FEMALE VOCAL 78RPM RECORDS: K572

Home > Auction #144: 78RPM_Records Ephemera Books and Autographed Photographs > FEMALE VOCAL 78RPM RECORDS: K572 - K1418

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Since 1972

Auction Number 144 - AUCTION Closing Date:Monday, 13 June, 2010

Regarding AUCTION #144 (Closing Date:
Monday, 13 June , 2011), 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. K572 - K1418 are Female Vocal 78rpm records

K572. JEANNE GERVILLE-RÉACHE: Chanson slave (Chaminade) / Werther – Va, laisse couler mes larmes. 10” AC silver Victor IRCC 109, POM-29 April / 30 Oct., 1909. Numbered Copy #5 of a Limited Edition. M-A, Exemplary! MB 35

K573. JEANNE GERVILLE-RÉACHE: D'une prison (Hahn). 12" AC Pat.’08 Vla 88368, Orig. ‘A’ Plate Issue, only form of issue, 5 May, 1911, this appeared otherwise only as the ultra rare silver HRS private issue. M-A, choice copy has infinitesimal pap. mk at end, barely visible & inaud. MB 50

K574. JEANNE GERVILLE-RÉACHE: D'une prison (Hahn) / Sapho - O ma lyre immortelle (Gounod). 12” AC silver Victor HRS 1011, POM-5 May, 1911 / 29 April, 1909. Numbered Copy #25 of an extraordinarily Limited Edition. M-A, Exemplary! MB 65

“Gerville-Réache spent a part of her childhood in the French West Indies, where her father was stationed as a diplomat, but back in Paris she studied with Rosine Laborde and the legendary Pauline Viardot-Garcia. We probably have the latter to thank for most of what we hear on Gerville-Réache’s recordings today. Emma Calvé was overwhelmed by the young contralto’s voice, and arranged for her début at the Opéra-Comique as Gluck’s Orphée in 1899. She was only 17 years old. She remained on the roster at the Opéra-Comique until 1903, and it was there that she created the rôle of Geneviève in Pelléas et Mélisande (3 April, 1902, l’Opéra-Comique). Her interpretation of Dalila quickly established the popularity of Saint Saëns’ opera in America, and the critic Philip Hale ranked her Dalila ‘on a par with de Reszke’s Roméo, de Lucia’s Canio, Ternina’s Isolde, Calvé’s Carmen and Maurel’s Iago’. When the Met and its trustees raised sufficient ‘hush money’ for Oscar Hammerstein and the Manhattan Opera closed down, Gerville-Réache appeared with the Chicago, Philadelphia and Montréal companies, but mostly sang in extensive recital tours and as soloist with symphonies throughout the United States. She had taken up residence there in 1910 with her husband (the director of the Pasteur Institute in New York) and their two young sons. Her last hours of life found her besieged with an unbelievable combination of violent illnesses. Ptomaine poisoning triggered a ruptured appendix, which induced a miscarriage, and she died in New York at the tragically young age of 32. She possessed the voice of a fine cello swathed in burgundy-colored velvet. A true, sonorous contralto with many of the better qualities of Ernestine Schumann-Heink and Louise Homer, remarkably amalgamated into a single human voice.

Gerville-Réache’s voice cannot but leave an impression on those hearing her….in record after record (not that there are all that many of them), she displays a remarkable range which encompasses cavernous lows to ringing, apparently effortless high notes. Hers was without doubt a voice to be cherished and remembered.”
“Gerville-Réache spent a part of her childhood in the French West Indies, where her father was stationed as a diplomat, but back in Paris she studied with Rosine Laborde and the legendary Pauline Viardot-Garcia. We probably have the latter to thank for most of what we hear on Gerville-Réache’s recordings today. Emma Calvé was overwhelmed by the young contralto’s voice, and arranged for her début at the Opéra-Comique as Gluck’s Orphée in 1899. She was only 17 years old. She remained on the roster at the Opéra-Comique until 1903, and it was there that she created the rôle of Geneviève in Pelléas et Mélisande (3 April, 1902, l’Opéra-Comique). Her interpretation of Dalila quickly established the popularity of Saint Saëns’ opera in America, and the critic Philip Hale ranked her Dalila ‘on a par with de Reszke’s Roméo, de Lucia’s Canio, Ternina’s Isolde, Calvé’s Carmen and Maurel’s Iago’. When the Met and its trustees raised sufficient ‘hush money’ for Oscar Hammerstein and the Manhattan Opera closed down, Gerville-Réache appeared with the Chicago, Philadelphia and Montréal companies, but mostly sang in extensive recital tours and as soloist with symphonies throughout the United States. She had taken up residence there in 1910 with her husband (the director of the Pasteur Institute in New York) and their two young sons. Her last hours of life found her besieged with an unbelievable combination of violent illnesses. Ptomaine poisoning triggered a ruptured appendix, which induced a miscarriage, and she died in New York at the tragically young age of 32. She possessed the voice of a fine cello swathed in burgundy-colored velvet. A true, sonorous contralto with many of the better qualities of Ernestine Schumann-Heink and Louise Homer, remarkably amalgamated into a single human voice.

Gerville-Réache’s voice cannot but leave an impression on those hearing her….in record after record (not that there are all that many of them), she displays a remarkable range which encompasses cavernous lows to ringing, apparently effortless high notes. Hers was without doubt a voice to be cherished and remembered.”

- Andrea Shum-Binder, subito-cantabile

K575. JEANNE GERVILLE-RÉACHE: Orfeo ed Euridice – J'ai perdu mon Euridice. 12” AC Pat.’08 Vla 88198, only form of issue, 29 April, 1909, this appeared otherwise only as the rare gold HRS private issue. M-A, Exemplary! MB 25

K576. JEANNE GERVILLE-RÉACHE: Orfeo ed Euridice – J'ai perdu mon Euridice / L’Enfant Prodigue – L’Année en vain chasse l’année (Air de Lia) (Debussy). 12” AC gold Victor HRS 1004, POM-29 April, 1909 / 5 May, 1911. Numbered Copy #4 of an extraordinarily Limited Edition. M-A, Exemplary! MB 50

K577. JEANNE GERVILLE-RÉACHE: L’Enfant Prodigue – L’Année en vain chasse l’année (Air de Lia) (Debussy). 12” AC white Vla 88281, POM-5 May, 1911. M-A, exemplary copy of preferred late pressing. MB 25

K578. JEANNE GERVILLE-RÉACHE: La Reine de Saba – Plus grand, dans son obscurité (First Version, ‘Take’ 1) (Gounod). 12" AC Pat.'08 Vla 88205, only form of issue, 29 Oct., 1909. M A, Exemplary! MB 25

K579. JEANNE GERVILLE-RÉACHE: La Reine de Saba – Plus grand, dans son obscurité (Second Version, ‘Take’ 2) / Paul et Virginie – Parmi les lianes (Air du Tigre) (Massé). 12" AC silver Victor IRCC 73, POM 29 Oct., 1909 / 5 May, 1911. Numbered Copy #67 of a Limited Edition. M A, Exemplary! MB 35

K580. JEANNE GERVILLE-RÉACHE: Paul et Virginie – Parmi les lianes (Air du Tigre) (Massé). 12" AC Pat.'08 Vla 88317, only form of issue, 5 May, 1911, Never Doubled (other than elusive IRCC private issue, above). M A, Exemplary! MB 25

K581. JEANNE GERVILLE-RÉACHE: La Vivandière – Viens avec nous, petit (Godard). 10" AC Pat.'08 Vla 87080, only form of issue, 5 May, 1911, Never Doubled (other than elusive AGS private issue). M A, Exemplary! MB 25

K582. JEANNE GERVILLE-RÉACHE: Sapho – O ma lyre immortelle (Gounod). 12” AC ‘Elaine’ Vla 88166, only form of issue, 29 April, 1909, this appeared otherwise only as the rare gold HRS private issue. M-A, exemplary copy of preferred late ‘Elaine’ issue. MB 25

K583. JEANNE GERVILLE-RÉACHE: Il Trovatore – Stride la vampa (in Italian). 10” AC white Vla 87065, only form of issue, 29 Oct., 1909, this appeared otherwise only as the most elusive HRS private issue. A-, lovely copy of preferred late issue few scuffs, ever-so-faintly audible. MB 20

"The old 'Desert Island' cliché is really not a bad way to force one to come to grips with the problem of sorting out one's real favorites when it comes to recordings....I consider Gerville-Réache's recordings of the Reine de Saba and Sapho arias among the really great records. The regal quality and the authority with which the singer opens the first...is not equaled on records, in my estimation....The recording of 'O ma lyre immortelle' from Gounod's Sapho is a close second, and again would be on my list for the great recordings of the century....For a third selection of this singer's records, I would be hard put to choose between the 'Air de Lia' from Debussy's L'Enfant Prodigue and the lovely 'D'une prison' of Reynaldo Hahn...."

W.R. Moran, THE RECORD COLLECTOR, 1973

K584. YVONNE BROTHIER: Nozze – Non so più / Voi che sapete (both in French). 10" EL black Disque Gram. P 698, only form of issue, 29 Oct., 1926. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12

K585. YVONNE BROTHIER: Madama Butterfly – Un bel dì / Tosca – Vissi d’arte (both in French). 10" EL black Disque Gram. P 687, only form of issue, 18 / 19 Oct., 1926. M-A, lovely copy has adhisive on labels. MB 12

K586. YVONNE BROTHIER & LOUIS MUSY: Hamlet – Doute de la lumière, 2s. 12" EL black Disque Gram. W 852, only form of issue, 1927. A-B, very decent copy has lt. rubs & lt. grey on peaks. MB 10

K587. FANNY HELDY: Antar – Air de l’oasis (Dupont) (Creator Record, 14 March, 1921, l’Opéra) / Madama Butterfly – Un bel dì (in French) (1921 Version). 11¾” AC green H & D Pathé 0317. M-A MB 20

“Perhaps [Heldy’s] most attractive recording is the Air of the Oasis from Gabriel Dupont’s Antar. The music …gives Heldy the opportunity to show off some soft high notes and sing easily and attractively without forcing the tone.”

– Michael Scott, THE RECORD OF SINGING

K588. FANNY HELDY: La Traviata – Ah! fors’ è lui; Sempre libera (in French) (1921 Version), 2s. 11¾” AC green H & D Pathé 0318. M-A, lovely copy has, Sd. 1 only, faintest pap. rub, inaud. MB 12

K589. FANNY HELDY , w.Coppola Cond.: La Traviata – Ah! fors’ è lui; Sempre libera (in French) (1928 Version), 2s. 12” EL PW Disque Gram. DB 1271, POM-14 Nov., 1928. M-A MB 12

K590. FANNY HELDY , w.Coppola Cond.: La Traviata – Addio del passato (in French) / Manon – Je suis encore toute étourdie. 12” EL PW Disque Gram. DB 1409, POM-1930. M-A MB 15

K591. FANNY HELDY , w.Coppola Cond.: Roméo – Je veux vivre / Louise – Depuis le jour. 12” EL PW Disque Gram. DB 1304, POM-14 Nov., 1928 / 23 May, 1929. M-A, a gleaming copy. MB 15

K592. FANNY HELDY , w.Coppola Cond.: Thaïs – Air du miroir (Dis-moi que je suis belle), 2s. 12” EL PW Disque Gram. DB 1129, POM-8 Nov., 1927. M-A, a gleaming copy. MB 15

K593. FANNY HELDY , w.Coppola Cond.: Thaïs – O Messager de Dieu / w.Marcel Journet: Baigne d’eau mes mains et mes lèvres. 10” EL PW HMV DA 940, POM-8/7 Nov., 1927. M-A MB 12

K594. FANNY HELDY , w.Coppola Cond.: Madama Butterfly – Un bel dì (1929 Version) / La Boheme – Mi chiamano Mimi (both in French). 12” EL PW Disque Gram. DB 1513, POM-1929. M-A, a gleaming copy. MB 15

K595. FANNY HELDY , w.Coppola Cond.: Faust – Air des bijoux, 2s. 10” EL PW HMV DA 1051, POM-23 May, 1929. M-A MB 10

K596. FANNY HELDY , w.Coppola Cond.: Faust – Il était un Roi de Thulé / Manon – Adieu, notre petite table. 10” EL PW Disque Gram. DA 1250, POM-14 Nov., 1928. M-A, a gleaming copy. MB 15

K597. FANNY HELDY & FERNAND ANSSEAU , w.Coppola Cond.: Manon – Duo de Saint-Sulpice (N’est-ce plus ma main?), 2s. 12” EL PW HMV DB 1410, POM-12 Nov., 1927. M-A MB 10

K598. FANNY HELDY & FERNAND ANSSEAU , w.Coppola Cond.: Carmen – Parle-moi de ma mère, 2s. 12” EL PW HMV DB 1115, POM-12 Nov., 1927. M-A MB 10

K599. FANNY HELDY & MARCEL JOURNET , w.Coppola Cond.: Hamlet – Doute de la lumière / FANNY HELDY, FERNAND ANSSEAU & MARCEL JOURNET: Faust – Final trio. 12” EL white Archive HMV VB 71, POM-10 June, 1931 / 26 Feb., 1930. M-A MB 8

K600. FANNY HELDY , w.Reynaldo Hahn Cond.: Le Marchand de Venise – La sentence nous y venons / FANNY HELDY, MAHE, SINGHER & LE CLEZIO: L’amour qui pourtant n’est pas bête (both Cond. by the Composer). 10" EL PW Disque Gram. DA 4872, only form of issue, 1935 (possibly Japan also). M-A, a gleaming copy. MB 25

“Heldy sang at the Palais Garnier (l’Opéra), débuting in 1920 and singing many lyrico-spinto rôles. She was an accomplished comedienne, very attractive, and maintained her high standards throughout her career.”

– Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.222

K601. ANNA TARIOL-BAUGÉ: La Grande Duchesse de Gérolstein – La déclaration / La Belle Hélène – Amours divins (both Offenbach). 10” AC black V 62977, POM-1908. M-A MB 15

K602. ANNA TARIOL-BAUGÉ: La Fille de Mme Angot – Marchande de marée (Lecocq) / La Périchole – Tu n’es pas beau (Offenbach). 10” AC black V 62984, POM-1907. M-A, lovely copy has, Sd. 1 only, infinitesimal pap. scr, barely visible & inaud. MB 15

K603. ANNA TARIOL-BAUGÉ & ALFRED DAMBRINE: La Périchole – L’Espagnole et la jeune Indienne (Offenbach) / Miss Helyett – Duetto espagnol (Audran). 10” AC black Canadian GP V 120019, POM-30 March, 1909. B, very decent copy has lt. rubs & superficial scrs. MB 10

“Anna Tariol-Baugé was one of the great performers on the operetta stage in France for over thirty years. She was associated with the Théâtre des Variétés for many years and appeared at the Opéra-Comique as a guest. It was in this capacity that she created the rôle of Agathe in Messager’s Véronique in 1898.”

– VRCS Program notes

K604. JENNIE TOUREL , w.Abravanel Cond.: Arias from La Périchole & Les Contes d’Hoffmann (both Offenbach). 2-10” EL Col. 17539/40-D, in Orig. Album MX-299, POM-1947. M-A MB 15, the Set.

K605. JENNIE TOUREL , w.Erich Itor Kahn (Pf.): Ariettes oubliées – C’est l’éxtase langoureuse / Il pleure dans mon coeur (Debussy). 10” EL Eng. Col. LB 125, only form of issue, 1947. M-A Elusive! MB 12

K606. JENNIE TOUREL , w.George Reeves (Pf.): Chanson triste (Duparc) / Les berceaux (Fauré). 12” EL Eng. Col. LX 1306, only form of issue, 1946. M-A MB 12

K607. JENNIE TOUREL , w.George Reeves (Pf.): Zyczenie (The Maiden's Wish); Moja Pieszczotka (My Joy) / Niema Czego Trzeba (Mélancolie) (all Chopin; in Polish). 12” EL Col. 72870-D, only form of issue, 1949. M-A MB 12

K608. JENNIE TOUREL , w.Erich Itor Kahn (Pf.): 10 Rachmaninoff Songs, 6s. 3-12” EL Col. 718070/09-D, POM-1945, in Orig. Album M-625. M-A, as New. MB 20, the Set.

K609. JENNIE TOUREL , w.Pietro Cimara Cond. Metropolitan Opera Orch.: Arias from La Cenerentola, L’Italiana in Algeri, Barbiere & Semiramide, 6s. 3-12” EL Col. 72132/34-D, POM-1946. M-A MB 20, the Set.

K610. JENNIE TOUREL , w.Süsskind Cond. Philharmonia Orch.: Jeanne d'Arc – Adieu, forêts (Tschaikowsky), 2s. 12” EL Eng. Col. LX 1547, only form of issue, 25 Sept., 1951. M-A, lovely copy has faintest pap. rubs, inaud. MB 10

K611. JENNIE TOUREL , w.Süsskind Cond. Philharmonia Orch.: Carmen – Habañera / Les tringles des sistres tintaient. 12” EL Eng. Col. LX 1507, only form of issue, 25 Sept., 1951. M-A MB 10

K612. JENNIE TOUREL , w.Villa-Lobos Cond.: Seréstas, 3s / Sd.4 = Sino de aldeia (both Cond. by the Composer). 2-12” EL Col. 71656/57-D, Orig. Album X-249, only form of issue, 1945. M-A MB 15, the Set.

“Jennie Tourel was born Bella or Jennie Davidovich in the city of Vitebsk, now in Belarus. Tourel and her family were forced to flee during the Russian Revolution; they settled first in Gdansk, Poland and then in Paris. Tourel continued her piano studies in Paris, but switched to singing under the tutelage of Reynaldo Hahn and Anna El-Tour. Sources differ as to when Tourel made her début and where; some say the Chicago Civic Opera in 1930, others the Opéra Russe (in Paris) in 1931. Tourel made her début with the Metropolitan Opera on 15 May, 1937 in Mignon; and a recording survives of this performance. Tourel's earliest recordings are all live opera ‘bootlegs’; a 1944 Met performance of Bellini's Norma, in which Tourel appears opposite Zinka Milanov, is particularly prized by collectors.

As Paris fell before the Nazis in 1940, Tourel fled to Lisbon to board one of the last ships heading to the United States. Tourel rejoined the Met, remaining there until 1947, and became established as the reigning mezzo in New York, extraordinarily popular as well in performances with the New York Philharmonic. In 1945, she premièred the vocal/orchestral versions of several Samuel Barber songs, including ‘Sure, on this Shining Night’, in a CBS broadcast led by the composer. Tourel also worked with Villa-Lobos, Poulenc, Virgil Thomson, Lukas Foss (the Song of Songs), and others. In Venice in 1951, Tourel created the rôle of Baba the Turk in Stravinsky's opera The Rake's Progress. The sheer number of works Tourel introduced in one way or another is in itself impressive. But it was Tourel's association with Leonard Bernstein that proved most fruitful. The partnership began in 1942 with Bernstein taking the rôle of piano accompanist to Tourel in recitals, and lasted until she died. Their connection went beyond music; they shared many common interests. Tourel premièred Bernstein's ‘Jeremiah’ Symphony under the composer in Pittsburgh in 1944, and also sang at the première of his third symphony, Kaddish, in Tel Aviv in 1963 . Several of Bernstein's songs were written for her, including ‘I Hate Music’ (1943). Among the many recordings Tourel made with Bernstein functioning both as piano accompanist and conductor were those of Mussorgsky's Songs and Dances of Death, Berlioz's La Mort de Cléopâtre, Ravel's Shéhérazade, and their 1962 recording of the Mahler Resurrection Symphony.

Tourel was an eccentric who delighted in befuddling critics with conflicting information on her background. She tried to reduce her age by ten years, relocated her birthplace to Toronto, and in later years emphatically denied having created her stage name by modifying that of her teacher. Tourel taught at Julliard and at the Aspen Music School; her impact on younger musicians was considerable and not necessarily limited to singers. Among Tourel's protégés were mezzo-soprano Barbara Hendricks, pianist James Levine, bassist Gary Karr, and, to a certain extent, Bernstein himself. She made her last major appearance in 1972 in Seattle in Thomas Pastieri's opera Black Widow, and died the following year at the age of 73.”

- Uncle Dave Lewis, ALL MUSIC GUIDE

K613. CLARA CLAIRBERT , w.Wolff Cond.: Lakmé – Dans la forêt près de nous / Les Pêcheurs de Perles – Comme autrefois. 12” EL black French Polydor 566.157, POM-1933. A, lovely copy has faintest pap. rub, inaud. MB 12

K614. CLARA CLAIRBERT , w.Gurlitt Cond.: Manon – Adieu, notre petite table / La Traviata – Addio del passato (in French). 12” EL PW black French Polydor 66918, POM-1929. A to M-A, choice copy has, Sd. 2 only, faintest pap. rub, inaud. MB 12

K615. CLARA CLAIRBERT , w.Gurlitt Cond.: Manon – Voyons, Manon, plus de Chimères / Oui, dans les bois (Fabliau). 12” EL PW black French Polydor 66917, POM-1929. M-A, a gleaming copy. MB 15

K616. CLARA CLAIRBERT , w.Gurlitt Cond.: Manon – Ce Bruit de l’Or / w.Prüwer Cond.: Suis-je gentille ainsi. 12” EL PW black German Polydor 66919, POM-1929. M-A, a gleaming copy. MB 15

K617. CLARA CLAIRBERT , w.Wolff Cond.: Il bacio (Arditi) / Villanelle (dell’Acqua). 10” EL PW black German Polydor 62704, POM-1929. M-A, a gleaming copy. MB 15

K618. CLARA CLAIRBERT , w.Wolff Cond.: Le carnaval de Venise (Benedict), 2s. 12” EL PW black German Polydor 67045, POM-1929. M-A, a gleaming copy. MB 15

K619. CLARA CLAIRBERT , w.Wolff Cond.: Le Pardon de Ploërmel (Dinorah) – Ombre légère, 2s. 12” EL PW black French Polydor 566.156, POM-1933. A, lovely copy has faintest pap. rub, inaud. MB 12

K620. CLARA CLAIRBERT , w.Prüwer Cond.: La Fille du Régiment – Salut à la France / Lucia – Ardon gl’incensi (in French). 12” EL PW black French Polydor 66921, POM-1929. M-A, lovely copy has, Sd. 2 only, few infinitesimal pap. mks, barely visible & inaud. MB 12

K621. CLARA CLAIRBERT , w.Gurlitt Cond.: Thème et variations (Proch) / Les Huguenots – O beau Pays. 12” EL PW black German Polydor 66920, POM-1929. A to M-A, choice copy has, Sd. 1, faintest pap. rub, inaud. MB 12

K622. CLARA CLAIRBERT: Mireille – Trahir Vincent / Rigoletto – Caro nome (in French). 12” EL PW black German Polydor 66793, POM-1928. M-A MB 12

K623. CLARA CLAIRBERT: Mignon – Je suis Titania / Mireille – O légère hirondelle. 12” EL PW black French Polydor 66794, POM-1928. M-A MB 12

K624. CLARA CLAIRBERT: Lakmé – Où va la jeune Indoue / Manon – Je suis encore toute étourdie. 12” EL PW black German Polydor 66791, POM-1928. M-A, lovely copy has 3 infinitesimal pap. scrs, inaud. MB 12

K625. CLARA CLAIRBERT: La Traviata – Ah! fors’è lui / Sempre libera (in French). 12” EL PW black German Polydor 66790, POM-1928. M-A MB 12

“For almost thirty years [Clairbert} was the leading prima donna of the Monnaie, enjoying immense popularity….To her legion of admirers she was clearly an extraordinary artist, whose singular art was described as: ‘Clairbert, it is not just a name, it is a concept!....an expression of limpid facility, a crystalline and pure quality, a dazzling and infallible technique and a voice beyond comparison’.”

– Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, pp.201-02

K626. LUCETTE KORSOFF: Il bacio (in French) (Arditi). 10” AC black V 52723, POM-1908. M-A, gleaming copy. MB 8

K627. LUCETTE KORSOFF: Valse des roses (Métra) / LÉON BEYLE & HECTOR DUFRANNE: Carmen – Celle que vous aimez est ici. 10” AC black Pat.’08 V 62750, POM-1908. M-A MB 8

K628. LUCETTE KORSOFF: Mignon – Je suis Titania / ALICE VERLET: Lakmé – Pourquoi dans les grands bois. 10” AC blue V 45006, POM-1908. M-A, lovely copy has, Sd. 1 only, insignificant pap. mk, inaud. MB 10

K629. LUCETTE KORSOFF: Manon – Obéissons quand leur voix appelle. 10” AC black Paris Pre-Dog G.C.-33691, POM-1908. A-, lovely copy has few lt. rubs & superficial mks. MB 10

K630. LUCETTE KORSOFF & LÉON BEYLE: Manon – On l’appelle Manon / Nous vivrons à Paris. 10” AC blue V 45009, POM-1906/’08, resp. M-A MB 8

K631. LUCETTE KORSOFF & LÉON BEYLE: Manon – Et je sais votre nom. 10” AC black Pat. ’08 V 52722, POM-1908. M-A MB 8

K632. LUCETTE KORSOFF & LÉON BEYLE: Manon – Avez-vous peur; J'écris à mon père / ALINE VALLANDRI & ANTONIO ROCCA: Lakmé – Dans la forêt près de nous. 10” AC blue Pat.’12 V 45005, POM-1908. M-A MB 8

“Korsoff was born in Italy of Russian parents. At sixteen, she performed with a Russian opera troupe of which her father was a member. She studied with Frédéric Boyer in Paris and sang the rôle of Marie in the Brussels Opera's production of The Bartered Bride in 1905. She also appeared at the Opéra-Comique, New Orleans Opera, Boston Opera and Monte Carlo Opera. She was a coloratura soprano with technique to spare and a beautiful tone. She was particularly admired as the Queen of the Night.”

K633. LILY PONS: Mimosas (Giraud) / Le loup, la biche, et le chevalier (Salvadore). 10” EL vinyl white Col. 40176, only form of issue, 2 Sept., 1953. M-A, a gleaming copy. MB 10

K634. LILY PONS , w.Cimara Cond.: Think on me (Scott) / Ave Maria (Bach-Gounod). 10” EL Col. 17376-D, only form of issue, 30 Nov., 1944. M-A MB 10

K635. LILY PONS , w.Frank LaForge (Pf.): Cupid captive (Acc. by the Acc. by the Composer) / w.Kostelanetz Cond.: Estrellita (Ponce). 10” EL PW V 2137, only form of issue, 7 March, 1940. Sd. 2 is very lovely. M-A, gleaming copy. MB 8

K636. LILY PONS , w.Kostelanetz Cond.: J’attendrai (Poterat) / La Traviata – Ah! fors’ è lui. 12” EL PW Canadian Col. C15971, POM-8 / 15 May, 1946. M-A MB 8

K637. LILY PONS , w.Harold Barlow Cond.: Rigoletto – Caro nome (in Italian) / André Kostelanetz Cond.: Stormy weather (Harold Arlen). 12” EL vinyl V-Disc 520, only form of issue, 25 June, 1945 / June, 1945. B-C, decent copy has the usual rubs & scrs found in this series. MB 10

K638. LILY PONS , w.Kostelanetz Cond.: L’invitation au voyage (Duparc) / w.Abravanel Cond.: Après un rêve (Fauré). 12” EL PW Canadian Col. C16059, POM-2 April, 1947 / 19 Sept., 1946. M-A MB 8

K639. LILY PONS , w.Abravanel Cond.: Chère nuit (Bachelet) / Les roses d’Ispahan (Fauré). 12” EL PW Canadian Col. C16057, POM-19 Sept., 1946. M-A MB 8

K640. LILY PONS , w.Cloëz Cond.: Thème et variations (Proch) / Parysatis – Le rossignol et la rose (Saint-Saëns). 10” EL dark-blue early PW Col. G-4074-M, POM-26 Feb., 1929. M-A, a gleaming copy. MB 10

K641. LILY PONS , w.Cloëz Cond.: Zauberflöte – Der Hölle Rache / Nozze – Voi che sapete (foth in French). 10” EL French Odéon 188.644, POM-26 Feb. / 6 July, 1929. M-A, a gleaming copy. MB 10

K642. LILY PONS , w.Cloëz Cond.: Les Contes d’Hoffmann – Les oiseaux dans la charmille / Mireille – O légère hirondelle. 10” EL French Odéon 188.642, POM-20 Feb., 1929. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 10

K643. LILY PONS , w.Cloëz Cond.: Lakmé – Où va la jeune Indoue (1929 Version), 2s. 10” EL red Decca 23015, POM-21 Feb., 1929. M-A MB 8

K644. LILY PONS , w.Bourdon Cond.: Lakmé – Où va la jeune Indoue (1930 Version), 2s. 10” EL Orth Vla 1502, POM-8 Dec., 1930. M-A MB 8

K645. LILY PONS , w.Cloëz Cond.: Lakmé – Dans la forêt près de nous / Les Contes d’Hoffmann – Les oiseaux dans la charmille. 10” EL red Decca 23016, POM-21/20 Feb., 1929. M-A MB 10

K646. LILY PONS , w.Kostelanetz Cond.: I Puritani – Son vergin vezzosa / Mignon – Je suis Titania. 12” EL Eng. Col. LX 1514, POM-23 April, 1949. M-A, a gleaming copy. MB 8

K647. LILY PONS , w.Cloëz Cond.: Barbiere – Una voce poco fà (in French), 2s. 10” EL red Decca-Odeon P-G-20521, POM-21 March, 1929. M-A MB 8

K648. LILY PONS , w.Cloëz Cond.: La Boheme – Mi chiamano Mimi / Zauberflöte – Ach ich fühls (both in French). 12” EL red Decca 29004, POM-26 Feb., 1929. M-A MB 10

K649. LILY PONS , w.George Possell (Flute): Lucia – Ardon gl'incensi / Spargi d'amaro pianto. 12” EL Scroll V 7369, POM-8 Dec., 1930, ‘Takes’ 3 / 1 (each of two issued ‘takes’), on ‘Z’ shellac. M-A MB 12

K650. LILY PONS , w.George Possell (Flute): Lucia – Ardon gl'incensi / Spargi d'amaro pianto. 12” EL V 7369, POM-8 Dec., 1930, ‘Takes’ 2 / 2 (each of two issued ‘takes’). M-A, a gleaming copy. MB 8

K651. LILY PONS & ENRICO DI MAZZEI , w.Cloëz Cond.: Rigoletto – E il sol dell'anima (in Italian), 2s. 12” EL French Odéon 123.597, POM-19 Dec., 1928. M-A, a gleaming copy. MB 12

K652. LILY PONS & ENRICO DI MAZZEI , w.Cloëz Cond.: La Boheme – Non sono in vena / O soave fanciulla (in French). (both in French). 12” EL French Odéon 123.598, POM-19 Dec., 1928. M-A, a gleaming copy. MB 12

“When she became an overnight star in January 1931 with a matinee performance of Lucia Di Lammermoor at the Metropolitan, she had almost no background to speak of....although she stopped singing at the Metropolitan Opera in 1959, after twenty-eight years on the roster, this did not mark her retirement. She went on, singing less and less, until the mid-sixties. Then, at the age of sixty-eight, she made a most unexpected appearance at Philharmonic Hall in New York City....she sang six arias to delirious acclaim, and the concert became part of a television documentary dedicated to her.”

