE. He performed numerous roles at that house over the next 12 months. Magini-Coletti left America in 1892 and proceeded to pursue a busy schedule of operatic performances in Italy and other European countries, venturing as far afield as Russia and becoming a frequent guest artist at both the Opéra de Monte-Carlo in Monaco and the Royal Opera, Covent Garden. In 1900, he rejoined the La Scala company, performing numerous roles there for three seasons. Most notably, he appeared in the premiere of Mascagni's LE MASCHERE in 1901. Also in 1901, he sang at La Scala in a memorial concert held to mark the recent death of Verdi, with Francesco Tamagno in a scene from LA FORZA DEL DESTINO. The following year, he participated in La Scala's first ever production of Weber's EURYANTHE. Magini-Colleti sang often under the baton of Arturo Toscanini, La Scala's principal conductor, during this period. Toscanini was an ardent advocate of Wagner's music and he conducted Magini-Coletti in performances of TRISTAN UND ISOLDE, DIE WALKÜRE and LOHENGRIN. These landmark Wagnerian productions often featured Magini-Coletti's La Scala colleague Giuseppe Borgatti - Italy's greatest heldentenor.”


1499. ANTONIO MAGINI-COLETTI & ALESSANDRO BONCI: I Pescatori di Perle – Del tempio al limitar. 10¾” AC U.S. Fonotipia 39340 (XPh436), POM-1905. A to M-A, choice copy has few faint rubs, inaud. MB 25

1485. ANTONIO MAGINI-COLETTI & ELISA PETRI: Falstaff – Quand’ero paggio / VICTOR MAUREL: Au temps du grand roi (Tosti). 10¾” AC gold HRS Fonotipia 1024 (XPh1533/XPh2334), POM-1906/’07, Numbered Copy #16 of an extremely Limited Edition. M-A, gleaming copy of this superb German pressing has, Sd.2 only, infinitessimal pap.sr, positively inaud. MB 45

1500. ANTONIO MAGINI-COLETTI & ELISA PETRI: Falstaff – Quand’ero paggio / La Boheme - C’è Rodolfo? 10¾” AC Milano Fonotipia 39430/39381(XPh1533/496), POM-1905. M-A, choice copy has few superficial pap.srs, Sd.2 only, inaud. MB 35

1501. ANTONIO MAGINI-COLETTI & ELISA PETRI: Falstaff – Reverenza! Buon giorno, 2s. 10¾” AC Milano Fonotipia 39435/36(XPh1536/37), POM-1905. A-B, very decent unworn copy has lt.scrs & rubs, ltly audible, if at all. MB 25

1502. ANTONIO MAGINI-COLETTI, CORRADETTI & LUPPI: Crispino e la Comare - Di Pandolfetti medico (Terzetto dei Dottori) (Ricci), 2s. 1 0¾” AC Milano Fonotipia 39396/97 (XPh481/82), POM-22 Nov., 1905. M-A, lovely copy has grainy surfaces. MB 25

1503. ANTONIO MAGINI-COLETTI, CORRADETTI & LUPPI: Crispino e la Comare - Di Pandolfetti medico (Terzetto dei Dottori) (Ricci), 2s. 10¾” AC Milano Fonotipia 39396/97 (XPh481/82), POM-22 Nov., 1905. M-A, an extraordinary copy. MB 45

"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


1504. ORESTE LUPPI: Manzoni Requiem – Confutatis (Verdi) / Stabat Mater – Pro peccatis (Rossini). 10¾” AC Milano Fonotipia 39588/89 (XPh1703/04), POM-14 March, 1906. M-A, beautiful copy appears entirely unplayed (!), yet numerous infinitessimal pressing bumps. MB 35

“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




1505. ORESTE LUPPI: Norma – Ah! del Tebro (1904 Version) / Barbiere – La calunnia. 10¾” AC Milano Fonotipia 39070/39205 (XPh48/139), POM-22 Oct., 1904 / 22 Feb., 1905. A-/B, lovely copy has, Sd. 2 only, cosmetic ndl cuts & lt.grey on peaks. MB 20

1506. ORESTE LUPPI: La Favorita – Splendon più belle / La Scala Chorus: Bell’alba foreira (1908 Versions). 10¾” AC Milano Fonotipia 92360/61 (XPh3443/33), POM-29/26 Sept., 1908. A to M-A, choice copy has, Sd.2 only, 2 wee rubs, inaud. MB 35

1507. ORESTE LUPPI: La Favorita – Splendon più belle / Don Carlos – Dormiro sol. 10¾” AC Milano Fonotipia 39318/19 (XPh326/361), POM-19 Sept. / 5 May, 1905. A to M-A, a beautiful copy. MB 35

1508. ORESTE LUPPI: Don Giovanni – Madamina!, 2s. 10¾” AC Milano Fonotipia 39412/13 (xPh 1530/31), POM-15 Dec., 1905. B, decent copy has rubs & lt.scrs. MB 20

1599. ORESTE LUPPI: Faust – Le veau d’or (in Italian) / Norma – Ah! del Tebro (1908 Version). 10¾” AC Milano Fonotipia 92376/77 (XPh3445/44), POM-29 Sept., 1908. M-A, an extraordinary copy. MB 35

1510. ORESTE LUPPI & FERRUCCIO CORRADETTI: Forza – Del mondo disinganni (Padre Guardiano & Fra Melitone) / La Scala Chorus: La Gioconda – Feste e pane. 10¾” AC Milano Fonotipia 39376/37067 (XPh472/——), POM-17 Nov., 1905/——). A to M-A, beautiful copy has numerous infinitessimal pressing bumps. MB 25

“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 EUGENE 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.”


1511. GIUSEPPE PACINI: I Pagliacci – Prologo / Andrea Chénier – Un dì m’era di gioia. 10¾“ AC Milano Fonotipia 39002/08 (XPh 12/17), POM-1904. A-, very decent copy has lt. rubs & few superficial mks, inaud.; Sd. 1 has rim chip into ¼”, affecting only very beginning of performance. MB 25



“A big-voiced and important baritone, who created roles in Mascagni’s GUGLIELMO RATCLIFF and SYLVANO, [Pacini] is shown to advantage in this version of [the Giordano aria]. The tone is dark and voluminous, with broad sweeping phrases in this satisfying rendering.”


- Alan Bilgora, liner notes to Bill Breslin’s COLLECTORS’ TREASURES CD


“Giuseppe Pacini was one of the very first of Fonotipia recorders….Everything we have heard of Pacini’s work points to his having been an artist of the highest standing, and any collectors possessing records by him will consider themselves fortunate.”


- P.G. Hurst, THE GOLDEN AGE RECORDED




1512. FERRUCCIO CORRADETTI: Crispino e la Comare - Una volta un ciabattino (Ricci) / Le Maschere - Descrizione di Tartaglia (Mascagni). (Sd.2 an Important Creator Record, 17 Jan., 1901, Teatro Costanzi, Roma). 10¾” AC Milano Fonotipia 39699/39857 (Xm551/XPh2165), POM-1906. NB: The registers have no Fonotipia issue with the number for Sd.1. A to M-A, superb copy has lt. grey on peaks. MB 45



“Ferruccio Corradetti created the role of Tartaglia at the Teatro Costanzi, Roma, 17 Jan., 1901, in one of the six premieres (on that night) of Mascagni’s LE MASCHERE.”




1513. FERRUCCIO CORRADETTI: Barbiere – Manca un foglio / Manon – Ne bronchez pas, soyez gentille (in Italian). 10¾“ AC Milano Fonotipia 92176/77 (XPh 3170/85), POM-1908. M-A, an extraordinary copy. MB 35

1514. FERRUCCIO CORRADETTI: Forza – Fate la Carità (Melitone – beggars scene), 2s. 10¾“ AC Milano Fonotipia 39882/83 (XPh 2175/76), POM-24 Oct., 1906. A-, lovely copy has faint rubs, inaud.; Sd 1 only has wee pap. mk, also inaud. MB 15

1515. FERRUCCIO CORRADETTI (as Fercor): Hans, le Joueur de Flûte – Padre, noi t’amiamo (in Italian) / La Scala Chorus: Act III Chorus (Ganne). 10¾“ AC Milano Fonotipia 92198/99 (xPh 3122-2/3168-2), POM-7 / 22 April, 1908). M-A, choice copy has occasional faint rub, barely visible & certainly inaud.. MB 15

1516. FERRUCCIO CORRADETTI (as Fercor): Boccaccio – Lo scrittor d’una nouvella / Mia moglia sempre grida (von Suppé). 10¾“ AC Milano Fonotipia 62156/57 (XPh 2469/98), only form of issue, 15 Feb. / 11 March, 1907. A/A-, lovely copy has, Sd. 2 only, few insignificant mks, inaud. MB 12



“Fercor was the ‘nom-du-disque’ of the baritone Ferruccio Corradetti….He also made Fonotipia and Odeon records under the Fercor psuedonym.”


