English Vocal 78rpm records

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

Since 1972



Auction Number 148 ­- AUCTION Closing Date: Saturday, 15 April, 2017



Regarding AUCTION #148 (Closing Date: Saturday, 15 April, 2017), 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 – Saturday, 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 X - English Vocal 78rpm records Nos. J1140 – J1352

J1140. ROBERT BLASS: Der Schlesische zecher und der Teufel (von Reissinger). 10” GP V 64032, POM-16 Oct., 1903, Never Doubled. A to M-A, supreme copy has uncommonly bright label. MB 35

J1141. ROBERT BLASS: Die beiden Grenadiere (Schumann). 12” Victor DeLuxe 85005, POM-16 Oct., 1903. Never Doubled. A-, decent copy has lt.rubs & grey on peaks, momentarily audible; 1 very lt.scr near end, inaud. MB 35

J1142. ROBERT BLASS: Im Tiefen Keller (Fischer). 12” Victor DeLuxe 85008, POM-19 Oct., 1903, Original ‘A’ Plate Issue, Never Doubled. B-, decent copy has rubs & grey on peaks, inaud; the delightful, definitive performance comes through brilliantly! Blass’ glorious resonant ‘black’ bass voice is used to deliciously comic effect here! MB 45

J1143. ROBERT BLASS: PARSIFAL – Du sieh’st, das ist nicht so (Charfreitagszauber). 12” Victor DeLuxe 85009, POM-19 Oct., 1903, Never Doubled in any regular series, only as the extremely rare IRCC reissue. A-, lovely copy has lt.rubs, inaud. MB 45

J1144. ROBERT BLASS: DIE ZAUBERFLÖTE – In diesen heil’gen Hallen. 10” GP V 81016, POM-19 Oct., 1903, Never Doubled. A-, beautiful copy– a very ‘forward’ recording, thus has hint of grey on peaks. MB 35

J1145. ROBERT BLASS: LOHENGRIN – Mein Herr und Gott. 10” GP V 81017, POM-19 Oct., 1903, Never Doubled. A-, lovely copy has lt.rubs, inaud. MB 35

“The sturdy voice of Robert Blass may be dimly heard on several Mapleson cylinders and a few rare Victor and Edison discs made in the 1900s. Born in New York of German parents, Blass originally went to Leipzig in 1887 to study the violin, but after a few voice lessons with the celebrated baritone Julius Stockhausen, one of Garcia’s most distinguished pupils, he soon discovered that he possessed a bass-baritone of unusual strength and substance. After a period on German stages and at Covent Garden, Blass joined the Met in 1900 and remained for ten years as a mainstay of the Wagner wing….He returned to Germany in 1913, but the Met called him back in 1920 – at the age of fifty-three….”


- Peter G. Davis, THE AMERICAN OPERA SINGER, p.201


J1146. EVAN WILLIAMS: Abide with me (Monk). 10” black London G & T G.C.-3-2845 (4860h), only form of issue, 15 Nov., 1906. A-, lovely copy has very lt.rubs & 1 minor scr, ltly audible a few turns at very end. MB 15

J1147. EVAN WILLIAMS: The Bay of Biscay (Davy). 10” violet London Gram.Concert G.C.-3-2986 (B-6374), POM-31 Aug.,1908. A-, lovely copy has very lt.rubs, inaud. MB 8

J1148. EVAN WILLIAMS: Sigh no more, Ladies (Aitken). 10” black London Gram.Concert G.C.-4-2008 (B-6369), only form of issue, 29 Aug., 1908. A to M-A, lovely copy has faintest rubs, inaud. MB 10

J1149. EVAN WILLIAMS: A May Morning (Denza). 10” violet HMV 4-2206 (B-9481-2), POM-26 Sept., 1910. M-A MB 8

J1150. EVAN WILLIAMS: Hearing (Miessner). 10” Pat.’08 V 64221, Original ‘A’ Plate Issue, only form of issue, 14 Oct., 1911. Very brief catalogue life. M-A MB 12

J1151. EVAN WILLIAMS: The Sandman (Schaefer). 10” Pat.’08 V 64221, POM- 14 Oct., 1911. A to M-A MB 10

J1152. EVAN WILLIAMS: Frühlingsgruss (in English) (Schumann). 10” Pat.’08 V 64217, POM- 13 Oct., 1911. A to M-A MB 8

J1153. EVAN WILLIAMS: Mary Adeane (Capel). 12” violet HMV 02349 (x5382f), only form of issue, 1 Sept., 1911. [A real discovery! an absolutely beautiful rendition with some heavenly diminuendi!] A-, lovely copy has faintest rubs, inaud.; heavy nr. on rubbed label; minuscule mk at very end is audible sev.turns. MB 12

J1154. EVAN WILLIAMS (as WILLIAM T. EVANS): MARITANA – Yes, let me like a soldier fall (Wallace). 10” black GP V 5551 (B-6321), POM-24 July, 1908. [An uncommon black-label Victor issue.] A to M-A, w.uncommonly bright label. MB 12

J1155. EVAN WILLIAMS: The Death of Nelson (1907 Version) (Braham-Arnold)). 12” black London Gram.Monarch 02107 (C-4692-1), only form of issue, 23 July, 1907. M-A, an immaculate copy with an uncommonly bright label which has contemporaneous London label sticker indicating ‘speed 80’. MB 15

J1156. EVAN WILLIAMS: The Death of Nelson (1913 Version) (Braham-Arnold)). 12” V 74419, POM-16 July, 1913, Never Doubled USA. M-A, superlative copy! MB 10

J1157. EVAN WILLIAMS: ACIS AND GALATEA – Love in her eyes sits playing (Handel). 10” black London Gram.Concert G.C.-4-2033 (B-8042), only form of issue, 11 June, 1909. A-, lovely copy has very lt.rubs, inaud. MB 10

J1158. EVAN WILLIAMS: LA REINE DE SABA – Faiblesse de la race Humaine / Inspirez-moi, race divine (in English, of course) (Gounod), 2s. 2-10” GP V 64086/96, only form of issue, 8 Oct., 1907 / 22 July, 1908. Although neither disc ever appears with any regularity, the first one is virtually never seen; very brief catalogue life. A to M-A Most elusive, especially as a Pair. MB 45, the Pair.

J1159. EVAN WILLIAMS: JUDAS MACCABAEUS – Sound an alarm (Handel). 12” black London G & T 02079 (555i), Stamper III, POM-1906. A-, lovely copy has very lt.rubs, inaud.; minor ltly audible pressing bump at beg.; uncommonly bright label. MB 15

J1160. EVAN WILLIAMS: DIE MEISTERSINGER – Morgenlich leuchtend (Preislied) (in English). 12” black London G & T 02164 (C6318), Stamper II, POM-23 July, 1908. A-, lovely copy has very lt.rubs, inaud.; audible pressing bump; uncommonly bright label. MB 12

J1161. EVAN WILLIAMS & ROBERT RADFORD: ABRAHAM - It is of the Lord’s great mercies (Molique). 12” violet London Gram.Monarch 04073 (4326f), POM-24 July,1910. M-A, immaculate copy has minuscule pressing bumps. MB 12

J1162. EVAN WILLIAMS & ROBERT RADFORD: Flow gently, Deva (Parry). 12” violet London Gram.Monarch 04073 (4335f), POM-26 July,1910. M-A, an immaculate copy. MB 12
“Harry Evan Williams was an oratorio tenor with an exceptionally beautiful and tender voice. Williams gave more than 1,000 performances and recitals during his 25-year professional career in England and the United States. Williams was praised most highly by critics for his interpretations of Handel.

While he was working in his youth in coal mines in the Akron area, the quality of his voice was discovered when he was singing in a local church choir. He began rising to prominence as a singer when he participated in a Welsh choir in Galion, Ohio, in 1891. By 1894 he was performing in London and began dividing his career between appearances in the United Kingdom and in the United States. At this time in his career he was hired to be the soloist at the Marble Collegiate Church in New York City where was reputed to be the highest-paid church singer in the world at the time. In 1896 he gave his first performance at the Worcester Music Festival in Worcester, Massachusetts. In 1907 he returned to the United States for most of the rest of his performing career, where he sang as a tenor soloist for various choral societies and in concerts all over the country.”


- Wikipedia


J1163. ROBERT RADFORD: Des Asra (Rubinstein) / I Bless you, forests (Tschaikowsky) (both in English). 10” black HMV E303, only form of issue, 27 June, 1923. A-, very decent copy has lt.rubs & few superficial scrs, inaud. MB 8

J1164. ROBERT RADFORD: In sheltered vale (Gluck; arr.Alquen) / LA DAMNATION DE FAUST – Devant la maison (1923 Version, in English). 10” black HMV E388, only form of issue, 26 May, 1924 / 28 May, 1923. A to M-A MB 12

J1165. ROBERT RADFORD: ACIS AND GALATEA – O ruddier than the cherry / THE BOHEMIAN GIRL – The heart bowed down (Balfe). 10” red Eng. Zonophone GO 34, POM-26 March, 1918 / 14 Feb., 1916. M-A, an exceptional copy of a really great record! MB 12

J1166. ROBERT RADFORD: ROMÉO – Buvez donc ce beuvage / LA DAMNATION DE FAUST – Devant la maison (1916 Version, in English). 10” red Eng. Zonophone GO 24, POM-21 June, 1916. A to M-A, lovely copy has, Sd.2 only, a few superficial mks, inaud. MB 8

J1167. ROBERT RADFORD: PHILÉMON ET BAUCIS – Au bruit des lourds marteaux / FAUST – Le veau d’or. (both in English). 10” red Eng. Zonophone GO 15, POM-15 July, 1914. A-, very decent copy has lt.rubs, inaud. MB 8

J1168. ROBERT RADFORD: A PRINCESS OF KENSINGTON - Four jolly sailormen (German) / DIE LUSTIGEN WEIBER VON WINDSOR – Als Büblein klein (in English). 10” black HMV E498, only form of issue, 22 Dec., 1927. M-A, s spectacular copy! MB 12

J1169. ROBERT RADFORD: ELIJAH – For the mountains shall depart (Mendelssohn). 10” black HMV 3-2803, POM-24 Jan., 1907. A-, excellent copy has faint rubs & superficial inaud.mks. MB 8

J1170. ROBERT RADFORD: DIE ZAUBERFLÖTE – O Isis und Osiris (1915 Version) / TANNHÄUSER – O du mein holder Abendstern (both in English). 10” red Eng. Zonophone GO 17, POM-13 June, 1916. A to M-A, lovely copy has faint rubs, inaud. MB 8