– Lanfranco Rasponi, THE LAST PRIMA DONNAS

K653. GABRIELLE RITTER-CIAMPI: Il bacio (Arditi) / Jazz dans la Nuit (Roussel). 11¾” EL black Art Label Pathé X.7195, only form of issue, 1929. A/A-B, lovely copy has lt rubs, inaud.; Sd. 2 only has long but very lt. scr, only occasionally minimally audible. Exceedingly Rare! Sd. 1 label Autographed in black ink by Ritter-Ciampi. MB 45

K654. GABRIELLE RITTER-CIAMPI: Hamlet – En vous voyant (Air du livre) / Manon Lescaut – L’éclat de rire (Auber). 11½” AC H & D green paper label Pathé 0496 (20043/45), only form of issue, 1925. M-A, a gleaming copy. Elusive! MB 20

“Ritter-Ciampi débuted in 1917 as Violetta, and two years later she was engaged at Opéra-Comique, where she became famous as an interpreter in Mozart operatic rôles. Her activity was centered predominantly in France, but she took part also in the Salzburg Festival in 1932, again in Mozart's rôles. She was considered a fine, light lyric soprano with good technique and is capable of reaching high notes easily, frequently compared to her days with Adelina Patti, who had a similar voice.”

K655. NOÉMI PÉRUGIA , w.Joseph Benvenuti (Pf.): Le Jardin Clos, 3s / Sd. 4 = Tristesse (both Fauré) 2-12” EL Disque Gram. DB 5157/58, only form of issue, 1941. M-A, a gleaming copy. Exceedingly elusive wartime issue, France only. MB 35, the Pair.

K656. NOÉMI PÉRUGIA , w.Irène Aitoff (Pf.): Dans la forêt de septembre / Le don silencieux (both Fauré). 10" EL Disque Gram. DA 5008, only form of issue, 1945. M-A, Exemplary! MB 25

K657. NOÉMI PÉRUGIA , w.Irène Aitoff (Pf.): Chansons de Bilitis (Debussy), 2s. 12” EL Disque Gram. DB 11.186, only form of issue, 1947. M-A, Exemplary! MB 25

“Noémie Pérugia was winner of the International Gabriel Fauré competition in 1938, after which she made her début in the Verdi Requiem. She devoted her career to the music of Fauré and Honegger. Specializing in French mélodie, she taught at the École Normale de Musique de Paris and the Schola Cantorum. She founded the Concours Gabriel Fauré international d'interprétation et d'accompagnement Noémie Pérugia, in Paris, and l'Académie de chant et d'art lyrique Noémie Pérugia, in Amsterdam.”

K658. GÉORI BOUÉ, w.Cloëz Cond.: Manon – Je suis encore toute étourdie / Adieu, notre petite table. 10” EL French Odéon 188.944, only form of issue, 1945. M-A, lovely copy has, Sd. 1 only, faintest dust mk, inaud. MB 12

K659. GÉORI BOUÉ , w.Cloëz Cond.: Mireille – Mon coeur ne peut changer / À toi mon âme, je suis ta femme. 10” EL French Odéon 188.945, only form of issue, 1945. M-A MB 15

K660. GÉORI BOUÉ , w.Cloëz Cond.: Mireille – Scène de la Crau, 2s. 10” EL French Odéon 188.946. M-A, a gleaming copy. MB 15

K661. GÉORI BOUÉ , w.Cloëz Cond.: Otello – Canzone del Salce / Ave Maria (in French) (Verdi). 12” EL French Odéon 123.870, only form of issue, 1943. M-A, a gleaming copy. MB 15

K662. GÉORI BOUÉ , w.Cloëz Cond.: Nozze – Voi che sapete / Deh! vieni, non tardar (in French). 12” EL French Odéon 123.893, only form of issue, 1947. M-A, Exemplary! MB 15

K663. GÉORI BOUÉ , w.Cloëz Cond.: Faust – Le Roi de Thulé / Air des bijoux. 12” EL French Odéon 123.872, only form of issue, 1943. M-A, a gleaming copy. MB 15

K664. GÉORI BOUÉ , w.Cloëz Cond.: La Boheme– Mi chiamano Mimi / Madama Butterfly - Un bel dì (both in French). 12” EL French Odéon 123.871, only form of issue, 1947. M-A, a gleaming copy. MB 15

K665. GÉORI BOUÉ , w.Pascal Quartet & Raymond Trouard (Pf.): Chanson perpétuelle (Chausson), 2s. 12” EL French Odéon 123.889, only form of issue, 1947. M-A, a gleaming copy. MB 20

“Géori (Georgette) Boué made her Paris début at the Opéra-Comique in 1939, as Mimi in La Bohème (singing in the 1,000th performance at the Salle Favart on 3 May 1951), and other rôles there included: Lakmé, Manon (singing in the 2,000th performance on 18 January 1952), and Ciboulette (first performance at the Opéra-Comique). Her début at the Palais Garnier took place in 1942, as Marguerite, and she went on to sing rôles such as Juliette, Thaïs, Salomé in Hérodiade, Louise, Gilda, Violetta, Desdemona, Tosca, Madama Butterfly, Tatiana, etc. Boué had a clear voice of considerable power, renowned for her impeccable diction, she was widely regarded as one of the greatest French sopranos of the 1940s. She was married to French baritone Roger Bourdin in May 1944, with whom she can be heard in two recordings, Faust under Thomas Beecham, and Thaïs. She retired from the stage in 1970.”

K666. NINON VALLIN (as Vallin-Pardo): La Boheme – Mi chiamano Mimi (in French) / LUCY VUILLEMIN & PAUL PAYAN: Louise – Crois-tu qu’il t’aime? 12” AC black Disque Gram. 033172/034191, POM-13 Jan., 1914 / 10 Jan., 1913. A to M-A/M-A, lovely copy has, Sd. 1 only, very few sl. greyed grooves, inaud. MB 25

K667. NINON VALLIN (as Vallin-Pardo): Manon – Je suis encore toute étourdie / Lakmé – Tu m’as donné le plus doux rêve. 11½” AC H & D grey paper label US-Pathé 59067 (3163/64), recorded 1917. M-A, Exemplary! MB 15

K668. NINON VALLIN (as Vallin-Pardo): Le Timbre d’Argent – Le bonheur est chose légère (Saint-Saëns) / Louise – Depuis le jour. 11½” AC H & D grey paper label US-Pathé 59004 (3150/47), recorded 1916. M-A, Exemplary! MB 15

K669. NINON VALLIN (as Vallin-Pardo) & LÉON BEYLE: Manon – On l’appelle Manon (Duo de la lettre) / Mireille – Vincenette à votre âge. 11½” AC H & D black paper label Pathé 2519 (1458/76), only form of issue, 1913 (Vallin’s 1st Pathé). M-A, lovely copy has faintest grey on peaks; Sd. 2 only, wee pressing bump. MB 20

K670. NINON VALLIN: Le Nil (Leroux) / Sadko – Chant indou (Rimsky-Korsakov). (1928 Versions) 11¾” EL orange Art Label Pathé X.7149, only form of issue, 1928. M-A, choice copy has, Sd. 1 only, infinitesimal pap. scr, inaud. Exceedingly elusive! MB 35

K671. NINON VALLIN: Vidalita (Arenas) / Amargura (Gardel-Razzano) (both in Spanish). 11½” AC H & D green paper label Pathé 3219 (3504/08), only form of issue, 1922. B-, very decent copy has few lt. mks, corrugated mks, Sd.1 only; tiny hlc runs into 1st grooves only, from ec, not to grooves. Exceedingly rare! MB 15

K672. NINON VALLIN: Siete Canciones Populares Españoles – Jota (de Falla) / Tonadillas – El majo discreto (Granados) (both in Spanish). 11½” AC H & D green paper label Pathé 3220 (3510/11), only form of issue, 1922. A/M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. Exceedingly rare! MB 25

K673. NINON VALLIN: Après un rêve (Fauré) / Célèbre sérénade (Gounod). 11½” AC H & D green paper label Pathé 3222 (3489/88), only form of issue, 1921. A to M-A Elusive! MB 15

K674. NINON VALLIN: Nozze – Deh! vieni, non tardar / Mefistofele – L’altra notte (both in French). 11½” AC H & D black paper label Pathé 0263 (2063/52), recorded 1920, only form of issue, Sd.1. M-A, Exemplary! MB 25

“The exceptional quality of [Vallin’s] voice, its purity, its freshness, its timbre, its color, its flexibility, its emotional character as well as the assurance and the taste with which it was used could leave no doubt whatever. We were in the presence of a great artist.”

- Albert Carré, director of the Opéra-Comique

K675. NINON VALLIN: Pagliacci – Stridono lassu (in French) / Lakmé – Tu m’as donné le plus doux rêve. 11½” AC H & D green paper label Pathé 172 (3161/64), recorded 1917, only form of issue, Sd.1. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15

K676. NINON VALLIN: Mignon – Connais-tu le pays? / La Boheme – Mi chiamano Mimi (in French). 11½” AC H & D green paper label Pathé 0074 (3145/46), only form of issue, 1916. M-A MB 15

K677. NINON VALLIN: Mignon – Elle est là, près de lui / Thaïs – Air du miroir (Dis-moi que je suis belle). 11½” AC H & D green paper label Pathé 173 (3154/60), only form of issue, 1917. M-A, Exemplary! MB 20

K678. NINON VALLIN: La Boheme – Donde lieta uscì / Madama Butterfly – Un bel dì (both in French). 11½” AC H & D green paper label Pathé 170 (3151/52), recorded 1916, only form of issue, Sd.1. M-A/A, lovely copy has, Sd. 2 only, sev infinitesimal mks, inaud. MB 15

K679. NINON VALLIN: Louise – Depuis le jour / Manon – Adieu, notre petite table. 11½” AC H & D green paper label Pathé 0075 (3147/48), recorded 1916, only form of issue, Sd.2. A to M-A, lovely copy has, Sd.2 only, numerous infinitesimal pressing bumps. MB 15

K680. NINON VALLIN , w.Vadon (Organ): Voici la Noël (Tiersot) / Panis angelicus (Franck). 11¾” EL black Art Label Pathé X.7226, only form of lateral issue, 1930. A, lovely copy has faintest pap. rubs, inaud. Exceedingly elusive! MB 35

K681. NINON VALLIN , w.Darck (Pf.): Waltz #9 in A-flat, Op.69, #1 (as ‘Valse de l’adieu’) (Chopin; arr.Darck) / Hungarian Dance #4 in f (as ‘Violon du soir’) (Brahms; arr.Darck). 10” EL dark-blue French Odéon 281.277, POM-21 June, 1938. M-A, a gleaming copy. MB 20

K682. NINON VALLIN , w.Darck (Pf.): Waltz #15 in A-flat (as ‘Ainsi qu’un très vieux refrain’ – ‘Célèbre Valse de Brahms’) (Brahms; arr.Darck) / L’adorable cantilène (Spencer). 10” EL dark-blue French Odéon 281.278, POM-21 June,1938. M-A, a gleaming copy. MB 20

K683. NINON VALLIN , w.Darck (Pf.): Dolly – Berceuse (Fauré) / Chanson (Acc. by the Composer). 10” EL dark-blue French Odéon 166.805, POM-25 June, 1934, only form of issue, Sd.2. A to M-A, lovely copy has faintest pap rubs, inaud. MB 25

K684. NINON VALLIN , w.Darck (Pf.): Où voulez-vous aller? (Gounod) / Fortunio – La maison grise (Messager). 10” EL red Decca-Odeon G-20328, POM-25 June, 1934. M-A MB 10

K685. NINON VALLIN , w.Darck (Pf.): Les roses de Saadi (Canal) / Les Nuits d’Été – Villanelle (Berlioz). 10” EL green Pathé PG 62, only form of issue, 15 May, 1935. M-A, a gleaming copy. MB 25

K686. NINON VALLIN , w.Darck (Pf.): Près de l’étang (Longas) / The night is made for love (in French) (Jerome Kern). 10” EL dark-blue French Odéon 166.806, only form of regular issue, 25 June, 1934; this appeared also in Argentina. M-A, a gleaming copy. MB 25

K687. NINON VALLIN , w.Darck (Pf.): Triste est le Steppe (Gretchaninoff); Les lilas (Rachmaninoff) / Venise (Gounod). 10” EL green Pathé PG 82, only form of issue, 13 Jan., 1937. M-A, lovely copy has, Sd. 2 only, faintest pap., rubs, inaud. Most elusive! MB 25

K688. NINON VALLIN , w.Darck (Pf.): Clair de lune / Soir (both Fauré). 10” EL green Pathé PG 101, only form of issue, 15 June, 1938. M-A, a gleaming copy. Most elusive! MB 25

K689. NINON VALLIN , w.Darck (Pf.): Chanson de printemps (Gounod) / Mai; Secret (both Roesgen-Champion; Acc. by the Composer). 10” EL green Pathé PG 81, only form of issue, 29 April / 13 Jan., 1937. M-A, Exemplary! MB 25

K690. NINON VALLIN , w.Darck (Pf.): Les vieilles de chez nous (Levadé) / Sérénade du passant (Massenet). 10” EL dark-blue French Odéon 281.031, only form of issue, 11 May, 1936. M-A, Exemplary! MB 25

K691. NINON VALLIN , w.Darck (Pf.): La rose / Automne (both Fauré). 10” EL green Pathé PG 60, only form of issue, 15 May, 1935. M-A, Exemplary! MB 20

K692. NINON VALLIN , w.Darck (Pf.): Cimetière de campagne / Chansons Grises – L’heure exquise (both Hahn). 10” EL green Pathé PG 80, POM-13 Jan., 1937. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

K693. NINON VALLIN , w.Darck (Pf.): Cimetière de campagne / Chansons Grises – L’heure exquise (both Hahn). 10” EL blue PW Col. P-17160, POM-13 Jan., 1937. M-A, Exemplary! MB 10

K694. NINON VALLIN , w.Darck (Pf.): Ave Maria (Bach-Gounod) / w.Darck (Pf.) & J.Faure (Cello): Jocelyn – Cachés dans cet asile (Berceuse) (Godard). 10” EL dark-blue PW Japanese Col. P 27, POM-11 / 20 May, 1936, missing in exemplary Juynboll discography. M-A, lovely copy has, Sd. 2 only, faint pap rubs, barely visible & inaud. MB 15

K695. NINON VALLIN , w.Darck (Pf.): Dolly – Berceuse (Fauré) / Jocelyn – Cachés dans cet asile (Berceuse) (Godard). 10” EL red Decca-Odeon G-20324, POM-25 June, 1934 / 20 May, 1936. M-A, Exemplary! MB 10

K696. NINON VALLIN , w.Maurice Faure (Pf.): Clair de lune / L’automne (both Fauré). 10” EL French Odéon 188.578, POM-31 March, 1928. M-A, Exemplary! MB 15

K697. NINON VALLIN , w.Maurice Faure (Pf.): Si mes vers avaient des ailes / Chansons Grises – L’heure exquise (both Hahn). 10” EL French Odéon 188.579, POM-31 March, 1928. M-A, Exemplary! MB 15

K698. NINON VALLIN , w.Maurice Faure (Pf.): Si mes vers avaient des ailes / Chansons Grises – L’heure exquise (both Hahn). 10” EL Australian Parl. AR 121, POM-31 March, 1928. M-A, Exemplary! Beautiful surfaces. MB 20

K699. NINON VALLIN , w.Maurice Faure (Pf.): Si mes vers avaient des ailes / Chansons Grises – L’heure exquise (both Hahn). 10” EL red Decca-Odeon G-20504, POM-31 March, 1928. M-A MB 10

K700. NINON VALLIN , w.Maurice Faure (Pf.): Les deux coeurs (de Fontenailles) / L’île heureuse (Chabrier). 10” EL dark-blue French Odéon 166.667, only form of issue, 31 May, 1933. A to M-A, lovely copy has faintest pap.rubs. MB 15

K701. NINON VALLIN , w.Maurice Faure (Pf.): Nell / Le parfum impérissable (both Fauré). 10” EL Pathé PD 51, only form of issue, 28 July,1943. M-A, a gleaming copy. Elusive wartime issue. MB 15

K702. NINON VALLIN , w.Maurice Faure (Pf.): Sais-tu? (de Fontenailles) (‘Take’ 2 [‘Take’ 1 also issued]) / w.de Pierlas (Pf.): L’anneau d’argent (Chaminade). 10” EL green French Odéon 166.666, only form of regular issue, 31 May, 1933, Sd.2; (Sd.1 appeared also in Argentina). M-A, a gleaming copy. Sd.1 is among Vallin’s most beguiling renditions! MB 35

K703. NINON VALLIN , w.Maurice Faure (Pf.): Les roses d’Ispahan / Au cimetière (both Fauré). 10” EL Pathé PD 66, only form of issue, 28 July, 1943. M-A, gleaming copy has, beg. Sd. 1, faintest scuff, inaud. Elusive wartime issue. MB 20

K704. NINON VALLIN , w.Maurice Faure (Pf.): Aurore / En sourdine (both Fauré). 10” EL Pathé PD 46, only form of issue, 28 July,1943. M-A, a gleaming copy. Elusive wartime issue. MB 20

K705. NINON VALLIN , w.Maurice Faure (Pf.): Le secret / Soir (both Fauré). 10” EL Pathé PD 45, only form of issue, 28 July, 1943. M-A, a gleaming copy. Elusive wartime issue. MB 25

K706. NINON VALLIN , w.Louis Beydts Cond.: Le promenoir des deux amants (Debussy), 2s. 12” EL Pathé PDT 82, only form of issue, 28 July, 1943. M-A, lovely copy has, Sd. 2 only, long lateral lam, audible during 1st quarter of performance. Ultra-Rare wartime issue! MB 35

K707. NINON VALLIN , w.Reynaldo Hahn (Pf.): Les étoiles / La délaissée (both Acc. by the Composer). 10” EL red Decca-Odeon G-20507, POM-26 June, 1930. M-A, Exemplary! MB 12

K708. NINON VALLIN , w.Reynaldo Hahn (Pf.): Études Latines – Tyndaris / Lyde (both Acc. by the Composer). 10” EL French Odéon 188.741, POM-26 June, 1930. M-A, Exemplary! MB 15

K709. NINON VALLIN , w.Reynaldo Hahn (Pf.): Infidélité / D’une prison (both Acc. by the Composer). 10” EL French Odéon 188.738, POM-26 June, 1930. M-A, a gleaming copy. MB 15

K710. NINON VALLIN , w.Reynaldo Hahn (Pf.): Le printemps / L’air (both Acc. by the Composer). 10” EL French Odéon 188.739, POM-26 June, 1930. M-A, Exemplary! MB 15

K711. NINON VALLIN , w.Cloëz (Pf.): Mandoline / Arièttes Oubliées – Aquarelles (both Debussy). 10” EL red Decca-Odeon G-20326, POM-3 July, 1928. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12

K712. NINON VALLIN , w.Cloëz Cond.: Phidylé (Duparc), 2s. 10” EL Argentinian Odeon 195.014, POM-3 July, 1928. M-A, lovely copy has, Sd. 2 only, faintest pap. scr, inaud. Exquisitely beautiful! MB 15

K713. NINON VALLIN , w.Cloëz Cond.: Chanson triste (Duparc) / w.Madeleine D’Aleman (Pf.): Schwanengesang – Leise flehen meine Lieder (Ständchen) (in French) (Schubert). 12” EL red Decca-Odeon G-25843, POM-3 July, 1928 / 3 Dec., 1929. M-A, Exemplary! MB 15

K714. NINON VALLIN , w.Cloëz Cond.: Mefistofele – L’altra notte / Norma – Casta Diva (both in Italian!). 12” EL French Odéon 123.709, POM-27 June, 1930. M-A, choice copy has faintest pap. rubs, positively inaud. Sublimely beautiful & her sole recordings in Italian! Excellent shellac offering unusually quiet surfaces. MB 25

K715. NINON VALLIN , w.Cloëz Cond.: Tosca – Vissi d’arte (in French) / Hérodiade – Il est doux, il est bon. 12” EL French Odéon 123.530, POM-29 March, 1928, only form of issue, Sd.1. M-A, Exemplary! MB 15

K716. NINON VALLIN , w.Cloëz Cond.: Werther – Va! laisse couler mes larmes, 2s. 10” EL French Odéon 188.517, POM-13 April, 1927. M-A, Exemplary! MB 15

K717. NINON VALLIN , w.Cloëz Cond.: Werther – Werther! Qui m’aurait dit (Air des lettres), 2s. 12” EL red Decca-Odeon G-25846, POM-13 April, 1927. A to M-A, lovely copy has, Sd. 1 only, sev. wee pressing bumps. MB 12

K718. NINON VALLIN , w.Cloëz Cond.: Les Pêcheurs de Perles – Comme autrefois, 2s. 10” EL French Odéon 188.742, POM-27 June, 1930. M-A, Exemplary! MB 15

K719. NINON VALLIN , w.Cloëz Cond.: Carmen – Séguedille (1927 Version) / Fortunio – Lorsque je n’étais qu’une enfant (Messager). 10” EL French Odéon 188.521, POM-16 April / 24 Oct., 1927. A to M-A, lovely copy has, Sd. 2 only, tiny ndl cut, ltly. audible only a few turns. The Messager side is exquisitely beautiful! MB 12

K720. NINON VALLIN , w.Cloëz Cond.: Louise – Depuis le jour / Lohengrin – Einsam in trüben Tagen (in French). 12” EL French Odéon 171.033, POM-3 May / 24 Oct., 1927, only form of issue, Sd.2. M-A, Exemplary! Vallin’s most exceptional and beautiful foray into Wagner! MB 25

K721. NINON VALLIN , w.Cloëz Cond.: Manon – Adieu, notre petite table / Voyons Manon, plus de chimères. 10” EL red Decca-Odeon G-20580, POM-15 Dec., 1931. M-A MB 12

K722. NINON VALLIN , w.Cloëz Cond.: Manon – Obéissons quand leur voix appelle (Gavotte) / Je suis encore tout étourdie. 10” EL French Odéon 188.863, POM-15 Dec., 1931. M-A, lovely copy has, beg. Sd. 2 only, faint nr – audible only a few turns. MB 10

K723. NINON VALLIN , w.Cloëz Cond.: Manon – Obéissons quand leur voix appelle (Gavotte) / Je suis encore toute étourdie. 10” EL early PW Col. G-4091-M, POM-15 Dec., 1931. M-A, a gleaming copy. MB 12

K724. NINON VALLIN , w.Cloëz Cond.: Faust – Le Roi de Thulé / Air des bijoux. 12” EL French Odéon 171.031, POM-3 May, 1927. M-A, Exemplary! MB 15

K725. NINON VALLIN , w.Cloëz Cond.: Faust – Le Roi de Thulé / Air des bijoux. 12” EL red Decca-Odeon G-25861, POM-3 May, 1927. M-A, Exemplary! MB 12

K726. NINON VALLIN , w.Cloëz Cond.: Mignon – Connais-tu le pays? / Elle est aimée. 12” EL French Odéon 171.032, POM-3 May, 1927. M-A, Exemplary! MB 15

K727. NINON VALLIN , w.Cloëz Cond.: Carmen – Habañera / NINON VALLIN & ROGER BOURDIN: Fortunio – C’est un garçon de bonne mine (Messager). 10” EL French Odéon 188.541, POM-31 Oct., 1927, only form of issue, Sd.2. M-A, Exemplary! MB 15

K728. NINON VALLIN , w.Cloëz Cond.: Carmen – Les tringles des sistres tintaient / Snegoroutchka – Le nuage a dit un jour au tonnerre (Lehl’s 3ième chanson) (Rimsky-Korsakov). 12” EL French Odéon 171.026, POM-16 April / 27 Oct., 1927. M-A, a gleaming copy. MB 20

K729. NINON VALLIN , w.Andolfi (Pf.): Mai / Rêverie (both Hahn). 10” EL green Pathé X.93.082, only form of issue, 1932. M-A, a gleaming copy. MB 20

K730. NINON VALLIN , w.Andolfi (Pf.): Clair de lune / Les roses d’Ispahan (both Fauré). 10” EL green Pathé X.3465, only form of lateral issue, 1930; appeared briefly as H & D. M-A/A, choice copy has, Sd. 2 only, faintest pap. rub, inaud. MB 20

K731. NINON VALLIN , w.Andolfi (Pf.): Après un rêve / Au bord de l’eau (both Fauré). 10” EL green Pathé X.93.081, only form of regular issue, 1932; this appeared also in Japan. M-A, a gleaming copy. Grand Prix du Disque, 1934. MB 20

K732. NINON VALLIN , w.Andolfi (Pf.): Si mes vers avaient des ailes (1928 Version) (Hahn) / Ave Maria (Bach-Gounod). 10” EL green Pathé Actuelle X.3366, POM-1928. M-A, lovely copy has faintest pap. rubs, inaud. MB 20

K733. NINON VALLIN , w.Andolfi (Pf.): Si mes vers avaient des ailes (1932 Version) / Paysage (both Hahn). 10” EL Pathé X.93.074, POM-1932 (thought to be only form of issue in exemplary Juynboll discography, but obviously [see below] issued also in Japan). M-A, a gleaming copy. MB 15

K734. NINON VALLIN , w.Andolfi (Pf.): Si mes vers avaient des ailes (1932 Version) / Paysage (both Hahn). 10” EL Japanese Viva-Tonal Col. J 5300, POM-1932. A-/M-A, lovely copy has, Sd. 1 only, few lt. rubs, inaud. MB 12

K735. NINON VALLIN , w.Andolfi Cond.: Chanson triste / L’invitation au voyage (both Duparc). 11¾” EL black Art Label Pathé X.7230, only form of issue, 1930. M-A, lovely copy has faintest pap. rubs, inaud. MB 35

K736. NINON VALLIN , w.Andolfi Cond.: Jardin d’amour / Les trois princesses; Bourrée de Chapdes-Beaufort (both Vuillermoz). 10” EL green Pathé PG 34, only form of issue, 11 June, 1934. M-A, a gleaming copy. MB 30

K737. NINON VALLIN , w.Andolfi Cond.: Chanté, riez, dormez (Sérénade) (1931 Version) (Gounod) / ENZO DE MURO LOMANTO: Rigoletto – La donna e mobile. 10” EL Japanese Viva-Tonal Col. S-64, POM-1931, this Japanese issue is missing in exemplary Juynboll discography. A-, very decent copy has lt. rubs, inaud. MB 12

K738. NINON VALLIN , w.Andolfi Cond.: Nozze – Deh! vieni, non tardar / Don Giovanni – Batti, batti o bel Masetto (both in French). 11¾” EL black Art Label Pathé X.7167, only form of issue, 1928. M-A, Exemplary! MB 35

K739. NINON VALLIN , w.Andolfi Cond.: Faust – Le Roi de Thulé / Air des bijoux. 11¾” EL black Art Label Pathé X.7228, only form of issue, 1930. A-, lovely copy has very occasional superficial rub, inaud. MB 35

K740. NINON VALLIN , w.Andolfi Cond.: Manon – Adieu, notre petite table / Voyons Manon, plus de chimères. 11¾” EL black Art Label Pathé X.7166, only form of lateral issue, 1928. M-A, choice copy has, Sd.1 only, has faintest nr, inaud.; faintest nr, each label. MB 35

K741. NINON VALLIN , w.Andolfi Cond.: Carmen – L’amour est enfant de bohème (Habañera) / Séguedille. 11¾” EL orange Art Label (w.Vallin’s photo) Pathé X.7147, only form of lateral issue, both 1928. M-A, Exemplary! MB 35

“It was not until 1927 that Pathé decided to turn out a premium-priced record and to create labels for these records which would be truly outstanding. They called this series ‘Pathé-Art’, the 29 cm recordings had ‘orange and gold’ labels and the 30.5 cm recordings ‘multicolor [with] orange border’. Those were the terms used by Pathé themselves in describing their ware. Both were dazzling, in-your-face art-deco creations. The 29 cm was a rather chaotic and jazzy jumble of gold and orange design, while the 30.5 cm recording was in my opinion the more dramatic with the entire upper half of the label containing a flamboyant, stylized design in brilliant reds, oranges, yellows, and green, and the lower half in basic jet black with gold lettering. The ‘Art’ series, as a whole, was short-lived, but just before Pathé abandoned the ‘Art’ series altogether, they decided to gussy up some of their celebrity 25 cm recordings by creating a hitherto new ‘Art’ label (although never advertised as such). This label was also an art-deco delight à la Kandinsky, the upper half in royal blue, steel grey and white in a bizarre array of triangles and wheels, the lower half in solid royal blue with gold lettering.