- Andrew Farkas, ENRICO CARUSO, p.570




1517. FERRUCCIO CORRADETTI & ALESSANDRO BONCI: Barbiere - Numero quindici. 10¾“ AC white & blue Okeh-Fonotipia 73002 (XPh 441), POM-10 Nov., 1905. M-A, gleaming copy of preferred late pressing has faintest pap.rubs, inaud. MB 15

1518. FERRUCCIO CORRADETTI & IDA CATTORINI: L’Elisir – Io son ricco, e tu sei bella / GIUSEPPE PAGANELLI: Quanto è bella . 10” AC pale green Col. E2303 (41968/141894), POM-1912. M-A, an exceptional copy. MB 12

1519. FERRUCCIO CORRADETTI & ORESTE LUPPI: Fra Diavolo - Grazie al cielo (Duetto dei Briganti) | (1905 Version) / GAETANO PINI-CORSI & GIUSEPPINA BALDASSARE: Fra Diavolo – Quell’uom dal fiero aspetto. 10¾” AC Milano brown Odeon 37030/37621 (Xm67/1058), POM-1905/’06. A to M-A, an outstanding copy. MB 45

1520. FERRUCCIO CORRADETTI & NAZZARENO de ANGELIS: Fra Diavolo - Io son, signori, un'infelice / Grazie al cielo (Duetto dei Briganti) (1907 Version). 10¾” AC Milano Fonotipia 92097/96 (XPh3028/25), POM-1907. A to M-A, an outstanding copy. MB 45

1521. FERRUCCIO CORRADETTI & GIANNINA RUSS: Amica – Più presso al Ciel / FERRUCCIO CORRADETTI, GIANNINA RUSS & ELVINO VENTURA: La Traviata – Prendi, quest’è l’immagine. 10¾” AC Milano Fonotipia 39388/80 (XPh 476/454), POM-1905. A to M-A, an outstanding copy. MB 45

1522. FERRUCCIO CORRADETTI & ELISA PETRI: Forza – Chi siete? / Linda di Chamounix – Un buon servo. 10¾” AC Milano Fonotipia 39842/43 (XPh2155/94), POM-1906. M-A, lovely copy has very few faint rubs, inaud., of course; Sd.1 only has infinitessimal pap.scr, inaud. MB 35

1523. FERRUCCIO CORRADETT & LINA PASINI-VITALE: Madama Butterfly – Ora a noi, 2s. 10¾“ AC Milano Fonotipia 92523/24 (XPh 3975/76), POM-1909. A to M-A, lovely copy has few cosmetic rubs & very lt.scrs. MB 25

1524. FERRUCCIO CORRADETTI, ERNESTINA TEBRO & ALFREDO CECCHI: Il Trovatore – Di geloso amor / Miserere. 10¾” AC Milano brown Odeon 37011/36 (Xm31/94), POM-1905. B-/A-B, decent copy has very lt.rubs, inaud.; Sd.1 primarily has considerable greying, primarily at end. MB 15

“Ferruccio Corradetti created the role of Tartaglia at the Teatro Costanzi, Roma, 17 Jan., 1901, in one of the six premieres (on that night) of Mascagni’s LE MASCHERE. In 1904 he sang at the Teatro Lirico, Milano, in the premieres of two prize-winning operas of the Sonzogno competition: 15 May, 1904 in MANUEL MENENDEZ of Lorenzo Filiati, one day later, on the 16th, in LA CABRERA of Gabriel Dupont (with Gemma Bellincioni as his partner). In 1910 he created the title role at the premiere of the opera MALBRUK of Leoncavallo, and in 1913 at the Teatro Costanzi, Rome in the premiere of Tommasini’s UGUALE FORTUNA. In 1914 he went to North America where he first guested in Boston,then later in New York. He was married to soprano Bice Adami; also his daughter, Iris Adami-Corradetti became a glorious singer and pedagogue.”


1525. DOMENICO VIGLIONE-BORGHESE: Le Villi – Anima santa / RICCARDO STRACCIARI: I Vespri Siciliani – In braccio alle dovizie. 10¾” AC Milano Fonotipia 92649 / C92623 (XPh4220/3849), POM-15 Dec. / 27 April, 1909. A-/M-A, glorious copy has, Sd.1 only, infintessimal pap.scr, inaud. MB 15

“Domenico Viglione-Borghese studied under Antonio Cotogni in Rome. He made his début in 1899 at the Teatro Verdi as the King's Herald in LOHENGRIN. After two years’ singing in different Italian theatres, he emigrated to North America in 1901. On a recommendation of Enrico Caruso, impresario Scognamillo engaged him in San Francisco, along with Luisa Tetrazzini, with whom he travelled in the 1905-06 season Mexico, the Caribbean islands, the Antilles and Venezuela with great success. He then débuted in 1907 at the the Teatro Regio of Parma as Amonasro. He sang regularly at La Scala and at the Teatro Costanzi of Rome, where he also appeared in 1910 in the premiere of Leoncavallo's MAIA. In 1914 he appeared at the Teatro Carlo Felice of Genoa in the Italian première of Wolf-Ferrari's I GIOIELLI DELLA MADONNA. In 1913 he sang at the Teatro Reale of Madrid, then in 1914 at the Arena di Verona. His star role was Jack Rance in Puccini's LA FANCIULLA DEL WEST. Puccini called him jokingly 'Il principe degli sceriffi'. In 1919 he guested at the Teatro Colón, Buenos Aires. He also appeared as a guest in Paris and Warsaw. In 1925 he appeared at the Teatro Regio in the Italian première of Rimsky-Korsakov's LE COQ DÓR. His repertoire was basically Verdi and verismo; he was a true dramatic baritone.”


1526. ENRICO NANI & GIANNINA RUSS: Nabucco – Oh, di qual'onta / Deh, perdona ad un padre. 10¾” AC Milano Fonotipia 69173/74 (XPh5037/38-2), POM-25 April, 1914. M-A, choice copy has occasional faint rub, barely visible & certainly inaud.. MB 35

“Enrico Nani studied singing with the baritone Antonio Cotogni and débuted in 1899 at the Teatro Sociale of Codogno in the rôles of Alfio in CAVALLERIA RUSTICANA and Silvio in PAGLIACCI. The milestone of his artistic career was the season at the Teatro Comunale di Bologna where in November 1901 he sang the Rigoletto with Enrico Caruso as the Duke. The following year he made his La Scala début as Peter in Humperdinck’s HÄNSEL UND GRETEL, under the baton of Arturo Toscanini. He returned to La Scala in 1913 as Iago with Icilio Calleja’s Otello, conducted by Tullio Serafin. His final performance was as Michonnnet in ADRIANA LECOUVREUR on 16 March,1924 at the Teatro Carlo Felice in Genoa. Nani was a baritone especially noted in the Verdian repertoire; Rigoletto and Nabucco were his most popular roles.”


1527. ALBERTO de BASSINI: La Favorita – Vien Leonora. 10” AC flush black & silver Col. 1256, only form of issue, 1904, spoken announcement identifies Sig. del Campo, de Bassini’s pseudonym. A-B, very decent copy has lt. rubs & hint of grey on peaks, inaud. MB 35

1528. ALBERTO de BASSINI: Rigoletto – Miei signori. 10” AC flush black & silver Col. 1707, only form of issue, 1904, spoken announcement identifies Sig. del Campo, de Bassini’s pseudonym. B, decent copy has lt. rubs & scrs, plus sev. nds, positively audible. MB 35

“Alberto de Bassini was the son Achille de Bassini who created the rôles of Francesco Foscari (I DUE FOSCARI), Pasha Seid (IL CORSARO), Miller (LUISA MILLER) and Fra Melitone (FORZA) for whom Verdi wrote the rôle. Alberto, like his father, began as a tenor, eventually becoming a baritone in 1890, and as such sang with touring companies in the US. He recorded between 1902-04.”


1529. TANCREDI PASERO, w.Sabino Cond.: Faust – Tu che fai l’addormentata (1943 Version) / MAFALDA FAVERO, w.Ruotolo Cond.: L’OMBRA – O TU CH’EL SAI (Bottacchiari). 10” EL LVDP DA 11301, only form of issue, 3 Feb., 1943 / 19 Dec., 1946. M-A MB 12

“Ugo Bottacchiari was a favorite student of Pietro Mascagni at the Conservatory of Pesaro for four years and at the age of 20 presented his first opera L'OMBRA a one act opera. After the first presentation at the Teatro Lauro Rossi in Macerata, L'OMBRA was presented in various theatres in Italy and abroad and met with great success everywhere by the public and the critics as well.”


1530. TANCREDI PASERO, w.Sabino Cond.: In questa tomba oscura (Beethoven; in Italian) / Pietà Signore (Stradella). 10” EL LVDP DA 5440, only form of issue, 16 May, 1944 / 20 Jan., 1943. M-A Exceedingly Elusive & beautiful! MB 15

1531. TANCREDI PASERO: L’Ultima canzone (Tosti) / Mia sposa sarà la mia bandiera (Rotoli). 12” EL red Italian Cetra PE 100, only form of issue, 24 Oct., 1940. M-A, a gleaming copy. Exceedingly Elusive! MB 25

"[Pasero] engraved into me something I have never forgotten: opera can be, and should be an exciting event, and if you like exciting bass voices - listen to Tancredi Pasero....give him some of your time - he is worth it, and you will not be disappointed."