J1171. ROBERT RADFORD: DIE ZAUBERFLÖTE – O Isis und Osiris (1916 Version, in English). 10” black HMV 4-2781, POM-15 / 13 Feb., 1915. A to M-A, excellent bright copy has various wee inaud. pressing bumps. MB 8

J1172. ROBERT RADFORD: SCIPIO – Hear me ye winds and waves (Handel) / SON AND STRANGER – I’m a roamer (Mendelssohn). [This is another treasure! Sd.2 being a real tour-de-force!] 12” black HMV D1300, only form of issue, 2 / 3 Sept., 1926. M-A MB 12

J1173. ROBERT RADFORD: IL PRIGIONE D’EDINBURGO – Standing by the missen mast (Sulla poppa) (in English) (Ricci) / THE TEMPEST – Arise ye subterranean winds (Purcell). [This is a treasure, being a real tour-de-force!] 12” black HMV D530, only form of issue, 23 Nov., 1920. M-A/A, fabulous copy has, Sd.2 only, hint of grey on peaks, inaud. MB 12

J1174. ROBERT RADFORD & JOHN HARRISON: LILY OF KILLARNEY – The moon hath raised her lamp above (Benedict). 12” black London Gram.Monarch 04014 (1945f), POM-1907. A-, very decent copy has lt.rubs & long, faint nr, inaud. MB 12

“Robert Radford, in my view, is one of the greatest basses to have trodden the concert or opera stage….I believe that Radford was one of the few to straddle the rather different worlds of the basso profondo and basso cantante. He was one of the great singers of Handel, blessed with a firm attack, a focused tone, an impressive degree of flexibility, a beautiful legato and a fine trill….He was a great Mozartian, capable of commanding both the godlike utteances of Sarastro and the comic pomposities of Bartolo and Osmin….Radford was a great Wagnerian who could rival the best ‘black’ basses but also sing with wonderful, unforced warmth, lightening his tone to encompass that most philosophical of characters, Hans Sachs….He makes ‘Standing by the missen mast’ from Federico Ricci’s THE PRISONER OF EDINBURGH (IL PRIGIONE D’EDINBURGO) into a rollicking tour-de-force….The numbers from operas written originally in English are predictably superb….His singing always has ‘face’.”


- Tully Potter, THE RECORD COLLECTOR, 2009


J1175. BEN DAVIES: Kathleen Mavourneen / JOHN McCORMACK: The dear little shamrock. 11½" H & D center-start etched label French Pathé 60067/77687 [21134/87256], recorded 1907/’06, resp., London. M-A, superlative copy! MB 35

J1176. BEN DAVIES: Come into the garden, Maud (Balfe). 12” purple Eng.Col. 7173 (75948), POM-1917. A to M-A, excellent bright copy has faint rubs & various wee inaud. pressing bumps; Handsome Columbia ‘Magic Notes’ embossed on verso. MB 10

J1177. BEN DAVIES: Drink to me only with thine eyes / LALLAH ROUKH - I’ll sing thee songs of Araby (Clay). 12” purple Eng.Col. 7351 (75947/56), POM-1917. A to M-A, excellent bright copy has faint rubs, inaud.; Sd.1 only has wee ec, just to grooves but not to performance. MB 12

“Ben Davies could sing delightfully after he reached the age of 80 – not weakly, but with resonance and clarity of tone. I first met this grand old man when he was approaching his 70th birthday…and was spellbound by his technique. The voice was not powerful but its quality was superb.”
- Peter Dawson, MY LIFE OF SONG


J1178. HEDDLE NASH, w.Gerald Moore (Pf.) Linden lea (Vaughan Williams) / Tolomeo – Silent worship (Handel). 10” plum HMV B.9719, only form of issue, 22 Nov., 1948. M-A MB 10 J1179. HEDDLE NASH, w.Gerald Moore (Pf.): Diaphenia (1945 Version); The sweet o’ the year (both Moeran) / Ständchen (in English) (Strauss). 10” EL plum HMV B.9412, only form of issue, 7 March, 1945. [Sd.1 features Nash at his most captivating!] M-A MB 10

J1180. HEDDLE NASH: LA JOLIE FILLE DE PERTH - À la voix d’amant fidèle / LA BOHEME - Che gelida manina (in English). 12” dark-blue Eng. Col. DX 540, only form of issue, 9 Sept., 1932 / 9 June, 1933. M-A MB 10

"Heddle Nash was probably the best of English lyric tenors on record....The individual timbre of his voice was ideally suited to the Serenade [above] from Bizet's JOLIE FILLE DE PERTH, and this was probably his most popular record [showing] the soft-grained quality of the voice and the poise of his style to perfection."


- J.B. Steane, THE GRAND TRADITION


J1181. EDWARD LLOYD: Bonnie Mary of Argyle. 10” black London G & T G.C.-3-2294 (2348c), Original Stamper, only form of issue, 1905. A to M-A, lovely copy has lt.rubs, inaud. MB 12

J1182. EDWARD LLOYD: Fleeting years (Greene). 12” black London Gram.Monarch 02087 (1023c), only form of issue, 1907. A-, lovely copy has faint rubs & a few microscopic scrs, barely visible, certainly inaud. MB 12

J1183. EDWARD LLOYD: LA REINE DE SABA – Faiblesse de la race Humaine (in English, of course) (Gounod). 12” black London G & T 02062 (892f), Original Stamper, POM-1905. [The bright label erroneously suggests that this is from Gounod’s IRENE!!! ‘Reine’ must have confused them!] A to M-A, bright copy has sev. microscopic scrs, inaud. MB 12

J1184. EDWARD LLOYD: Come into the garden, Maud (Balfe) / LA REINE DE SABA – Faiblesse de la race Humaine (in English, of course) (Gounod). 12” black Historic Catalogue #2 D 821 (1008c/892f), POM-1907/’05, resp. [Sd.2 label again erroneously suggests that this is from Gounod’s IRENE!!!] A to M-A, bright copy has sev. microscopic scrs, inaud. MB 12

J1185. EDWARD LLOYD: LALLAH ROUKH - I’ll sing thee songs of Araby (Clay) / JUDAS MACCABAEUS – Sound an alarm (Handel). 12” black Historic Catalogue #2 D 822 (1973f/993c), POM-1907/’08, resp. A to M-A, supreme copy has, Sd.2 only, sev. microscopic scrs, barely visible, certainly inaud. MB 12

J1186. EDWARD LLOYD: JUDAS MACCABAEUS – Sound an alarm (Handel). 12” red HMV 02123 (993c), POM-1908. A to M-A, exceptional copy. MB 12

J1187. EDWARD LLOYD: THE BOHEMIAN GIRL - Then you’ll remember me (Balfe). 10" black London G & T G.C.-3-2083 (5142b), Original Stamper, POM-1904. A, beautiful copy has faintest rubs, inaud.; minor spindle hole label tear. MB 12

J1188. EDWARD LLOYD: ELIJAH - If with all your hearts (Mendelssohn). 10" black London G & T G.C.-3-2801 (10312b), Stamper II, POM-3 Feb., 1904. A-, beautiful copy has faintest rubs, inaud.; remarkably quiet surface & uncommonly bright label. MB 12

J1189. EDWARD LLOYD: ELIJAH – Then shall the righteous shine forth (Mendelssohn). 10" black London G & T G.C.-3-2802 (10135b), Stamper IV, POM-3 Feb., 1904. A-, beautiful copy has faintest rubs & microscopic scr, inaud.; remarkably quiet surface & uncommonly bright label. MB 12

“Herman Klein, who heard Edward Lloyd early in his career, was surpassingly impressed by his voice and delivery. He called its quality 'most exquisite', with an amazingly smooth legato, comparable to the great tenor Antonio Giuglini. ‘Edward Lloyd's is one of those pure, natural voices that never lose their sweetness, but preserve their charm so long as there are breath and power to sustain them. His method is, to my thinking, irreproachable and his style absolutely inimitable. His versatility was greater than that of Sims Reeves, though he was never a stage tenor; for he was equally at home in music of every period and of every school. In Bach and Handel, in modern oratorio, in the Italian aria, in Lied, romance or ballad, he was equally capable of arousing genuine admiration’. His performance of 'Love in her eyes sits playing' from Handel’s ACIS AND GALATEA he called 'absolutely unsurpassable', and greater than any Handelian singing heard thereafter. David Bispham considered him the foremost tenor of the concert platform.”


- Wikipedia


J1190. JANET SPENCER: Bolero (Arditi). 10” Pat.’08 V 64186, only form of issue, 25 April, 1911. A-, lovely copy has faint rubs, inaud. MB 15

J1191. JANET SPENCER: Good-bye, sweet day (Vannah). 10” Pat.’08 V 64189, POM-26 April, 1911, issued USA only. M-A, superlative copy! MB 12

J1192. JANET SPENCER: AMERICAN INDIAN SONGS – White dawn is stealing (Cadman). 10” Pat.’08 V 64249, Orig. ‘A’ Plate Issue, POM-25 April, 1911, issued USA only. M-A, superlative copy! MB 12

J1193. JANET SPENCER: AMERICAN INDIAN SONGS – The moon drops low (Cadman). 10” Pat.’08 V 64200, Orig. ‘A’ Plate Issue,, 26 April, 1911, issued USA only. M-A, choice copy. [Considered by many as being Spencer’s single most beautiful recording.] MB 12

J1194. JANET SPENCER: Gae to sleep (Fischer). 12” Pat.’08 V 74231, only form of issue, 8 March, 1911. A to M-A, beautiful copy has faintest rubs, inaud. MB 10

J1195. JANET SPENCER: Hills o’ Skye (Harris). 12” AC V 74291, POM-26 April, 1911, issued USA only. M-A MB 12

J1196. JANET SPENCER: Hills o’ Skye (Harris) / DON CARLOS – O don fatale. 12” red vinyl ‘Heritage’ RCA 15-1022, POM-26 April / 8 March, 1911, issued USA only. MINT MB 6

J1197. JANET SPENCER: DON CARLOS – O don fatale. 12” Pat.'08 V 74253, only form of issue, 8 March, 1911, Original "A" Plate Issue, Never Doubled until the late ‘40s in the RCA red vinyl ‘Heritage’ Series. M-A, a spectacular copy! MB 15

J1198. JANET SPENCER: ELIJAH – O rest in the Lord (Mendelssohn). 12” Pat.'12 V 74290, only form of issue, 8 March, 1911, Original "A" Plate Issue. M-A, beautiful copy has tiny ulc, not to grooves MB 15

J1199. FRANCÈS SAVILLE: LOHENGRIN – Euch Lüften, die mein Klagen. 10” flush black Wien G & T G.C.-43241 (952x), only form of issue, 1902. B, very decent copy has lt.grey on peaks, momentarily audible; few superficial scrs are inaud. MB 95

“Throughout her career at the Hofoper, Saville’s position of that of a principal soprano….She bowed out in a performance of LES CONTES D’HOFFMANN on 23 February, 1903, apparently singing as well as ever. It was a classic prima donna farewell: a packed house full of admirers and friends and an auditorium which…looked like a conservatory because there were so many flowers.”
- Adrienne Simpson, THE RECORD COLLECTOR, 2001


J1200. EMMA ALBANI: CLARI - Home, sweet home (Bishop). 10” flush red London G & T G.C. –3505 (4763L), only form of issue, 29 Dec., 1903. A-, extraordinary copy has microscopic scrs, inaud.; uncommonly bright label. MB 75

“On these great occasions, when Albani is rapturous, and almost everybody is near enough to see the shining of her eyes, she gets on the very softest side of her audience; and criticism only mutters between its teeth when she drawls down the scale of E natural like a woman who will not come downstairs sensibly because she wants to show off her diamonds."