After her three ‘Art’ series recordings for Pathé, Vallin in early 1928 began a series of recordings for Odéon. She promptly returned to Pathé later in 1928 and made 12 recordings in the ‘Art series’….These recordings were published from October 1928 to February 1929. In late 1928 she again returned to Odéon; and in 1929 once again returned to Pathé and made seven more recordings in the ‘Art’ series which were published in the early months of 1930. Her trips back and forth between the Pathé and the Odéon recording studios, playing one company off against the other, were very much a calculated game to get what repertory she wanted to record. While Vallin's recordings on the ‘Pathé-Art’ label consist of fairly standard repertoire, the rarity of this premium-priced label should awaken all Vallin fans….[included among them are] Don Giovanni: Air de Zerline, ‘Panis angelicus’ (Franck), ‘Voici le Noël’ (Tiersot), ‘L'Invitation au voyage’ (Duparc) and the duet with Sibille from Le Roi d'Ys.”

-Victor Girard, Marston Program Notes

K742. NINON VALLIN , w.Andolfi Cond.: Redis-moi toujours (Lauwerens) / Tu demandes pourquoi! (Beydts). 10” EL dark-blue Pathé X.93.110, only form of issue, 1932. M-A/A-, lovely copy has, Sd. 2 only, mere hint of grey on peaks. Ultra-Rare! MB 45

K743. NINON VALLIN , w.Andolfi (Pf.): Frauenliebe und Leben (in French) (Schumann), 8s. 4-10” EL dark-green Pathé X.3464, 3470, 3496 & 3497, only form of issue, 1930. M-A, choice copy of this complete set. Rarely seen as a complete unit. MB 75, the Set.

“When Vallin was asked how she was able to record such oddities (in France) as Norma, Mefistofele, Frauenliebe und Leben, Richard Strauss songs, etc., she launched into a long bitter tirade against the recording industry’: ‘I always had to bargain with them - 'If you let me record X, I'll record Y for you; the sales for Y will surely compensate any financial loss you suffer from X'."

- Victor Girard, Marston Program Notes

K744. NINON VALLIN , w.Andolfi Cond.: La Boheme – Addio senza rancor / La Boheme – Mi chiamano Mimi (both in French). 11¾” EL orange Art Label Pathé X.7145, only form of issue, 1928. M-A, Exemplary! MB 35

K745. NINON VALLIN , w.Andolfi Cond.: Carmen – Habañera / Les tringles des sistres tintaient. 12” EL MasterWorks Col. P-9152-M, POM-1938. M-A, gleaming copy of preferred MasterWorks pressing. MB 15

K746. NINON VALLIN , w.Andolfi Cond.: La Fille du Régiment – Par le rang et par l’opulence; Salut à la France!, 2s. 10” EL green Pathé PG 36, only form of issue, 11 June, 1934. A, lovely copy has very occasional hint of grey on peaks – a duly forward recording. Label stickers, both sides. MB 15

K747. NINON VALLIN , w.Bigot Cond.: Nozze – E Susanna non vien; Dove sono (in French), 2s. 10” EL Pathé PD 35, only form of issue, 28 July, 1943. M-A, Exemplary! Most elusive wartime issue. MB 45

K748. NINON VALLIN , w.Ruhlmann Cond.: Le Nil (Leroux) / Sadko – Chant indou (Rimsky-Korsakov). (1931 Versions) 12” EL green Pathé X93.044, only form of issue, 1931. M-A, a gleaming copy. MB 20

K749. NINON VALLIN , w.Ruhlmann Cond.: Dolores / Les sirènes (both Waldteufel). 10” EL dark-blue Pathé X.93.134, only form of regular issue, 20 June, 1933; issued also in Australia. M-A, Exemplary! MB 25

K750. NINON VALLIN , w.Ruhlmann Cond.: Enchantement / Élégie (both Massenet). 10” EL Pathé X.93.045, only form of issue, 1931. M-A, gleaming copy has, Sd 2 only, faintest pap. rub, inaud. MB 25

K751. NINON VALLIN , w.Ruhlmann Cond.: Carmen – L’amour est enfant de bohème (Habañera) / Séguedille. 12” EL Pathé X.90.030, POM-1931, thought to be only form of issue, but issued in Australia as well. M-A, a gleaming copy. MB 15

K752. NINON VALLIN , w.Ruhlmann Cond.: Carmen – En vain pour éviter (Card scene) / Les tringles des sistres tintaient. 12” EL Pathé X.90.031, only form of issue, 1931. M-A, a gleaming copy. MB 20

K753. NINON VALLIN , w. Ruhlmann Cond.: Der Graf von Luxemburg – Je vais être mariée (Romance de Suzanne) (in French) (Lehár) / w.Andolfi Cond.: La Reine Joyeuse – Oh, Oh, La troublante volupté (Cuvillier). 10” EL green Pathé X.91.025, only form of issue, 1931. M-A, superlative copy has, Sd.1, tiny nr at end, positively inaud. Important Vallin rarity, no copy of which was available to Juynboll at the time of his discographic compilation. MB 45

K754. NINON VALLIN , w.Ruhlmann Cond.: Louise – Depuis le jour / Madama Butterfly – Un bel dì (in French). 12” EL Pathé X.90.029, only form of issue, 1931. M-A, Exemplary! MB 15

K755. NINON VALLIN , w.Ruhlmann Cond.: Manon – Suis-je gentille ainsi / Adieu, notre petite table. 12” EL Pathé X.90.053, only form of issue, 1932. M-A, a gleaming copy. MB 15

K756. NINON VALLIN , w.Ruhlmann Cond.: Manon – Obéissons quand leur voix appelle / NINON VALLIN & MIGUEL VILLABELLA: On l’appelle Manon (Duo de la lettre). 12” EL Pathé X.90.034, only form of issue, 1931. M-A, gleaming copy has, Sd 1 only, 1 lt. mk, positively inaud. MB 15

K757. NINON VALLIN , w.Ruhlmann Cond.: Manon – À nous les amours et les roses / Les Contes d’Hoffmann – Elle a fui, la tourterelle. 12” EL Pathé X.90.082, only form of issue, 20 June, 1933 / 1932. M-A, a gleaming copy. MB 15

K758. NINON VALLIN , w.Ruhlmann Cond.: Faust – Le Roi de Thulé / Air des bijoux. 12” EL Pathé X.90.084, only form of issue, 1932 / 20 June, 1933. M-A, a gleaming copy. MB 15

K759. NINON VALLIN , w.Ruhlmann Cond.: La Boheme – Addio senza rancor / Mi chiamano Mimi (both in French). 12” EL Pathé X.90.028, only form of issue, 1931. M-A, a gleaming copy. MB 15

K760. NINON VALLIN , w.Ruhlmann Cond.: Tosca – Non la sospiri / Vissi d’arte (both in French). 10” EL Pathé X.90.057, only form of issue, 1932. M-A, a gleaming copy. MB 15

K761. NINON VALLIN , w.Alix Cond.: La Fille de la Madelon – Quand Madelon / Mon vieux pont de pierre (Gailhard). 10” EL dark-blue Pathé PA 1280, only form of issue, 1937. Very rare memento of the film La Fille de la Madelon (this is only the second copy we’ve seen in nearly 40 years!). M-A, Exemplary! MB 45

K762. NINON VALLIN , w.Cariven Cond.: Étude, Op.10, #3 (as ‘Intimité) (Chopin) / Une Revue – La dernière valse (Hahn). 12” EL PW French Col. LFX 338, POM-1 Feb., 1934; only form of issue, Sd.2; Sd. 1 issued also as LFX 594. M-A, lovely copy has, Sd. 1 only, sev. infinitesimal dust mks, inaud. MB 20

K763. NINON VALLIN , w.Madeleine D’Aleman (Pf.): Ständchen / Traum durch die Dämmerung (both in French) (both Strauss). 10” EL French Odéon 188.735, POM-19 June, 1930. M-A, choice copy has wee label smudge, Sd.2 only. MB 15

K764. NINON VALLIN , w.Madeleine D’Aleman (Pf.): Der Nussbaum / In der Fremde (both in French) (both Schumann). 10” EL French Odéon 188.733, only form of issue, 19 June, 1930. A-/M-A, lovely copy has, Sd.1 only, lt. grey on peaks. MB 12

K765. NINON VALLIN , w.Madeleine D’Aleman (Pf.): Le Timbre d’Argent – Le bonheur est chose légère (Saint-Saëns) / Chère nuit (Bachelet). 12” EL French Odéon 123.583, POM-24 Nov., 1928. M-A, Exemplary! MB 15

K766. NINON VALLIN , w.Madeleine D’Aleman (Pf.): La violette doublera (arr.Grospierre); Tambourin (arr.Tiersot) ‘Take’ 2 of 2 issued ‘Takes’/ Plaisir d’amour (Martini). 12” EL red Decca-Odeon G-25844, POM-26 / 24 Nov., 1928. M-A, Exemplary! MB 15

K767. NINON VALLIN , w.Madeleine D’Aleman (Pf.): In der Fremde (Schumann) / Die Schöne Müllerin – Wohin? (both in French) (Schubert). 10” EL early PW Col. G-4080-M, blue shellac pressing, POM-19 June, 1930. M-A MB 15

K768. NINON VALLIN , w.Madeleine D’Aleman (Pf.): Peer Gynt – Solveig’s song (1927 Version, in French) (Grieg) / Tosca – Vissi d’arte (1927 Version, in French). 10” EL brown shellac green Pathé Actuelle X.0625, POM-1927, only form of issue, Sd.2. A-, lovely copy has lt. rubs, inaud.; Sd. 1 only has a few tiny scrs, ltly audible. MB 12

K769. NINON VALLIN , w.Madeleine D’Aleman (Pf.): Peer Gynt – Solveig’s song (1929 Version, in French) (Grieg) / Sadko – Chant indou (Rimsky-Korsakov). 12” EL red Decca-Odeon 25318, POM-3 Dec., 1929. M-A MB 12

K770. NINON VALLIN , w.Madeleine D’Aleman (Pf.): Le Nil (Leroux) / Sadko – Chant indou (Rimsky-Korsakov). (1929 Versions) 12” EL French Odéon 123.664, POM-3 Dec., 1929, only form of issue, Sd.1. A-/A, lovely copy has, Sd. 1 only, hint of grey on peaks. MB 12

K771. NINON VALLIN , w.Marguerite Long (Pf.): Les berceaux / GEORGES THILL , w.Maurice Faure (Pf.): Après un rêve (both Fauré). 10” EL Eng. Col. LF 125, only form of issue, 12 June, 1933 / 26 Sept., 1932. M-A, Exemplary! MB 15

"...an exception to most criticisms is Ninon Vallin. She is one of the best sopranos in our period....She sang with pure tone and even line, having all the virtues of French sound...with none of the drawbacks....She was also a prolific gramophone artist, making, as far as I know, never a bad record….What Ninon Vallin was to the French opera house, Claire Croiza was to French song."

- J.B. Steane, THE GRAND TRADITION, pp.263-64

K772. NINON VALLIN , w.Joaquin Nin (Pf.): Cantos de España – Malagueña / Polo (both Acc. by the Composer). 10” EL French Odéon 188.695, POM-3 Dec., 1929. M-A, Exemplary! MB 20

K773. NINON VALLIN , w.Joaquin Nin (Pf.): Cantos de España – Tonada de la niña perdida / Granadina (both Acc. by the Composer). 10” EL red Decca-Odeon G-20541, POM-3 Dec., 1929. M-A, lovely copy has, both sides, wee pressing bump. MB 15

K774. NINON VALLIN , w.Joaquin Nin (Pf.): Cantos de España – Malagueña / Polo (both Acc. by the Composer). 10” EL red Decca-Odeon G-20543, POM-3 Dec., 1929. M-A MB 20

K775. NINON VALLIN , w.Joaquin Nin (Pf.): Cantos de España – Montañesa / Los Amantes Chasqueados – El jilguerito del pico de oro (both Acc. by the Composer). 10” EL red Decca-Odeon G-20542, POM-3 Dec., 1929. M-A MB 20

K776. NINON VALLIN , w.Le Roy (Flute) & Jamet (Harp): Mélodies populaires indiennes de Pérou (sung in Quechua & Spanish), 4s. 2-10” EL green Pathé PG 37/38, POM-11 June, 1934. M-A, a gleaming copy. MB 30, the Pair.

K777. NINON VALLIN , w.Le Roy (Flute) & Jamet (Harp): Mélodies populaires indiennes de Pérou (sung in Quechua & Spanish), 4s. 2-10” EL MasterWorks Col. P-4219/20, POM-11 June, 1934. M-A, Exemplary! MB 20, the Pair.

K778. NINON VALLIN, w.Cloëz Cond.: EL AMOR BRUJO, 3s / Sd. 4 = w.Maurice Faure (Pf.): Siete Canciones Populares Españoles – Seguidilla murciana; Nana (all de Falla). 2-10” EL red Decca-Odeon 20118/19, POM-29 / 31 March, 1928. M-A MB 20, the Pair.

K779. NINON VALLIN & MADELEINE SIBILLE: Le Roi d’Ys – Margared, o ma soeur (Lalo), 2s. 11¾” EL black Art Label Pathé X.7233, only form of issue, 1930. M-A, Exemplary! MB 35

K780. NINON VALLIN & MADELEINE SIBILLE ; Andolfi Cond.: Les Contes d'Hoffmann – Belle nuit, ô nuit d’amour (Offenbach) / La Fille de Mme Angot – Jours fortunés (Lecocq). 10” EL Pathé X.90.058, POM-1932, thought to be only form of issue, but issued in Australia as well. M-A, lovely copy has, Sd. 1 only, few insignificant pap. mks, inaud. MB 15

K781. NINON VALLIN & JEAN MARNY: Mireille – La brise est douce (Chanson de Magali) / La foi de son flambeau divin. 11½” AC H & D bright orange paper label Pathé 2554 (2061/73), only form of issue, 1920. M-A MB 20

K782. NINON VALLIN & ANDRÉ BALBON; Andolfi Cond.: Manon – Pardon, mais j’étais là / Mignon – Légères hirondelles. 10” EL green Pathé PG 70, only form of issue, 29 Feb., 1936. M-A, Exemplary! (this is only the second copy we’ve seen in nearly 40 years!). MB 35

K783. NINON VALLIN & ANDRÉ BAUGÉ; Andolfi Cond.: La Fille de Mme Angot – Voyons monsieur, raisonnons politique (Duo politique) (Lecocq) / La Mascotte – Je sens lorsque je t’aperçois (Duo des dindons) (Audran). 10” EL Pathé PD 4, only form of issue, 1934. M-A, a gleaming copy. MB 15

K784. NINON VALLIN & ANDRÉ BAUGÉ; Andolfi Cond.: Les Noces de Jeannette – Halte-là, s’il vous plaît / Ah! Jarnigué, ce n’est pas gai (Massé). 10” EL Pathé PD 3, only form of issue, 1934. M-A, exemplary copy has, Sd. 1 only, few lt. rubs, inaud. MB 20

K785. NINON VALLIN & ANDRÉ BAUGÉ; Andolfi Cond.: Der Graf von Luxemburg – Schau’n Sie freundlichst mich an / Die Lustige Witwe – Lippen schweign (both in French) (both Lehár). 10” EL Pathé X.2.620, only form of lateral regular issue (appeared in Australia, as well), 1930; appeared briefly as H & D. M-A, Exemplary! Exceedingly elusive, this is only the second copy we’ve seen in nearly 40 years! MB 35

K786. NINON VALLIN & ANDRÉ BAUGÉ: Véronique – De ci, de là (Duo de l’âne) / Ah! méchante, vous voulez rire? (Duo de l’escarpolette) (Messager). 11½” AC H & D yellow paper label Pathé 2569 (1604/05), only form of issue, 1923. M-A, choice copy has, Sd. 1 only, 2 wee rubs, positively inaud. MB 15

K787. NINON VALLIN & JEAN MARNY: Manon – Duo de Saint-Sulpice, 2s. 11½” AC H & D yellow paper label Pathé 2553 (2059/60), only form of issue, 1920. M-A, beautiful copy has, Sd. 2 only, sev. faint scuffs, inaud.; tiny edge bite, not to grooves. MB 12

K788. NINON VALLIN & MIGUEL VILLABELLA: Manon – J’ai marqué l’heure du départ…et je sais votre nom; Non! je ne veux pas le croire (Duo de la rencontre), 2s. 11¾” EL black Art Label Pathé X.7225, only form of issue, 1930. M-A, Exemplary! MB 35

K789. NINON VALLIN & MIGUEL VILLABELLA , w.Ruhlmann Cond.: La Boheme – Sono andati / NINON VALLIN, MADELEINE SIBILLE, MIGUEL VILLABELLA & ANDRÉ BAUGÉ: Addio dolce svegliare (both in French). 12” EL Pathé X.90.056, only form of issue, 1932. M-A, a gleaming copy. Elusive! MB 20

K790. NINON VALLIN & MIGUEL VILLABELLA , w.Ruhlmann Cond.: Manon – Duo de Saint-Sulpice, 2s. 12” EL Pathé X.90.081, only form of issue, 1932. M-A, a gleaming copy. MB 15

K791. NINON VALLIN & CHARLES FRIANT , w.Cloëz Cond.: Carmen – Final Scene, 2s. 12” EL French Odéon 171.024, only form of issue, 16 April, 1927. M-A, lovely copy has, Sd. 2 only, lt. rubs, inaud.; both labels are scuffed. MB 12

K792. NINON VALLIN & JULIEN LAFONT , w.Cloëz Cond.: Mignon – Légères hirondelles / As-tu souffert? 10” EL French Odéon 188.537, POM-26 Oct., 1927. M-A, Exemplary! MB 15

K793. NINON VALLIN & JULIEN LAFONT , w.Cloëz Cond.: Louise – Repose-toi; L’enfant serait sage (Berceuse), 2s. 12” EL French Odéon 123.507, POM-26 Oct., 1927. M-A, Exemplary! MB 15

K794. NINON VALLIN, RENÉ MAISON & JULIEN LAFONT , w.Cloëz Cond.: Faust – Alerte! Alerte!, Anges purs (Final trio) / RENÉ MAISON, ROGER BOURDIN & JULIEN LAFONT: Trio du duel. 12” EL French Odéon 123.509, POM-31 Oct., 1927. M-A, choice copy has faintest pap. rubs, inaud. MB 15

K795. NINON VALLIN, ENRICO di MAZZEI, ARTHUR ENDRÈZE & PAUL PAYEN , w.Cloëz Cond.: TOSCA – Excerpts (in French), (Complete, as recorded), 14s. 7-12” EL French Odéon 123.810/816, POM-8-14 June, 1932, in Orig. Odéon Album, w.Brochure. M-A, lovely copy has, Sd. 7 only, 2 long lt. scrs, ever-so-faintly audible the occasional turn; final disc only has ec to 1st groove, not affecting performance. Elusive! MB 65, the Set.

“Ninon Vallin was, [early in her career], successful on the concert platform, singing in Debussy’s La Demoiselle Élue and also in the première of his Le Martyre de Saint Sébastien, both in 1911 at le Châtelet. Debussy was enlighted about the young soprano whose voice, he said, shimmered like silver. He chose her for the première of his Trois Poèmes de Stéphane Mallarmé. In addition to Debussy, Ninon Vallin collaborated with a number of important composers, including Albert Roussel, Reynaldo Hahn, Xavier Leroux, Louis Beydt, Marguerite Béclard D’Harcourt and Joaquín Nin. It was the director at the Opéra-Comique, Albert Carré, who encouraged her to expand her performing activities to opera. She also had a remarkable sympathy for the music of Spain and Spanish America. Last but not least; for almost four decades she was the most active and effective ambassadress of French singing throughout the world. Her operatic career continued well into the 1930s. She was 70 years old (!) when she made her last recordings, with a voice still in good condition. She continued to give concerts until after the war and spent the rest of her life teaching near Lyon.

Hers was a clear, pure and absolutely firm soprano voice. It was characterstic of this singer to put as much sensitivity into a casual arrangement of a Chopin study as she did into music by Debussy or Schumann. Her stylistic security guarded her from sentimentality and exaggeration. Many of her recordings are outstanding.”

- Andrea Shum-Binder, subito-cantabile

K796. ALICE RAVEAU: Werther – Werther! Qui m’aurait dit (Air des lettres), 2s. 10½” AC brown French Odéon 97752/51 (xP 5164/63), only form of issue, 1907. A to M-A, choice copy has very occasional dust mk, inaud. MB 45

K797. ALICE RAVEAU , w.Ruhlmann Cond.: Carmen – En vain pour éviter (Card scene) / Près des ramparts de Séville. 12” EL PW red Pathé X.90.025, only form of issue, 1931. A-, lovely copy has, primarily Sd. 2, various very lt. dust scrs, mainly cosmetic. MB 15

“…with Alice Raveau, the words are lively, the notes accurate, the whole full of insinuation – a distinguished account, well conducted.”

- Rodney Milnes, OPERA ON RECORD, Vol. I, p.472

K798. ALICE RAVEAU: Samson et Dalila – Printemps qui commence / Mon coeur s’ouvre à ta voix. 12” EL black Art Label Pathé X.7222, only form of issue, 1929. M-A, a gleaming copy. MB 25

K799. ALICE RAVEAU , w.Andolfi (Pf.): Barcarolle / Le voyageur (both Fauré). 10” EL Pathé X.93.078, only form of issue, 1932. M-A, a gleaming copy. Exceedingly elusive! MB 25

K800. ALICE RAVEAU , w.Andolfi (Pf.): Liederkreis – In der Fremde / Wenn ich in deinen Augen seh' (in French) (Schumann). 10” EL Pathé X.93.087, only form of issue, 1932. M-A, a gleaming copy. Exceedingly elusive! MB 25

K801. ALICE RAVEAU , w.Tomasi Cond.: Orfeo ed Euridice – Che farò senza Euridice (in French), 2s. 12” EL Pathé PDT 38, recorded 1934; only form of issue, Sd.2. M-A, a gleaming copy. MB 20

K802. ALICE RAVEAU, GERMAINE FÉRALDY & JANY DELILLE ; Tomasi Cond. Vlassoff Chorus & Orch.: ORFEO ED EURIDICE (Gluck), 16s. (Complete, as recorded). 8-12” EL MasterWorks Col. 11000/07-D, POM-1936, in Orig. Album 15. M-A, gleaming copy of choice MasterWorks pressing. MB 45, the Set.

K803. CLÉONTINE DE MÉO: Alceste – Divinités du Styx / Der Freischütz – Leise, leise, fromme weise (in French). 12” EL red PW French Col. D 14212, only form of issue, 1930. M-A, lovely copy has faintest pap. rubs, inaud. Celebrated French soprano who sang Sieglinde, Brunnhilde, Donna Anna, Octavian, etc.; de Méo’s sole issued recording. MB 25

K804. MARIE CHARBONNEL: Messiah – He shall feed his flock (in French). 10½” AC Test Pressing (w.handwritten label) for Odéon Xp 6196 (issued as X.11839), POM-1914. A to M-A, superb copy! MB 35

K805. MARIE CHARBONNEL: Le Prophète – Ah! Mon fils / O toi qui m’abandonnes. 12” AC black Disque Gram. 033170/71, POM-29 Dec., 1913. A-B, very decent copy has, Sd.1 only, faint nr, ltly audible a few turns; Sd. 2 has numerous superficial scrs, inaud. MB 15

“Marie Charbonnel recorded for Odéon, Gramophone, and Opéra-Saphir. Her resplendent voice is immediately recognizable, and her secure technique places her in the front rank of French contraltos.”

- Vincent Giroud, Marston Program Notes

K806. FÉLIA LITVINNE: Samson et Dalila – Mon coeur s’ouvre à ta voix / La Favorite – O mon Fernand. 10" AC silver IRCC 5011, RRs-1908, Phrynis. Numbered Copy #8 of a Limited Edition, w.Litvinne’s photo affixed to Sd. 1. M-A/A-, lovely copy has, Sd. 2 only, faint rubs, inaud. MB 12

“…with the legendary Litvinne, one discovers how [Saint-Saëns] must have intended the music to sound in word and music; even at forty-seven, [Litvinne] maintains an ideal line and suggests the delights of the couch.”

- Alan Blyth, OPERA ON RECORD, Vol. II, p.215

K807. FÉLIA LITVINNE: Il Trovatore – D'amor sull'ali rosee (in French) / LILLI LEHMANN: Norma – Casta Diva. 12” AC Société Française de Gramophilie AFG 4, RRs-1907 (although artists' signatures appear in shellac inner margins). M A, Exemplary! MB 15

K808. FÉLIA LITVINNE: Cavalleria – Voi lo sapete / Aïda – I sacri nomi (both in French). 12” AC vinyl Historic Masters HMB 10, POM-1905, (10¾” record pressed onto a 12” blank). MINT MB 12

K809. FÉLIA LITVINNE: L’Africaine – Sur mes genoux / Aïda – I sacri nomi (in French). 10" AC silver IRCC 3042, RRs-1905, Fonotipia. M-A, Exemplary! MB 10

K810. FÉLIA LITVINNE: Les Troyens – Adieu, fière cité. 10" AC S/S vinyl RCA Test Pressing for IRCC 1008, (w.RCA embossed spiderweb verso), RR-1904, Pathé. M-A, choice copy has 2 wee pressing bumps. MB 10

K811. FÉLIA LITVINNE: Cavalleria – Voi lo sapete (in Italian) / Lohengrin – Einsam in trüben Tagen (in French). 10½“ AC Paris Fonotipia 39052/39182 (xPh 675/76), POM-1905. B-, decent copy has grey on peaks, positively audible. MB 25

“…[one] had never heard another voice like Litvinne’s, for fullness of the sound itself, for the enchanting timbre, for the softness and the richness of the range of colourings, or for such music in the sound itself and its overtones….In each rôle, Litvinne’s voice seemed made for that particular rôle: in every sound was the music of the particular character. Irrespective of the tessitura and language in which she was singing, the articulation of every word was clear and somehow transparent….Every phrase was alive with her temperament and involvement….”

- Sergei Levik, THE LEVIK MEMOIRS, p. 307

K812. SUZANNE CESBRON-VISEUR , w.Cloëz Cond.: Shéhérazade – La Flûte enchantée / L'Indifférent (Ravel) (Complete, as recorded). 10” EL French Odéon 188.630, POM-1929. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, barely visible & inaud. MB 25

“Cesbron-Viseur's…inimitable French style has disappeared in an age of mediocre singing. [This celebrated artists’s pupils included Régine Crespin & Eliette Schenneberg]….whose sound gives me chills…."