- Joe Winstanley, CLASSIC RECORD COLLECTOR, Autumn, 2009


1532. TANCREDI PASERO: BARBIERE - La calunnia (early 1927 Version) / La Gioconda – Il Trovatore – Abietta Zingara. 12” EL dark blue German Fonotipia O-8902 (XXPh5835/34), POM-14 Jan., 1927. A to M-A, choice copy has occasional faint rub, inaud. MB 10

1533. TANCREDI PASERO: BARBIERE - La calunnia (later 1927 Version) / La Gioconda – Si morir ella dè. 12” EL blue Italian Col.GQX 11069, POM-1927. M-A MB 10

1534. TANCREDI PASERO: LES HUGUENOTS – PIFF, PAFF / La Gioconda – Si morir ella dè. 12” EL blue Italian Col.GQX 10246, POM-1928. M-A. a gleaming copy. MB 12

1535. TANCREDI PASERO: ERNANI - Infelice, e tuo credevi / LA BOHEME- VECCHIA ZIMARRA (1927 Versions). 10” EL brown Italian Col.DQ 1086, POM-1927. M-A MB 8

1536. TANCREDI PASERO: Faust – Tu che fai l’addormentata / LA BOHEME- Vecchia zimarra (1927 Versions). 10” EL Argentinian Odeon 195003 (Pho 5836/30), POM-1927. M-A MB 8

1537. TANCREDI PASERO: ERNANI - .Infelice, e tuo credevi / LA BOHEME- Vecchia zimarra (1927 Versions). 10” EL red PW Eng. Col.D 12546, POM-1927. M-A MB 8

1538. TANCREDI PASERO: La Favorita – Splendon più belle in ciel / ENZO DE MURO LOMANTO: Spirto gentil. 12” EL blue PW Eng. Col.D-18072, POM-1929. M-A MB 10

1539. TANCREDI PASERO: MIGNON - .Del suo cor calmai le pene (Berceuse) / LA SONNAMBULA – Tu non sai (1928 Versions). 10” EL red PW Eng. Col.D 12572, POM-1928. M-A , a gleaming copy. MB 10

1540. TANCREDI PASERO: ERNANI - Infelice, e tuo credevi / MEFISTOFELE – Son lo spirito che nega (1927 Versions). 12” EL green Italian Odeon N 6571 (xxPh 5829/33), POM 1927. M-A, a gleaming copy. MB 12

1541. TANCREDI PASERO: MEFISTOFELE - ECCO IL MONDO / SON LO SPIRITO CHE NEGA (1927 Versions). 10” EL red PW Eng. Col.D 12545, POM-1927. M-A MB 6

1542. TANCREDI PASERO: MEFISTOFELE – AVE, SIGNOR! / SON LO SPIRITO CHE NEGA (1927 Versions). 10” EL black Viva-Tonal Col. 1976-D, POM-1927. M-A, a gleaming copy MB 8

1543. TANCREDI PASERO: Norma - Ite sul colle / Il Trovatore – Di due figli 12” EL black Viva-Tonal Col. 50211-D, POM-1927. M-A, a gleaming copy MB 10

1544. TANCREDI PASERO, w.Marzollo Cond.: GLI ORAZI - Io per l'antico diretto (Porrino), 2s. 12” EL LVDP DB 11305, only form of issue, 14 July, 1944; Important Creator Record (La Scala, 1 Feb., 1941). MINT MB 10

“Ennio Porrino studied at the Accademia di Santa Cecilia in Rome with Mule, and later took a course with Respighi (1932–35). He subsequently taught in Rome, Venice and Naples, and from 1956 he was director of the Cagliari Conservatory. His opera GLI ORAZI premired at La Scala, 1 Feb., 1941.”


1545. TANCREDI PASERO, w.Sabino Cond.: DON GIOVANNI – Madamina, 2s. 10” EL LVDP DA 5415, only form of issue, 12 Dec., 1941. M-A MB 10

1546. TANCREDI PASERO & GINO BECHI, w.Ricci Cond.: RIGOLETTO - Quel vecchio maledivami / PASERO & GINA BERNELLI: La SONNAMBULA - O ciel! che tento? 12” EL LVDP DB 11306, only form of issue, 5 July, 1943. MINT MB 8

“Tancredi Pasero is a splendid bass of unique beauty. In my opinion, the tonal opulence makes him one of the most exquisite basses to be heard on recordings. His voice impresses by its richness and the evenness of its quality from top to bottom of the wide range. Pasero added some baritone roles at the end of his career. Pasero’s expression is not only distinguished by its lyrical qualities but also of great feeling and dignity. He avoids exhibiting the voice in any overt emotionalism. In this, he is an antipode to Nazzareno de Angelis. He considered the beginning of his artistic life on 15 December, 1918 as Rodolfo in Bellini’s LA SONNAMBULA. Shortly afterwards he repeated the role at La Scala. Pasero’s illustrious and unusually long career was mostly centered in Italy. His main house was La Scala, where Arturo Toscanini engaged him for leading roles. He made guest appearances at Covent Garden, and also in Paris, Brussels, Barcelona, Buenos Aires, Berlin and Hamburg. He was a member of the Met from 1929 until 1933 where he appeared opposite an amazing number of glorious voices. In 1933 he enjoyed an enormous success at the Maggio Musicale in Florence in Spontini’s LA VESTALE opposite Rosa Ponselle. He often appeared at the Arena di Verona. In 1948 he sang at a concert commemorating the 100th anniversary of Donizetti’s death, and in 1950 he appeared for the last time as Wotan in DIE WALKÜRE. Pasero’s most famous roles are Mosè, Sarastro, Don Basilio, Philip, Boris Godunov and Escamillo, as well as several important Wagner assumptions: King Heinrich, Gurnemanz, King Marke, Pogner and Hagen. He also participitated in the world premières of several operas, among them Mascagni’s NERONE at La Scala and Pinzetti’s ORSEOLO in Florence.”


- Andrea Shum-Binder, subito-cantabile


1547. TANCREDI PASERO: DON CARLOS – ELLA GIAMMAI M’AMO; DORMIRO SOL, 2S (1928 VERSION). 12” EL blue Italian Col.GQX 10239, POM-1928. M-A. a gleaming copy. MB 12

1548. TANCREDI PASERO: DON CARLOS – ELLA GIAMMAI M’AMO; DORMIRO SOL, 2S (1936 VERSION),2S. 12” EL Parl. E 11367, recorded 1936. M-A. a gleaming copy. MB 8

1549. TANCREDI PASERO, w.Sabino Cond.: ZAUBERFLÖTE – In diesen heil’gen Hallen (in Italian) / NOZZE – Vedrò mentr’io sospiro. 10” EL LVDP DA 5438, only form of issue, 5 Feb., 1943. MINT MB 8

1550. TANCREDI PASERO, w.Ricci Cond.: La SONNAMBULA - Vi ravviso / BARBIERE - La calunnia (both 1943 Versions). 12” EL LVDP DB 05356, only form of issue, 5 July, 1943. MINT MB 10

1551. TANCREDI PASERO & GINO VANELLI: I PURITANI – IL RIVAL SALVAR TU PUOI; SUONI LA TROMBA, 2S. 12” EL green Italian Col.GQX 10248, POM-1928. M-A, a gleaming copy. MB 12

1552. TANCREDI PASERO, w.Tansini Cond.: I Vespri Siciliani – O tu Palermo / La Sonnambula – Vi ravviso. 12” EL dark green Italian Cetra BE 25065, only form of issue, 9 Nov., 1937. M-A MB 12

1553. TANCREDI PASERO, w.Sabino Cond.: NABUCCO - Tu sul labbro / LUISA MILLER - Il mio sangue. 12” EL LVDP DB 5440, only form of issue, 26 Jan., 1942. M A MB 12

1554. MATTIA BATTISTINI: Caro mio ben (Tomasso Giordani). 12” AC La Société Suisse des Disques Phonographiques d’Art 302, POM-1920. Battistini’s signature embossed in inner margin. A-, lovely copy has hint of grey on peaks. MB 175



“A letter was read from Sabajno reporting an interview [with Battistini, stating] that he had sung two records in Zurich for a rival company and was offered a contract which he did not accept….Conclusive proof of breach of contract [with Gramophone Company] can be found in the catalogues of the Swiss company. Two records issued in Switzerland by La Société Suisse des Disques Phonographiques d’Art (and in Italy by La Fonotecnica, Milan) are listed in a catalogue dated January, 1922….”


- Paul Lewis, THE RECORD COLLECTOR, 1997




1555. MATTIA BATTISTINI: Le Soir (Gounod) / Paraphrase on Trauerwalzer #2 (as ‘Delizia’) (Schubert [albeit label states Beethoven). 12” AC Historic Catalogue #2 HMV DB 214 (268aj / 229af)), POM 2 June, 1911 / 29 May, 1912. M-A MB 25

1556. MATTIA BATTISTINI: Non m’ama più (Tosti) / La gondola nera (Rotoli). 12” AC PW Disque Gram. DB 192 (295/93aj), POM 7 June, 1911. M-A Exceedingly Elusive! MB 35

1557. MATTIA BATTISTINI: Culto (Denza) / O ma charmante (Quaranta). 12” AC PW HMV DB 190, POM 6 June, 1911. M M-A, a gleaming copy. Exceedingly Elusive! MB 35

1558. MATTIA BATTISTINI: Don Sebastiano – O Lisbona / Lucia – Cruda, funesta smania. 12” AC PW Historic Catalogue #2 HMV DB 207, POM-1906 / 27 May, 1912. M-A, a gleaming copy. MB 15

1559. MATTIA BATTISTINI: Linda di Chamounix – Ambo nati in questa valle / MATTIA BATTISTINI & MARIA MOSCISCA: Rigoletto – O mia Gilda! Fanciulla a me rispondi! 12” AC PW HMV DB 204, POM-25 / 28 May, 1912. A, lovely copy has faintest pap. rubs, inaud. MB 12

1560. MATTIA BATTISTINI: Marta – Io mio Lionel / Per la Patria – Or limpida m’appare (Cocchi). 12” AC PW Historic Catalogue #2 HMV DB 209, POM-12 Nov., 1906. M-A, exemplary copy. MB 20

1561. MATTIA BATTISTINI: I Pagliacci – Si può? / Un nido di memorie. 12” AC Historic Catalogue HMV DB 239 (260/61aj), POM 2 June, 1911. M-A MB 2

1562. MATTIA BATTISTINI: Ballo – Alla vita che t’arride / Eri tu. 12” AC DGG 85061 (877/886), POM 1906. M-A, choice copy of this great late German pressing has faintest pap.rubs, positively inaud. MB 15

1563. MATTIA BATTISTINI: Barbiere – Largo al factotum / Don Giovanni – Finch’ han del vino. 10” AC mauve & gold HMV AGSA 24 (447/439z), POM-1902. M-A MB 15

1564. MATTIA BATTISTINI: La Favorita – A tanto amor / Martha – Io mio Lionel. 12” AC red vinyl Heritage RCA 15-1010 (884/833c), POM-1906. MINT MB 6

“…a richly rendered ‘A tanto amor’ which…displays the singer’s skill in bel canto in its fullest beauty.”