- George Bernard Shaw, MUSIC IN LOINDON, 1890-94, Vol. I, p.141


J1201. EMMA ALBANI: Ave Maria (Bach-Gounod) / XERXES – Ombra mai fu (Handel). 10” silver & blue IRCC 182, RR, 1907, Pathé. Numbered Copy #68 of an extremely Limited Edition. Sd.2 Label has Albani’s Photo affixed. A-, lovely copy has lt.rubs, inaud. MB 15

“In the course of a career spanning four decades, Albani became the first Canadian-born artist to achieve international fame. Her exceptionally beautiful voice, the solid musical and vocal training she acquired in her youth and later developed in conjunction with the best teachers, her mastery of French, English, Italian, and German, and her quickness in assimilating a new score all contributed to her strong appeal to conductors and composers and made her one of the most sought-after singers of her time. Countless press articles and other testimonials paid tribute to her talent. While he was in London in 1886, the Viennese critic Eduard Hanslick wrote, 'By far the best singer at Covent Garden this season, if not the only important one, (in the absence of Patti, who was not engaged), is Madame Albani' (Music Criticisms 1846-99). There are numerous written testimonies from famous musicians including Liszt ('admiration and thanks'), Charles Gounod ('my dear and great interpreter'), Hans von Bülow ('the most brilliant singing star of our era'), Hans Richter ('the master singer'), etc. On the other hand, George Bernard Shaw found her art too calculated and often charged her with a lack of spontaneity. With the years Emma Albani's soprano changed from a coloratura to a 'spinto' and even to a dramatic toward the end of her career, and this accounts for her exceptionally diversified repertoire, in 40 operas, 43 different roles ranging from Amina to Isolde. Her reputation as a performer of oratorios also was exceptional. To her musical talents were added personality, charm, and presence that did not fail to impress most critics.”
- Gilles Potvin, HISTORICA CANADA


J1202. SUZANNE ADAMS: Printemps nouveau (Paul Vidal / Henri Passerieu). 10" flush red London G & T G.C.-3295 (2151 b), Original Stamper, only form of issue, 1902. A to M-A, extraordinary copy has minuscule pressing bumps, inaud.; faded label. MB 75

J1203. SUZANNE ADAMS: Coquette (Leo Stern). 10" Victor Monarch 91004 (2036-FG), POM-1902, Never Doubled in any regular series, only as the very rare IRCC reissue. A to M-A, superlative copy has a few minuscule mks, very briefly audible. MB 45

J1204. SUZANNE ADAMS: Coquette (Leo Stern). 10” flush black & silver Col. 1198, only form of issue, 1903. B-, decent copy has lt.grey on peaks, momentarily audible; a few very lt. scrs, momentarily audible; rough start affects only the spoken introduction & piano introduction; uncommonly bright label. MB 45

J1205. SUZANNE ADAMS: CLARI - Home, sweet home (Bishop). 10" Victor Monarch 5006 (2149-2w), POM-1902, Never Doubled. A to M-A, superlative copy has faintest rubs & hint of grey on peaks, inaud.; wee pressing bump, very briefly audible. MB 45

J1206. SUZANNE ADAMS: ROMÉO – Je veux vivre. 10" Victor Monarch 91006 (2037-nb), POM-1902, Never Doubled in any regular series, only as the very rare IRCC reissue. A to M-A, superlative copy has faintest rubs, inaud.; uncommonly bright label. MB 65

J1207. SUZANNE ADAMS: ROMÉO – Je veux vivre. 10” flush black & silver Col. 1197, only form of issue, 1903, announced. A to M-A, superlative copy has 2 wee pressing bumps, faintly audible only during spoken announcement; 1 microscopic scr ltly audible 2 turns; uncommonly bright label. MB 65

J1208. SUZANNE ADAMS: FAUST – Air des bijoux. 10" flush black London G & T G.C.-3291 (2085), Stamper III, only form of issue, 1902. A-, lovely copy has faint rubs & very few superficial scrs, inaud.; rubbed label; contemporaneous London sticker remains. MB 45

J1209. SUZANNE ADAMS: FAUST – Air des bijoux. 10” flush black & silver Col. 1243, only form of issue, 1903, announced. A to M-A, superlative copy has sev. microscopic scrs, faintly audible, if at all; uncommonly bright label. MB 65

“Suzanne Adams was an American lyric coloratura soprano. Known for her agile and pure voice, Adams first became well known in France before establishing herself as one of the Metropolitan Opera's leading sopranos at the beginning of the twentieth century. Adams was born in Cambridge, Massachusetts. She studied in New York with Jacques Bouhy and then in Paris with Mathilde Marchesi. She made her opera début at the Paris Opéra in 1894 or 1895 as Juliette in ROMÉO ET JULIETTE. She studied the role of Juliet and the role of Marguerite from FAUST with Gounod himself, who greatly admired her fine technique, brilliant tone, and vocal flexibility. She remained at the Paris Opéra for three years and then went to Nice. While in France she sang numeroues roles by Gounod and Meyerbeer, as well as the Queen of the Night in the THE MAGIC FLUTE and Eurydice in Gluck's ORFEO, among other roles. She went on to join the Metropolitan Opera in New York where she sang numerous roles during the seasons of 1898–99 to 1903. Her roles at the Met included Juliette, Marguerite, Marguerite de Valois from LES HUGUENOTS, Micaela from CARMEN, Cherubino from LE NOZZE DI FIGARO, Donna Elvira from DON GIOVANNI, Philine from MIGNON, Berthe from LE PROPHÈTE, the Forest Bird from SIEGFRIED, Nedda from PAGLIACCI, Gilda from RIGOLETTO, Infanta from LE CID, Inès from L'AFRICAINE, and Mimì from LA BOHÈME, among others.

In 1898 she married Leo Stern, an English cellist who died in 1904. Following Stern's death, Adams soon retired from the stage and settled in London. She appeared at Covent Garden in some performances of CARMEN in November 1906 (presumably as Micaela), and these may have been among her last appearances in opera. She is reported to have taught singing for many years, further details are lacking so far. She appeared in a few concerts in the UK in 1905 and 1906. She visited the United States in late 1907 to appear in vaudeville in Chicago, New York and elsewhere. She may have continued teaching until her death in London in 1953.”
- Wikipedia


J1210. ADA CROSSLEY: New Year’s Song (Mallinson). 10” GP Victor 64009, POM-30 April, 1903, Never Doubled. A-, lovely copy has hint of grey on peaks. MB 35

J1211. ADA CROSSLEY: Paysage (Mallinson). 10” Victor Monarch 81005, POM-30 April, 1903, Never Doubled in any regular series, only as the very rare IRCC reissue. A-, lovely copy has very lt. rubs, inaud. MB 35

J1212. ADA CROSSLEY: Paysage (Mallinson). 10” white Vla 64010, POM-30 April, 1903, Never Doubled in any regular series, only as the very rare IRCC reissue. A to M-A, beautiful copy has tiny incipient hlc. MB 15

J1213. ADA CROSSLEY: Four leaf clover (Willeby). 10” Victor Monarch 81004, POM-30 April, 1903, Never Doubled. A to M-A, superlative copy has very few faintest rubs, inaud. MB 45

J1214. ADA CROSSLEY: Caro mio ben (Giordani). 10” Victor Monarch 81001, POM-30 April, 1903, Never Doubled in any regular series, only as the very rare IRCC reissue. A-B, very decent copy has lt.grey on peaks, lt.rubs, few minuscule mks & very minor ‘heat’ damage at edge, audible only during piano intro.; minor label run. MB 15

J1215. ADA CROSSLEY: Nearer my God to Thee (Mason). 11½" H & D center-start etched label Pathé 50294 [10116], recorded 1904, London. M-A, superlative copy! MB 35

“Ada Jemima Crossley (1871-1929), singer, was born on 3 March 1871 at Tarraville, Gippsland, Victoria, Australia. When it became apparent that Ada had a voice of great promise, her parents allowed her to take lessons with Madame Fanny Simonsen, on the condition that she never sing opera. One of her first public appearances in Melbourne was in November 1889, then in the next four years she sang frequently at oratorios and concerts, including the popular promenade concerts organized by W. J. Turner, and was principal contralto in the choir of Charles Strong's Australian Church. She became well known in Sydney after her début there in January 1892. In March 1894 Ada left for London where she studied first with Charles Santley and then for some seven months in Paris with Madame Marchesi. Her London début was at the Queen's Hall in May 1895, but her big opportunity came when she substituted at a moment's notice for Clara Butt at a concert in Manchester; she was soon singing at principal oratorio festivals throughout Great Britain. While her voice was admired for its rich velvet quality and steady purity of timbre - one reviewer described it as having the 'luscious richness of a Carlsbad plum combined with the translucent purity of rock crystal' - she was praised particularly for her interpretative skills. A favourite of royalty, she was commanded five times in two years to sing before Queen Victoria, and she sang on many important ceremonial occasions. In 1903 she claimed a repertoire of 500 sacred songs and ballads, ranging from Gluck and Handel to Richard Strauss. While on a successful tour of the United States of America in 1902-03, during which she recorded for the Victor Gramophone Co.'s Red Seal Celebrity series, Madame Crossley was engaged by J. C. Williamson to visit Australia and New Zealand. She arrived in September 1903 and was received with acclaim. The young Percy Grainger was among her entourage. She returned to England in February 1904 via South Africa.”
- Margery Missen, Australian Dictionary of Biography