- Ward Marston, Courier-Post, 21 July, 1996

K813. DÉVA-DASSY , w.Alix Cond.: Yana – Mon coeur de femme / C’est toi (Richepin) (Creator Record, 24 Dec., 1936, Châtelet, Paris). 10” EL dark-blue Pathé PA 1099, only form of issue, 1937. B, very decent copy has rubs & tiny scrs, mainly cosmetic MB 15

“Déva-Dassy was a French opera and operetta diva who was the second female in Paris that created Laya in ‘Fleurs d'Hawaii’ (by the composer Paul Abraham), in which she sang ‘Ni toi, ni moi’ and a duet with Emile Rousseau called ‘La plus belle perle du monde’, where, in return, Max Bussy sang to her ‘Fleur d'Hawaii’. She also sang Charlotte in Werther, Mignon in Mignon and Suzuki in Madama Butterfly.”

- Rudi Polt

K814. SOFIA del CAMPO , w.Reibold Cond.: Villanelle (dell’Acqua) / Roméo – Je veux vivre. 12” EL Orth Vla 9206, only form of issue, 15 March / 23 April, 1928, on ‘Z’ shellac. M-A, lovely copy has, Sd. 1 only, infinitesimal dust mk, positively inaud. MB 15

K815. MARGUERITE D’ALVAREZ: Stille Nacht (in English) (Gruber). 12” AC brown shellac Vocalion 52020, POM-1921. A-, lovely copy has few lt.rubs & pap. mks, inaud. MB 8

K816. MARGUERITE D’ALVAREZ: Homing (1921 Version) (del Riego). 10” AC brown shellac Vocalion 30121, POM-1921. M-A, Exemplary! MB 10

K817. MARGUERITE D’ALVAREZ: Homing (1921 Version) (del Riego) / El relicario (Padilla). 10” AC brown shellac Vocalion 60029, POM-1921. M-A, Exemplary! MB 10

K818. MARGUERITE D’ALVAREZ , w.Morton Howard (Pf.): Homing (del Riego) / Do not go, my love (Hageman) (1925 Versions). 10” EL (AC label) Vla 1116, only form of issue, 5 May, 1925. M-A, exemplary Reviewer’s Copy. MB 10

K819. MARGUERITE D’ALVAREZ , w.Percy Kahn (Pf.): Homing (1926 Version) (del Riego) / w.Mme Adami (Pf.): Do not go, my love (subsequent 1925 Version) (Hageman). 10” EL PW HMV DA 790, POM-14 June, 1926 / 13 July, 1925, only form of issue, Sd.1. M-A, lovely copy has, Sd.1 only, sev greyed grooves, inaud. MB 15

“Of all the vocal records this month, I was most glad to find at last a worthy reproduction of Marguerite d’Alvarez which I do not hesitate to call one of the chief boons hitherto conferred by electric recording. What a relief it is when, after listening to singer after singer of talent, one is able to listen to a singer of genius! Mme d’Alvarez has chosen two of her most popular encores with which to make her début in electric recording, and, believe me, it takes all the electricity going to reproduce her electrically. She has the quality of dangling some utterly commonplace string of Ciro pearl words as if they were jewels sparkling….”

- Compton Mackenzie, GRAMOPHONE, Oct., 1926

K820. MARGUERITE D’ALVAREZ: Elijah – O rest in the Lord (Mendelssohn). 12” AC brown shellac Vocalion 52018, POM-1921. M-A, lovely copy has faintest pap. rubs, inaud. MB 12

K821. MARGUERITE D’ALVAREZ: Le Prophète – Ah, mon fils! / Samson et Dalila – Mon coeur s’ouvre à ta voix (1920 Version). 12” AC brown shellac Vocalion 70010, POM-1920, issued USA only. M-A, Exemplary! MB 20

K822. MARGUERITE D’ALVAREZ , w.Neale Blair (Pf.): Tus ojillos negros (de Falla) / La zagalina (Tabuyo). 10” EL Orth Vla 1139, only form of issue, 8 Dec., 1925 (Sd. 1 being ‘Take’ 8 of two issued Versions). M-A, Exemplary! Sd. 2 label Autographed in gold ink by D’Alvarez. MB 45

K823. MARGUERITE D’ALVAREZ , w.Mme Adami (Pf.): La première (Amherst Webber) / w.Percy Kahn (Pf.): J’ai pleuré en rêve (Hüe). 10” EL PW Disque Gram. DA 794, only form of issue, 17 July, 1925 / 18 June, 1926. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. Exceedingly Rare! MB 45

K824. MARGUERITE D’ALVAREZ , w.Ivor Newton (Pf.): Caro mio ben (Giordani) / Down here (Brahe). 10” EL PW HMV DA 831, only form of issue, 14 Oct., 1926. M-A, Exemplary! MB 25

K825. MARGUERITE D’ALVAREZ w.Edward Hart (Pf.): Ojos tapátios (Velazques-Elizondo). 10” EL S/S Special vinyl Pressing of Mx. BVE-58147-12, POM-2 Jan., 1930, from Unpublished Matrix. MINT MB 45

K826. MARGUERITE D’ALVAREZ w.Edward Hart (Pf.): En calesa (Álvarez). 10” EL S/S Special vinyl Pressing of Mx. BVE-58150-12, POM-3 Jan., 1930, from Unpublished Matrix. MINT, albeit considerable ‘thumping’, inherent in matrix. MB 45

K827. MARGUERITE D’ALVAREZ w.Edward Hart (Pf.): El Niño Judío – De España vengo (Luna- Álvarez). 10” EL S/S Special vinyl Pressing of Mx. BVE-58151, POM-3 Jan., 1930, from Unpublished Matrix. MINT MB 45

K828. MARGUERITE D’ALVAREZ w.Edward Hart (Pf.): Las Hijas del Zebedeo – Al pensar en el dueño (Carceleras) (Chapí). 10” EL S/S Special vinyl Pressing of Mx.BVE-58148, POM-3 Jan., 1930, from Unpublished Matrix. MINT MB 45

“Marguerite d’Alvarez may be regarded as one of the most unique singers before the public. God, the good fairies, and the Fates have united to endow her with ten or a dozen qualities, any one of which would be sufficient to give her a notable position. . . . She is gifted with a most extraordinary contralto voice of great range and flexibility, and of a mellow and luscious quality.”

- Carl Van Vechten, MUSICAL COURIER, 22 April, 1920

K829. MARGUERITE D’ALVAREZ: Carmen – Habañera (1920 Version, D’Alvarez’s first recording). 12” AC pink English Vocalion A-0144 (5151), POM-1920. M-A, Exemplary! MB 15

K830. MARGUERITE D’ALVAREZ: Carmen – Habañera (1920 Version, D’Alvarez’s first recording) / MARGUERITE D’ALVAREZ & GIULIO CRIMI: Il Trovatore – Ai nostri monti. 12” AC pink English Vocalion A-200 (5151/7359), POM-1920. M-A, lovely copy has, Sd. 1 only, mere hint of grey on peaks. MB 15

K831. MARGUERITE D’ALVAREZ: Carmen – Séguedille (1921 Version). 10” AC brown shellac Vocalion 30124, POM-1921. M-A, Exemplary! MB 8

K832. MARGUERITE D’ALVAREZ: Carmen – Séguedille / Habañera (1926 Versions). 10” EL Vla 1145, only form of issue, 26 Jan., 1926. M-A, Exemplary! MB 8

K833. MARGUERITE D’ALVAREZ , w.Ivor Newton (Pf.): Carmen – Séguedille / Samson et Dalila – Mon coeur s’ouvre à ta voix (1928 Versions). 10” EL PW HMV DA 1000, only form of issue, 14 Sept., 1928. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 15

K834. MARGUERITE D’ALVAREZ: Samson et Dalila – Mon coeur s’ouvre à ta voix / Printemps qui commence. 12” EL Orth Vla 6590, POM-23 April, 1926. M-A, Exemplary! MB 8

K835. MARGUERITE D’ALVAREZ: Samson et Dalila – Mon coeur s’ouvre à ta voix (1920 Version). 12” AC brown shellac Vocalion 52000, POM-1920. M-A, Exemplary! Label Autographed in black ink by D’Alvarez. MB 25

K836. MARGUERITE D’ALVAREZ: Samson et Dalila – Mon coeur s’ouvre à ta voix (1920 Version). 12” AC brown shellac Vocalion 52000, POM-1920. M-A, Exemplary! MB 8

“Mme Marguerite D'Alvarez tells a colorful story of her first encounter with Oscar Hammerstein, with whose dazzling operatic successes she was so prominently identified: ‘I was a girl just beginning a singing career’, she says. ‘In Paris I heard that Mr. Hammerstein was in the city engaging artists for his New York opera house. I went to his hotel to see him and try to gain an audition. He was sitting in the lobby, and I was directed to him. ‘What do you want?' He neither arose from his sprawling position, nor removed from his mouth the long black cigar that he always chewed upon. 'I should like an audition’, I replied. 'I am a contralto’. 'I don't need a contralto!' He looked away, signifying that the audience was closed. ‘I was nearly bursting with astonishment and anger. I had been reared in a stately Spanish household, where was preserved sacredly the old punctilious tradition of Spain. I had never been treated rudely by a man, and this was rudeness beyond anything that I had ever imagined could exist. My temper got the best of me. 'Mr Hammerstein’, I glared at him, 'I am sorry I came to you. It is not pleasant to come near so ill-mannered a person’. He stared at me incredulously. He was the great impresario, and I a little singer looking for a post. I turned and walked away. As I was passing out of the door, he came running up behind me. 'Well, if you want, you can have an audition’, he growled. 'No, thank you! I could not possibly sing for so ill-bred a man!' He sputtered angrily, but I went on.

Several days later my agent told me that Mr. Hammerstein wanted me to come to an audition. I refused, but the agent insisted. I went, all upset, so upset that I sang very badly at the audition. I did not care. I was so angry that I was glad, as I thought, to have failed to secure an engagement with Hammerstein. But when I was through, he praised me absurdly, and gave me a contract. In a few weeks I was sailing for New York. I was not so unhappy. More acquaintance with the man had taught me that, while he was uncouth, the power of genius was in him."

- TIME, 11 Feb., 1924

K837. LUCREZIA BORI: I hear you calling me (in English) (Marshall). 10” AC V 87188, only form of issue, 27 March, 1914, ‘Take’ 2 of 2 issued ‘Takes’. A-, very decent copy has lt rubs & sev. lt. scrs, inaud. Elusive! MB 12

K838. LUCREZIA BORI: El Majo discreto (Granados) / Milonguita (Delfino). 10” AC Vla 1033, POM-8 Oct., 1923 / 13 June, 1924. M-A, Reviewer’s Copy. MB 10

K839. LUCREZIA BORI: Patotero sentimental (Romero) / La cruz de mayo (Valverde). 10” EL Orth Vla 1190, POM-8 Dec., 1925. M-A, Exemplary! MB 12

K840. LUCREZIA BORI: The little damozel (Ivor Novello) / Simonetta (Rumbold) (both in English). 10” EL Orth Vla 1162, only form of issue, 21 Nov. / 8 Dec., 1925. M-A, Exemplary! MB 12

K841. LUCREZIA BORI: The little damozel (Ivor Novello) / Simonetta (Rumbold) (both in English). 10” EL (AC label) Vla 1162, only form of issue, 21 Nov. / 8 Dec., 1925. M-A, Exemplary! MB 10

K842. LUCREZIA BORI: Niña Pancha (Habañera) (Valverde). 10” AC V 87189, POM-27 March, 1914. M-A MB 8

K843. LUCREZIA BORI: Niña Pancha (Habañera) (Valverde) / When love is kind (in English) (Moore). 10” AC Vla 898, POM-27 March, 1914 / 12 May, 1922. A to M-A, lovely copy has sev. infinitesimal dust mks. MB 8

K844. LUCREZIA BORI: Il bacio (Arditi) / Ciribiribin (Pestalozza) (1923 Versions). 10” AC Vla 986, POM-8 Oct., 1923, Never issued S/S, although issue numbers. M-A, Exemplary! MB 10

K845. LUCREZIA BORI: Il bacio (Arditi) / Ciribiribin (Pestalozza) (1927 Versions). 10” EL Scroll V 1262, POM-27 May, 1927, on ‘Z’-type shellac. A-, very decent copy has lt. rubs, inaud. MB 8

K846. LUCREZIA BORI: Il bacio (Arditi) / Ciribiribin (Pestalozza) (1927 Versions). 10” EL Orth Vla 1262, POM-27 May, 1927. M-A, Exemplary! MB 8

K847. LUCREZIA BORI: La paloma (Yradier). 12” AC V 88480, POM-27 March, 1914, ‘Take’ 2 of 2 issued ‘Takes’. M-A MB 8

K848. LUCREZIA BORI: La paloma (Yradier). 12” AC white HMV Test Pressing for C-14644-2 (identical to above, w.handwritten HMV label), POM-27 March, 1914, ‘Take’ 2 of 2 issued ‘Takes’. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

K849. LUCREZIA BORI: Malagueña (Lorenzo Pagans) / CHARLOTTE KIRWAN: Hark, what I tell to thee (The spirit song) (Haydn). 10” AC etched label Edison H & D 80102 (2225/3022), only form of issue, 15 April / Nov., 1913. M-A, bright copy has sev. infinitesimal mks, sl. audible a turn or two. MB 15

K850. LUCREZIA BORI: Malagueña (Lorenzo Pagans). 10” AC V 87190, POM-27 March, 1914. M-A MB 8

K851. LUCREZIA BORI: La Primavera d’Oro (Glazounov) / Geschichten aus dem Wiener Wald (as ‘Storielle del bosco Viennese) (Johann Strauss) (both in Italian). 12” EL Orth Vla 6699, POM-2 Dec., 1925 / 27 May, 1927. A to M-A/A, lovely copy has, Sd. 2 only, lt. rubs, inaud. A positively charming record! MB 10

K852. LUCREZIA BORI: Clavelitos (Valverde). 10” AC V 87217, POM-23 March, 1915. A-, very decent copy has lt. rubs, inaud. MB 6

K853. LUCREZIA BORI: Clavelitos (Valverde) / Malagueña (Lorenzo Pagans). 10” EL Orth Vla 1385, POM-1 June, 1927 / 13 Jan., 1928. A, lovely copy has faintest pap. rubs, inaud. MB 8

K854. LUCREZIA BORI: Villanella (Sibella). 10” AC Vla 87328, POM-27 May, 1921. M-A, a gleaming copy. MB 8

K855. LUCREZIA BORI: Villanella (Sibella) / Les Soirées Musicales – La Danza (Rossini). 10” AC Vla 546, POM-27 May, 1921 / 12 Feb., 1914. A to M-A MB 8

K856. LUCREZIA BORI: La Violetera (Padilla) / Seguidilla (Danza spagnola) (arr.Reimann). 10” EL Orth Vla 1348, POM-22 May, 1928, on ‘Z’ shellac. M-A, lovely copy has, Sd. 2 only, lt. rubs, inaud. MB 12

K857. LUCREZIA BORI: La Violetera (Padilla) / Seguidilla (Danza spagnola) (arr.Reimann). 10” EL Orth Vla 1348, POM-22 May, 1928. M-A, lovely copy has, Sd. 2 only, lt. rubs, inaud. MB 8

K858. LUCREZIA BORI: La Violetera (Padilla) / Seguidilla (Danza spagnola) (arr.Reimann). 10” EL LVDP DA 1039, POM-22 May, 1928. M-A, Exemplary! MB 10

“Bori was born Lucrezia Borja (Borgia) Gonzalés de Riancho at Gandia near Valencia on 24 December, 1887, the daughter of a well-to-do army officer. She was a descendant of Renaissance Italy's powerful Borgia family; her name in Italian, in fact, was Lucrezia Borgia. Her family, however, insisted she change it for the stage. Bori made her first public appearance at a benefit concert in Valencia at age six. She made her professional début at the Teatro Adriano in Rome on 31October, 1908, as Micaela in Carmen. Bori was subsequently hired by La Scala the following season, where the promising young artist so enchanted German composer Richard Strauss that he insisted she sing the rôle of Octavian in the local premier of his Der Rosenkavalier in 1911. In 1912 she made her début as Manon Lescaut at the Met. Bori was one of the most highly respected and greatly loved singers in the Met’s history and after her retirement she was appointed to the Board of Directors, the first singer to be so honored.

Her voice was of modest size but it was of a individual and delicate timbre, capable to draw characters of pathetic fragility. She imbued them with intense and passionate feeling. There is elegance and charm in her singing which is entirely her own. Lucrezia Bori certainly belongs to the great lyric sopranos of the century. She is a singer of fine and exquisite taste.”

- Andrea Shum-Binder, subito-cantabile

K859. LUCREZIA BORI: Nozze – Voi che sapete / Explanatory talk. 10” AC etched label Edison H & D 82526 (2217/2739), only form of issue, 30 April, 1914, in Original Edison sleeve. M-A MB 20

K860. LUCREZIA BORI: Nozze – Deh! vieni, non tardar (1921 Version). 12” AC Vla 88633, POM-7 April, 1921. Autographed by Bori. M-A, Exemplary! MB 20

K861. LUCREZIA BORI: Nozze – Deh! vieni, non tardar (1921 Version). 12” AC Vla 88633, POM-7 April, 1921. M-A, Exemplary! MB 8

K862. LUCREZIA BORI: Don Giovanni – Vedrai, carino. 10” AC Vla 87333, POM-23 Nov., 1921, ‘Take’ 12 of 2 issued ‘Takes’. M-A, gleaming copy has very faint pressing bump. MB 8

K863. LUCREZIA BORI: Così fan Tutte – In uomini, in soldati. 10” AC Vla 87346, POM-12 May, 1922. M-A, Exemplary! MB 8

K864. LUCREZIA BORI: Roméo – Je veux vivre. 10” AC Vla 87351, POM-2 Oct., 1922. M-A, a gleaming copy. MB 8

K865. LUCREZIA BORI: Snegoroutchka – Je connais, je connais, ma mère (Rimsky-Korsakov). 10” AC Vla 87356, POM-2 Oct., 1922. M-A MB 8

K866. LUCREZIA BORI: L’Amour Mouillé – Valse d’oiseau (Varney) / La Boheme – Quando m’en vo (1924 / ’23 Versions). 10” AC Vla 1053, POM-13 June, 1924 / 28 Sept., 1923. M-A, Exemplary! MB 10

K867. LUCREZIA BORI: L’Amour Mouillé – Valse d’oiseau (Varney) / La Boheme – Quando m’en vo (1927 Versions). 10” EL Scroll V 1333, POM-30 Dec., 1927, on ‘Z’-type shellac. M-A, lovely copy has faintest pap. rubs, inaud. MB 12

K868. LUCREZIA BORI: L’Amour Mouillé – Valse d’oiseau (Varney) / La Boheme – Quando m’en vo (1927 Versions). 10” EL Orth Vla 1333, POM-30 Dec., 1927. M-A, Exemplary! MB 10

K869. LUCREZIA BORI: Manon – Adieu, notre petite table / Lakmé – Pourquoi dans les grands bois. 10” AC Vla 1009, POM-8 Oct., 1923, Never issued S/S, although issue numbers. M-A MB 10

K870. LUCREZIA BORI: Les Contes d’Hoffmann – Elle a fui, la tourterelle. 12” AC V 88525, POM-23 March, 1915. M-A, a gleaming copy. MB 8

K871. LUCREZIA BORI: La Traviata – Addio del passato. 10” AC V 87178, POM-12 Feb., 1914. M-A MB 8

K872. LUCREZIA BORI: La Traviata – Ah! fors’ è lui / ROSA PONSELLE: Aïda – Ritorna vincitor. 12” EL Scroll V 7438, POM-20 July / 18 Jan., 1928, on ‘Z’ shellac. A, lovely copy has very lt. rubs, inaud. MB 10

K873. LUCREZIA BORI: La Traviata – Ah! fors’ è lui / ROSA PONSELLE: Aïda – Ritorna vincitor. 12” EL PW V 7438, POM-20 July / 18 Jan., 1928. M-A, Exemplary! MB 10

K874. LUCREZIA BORI: Pagliacci – Stridono lassu. 12” AC V 88398, POM-12 Feb., 1914. M-A, a gleaming copy. MB 8

K875. LUCREZIA BORI: Iris – Un dì, al tempio (Mascagni). 12” AC V 88524, POM-23 March, 1915; Never Doubled USA (other than elusive IRCC reissue). M-A MB 8

K876. LUCREZIA BORI: Iris – In pure stille (Mascagni). 10” AC V 87219, POM-16 April, 1915. M-A, Exemplary! MB 8

K877. LUCREZIA BORI: Iris – In pure stille / Così fan Tutte – In uomini, in soldati. 10” AC white Archive HMV VA 17, POM-16 April, 1915 / 12 May, 1922. MINT MB 8

K878. LUCREZIA BORI: La Boheme – Mi chiamano Mimi. 12” AC V 88475, POM-12 Feb., 1914, ‘Take’ 2 of 2 issued ‘Takes’; Never Doubled USA. M-A MB 8

K879. LUCREZIA BORI: La Boheme – Mi chiamano Mimi / Madama Butterfly – Un bel dì. 12” EL Scroll V 6790, POM-5 May, 1926 / 4 Jan., 1928, on ‘Z’-type shellac. M-A MB 12

K880. LUCREZIA BORI: La Boheme – Mi chiamano Mimi / Madama Butterfly – Un bel dì. 12” EL PW V 6790, POM-5 May, 1926 / 4 Jan., 1928. M-A, Exemplary! MB 8

K881. LUCREZIA BORI: La Boheme – Donde lieta uscì / Louise – Depuis le jour. 12” EL (AC label) Vla 6561, POM-21 Nov. / 2 Dec., 1925, on ‘Z’ shellac. M-A, a gleaming copy. MB 15

K882. LUCREZIA BORI: La Boheme – Donde lieta uscì / Louise – Depuis le jour. 12” EL PW V 6561, POM-21 Nov. / 2 Dec., 1925. M-A M-A, Exemplary! MB 10

K883. LUCREZIA BORI: La Boheme – Donde lieta uscì / Louise – Depuis le jour. 12” EL (AC label) Vla 6561, POM-21 Nov. / 2 Dec., 1925. M-A M-A, Exemplary! MB 8

K884. LUCREZIA BORI: Il Segreto di Susanna – O gioia, la nube leggera (Wolf-Ferrari) / Iris – Un dì, al tempio (Mascagni). 12” AC silver Victor IRCC 70, POM-23 Nov., 1921 / 23 March, 1915. Numbered Copy #50 of a Limited Edition. Sd.2 label Autographed by Bori, whose photo is affixed to label. M-A, gleaming copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 35

K885. LUCREZIA BORI: Il Segreto di Susanna – O gioia, la nube leggera (Wolf-Ferrari). 12” AC Vla 88647, POM-23 Nov., 1921; Never Doubled USA (other than elusive IRCC reissue). M-A, Exemplary! MB 8

K886. LUCREZIA BORI: L’Amico Fritz – Son pochi fiori / Non mi resta che il pianto (Mascagni). 10” AC Vla 967, POM-28 Sept., 1923, Never issued S/S, although assigned issue numbers. M-A MB 10

K887. LUCREZIA BORI: L’Amico Fritz – Son pochi fiori / Non mi resta che il pianto (Mascagni). 10” AC LVDP DA 649, POM-28 Sept., 1923. M-A, Exemplary! MB 10

K888. LUCREZIA BORI: Manon Lescaut – In quelle trine morbide (Puccini) / YVONNE de TRÉVILLE: Manon Lescaut – C’est l’histoire amoureuse (Auber). 10" AC pale-pink IRCC 101, RRs-1910/’15, both Edison. Numbered Copy #6 of a Limited Edition. M-A, lovely copy has, Sd. 2 only, sev. infinitesimal pap. mks, inaud. MB 15

K889. LUCREZIA BORI: Mignon – Connais-tu le pays? / Me voici dans son boudoir (Rondo gavotte). 10” EL Scroll V 1361, on ‘Z’ shellac, POM-18 May, 1928. M-A, Exemplary! MB 12

K890. LUCREZIA BORI: Mignon – Connais-tu le pays? / Me voici dans son boudoir (Rondo gavotte). 10” EL PW V 1361, POM-18 May, 1928. M-A, Exemplary! MB 8

K891. LUCREZIA BORI: Mignon – Connais-tu le pays? / Me voici dans son boudoir (Rondo gavotte). 10” EL Orth Vla 1361, POM-18 May, 1928. M-A, a gleaming copy. MB 8

K892. LUCREZIA BORI: Arias from La Vida Breve, La Rondine, Il Segreto di Susanna, Manon (2), Nozze, Don Giovanni (2), 8s. 3-12" EL PW V 14614/16; 1-10" EL PW V 1846, only form of issue, 1937, (the sole exception being the single 10" disk), in Orig. Album M 405, w.Brochure. M-A, a gleaming copy. MB 35, the Set.

K893. LUCREZIA BORI , w.George Copeland (Pf.): Los Amantes Chasqueados – El Jilguera del pico de oro / Aci y Galatea – El Confiado jiguerillo (both Nin). 10” EL V 2201, only form of issue, 19 Nov., 1937. M-A, Exemplary! MB 15

K894. LUCREZIA BORI , w.George Copeland (Pf.): Malagueña / Jota tortosina (both Nin); Siete Canciones Populares Españolas – Seguidilla (de Falla). 10” EL PW V 1984, only form of issue, 19 Nov., 1937. M-A, Exemplary! MB 20

K895. LUCREZIA BORI , w.George Copeland (Pf.): Don Quixote de la Mancha – Consejo (Obradors) / Siete Canciones Populares Españolas – Jota (de Falla). 10” EL PW V 1978, only form of issue, 19 Nov., 1937. A/A-, lovely copy has, primarily Sd. 2, lt. rubs, inaud. MB 15

K896. LUCREZIA BORI & LAWRENCE TIBBETT: Calm as the night (Goetze) / Les Contes d’Hoffmann – Barcarolle. 10” EL PW V 1747, POM-1 June, 1927. M-A, Exemplary! MB 8

K897. LUCREZIA BORI & GIUSEPPE DE LUCA: Don Pasquale – Pronta io son; Vado corro, 2s. 2-12” AC Vla 89161/62, POM-2 Nov., 1921. M-A, Exemplary! MB 12

K898. LUCREZIA BORI & GIUSEPPE DE LUCA: Don Pasquale – Pronta io son; Vado corro, 2s. 12” AC Vla 8004, POM-2 Nov., 1921. M-A, Exemplary! MB 12

K899. LUCREZIA BORI & GIUSEPPE DE LUCA: Don Pasquale – Pronta io son; Vado corro, 2s. 12” AC buff PW HMV DK 102, POM-2 Nov., 1921. M-A, Exemplary! MB 12

"Not everyone takes to Bori’s somewhat acidulous voice, but who can resist what she does with it? She radiates vivacity in Juliette's waltz … and in the Norina-Malatesta duet from Don Pasquale. Her legato, long line and pathetic accent … are masterful."

- C. J. Luten, OPERA NEWS

K900. LUCREZIA BORI & ANDREA PERELLO de SEGUROLA: La Revoltosa – Por qué de mis ojos (Chapì). 12” AC V 88526, POM-16 April, 1915. M-A, Exemplary! MB 10

K901. LUCREZIA BORI & ANDREA PERELLO de SEGUROLA: El Puñao de Rosas - Romanza (Chapì). 10” AC V 87225, POM-16 April, 1915; Never Doubled USA. M-A MB 10

K902. LUCREZIA BORI & TITO SCHIPA: La Boheme – Sono andati (Mimi’s Death scene), 2s. 12” EL PW V 8068, POM-24 Nov., 1925. M-A, choice copy has, beg. Sd. 2 only, faintest pap. rub, inaud. MB 10

K903. LUCREZIA BORI & TITO SCHIPA: La Boheme – Sono andati (Death scene), 2s. 12” EL Orth Vla 8068, POM-24 Nov., 1925. M-A, Exemplary! This legendary performance becomes truly revelatory when played at its correct speed of 73.47rpm! MB 8

K904. LUCREZIA BORI & BENIAMINO GIGLI: Roméo – Ah! ne fuis pas encore! 10” AC Vla 87581, POM-28 March, 1923. M-A, Exemplary! MB 10

K905. LUCREZIA BORI & BENIAMINO GIGLI: Roméo – Ange adorable / LUCREZIA BORI & MIGUEL FLETA: Carmen – Parle-moi de ma mère. 12” AC mauve & gold HMV AGSB 58, POM-28 March, 1923 / 14 Jan., 1924, both from Unpublished Masters. MINT MB 35

K906. LUCREZIA BORI & JOHN McCORMACK: La Boheme – O soave fanciulla. 10” AC Vla 87512, POM-8 April, 1914. M-A, Exemplary! MB 10

K907. LUCREZIA BORI & JOHN McCORMACK: La Traviata – Parigi, o cara. 12” AC V 88453, POM-8 April, 1914. M-A, Exemplary! MB 12

K908. LUCREZIA BORI & JOHN McCORMACK: La Traviata – Parigi, o cara / LUCREZIA BORI, JOSEPHINE JACOBY, JOHN McCORMACK & REINALD WERRENRATH: Rigoletto – Bella figlia dell’amore. 12” AC Vla 10006, POM-8 April, 1914. M-A MB 10

“The gift of a beautiful voice is considered to be a divine one. To possess a vocal quality that has a marked individuality is to be blessed indeed. One such singer was Lucrezia Bori. She, together with singers like Enrico Caruso, Titta Ruffo, Beniamino Gigli, Tito Schipa, Richard Tauber and Lauritz Melchior or Amelita Galli-Curci, Luisa Tetrazzini, Rosa Ponselle and later Maria Callas, among certain other noted recording artists, only need to utter a couple of notes and it is usually sufficient for the record listener to immediately recognise the singer.