- P.G. Hurst, THE GOLDEN AGE RECORDED, p.95




1565. MATTIA BATTISTINI: L’Africaine – Avoir tant adorée / Quando amor m’accende (both in Italian). 12” AC mauve & gold HMV AGSB 4 (216/215af), POM-25 May, 1912. MINT MB 8

1566. MATTIA BATTISTINI: L’Africaine - Fille des rois / Il Guarany – Senza tetto, senza cuna (both in Italian). 12” AC dark-blue Connoisseurs' Record Club ABHB 1 (214af/CK1432-3), POM 25 May, 1912 / 26 Feb., 1924. M-A Elusive! MB 20

1567. MATTIA BATTISTINI & ELVIRA BARBIERI: Il Trovatore – Mira d’acerbe lagrime / Vivra! Contende il giubilo. 12” AC vinyl Historic Masters HMB 5 (2815½/16c), POM-3 June, 1913. MINT MB 8

1568. MATTIA BATTISTINI: Don Carlos – Io morrò, ma lieto in core / MATTIA BATTISTINI & EBE BOCCOLINI: Thaïs – Baigne d’eau (in Italian). 12” AC vinyl Historic Masters HMB 47 (CK1419-3/273ai), POM-3 June, 1911 / 24 Feb., 1924, Sd.2 being First Edition. MINT MB 8

1569. MATTIA BATTISTINI: Zampa - Pourquoi trembler (Hérold; in Italian) / Per la Patria – Or limpida m’appare (Cocchi). 12” AC mauve & gold HMV AGSB 52 (899/866c), POM-1906. MINT MB 12

1570. MATTIA BATTISTINI: Forza – Urna fatale del mio destino / Macbeth - Pietà, rispetto, amore. 12” AC dark blue Connoisseurs' Record Club HMV ABHB 4 (CK1418-1/234af), POM-22 Feb., 1924 / 30 May, 1912. MINT MB 8

1571. MATTIA BATTISTINI: Don Carlos – Per me giunto (1913 Version), 2s. 12” AC dark-blue Connoisseurs' Record Club ABHB 2 (2808/09 ½ ), POM 2 June, 1913. M-A Elusive! MB 20

“Battistini incontestably was the most noble ‘cavalier’ among all singers of his time. With the exception of a very few intimate friends, everyone called him Commendatore.…the last authentic representative of the era of florid singing, of real bel canto….An ideal technique in breathing and using head resonance made him a model for the messa di voce – the almost legendary art of crescendo and decrescendo on any tone. His coloratura and shake were unique His sensational career (forty-nine years) lasted even longer than that of Adelina Patti (forty-seven)….the noble timbre, the ease of singing, the sweet but manly mezza voce and piano, the vehement forte were evident until his last appearance.”


- Viktor Fuchs, OPERA NEWS, 25 Nov., 1957


1572. BENVENUTO FRANCI: Ballo – Alla vita che t’arride / Andrea Chénier – Son sessant’anni . 10” EL LVDP DA 1093, POM-3 / 2 Dec., 1929. M-A MB 12

1573. BENVENUTO FRANCI: Ballo – Eri tu? / La Gioconda – O monumento (1920 Versions). 12” AC vinyl pressing of Phonotype M 2321/36, POM-7 / 10 April, 1920. MINT MB 12

1574. BENVENUTO FRANCI: Ballo – Eri tu? (1929 Version) / Guglielmo Tell – Resta immobil. 12” EL LVDP DB 5390, POM-25 June / 2 Dec., 1929. M-A MB 10

1575. BENVENUTO FRANCI: Ballo – Eri tu? (1929 Version) / FRANCI, MASINI & LUCINI: Aïda – Quest’assisa ch’io vesto vi dica. 12” EL LVDP DB 1320, POM-25 / 28 June, 1929. M-A MB 10

“Franci’s voice was a big, bold instrument that its owner used unflinchingly to forceful effect….he had the rudiments of technique and tradition firmly etched in him…by the great Cotogni….Italy just doesn’t seem to produce voices of this calibre any more, so we listen to Franci with greater awe than his contemporaries may have done.”


- Alan Blyth, Pearl CD liner notes


1576. BENVENUTO FRANCI: Ernani - O de' verd'anni miei (1927 Version, Mx.CD4797-2) / BENVENUTO FRANCI, JOSÉ PALET & ANGELA D'URBINO: O sommo Carlo. 12” EL Orth Vla 6829, POM-23 Oct. / 14 Nov., 1927. M-A, superb copy has, Sd.2 only, faintest pap.scr, inaud. MB 10

1577. BENVENUTO FRANCI: Rigoletto – Pari siamo / BENVENUTO FRANCI & ENA SURINACH: Si, vendetta. 10” EL dark-blue Italian Col. D 5108. M-A, exemplary copy. MB 15

1578. BENVENUTO FRANCI: La Gioconda – Pescator, affonda l’esca / O monumento (1928 Version, CF 2502-2). 12” EL LVDP DB 1117, POM-21 Oct., 1927 / 28 Nov., 1928. M-A MB 10

1579. BENVENUTO FRANCI: La Gioconda – Pescator, affonda l’esca / O monumento (1927 Version, CD 4790-1). 12” EL Orth Vla 6830, POM / RR-21 Oct., 1927 (all US copies of Sd.2 are Pantograph RRs). M-A MB 6

1580. BENVENUTO FRANCI: Otello – Era la notte / Credo in un Dio crudel. 12” EL PW Disco Grammofono DB 1154, POM-8 Nov., 1927 / 15 Feb., 1928, never issued US. M-A/A-, lovely copy has, Sd 2 only, lt. rubs, inaud. MB 8

1221. BENVENUTO FRANCI & FERNANDO de LUCIA: I Pescatori di Perle – Del tempio al limitar / FERNANDO de LUCIA & ANGELA DE ANGELIS: Re di Lahore – Sia benedetto il dolore. 10¾” AC shellac white Photo Label Phonotype M 1808/2342. M-A, a spectacular copy. MB 150

1289. BENVENUTO FRANCI & FERNANDO DE LUCIA: La Gioconda - Enzo Grimaldo! / O grido di quest'anima. 12” AC Special Vinyl Pressing of Phonotype C 2340/41, POM-1920. MB 8

1581. BENVENUTO FRANCI & AURELIANO PERTILE: Guglielmo Tell – Ah! Mathilde, io t’amo, 12” EL S/S vinyl RCA test pressing for Mx. CF 3677-1, POM-22 Dec., 1930. MINT MB 12

1582. BENVENUTO FRANCI & AURELIANO PERTILE: Forza – Invano, Alvaro! / Les Minaccie i fieri accenti. 12” EL Orth Vla 7190, POM-12 Dec., 1928. M-A MB 8

1583. BENVENUTO FRANCI & AURELIANO PERTILE: Otello – Sì, pel ciel / AURELIANO PERTILEM: L'Elisir – Una furtiva lagrima. 12” EL PW HMV DB 1402, POM-19 / 21 Nov., 1928. M-A MB 8

1584. BENVENUTO FRANCI & BRUNO LANDI: Barbiere – All’idea di quel metallo, 2s. 12” EL LVDP DB 1433, POM-29 March, 1930. M-A MB 12

“Benvenuto Franci studied at Accademia di Santa Cecilia in Rome with Antonio Cotogni and E. Rosato. He débuted at the Teatro Costanzi in Rome in the rôle of Giannetto, (LODOLETTA) of Pietro Mascagni in 1918 , and soon after in Rome, he sang Pharaoh in Rossini’s MOSE , and Ford in FALSTAFF. Later he sang in the première of Mascagni's IL PICCOLO MARAT. His career continued successfully at the Liceu in Barcelona , the Teatro Real in Madrid, the Arena of Verona, Covent Garden (where he was Scarpia in TOSCA in 1925 with Jeritza), Rigoletto in 1931, and ANDREA CHÉNIER (in 1946 ), l’Opéra of Paris , Berlin, the Teatro Colón in Buenos Aires (from 1926 to 1930 ), and at la Scala he sang from 1923, where he sang Phanuel in première of Boito’s NERONE. At the Costanzi in Rome took part in the première of Giordano’s LA CENA DELLE BEFFE, and sang WILLIAM TELL by Rossini, with Giacomo Lauri Volpi, the centenary performance of the work.

Franci worked steadily at Teatro dell ' Opera in Rome from 1928 to 1949 , where he was able to work with great colleagues and distinguished conductors such as Toscanini. His repertoire included Verdi and the verismo rôles.”