J1216. EDITH MASON: The last rose of summer (Moore) / Goodbye (Tosti). 12” purple Bruns.30108, only form of issue, 1924. A to M-A, beautiful copy has faint rubs, inaud. MB 45

J1217. EDITH MASON: The last rose of summer (Moore) / Goodbye (Tosti). 12” purple Bruns.30115, only form of issue, 1925. A-, lovely copy has faint rubs, inaud. MB 35

J1218. EDITH MASON: Serenata (in English) (Tosti) / Oh, for the wings of a dove (Mendelssohn). 10" purple Bruns. 10243, only form of issue, 1926. A-, lovely copy has faint rubs, inaud. MB 35

J1219. EDITH MASON: Oh, dry those tears (del Riego) / Far off I hear a lover's flute (Cadman). 10" purple Bruns. 10215, only form of issue, 1925. A-, lovely copy has faint rubs, inaud. MB 35

J1220. EDITH MASON: From the land of sky-blue water (Cadman) / w.Frederick Fradkin (Violin): Mighty lak' a rose (Nevin) / 10" purple Bruns. 10241, only form of issue, 1928. A to M-A, beautiful copy has faint rubs, inaud. MB 35

J1221. EDITH MASON: From the land of sky-blue water (Cadman) / BAYOU SONGS - Dreamin' time (Strickland). 10" purple Bruns. 10177, only form of issue, 1924. A to M-A, beautiful copy has, Sd.1 only wee briefly audible scr. MB 35

J1222. EDITH MASON: INDIAN LOVE LYRICS - Pale hands I loved (Kashmiri song) (Woodforde-Finden) / BAYOU SONGS - Dreamin' time (Strickland). 10" purple Bruns. 10222, only form of issue, 1925. A-B, very decent copy has considerable rubs, inaud. MB 25

J1223. EDITH MASON: My old Kentucky home (Foster) / Carry me back to old Virginny (Bland). 10" purple Bruns. 10242, only form of issue, 1928. A-, lovely copy has faint rubs, inaud.; spotted label, Sd.1. MB 25

J1224. EDITH MASON: FAUST - Air des bijoux (1924 Version) / MADAMA BUTTERFLY - Ancora un passo. 10" gold Bruns. 15096, only form of issue, 1924. A to M-A, beautiful copy has faintest rubs, inaud. MB 35

J1225. EDITH MASON: FAUST - Air des bijoux / MADAMA BUTTERFLY - Un bel dì (1925 Versions). 12” gold Bruns. 50080, only form of issue, 1925. A to M-A, beautiful copy has faint rubs, inaud. MB 45

“The name Edith Mason lacks the resonance of some of her more frequently recorded contemporaries. If the lasting fame of a singer is based on recordings then her fame is small indeed. Born in St. Louis in 1891, Mason began her studies in Paris with Victor Maurel. She returned to America to study at the New England Conservatory. Her début in Boston took place in 1912 as a last minute replacement in the role of Nedda in PAGLIACCI. Her success was immediate. She returned to Paris to study with Edmond Clément. In 1915, Mason made her Metropolitan Opera début as Sophie in DER ROSENKAVALIER. For the next thirty years she was an international star, singing in all the major European houses, Central and South America, the Metropolitan, and her ‘home’ company, Chicago. She sang over forty operatic roles, concertized widely, and was admired by the public and the press. Toscanini chose her to sing in his 1935 Salzburg season. Critic Michael Scott is quoted as follows: ‘At the best of times there are comparatively few singers who never make an ugly sound; still fewer of whom it can be said that every note, at least on gramophone records, is a thing of loveliness. In that select company may be numbered the lyric soprano Edith Mason’. The voice is astonishingly beautiful and her command of her upper register is breathtaking. The technique is perfect and the musicality tasteful. Her recorded legacy is pitifully small, however. Only four arias from her operatic repertoire were recorded. We have [among others] her ‘Un bel dì’ from Mason's favorite role in which she was coached by Puccini himself. Miss Mason made all of her recordings for the Brunswick label between 1924 and 1928.”
- ARSC Journal - Vol. 25, #2 (1994)


J1226. RITA FORNIA: Der Spielmann (Hildach). 12” Pat.'12 V 74227, only form of issue, 5 June, 1912. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 20

J1227. RITA FORNIA: Das Zauberlied (Meyer-Helmund). 10” Pat.’12 V 64283, only form of issue, 6 June, 1912. A, beautiful copy has faintest rubs, inaud. MB 15

J1228. RITA FORNIA: Tes doux baisers (Chaminade). 10” Pat.'12 V 64288, only form of issue, 6 June, 1912. A, beautiful copy has faintest rubs, inaud. MB 20

J1229. RITA FORNIA: Dein gedenk’ ich, Margaretha (Meyer-Helmund). 10” V 64290, only form of issue, 7 June, 1912. A to M-A, beautiful copy has faintest rubs, inaud. MB 20

J1230. RITA FORNIA: Frühlingszeit (Becker). 10” Pat.’12 V 64299, only form of issue, 7 June, 1912. A to M-A, beautiful copy has faintest rubs, inaud. MB 20

J1231. RITA FORNIA: Allerseelen (Lassen). 10” V 64289, only form of issue, 5 June, 1912. M-A, superlative copy of one of Fornia’s most elusive discs. MB 30

J1232. RITA FORNIA: Allerseelen (Lassen). 10” white Vla 64289, only form of issue, 5 June, 1912. M-A, choice copy of excellent late pressing, one of Fornia’s most elusive discs. MB 30

J1233. RITA FORNIA: Mazurka #23 in D (as ‘Aime-moi’) (Chopin-Pauline Viardot-Garcia). 10” Pat’12 V 64284, only form of issue, 6 June, 1912. A to M-A, beautiful copy of another of Fornia’s most elusive discs. MB 30

J1234. RITA FORNIA: Chanson d’Estelle – Ah! s’il est dans votre village (Chanson de Florian) (Godard). 10” Pat.'12 V 64244, only form of issue, 21 Nov., 1911, Original "A" Plate Issue. A to M-A, beautiful copy of another of Fornia’s most elusive discs has minor label scr. MB 25

J1235. RITA FORNIA: ROMÉO – Que fais-tu, blanche tourterelle. 12” Pat.’12 V 74211, POM-23 Dec., 1910, Never Doubled in any regular series, only as the very rare AGS reissue (below), Original "A" Plate Issue. A to M-A, beautiful copy has faintest rubs, inaud. MB 20

J1236. RITA FORNIA: FAUST – Faites-lui mes aveux (1st Version, in Italian) / ROMÉO – Que fais-tu, blanche tourterelle. 12” mauve & gold HMV AGSB 61, POM-7 March / 23 Dec., 1910, Sd.1 from Unpublished Master. MINT MB 25

J1237. RITA FORNIA: FAUST – Faites-lui mes aveux (2nd Version, in French). 10” Pat.’12 V 64162, only form of issue, 23 Dec., 1910. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J1238. RITA FORNIA: FAUST – Faites-lui mes aveux (2nd Version, in French). 10” white Vla 64162, only form of issue, 23 Dec., 1910. M-A, superlative copy of excellent late pressing. MB 15

J1239. RITA FORNIA, ANTONIO SCOTTI & RICCARDO MARTIN: MADAMA BUTTERFLY – Lo so che alle pene. 10” Pat.’08 [5 line] Vla 87503, only form of issue, 7 March, 1910. M-A MB 8

“Conried engaged Rita Fornia for the Metropolitan’s 1907-08 season and she made her first appearance, with her name temporarily modified into Rita La Fornia (after her native state), at the opening of the new Academy of Music in Brooklyn on 14 November 1907, as Siébel with Farrar, Caruso, Noté, and Didur. Her first appearance at the Metropolitan was as the Geisha in IRIS with Eames, Caruso, Scotti, and Journet, on 6 December 1907. She proved her usefulness to the company when in Philadelphia, on 31 December, she replaced an ailing Sembrich in IL BARBIERE DI SIVIGLIA; she sat up all night to learn Rosina in Italian, having until then only sung the opera in German. Bonci, Campanari, and Chaliapin were in the cast. After some appearances as Helmwige in DIE WALKÜRE she hit the headlines when, on 19 March 1908, she replaced Emma Eames as Leonora in IL TROVATORE, singing with Caruso, Homer, and Stracciari. She must have been ready for this opportunity, for Eames notified the management only at 5:30 in the afternoon that she would be unable to sing that night. Fornia repeated the role on 4 April, and also on tour in Boston on 8 April. The New York American reported: ‘To the amazement of those who had not heard the singer in important parts, Mme. La Fornia made a pronounced and brilliant hit. Though she had had no rehearsal, she sang admirably. In the dramatic passages she had power, and suggested passion. In her florid music, she had taste, charm, and remarkable facility. Her voice is fresh and of a delightful quality. She acts intelligently. And she is handsome. Why has the Metropolitan management kept a singer of Mme. La Fornia’s caliber in the background all these months?’

Fornia would seem to be typical of Jean de Reszke’s most successful students, such as Maggie Teyte, Rachel Morton, or Lucile Marcel. Her voice is easily produced and floats on the breath; the registers are well blended and she can sing softly or loudly at any point of her scale. Her performances are exquisitely refined, suggesting that the concert hall might have offered her a rich field.

To compare the two versions of the ‘Flower Song’ from FAUST [both, above] is to learn something of recording conditions in 1910. Both are excellent and stylish, but with less time available in the second ‘take’, singer and conductor have to go faster, although they still manage to use a great deal of tempo rubato. The earlier version imparts important lessons in style - if only singers and conductors today could listen to it! Notice the first rallentando appropriately placed on the words ‘Que mon coeur nuit et jour Languit d’amour!’, soon followed by an accelerando to underline the crescendo of excitement at the words ‘Le secret de ma flamme’. A similar pattern of ‘give-and-take’ is continued throughout the song. The recitative ‘Fanée!’ is marvelously rendered and the aria ends with a virtuoso touch: the first high G on ‘un doux baise’is taken pianissimo, the repetition, forte. She introduces appoggiaturas as if this were Italian music of c.1820; this is probably a ‘tradition’ handed down at the Met from the days of Scalchi. Her singing of the ‘Chanson de Stéphano’ from ROMÉO ET JULIETTE is so fine that I often use this record as an example of bel-canto singing in the mezzo-soprano repertoire. Although she does not actually smile very much in what is, after all, an ironic aria, she is graceful and insinuating, and admirably precise in her execution of the triplets and the lightly sung but brilliant scale passage taking her easily up to high C.