The Great Depression of the late 1920s had caused severe financial difficulties at the Metropolitan and Bori - always one of their best box-office attractions - was persuaded to delay her planned retirement from 1933 to 1936. She also became Chairperson of the ‘Committee to save the Metropolitan Opera House’ and through her performances, public addresses and appeals worked to raise the funds that ultimately enabled the company to survive. Although her career had blossomed in Italy and she had sung in South America and in other USA operatic centres with great success, the Metropolitan Opera in New York was her artistic home. She was the first woman to join the Board of the Met. Lucrezia Bori enjoyed a secluded and quiet retirement, but to the end of her days she was always interested in the fortunes of the Company and in the development of any young artist associated with that great house. Lucrezia Bori died in New York on 12 May, 1960.”

- Alan Bilgora

K909. CONSUELO ESCOBAR de CASTRO: L’ardita (Arditi) / Morenita (Buzzi-Peccia). 10” AC paper label Edison H & D 80713 (6665/5977), only form of issue, 31 Dec., 1921 / 1922. M-A, Exemplary! Charming examples of this Mexican coloratura. MB 15

K910. CONSUELO ESCOBAR de CASTRO: Lakmé – Où va la jeune Indoue / I Puritani – Vien diletto. 10” AC etched label Edison H & D 82177 (6567/6677), only form of issue, 1 Dec., 1919 / 1920. M-A, lovely copy has faintest pap. rubs, barely visible & inaud. MB 15

K911. GRAZIELLA PARETO: O bimba, bimbetta (Sibella). 12” AC Vla 88642, POM-10 June, 1920. A most exquisite rendition, among Pareto’s finest! M-A, lovely copy has faintest pap. rubs, inaud. MB 15

K912. GRAZIELLA PARETO: Frühlingstimmen (in Italian) (Johann Strauss) / Il bacio (Arditi). 12” AC Vla 6400, POM-1907 / 29 May, 1920. M-A, lovely copy has, Sd. 2 only, infinitesimal pap. mks, positively inaud. MB 20

K913. GRAZIELLA PARETO: Nozze – Deh! vieni, non tardar. 12” AC Milano Gram. Monarch 2-053176, POM-10 June, 1920. A-B, very decent copy has rubs & sev. lt. scrs, only occasionally ltly audible. MB 12

K914. GRAZIELLA PARETO: Don Pasquale – Quel guardo, il cavaliere. 12” AC HMV 2-053175, POM-29 May, 1920. M-A, Exemplary! MB 12

K915. GRAZIELLA PARETO: Don Pasquale – Quel guardo, il cavaliere / Les Pêcheurs de Perles – Comme autrefois (in Italian). 12” AC Vla 6401, POM-29 May, 1920. M-A, a gleaming copy. MB 20

K916. GRAZIELLA PARETO: La Sonnambula – Ah! Non credea mirarti. 12” Pat.’08 V 76003 (1401½c), POM-1907, Never Doubled. M-A, Exemplary! MB 15

K917. GRAZIELLA PARETO: Lucia – Quando rapita in estasi. 12” Pat.’08 V 76009 (1389c), POM-1907, Never Doubled, Never listed in a North American Victor Catalogue. M-A, Exemplary! MB 15

K918. GRAZIELLA PARETO: Lucia – Splendon le sacre faci. 12” AC Milano G & T 053153 (1390½c), POM-1907. A-B, very decent copy has rubs & scuffs, positively audible. MB 10

K919. GRAZIELLA PARETO: La Traviata – Ah! fors’ è lui; Sempre libera, 2s. 12” AC HMV DB 565, POM-10 June, 1920. M-A, Exemplary! MB 15

K920. GRAZIELLA PARETO: Rigoletto – Caro nome (1907 Version). 12” Pat.’08 V 76007 (1369c), POM-1907, Never Doubled, Never listed in a North American Victor Catalogue. M-A, Exemplary! MB 15

K921. GRAZIELLA PARETO: Rigoletto – Caro nome (1918 Version) / GRAZIELLA PARETO & LAMBERTO BERGAMINI: E il sol dell’anima. 12” AC vinyl Historic Masters HM 38 (3283/85c), POM-6 July, 1918. MINT MB 15

K922. GRAZIELLA PARETO & TITTA RUFFO: Don Giovanni – Là ci darem la mano. 12” AC HMV 054229, POM-21 Nov., 1908. M-A, lovely copy has 3 infinitesimal pap. scrs, inaud. MB 12

K923. GRAZIELLA PARETO & LAMBERTO BERGAMINI: La Traviata – Libiam, libiamo (Brindisi). 12” AC Disque Gram. 2-054081, POM-6 July, 1918. A-, very decent copy has few faint rubs & short hlc. A curiosity in that the label clearly states Pareto’s partner to be Matteo Dragoni! MB 8

K924. GRAZIELLA PARETO & GIOVANNI MANURITTA: La Sonnambula – D’un pensiero / FRANCESCO SIGNORINI: Guillaume Tell – Asile héréditaire (in Italian). 12” AC vinyl Historic Masters HM 30 (Ck1472-2/1493c), POM-1924/’08. MINT MB 12

“Pareto studied in Milan with Vidal, and made her stage début in Barcelona, as Micaela in 1906, and in Madrid, in 1908, as Amina in La Sonnambula, one of her greatest rôles. She made her début at La Scala, as Gilda in 1914. She appeared in Paris, London, Vienna, and St Petersburg, and had a long association with the Teatro Colón in Buenos Aires, where she sang from 1909 until 1927, also appearing in Chicago in 1921. Her best rôles included Rosina, Norina, Lucia, Juliette, Ophélie, Leila, and Lakmé. She retired in Naples, with her husband composer Gabriele Sibella. Pareto was one the great coloratura sopranos of the ‘Spanish School’ of the early 20th century, which includes Maria Barrientos, Maria Galvany and Mercedes Capsir.”

K925. MARGHERITA CAROSIO , w.Olivieri Cond.: Gran valzer cantabile (Venzano) / Canzone araba (Lorenzo Pagans). 10” EL LVDP DA 5378, only form of issue, 1940. M-A, lovely copy has, Sd. 2 only, wee scuff, ever-so-faintly audible a turn or three. Exceedingly elusive and hauntingly beautiful! MB 25

K925a. MARGHERITA CAROSIO , w.Gennai Cond.: Betly – In questo semplice (Donizetti), 2s. 10” EL HMV DA 1910, only form of issue, 1947. M-A, Exemplary! MB 8

K926. MARGHERITA CAROSIO , w.Fistoulari Cond.: I Capuleti ed i Montecchi – O! quante volte (Bellini) / Manon – Adieu, notre petite table (in Italian). 12” EL LVDP DB 21336, only form of issue, 1951. M-A, Exemplary! MB 15

K926a. MARGHERITA CAROSIO , w.Erede Cond.: I Puritani – Qui la voce / Don Pasquale – Quel guardo, il cavaliere. 12” EL HMV DB 6858, only form of issue, 1947. M-A, Exemplary! MB 8

K927. MARGHERITA CAROSIO , w.Erede Cond.: L'Elisir – Prendi, per me sei libero / Rigoletto – Tutte le feste al tempio. 12” EL HMV DB 6867, only form of issue, 1947. M-A, Exemplary! MB 8

K927a. MARGHERITA CAROSIO , w.Albergoni Cond.: Fra Diavolo – Or son sola, 2s. 10” EL red Fonotipia Odeon B 3783, POM 1929. M-A, gleaming copy has, Sd. 2 only, wee dust scr, ever-so-faintly audible a few turns. MB 15

K928. MARGHERITA CAROSIO , w.Albergoni Cond.: Barbiere – Una voce poco fa, 2s (1929 Version). 12” EL red Fonotipia Odeon F 5596, POM 18 Dec., 1929. M-A, gleaming copy has wee pressing bump. MB 25

K929. MARGHERITA CAROSIO , w.Patanè Cond.: Barbiere – Una voce poco fa, 2s (1946 Version). 12” EL HMV DB 6379, only form of issue, 1946. M-A, Exemplary! MB 8

K929a. MARGHERITA CAROSIO , w.Fistoulari Cond.: La Traviata – Ah! fors’ è lui; Sempre libera, 2s. 12” EL LVDP DB 21306, only form of issue, 1951. M-A, Exemplary! Most elusive! MB 15

K930. MARGHERITA CAROSIO , w.Patanè Cond.: La Traviata – Addio del passato / La Boheme – Mi chiamano Mimi. 12” EL HMV DB 6343, only form of issue, 1946. M-A, Exemplary! MB 8

K930a. MARGHERITA CAROSIO , w.Weissmann Cond.: Gorgheggi bell’alba (Natale Carosio) / La Sonnambula – Ah! non credea mirarti (1928 Version). 12” EL pale-blue PW French Parl. 59.509, POM-1928. M-A, a gleaming copy. Exceedingly elusive; Sd. 1 is a remarkable coloratura tour-de-force! MB 25

K931. MARGHERITA CAROSIO , w.Patanè Cond.: La Sonnambula – Ah! non credea mirarti (1946 Version) / Lina – La madre mia (Ponchielli). 12” EL HMV DB 6388, only form of issue, 1946. M-A, Exemplary! MB 8

K932. MARGHERITA CAROSIO , w.Weissmann Cond.: Mignon – Je suis Titania (in Italian) / Lucia – Spargi d’amaro pianto. 12” EL dark-blue PW Parl. E11024, POM-1928. M-A,lovely copy has, end Sd. 1, tiny audible scr. MB 15

K932a. MARGHERITA CAROSIO & CARLO TAGLIABUE , w.Patanè Cond. Royal Opera House Orch.: Lucia di Lammermoor – Appressati Lucia, 2s. 12” EL HMV DB 6358, only form of issue, 1946. M-A, Exemplary! MB 8

“One of the great operatic sopranos of the 1930s and ‘40s, Carosio ruled the stage of La Scala with her powerful yet light voice, her looks and her outstanding abilities as an actress….The cancellation through illness of a performance of Puritani at La Fenice in 1949 unwittingly gave a young soprano named Maria Callas an opportunity to consolidate her reputation in the bel canto repertoire.”

– James Jolly, Gramophone, April, 2005

K933. TOTI dal MONTE: Carnevale di Venezia (1924 Version) (Benedict), 2s. 12” AC Vla 6487, POM-10 Dec., 1924. M-A, Exemplary! Very brief catalogue life, at end of AC era. MB 10

K934. TOTI dal MONTE: Carnevale di Venezia (1926 Version) (Benedict), 2s. 12” EL Orth Vla 6614, POM-29 Oct. / 4 Nov., 1926. M-A, Exemplary! MB 10

K935. TOTI dal MONTE: Carnevale di Venezia (1926 Version) (Benedict), 2s. 12” EL LVDP DB 1001, POM-29 Oct. / 4 Nov., 1926. M-A, beautiful copy of late LVDP pressing. MB 10

K936. TOTI dal MONTE: Lo, here the gentle lark (Bishop) / Ninna-Nanna (Maori Lullaby) (William G. James) (both in English). 12” EL PW Disco Grammfono DB 1315, POM-21 Nov., 1927, only form of issue, Sd.2 (Sd.1 appeared very briefly in Japan). M-A, beautiful copy has, Sd. 2 only, infinitesimal dust mk, inaud. Exceedingly rare! Sd.2 among dal Monte’s most bewitching renditions! MB 65

K937. TOTI dal MONTE: Magari (Filippi) / A Rosina (Fabria). 10” AC Vla 1106, POM-9 Dec., 1924. A, lovely copy has faintest pap. rubs, inaud. Very brief catalogue life, at end of AC era. MB 10

K938. TOTI dal MONTE: La Lucciole (Brogi) / Vidalita (Williams). 10” EL Orth Vla 1202, POM-2 / 4 Nov., 1926. M-A, lovely copy, Sd. 1 only, faintest pap. rubs, inaud. MB 10

K939. TOTI dal MONTE: Redentor in famegia (Canzonetta veneziana; Gondole e chitare) / Ninna-Nanna (Bianchini). 12” EL LVDP DB 1319, POM-1929. M-A, beautiful copy of late LVDP pressing. MB 15

K940. TOTI dal MONTE: Ninna-Nanna (Bianchini) / Mignon – Je suis Titania (in Italian). 12” EL Orth Vla 7485, POM-1929. M-A, Exemplary! MB 10

K941. TOTI dal MONTE: Estrellita (Ponce) / Du bist wie eine Blume (in Italian) (Schumann). 10” EL vinyl Historic Masters HMA 45, POM-2 July, 1925, both from Unpublished Masters. MINT MB 15

K942. TOTI dal MONTE , w.Dino Olivieri Cond.: Fa la nana, bambin (Nina nana Istriana) / Amuri, amuri (Canzione del carrettieri) (both Sadero). 10” EL LVDP DA 5350, POM-1938, only form of issue, Sd.2. M-A, Exemplary! Two of dal Monte’s most exquisite renditions! MB 15

K943. TOTI dal MONTE , w.Dino Olivieri Cond.: Fa la nana, bambin (Nina nana Istriana) / Carnevale di Venezia – Barcarola de la Marangona (both Sadero). 10” EL LVDP DA 5370, POM-1938/’39. M-A, Exemplary! Two of dal Monte’s most exquisite renditions, Sd. 2 from dal Monte’s first film! MB 12

K944. TOTI dal MONTE , w.Dino Olivieri Cond.: Carnevale di Venezia – Trema l’onda (Adami) / Si dondola (Bonagura). 10” EL LVDP DA 5369, only form of issue, 1939. A-, very decent copy has few lt. rubs & superficial mks ever-so-faintly audible the occasional turn. Also from dal Monte’s first film! Exceedingly elusive! MB 25

K945. TOTI dal MONTE: Nozze – Deh! vieni, non tardar / Guglielmo Tell – Selva opaca. 12” AC LVDP DB 831, POM-9 Dec., 1924, only form of issue (LVDP only), although recorded USA. M-A/A, lovely copy of late LVDP pressing. MB 15

K946. TOTI dal MONTE: Rigoletto – Caro nome / Barbiere – Una voce poco fà. 12” AC Vla 6495, POM-11 Dec., 1924. M-A, beautiful copy has, alas, wee edge bite into 1st grooves, not affecting performance. MB 6

K947. TOTI dal MONTE: Lucia – Splendon le sacre faci / Spargi d'amaro pianto (1924 Version). 12” AC Vla 6466, POM-18 / 19 Feb., 1924. M-A, beautiful copy has, Sd. 2 only, faintest pap. rubs, inaud. Very brief catalogue life, at end of AC era. MB 10

K948. TOTI dal MONTE: Lucia – Splendon le sacre faci / Spargi d'amaro pianto (1926 Version). 12” EL LVDP DB 1015, POM-5 Nov. / 28 Oct., 1926. M-A, beautiful copy of late LVDP pressing. MB 10

K949. TOTI dal MONTE: Lucia – Splendon le sacre faci / Spargi d'amaro pianto (1926 Version). 12” EL black PW V 36285, POM-5 Nov. / 28 Oct., 1926. M-A, beautiful copy of late PW Victor pressing. MB 8

K950. TOTI dal MONTE: La Traviata – Ah! fors’ è lui / TOTI dal MONTE & LUIGI MONTESANTO: Rigoletto – Lassù in cielo. 12” EL HMV DB 2124, only form of issue, 7 Nov., 1933. M-A, Exemplary! MB 8

“Galli-Curci left the Chicago Opera, 4 January, 1924, after Giorgio Polacco, manger of the Company, refused to let her choose the operas in which she would sing. Her failure to dissuade Polacco did not deter her from threatening to leave the Metropolitan if Gatti-Casazza extended the contract of Italian coloratura Toti dal Monte, who sang rôles that Galli-Curci considered her own.”

- Richard W. Amero, balboaparkhistory.net

K951. TOTI dal MONTE: La Fille du Régiment – Il faut partir (in Italian) / Lucia – Regnava nel silenzio. 12” EL Orth Vla 6613, POM-29 Oct., 1926. M-A, Exemplary! Exquisitely lovely performances! MB 8

K952. TOTI dal MONTE: La Fille du Régiment – Il faut partir (in Italian) / Lucia – Regnava nel silenzio. 12” EL LVDP DB 1040, POM-29 Oct., 1926. M-A, Exemplary! Exquisitely lovely performances! MB 10

K953. TOTI dal MONTE: La Fille du Régiment – Chacun le sait / Par le rang et l’opulence (in Italian). 12” EL Orth Vla 6923, POM-10 March, 1928. M-A, Exemplary! MB 8

K954. TOTI dal MONTE: La Fille du Régiment – Chacun le sait / Par le rang et l’opulence (in Italian). 12” EL LVDP DB 1152, Sd. 2 is ‘Take’ 3 of 2 issued ‘Takes’, POM-10 March, 1928. M-A, beautiful copy of late LVDP pressing. MB 10

K955. TOTI dal MONTE: Falstaff – Sul fil d’un soffio etesio / La Sonnambula – Ah! Non credea mirarti. 12” EL Orth Vla 7198, POM-1929. M-A, Exemplary! MB 8

K956. TOTI dal MONTE: Les Pêcheurs de Perles – O dieu brahma! 12” EL Victor Test Pressing for CM 1027-2 (w.RCA embossed spiderweb verso) (identical to below, w.handwritten label), POM-1929. M-A, Exemplary! MB 10

K957. TOTI dal MONTE: Les Pêcheurs de Perles – O dieu brahma! / Comme autrefois (in Italian). 12” EL Orth Vla 7721, POM-1929. M-A, Exemplary! MB 8

K958. TOTI dal MONTE: Les Pêcheurs de Perles – O dieu brahma! / Comme autrefois (in Italian). 12” EL HMV DB 1316, POM-1929. MINT MB 8

K959. TOTI dal MONTE: Norma – Casta Diva / TOTI dal MONTE & LUIGI MONTESANTO: Barbiere – Dunque io son. 12” EL LVDP DB 2125, only form of issue, 7 Nov., 1933. M-A, Exemplary! MB 12

K960. TOTI dal MONTE: Lodoletta – Flammen, perdonami! (Mascagni) / Don Pasquale – Quel guardo, il cavaliere. 12” EL LVDP DB 5396, only form of issue, 2 May, 1941. M-A, beautiful copy of late LVDP pressing. MB 15

K961. TOTI dal MONTE: Linda di Chamounix – O luce di quest’anima / Mignon – Je suis Titania (in Italian). 12” EL LVDP DB 1318, POM-1929. M-A, choice copy of preferred LVDP pressing. MB 12

K962. TOTI dal MONTE & TITO SCHIPA: Don Pasquale – Tornami a dir / La Sonnambula – Prendi, l’anel ti dono. 10” EL LVDP DA 1351, only form of issue, 4 Oct., 1933. A, lovely copy of late LVDP pressing has sev faint pap. scrs, inaud. MB 10

K963. TOTI dal MONTE & TITO SCHIPA: Don Pasquale – Tornami a dir / La Sonnambula – Prendi, l’anel ti dono. 10” EL HMV DA 1351, only form of issue, 4 Oct., 1933. M-A, Exemplary! MB 8

K964. TOTI dal MONTE & AUGUSTO BEUF: Don Giovanni – Là ci darem la mano / Nozze – Crudel! perchè finora. 10” EL LVDP DA 5406, only form of issue, 2 May, 1941. M-A, Exemplary! MB 15

“Best known for her Cio-Cio-San, Toti Dal Monte débuted at La Scala at the age of 23 (1916) in the challenging rôle of Biancafiore from the then-new opera Francesca da Rimini by Riccardo Zandonai. She returned to La Scala in 1922 and made numerous appearances there over the next couple of decades singing a broad range of rôles. Her U.S. début took place in November, 1924, at the Chicago Civic Opera, and the following month she débuted to thundering applause at the Metropolitan Opera singing Lucia. Some might assert that her greatest legacy to opera came with her 1939 recording of Madama Butterfly, featuring Beniamino Gigli as Pinkerton. Dal Monte's Cio-Cio-San is considered by many critics the finest ever, and the recording itself one of the greatest the work has received. Cio-cio-San is a much heavier part than Dal Monte would have undertaken normally, and her interpretation is notable for its youthful-sounding freshness, which fits with the character's age. In 1939 Dal Monte also appeared in her first film, Carnevale Di Venezia.”

- Robert Cummings, allmusic.com

K965. CLAUDIA MUZIO: Angel’s serenade (Braga). 11½” AC H & D grey paper label US-Pathé 52024, recorded 1918. M-A, Exemplary! MB 15

K966. CLAUDIA MUZIO: Until (Sanderson). 11½” AC H & D grey paper label US-Pathé 54038, only form of issue, 1918. M-A, Exemplary! MB 15

K967. CLAUDIA MUZIO: Bonjour, Suzon (in English) (Delibes). 11½” AC H & D grey paper label US-Pathé 54039, only form of issue, 1918. M-A, a gleaming copy. MB 20

K968. CLAUDIA MUZIO: O ben tornato, amore (Roxas). 11½” AC H & D grey paper label US-Pathé 54062, only form of issue, 1918. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15

K969. CLAUDIA MUZIO: Jean (Burleigh). 11½” AC H & D grey paper label US-Pathé 54067, only form of issue, 1918; Muzio’s final Pathé recording. M-A, a gleaming copy. MB 20

K970. CLAUDIA MUZIO: Crisantemi (Sodero) / Chère nuit (Bachelet). 10” AC etched label Edison H & D 82218 (7628/29), only form of issue, 11 Nov., 1920. M-A, Exemplary! MB 15

K971. CLAUDIA MUZIO: La separazione (Rossini) / L’Amico Fritz – Son pochi fiori. 10” AC paper label Edison H & D 82291 (8850/51), only form of issue, 16 Feb., 1923. M-A, Exemplary! MB 15

K972. CLAUDIA MUZIO: Adriana Lecouvreur – Io son l’umile ancella / CLAUDIA MUZIO & MARIO LAURENTI: Pagliacci – Nedda! Silvio! a quest’ora. 10” AC paper label Edison H & D 82247 (7950/7856), only form of issue, 29 April / 2 March, 1921. M-A MB 15

K973. CLAUDIA MUZIO: Hérodiade – Il est doux, il est bon (in Italian) / I Lombardi – O madre, dal cielo soccorri al mio pianto. 10” AC paper label Edison H & D 82309 (8409/50), only form of issue, 7 April / 12 May, 1922. M-A MB 15

K974. CLAUDIA MUZIO: La Wally – Ebben? ne andrò lontana / I Pagliacci – Stridono lassu. 10” AC etched label Edison H & D 82232 (7645/08), only form of issue, 22 Nov., 1920 / 24 Jan., 1921. M-A, Exemplary! MB 15

K975. CLAUDIA MUZIO: Eugen Onégin – Letter scene (in Italian) / Andrea Chénier – La mamma morta. 10” AC etched label Edison H & D 82224 (7614/22), only form of issue, 3 / 8 Nov., 1920. M-A, Exemplary! MB 15

K976. CLAUDIA MUZIO: Bianca e Fernando – Sorgi, o Padre (Bellini) / Forza – Pace, pace, mio Dio! 10” AC paper label Edison H & D 82267 (8392/97), only form of issue, 24 / 28 March, 1922. M-A, Exemplary! Sd. 1 label is missing. MB 15

K977. CLAUDIA MUZIO: Il Trovatore – Tacea la notte / D’amor sull’ali rosee. 10” AC etched label Edison H & D 82223 (7611/10), only form of issue, 1 Nov. / 6 Dec., 1920. A to M-A, lovely copy has few lt. rubs, inaud. MB 10

“Although the Edisons do not have the tonal presence of the later electrics…in the opinion of some voice connoisseurs, these Edisons provided a more spacious treatment of voices than the techniques employed by other American companies around this same time. Yet such is the force of Muzio’s personality that there is more than adequate compensation for any purely sonic limitation in the variety of emotions she could conjure up.”

- William Ashbrook, Marston Program Notes

K978. CLAUDIA MUZIO: Canzone Guerresca (Giordano) / Inno de guerra del Carciatori (Garibaldi Hymn). 11½” AC H & D grey paper label US-Pathé 63020, recorded 1917. M-A, Exemplary! MB 15

K979. CLAUDIA MUZIO: La Boheme – Mi chiamano Mimi / BLANCHE ARRAL: Le Mariage de Jeannette – Au bord du chemin (Air du Rossignol). 12” AC mauve & gold HMV AGSB 14, POM-20 June, 1911 / 19 March, 1909. MINT MB 35

K980. CLAUDIA MUZIO: Aïda – Ritorna vincitor!, 2s. 11½” AC H & D grey paper label US-Pathé 63021, recorded 1917. M-A, beautiful copy has, Sd. 2 only, faintest pap. scr, inaud. MB 12

K981. CLAUDIA MUZIO: Madama Butterfly – Un bel dì. 11½” AC H & D grey paper label US-Pathé 54016, recorded 1918. A to M-A, lovely copy has faintest pap. rub, barely visible & inaud. MB 15

K982. CLAUDIA MUZIO: La Traviata – Addio del passato. 11½” AC H & D grey paper label US-Pathé 54022, recorded 1918. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

K983. CLAUDIA MUZIO: Otello – Ave Maria / La Gioconda – Suicidio! 11½” AC H & D grey paper label US-Pathé 63019, recorded 1917, only form of issue, Sd.2. A to M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 15

K984. CLAUDIA MUZIO & KATHLEEN HOWARD: Les Contes d’Hoffmann – Barcarolle. 11½” AC H & D grey paper label US-Pathé 54026, recorded 1918. A to M-A, lovely copy has faintest pap. rub, barely visible & inaud.; wee ec, not to grooves. MB 10

K985. CLAUDIA MUZIO & FRANCESCO MERLI: Otello - Già nella notte densa (Act I), 2s. 12” EL Italian Col. BQX 2510, POM-8 June, 1935. M-A, a gleaming copy. MB 10

K986. CLAUDIA MUZIO & FRANCESCO MERLI: Otello - Dio ti giocondi (Act III), 2s. 12” EL Italian Col. BQX 2511, POM-8 June, 1935. M-A, a gleaming copy. MB 10

“Muzio’s pianissimi were memorable. Not only did she employ them in tender, idyllic and elegiac moments, but she also adapted them to dramatic ends, so that on occasion the whole tension of a scene was carried on a slender thread of sound….No one has surpassed her in the variety of colour and gradation of tone of which she was capable; and her power of communication, achieved by the simplest of means, was remarkable.”

- J. B. Richards, THE RECORD COLLECTOR, 1968

K987. IRENE MINGHINI-CATTANEO: Samson et Dalila – Printemps qui commence / Carmen – Habañera (both in Italian). 12” EL LVDP DB 1303, POM-1929. M-A, Exemplary! MB 15

“Minghini-Cattaneo is the slinky schemer personified; the tone bites, the glottal stop works overtime in her biting version…but she remembers to be ‘dolce’ at ‘contro l’amor’.”