1585. RICCARDO STRACCIARI: Nina (Tanara) / Tu ca nun chiagne (de Curtis). 10” EL black PW Col. 4038-M, only form if issue, 1926. M-A, a gleaming copy. Elusive! MB 15

1586. RICCARDO STRACCIARI: Sto penzanno ‘a Maria /lLuntananza (both de Curtis). 10” EL black PW Col. 4035-M, only form if issue, 1926. M-A, gleaming copy has, Sd.1 only, few lt greyed grooves. Elusive! MB 12

1587. RICCARDO STRACCIARI: Aprile (Tosti) / Occhi di fata (Denza). 12” EL PW dark blue Eng. Col. D18060, POM-17 Dec., 1928; never issued USA. M-A, a spectacular copy. MB 15

1588. RICCARDO STRACCIARI: Mattinata (Tosti) /O sole mio (1929 Version) (di Capua). 10” EL dark blue Eng. Col. DB264, POM-9 April, 1929. M-A, a gleaming copy. MB 15

1589. RICCARDO STRACCIARI: O sole mio (1925 Version) (di Capua) / Lucia – Cruda, funesta smania. 10” EL black early PW Col. 4031-M, POM-30 March, 1925. A-, lovely copy has lt.rubs, inaud. MB 8

1590. RICCARDO STRACCIARI: La Spagnola (di Chiara). 10” AC Col. 79719, POM-1921, issued USA only. A -, fine copy has lt.rubs, inaud. MB 6

1591. RICCARDO STRACCIARI: La Spagnola (di Chiara) / Nostalgia (de Curtis). 10” AC gold Flags Label Col.33039-D, POM-1921, issued USA only. A to M-A, beautiful copy of preferred Flags Label pressing has few lt.rubs, inaud. MB 15

1592. RICCARDO STRACCIARI: Ideale (1921 Version) (Tosti). 12” AC Col. 49971, POM-17 June, 1921. M-A MB 8

1593. RICCARDO STRACCIARI: Ideale (1921 Version) (Tosti) La Paloma (Yradier). 12” AC gold Flags Label Col.68050-D, POM-1921/’20, Sd.2 issued USA only. A to M-A, beautiful copy of preferred Flags Label pressing has mere hint of grey on peaks, inaud. MB 15

1594. RICCARDO STRACCIARI: Ideale (1927 Version) (Tosti) / Otello - Credo. 12” EL PW dark blue Eng. Col. D18037, POM-1927; Sd.1 never issued USA. M-A, a gleaming copy. MB 15

1595. RICCARDO STRACCIARI: Élégie (Massenet). 12” AC Col. 49333, POM-14 March, 1918. M-A MB 6

1596. RICCARDO STRACCIARI: Élégie (Massenet). 12” AC blue Eng. Col.7256, POM-14 March, 1918. M-A MB 6

1597. RICCARDO STRACCIARI: Until (Sanderson). 10” AC Col. 78099, POM-Oct., 1918. M-A MB 8

1598. RICCARDO STRACCIARI: Santa Lucia. 10” AC Col. 78100, POM-Oct., 1918, issued USA only. M-A, fine copy has faint rubs, inaud. MB 6

1599. RICCARDO STRACCIARI: Canta pe’ me (de Curtis). 10” AC Col. 78101, POM-1918, issued USA only. M-A MB 8

1600. RICCARDO STRACCIARI: Funiculi-funiculà (Denza). 10” AC Col. 78104, POM-10 Oct., 1918, issued USA only. M-A MB 8

1601. RICCARDO STRACCIARI: Mattinata (Tosti). 10” AC Col. 79701, POM-29 Jan., 1921, issued USA only. M-A MB 8

1602. RICCARDO STRACCIARI: Mattinata (1921 Version) (Leoncavallo). 10”AC Col. 79720, POM-10 Feb.., 1921, issued USA only. M-A MB 8

1603. RICCARDO STRACCIARI: Parlatemi d’amor (de Curtis). 10” AC Col. 79737, POM-24 Feb., 1921. M-A MB 8

1604. RICCARDO STRACCIARI: When the evening bells are ringing (von Tilzer). 10” AC Col. 78107, POM-22 April, 1919, issued USA only. M-A MB 8

1605. RICCARDO STRACCIARI: Dear little boy of mine (Ball). AC 10” Col. 78686, only form of issue, 22 Sept., 1919; Never Doubled. M-A MB 12

1606. RICCARDO STRACCIARI: There’s a long, long trail (Elliot). 12” AC Col. 49517, POM-28 Sept., 1918, issued USA only. A-, fine copy has faint rubs, inaud. MB 6

1607. RICCARDO STRACCIARI: The sunshine of your smile (Ray). 12” AC Col. 49590, POM-20 Feb., 1919, issued USA only; ‘Take’ 2 (of two issued ‘takes’). A-, fine copy has faint rubs, inaud. MB 6

1608. RICCARDO STRACCIARI: ‘Cause of you (Waller). 12” AC Col. 49694, only form of issue, 17 Nov., 1919; Never Doubled. M-A MB 15

1609. RICCARDO STRACCIARI: Core ‘ngrato (Cardillo). 12” AC Col. 49522, POM-2 Oct., 1918, issued USA only. M-A MB 8

1610. RICCARDO STRACCIARI: La paloma (Yradier). 12” AC Col. 49758, POM-27 Feb., 1920, issued USA only. A to M-A, mere hint of grey on peaks. MB 6

1611. RICCARDO STRACCIARI: La Favorita – Vien Leonora / A tanto amor (1925 Versions). 10” AC PW dark blue Eng. Col. X 334, POM-1925. M-A, a gleaming copy. MB 12

1612. RICCARDO STRACCIARI: Lucia – Cruda, funesta smania / Faust – Dio possente (1905 Version). 10¾” AC Milano Fonotipia C 39058/39166 (xPh125 /193), POM-1904/ 05. M-A, lovely copy has, Sd.1 only, lt. grey on peaks. MB 25

. RICCARDO STRACCIARI: / Faust – Dio possente (1905 Version / Stammi ad udir (Death opf Valentin). 10¾” AC Milano Fonotipia 92456/57 (xPh3775/ 67), POM-1909. A-, very decent copy has lt.rubs & scuffs, inaud. MB 15

1614. RICCARDO STRACCIARI: Hamlet – Come il romito fior (Thomas) / La Damnation de Faust –Serenata. 10” AC early PW black Col. 4008-M, POM-1925. M-A, gleaming copy has sev.wee lams, merely cosmetic. MB 10

1615. RICCARDO STRACCIARI: Hamlet – Brindisi (Thomas) / Tannhäuser –Allor che tu (both in Italian). 10” AC early PW black Col. 4027-M, POM-1925. A-, very decent copy has lt rubs & few tiny scrs, only ltly audible. MB 8

1616. RICCARDO STRACCIARI: La Damnation de Faust –Chanson de la puce / Voici des roses (in Italian). 10” AC early PW black Col. 4028-M, POM-6 April, 1925. M-A, a gleaming copy. MB 12

1617. RICCARDO STRACCIARI: La Favorita – Vien Leonora / A tanto amor. 10¾” AC Milano Fonotipia 92428/29 (xPh 3770/76), POM-1909. A to M-A, lovely copy has, Sd.2 only, faintest rubs & pap. scr, inaud. MB 15

1618. RICCARDO STRACCIARI: Tosca – Mi dicon venal (1914 Version). 10¾“ AC white & blue Okeh-Fonotipia 72103 (XPh5003), POM-5 March, 1914. A-B copy of preferred late pressing has lt.rubs & scuffs, plus lt.grey on peaks; tiny ec, not to grooves. Uncommon. MB 10

1619. RICCARDO STRACCIARI: La Wally – T’amo ben io / Tosca – Mi dicon venal (1925 Version). 10” AC PW dark blue Eng. Col. X 320, POM-20 March, 1925. A-, lovely copy has faint rubs, inaud. MB 8

1620. RICCARDO STRACCIARI: La Wally – T’amo ben io / RICCARDO STRACCIARI & MARIA BARRIENTOS: Rigoletto – Si, vendetta. 10” AC early PW dark blue Col. 4010-M, POM-1925/’19. M-A, a gleaming copy. MB 10

1621. RICCARDO STRACCIARI: I Vespri Siciliani – In braccio alle dovizie. 10¾“ AC white & blue Okeh-Fonotipia 72105 (XPh3849), POM-23 April, 1909. M-A, gleaming copy of preferred late pressing has faintest wee pap.rub, inaud. MB 15

1525. RICCARDO STRACCIARI: I Vespri Siciliani – In braccio alle dovizie / DOMENICO VIGLIONE-BORGHESE: Le Villi – Anima santa. 10¾” AC Milano Fonotipia C92623/49 (XPh3849/4220), POM-23 April/15 Dec., 1909. M-A, choice copy has, Sd.2 only, infintessimal pap.scr, inaud. MB 15

1622. RICCARDO STRACCIARI: Andrea Chénier – Un dì m’era gioia I Vespri Siciliani – In braccio alle dovizie. 10¾” AC Milano Fonotipia 92624/23 (XPh3774/3849), POM-12 Feb./23 April, 1909. M-A, choice copy has, Sd.2 only, infintessimal ndl cut, ltly audible, if at all. MB 15

1623. RICCARDO STRACCIARI: Ballo - Eri tu (1917 Version). 12” AC Col. 49221, POM-28 May, 1917. M-A MB 8

1624. RICCARDO STRACCIARI: Ballo - Eri tu / Il Trovatore –Il balen (1909 Versions). 10¾” AC Milano Fonotipia 92621/22 (xPh 3825/26), POM-17 April, 1909. A to M-A, lovely copy has faintest rubs & mere hint of grey on peaks. MB 20

1625. RICCARDO STRACCIARI: I Due Foscari – O vecchio cor / PASQUALE AMATO: Otello – Inaffia l’ugola. 10¾” AC Milano Fonotipia C 39626/92760 (xPh 1816/3948), POM-22 April, 1906 / 17 June, 1909. M-A, Exemplary! MB 45

1626. RICCARDO STRACCIARI: Otello – Credo / La Gioconda – O monumento (1925 Versions). 12” EL dark blue Italian Col. GQX 16489, POM-1925. M-A MB 12