The salon songs are beautifully sung, even ‘Aime-moi’, in which the execution is reasonably accurate and most pleasing. Even better is Chaminade’s ‘Madrigal’, a very good song with a fine piano accompaniment, and here Fornia and Rosario Bourdon have a wonderful time with their playful rubati. Listening to the lovely tone, the easy vocalization and the charming manner of Fornia in a difficult song like this, one has the sensation that she must have been one of the greatest and most poular singers of her day - and yet she wasn’t!

Fornia gives Erik Meyer-Helmund’s famous ‘Zauberlied’ with fine sustained tone, but she is even better in her deeply felt ‘Dein gedenk’ich, Margaretha’. After a bumpy start she sweeps excitingly through Becker’s ‘Frülingslied’. Eugen Hildach’s ‘Der Spielmann’ is an evocative song that rather taxes Fornia in the key of G – she might have sounded more relaxed a tone lower. Still, she suggests something of the nostalgic longing so skillfully echoed in Howard Rattay’s beautifully played obbligato.”


- Michael Aspinall, Marston Program Notes


J1240. SUSAN STRONG: Die junge Nonne (Schubert) / HÉRODIADE – Il est doux, il est bon. 12” sliver Victor IRCC 159, POM-1907; Sd.2 = RR, 1908. Numbered Copy #18 of an extremely Limited Edition. Sd.1 Label Autographed by Strong, whose Photo is affixed. M-A, a gleaming copy. MB 35

“…an unusually imaginative and heart-felt account [of the Schubert song].”


- J.B. Steane, SONG ON RECORD, Vol. 1, p.79


J1241. MARY GARDEN: Comin' thro' the rye / John Anderson, my Jo. 10” Tri-Color Col. A1190, only form of issue, 1912. M-A MB 10

J1242. MARY GARDEN: Over the Steppe (in English) (Gretchaninoff). 10" Victor S/S vinyl Test Pressing, Mx.BVE 36733-2, POM-5 Nov., 1929, Victor label written in longhand. M-A MB 12

J1243. MARY GARDEN: Over the Steppe (in English) (Gretchaninoff) / CARMEN - En vain pour éviter. 10" Orth Vla 1539, POM-5 Nov., 1929. M-A MB 15

J1244. MARY GARDEN: LE JONGLEUR DE NOTRE-DAME – Liberté, ô liberté, ma mi. 12” Tri-Color Col. 30699, POM-21 March, 1911. M-A, choice copy of this uncommon original S/S issue. MB 12

J1245. MARY GARDEN: LE JONGLEUR DE NOTRE-DAME – Liberté, ô liberté, ma mi / HÉRODIADE - Il est doux, il est bon. 12” Tri-Color Col. A5289, POM-21 March, 1911. M-A MB 8

J1246. MARY GARDEN: LA TRAVIATA - Sempre libera (in French). 12” Tri-Color Col. 30696, POM-14 March, 1911. M-A MB 10

J1247. MARY GARDEN: LA TRAVIATA - Ah! fors' è lui; Sempre libera (in French), 2s. 12” Tri-Color Col. A5284, POM-14 March, 1911. M-A MB 10

J1248. GARDEN: LOUISE - Depuis le jour (1912 Version) / THAÏS – L’amour est une vertu rare. 12” Tri-Color Col. A5440, POM-17 May, 1912. M-A MB 8

J1249. MARY GARDEN: LOUISE - Depuis le jour (1912 Version) / THAÏS – L’amour est une vertu rare. 12” Tri-Color Col. A5440, POM-17 May, 1912. Sd.1 label Autographed in white ink by Garden. M-A MB 25

J1250. MARY GARDEN: LOUISE - Depuis le jour (1926 Version). 12" Victor S/S vinyl Test Pressing, Mx.CVE 36734-14, POM-24 Dec., 1926. M-A MB 12

J1251. MARY GARDEN: LOUISE - Depuis le jour (1926 Version) / RÉSURRECTION - Dieu de grace (Alfano). 12” Orth Vla 6623, only form of regular issue, 24 Dec. / 3 Nov., 1926. M-A MB 8

MARY GARDEN, w.Alexander Russell (Organ): In the gloaming (Harrison) / Jock O'Hazeldean. 12” Orth Vla 7254, only form of issue, 7 Nov., 1929, Garden's final recordings. [Sd.1 is considered to be Garden’s most memorable, heartfelt rendition – a recording to treasure!] M-A MB 15

J1253. MARY GARDEN, w.Jean Dansereau (Pf.): Somewhere a voice is calling (Tate). 10" EL S/S Special vinyl Pressing of Unpublished Mx.BVE 40735 4, POM 5 Nov., 1929. MINT MB 35

J1254. MARY GARDEN, w.Jean Dansereau (Pf.): Afton water (Hume) / Annie Laurie. 10" Orth Vla 1480, POM-4 Nov., 1929 / 3 Nov., 1926. A to M-A, lovely copy has faintest rubs, inaud. MB 12

J1255. MARY GARDEN, w.Jean Dansereau (Pf.): Beau soir (Debussy) / Clair de lune (Szulc). 10" Orth Vla 1439, POM-4 Nov., 1929. M-A MB 12

J1256. MARY GARDEN, w.Jean Dansereau (Pf.): At dawning (Cadman) / At parting (Rogers). 10" Orth Vla 1216, POM-26 Oct. / 24 Dec.,1926. M-A MB 12

J1257. MARY GARDEN, w.Claude Debussy (Pf.): ARIETTES OUBLIÉES - L'ombre des arbres / Il pleure dans mon coeur (both Accompanied by the Composer). 10” white & red Victor IRCC 107, RRs-1904. M-A MB 35

J1258. MARY GARDEN, w.Claude Debussy (Pf.): ARIETTES OUBLIÉES – Green / PELLÉAS ET MÉLISANDE – Mes longs cheveux (CREATOR Record, 30 April 1902, l’Opéra-Comique 30 April 1902) (both Acc. by the Composer). 10” white & red Victor IRCC 106, RRs-1904. M-A MB 35

“Impressed with her voice, Carré invited Mary Garden to join the roster at the Opéra-Comique in 1900. Garden made her professional opera début with the company on 10 April, 1900 in the title rôle of Gustave Charpentier's LOUISE. Although Garden had been preparing the rôle, the début was unscheduled as she was a last minute replacement for Marthe Rioton who had become ill. From 1901 for two years, she carried on an affair with André Messager, who conducted her in LOUISE. She claimed that when the Opéra-Comique director Albert Carré asked her to marry him, she replied that she had someone else in her life – Messager. Her description is of a tempestuous relationship, but they remained friends until his death. Persuaded by Oscar Hammerstein I to join his competition against the Metropolitan Opera, Garden quit her frequent Opéra-Comique engagements to join the Manhattan Opera House in New York City. She made her American début in the Manhattan Opera House on 25 November, 1907 in the title rôle in THAÏS, a rôle which fitted her personality and art like a glove. She further astounded American audiences with her uncanny portrayal of a young boy in Massenet's LE JONGLEUR DE NOTRE DAME (1908) and in the United States première of PELLÉAS ET MÉLISANDE.”
- Ned Ludd


J1259. ANNA FITZIU: The Star Spangled Banner (Key) / Old Folks at home (Foster). 10½” US grey paper label H & D Pathé 60045, recorded 1916, only form of issue, both sides. M-A MB 20

J1260. ANNA FITZIU: Il bacio (Arditi) / TOSCA – Vissi d’arte. 10½” US grey paper label H & D Pathé 62012, recorded 1916, only form of issue, Sd.1. A to M-A, lovely copy has faint tubs, inaud. MB 15

J1261. ANNA FITZIU: TOSCA – Vissi d’arte / Milan Opera Sextet: LUCIA – Chi mi frena. 10” burgundy & gold Pathé Actuelle 025074, recorded 1916. M-A, superb copy. MB 12

J1262. ANNA FITZIU: GOYESCAS – La Maja y el Ruiseñor (Granados) [Creator Record, 28 Jan., 1916, Met Opera, New York] / Ave Maria (Bach-Gounod). 12” black & silver IRCC 3147, RRs-1916, Pathé. M-A, as New! MB 12

“Fitziu studied singing under William Thorner in Paris. First she appeared in Chicago in musical comedies, then went to Italy where she made her début in 1910 at the Teatro Dal Verme in Milan as Elsa in LOHENGRIN. During the next five years she sang in Naples, Palermo, Rome and Florence. She also made guest performances at the Teatro Colón in Buenos Aires and at the Palacio de Bellas Artes in Mexico City. In 1915 she was engaged by the Metropolitan Opera in New York where, on 28 Jan., 1916, she sang the role of Rosario in the premiere of the Granados’ opera GOYESCAS. This remained her only opera at the Metropolitan Opera, however she often appeared in their Sunday Night Concerts. In the 1917-1919 seasons she was engaged by the Chicago Civic Opera, where she appeared in 1917 in the premiere of Henry Hadley's opera AZORA and also sang in 1919 in the American première of Catalani’s opera LORELEY. In the 1922-1926 seasons she again appeared at Chicago Civic Opera. In 1921 she undertook a tour with the San Carlo Opera through the USA. In 1924 she made guest appearances at the Havana Opera as Desdemona in OTELLO and as Tosca, with Giovanni Martinelli.”