- Alan Blyth, OPERA ON RECORD, Vol. II, p.214

K988. IRENE MINGHINI-CATTANEO: Il Trovatore – Stride la vampa! / ANTONIO CORTIS: Cavalleria – Siciliana. 10" EL LVDP DA 1277, only form of issue, 1929. M-A, a gleaming copy. MB 12

K989. IRENE MINGHINI-CATTANEO: Norma - Sgombra è la sacra selva / ANTONIO CORTIS & ANNA ROZSA: Carmen – Parle-moi de ma mère (in Italian). 12” EL LVDP DB 1749, POM-1929. M-A, choice copy of preferred LVDP pressing. MB 15

K990. IRENE MINGHINI-CATTANEO & LIONELLO CECIL , w.Sabajno Cond.: La Gioconda – Laggiù nelle nebbie remote / MINGHINI-CATTANEO & de MARTIS: L’amo come il fulgor del creato! 12” EL Disco Grammofono DB 1432, POM-1930. M-A, lovely copy has sl. smudged label, Sd.2. MB 15

K991. IRENE MINGHINI-CATTANEO, GRANFORTE & de MARTIS: La Gioconda – Figlia, che reggi / IRENE MINGHINI-CATTANEO, MASINI, BASI & LUCINI: Voce di donna. 12” EL LVDP DB 1448, POM-1930. M-A, exemplary copy of preferred late pressing. MB 15

“Irene Minghini-Cattaneo is certainly to be counted among the most appreciated Italian mezzo sopranos. Hers is a vibrant voice of an arresting sound after the ‘modern Italian fashion’, with amazing extension at both ends of the range (chest register!). Her legato line is frequently disturbed by quite a strong vibrato….the power of the voice and her dramatic instincts and passionate singing can be truly breathtaking, above all, in Verdi and veristic operas. She participated in two landmark recordings, in Aïda and in Il Trovatore in which she is the outstanding artist of each.”

- Andrea Shum-Binder, subito-cantabile

K992. EUGENIA BURZIO: Ave Maria (Bach-Gounod) / L’Africana – Figlio del sol. 10” AC dark-blue Eng. Col. Populare D 568 (11052/44), POM-1911. M-A, choice copy has, Sd. 1 only, mere hint of grey on peaks. MB 20

K993. EUGENIA BURZIO: Ballo – Ma dall’arido stelo divulsa; Mezza notte, 2s. 10¾“ AC Milano Fonotipia 39513/14 (XPh 1543/44), POM-18 Dec., 1905. A-/A to M-A, lovely copy has, Sd. 1 only, few lt. rubs & infinitesimal pap. scr, inaud. MB 20

K994. EUGENIA BURZIO: Saffo – L’ama ognor qual’io l’amai (Pacini) / ROSALIA CHALIA: Semiramide – Bel raggio lusinghier. 10" AC silver IRCC 3054, RRs-1912, Columbia / 1900 (not 1896!), Zonofono. M-A MB 12

K995. EUGENIA BURZIO & ANTONIO MAGINI-COLETTI: Il Trovatore – Qual voce; Conte! Ne cessi, 2s. 10¾” AC US Fonotipia 39439/40 (XPh 1534/35), POM-16 Dec., 1905. A to M-A/A-, lovely copy has, Sd. 2 only, few lt. rubs, inaud. MB 15

K996. EUGENIA BURZIO: Norma – Deh! non volerli vittime, 2s. 10” AC dark-brown Eng. Col. D 4387 (11393/94), POM-1913. M-A, Exemplary! MB 25

K996a. EUGENIA BURZIO: Norma – Qual cor tradiste / BERENICE de PASQUALI & ANDREAS de SEGUROLA: Mignon – Légères hirondelles (in Italian). 10” AC dark-blue Col. H 46 (11392/19876), POM-1913. A to M-A MB 15

“The intensity of [Burzio’s] performance of Norma's ‘Deh! non volerli vittime’ stretches the emotional force of the drama to the breaking point….Burzio's excesses tumble out with extraordinary power to produce a touchingly human interpretation. Surely Bellini would not have complained.”

- Harold Bruder, THE OPERA QUARTERLY

K997. EUGENIA BURZIO: Otello – Ave Maria / Mefistofele – L'altra notte. 12” AC dark-blue Eng. Cigale D 17526 (74715/16), POM-1913. M-A, choice copy has occasional faintest pap.mk, barely visible & inaud. MB 25

K998. EUGENIA BURZIO: Aïda – O cieli azzurri / Mefistofele – Spunta l’aurora pallida. 10” AC red Eng. Col. D 8078 (111043/49), POM-1911. M-A, choice copy has, Sd. 2 only, faintest pap. rub, inaud. MB 25

K999. EUGENIA BURZIO: La Gioconda – Suicidio! / Ecco la barca . . . addio (Act IV Trio, sung as a solo!). 11½” AC H & D green paper label Pathé 10164 (86424/25), recorded 1916, only form of issue, Sd.2, this being one of Burzio’s most intense interpretations; she sings as if possessed! Absolutely heartrending! M-A, Exemplary! MB 20

K1000. EUGENIA BURZIO: La Gioconda – Suicidio! / Ecco la barca . . . addio (Act IV Trio, sung as a solo!), identical to above. 10" AC vinyl purple IRCC 3136, RRs-1913, both Pathé. MINT MB 12

“We find emphasis on this vocal resource [of chest voice] in Burzio’s recording of Gioconda’s ‘Ecco la barca’. At the repetition of La Cieca’s words when she first gives the rosary to Laura (here at the same pitches), the ease and richness with which Burzio sings the low B-flat (on the final syllable of ‘E le preghiere aduna’) suggest that her vocal orientation was rather that of a falcon.”

- William Ashbrook, Marston Program Notes

K1001. EUGENIA BURZIO: Forza – Pace, pace mio Dio! / EUGENIA BURZIO & GIUSEPPE de LUCA: La Gioconda – Così mantieni il patto? 12” AC red Fonotipia-Odeon F-5513 (xxPh 2279/2391), POM-18 Dec., 1906 / 31 Jan., 1907. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 25

“Burzio’s…dramatic instincts are particularly apparent in the duet from La Gioconda, where she is joined by Giuseppe De Luca. Burzio’s first words, ‘Sí, il patto mantengo’, are grimly fatalistic, but when she begins her pseudoseduction of Barnaba, ‘T’arresta!’, the voice begins to glow suggestively. As she asks God’s forgiveness for turning the knife on herself, ‘Dio mi perdoni l’immenso peccato’, we hear a soul’s despair.”

- William Ashbrook, Marston Program Notes

K1002. ROSINA TORRI: Turandot – Signore, ascolta! / Tu che de gel. 10” EL plum LVDP HN 773, POM-20 Nov., 1926. M-A, choice copy of preferred LVDP pressing. MB 12

“Rosina Torri sang Liù in the first Rome performance of Turandot, and was a noted Lauretta in Gianni Schicchi as well; toward the end of her career she was also admired at La Scala as Musetta. She possessed a bright, well-focused spinto voice (not unlike that of Albanese) that has always been greatly admired by the Italians.”

- John Ardoin, THE OPERA QUARTERLY

K1003. MARIA ZAMBONI: Turandot – Signore, ascolta! / Tu che di gel (Creator Record, 24 April, 1926, La Scala). 10” EL PW Eng. Col. D1572, POM-1926. M-A, choice copy has, Sd.1 only, faintest pap. rub, inaud. MB 15

K1004. GIANNA GALLI , w.Benvenuti Cond.: Lakmé – Dov’è l’Indiana bruna (Bell song), 2s. 10” EL pale-blue Cetra AT 0400, only form of issue, 16 March, 1955. M-A, gleaming copy has sev. infinitesimal pap. mks, barely visible & inaud. Extremely rare item from very end of 78 era. MB 25

K1005. CHIARETTA GELLI , w.Petralia Cond.: L’estasi (Valzer brillante) (Arditi) / La Folletta (Marchesi). 10” EL dark-blue Cetra DC 4230, only form of issue, 19 April, 1943. M-A, Exemplary! MB 25

K1006. NORA de ROSA , w.Basile Cond.: L’Amico Fritz – Son pochi fiori / Fedora – Ed ecco il suo ritratto. 10” EL pale-blue Cetra AT 0402, only form of issue, 16 March, 1955. M-A, gleaming copy has sev. infinitesimal pap. rubs, barely visible & inaud. Extremely rare item from very end of 78 era. MB 25

K1007. MARIA MINAZZI , w.Basile Cond.: La Rondine – Chi il bel sogno / Manon – Adieu, notre petite table (in Italian). 10” EL brown Parl.-Odeon R.O. 30004, POM-5 May / 27 Feb., 1951. M-A, a gleaming copy. MB 15

K1008. MARIA BONELLI, GILBERTO MAZZI-GUERRIERI , w.Petralia Cond.: Rompicollo (Fantasia cantata dell’Operetta) (Pietri), 2s. 10” EL dark-blue Cetra IT 595, only form of issue, 7 April, 1939. M-A, Exemplary! MB 25

K1009. MARGHERITA VOLTOLINA , w.Petralia Cond.: Die Lustige Witwe – Viljalied / MARIA BONELLI, MARGHERITA VOLTOLINA, MARRONI & GILBERTO MAZZI-GUERRIERI: Fantasia (in Italian) (Lehár). 10” EL dark-blue Cetra IT 577, only form of issue, 25 Feb., 1939. M-A, a gleaming copy. MB 25

K1010. MARIA BONELLI, MARGHERITA VOLTOLINA, MARRONI & GILBERTO MAZZI-GUERRIERI ,w.Petralia Cond.: Acqua Cheta – Fantasia (Pietri), 2s. 10” EL dark-blue Cetra IT 570, only form of issue, 25 Feb. / 4 March, 1939. M-A, a gleaming copy. MB 25

K1011. DORA DOMAR , w.I Maestri Cantori di Firenze: La stornello della mietitrice (Vagnetti) / GIUSEPPE PILIEGO: Santa Lucia Luntana (Mario). 12” EL Orth Vla 9132, only form of issue, 19 Oct., 1927. Never listed in a pre-1931 U.S. catalogue. M-A, lovely copy has very occasional pap. rub, inaud. MB 12

K1012. MAGDA OLIVERO , w. Ermelinda Magnetti (Pf.): Panteismo (Gerussi) / Triste est le Steppe (Gretchaninoff). 10” EL pale-blue Cetra AT 0322, only form of issue, 6 May, 1953. M-A, a gleaming copy. Extremely rare item from very end of 78 era, among Olivero’s rarest and most sought-after titles. MB 75

K1013. MAGDA OLIVERO , w.Ermelinda Magnetti (Pf.): La Procession (Franck) / w.Basile Cond.: Manon – Adieu, notre petite table (in Italian). 12” EL red Cetra PE 184, only form of issue, 6 May, 1953. A to M-A, lovely copy has faint pap. scuffs, inaud.; beg. Sd. 1 only has tiny edge scr, ltly audible sev. turns, before voice. MB 50

K1014. MAGDA OLIVERO , w.Basile Cond.: Iris – Un dì, al tempio (Mascagni) / Gianni Schicchi – O mio babbino caro. 10” EL pale-blue Cetra AT 0321, only form of issue, 6 May, 1953. M-A, gleaming copy has, Sd. 2 only, infinitesimal pap. rub, barely visible & inaud. Rare item from very end of 78 era. MB 50

K1015. MAGDA OLIVERO , w.Basile Cond.: Loreley – Amor, celeste ebbrezza (Catalani) / La Traviata – Amami Alfredo. 10” EL pale-blue Cetra AT 0320, only form of issue, 6 May, 1953. M-A, gleaming copy has, Sd. 1 only, pap. rub, inaud. Rare item from very end of 78 era, Sd. 2 among Olivero’s most justifiably celebrated renditions. MB 50

K1016. MAGDA OLIVERO , w.Tansini Cond.: Adriana Lecouvreur – Io son l’umile ancella / Poveri fiori. 12” EL dark-green Cetra BB 25028, POM-26 June, 1940 / 27 Nov., 1939, only form of issue, Sd.1. A to M-A, lovely copy has few faintest rubs, inaud.; Sd. 2 only has tiny dust scr, ever-so-faintly audible, if at all; Sd. 2 only has long internal silent lam. MB 35

K1017. MAGDA OLIVERO , w.Tansini Cond.: Mefistofele – L’altra notte / Adriana Lecouvreur – Poveri fiori. 12” EL dark-green Cetra BB 25049, POM-27 Nov., 1939; (the label for Sd. 2 indicates La Rosa Parodi as conductor, but this is the exact performance as #K1016, conducted by Tansini). A to M-A, lovely copy has few rubs, inaud.; Sd. 2 only has superficial cosmetic scrape, inaud. MB 35

K1018. MAGDA OLIVERO , w.Tansini Cond.: La Boheme – Mi chiamano Mimi / Tosca – Vissi d’arte. 12” EL dark-green Cetra BB 25053, POM-29 / 26 June, 1940. M-A, Exemplary! MB 35

K1019. MAGDA OLIVERO , w.Tansini Cond.: La Traviata – Ah! fors’ è lui; w.Muzio Giovagnoli (T): Sempre libera, 2s. 12” EL dark-blue Cetra BB 25034, POM-26 June, 1940. M-A, choice copy has, beg. Sd. 1 only, large ec into initial grooves, affecting only the first few words. Rare item, among Olivero’s most justifiably celebrated renditions. MB 35

K1020. MAGDA OLIVERO , w.Simonetto Cond.: Résurrection – Dieu de grâce (in Italian) / Manon Lescaut – Sola, perduta, abbandonata. 12” EL red Cetra BB 25277, only form of issue, 1940. M-A, lovely copy has, Sd. 1 only, 3 infinitesimal dust scrs, positively inaud.; Sd. 2 only has faint scuff, also inaud. MB 35

K1021. MAGDA OLIVERO , w.Simonetto Cond.: Suor Angelica – Senza mamma / Manon Lescaut – In quelle trine morbide. 12” EL dark-green Cetra BB 25271, only form of issue, 1940. M-A, Exemplary! MB 50

K1022. MAGDA OLIVERO , w.Simonetto Cond.: Louise – Depuis le jour (in Italian) / La Boheme – Donde lieta uscì. 12” EL dark-green Cetra BB 25272, only form of issue, 1940. M-A, superb copy has, Sd. 2 only, lateral lam, ever-so-faintly audible just a few turns. MB 35

K1023. MAGDA OLIVERO & FERRUCCIO TAGLIAVINI ; Tansini Cond.: L’Amico Fritz – Suzel, buon dì (Cherry Duet), 2s. 12” EL red Cetra BB 25050, POM-27 Nov., 1939. M-A, a gleaming copy. MB 65

“The miracle of Magda Olivero is that her wings are strong enough and broad enough to carry us with her as she soars towards the inexplicable, towards a shining goal beyond the dreams of other artists and other human beings.”

- John Ardoin, THE RECORD COLLECTOR, 1997

K1024. LUISA LUCINI, w.Frattini Cond.: Madama Butterfly – Un bel dì / Tosca – Vissi d’arte. 10” EL black Fonit 8955, only form of issue, 31 Dec., 1942. M-A MB 15

K1025. LUISA LUCINI , w.Frattini Cond.: La Wally – Ebben, ne andrò lontana / FULVIA TREVISANI, w.Frattini Cond.: La Boheme – Mi chiamano Mimi. 10” EL black Fonit 8956, only form of issue, 31 Dec., 1942. M-A MB 15

K1026. ROSA OLITZKA: Ich liebe dich (Grieg) / Pique Dame – O jeunes filles. 10” AC Col. A1344, POM-25 Nov., 1912. M-A, a gleaming copy. MB 35

“Rosa Olitzka studied with Désirée Artôt de Padilla, and had a fine-tuned rich, velvety and steady contralto instrument, and was at the beginning of a long operatic career that would take her just about everywhere in a large and varied repertoire….‘O jeunes filles’ from Pique Dame has Olitzka plunging in and out of octaves with an almost reckless abandon as she delivers cavernous low notes and a dazzling top, crowned by a remarkable trill…. Perhaps it’s best that present day productions of Tannhäuser generally use a boy soprano for the Shepherd; in a recording of this music, Olitzka sounds matronly and lacking in charm, but it’s easy to imagine her crossing the stage with a sheep (or two) flung over her shoulders – and this just shouldn’t be the case when listening to Wagner’s melodic little boy.”

- Andrea Shum-Binder, subito-cantabile

K1027. ROSA OLITZKA: Agnus Dei (Bizet) / Sapho – O ma lyre immortelle (Gounod). 12” AC Col. A5428, POM-20 March, 1912 / 21 Nov., 1911. M-A, Exemplary! MB 20

K1028. ROSA OLITZKA: La Gioconda – Voce di donna / Faust – Faites-lui mes aveux (in Italian). 10” AC H & D paper label Edison 80726 (4377/52), only form of issue, Sd.1, both 1916 (although Olitzka’s sole Edison disc, it was not issued until 1922). M-A, a gleaming copy. MB 20

K1029. ROSA OLITZKA: Orfeo – Che farò senza Euridice / Le Cid – Pleurez mes yeux. 12” AC Col. A5379, POM-6 / 16 Sept., 1911. M-A, Exemplary! MB 20

K1030. ROSA OLITZKA: Tannhäuser – Frau Holda kam aus dem Berg hervor (Shepherd’s song) / Le Prophète – Ah, mon fils! 12” AC Col. A5340, POM-18 / 6 Sept., 1911. M-A, Exemplary! MB 20

K1031. VERONIKA BORISENKO , w.Makarov (Pf.): Three Songs (Rachmaninoff), 2s. 10” EL red Aprelevski Zavod 16200/01, recorded 1948. A-, lovely copy has lt. rubs & scuffs, mainly cosmetic. Borisenko sang at the Kirov Opera, 1944-46, then at the Bolshoi, 1946-63 & 1967-77. MB 10

K1032. LYUDMILA LEGOSTAYEVA , w.Samosud Cond.: The Fountain of Bakhchisarai (Arensky), 2s. 10” EL red Aprelevski Zavod CCCP 14021/22, recorded 1943. M-A, Exemplary! MB 12

“Legostayeva was much admired as a soloist for All-Union Radio from 1930 to 1960. She sang cantatas, romances, and concert performances of operas, outstanding in many rôles.”

K1033. MARIA KURENKO: Élégie (Massenet) / La Traviata – Addio del passato. 10” EL Viva-Tonal Col. 2062-M, POM-25 April / 18 May, 1927, only form of issue, Sd.2. M-A, a gleaming copy. Sd. 1 label Autographed in white ink by Kurenko. MB 25

K1034. MARIA KURENKO: The last rose of summer (Moore) / The lass with the delicate air (Arne). 10” EL Viva-Tonal Col. 2042-M, POM-4 / 7 May, 1926. M-A, lovely copy has 3 infinitesimal dust mks, inaud. MB 12

K1035. MARIA KURENKO: Mariä Wiegenlied (Reger) / Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart]). 10” EL Viva-Tonal Col. 2046-M, only form of issue, 12 / 23 April, 1926. M-A, lovely copy has few lt. rubs, inaud. MB 10

K1036. MARIA KURENKO: Mon gentil Pierrot (Sérénade française) (Leoncavallo) / Mireille – O légère hirondelle. 10” EL Viva-Tonal Col. 2048-M, only form of issue, 21 May, 1926. M-A, a gleaming copy. The charming Leoncavallo song is, without question, Kurenko’s finest single recording. MB 20

“Madame Kurenko’s studio was an intellectual and artistic salon. Composers frequently visited her and sought her advice on music. Or they gave her samples of their music and asked her to sing them, or have her students sing them. She had an enormous music library consisting of many manuscripts and originally-transcribed music from outstanding composers.”

- Diana Corto, THE RECORD COLLECTOR, 1997

K1037. MARIA KURENKO: Villanelle (dell’Aqua) / Chanté, riez, dormez (Sérénade) (Gounod). 12” EL Viva-Tonal Col. 7157-M, POM-31 March / 20 May, 1927. M-A/A-, lovely copy has, Sd. 2 only, faint pap. scr, inaud; long internal lam affects Sd. 1 only. MB 8

K1038. MARIA KURENKO: Il bacio (Arditi) / Manon – Voyons, Manon, plus de Chimères. 12” EL early PW (Viva-Tonal period) Col. 7110-M, only form of issue, 7 May / 15 April, 1926. M-A, a gleaming copy. MB 15

K1039. MARIA KURENKO: I Vespri Siciliani – Bolero / Barbiere – Una voce poco fà. 12” EL Viva-Tonal Col. 7127-M, only form of issue, 15 / 28 April, 1926. M-A/A-, lovely copy has, Sd. 2 only, few lt. rubs & faint pap. scr, inaud. MB 12

K1040. MARIA KURENKO: Sadko – Chanson indoue / Le Coq d'Or – Hymne au soleil (both Rimsky-Korsakov). 10” EL Viva-Tonal Col. 2053-M, POM-7 May, 1926 / 18 May, 1927. M-A, gleaming copy has, Sd 2 only, sev. wee cosmetic lams. MB 12

K1041. MARIA KURENKO: La Boheme – Quando m’en vo (Musetta) / Mignon – Connais-tu le pays? 10” EL Viva-Tonal Col. 2055-M, POM-15 / 25 March,1927. M-A, lovely copy has, Sd 1 only, tiny cosmetic lam. MB 10

K1042. MARIA KURENKO , w.Sergei Tarnowsky (Pf.): Speak not, o beloved / None but the lonely heart (both Tchaikovsky). 10” EL PW V 2093, POM-9 / 22 Feb.,1940, issued USA only. M-A, Exemplary! MB 10

K1043. MARIA KURENKO , w.Sergei Tarnowsky (Pf.): Speak not, o beloved / None but the lonely heart (both Tchaikovsky). 10” EL RCA 10-0020, POM-9 / 22 Feb.,1940, issued USA only. Sd. 2 label Autographed by Kurenko. M-A MB 20

K1044. MARIA KURENKO , w.Sergei Tarnowsky (Pf.): So soon forgotten / The Enchantress – Where are you? (Act IV) (both Tchaikovsky). 10” EL PW V 2094, only form of issue, 22 Feb.,1940. M-A, Exemplary! MB 12

K1045. MARIA KURENKO , w.Sergei Tarnowsky (Pf.): One small word / At the ball; Children’s song (all Tchaikovsky). 12” EL RCA 11-0020, POM-22 Feb.,1940, issued USA only. M-A, Exemplary! MB 12

K1046. MARIA KURENKO , w.Sergei Tarnowsky (Pf.): ’Twas you alone; Song of the gypsy girl / Complaint of the bride (all Tchaikovsky). 12” EL RCA 11-0019, POM-22 / 8 Feb.,1940, issued USA only. M-A, Exemplary! MB 10

K1047. MARIA KURENKO , w.Gretchaninov (Pf.): Twelve Songs (all Acc. by the Composer). 3-12” EL V 18380/82, only form of issue, 25 April, 1941, in Orig. Album M-862. M-A, Exemplary! MB 25, the Set.

“Kurenko was especially famous as an interpreter of Gretchaninov. The composer had left Russia in 1925 and now spent most of his time in Paris and the USA….She was his preferred interpreter of his songs and they gave several all-Gretchaninov [recitals] together….”

- Larry Lustig, THE RECORD COLLECTOR, 1997

K1048. BELA RUDENKO: Khovanschina – Mysterious powers (Martha’s divination) (Mussorgsky); Tsar’s Bride – You will pay (Act II) / BELA RUDENKO & MIKHAIL GRISHKO: Scene of Lyubasha & Bomely (Act II) (Rimsky-Korsakov). 10” EL red Aprelevski Zavod Extended Play 861/62, recorded 1951. M-A, Exemplary! On Sd.2, Rudenko is partenered by Ukranian bass-baritone Mikhail Grishko, very popular in Russian opera houses, but was never at the Bolshoi! MB 15

K1049. E. SHUMILOVA , w.Sakarov Cond.: The Maid of Pskov – Olga’s arietta (Rimsky-Korsakov) / Rusalka – Once a husband asked his wife (Dargomyzhsky). 10” EL red Aprelevski Zavod 17029/30, recorded 1949. A, lovely copy has few lt. rubs & pap. scrs, inaud. MB 10

K1050. VERA FIRSOVA: Of what I dream in the quiet night (Rimsky-Korsakov) / Before my window (Rachmaninoff).. 10” EL red Aprelevski Zavod 17289/90, recorded 1949. M-A, lovely copy has, Sd. 2 only, hint of grey on peaks. MB 15

K1051. VERA FIRSOVA , w.Kondrashin Cond.: Tsar’s Bride – You will pay (Act II) (Rimsky-Korsakov), 2s. 10” EL red Aprelevski Zavod CCCP 23267/68, recorded 1954. M-A, Exemplary! MB 15

K1052. VERA FIRSOVA , w.Kondrashin Cond.: Rigoletto – Caro nome (in Russian), 2s. 10” EL red Aprelevski Zavod CCCP 16551/52, recorded 1949. M-A, Exemplary! A uniquely beautiful rendition! MB 20

K1053. VERA FIRSOVA & DAVID GAMREKELI , w.Piradov Cond.: Barbiere – Dunque io son (in Russian), 2s. 10” EL red Aprelevski Zavod CCCP 16059/60, recorded 1948. M-A, Exemplary! Brilliantly partnered by Gamrekeli, a noted verismo baritone with a notably high range, Firsova truly shines in this duet! Rosina was Firsova’s first major rôle at the Bolshoi. MB 20

“Vera Firsova was, for a full quarter of a century, the leading coloratura soprano at the Bolshoi, having débuted there in 1947.”

K1054. SOFIA PREOBRAZHENSKAYA: Why, tell me, girl of my heart (Mussorgsky) / IVAN KOZLOVSKY: O, if you only knew (Tchaikovsky). 10” EL purple Aprelevski Zavod 18631/32, recorded 1950. M-A, Exemplary! MB 15

“Sofia Preobrazhenskaya enjoyed the distinction of graduating in 1928, a pupil of Ivan Yershov. She was greatly admired for over 30 years at the Mariinsky (Kirov) Opera, 1928-59. Her overcast, dark vocal timbre was especially well suited to the solemn, serious, and melancholy female characters of Russian opera.”

- Kurt Malisch, Program Notes, VOICES BEHIND THE IRON CURTAIN

K1055. VALERIA BARSOVA: Bolero (Cui) / Solovei (Alabiev). 10” EL blue Aprelevski Zavod 6301/04 (0319/20), recorded 1937. M-A, lovely copy has few lt. mks, inaud. MB 15

K1056. VALERIA BARSOVA , w.Samosud Cond.: Ivan Susanin – On the river’s further side (Glinka), 2s. 10” EL blue Aprelevski Zavod USSR 7769/70, recorded 1938. M-A MB 15

K1057. VALERIA BARSOVA , w.Weissmann Cond.: Roméo – Je veux vivre / Mignon – Je suis Titania (both in Russian). 12” EL dark-blue PW Parl. E11186, POM-1928. M-A, gleaming copy has, Sd. 1 only, 2 wee rubs, inaud. MB 15

“Valeria Barsova was a Russian lyric-coloratura who graduated both in voice (class of Umberto Masetti) and piano (Alexander Goldenweiser). Her early operatic experience was as Rosina in Barbiere, with Chaliapin as Don Basilio. One of the greatest singers of her generation, with a velvety, soft, elastic voice, technically very strong. Barsova began her Bolshoi career in 1920 with coloratura rôles and gradually grew into of the lyric and even young dramatic soprano, singing, for example, Leonora in Verdi’s Il Trovatore, and Madama Butterfly!”

- Kurt Malisch, Program Notes, VOICES BEHIND THE IRON CURTAIN

K1058. V. V. VIKTOROVA: Two Songs (both Rimsky-Korsakov). 10” EL black Aprelevski Zavod 15242/43, recorded 1947. M-A MB 10

K1059. V. V. VIKTOROVA: Two Songs (both Rimsky-Korsakov). 10” EL black Aprelevski Zavod 15244/45, recorded 1947. M-A, lovely copy has faintest pap. rubs, inaud. MB 10

K1060. V. V. VIKTOROVA: I Loved him (Balakirev) / Romance (Bulakov). 10” EL pale-blue Gram. Plast 15756/55, recorded 1948. M-A MB 10

K1061. NATALIYA SHPILLER: I opened the window wide (Tchaikovsky) / Floods of Spring (Rachmaninoff). 10” EL blue Aprelevski Zavod 11566/67, recorded 1943. M-A, lovely copy has few lt. mks, inaud. MB 15

K1062. NATALIYA SHPILLER: Serenade, Op.65, #1 (Tchaikovsky) / Spanish song (Balakirev). 10” EL taupe Art Label Aprelevski Zavod 11568/69, recorded 1943. M-A, Exemplary! MB 15

“Natalia Shpiller was a Russian lyric soprano who débuted at the Bolshoi in 1934, remaining there until 1958. She was a highly regarded singer of the Russian school admired for her musicality and warm, polished expressiveness.”

- Richard D. Sylvester, TCHAIKOVSKY’S COMPLETE SONGS, p.323

K1063. S. A. BATURINA: Dubrovsky – Masha’s romance (Nápravnik). 10” EL S/S Special vinyl Pressing of Mx. XVE-1851-3 (issued only as Vla 4064-A), POM 17May, 1928, Harbin, Manchuria. MINT MB 15

K1064. S. A. BATURINA: Pique Dame – ‘Twill soon be midnight. 10” EL S/S Special vinyl Pressing of Mx. XVE-1814-2 (issued only as Vla 4064-B), POM 14May, 1928, Harbin, Manchuria. MINT MB 15

“[Baturina’s] voice has a gleaming, expansive top and the style is fervent. Here, the sometimes poor balance of the recordings is especially evident, suggesting that the engineers were obliged to back away from so spectacular a voice. There is a distinct feeling that Baturina had more to offer than the discs were quite able to capture.”