1627. RICCARDO STRACCIARI: Otello – Credo / Barbiere – Largo al factotum (1927 Versions). 12” EL dark blue Viva-Tonal Col. 9038-D, POM-1927. M-A, a gleaming copy. MB 12

1628. RICCARDO STRACCIARI: Ernani – O de verd’anni miei. 10”AC Col. 77088, POM-31 May, 1917. M-A MB 8

1629. RICCARDO STRACCIARI: Ernani – O de verd’anni miei / Ballo – Alla vita che t’arride. 10” AC PW dark brown Eng. Col. D 5042, POM-1917. M-A MB 8

1630. RICCARDO STRACCIARI: Ernani – O sommo Carlo / Tosca – Te Deum (1927 Version). 12” EL black Viva-Tonal Col. 9905-M, POM-30 Aug., 1927. M-A , a gleaming copy. MB 12

1631. RICCARDO STRACCIARI: Ballo – Alla vita che t’arride. 10” AC Col. 77085, POM-31 May, 1917. M-A MB 8

1632. RICCARDO STRACCIARI: La Gioconda – Pescator, affonda l’esca (1909 Version) / La Scala Chorus: Feste e pane. 10¾” AC Milano Fonotipia 92426/27 (xPh 3759/58-2), POM-15 Jan., 1909. A to M-A, lovely copy has, Sd.2 only, few minor dust scrs, inaud. MB 15

1633. RICCARDO STRACCIARI: La Gioconda – Pescator, affonda l’esca (1921 Version). 10” AC Col. 79636, POM-11 Jan., 1921. M-A MB 8

1634. RICCARDO STRACCIARI: Rigoletto – Pari siamo (1917 Version) / La Gioconda – Pescator, affonda l’esca (1921 Version). 10” AC PW dark blue Eng. Col. X 312, POM-1917/’21. M-A MB 8

1635. RICCARDO STRACCIARI: Rigoletto – Cortigiani (1914 Version) / Don Carlos – O Carlo, ascolta. 12” AC Milano Fonotipia F74185/74186 (xxPh 5000/02), POM-5 March,1914. A to M-A, lovely copy has faintest rubs & mere hint of grey on peaks. MB 15

1636. RICCARDO STRACCIARI: Rigoletto – Cortigiani (1914 Version) / Don Carlos – O Carlo, ascolta. 12” AC green Italian Odeon F 5517 (xxPh 5000/02), POM-1914. M-A , superb copy, Sd.1 only, sl.cloudy surface. MB 25

1637. RICCARDO STRACCIARI: La Traviata - Di Provenza il mar / Tannhäuser – O du mein holder Abendstern (in Italian) (1909 Versions). 10¾” AC Milano Fonotipia 92458/59 (xPh 3792/3777), POM-1909. A-, very decent copy has faintest rubs & scuffs, plus hint of grey on peaks. MB 15

1638. RICCARDO STRACCIARI: La Traviata - Di Provenza il mar (1917 Version). 12” AC Col. 49215, POM-24 May, 1917. M-A MB 6

1639. RICCARDO STRACCIARI: La Traviata - Di Provenza il mar / Rigoletto – Pari siamo (1927 Versions). 12” EL MasterWorks Col. 7298-M, POM-1927. M-A , a gleaming copy of preferred MasterWorks pressing. MB 12

1640. RICCARDO STRACCIARI: La Traviata - Di Provenza il mar / Rigoletto – Pari siamo (1927 Versions). 12” EL dark blue Viva-Tonal Col. 9036-M, POM-1927. M-A MB 10

1641. RICCARDO STRACCIARI: La Traviata - Di Provenza il mar / Ballo - Eri tu. (1927 Versions). 12” EL blue Italian Col. GQX 10173, POM-1927. M-A, a gleaming copy. MB 12

1642. RICCARDO STRACCIARI: Il Trovatore - Il balen / La Gioconda – Pescator, affonda l’esca (1927 Versions). 10” EL black Viva-Tonal Col. 4902-M, POM-1927. M-A, a gleaming copy. MB 8

1643. RICCARDO STRACCIARI: I Pagliacci – Prologo (1917 Version). 12” AC Col. 49180, POM-19 April, 1917. M-A MB 6

1644. RICCARDO STRACCIARI: Pagliacci – Prologo / Faust - Avant de quitter ces lieux (in Italian) (1917 Versions). 12” AC gold Flags Label Col. 68049-D, POM-1917. M-A, glorious copy of preferred Flags Label pressing. MB 25

1645. RICCARDO STRACCIARI: Barbiere - Largo al factotum (1917 Version). 12” AC Col. 49181, POM-19 April, 1917. M-A MB 6

1646. RICCARDO STRACCIARI: Pagliacci – Prologo (Si puó) (1914 Version). 11¾“ AC white & blue Okeh-Fonotipia 52101 (XXPh5081), POM-6 June, 1914. A-, lovely copy of preferred late pressing has lt. rubs, inaud. MB 15

1647. RICCARDO STRACCIARI: Prologo (Si puó) / Barbiere – Largo al factotum (1914 Versions). 11¾“ AC red & gold Milano Fonotipia -5516 (XXPh5081/5001), POM-1914. A to M-A, lovely copy has barely a hint of grey on peaks. MB 25

1648. RICCARDO STRACCIARI: Pagliacci – Prologo (Complete), 2s (1927 Version). 10” EL black Viva-Tonal Col. 4901-M, POM-29 Aug., 1927. M-A, a gleaming copy. MB 8

1649. RICCARDO STRACCIARI: Pagliacci – (Complete), 2s (1927 Version). 10” EL blue Italian Col. GQ 7149, POM-29 Aug., 1927. M-A, beautiful copy has, Sd.1 only, faint rubs, inaud. MB 8

1650. RICCARDO STRACCIARI: Nabucco – Chi mi toglie / Dio di Giuda. 10” AC early PW black Col. 4032-M, POM-1925. M-A, a gleaming copy. MB 10

1651. RICCARDO STRACCIARI: Nabucco – Chi mi toglie / Dio di Giuda. 10” AC PW red Eng. Col. D12470, POM-1925. M-A, gleaming copy has, Sd. 1 only, infinitessimal pap.scr, positively inaud. MB 10

1652. RICCARDO STRACCIARI: Zazà – Zazà, piccola zingara / Buona Zazà. 10” AC early PW black Col. 4007-M, POM-17 March, 1925. M-A, a gleaming copy. MB 10

1653. RICCARDO STRACCIARI: Zazà – Zazà, piccola zingara / MARIO SAMMARCO: Rigoletto – Pari siamo. 11¾“ AC Eng. Parlophone-Odeon PXO 90 (xxPh 3840/3369), POM-1909/’08. M-A , a gleaming copy. MB 20

1654. RICCARDO STRACCIARI: L’Africana – Figlia di regi / Zazà – Zazà, piccola zingara. 11¾“ AC Milano Fonotipia 74187/71 (XXPh5090/3840), POM-1914/’09. A-, lovely copy has hint of grey on peaks; Sd.2 only has lt. rubs & ec forming into initial grooves. MB 25

1655. RICCARDO STRACCIARI: Faust - Avant de quitter ces lieux (in Italian). 12” AC Col. 49214, POM,-24 May, 1917. M-A MB 8

1656. RICCARDO STRACCIARI: Tannhäuser – O du mein holder Abendstern (in Italian) / Tosca – Te Deum (1925 Version). AC 12” PW Eng. Col. 7372, POM-23 March, 1925. M-A MB 12

1657. RICCARDO STRACCIARI: Rigoletto – Pari siamo / Cortigiani (1927 Versions). 12” EL green Italian Col. GQX 10171, POM-1927. M-A, a gleaming copy. MB 10

1658. RICCARDO STRACCIARI: Rigoletto – Cortigiani (1917 Version). 12” AC Col. 49192, POM-3 May, 1917. M-A MB 6

1659. RICCARDO STRACCIARI: Rigoletto – Cortigiani / Barbiere – Largo al factotum (both 1926 Versions). 12” EL black Viva-Tonal Col. 9011-M, only form of issue, 1926. M-A , gleaming copy has, Sd.1 only, faintest pap.rub, inaud. MB 20

1660. RICCARDO STRACCIARI: Rigoletto – Cortigiani / STRACCIARI, Apolloni & Ticozzi: Carmen – Chanson du Toréador (in Italian) (both 1927 Versions). 12” EL Viva-Tonal Col. 9904-M, POM-1927. M-A, a gleaming copy. MB 12

1661. RICCARDO STRACCIARI: Carmen – Chanson du Toréador (in Italian) (1919 Version). 12” AC purple Eng. Col. 7250 (49968), POM-22 Sept., 1919. M-A, albeit faintest pap.rub, inaud. MB 8

1662. RICCARDO STRACCIARI: Il Trovatore - Il balen (1917 Version). 12” AC Col. 49220, POM-28 May, 1917. M-A MB 8

1663. RICCARDO STRACCIARI: Tannhäuser – O du mein holder Abenstern (in Italian) / La Traviata – Di Provenza il mar. 10¾” AC Milano Fonotipia 92459/58 (xPh 377/92), POM-12 / 17 Feb., 1909. A to M-A, lovely copy has occasional faintest pap. rub, inaud.; Sd.2 only has wee pressing bump. MB 25

“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


1664. RICCARDO STRACCIARI & FERNANDA CHIESA: Rigoletto – Solo per me l’infamia; Sì, vendetta,2s. 10¾” AC Milano Fonotipia C 69163/64 (xPh 5088/89), POM-8 June, 1914. A to M-A, lovely copy has hint of grey on peaks. MB 25

1665. RICCARDO STRACCIARI & FERNANDO CARPI: Barbiere – All’idea di quel metallo, 2s. 11¾” AC Milano Fonotipia F 74190/89 (xxPh 5082/83), POM-6 June, 1914. A to M-A, lovely copy has hint of grey on peaks. MB 15

“Among Carpi’s very few Fonotipia recordings, this duet was made in conjunction with his performances in BARBIERE with Stracciari at Parma’s Teatro Regio. After the end of his singing career, among his students in Prague was Zinka Milanov during her tenure in that city.”