- Ashot Arkelyan


J1263. LILLIAN BLAUVELT: Ouvrez (Dessauer) / When Celia sings (Moir). 12” Tri-Color Columbia A5119, POM-1909. Sd.1 a spectacular display of Blauvelt’s bravura technique! M-A, superlative copy has, Sd.2 only, faintest rubs, barely visible & certainly inaud. Ultra Rare! MB 45

J1264. LILLIAN BLAUVELT: My Bairnie (Vannah); Comin ‘ thro’ the rye. 10” GP V 64031, POM-13 April, 1905, Never Doubled [in the catalogue briefly!]. A, beautiful copy has hint of grey on peaks, inaud. MB 15

J1265. LILLIAN BLAUVELT: Home, sweet home (1905 Version) (Bishop). 10” GP V 64030, POM-13 April, 1905, Never Doubled.. M-A, a superlative copy! MB 15

J1266. LILLIAN BLAUVELT: The last rose of summer (Moore; [erroneously ascribed to Stephen C. Foster]). 12” Tri-Color Columbia 30126, POM-1907. A, lovely copy has faint rubs, inaud. & rubbed label. MB 15

J1267. LILLIAN BLAUVELT: The last rose of summer (Moore) / DAVID BISPHAM: The pirate song (Gilbert). 12” Tri-Color Columbia A5019, POM-1907/’06, resp. M-A, a superlative copy! MB 15

J1268. LILLIAN BLAUVELT: Les filles de Cadix (Delibes). 12” Tri-Color Columbia 30113, POM-1907. A, lovely copy has 2 microscopic scrs, positively inaud. MB 15

J1269. LILLIAN BLAUVELT: A Norwegian Song (Logé) / RODELINDA – Le Printemps (in French, obviously) (Handel). 12” Tri-Color Columbia A5120, POM-1909. A to M-A, beautiful copy has, Sd.1 only, large pressing bump caused by separating laminate which may cause stylus to jump. The Handel aria plays perfectly! Ultra Rare . . . and beautiful! MB 25

J1270. LILLIAN BLAUVELT: BARBIERE - Una voce poco fa / CHARLES GILIBERT: Madrigal (Lemaire). 12” Tri-Color Columbia A5078, POM-1908/'07, resp. M-A, a superlative copy! Exceedingly elusive! MB 15

J1271. LILLIAN BLAUVELT: ROMÉO – Je veux vivre (1905 Version). 12” GP V 74027, POM 13 April, 1905, Never Doubled. A, beautiful copy has faintest rubs, inaud. Contemporaneous San Francisco sticker remains. MB 20

J1272. LILLIAN BLAUVELT: ROMÉO – Je veux vivre (1905 Version). 12” white Vla 64289, POM 13 April, 1905, Never Doubled. M-A, choice copy of excellent late pressing. MB 25

J1273. LILLIAN BLAUVELT: ROMÉO – Je veux vivre (1907 Version). 12” Tri-Color Columbia 30124, POM-1907, w. ‘Manhattan’ label superimposed. A-, lovely copy has lt.rubs & very isolated, superficial mks, inaud., albeit noisy surface. Exceedingly elusive! MB 15

J1274. LILLIAN BLAUVELT: I VESPRI SICILIANI – Mercè dilette (in French) (1907 Columbia Version). 12” Tri-Color Columbia 30091, POM-1907, w. ‘Manhattan’ label superimposed. A to M-A, exceptional copy has microscopic edge lams, of absolutely no consequence. Exceedingly elusive! MB 20

J1275. LILLIAN BLAUVELT: I VESPRI SICILIANI – Mercè dilette (in French). 10” GP V 81067, POM-13 April, 1905, Never Doubled in any regular series (other than IRCC 8 & AGSA 4), [in the catalogue briefly!]. A-B, very decent copyhas lt.rubs, inaud. MB 15

J1276. LILLIAN BLAUVELT: I VESPRI SICILIANI – Mercè dilette (in French). 10” white label Vla 64029, POM-13 April, 1905. Never Doubled in any regular series (other than IRCC 8 & AGSA 4). M-A, as New! MB 20

J1277. LILLIAN BLAUVELT: I VESPRI SICILIANI – Mercè dilette (in French) / MARCELLA SEMBRICH: 10” silver & blue Victor IRCC 8, POM-13 April, 1905 / 19 Nov., 1904, Numbered Copy #70 of an extremely limited edition. M-A MB 25

“Lillian Blauvelt was a popular opera singer in New York and internationally in the first decade of the 20th century. Her voice was a lyric soprano with a very pure timbre and dramatic distinction. Her vocal range was from G to D. She was from Brooklyn, New York, and eventually toured every country in Europe. She was a graduate of the National Conservatory of Music and sang in concerts in New York and Brooklyn prior to becoming the soprano of the 42nd Street West Presbyterian Church in 1893. In 1898 she sang under Sir Henry Wood at the Royal Albert Hall in London. Forty years later his list of the finest artists he had ever worked with included Ferruccio Busoni, Fritz Kreisler, Pablo Casals and Lillian Blauvelt.

In 1905 Blauvelt signed a six-year contract with Fred Whitney to appear in comic opera. She reportedly received $504,000 for her services (or $2,000 per week). Her first venture after the pact was made was a production of THE ROSE OF ALHAMBRA, written by Charles Emerson Cook and Lucius Hosmer. Cook was a close affiilliate of David Belasco.”


- Wikipedia


J1278. MAGGIE TEYTE: Ma Curly-headed baby (Clutsam) / I’se Gwine back to Dixie (White). 10" H & D etched label Edison 82159, only form of issue, 5/3 Feb., 1919. M-A; Sd.1 only has wee rub. MB 15

J1279. MAGGIE TEYTE: My ain folk (Lemon) / Believe me if all those endearing young charms (1919 Version). 10" H & D etched label Edison 82163, only form of issue, 20/30 Jan., 1919. M-A MB 15

J1280. MAGGIE TEYTE: My ain folk (Lemon) / Believe me if all those endearing young charms (1919 Version). 10" H & D white paper label Edison 82163, only form of issue, 20/30 Jan., 1919. M-A MB 15

J1281. MAGGIE TEYTE: INDIAN LOVE LYRICS – Kashmiri Song / ARTHUR MIDDLETON: Pale Moon (Woodforde-Finden). 10" H & D etched label Edison 82205, only form of issue, 3 Feb., 1919 / 1920. A-, lovely copy has faint grey on peaks, inaud. MB 15

J1282. MAGGIE TEYTE: Happy Days / Dreams (both Streletzky). 10" H & D white paper label Edison 82331, only form of issue, 6 Feb., 1919. M-A MB 15

J1283. MAGGIE TEYTE: Obstination (as ‘A Resolve’) (in English) (de Fontenailles) / An open secret (Woodman). 10” Col. A1471, only form of issue, 26 Nov., 1913. A to M-A, lovely copy has lt rubs, inaud. MB 12

J1284. MAGGIE TEYTE, w.Gerald Moore (Pf.): Obstination (1944 Version) (de Fontenailles) /w. Gerald Moore (Pf.) & James Whitehead (Cello): Élégie (Massenet). 10” HMV DA 1847, only form of issue, 20 July,1944. MINT MB 6

J1285. MAGGIE TEYTE: L’heure exquise (Hahn) / Mifanwy (Dorothy Foster). 10” Col. A1490, only form of issue, 26 Nov., 1913. M-A MB 15

J1286. MAGGIE TEYTE, w.Gerald Moore (Pf.): Après un rêve (Fauré) / Si mes vers avaient des ailes (1941 Version) (Hahn). 10” HMV DA 1777, POM- 26 March, 1941. M-A MB 6

J1287. MAGGIE TEYTE: When love is kind / THE MARRIAGE MARKET – Little grey home in the West (1913 Version) (Löhr). 10” Col. A1472, only form of issue, 26/28 Nov., 1913. A to M-A, lovely copy has lt rubs, inaud. MB 12

J1288. MAGGIE TEYTE: Until (Sanderson) / THE MARRIAGE MARKET – Little grey home in the West (1915 Version) (Löhr). 10” Col. A1938, only form of issue, 19 Nov., 1915. M-A MB 15

J1289. MAGGIE TEYTE: A little love, a little kiss (Silesu) / Just you (Burleigh). 10” Col. A1957, only form of issue, 19 Nov., 1915. A-, lovely copy has lt. rubs, inaud. MB 8

J1290. MAGGIE TEYTE: Down in the forest (Ronald) / Believe me if all those endearing young charms (1914 Version). 10” Col. A1555, only form of issue, 10 March, 1914. M-A MB 15

J1291. MAGGIE TEYTE: Home, sweet home (Bishop) / Oft in the stilly night. 12” Col. A5834, POM-6 June, 1916, issued USA only. M-A, an exceptional copy. MB 12

J1292. MAGGIE TEYTE: Home, sweet home (Bishop) / Oft in the stilly night. 12” black & gold Col. 5031-M, POM-6 June, 1916, issued USA only. M-A, spectacular copy of preferred late pressing. MB 15

J1293. MAGGIE TEYTE: LA PÉRICHOLE – Tu n’es pas beau, tu n’es pas riche (Offenbach) / VÉRONIQUE – Petite dinde, ah! quel outrage; Ma foi! pour venir de Provence (Messager). 12” violet Eng. Decca T.201, POM-22 Sept., 1932. M-A, choice copy of Original Issue. MB 12

J1294. MAGGIE TEYTE: LA PÉRICHOLE – Tu n’es pas beau, tu n’es pas riche (Offenbach) / VÉRONIQUE – Petite dinde, ah! quel outrage; Ma foi! pour venir de Provence (Messager). 12” red Eng. Decca K.993, POM-22 Sept., 1932. M-A, as New! MB 12

J1295. MAGGIE TEYTE: LA PÉRICHOLE – Tu n’est pas beau, tu n’es pas riche (Offenbach) / VÉRONIQUE – Petite dinde, ah! quel outrage; Ma foi! pour venir de Provence (Messager). 12” red US-Decca 29008, POM-22 Sept., 1932. M-A, choice copy of Teyte’s desert island disc. MB 8

J1296. MAGGIE TEYTE: LA PÉRICHOLE – Tu n’es pas beau, tu n’es pas riche (Offenbach) / VÉRONIQUE – Petite dinde, ah! quel outrage; Ma foi! pour venir de Provence (Messager). 2-12” S/S Special vinyl Pressings of Decca Mx.FGA 4932/31, POM-22 Sept., 1932. M-A MB 20, the Pair

"When, in the second couplet of La Périchole's 'Tu n'est pas beau’, she takes the 'brigand' a seventh below written note - it is to make the word a teasing, sarcastic aside, a caress, a chuck under the chin. It is an effect not in the score, and yet every performance without it sounds naked....Such license ought to be deplored....One cannot, because she had it in her to create a level of beauty no less than equal to the song itself."
- Alan Rich, HIGH FIDELITY, May, 1965


J1297. MAGGIE TEYTE: SIR ROGER DE COVERLEY - Care free / Sweet Mistress Prue (Gibson). 10” red London R.10058, POM-28 Nov., 1932. M-A MB 6

J1298. MAGGIE TEYTE: The Homes they leave behind / Your King and Country want you (both Rubens). 10” dark blue Eng. Col. 2467 [29164/65], only form of issue, 1914-15. C-, playable copy has numerous rubs & scrs, positively audible; both sides have patinas. Very rare, as may be imagined. MB 10

J1299. MAGGIE TEYTE: The Homes they leave behind / Your King and Country want you (both Rubens). 12” dark blue Eng. Col. 495 [6424/25], only form of issue, 1914-15. M-A, a spectacular copy. MB 20