- Houston Maples, THE RECORD COLLECTOR, 2001

K1065. VERA DAVYDOVA: Serenade, Op.63, #6 / Serenade, Op.65, #3 (both Tchaikovsky). 10” EL blue Aprelevski Zavod 10066/10212 (33/188), recorded 1943. M-A, lovely copy has few lt. mks, inaud. MB 15

“Vera Davydova sang at the Mariinsky opera, 1929-32, then at the Bolshoi, 1932-56. She was coached by Ivan Yershov for the rôle of Marfa in Khovanschina. Tall, stately, beautiful (Stalin was said to be in love with her), she had a splendid, even voice throughout her whole range.”

- Richard D. Sylvester, TCHAIKOVSKY’S COMPLETE SONGS, p.302

K1066. ALMA GLUCK: Tu – Habañera (Fuentes). 10” AC Pat.’08 V 64182, POM-22 March, 1911. M-A MB 8

K1067. ALMA GLUCK: My Laddie (Thayer). 10” AC Pat.’12 V 64183, POM-22 March, 1911. M-A MB 8

K1068. ALMA GLUCK: Four American Indian Songs – From the land of sky blue water (Cadman). 10” AC Pat.’12 V 64190, POM-16 May, 1911. M-A MB 8

K1069. ALMA GLUCK: Long ago, sweatheart mine; A maid sings light (both MacDowell). 10” AC Pat.’12 V 64268, POM-10 June, 1912, Never Doubled, USA. A-, very decent copy has lt. rubs & few wee scrs. MB 8

K1070. ALMA GLUCK: Have you seen but a whyte lillie grow? (Jonson). 10” AC Pat.’12 V 64320, POM-23 Jan., 1913, Never Doubled, USA. A, lovely copy has faintest pap. rubs, inaud. MB 10

K1071. ALMA GLUCK: Red, red rose (Cottenet). 10” AC Pat.’12 V 64321, POM-23 Jan., 1913. M-A MB 10

K1072. ALMA GLUCK: My Laddy (Thayer). 10” AC Pat.’08 V 64183, POM-22 March, 1911. M-A MB 10

K1073. ALMA GLUCK: Song of the chimes (Worrell). 10” AC Vla 64322, POM-24 Jan., 1913. M-A MB 8

K1074. ALMA GLUCK: The Brook (Dolores). 10” AC Vla 64324, POM-25 Jan., 1913. M-A MB 8

K1075. ALMA GLUCK: When love is kind (Moore). 10” AC Pat.’12 V 64325, POM-25 Jan., 1913. M-A MB 10

K1076. ALMA GLUCK: The Swallows (Cowen). 10” AC V 64392, POM-29 Dec., 1913. M-A MB 10

K1077. ALMA GLUCK: The Lass with the delicate air (Arne). 10” AC V 64398, POM-31 Dec., 1913. A to M-A MB 8

K1078. ALMA GLUCK: La Serenata (Tosti). 10” AC V 64399, POM-31 Dec., 1913. M-A MB 8

K1079. ALMA GLUCK: Carmena (Wilson). 10” AC V 64400, POM-29 Dec., 1913. A to M-A MB 8

K1080. ALMA GLUCK: The Marriage Market – Little grey home in the west (Löhr). 10” AC Vla 64412, POM-7 March, 1914. M-A MB 8

K1081. ALMA GLUCK: As a beam o’er the face of the waters may glow (Moore). 10” AC V 64415, POM-6 March, 1914, issued USA only. M-A MB 10

K1082. ALMA GLUCK: The Braes o’Balquhidder (Tannahil). 10” AC V 64416, POM-6 March, 1914, Never Doubled, USA. M-A MB 8

K1083. ALMA GLUCK: Comin’ thro’ the rye. 10” AC V 64422, POM-6 March, 1914. M-A MB 8

K1084. ALMA GLUCK: I’se gwine back to Dixie (White). 10” AC Vla 64564, POM-15 Feb., 1916. M-A MB 8

K1085. ALMA GLUCK: Carry me back to old Virginny (Bland). 12” AC Vla 74420, POM-13 Nov., 1914. M-A, gleaming copy of Gluck’s phenominal money-maker, holding the distinction of being Victor’s first Red Seal record to sell over a million copies! MB 10

K1086. ALMA GLUCK: Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart], in English). 10” AC Vla 64590, POM-17 Feb., 1916, Never Doubled, UK. M-A MB 8

K1087. ALMA GLUCK: The Gardener – The bird of the wilderness (Tagore-Horsman). 10” AC V 64591, POM-17 Feb., 1916. M-A MB 8

K1088. ALMA GLUCK: A perfect day (Bond). 10” AC V 64607, ‘Take’ 4, POM-25 Sept., 1916, Never Doubled, US. A to M-A MB 8

K1089. ALMA GLUCK: A perfect day (Bond). 10” AC Vla 64607, ‘Take’ 6, POM-27 Dec., 1916, Never Doubled, UK. A to M-A MB 8

K1090. ALMA GLUCK: L’Heure exquise (Hahn). 10” AC Vla 64750, POM-18 Sept., 1917. This beautiful Hahn song was regarded by Gluck to be her very finest recording. A to M-A MB 10

K1091. ALMA GLUCK: Still wie die Nacht (Böhm). 10” AC V 64589, POM-17 Feb., 1916, issued USA only. M-A MB 8

K1092. ALMA GLUCK: The prayer perfect (Stenson). 10” AC Vla 64713, POM-23 Jan., 1917, Never Doubled M-A MB 8

K1093. ALMA GLUCK: Two folk-songs of Little Russia (arr.Zimbalist). 10” AC Vla 64727, POM-25 June, 1917. A to M-A MB 8

K1094. ALMA GLUCK: Darling Nellie Gray (Hanby). 10” AC Vla 64729, POM-26 June, 1917, Never Doubled, UK. A to M-A MB 8

K1095. ALMA GLUCK: Bring back my bonnie to me. 10” AC Vla 64793, POM-11 Sept., 1918, Never Doubled, UK. M-A MB 8

K1096. ALMA GLUCK: The little old log cabin in the lane (Hays). 10” AC Vla 64809, POM-11 Sept., 1918. M-A MB 8

K1097. ALMA GLUCK: Nelly was a lady (Foster). 10” AC Vla 64828, POM-11 Sept., 1918, Never Doubled, UK. M-A MB 8

K1098. ALMA GLUCK: Der Vogelhändler – Nightingale song (Zeller). 10” AC Vla 64566, ‘Take’ 1, POM-18 Feb., 1916. M-A MB 8

K1099. ALMA GLUCK: Der Vogelhändler – Nightingale song (Zeller). 10” AC V 64566, ‘Take’ 2, POM-18 Feb., 1916, issued USA only. M-A MB 8

K1100. ALMA GLUCK: Hippolyte et Aricié – Rossingols amoureux (Rameau). 12” AC V 74249, POM-20 July, 1911, Never Doubled, USA (other than in most elusive HRS Series). M-A, a gleaming copy. MB 15

“Gluck’s finest recorded achievement was ‘Rossignols amoureux’ by Rameau, surely one of the really great records.”

– Joe Winstanley, CLASSICAL RECORDINGS QUARTERLY, Autumn, 2010

K1101. ALMA GLUCK: Hippolyte et Aricié – Rossingols amoureux (Rameau) / Czarskaia Nevesta (Czar's Bride) – (Lyubasha's Aria) (Unaccompanied) (Rimsky-Korsakov, in German). 12” AC gold Victor HRS 1037, POM-20 July, 1911 / 31 Dec., 1913. Numbered Copy #21 of an extraordinarily Limited Edition. Sd.2 label Autographed by Gluck. M-A, a gleaming copy. MB 75

"Perhaps best of all is the aria 'Rossignols amoureux' from Rameau's Hippolyte et Aricie: just the sort of music that the great golden age singers leave most conspicuously alone, yet requiring the assurance of technique and beauty of voice that were supposed to be theirs. Gluck's record, with its clear placing and pure flutelike ease, did something to fill a notable gap in the old catalogues."

– J.B. Steane, THE GRAND TRADITION

K1102. ALMA GLUCK: Czarskaia Nevesta (Czar's Bride) – (Lyubasha's Aria) (Unaccompanied) (Rimsky-Korsakov; in German). 12” AC V 74383, ‘Take’ 2, POM-31 Dec., 1913, only form of regular issue (other than in most elusive HRS Series). M-A, a gleaming copy. MB 20

K1103. ALMA GLUCK: Theodora – Angels ever bright and fair (Handel). 12” AC Vla 74559, POM-18 Sept., 1917. M-A MB 12

K1104. ALMA GLUCK: Semele – Oh, sleep! why dost thou leave me? (Handel). 12” AC Vla 74423, ‘Take’ 3, POM-14 Feb., 1916, issued USA only. M-A, gleaming copy has minor ulc MB 15

K1105. ALMA GLUCK: Semele – Oh, sleep! why dost thou leave me? (Handel). 12” AC V 74423, ‘Take’ 2, POM-13 Nov., 1914, Never Doubled, USA. M-A, a gleaming copy. MB 12

K1106. ALMA GLUCK , w.Hageman Cond.: Atalanta – Care selve (in English) (Handel). 12” AC V 74504, POM-26 Sept., 1916. M-A, a gleaming copy. MB 15

“...['Care selve'] which for many years was called by musicians the finest piece of music ever recorded, because of the perfect mastery of Handel's classic legato line, and the phenomenal control of the voice. 'O Sleep, why dost thou leave me?' is in the same class, with the addition of an adagio trill that could stand the application of a thousand-power magnifying glass. 'Rossignols amoureux' of Rameau is even more exacting and displays the command of a palette of technique which, in a word, demands everything.”

– Marcia Davenport, TOO STRONG FOR FANTASY, pp.109-110

K1107. ALMA GLUCK: La Boheme – Donde lieta uscì (Mimi). 10” AC Pat.’12 V 64225, POM-13 April, 1911. M-A MB 10

K1108. ALMA GLUCK: La Boheme – Quando m’en vo (Musetta). 10” AC V 64560, POM-17 Feb., 1916. M-A MB 8

K1109. ALMA GLUCK: Sadko – Chanson indoue (1916 Version). 10” AC Vla 64269, ‘Take’ 2, only form of issue, 17 Feb., 1916. A to M-A MB 10

K1110. ALMA GLUCK: Hubicka – Cradle song (Smetana). 10” AC Pat.’08 V 64213, POM-20 July, 1911. M-A MB 8

K1111. ALMA GLUCK: Snegoroutchka – Aller au bois (in French) (Rimsky-Korsakov). 10” AC V 64421, POM-7 March, 1914. M-A MB 10

K1112. ALMA GLUCK: Snegoroutchka – Song of the shepherd Lehl (in English) (Rimsky-Korsakov). 10” AC Pat.’12 V 64209, POM-19 July, 1911. A to M-A, lovely copy has infinitesimal pap. scr, inaud. MB 10

K1113. ALMA GLUCK: Pagliacci – O che volo d’augelli. 12” AC Pat.’08 V 74238, POM-16 May, 1911. M-A MB 10

K1114. ALMA GLUCK: Carmen – Je dis que rien ne m’épouvante (in Italian). 12” AC Pat.’08 V 74245, ‘Take’ 1, only form of issue, 13 April, 1911. M-A MB 12

K1115. ALMA GLUCK: Louise – Depuis le jour. 12” AC Pat.’12 V 74252, ‘Take’ 3, POM-23 Jan., 1913. M-A MB 12

K1116. ALMA GLUCK , w.Efrem Zimbalist (Violin): Le Nil (Leroux). 12” AC Pat.’12 Vla 88358, POM-19 Feb., 1912. M-A MB 10

K1117. ALMA GLUCK , w.Efrem Zimbalist (Violin): Angel’s serenade (Braga). 12” AC Pat.’12 Vla 88434, POM-13 March, 1913. M-A, lovely copy has mere hint of nr, inaud. MB 8

K1118. ALMA GLUCK , w.Efrem Zimbalist (Violin): Swedish cradle song. 10” AC Vla 87566, POM-10 Sept., 1918. A to M-A MB 8

K1119. ALMA GLUCK , w.Efrem Zimbalist (Violin): Hatikva. 10” AC Vla 87522, POM-11 Sept., 1918, Never listed in a North American Victor Catalogue. M-A MB 10

K1120. ALMA GLUCK , w.Efrem Zimbalist (Violin): Quatre Chants Populaires – Chanson hébraique (in Yiddish) (Ravel). 10” AC Vla 87276, POM-25 June, 1917. M-A MB 10

K1121. ALMA GLUCK , w.Efrem Zimbalist (Violin): None but the lonely heart (in German) (Tchaikovsky). 10” AC V 87244, POM-17 Feb., 1916, Never Doubled, UK. M-A MB 10

K1122. ALMA GLUCK , w.Efrem Zimbalist (Violin): Élégie (Massenet). 10” AC Pat.’12 Vla 87101, POM-19 Feb., 1912. M-A MB 8

K1123. ALMA GLUCK , w.Efrem Zimbalist (Pf.): Irish love song (Lang). 10” AC V 64346, POM-13 March, 1913. M-A MB 8

K1124. ALMA GLUCK , w.Charles Gilbert Spross (Pf.): Will-o-the-wisp (Acc. by the Composer). 10” AC Pat.’08 V 64192, POM-16 May, 1911. M-A, a gleaming copy. MB 10

K1125. ALMA GLUCK , w.Hageman Cond.: War schöner als der schönste Tag (Canzonetta) (Loewe). 10 AC V 64626, POM-26 Sept., 1916, Never Doubled, UK. M-A MB 8

K1126. ALMA GLUCK , w.Hageman Cond.: Such a li’l’ fellow (Dichmont). 10 AC V 64625, POM-26 Sept., 1916. M-A MB 8

K1127. ALMA GLUCK , w.Hageman Cond.: She wandered down the mountain side (Clay). 12” AC Vla 74503, POM-25 Sept., 1916. M-A, lovely copy has faintest pap. rub, inaud. MB 8

K1128. ALMA GLUCK & PAUL REIMERS: Der Jäger Lang dem Weiher ging (Hunter’s song) (Pax). 10” AC V 87184, Orig. ‘A’ plate issue, POM-7 March, 1914, Never Doubled. M-A MB 12

K1129. ALMA GLUCK & LOUISE HOMER , w.Hageman Cond.: Norma – Mira, o Norma. 12” AC V 88576, POM-25 Sept., 1916. M-A MB 12

K1130. ALMA GLUCK , w.Victor Herbert Cond.: Lo, here the gentle lark (Bishop). 10” AC Pat.’12 V 64267, POM-10 June, 1912. M-A, a gleaming copy. MB 10

K1131. ALMA GLUCK , w.Victor Herbert Cond.: La Colomba. 10” AC Pat.’12 V 64277, POM-10 June, 1912, Never Doubled, USA. M-A MB 10

K1132. ALMA GLUCK , w.Victor Herbert Cond.: Sadko – Chanson indoue (1912 Version) (Rimsky-Korsakov). 10” AC Pat.’12 V 64269, POM-10 June, 1912, Never Doubled, USA. M-A, a gleaming copy. MB 12

K1133. ALMA GLUCK , w.Victor Herbert Cond.: Natoma – I list the trill of golden throat (Cond. by the Composer). 12” AC V 74274, POM-10 June, 1912. M-A, Exemplary! MB 15

“No soprano of [Gluck’s] own or subsequent generations has surpassed the instrumental purity of her tone and line, which could fairly be called immaculate.”

– Desmond Shawe-Taylor

K1134. SOPHIE BRASLAU: Girometta (Sibella). 10” AC Vla 64967, POM-24 June, 1921. A, lovely copy has faintest pap. rubs, inaud. A contender for Braslau’s loveliest recording, this song having been written by her teacher – duly charming! MB 8

“Sophie Braslau, a contralto with a three-octave range, sang with the Metropolitan Opera for several years before becoming a touring concert artist. Braslau made her début in Wagner's Parsifal, and performed in Toscanini's revival of Carmen and in Verdi's Requiem.”'

K1135. SOPHIE BRASLAU: Eili, Eili (in Hebrew) / Romance in E-flat, Op.44, #1 (Die Nacht) (Rubinstein; in Russian). 12” EL blue Viva-Tonal Col. 7143-M, only form of issue, 4 June, 1928. A to M-A, lovely copy has, Sd. 2 only, 2 lams, inaud. MB 10

K1136. SOPHIE BRASLAU: Eili, Eili (in Hebrew). 12” AC Vla 74577, POM-29 April, 1918. M-A MB 8

K1137. SOPHIE BRASLAU: Yohrzeit (in Hebrew). 12” AC Vla 74595, POM-27 June, 1919. M-A MB 8

K1138. SOPHIE BRASLAU: Chant juif (Mey; trans. Mussorgsky). 10” AC V 64478, only form of issue, 21 Oct., 1914. M-A MB 10

K1139. SOPHIE BRASLAU: Der Tod und das Mädchen / Der Erlkönig (both Schubert). 12” EL blue Viva-Tonal Col. 64131-D, POM-27 April, 1928. M-A, a gleaming copy. MB 10

K1140. SOPHIE BRASLAU: Die junge Nonne / Die Forelle; Heidenröslein (all Schubert). 12” EL blue early PW Col. 67432-D, POM-30 / 27 April, 1928. M-A, gleaming copy of choice mid 1930s pressing. MB 10

K1141. SOPHIE BRASLAU: Same old, dear old place (Wilson). 12” AC Vla 74681, POM-24 Jan., 1921. M-A MB 8

K1142. SOPHIE BRASLAU: Thy beaming eyes (MacDowell). 10” AC V 64470, POM-28 Sept., 1914, Never Doubled, USA. M-A MB 8

K1143. SOPHIE BRASLAU: Bid me good-bye (Weatherly-Tosti). 10” AC V 64541, POM-20 Oct., 1915. A to M-A, lovely copy has minuscule edge scr. MB 8

K1144. SOPHIE BRASLAU: The sweetest story ever told (Stults). 10” AC Vla 64708, POM-18 July, 1917. M-A, a gleaming copy. MB 8

K1145. SOPHIE BRASLAU: Croon, croon, underneat’ de moon (Clutsam). 10” AC Vla 64799, POM-9 Oct., 1918. M-A MB 8

K1146. SOPHIE BRASLAU: Baby mine (Johnston). 10” AC white Vla 64810, POM-9 Oct., 1918, Never Doubled, USA. M-A, a gleaming copy. MB 8

K1147. SOPHIE BRASLAU: Ever of thee I’m fondly dreaming (Hall). 10” AC Vla 64883, ‘Take’ 2, POM-27 June, 1919, issued USA only. M-A, lovely copy has faint rub, inaud. MB 8

K1148. SOPHIE BRASLAU: Lady, Be Good – The man I love (Gershwin) / If I could look into your eyes (Goodman). 10” EL black Viva-Tonal Col. 153-M, only form of issue, 1 / 5 June, 1928. M-A, a gleaming copy. Exceedingly elusive! MB 45

K1149. SOPHIE BRASLAU: Come to me, o beloved! (Malipiero) / Lucrezia Borgia – Il segreto per esser felice (Brindisi) (Donizetti) (both in Italian). 12” EL blue Viva-Tonal Col. 7133-M, only form of issue, 16 Sept. / 31 Aug., 1927. A-, lovely copy has lt rubs & few superficial pap. scrs, ever-so-faintly audible 3 turns only, Sd.1. The Malipiero cantata displays Braslau’s deep contralto voice particularly well. MB 10

K1150. SOPHIE BRASLAU: Just a little house of love (Wood). 10” AC Vla 64937, POM-24 June, 1921, issued USA only. M-A, lovely copy has tiny ndl cut. MB 8

K1151. SOPHIE BRASLAU: Swingin’ vine (Grosvenor). 10” AC Vla 64996, ‘Take’ 4, POM-7 June, 1921, issued USA only. M-A, a gleaming copy. MB 8

K1152. SOPHIE BRASLAU: Jasmine door (Scott). 10” AC Vla 66044, ‘Take’ 5, POM-23 Jan., 1922, issued USA only. M-A, a gleaming copy. MB 8

K1153. SOPHIE BRASLAU: Somebody loves me (Hattie Starr). 10” AC Vla 66084, POM-24 May, 1922, issued USA only. M-A, a gleaming copy. MB 8

K1154. SOPHIE BRASLAU: Last night (Kjerulf) / The sweetest story ever told (Stults). 10” AC Vla 553, ‘Takes’ 8 / 1, POM-20 Oct., 1915 / 18 July, 1917. A to M-A MB 8

K1155. SOPHIE BRASLAU: Lucrezia Borgia – Il segreto per esser felice (Brindisi) (Donizetti). 10” AC V 64468, ‘Take’ 7, only form of issue, 28 Sept., 1914. M-A MB 10

K1156. SOPHIE BRASLAU: Lucrezia Borgia – Il segreto per esser felice (Brindisi) (Donizetti). 10” AC white Vla 64468, ‘Take’ 9, POM-21 Oct., 1914. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

K1157. SOPHIE BRASLAU: Carmen – Habañera (1914 Version). 10” AC V 64469, ‘Take’ 11, only form of issue, 21 Oct., 1914. M-A, lovely copy has faint pap. rub, inaud. MB 8

K1158. SOPHIE BRASLAU: Carmen – Habañera (1928 Version) / En vain pour éviter (Card Scene). 10” EL black Viva-Tonal Col. 156-M, only form of issue, 4 / 5 June, 1928. M-A MB 10

“Braslau’s parents, both from Russia, recognized early on the musical talent of their only child. Her father was on friendly terms with many musicians and often hosted visiting virtuosi. Sophie Braslau acknowledged that her musical inspiration came from a performance by soprano Alma Gluck at the old Mendelssohn Hall. Signor A. Buzzi-Pecci, a voice teacher, who was often a visitor at the Braslau home, worked with Braslau for three years, then she studied with Mme Marcella Sembrich, Gabriele Sibella, Herbert Witherspoon, Mari Marafioti, and others. When she auditioned at the Metropolitan Opera with a group of seventeen other hopefuls, she won instant recognition and was granted a five-year contract.”

– Oliver B. Pollak, JEWISH WOMEN’S ENCYCLOPEDIA

K1159. ELSE BREMS , w.Folmer Jensen (Pf.): Plaisir d’amour (Martini) / L’amour de moi (both in French). 10” EL Danish Tono K 8034, only form of issue, 1944. M-A Exquisitely sensitive and stylistic renditions! MB 12

K1160. ELSE BREMS , w.Folmer Jensen (Pf.): Vaaren er kommen (Henriques) / Sol deroppe (Heise) (both in Danish). 10” EL HMV DA 5228, only form of issue, 1940. M-A MB 8

K1161. ELSE BREMS , w.Egisto Tango Cond.: Carmen – Habañera / ELSE BREMS & OTTE SVENDSEN: Séguedille (both in Danish). 12” EL Danish Tono X 25030, only form of issue, 1944. A-, lovely copy has few lt. rubs, inaud.; Sd. 1 only has safe, closed pressing blister. MB 8

K1162. ELSE BREMS , w.Egisto Tango Cond.: Samson et Dalila – Mon coeur s'ouvre à ta voix / Printemps qui commence (both in French). 12” EL Danish Tono X 25050, only form of issue, 1945. M-A, lovely copy has faintest pap. rubs, inaud. MB 12

K1163. ELSE BREMS & STEFAN ISLANDI , w.Egisto Tango Cond.: Il Trovatore – Ai nostri monti / Mal reggendo (both in Italian). 12” EL HMV DB 5279, only form of issue, 10 May, 1943. M-A, Exemplary! MB 10

“When she was 17, her father brought Else Brems to Mattia Battistini and the baritone was enthusiastic in his praise for the young singer’s talent. Subsequently, she went to Paris for a four month’s stay to study the French repertory (with Georges Cunelli and Povla Frijsh) and it was here that her lifelong love affair with French music started. At the age of 20 she made her début in a small concert hall at Copenhagen. She went for further studies to Mme Charles Cahier, and later Else Brems returned to Paris. At 21, she made her first appearance at the Royal Theatre Copenhagen as Carmen. She appeared as Carmen in Vienna, Warsaw, Budapest, Stockholm and London within a short time. With few short breaks, Else Brems concentrated on The Royal Theatre Copenhagen from her début in 1930 until 1962. In 1933 she went on a tour in the United States and appeared with the Chicago Orchestra. Her performances were reviewed with enthusiasm. Her voice was even compared with the young Ernestine Schumann-Heink. In 1938 she was engaged as Carmen for the Vienna State Opera by Bruno Walter and Carl Ebert. Her partners included Todor Mazaroff and Jan Kiepura. In 1940 she married the tenor Stefan Islandi with whom she frequently appeared together in concerts. During the war she toured the Scandinavian countries and after the war, in 1948, she reappeared as Carmen at Covent Garden.”

- Andrea Shum-Binder, subito-cantabile

K1164. HÉLÈNE CALS , w.Weissmann Cond.: Il bacio (Arditi) / Mignon – Je suis Titania. 12” EL dark-blue PW Parl. E 10990, POM-c.1929. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

K1165. HÉLÈNE CALS: Stabat Mater – Vidit suum (Pergolesi) / Giulio Cesare – Piangerò, la sorte mia (Handel). 12” EL red Decca-Odeon 25359, POM-c.1929. A-, lovely copy has few lt. rubs & dust scrs, ltly audible a few turns. Exquisite, tasteful use of portamento here! MB 12

“The Dutch soprano Hélène Cals was a great radio favourite in the 1930s. Perhaps she did not have the largest voice, but it was radiant and had a beautiful timbre. She did make some lovely records, this aria from Giulio Cesare I think is one of her best. Her phrasing in this aria is exceptionally fine and, I think, unsurpassed.”

- Peter van der Waal, THE RECORD COLLECTOR, 2007

K1166. JULIA CULP: Drink to me only with thine eyes (in English). 10" AC V 64401, POM-27 Jan., 1914, Never Doubled, USA. M-A, Exemplary! MB 8

K1167. JULIA CULP: Stille Nacht, (1914 Version) (Gruber). 10" AC V 64397, POM-4 March, 1914, (this being ‘Take’ 5 of two issued Versions), Never Doubled. M-A, Exemplary! MB 8

K1168. JULIA CULP: Stille Nacht, (1917 Version) (Gruber) / w.Coenraad V. Bos (Pf.): Guten Abend, gut’ Nacht (Wiegenlied) (Brahms). 10" AC Vla 566, POM-2 May, 1917 / 6 Feb., 1914. M-A, Exemplary! MB 8

K1169. JULIA CULP: Love’s old sweet song (Molloy). 12" AC Vla 74540, POM-1 May, 1917, issued USA only. M-A, Exemplary! MB 8

K1170. JULIA CULP: All through the night (in English). 10" AC V 64414, POM-4 March, 1914. M-A, Exemplary! MB 8

K1171. JULIA CULP: Auld lang syne (Burns). 10" AC V 64418, POM-6 Feb., 1914. M-A, Exemplary! MB 8

K1172. JULIA CULP: Bendemeer’s Stream (arr.Gatty). 10" AC Vla 64720, POM-1 May, 1917. M-A, Exemplary! MB 8

K1173. JULIA CULP: Long, long ago (Bayly). 10" AC Vla 64419, POM-27 March, 1917, (this being ‘Take’ 9 of two issued Versions). M-A, Exemplary! MB 8

K1174. JULIA CULP: The Blue Paradise – Auf wiedersehn! (in English) (Romberg). 12" AC V 74523, POM-27 March, 1917, Never Doubled outside USA. M-A, a gleaming copy. MB 10

K1175. JULIA CULP: Tears must fall, eyes must weep (Cradle song – 1915) (in English) (Kreisler). 12" AC V 74460, POM-29 Dec., 1915, Never Doubled outside USA. M-A, Exemplary! MB 10

K1176. JULIA CULP: The old refrain (Kreisler). 10" AC V 64667, POM-4 April, 1917, Never Doubled, USA. M-A, lovely copy has faintest pap. rubs, barely visible & inaud. MB 8

K1177. JULIA CULP: Geluckig vaderland (Dutch folksong). 10" AC Vla 64551, POM-28 Dec., 1915. M-A, Exemplary! MB 8

K1178. JULIA CULP: Dutch Serenade (de Lange). 10" AC V 64552, POM-28 Dec., 1915, Never Doubled, USA. M-A, Exemplary! MB 8

K1179. JULIA CULP: By the waters of Minnetonka (Lieurance). 10" AC Vla 64721, Orig. ‘A’ Plate Issue, POM-2 May, 1917. M-A, Exemplary! MB 8

K1180. JULIA CULP: Indian Songs – Lullaby (Lieurance). 10" AC V 64491, POM-18 March, 1915. M-A, Exemplary! MB 8

K1181. JULIA CULP: The cottage maid (in English) (Beethoven). 10" AC V 64493, POM-23 March, 1915. M-A, Exemplary! MB 8

K1182. JULIA CULP: Ave Maria (Schubert). 10" AC V 64489, POM-19 March, 1915. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

K1183. JULIA CULP: Im Abendroth (Schubert). 10" AC V 64492, POM-19 March, 1915, issued USA only. M-A, Exemplary! MB 8

K1184. JULIA CULP: Samson et Dalila – Printemps qui commence. 12" AC V 74430, POM-19 March, 1915, Never Doubled, USA. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

K1185. JULIA CULP: Samson et Dalila – Mon coeur s’ouvre à ta voix. 10" AC V 64490, POM-19 March, 1915. M-A MB 8

K1186. JULIA CULP: Du bist die Ruh’ (Schubert). 12" AC V 74461, POM-29 Dec., 1915, Never Doubled outside USA. M-A, Exemplary! MB 10

K1187. JULIA CULP: Du bist die Ruh’ / Schwanengesang – Leise flehen meine Lieder (Ständchen) (both Schubert). 12" AC Vla 6066, POM-29 Dec. / 18 March, 1915, (Sd. 2 being ‘Take’ 4 of two issued Versions). M-A, exemplary copy has, beg. Sd. 2, wee pressing bump. MB 15

“You might describe Julia Culp as a connoisseur’s singer….What she excelled in were….sustained legato line, remarkable breath control, subtle colour, immaculate care for words….But ‘connoisseur’s singer’ does not mean that only connoisseurs can appreciate her; one becomes a connoisseur by listening to her.”