1666. RICCARDO STRACCIARI & FERNANDO CARPI: Barbiere – All’idea di quel metallo, 2s. 11¾”” AC green Italian Odeon F 5505 (xxPh 5082/83), POM-6 June, 1914. M-A, beautiful copy of preferred late pressing has, Sd.2 only, faintest rubs, barely visible & certainly inaud. MB 25

1667. RICCARDO STRACCIARI & NICOLA FUSATI: Otello – Si, pel ciel / STRACCIARI & AURORA RETTORE: Don Giovanni – La ci darem la mano. 12” EL red Spanish Regal D 18061 (BX 459/60), POM-18 Dec., 1928, neither side issued USA. A-, lovely copy has occasional tiny scr, inaud.; Sd.2 only has tiny heavy scr, ltly aud. just a few turns. MB 15

1668. RICCARDO STRACCIARI & ROSA PONSELLE: Il Trovatore – Mira, d’acerbe lagrime. 12” AC Col. 49922, POM-30 Dec., 1920, issued USA only. A-, lovely copy has faintest rubs & hint of grey on peaks. MB 8

1669. RICCARDO STRACCIARI & MARIA BARRIENTOS: Rigoletto - Tutte le feste. 12” AC Col. 49611, POM-1 April, 1917. M-A MB 6

1670. RICCARDO STRACCIARI & MARIA BARRIENTOS: Barbiere - Dunque io son. 12” AC Col. 49612, POM-1 April, 1919. M-A MB 8

1671. RICCARDO STRACCIARI & MARIA BARRIENTOS: Rigoletto – Si, vendetta. 10” AC Col. 78363, POM-20 March, 1919, ‘Take’ 2 (of two issued ‘takes’). M-A MB 8

1672. RICCARDO STRACCIARI & CHARLES HACKETT: Forza - Solenne in quest’ora. 12” AC Col. 49666, POM-30 Sept., 1919. M-A MB 8

1673. RICCARDO STRACCIARI, MARIA BARRIENTOS, JEANNE GORDON & CHARLES HACKETT: Rigoletto - Bella figlia dell’amore. 12” AC Col. 49782, POM-27 March, 1920. A-, fine copy has faint rubs, inaud. MB 6

1674. RICCARDO STRACCIARI, BARRIENTOS, HACKETT, MARDONES, NOE & MEADER: Lucia - Chi mi frena. 12” AC Col. 49768, POM-18 March, 1920, issued USA only. M-A MB 6

1675. RICCARDO STRACCIARI, MARIA BARRIENTOS, JEANNE GORDON & CHARLES HACKETT: Rigoletto - Bella figlia dell’amore / STRACCIARI, BARRIENTOS, HACKETT, MARDONES, NOE & MEADER: Lucia - Chi mi frena. 12” AC early PW Col. 9014-M, POM-1920. M-A, superb copy of choice pressing. MB 10

“One of several Italian baritones whose vocal endowment made them veritable lions among singers, Riccardo Stracciari differed in timbre from the equally celebrated Titta Ruffo. If Ruffo's voice seemed to have been cast from bronze, Stracciari's was swathed in ermine from its substantial bottom register to its exuberant, resounding top. Moreover, Stracciari used his formidable instrument with great artistry, more refined and less visceral than that which characterized Ruffo's approach. Stracciari remained in good form into his early 50s, remarkable enough given his active performance schedule. His complete recordings of RIGOLETTO and IL BARBIÈRE DI SIVIGLIA, made when the baritone was 53, are vivid examples of a voice and art well preserved….Primarily singing in Italy, Stracciari remained a potent artist even into the 1930s. After beginning teaching in 1926, he gradually reduced the number of his appearances, bidding official farewell to the stage in 1942.”


- Erik Eriksson, allmusic.com


1676. GIOVANNI INGHILLERI: Otello – Il Credo / Rigoletto – Pari siamo. 12” EL brown Parl.-Odeon GR 20058 (XXPh 6215/18), POM-22 March, 1928. M-A, a gleaming copy. MB 8

1677. GIOVANNI INGHILLERI: Otello – Il Credo / w.Albergoni Cond.: Il Trovatore – Il balen . 12” EL green Italian Odeon E 5084 (XXPh 6215/6041), POM-22 March, 1928 / 14 Oct., 1927. M-A, gleaming copy has infinitessimal label tear, Sd.2. MB 12

1678. GIOVANNI INGHILLERI, w.Albergoni Cond.: Faust – Dio possente / Andrea Chénier – Nemico della Patria. 12” EL green Italian Odeon N 6644(XXPh 6425/26), POM-24 Oct., 1928. M-A, gleaming copy has wee abel tear, Sd.1. MB 12

1679. GIOVANNI INGHILLERI, w.Albergoni Cond.: Pagliacci - Prologo / Barbiere – Largo al factotum. 12” EL red Decca-Odeon G-25868 (XXPh 6040/39), POM-14 Oct., 1927. M-A, lovely copy has various minuscule pressing bumps. MB 6

1680. GIOVANNI INGHILLERI & FERDINANDO CINISELLI, w.Albergoni Cond.: La Boheme – O Mimi tu più non torni / STEFANO BALLARINI, w.Albergoni Cond.: BALLO – Alla vita che t’arride. 10” EL dark blue Italian Odeon M 6052 (XXPh 6228//94), POM-1928 . M-A, a gleaming copy. MB 12

“This may not have been a golden age but there were a large number of first class Italian baritones active. Giovanni Inghilleri had a lengthy career: he made his débu in Milan in 1919 and he was still singing in Italy into the ninteen-fifties....made a few records in London after the 1939-45 war.”


- Michael Scott, THE RECORD OF SINGING


1681. GIOVANNI INGHILLERI, VENTURINI & NESSI, w.Panizza Cond.: Otello – Uragano / Brindisi. 12” EL red & gold Fonotipia U-538 (XXPh 6249-2 / 6250-2), POM-21 May, 1928. M-A, a gleaming copy. MB 12

1682. GIOVANNI INGHILLERI, w.Sabajno Cond.: La Traviata – Di Provenza il mar / Il Trovatore – Il balen. 10” EL dark blue LVDP AV 27, POM-1930. M-A, a gleaming copy. MB 12

1683. GIOVANNI INGHILLERI, w.Barbirolli Cond.: Ballo – Eri tu / Rigoletto – Pari siamo! 12” EL black PW HMV D 1823, POM-1928. M-A MB 8

1684. GIOVANNI INGHILLERI, w.Barbirolli Cond.: Barbiere - Largo al factotum / GIOVANNI INGHILLERI, OCTAVE DUA & LUIGI CILLA: Otello - Inaffia l’ugola! 12” EL red PW HMV D 1698, POM-1929. M-A MB 8

1685. GIOVANNI INGHILLERI,.EMMA TEGANI; Erede Cond.: Il Tabarro - Nulla! Silenzio! / Perchè non m’ami più? 12” EL plum HMV C.3772, only form of issue, 1948. MINT MB 6

“Giovanni Inghilleri was born in Sicily, and he started working in opera as a 'répétiteur', until he realized he could do better as a singer. He débuted in 1919 as Valentin, in FAUST, and soon was singing in all Italian theaters, including La Scala, although his primary house was Naples' San Carlo. He also sang outside Italy, for instance he was the baritone of the legendary 1930 TRAVIATA in London, with Ponselle. He retired in 1953 and, like many others, started a second career as a vocal teacher.”




1686. MARIANO STABILE: Don Giovanni – Finch’ han del vino / Deh! Vieni alla finestra. 10” EL red PW Eng. Col.D12528, POM-1928. M-A, a gleaming copy. MB 8

1687. MARIANO STABILE: Nozze – Se vuol ballare / Non più andrai. 10” EL blue PW Eng. Col.L2185, POM-1928. M-A, a gleaming copy. MB 8

1688. MARIANO STABILE & RINA AGOZZINO: Nerone – Fra giunchi di Genesarèth / RINA AGOZZINO: Pater noster. 10¾“ AC Milano Fonotipia 152029/152597 (XPh 5443/44), POM-1924. A-B, very decent copy has lt. rubs , scrs & scuffs, ltly audible, if at all. MB 10

“Rina Agozzino was born in Sicily and later she moved to Naples where she studied with Massimino Petrilli. She made her début in 1906 at Mercadante of Neaples as Lola in CAVALLERIA RUSTICANA. In 1914 she appeared at the Teatro Real in Madrid in LA WALKÜRE, with Ofelia Nieto, Guido Vaccari and Jose Segura-Tallien. In 1916 she sang in LA FAVORITA at the Teatro Regio in Parma with Giuseppe Paganelli as Fernando and Edoardo Faticanti as Alfonso XI.”