J1300. MAGGIE TEYTE, w.Kennedy Russell Cond.: BY APPOINTMENT – White roses / MAGGIE TEYTE & CHARLES MAYHEW: Hold me in your heart (Cond. by the Composer). 10” PW plum HMV B.8242, only form of issue, 7 / 3 Nov., 1934; this enjoyed a remarkably brief Catalogue Life; (BY APPOINTMENT opened 11 Oct., 1934 and closed almost immediately thereafter). A to M-A Exceedingly rare! MB 20

J1301. MAGGIE TEYTE, w.Kennedy Russell Cond.: MONSIEUR BEAUCAIRE – I do not know (Messager). 12” pale blue Eng. Col. L 1311, only form of ssue, 13 May, 1919. A to M-A, choice copy has faintest rubs, inaud. MB 20

“A series of 78rpm records were made by British Columbia in London in 1919 [above] at the time of the creation, with Marion Green, Maggie Teyte, Alice Moffat and John Clarke, with the Prince's Theatre Orchestra conducted by Kennedy Russell….Maggie Teyte’s…voice is of exquisite purity, perfect placement; there is spontaneity and distinction. Hers is a voice of a ‘femme fragile’, perfectly adapted for French mélodies. She had a conscientious and painstaking approach to the art of interpretation. Maggie Teyte’s recordings are indispensable for lovers of French music.”
- Edward Blickstein, VAI


J1302. MAGGIE TEYTE, w.George Reeves (Pf.): Si mes vers avaient des ailes (1932 Version) (Hahn) / Après un rêve (Fauré). 10” dark blue Eng. Decca F.40300, POM-20 Sept., 1932. M-A MB 10

J1303. MAGGIE TEYTE, w.George Reeves (Pf.): Songs my mother taught me / Humoresque (as Christina’s Lament) (Dvorák). 10” red Eng. Decca M.444, only form of issue, 20 Sept., 1932. M-A MB 8

J1304. MAGGIE TEYTE, w.Rignold Cond. Royal Opera House Orch.: SHÉHÉRAZADE (Ravel), 4s. 2-12” HMV DB 6843/44, only form of issue, 12 & 13 July, 1948. MINT Highly Elusive! MB 15, the Pair

J1305. MAGGIE TEYTE, w.Rignold Cond. Royal Opera House Orch.: SHÉHÉRAZADE – Asie (part 2 only) (Ravel). 12” S/S HMV Special shellac Pressing of Mx. 2EA13215-3, 12 July, 1948. MINT MB 8

J1306. MAGGIE TEYTE, w.Rignold Cond. Royal Opera House Orch.: SHÉHÉRAZADE – La Flûte enchantée (Ravel). 12” S/S HMV Special shellac Pressing of Mx. 2EA13216-2, 12 July, 1948. MINT MB 8

J1307. MAGGIE TEYTE, w.Rignold Cond. Royal Opera House Orch.: SHÉHÉRAZADE – L’Indifférent (Ravel). 12” S/S HMV Special shellac Pressing of Mx. 2EA13217-1, 12 July, 1948. M-A, choice copy has faintest rub, inaud. MB 8

J1308. MAGGIE TEYTE, w.Gerald Moore (Pf.): Psyché (Paladilhe) / Chanson Triste (Duparc). 10” HMV DA 1779, POM- 26 March / 17 April, 1941. M-A MB 8

J1309. MAGGIE TEYTE, w.Gerald Moore (Pf.): KING ARTHUR – Fairest isle of all isles excelling / THE LIBERTINE - Nymphs and shepherds (both Purcell). 10” HMV DA 1790, POM-1 Aug., 1941. MINT MB 6

J1310. MAGGIE TEYTE, w.Gerald Moore (Pf.): Oft in the stilly night / Comin' thro' the rye. 10” HMV DA 1804, only form of issue, 3 Oct., 1941. M-A MB 6

J1311. MAGGIE TEYTE, w.Gerald Moore (Pf.): Now sleeps the crimson petal (Quilter) / Pleading (Elgar). 10” HMV DA 1807, only form of issue, 23 Dec.,1941. M-A MB 8

J1312. MAGGIE TEYTE, w.Gerald Moore (Pf.): Plaisir d'amour (Martini) / Dans les ruines d'une abbaye (Fauré). 10” HMV DA 1810, only form of issue, 16 Jan., 1942. MINT MB 6

J1313. MAGGIE TEYTE, w.Gerald Moore (Pf.): Les roses d'Ispahan / Soir (both Fauré). 10” HMV DA 1819, only form of issue, 28 May / 16 Jan., 1942. MINT MB 6

J1314. MAGGIE TEYTE, w.Gerald Moore (Pf.): L'heure exquise (1941 Version) / Offrande (both Hahn). 10” HMV DA 1821, POM-17 April, 1941. MINT MB 6

J1315. MAGGIE TEYTE, w.Gerald Moore (Pf.): En sourdine (Hahn) / Ici - bas! (Fauré). 10” HMV DA 1830, only form of issue, 22 Aug., 1941 / 6 Jan., 1942. MINT MB 6

J1316. MAGGIE TEYTE, w.Gerald Moore (Pf.): Lydia / Nell (both Fauré). 10” HMV DA 1831, only form of issue, 10 Feb., 1943. MINT MB 6

J1317. MAGGIE TEYTE, w.Gerald Moore (Pf.): Chanson d'avril (Bizet) / Le colibri (Chausson). 10” HMV DA 1833, only form of issue, 7 June, 1943. MINT MB 6

J1318. MAGGIE TEYTE, w.Gerald Moore (Pf.): Beau soir / Romance (both Debussy). 10” HMV DA 1838, only form of issue, 10 Feb., 1944. MINT MB 6

J1319. MAGGIE TEYTE, w.Gerald Moore (Pf.): Pastorale (Bizet) / Chanson d'Estelle (Godard). 10” HMV DA 1840, only form of issue, 3 April, 1944. MINT MB 6

J1320. MAGGIE TEYTE, w.Gerald Moore (Pf.): Le secret / Clair de lune (both Fauré). 10” HMV DA 1876, only form of issue, 5 Dec., 1941 / 6 Jan., 1942. M-A MB 6

J1321. MAGGIE TEYTE, w.Gerald Moore (Pf.): Clair de lune (Szulc) / Extase (Duparc). 12” HMV DB 5937, only form of issue, 1941. MINT MB 6

J1322. MAGGIE TEYTE, w.Gerald Moore (Pf.): L'absent (Fauré) / CIBOULETTE – Ce n'est pas la même chose (Hahn). 12” vinyl Historic Masters HMB 76, POM-20 May, 1946 / 28 May, 1942, both from Unpublished Matrices, only form of issue. MINT MB 8

J1323. MAGGIE TEYTE, w.Gerald Moore (Pf.): Belle lune d'argent (Hahn); Les papillons / w.Gerald Moore (Pf.) & James Whitehead (Cello): POÈME DE L'AMOUR ET DE LA MER - Le temps des lilas (Chausson). 12” vinyl Historic Masters HMB 15, POM-15 Nov., 1944, both only form of issue from Unpublished Matrices (despite HMV having assigned Issue #DB 6179). MINT MB 8

"When [Teyte] sang Chausson's POÈME DE L'AMOUR ET DE LA MER with us, I don't think there was a dry eye on the platform at the end of it, and knowing the attitude of the average orchestral player to these things made it certainly an occasion to remember."


- Boyd Neel


J1324. MAGGIE TEYTE, w.Gerald Moore (Pf.): Oh, quand je dors (Liszt); Les larmes (Tschaikowsky); D'Anne jouant de l'espinette; Le Martin-pêcheur (Ravel); La lune blanche luit dans les bois; J'ai presque peur en vérité (both Fauré); MOZART - Être adoré; Air des adieux (Hahn); PELLÉAS ET MÉLISANDE - Voici ce qu'il écrit ... son frère (Geneviève, Act I, Sc.2); Tu ne sais pas pourquoi il faut que je m'éloigne (singing both roles, Pelléas and Mélisande, Act IV, Scene 4), 8s. 4-12” Gramophone Shop GSC 21/24, only form of issue, 1947, in Orig. Album GSC-3, w.Brochure. [Fascinating to hear Teyte singing the roles of Pélleas, Mélisande, and Geneviève as well!] MINT MB 20, the Set.

"Carried away by his absolute devotion to Maggie, [Brogan (of the Gramophone Shop)] threw himself into attempting to arrange no less than a complete recording of PELLÉAS ET MÉLISANDE....nothing came of Brogan's hope of recording the whole opera, and he had to console himself in the end with mere snippets: Maggie doubling Pelléas and Mélisande, singing in addition the role of Geneviève, on [the above] famous set of records made specially for his Gramophone Shop....her most perfect recording with [Gerald] Moore was of Ravel's 'Le Martin-pêcheur' [above]….It was, Teyte thought, the most difficult record she ever attempted to make, and the result conveys the musical intricacy of Ravel's score....Another Ravel recording, 'D'Anne jouant de l'espinette,' [above] is hardly less perfect."


- Garry O'Connor, THE PURSUIT OF PERFECTION, pp. 183, 195 & 241-42


J1325. MAGGIE TEYTE, w.Gerald Moore (Pf.): Le jet d'eau; Proses Lyriques, Nos. 1, 3 & 4 (all Debussy); w.Leslie Heward Cond. London S.O.: Phidylé; L'invitation au voyage (both Duparc); LES NUITS D'ÉTÉ - Le spectre de la rose; Absence (Berlioz), 8s. 4-12” white HMV JG 177/180, only form of issue, 1940, in Orig. Gramophone Shop Album, w.Brochure. MINT MB 20, the Set.

J1326. MAGGIE TEYTE, w.Alfred Cortot (Pf.): Debussy Recital, 14s. 7-10” Scroll V 1768/74, POM-1936, in Orig. Album M-322, w.Brochure. M-A, Superlative Copy of Preferred Scroll Pressing. MB 20, the Set

"If you want to hear the Debussy [Ravel & Fauré] sung by a vocalist who still knows what they sounded like in the epoch that saw their creation, there is no other living artist who can evoke them for you so authentically or so vividly....Miss Teyte alone has the key to it, the discipline of it, the workmanship and the knowledge to expose it before us."