1689. MARIANO STABILE: Otello – Il Credo / Lucia - Cruda funesta smania. 12” AC green Italian Odeon F 5555 (XXPh5394/5436), POM-13/ 26 Feb., 1924. M-A, a gleaming copy. MB 12

1690. MARIANO STABILE: Tosca - Te Deum / MARIANO STABILE, VENTURINI & NESSI: Otello - Inaffia l’ugola! 12” EL blue Viva-Tonal Col.7126-M, POM-1926. M-A MB 8

764. MARIANO STABILE: Andrea Chénier – Nemico della Patria! (1926 Version) / BIANCA SCACCIATI: La mama morta! 12” EL dark blue Italian Col. GQX 16502, POM-1928. M-A MB 8

“The colouring and expression in Stabile’s voice were marvellous and he presented some of the greatest character studies ever seen on the operatic stage....Of the older baritones with whom I myself sang I would have to say my god was Stabile, to whose incomparable Falstaff I often sang Ford.”


- Tito Gobbi, MY LIFE, p.151


1691. MARIANO STABILE: Falstaff - L’Onore! Ladri! (1924 Version) / MARIANO STABILE & BERETIN: Prima di tutto e senza complimenti. 9¾” AC Milano Fonotipia 152027/26 (Pho 5390-2/5391), POM-12 Feb., 1924. M-A MB 8

1692. MARIANO STABILE: Falstaff - L’Onore! Ladri! (1926 Version) / MARIANO STABILE & NATALIA de SANTIS: Quand ero paggio. 12” EL PW red Eng.Col.D14678, POM-1926. M-A, a gleaming copy. MB 8

1693. MARIANO STABILE, w.Erede Cond.: Falstaff - L’Onore! Ladri! (1948 Version) / Ehi! Tavernieri! 12” EL Eng.Col.LX 1081, only form of issue, 1948. MINT MB 6

1694. MARIANO STABILE & MARTIN LAWRENCE; Erede Cond.: Don Pasquale - Cheti, cheti immantinente, 2s. 12” EL Eng.Col.LX 1094, only form of issue, 1948. MINT MB 6

1695. MARIANO STABILE & GIUSEPPE NESSI: Francesca da Rimini – Tieni, fratello (Zandonai), 2s. 12” EL red PW Eng.Col.D 14718, POM-1928. A to M-A, lbright copy has faintest pap.rubs, inaud. MB 8

1696. MARIANO STABILE, POLI, NESSI & DONAGGIO; Erede Cond. La Scala Orch.: Falstaff - Signor! v’assista in ciel!, 2s. 12” EL black Eng. Telefunken GX.61009, POM-1942, Milano. A stunning recording! M-A, a gleaming copy. MB 12



“Mariano Stabile was born in Palermo, and débuted there singing Marcello in 1909. Apart from Italy, he also sang in Russia, Spain, France, but his breakthrough was when Toscanini selected him as Falstaff for the reopening of La Scala, in 1921. He would sing this role more than one thousand times!. He was one of the most highly regarded baritones in Italy until his retirement in 1955, with roles like Gérard, Scarpia, Iago, Malatesta, Dulcamara, Gianni Schicchi,.etc. His top notes were very limited, and his timbre, rather indifferent. However Stabile was a very good 'fraseggiatore', and his reputation as singer-actor was second to none, especially in comic roles.”


1697. HANS HOTTER, w.Raucheisen (Pf.): Der Doppelgänger / Am Meer (1950 Versions) (both Schubert). 12” EL German Col. LWX 393 (CRX973/971), POM-4 Aug., 1950. M-A, a superlative copy. MB 15

“In many ways, Raucheisen defined for me the qualities of a really good accompanist….He figured very importantly in my life because he was the first major chamber musician who believed in me, and our work together was marked by a very special harmony….It has been suggested that he acquired his position at [Berlin Radio] because of Nazi connections; I can personally attest that this totally untrue…and in many a private conversation we both openly expressed our revulsion toward one event after another promulgated by the regime that had taken over our country. So I know for a fact that the position at Berlin Radio was offered to him exclusively because of his enormous musical expertise.”


- Hans Hotter, MEMOIRS, pp.227-28


1698. HANS HOTTER, w.von Nordberg (Pf.): Der Doppelgänger / Der Wanderer (1946 Versions) (Schubert). 12” EL Australian Col. LOX 677 (CHAX284/283), POM-6 Nov., 1946, issued UK & Austria only. M-A, choice copy of preferred Australian pressing. MB 12

1699. HANS HOTTER, w.von Nordberg (Pf.): Der Doppelgänger / Der Wanderer (1946 Versions) (Schubert). 12” EL Eng. Col. LX 1004 (CHAX284/283), POM-6 Nov., 1946, issued UK & Austria only. MINT MB 10

1700. HANS HOTTER, w.von Nordberg (Pf.): Wer machte dich so krank; Alte Laute / Die Beiden Grenadiere (all Schumann). 12” EL Eng. Col. LX 997, POM-7 Nov., 1946, issued UK & Austria only. MINT MB 8

1701. HANS HOTTER, w.Gerald Moore (Pf.): Ob der Koran von Ewigkeit sei?; So lang man nüchtern ist / Der Tambour (all Wolf). 10” EL Eng. Col. LB 141, only form of issue, 21 May, 1951. MINT MB 10

1702. HANS HOTTER, w.Gerald Moore (Pf.): Akakreons grab; Italienisches Lieberbuch – Schon streckt’ ich aus im bett; Ein Standchen euch zu bringen (all Wolf). 10” EL Eng. Col. LB 142, only form of issue, 21 May, 1951. MINT MB 10

1703. HANS HOTTER, w.Gerald Moore (Pf.): Vier ernste Gesänge (Brahms), 4s. 2-12”EL Eng. Col. LX 8933/34, only form of issue, 1951. M-A, as New, albeit infinitessimal pap.mk, Sd.1. MB 15, the Pair.

1704. HANS HOTTER, w.Gerald Moore (Pf.): An die Musik; Meeresstille / Im Frühling (all Schubert). 12” EL Eng. Col. LX 1305, only form of issue, 1 Oct., 1949. MINT MB 8

1705. HANS HOTTER, w.Gerald Moore (Pf.): Wanderers Nachtlieder - Der du von dem Himmel bist; Über allen Gipfeln ist Ruh / Am Bach im Frühling (all Schubert). 12” EL Eng. Col. LX 1261, recorded 12 April, 1948 / 2 Oct., 1949, only form of issue. MINT MB 8

1706. HANS HOTTER, w.Gerald Moore (Pf.): Feldeinsamkeit / Mit vierzig Jahren (both Brahms). 12” EL Eng. Col. LX 1403, only form of issue, 22 May, 1951. MINT MB 8

1707. HANS HOTTER, w ANTHONY BERNARD Cond. Philharmonia Orch.: ICH HABE GENUG – CANTATA #82 (Bach), 6s. 3–12” EL Eng.Col.LX 1290/92, only form of issue, 22 & 24 March, 1950. M-A, beautiful copy has wee label tears. MB 20, the Set.

1708. HANS HOTTER, w GEORGE WELDON Cond. Philharmonia Orch.: GIULIO CESARE – Aure, deh, per pietà (Handel), 2s. 12” EL Eng.Col.LX 1538, only form of issue, 10 Nov., 1951. MINT MB 10

1709. HANS HOTTER, w GEORGE WELDON Cond. Philharmonia Orch.: SAMSON – Wie willig trägt mien Vaterherz / JOSHUA - Soll ich in Mamre’s Segens au’n (both Handel; in German). 12” EL Dutch Col.LX 1516, recorded 10 Nov., 1951, issued Holland, UK & Austria only. M-A, an extraordinary copy. MB 10

1710. HANS HOTTER, w.Rother Cond.Berlin Staatsoper Orch.: Pagliacci – Prologo / Carmen – Chanson du Toréador (both in German). 12” EL DGG 67854, POM 1942. M-A, exceptional copy. MB 12

1711. HANS HOTTER, w.Hollreiser Cond. Bayerisches Staatsorchester: Otello – Credo / Il sogno (both in German). 12” EL DGG 68298, POM 1943. MINT MB 12

1712. HANS HOTTER, w.Hollreiser Cond. Bayerisches Staatsorchester: Der Fliegende Holländer – Die Frist ist um, 2s. 12” EL DGG 68297, POM 1943. M-A, exceptional copy. MB 12

1713. HANS HOTTER, w.Heger Cond.Berlin Staatsoper Orch.: Die Meistersinger – Fliedermonolog, 2s. 12” EL dark green Polydor Meisterklasse 67855, POM 1942. M-A, a glorious copy. MB 12

1714. HANS HOTTER, w.Heger Cond.Berlin Staatsoper Orch.: Die Meistersinger – Wahn, Wahn, 2s. 12” EL dark green Polydor Meisterklasse 67973, POM 1942. A to M-A, lovely copy has faint rubs, inaud. MB 8

1715. HANS HOTTER, w.Heger Cond.Berlin Staatsoper Orch.: Die Walküre – Wotans Abschied, 2s. 12” EL DGG 67972, POM 1942. M-A, superb copy has faintest pap.rubs, inaud. MB 10

“Nobody who heard Hotter in his prime - as the Dutchman, Sachs, Wotan or Gurnemanz - is ever likely to forget the experience, nor indeed his interpretations of lieder. In all, his innate gift of making words tell brought the given music to life. In spite of his vast voice, he could refine his tone down to a velvet-like timbre in the most delicate, hushed mezza-voce, most memorably as Wotan bade a final farewell in DIE WALKÜRE to his beloved Brünnhilde, voice, emotion and style in ideal harmony…..That tall, imposing figure and voice of god-like proportions, allied to an innate intelligence and humanity, made his portrayal of the anguished god unique and irreplaceable….And of course he was a teacher, both privately and in masterclass, and a seasoned adjudicator at singing competitions. A man of many parts in every sense, and endowed with native wit, he was a kind adviser to many aspiring artists, and a jovial bon viveur….”


- Alan Blyth, THE GUARDIAN, 11 Dec., 2003