- Virgil Thomson, NEW YORK HERALD TRIBUNE, 29 Dec., 1945


J1327. MAGGIE TEYTE, w.Jean Paul Morel Cond.: Arias from La Servante Maîtresse, Rose et Colas, Le Déserteur, Zémir Et Azor, Les Oies De Frère Philippe & Le Tableau Parlant (Pergolesi, Monsigny, Grétry & Dourlen), 6s. 3-10” RCA 10-1369/71, only form of issue, 1946, in Orig. Album MO 1169, w.Notes & Texts. [Perhaps the most exquisite of all Teyte’s heavenly recordings; this set is a treasure!] MINT MB 15, the Set

"I have never understood why HMV has not brought out MAGGIE TEYTE's album MO-1169 of old French Opéra-Comique arias, her only Victors made in America. They are exquisitely done and well recorded."


- Leo Riemens, RECORD NEWS, Jan., 1951


J1328. MAGGIE TEYTE, w.Blech String Quartet & Gerald Moore (Pf.): Chanson perpétuelle (Chausson), 2s. 12” HMV DB 6159, only form of issue, 2 Sept., 1943. MINT MB 8

J1329. MAGGIE TEYTE, w.Gerald Moore (Pf.): ARIETTES OUBLIÉES - Aquarelles (Debussy) / LA BONNE CHANSON - L'hiver a cessé (Fauré). 10” HMV DA 1893, only form of issue, 17 April, 1941 / 28 May, 1942. MINT MB 6

J1330. MAGGIE TEYTE, w. Voorhees Cond. Bell Telephone Hour Orch.: LA BOHEME – Donde lieta; Addio senza rancor / NOZZE – Voi che sapete. 10” Ruby Recording 33 1/3 rpm Acetate, off-the-air Original, 11 Jan., 1948, New York. M-A MB 15

J1331. CAMILLA WILLIAMS, w.Ralph Berkowitz (Pf.): O, what a beautiful city / City called Heaven. 10” RCA 10-1425, only form of issue, 1946; Sd.2 label Autographed by Williams. M-A, choice copy has faintest rubs, inaud. MB 15

“On May 15, 1946, an unknown singer named Camilla Williams took the stage at City Center in Manhattan as Cio-Cio-San. Her performance would be the capstone of a night of glorious ‘firsts’. Miss Williams, a lyric soprano who began her career as a concert singer, had never been in an opera. The New York City Opera, the young upstart company with which she was making her début, had never before staged MADAMA BUTTERFLY. But there was another, far more important ‘first’, though its significance has been largely forgotten over time: As Cio-Cio-San, Miss Williams, the daughter of a chauffeur and a domestic in the Jim Crow South, was the first black woman to secure a contract with a major United States opera company - a distinction widely ascribed in the public memory to the contralto Marian Anderson. Miss Williams’ performance that night, to rave reviews, came nearly a decade before Miss Anderson first sang at the Metropolitan Opera. As Miss Williams well knew, it was a beacon that lighted the way to American opera houses for other black women, Miss Anderson included. Reviewing Miss Williams’ début in THE NEW YORK TIMES, Noel Straus wrote, ‘There was a warmth and intensity in her singing that lent dramatic force of no mean order to the climactic episodes, and something profoundly human and touching in her delivery of all of the music assigned her’.”


- Margalit Fox, THE NEW YORK TIMES, 2 Feb., 2012


J1332. ANNE BROWN, w.Hye-Knudsen Cond.: PORGY AND BESS - Summertime / My man's gone now (CREATOR Record, 30 Sept., 1935, Boston). 12” Danish Tono X 25112. A to M-A MB 20

“In 1935, the soprano Anne Brown created the role of Bess in George Gershwin's masterly folk opera PORGY AND BESS and was a prime influence on Gershwin's decision to make the character as important as that of Porgy. When she joined the cast of the show, it bore the same title – PORGY – as DuBose Heyward's 1925 source novel and 1927 play. But as Gershwin wrote more and more music for Brown, the part became equally important and the show became PORGY AND BESS. When Porgy and Bess finally opened in a tryout engagement in Boston, it received a 15-minute ovation and a rapturous reception from both audience and critics. The same year Brown and Duncan were guest stars for a successful production of PORGY AND BESS in Denmark. In 1948 Brown settled in Oslo, Norway.”


- Tom Vallance, THE INDEPENDENT, 16 April 2009


J1333. GERALDINE FARRAR: Caro mio ben (Giordani). 10” black Berlin G & T G.C.-53430 (3801h), only form of issue, 27 Sept., 1905. A-, lovely copy has faintest runs, inaud.; uncommonly bright label. MB 25

J1334. GERALDINE FARRAR: Der Nussbaum (Schumann) / Ouvre tes yeux bleues (Massenet). 10” white & gold PW Vla IRCC 1, POM-3 April, 1923 / 9 Sept., 1922, Numbered Copy #49 of a Limited Edition, w.Farrar’s Autograph, Sd. 1. M-A MB 45

J1335. GERALDINE FARRAR: Auf flügeln des Gesanges (Mendelssohn) / Humoresque (as ‘Christina’s Lament’) (Dvorák). 10" silver Orth Victor IRCC 41, POM-5 April / 13 Jan., 1927. Numbered Copy #20 of Limited Edition, Sd.1 label is Autographed by Farrar. A to M-A MB 45

J1336. GERALDINE FARRAR: Chant vénetien (Bemberg) / Ständchen (Strauss). 10" silver AC / EL Orth Victor IRCC 55, POM-8 Sept., 1922 / 11 Jan., 1927. Numbered Copy #17 of Limited Edition, Sd.1 label, to which her photo is affixed, is Autographed by Farrar. M-A MB 45

J1337. GERALDINE FARRAR: Dear Heart (Mattei). 10” black London G & T G.C. 3621 (3799h), only form of issue, 27 Sept., 1905. A to M-A MB 35

J1338. GERALDINE FARRAR: Cherry Ripe (Horn). 10” black London G & T G.C. 3620 (3798h), only form of issue, 27 Sept., 1905. A to M-A, choice copy has an uncommonly bright label. MB 35

J1339. GERALDINE FARRAR: J’ai tant de choses à vous dire (Ferrari) / DER OPERNBALL – In chambre séparàe (as ‘Midnight bells’) (Heuberger-Kreisler). 10" silver AC / EL Orth Victor IRCC 79, POM-8 Sept., 1922 / 13 Jan., 1927. Numbered Copy #42 of Limited Edition, Sd.2 label is Autographed by Farrar; Sd.1 label has her photo affixed. M-A MB 45

J1340. GERALDINE FARRAR: MIGNON – Connais-tu le pays? (in German). 10” black Berlin G & T G.C.-53345 (2174h), only form of issue, 1904. A-B, very decent copy has lt.rubs & isolated superficial; mks; uncommonly bright label. MB 25

J1341. GERALDINE FARRAR: MIGNON – Connais-tu le pays? / MARTHA – The last rose of summer (both in German). 10” black Berlin G & T G.C.-43733/43841 (3803h/4718h), POM- 27 Sept., 1905 / Sept., 1906. A to M-A, choice copy has an uncommonly bright label. MB 35

J1342. GERALDINE FARRAR: ROMÉO – Je veux vivre (in Italian). 10” black Berlin G & T G.C. 53364 (2253h), only form of issue, 1904. A-B, very decent copy has lt.rubs & isolated superficial mks; uncommonly bright label. MB 25

J1343. GERALDINE FARRAR: ROMÉO – Je veux vivre (in French). 10” black London G & T G.C. 33618 (1315r), only form of issue, 26 June, 1906. A to M-A, beautiful copy has mere hint of faint nr, barely visible & certainly inaud.; uncommonly bright label. MB 35

J1344. GERALDINE FARRAR: LE DOMINO NOIR- La belle Inès (Ines so schön) (Auber) / MANON – Obéissons quand leur voix appelle (Gavotte) (both in German). 10” black Berlin G & T G.C.-43780/96 (1313r/1314r), POM- 23 June, 1906. M-A, superlative copy has uncommonly bright labels. MB 35

J1345. GERALDINE FARRAR: LES PELLERINS DE LA MECQUE – Un ruisselet bien clair (as ‘Wonnervoller Mai, o komm Herbei’) (Gluck) / NOZZE – Non so più. 10" silver AC / EL Orth Victor IRCC 79, POM-19 Dec., 1912 / 12 Jan., 1927. Numbered Copy #25 of Limited Edition, Sd.2 label is Autographed by Farrar. M-A MB 45

J1346. GERALDINE FARRAR: FAUST – Air des bijoux (in German) / DER ROLAND VON BERLIN – Elisabeths Gesang an der Leichte Henninbs (Leoncavallo). 10” black Berlin Concert Gram. G.C.-43721/32 (3802h/2496L), POM- 27 Sept., 1905 / 1904. A to M-A MB 35

J1347. GERALDINE FARRAR: LA TRAVIATA – Sempre libera (in Italian). 10” black Berlin G & T G.C.-53469 (1316r), only form of regular issue, 23 June, 1906, doubled only as the elusive IRCC reissue. A to M-A, beautiful copy has hint of grey on peaks, inaud.; uncommonly bright label. MB 25

J1348. GERALDINE FARRAR: MEFISTOFELE – L’altra notte (in Italian). 10” black Berlin G & T G.C.-53425 (3800h), only form of regular issue, 9 Sept., 1905, doubled only as the elusive IRCC reissue. A to M-A, beautiful copy has hint of grey on peaks, inaud.; uncommonly bright label. MB 25

J1349. GERALDINE FARRAR & CARL JÖRN: TANNHÄUSER – Gepriesen sei die Stunde / FAUST – Es ist shon spät (in German). 10” black Berlin G & T G.C.-2-44145/37 (4719h/4721h), only form of issue, Sept., 1906. A to M-A, beautiful copy has hint of grey on peaks, inaud.; uncommonly bright label. MB 25

J1350. GERALDINE FARRAR & CARL JÖRN: RIGOLETTO –E il sol dell’anima (in Italian) / MARIE DIETRICH & CARL JÖRN: TROVATORE - Miserere (in German). 10” black Berlin Concert Gram. G.C.-54311 / 2-44133 (4720h/4705h), POM- 27 Sept., 1905 / 1906. A to M-A MB 35

J1351. GERALDINE FARRAR & EDMOND CLÉMENT: Sous la fenêtre (in French) ‘Take’ 1 (Schumann). 10” Pat.12 Vla 87507, Original "A" Plate Issue, only form of issue, 13 Feb., 1913; (‘Take’ 2 issued as AGSA 5). A to M-A MB 12

J1352. GERALDINE FARRAR & EDMOND CLÉMENT: LE DANTE - Nous allons partir (Godard). 10” V 87508, POM-17 March, 1913. A to M-A MB 8