- Michael Oliver, INTERNATIONAL OPERA COLLECTOR, Autumn, 2000

K1188. JULIA CULP: Passing by (in English) (Purcell). 10" AC V 64550, POM-28 Dec., 1915, Never Doubled, USA. M-A, bright copy has faintest pap. rubs, inaud. MB 8

K1189. JULIA CULP: Faithfu’ Johnnie (in English) (Beethoven). 12" AC white Vla 74429, POM-19 March, 1915, Never Doubled, USA. M-A, Exemplary! MB 15

K1190. JULIA CULP: Elijah – O rest in the Lord (in English) (Mendelssohn). 12" AC V 74427, POM-18 March, 1915, Never Doubled, USA. M-A, Exemplary! MB 10

K1191. JULIA CULP: Israel in Egypt – Dank sei dir (Handel). 12" AC white Vla 74462, POM-28 Dec., 1915, only form of issue (other than elusive Japanese edition). M-A, Exemplary! MB 15

K1192. JULIA CULP , w.Coenraad V. Bos (Pf.): I’ve been roaming (Horn). 10" AC V 64404, POM-4 March, 1914, Never Doubled, USA. M-A, Exemplary! MB 8

K1193. JULIA CULP , w.Coenraad V. Bos (Pf.): At parting (Rogers). 10" AC V 64441, POM-4 March, 1914, Never Doubled, USA, (this being ‘Take’ 6 of two issued Versions). M-A, Exemplary! MB 8

K1194. JULIA CULP , w.Coenraad V. Bos (Pf.): Mignonette (in French) (Weckerlin). 10" AC V 64403, POM-4 March, 1914. M-A, Exemplary! MB 8

“In spite of the difficulties [with Victor’s choice of repertoire] there are a few gems which show how great [Culp’s] artistry was, for example, ‘Mignonette’, ‘I’ve been roaming’ and ‘At parting’.”

- Floris Juynboll, THE RECORD COLLECTOR, 1986

K1195. JULIA CULP , w.Coenraad V. Bos (Pf.): Heidenröslein (Schubert). 10" AC V 64396, POM-4 March, 1914. M-A, Exemplary! MB 8

K1196. JULIA CULP , w.Coenraad V. Bos (Pf.): Immer leiser wird mein Schlummer (Brahms). 10" AC V 64553, only form of issue, 29 Dec., 1915. M-A, Exemplary! MB 10

K1197. JULIA CULP , w.Coenraad V. Bos (Pf.): Guten Abend, gut’ Nacht (Wiegenlied) (Brahms). 10" AC V 64402, POM-6 Feb., 1914. M-A, Exemplary! MB 8

K1198. JULIA CULP , w.Coenraad V. Bos (Pf.): Mariä Wiegenlied (Reger). 10" AC Vla 64683, POM-28 March, 1917, Never Doubled. M-A, Exemplary! MB 12

K1199. JULIA CULP , w.Coenraad V. Bos (Pf.): Nuit d’étoiles (in French) (Debussy). 10" AC Vla 64676, POM-28 March, 1917, Never Doubled, USA. M-A, choice copy has wee pressing bump. MB 12

K1200. JULIA CULP , w.Coenraad V. Bos (Pf.): Mondnacht (Schumann). 10" AC V 64554, POM-28 Dec., 1915, Orig. ‘A’ Plate Issue, issued USA only. M-A, Exemplary! MB 10

K1201. JULIA CULP , w.Michael Raucheisen (Pf.): Es muss ein Wunderbares sein (Liszt) / Auf Flügeln des Gesanges (Mendelssohn). 10" AC Vla 1041, only form of issue, 26 March, 1924. M-A, Exemplary! MB 15

K1202. JULIA CULP , w.Fritz Lindemann (Pf.): Der Tod und das Mädchen / Der Lindenbaum (both Schubert). 12” EL vinyl Historic Masters HMB 62, POM-29 July, 1926. MINT MB 8

K1203. JULIA CULP , w.Fritz Lindemann (Pf.): Du bist wie eine Blume (Schumann) / Feldeinsamkeit (Brahms). 10" EL PW black Electrola EW 9, POM-29 July, 1926. M-A, gleaming copy has wee ipc, inaud. & virtually invisible. MB 45

“[Julia Culp] was a great personality and she is still considered as one of the greatest lieder singers. I consider her recording of ‘Feldeinsamkeit’ by Brahms to be one of her best. In it she demonstrates her gift to sing pianissimo, putting meaning into every word she sings."

- Peter van der Waal, THE RECORD COLLECTOR, 2007

K1204. JULIA CULP , w. Otto Bake (Pf.): Auf Flügeln des Gesanges (Mendelssohn) / Ave Maria (Schubert). 12” AC Art Label (nude boy playing pipes) Anker 9453 (04848/50), POM-1908, Berlin. A-, very decent copy has cosmetic rubs & very few faint scrs, only occasionally ltly audible.; edge bite nowhere near 1st groove. MB 25

“Julia Culp in 1908 uses even more generous rubato than some of her contemporaries. and sings with fantastically pure intonation.”

- Will Crutchfield, SONG ON RECORD, Vol. I, p.119

K1205. JULIA CULP , w. Otto Bake (Pf.): Frauenliebe und Leben (Schumann), 8s. 4-12” AC Japanese Col. S-9007/10, RRs-1909, in Orig. Album, w.Culp’s Photo on cover. M-A, a gleaming copy. MB 75, the Set.

“By far the most moving interpretation [in the above] is 'Nun hast du mir den ersten Schmerz getan'. It is remarkable how a young singer of twenty-six could bring out so wonderfully the bleak and stark tragedy of this song. She informs the words with such meaning that it is as if she had lived a long life full of bitter experience....Not even Elisabeth Schumann, in her famous recording of the cycle, approaches her.”

- Floris Juynboll, THE RECORD COLLECTOR, 1986

K1206. LILIAN WEBER HANSEN , w.Egisto Tango Cond.: Don Carlos – O don fatale / Il Trovatore – Stride la vampa (both in Danish). 12” EL Danish Tono X 25161, only form of issue, 1945. M-A, a gleaming copy. MB 15

“Lilian Weber Hansen’s breakthrough came with the rôle of Eboli in Verdi’s Don Carlos in 1948 when she let her sumptuous voice and wealth of dramatic nature come to full flower. She sang ‘O don fatale’ on record with Egisto Tango conducting, showing a big dramatic voice and expression.”

- Kari Flor, Dansk kvindebiografisk leksikon

K1207. AULIKKI RAUTAWAARA , w.Schmidt-Isserstedt Cond. Berlin Phil.: The garden of happiness (Folksong) / When the cuckoo calls (Kilpinen). 10” EL dark-blue Capitol-Telefunken 77-80155, recorded 12 April, 1938. M-A, bright copy has, Sd. 2 only, tiny closed blister. MB 6

K1208. AULIKKI RAUTAWAARA , w.Franz Rupp (Pf.): Du bist die Ruh’ / Der Tod und das Mädchen (both Schubert). 12” EL dark-blue German Telefunken E 1687, only form of issue, 1934. M-A, Exemplary! Most elusive! MB 15

K1209. AULIKKI RAUTAWAARA , w.Leitner (Pf.): Ich liebe dich / Wonne der Wehmut (both Beethoven). 10” EL dark-blue German Telefunken A 2781, only form of issue, 1938. M-A, Exemplary! MB 15

K1210. AULIKKI RAUTAWAARA , w.Leitner (Pf.): Sapphische Ode / Auf die Nacht in den Spinnstub’n (Mädchenlied III) (both Brahms). 10” EL dark-blue German Telefunken A 2538, only form of issue, 1938. M-A, lovely copy has few lt. rubs, inaud. MB 12

K1211. AULIKKI RAUTAWAARA , w.Leitner (Pf.): Svarta rosor / Pa varandan vid havet (both Sibelius). 10” EL pale-blue German Telefunken A 2543, only form of issue, 1938. A to M-A, lovely copy has few lt. rubs, inaud. MB 12

K1212. AULIKKI RAUTAWAARA , w.Kreuder Cond.: Serenade (Cond. by the Composer) / Maytime – Will you remember? (in English) (Romberg). 10” EL dark-blue German Telefunken A 2503, only form of issue, 1938. M-A, Exemplary! MB 15

K1213. AULIKKI RAUTAWAARA , w.Kreuder Cond.: Eva – Wär’ es auch nichts als ein Augenblick / Die Lustige Witwe – Vilja-Lied (both Lehár). 12” EL dark-blue German Telefunken E 2496, POM-1938. M-A, a gleaming copy. MB 15

K1214. AULIKKI RAUTAWAARA , w.Schmidt-Isserstedt Cond. Berlin Phil.: Den första kyssen / Mädchen kam vom Stelldichein (The Tryst) (both Sibelius). 10” EL dark-blue German Telefunken A 1900, POM-12 April, 1938. M-A, Exemplary! MB 12

K1215. AULIKKI RAUTAWAARA , w.Gerald Moore (Pf.): Säf, Säf, Susa / Den första kyssen (both Sibelius). 10” EL Parl-Odeon R.O. 20575, POM-1948. M-A, Exemplary! MB 8

K1216. AULIKKI RAUTAWAARA , w.Gerald Moore (Pf.): Jägargossen (in Swedish) / Hymn to Thaïs (in English) (both Sibelius). 10” EL Parl-Odeon R.O. 20574, POM-1948. M-A, Exemplary! MB 8

K1217. AULIKKI RAUTAWAARA , w.Schmidt-Isserstedt Cond.: Nozze – Porgi amor (in Italian) / Zauberflöte – Ach’ ich fühl’s (in German) (both Mozart). 12” EL dark-blue German Telefunken E 2688, POM-21 April, 1938. M-A, Exemplary! MB 15

K1218. AULIKKI RAUTAWAARA , w.Schmidt-Isserstedt Cond.: Nozze – Porgi amor (in Italian) / Zauberflöte – Ach’ ich fühl’s (in German) (both Mozart). 12” EL cerise Australian Telefunken Radiola E.038T, POM-21 April, 1938. M-A, Exemplary! MB 15

K1219. AULIKKI RAUTAWAARA , w.Schmidt-Isserstedt Cond. Berlin Phil.: Peer Gynt – Solveig’s song / Solveig’s Cradle song (Grieg). 12” EL dark-blue German Telefunken E 1795, POM-13 Feb., 1935. M-A, a gleaming copy. MB 15

K1220. AULIKKI RAUTAWAARA , w.Schmidt-Isserstedt Cond. Berlin Phil.: Peer Gynt – Solveig’s song / Solveig’s Cradle song (Grieg). 12” EL pale-blue Scandinavian Telefunken Telestar E 1795, POM-13 Feb., 1935. M-A, lovely copy has faintest pap. rubs & few infinitesimal mks, inaud. MB 10

K1221. AULIKKI RAUTAWAARA , w.Schmidt-Isserstedt Cond. Berlin Phil.: Säf, Säf, Susa / The diamond on the March snow (both Sibelius). 10” EL dark-blue Capitol-Telefunken 77-80154, recorded 12 April, 1938. M-A, Exemplary! MB 8

K1222. AULIKKI RAUTAWAARA , w.Schmidt-Isserstedt Cond. Berlin Phil.: Cavalleria – Voi lo sapete / AULIKKI RAUTAWAARA & PETER ANDERS: No, no, Turiddu (in German). 12” EL dark-blue German Telefunken E 1807, only form of issue, 1935. M-A/A-, lovely copy has, Sd. 2 only, lt. rubs & hint of grey on peaks, inaud. MB 15

K1223. AULIKKI RAUTAWAARA & PETER ANDERS , w.Schmidt-Isserstedt Cond.: Carmen – Parle-moi de ma mère (in German), 2s. 12” EL dark-blue German Telefunken E 2654, only form of issue, 30 April, 1938. M-A, lovely copy has, Sd. 2 only, infinitesimal pap. scr, inaud. MB 15

K1224. AULIKKI RAUTAWAARA & PETER ANDERS , w.Schmidt-Isserstedt Cond. Berlin Phil.: Rendezvous bei Lehár, 2s. 12” EL dark-blue German Telefunken E 1781, POM-1935. M-A/A, lovely copy has, Sd. 2 only, few lt. rubs, inaud MB 12

K1225. AULIKKI RAUTAWAARA & PETER ANDERS , w.Schmidt-Isserstedt Cond. Berlin Phil.: Rendezvous bei Lehár, 2s. 12” EL red Swiss Telefunken E 1781, POM-1935. M-A, Exemplary! MB 15

K1226. AULIKKI RAUTAWAARA & PETER ANDERS , w.Schmidt-Isserstedt Cond.: Der Bettelstudent – Ich setz’ den Fall / Nur das eine bitt’ich dich (Millöcker). 12” EL dark-blue German Telefunken E 2629, only form of issue, 1938. M-A, a gleaming copy. MB 12

K1227. AULIKKI RAUTAWAARA & PETER ANDERS , w.Lutze Cond.: Die Lustige Witwe – Komm’ in den kleinen Pavillon / Das Land des Lächelns – Wer hat die Liebe uns ins Herz gesenkt (both Lehár). 12” EL red Austrian Telefunken Exquisit E 1047, POM-5 May, 1942. M-A, choice copy of elusive Wartime issue. MB 20

K1228. AULIKKI RAUTAWAARA & PETER ANDERS , w.Schmidt-Isserstedt Cond.: Der Zigeunerbaron – Wer uns getraut (Johann Strauss) / Der Rastelbinder – Wenn zwei sich lieben (Lehár). 12” EL dark-blue Swiss Telefunken E 2572, POM-1938. M-A, a gleaming copy. MB 15

K1229. AULIKKI RAUTAWAARA & PETER ANDERS , w.Schmidt-Isserstedt Cond.: Die Csardasfürstin – Potpurri (Kálmán), 2s. 12” EL dark-blue German Telefunken E 1690, POM-1934. M-A, Exemplary! MB 15

K1230. AULIKKI RAUTAWAARA & PETER ANDERS , w.Schmidt-Isserstedt Cond.: Die Csardasfürstin – Potpurri (Kálmán), 2s. 12” EL red Swiss Telefunken E 1690, POM-1934. A to M-A, lovely copy has, primarily Sd. 2, few lt. rubs, inaud. MB 10

K1231. AULIKKI RAUTAWAARA & PETER ANDERS , w.Bund Cond.: Du und ich! (Potpurri), 2s. 10” EL pale-blue Scandinavian Telefunken Telestar A 1627, POM-23 April, 1934. M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud. Highly elusive! MB 15

“Aulikki Rautawaara made her international breakthrough at the Glyndebourne Opera Festival in 1934 where she participated in the famous complete recording of Mozart’s Le Nozze di Figaro. Immediately after this, Telefunken rushed to offer her a recording contract. Between 1939 and 1942 she recorded some 30 songs for them….She also sang several duets with Peter Anders….It is sad to note that a successful international career was interrupted by the War….One of Aulikki Rautawaara’s last international appearances was at the Edinburgh Music Festival in 1949.”

K1232. RIA GINSTER , w.Hans Vollenweider (Organ): Dem Unendlichen (Schubert) / Semele – Where'er you walk (in German). 12” EL Swiss HMV DB 10044, only form of issue, 1943, Zürich. M-A, a gleaming copy. The unforgettable Semele aria offers a supreme example of beautiful portamento. MB 45

K1233. RIA GINSTER , w.Oskar Kromer (Viola) & Paul Baumgartner (Pf.): Gestillte Sehnsucht (Brahms), 2s. 12” EL Swiss HMV DB 10098, only form of issue, 1944, Zürich. M-A, a gleaming copy. Exceedingly elusive! MB 85

"...some of the most magical Lieder singing ever recorded... [the above] constitutes a pinnacle of artistic and technical achievement which it would be difficult to surpass."

- Robert Jones, RECORDED SOUND, Oct., 1965

K1234. RIZA EIBENSCHÜTZ & MINNI NAST: Nozze – Che soave zeffiretto (Letter duet) / MARGARETHE PREUSE-MATZENAUER & PAUL BENDER: Mignon – Légères hirondelles (both in German). 10” AC black Dresden Gram. Concert G.C.-3-44032/31 (5076r/323ab), POM-1908 / 5 Jan., 1909. A-B, very decent copy has lt. rubs & very few lt. scrs, inaud. Exceedingly elusive! MB 75

K1235. ADELAIDE ANDREJEWA de SKILONDZ: Les Huguenots – Une dame noble et sage / Robert le Diable – Robert, toi que j’aime (both in German). 12” AC black Berlin Monarch Gram. 043233/34 (371/383ai), POM-4 / 10 Oct., 1913. M-A, extraordinary copy has, very end Sd. 1, mere hint of nr, barely visible & positively inaud. MB 150

K1236. ADELAIDE ANDREJEWA de SKILONDZ & OTOKAR MARÁK: La Traviata – Libiamo, libiamo / OTOKAR MARÁK: Cavalleria – Viva il vino spumeggiante (both in German). 10” AC black Schall. Gram. 61704 (1339/38ak), POM-4 Sept., 1912. A-, lovely copy has very lt. rubs, inaud. & few wee pressing bumps. MB 35

“Adelaide Andrejewa von Skilondz was a Russian operatic coloratura soprano. She was born in Saint Petersburg, where she studied singing and began her career in 1904. In 1909 she sang the role of the Queen of Shemakha in the Saint Petersburg première of Nikolai Rimsky-Korsakov's Le Coq d’Or. She also sang at the Berlin Hofoper until the start of World War I, at which time she moved to Stockholm, where she performed in opera up until 1920 and in concert performances until 1930. Her rôles there included the Queen of the Night, Lucia di Lammermoor, and Gilda. Later she taught singing. Among her students were Kerstin Meyer, Kim Borg, Eva Gustavson, Eva Prytz, and Elisabeth Söderström.”

K1237. GERTRUDE FÖRSTEL: Von eweiger Liebe (Brahms) / Wiegenlied (Richard Strauss). 12” AC black German Polydor 66151 (805/04az), POM-1925. A to M-A, choice copy has very occasional faint pap.

K1238. GERTRUDE FÖRSTEL-LAUTERER, LEO SLEZAK & WILHELM HESCH: Faust – Final trio (in German). 12“ AC black Wien Monarch Gram. 044015 (40 Hp), only form of issue, 1903. B-, decent copy has lt. grey on peaks & few scuffs, minimally audible. MB 35

“Gertrude Förster-Lauterer made her début in Prague in 1888. Two years later she married the composer Josef Bohuslav Förster. She sang in the world première of Dvorák’s Jakobin as well as other local premières. She sang in Hamburg between 1893-1901 and made her Hofoper début in 1901. There she sang a wide range of rôles including Carmen, Santuzza, Frau Fluth, Nedda, Eva, and Sieglinde. She left the Hofoper in 1913 and retired from the stage the following year.”

- Christopher Norton-Welsh, Program Notes to Marston’s MAHLER’S DECADE IN VIENNA

K1239. ERNA DENERA & THALIA PLACHINGER: Lohengrin – Du Ärmste, kannst nie ermessen; Wenn ich im Kampfe, 2s. 11½” AC H & D grey paper label US-Pathé 62016 (15626/29), POM-1910, Berlin. M-A, a gleaming copy. MB 20

K1240. ERNA DENERA & FRITZ VOGELSTROM: Carmen – Parle-moi de ma mère (in German), 2s. 12” AC lavender Art Label Lindström Parlophon P.373, POM-1910, Berlin. M-A/A, choice copy has, Sd. 2 only, sev. faint pap. scrs, inaud. MB 20

K1241. SELMA vom SCHEIDT: Josefine von der Heilsarmee (Lincke). 10” AC black Weimar G & T G.C.-43485 (1211z), only form of issue, 1903. B-, decent copy has lt. rubs & scrs. MB 15

K1242. SELMA & JULIUS vom SCHEIDT: Abschied der Vögel (Hildach). 10” AC black Köln G & T G.C.-44234 (1213z), only form of issue, 1903. A-B, decent copy has grey on peaks; nd at very beg., audible 5 turns; neatly mended lateral edge lam; uncommonly bright label. MB 15

K1243. SELMA & JULIUS vom SCHEIDT: Nozze – Crudel! perchè finora / Zauberflöte – Papagena, Papageno! (both in German). 10” AC black Berlin G & T G.C.-2-44130/47 (4557/61h), only form of issue, 1906. B-, decent copy has lt. rubs & scrs; Sd. 2 only has long nr, positively ltly audible a few turns. MB 15

K1244. MARIA CEBOTARI , w.Heger Cond.: Frühlingsstimmen (Johann Strauss), 2s. 10” EL dark-blue German Odeon O-25647, POM-12 Dec., 1935. M-A, a gleaming copy. MB 15

K1245. MARIA CEBOTARI , w.Heger Cond.: Il bacio / Parla! (both Arditi). 10” EL dark-blue German Odeon O-25794, POM-4 June, 1936. M-A, a gleaming copy. MB 15

K1246. MARIA CEBOTARI , w.Grünberg Cond.: Starke Herzen im Sturm – Freiheits-Hymne / Strahlende Sterne der Liebe (both Herbert Windt). 10” EL dark-blue German Odeon O-25931, only form of issue, 1 July, 1937. M-A, a gleaming copy. Exceedingly elusive memento of Cebotari’s 1937 film! MB 20

K1247. MARIA CEBOTARI , w.Heger Cond.: O, cease thy singing, maiden fair (Chanson géorgienne) (Rachmaninoff) / Die Nachtigall (Alabiev). 10” EL red Decca-Odeon P-G-20449, POM-19 Sept., 1935. M-A MB 10

K1248. MARIA CEBOTARI , w.Heger Cond.: Entführung – Marten aller Arten, 2s. 10” EL red Decca-Odeon P-G-20447, POM-9 April, 1935. M-A, Exemplary! MB 10

K1249. MARIA CEBOTARI , w.Heger Cond.: La Traviata – Ah! fors’ è lui; Sempre libera (in German), 2s. 10” EL pale-blue German Odeon O-25834, POM-4 June, 1936. M-A, Exemplary! MB 12

K1250. MARIA CEBOTARI , w.Heger Cond.: Pagliacci – Stridono lassu / La Boheme – Quando m’en vo (both in German). 10” EL dark-blue French Odéon O 25563, POM-19 Sept., 1935. M-A, Exemplary! MB 12

K1251. MARIA CEBOTARI , w.Krips Cond.: Nozze – Dovè sono (in Italian), 2s. 10” EL HMV DA 1875, only form of issue, 26 Sept., 1947. M-A, Exemplary! MB 10

K1252. MARIA CEBOTARI , w.Steeger Cond.: Don Giovanni – Batti, batti, o bel Masetto / Vedrai carino (both in German). 12” EL black German Polydor 67686, only form of issue, 1941. M-A, a gleaming copy. MB 12

K1253. MARIA CEBOTARI , w.Steeger Cond.: La Boheme – Mi chiamano Mimi (1941 Version) / Tosca – Vissi d’arte (both in German). 12” EL black German Grammophon 67684, only form of issue, 1941. M-A, a gleaming copy. MB 12

K1254. MARIA CEBOTARI , w.Steeger Cond.: La Traviata – Addio del passato / CARLA SPLETTER, w.Steeger Cond.: La Boheme – Quando m’en vo (both in German). 10” EL DGG 62863, only form of issue, 1941/’42. M-A, gleaming copy has occasional pinpoint pressing bumps. MB 12

K1255. MARIA CEBOTARI , w.von Karajan Cond. Vienna Phil.: Don Giovanni – Non mi dir (in Italian), 2s. 12” EL HMV DB 6738, only form of issue, 16 Dec., 1947. (As is customary with 78rpm operatic issues of this period, von Karajan’s name does not appear on labels). M-A, Exemplary! MB 10

K1256. MARIA CEBOTARI , w.von Karajan Cond. Vienna Phil.: Ariadne auf Naxos – Es gibt ein Reich, 2s. 12” EL HMV DB 6914, only form of issue, 16 Nov., 1948. (As is customary with 78rpm operatic issues of this period, von Karajan’s name does not appear on labels). M-A, Exemplary! MB 10

K1257. MARIA CEBOTARI , w.von Karajan Cond. Vienna Phil.: Der Zigeunerbaron – O habet acht (Saffi’s aria) (Johann Strauss) / w.Prohaska Cond. Vienna Phil.: Faust – Air des bijoux (in French). 12” EL HMV DB 6947, only form of issue, 16 Nov., 1948 / 28 Jan., 1949. M-A, Exemplary! MB 10

K1258. MARIA CEBOTARI , w.Prohaska Cond. Vienna Phil.: Die Lustigen Weiber von Windsor – Nun eilt Herbei, 2s. 12” EL HMV DB 6939, only form of issue, 28 Jan., 1949. M-A, Exemplary! MB 8

K1259. MARIA CEBOTARI , w.Zweig Cond.: La Boheme – Mi chiamano Mimi (1932 Version) / MARIA CEBOTARI & MARCEL WITTRISCH: O soave fanciulla (both in German). 12” EL PW Electrola DB 4415, only form of issue, 24 Nov., 1932. A, lovely copy has, Sd. 2 only, few insignificant dust scrs, inaud. MB 10

K1260. MARIA CEBOTARI , w.Prohaska Cond. Vienna Phil.: Madama Butterfly – Un bel dì / Con onor muore (both in Italian). 12” EL HMV DB 6940, only form of issue, 10 Dec., 1948. M-A, Exemplary! MB 8

“As we can learn from her repertory, Maria Cebotari was an extraordinarily versatile singer. She was often considered a ‘predecessor’ to Maria Callas. Indeed, the two sopranos had a great deal in common. Both were true artists of great musicality and totally committed to their art. Both were utterly ‘reliable’, never missing an entry or a rehearsal. They would never come along half-knowing the music, and they could be entrusted with something new and it would be learnt quickly and intelligently. No wonder that the two Marias were loved by all great conductors. With the underlying darkness of her soprano, a pronounced vibrato and brilliance at the top of her range - but above all with the intelligence, intensitiy and sheer energy, she did justice to every rôle. She was one of the very few singers who succeeded in lyrical, dramatic and coloratura parts….Four composers were essential for her short career: Mozart, Strauss, Verdi and Puccini. In 1935, she sang the part of Aminta in the world première of Richard Strauss' Die Schweigsame Frau under Karl Böhm at Dresden Semper Opera House. Strauss advised her to move to Berlin, and in 1936 she joined the Berlin State Opera, where she was a prima donna until 1946. That year, she sang Susanna in Le Nozze di Figaro, Zerlina in Don Giovanni, and Sophie in Der Rosenkavalier for Dresden Semper Opera Company's performances at the Royal Opera House, Covent Garden. From then on, she appeared at many great opera houses including Vienna Staatsoper and at La Scala.

Richard Strauss described her as ‘the best all-rounder on the European stage; never late and never cancels’. Herbert von Karajan, during a BBC interview decades after her death, said she was the greatest Madama Butterfly he had ever conducted.”

- Andrea Shum-Binder, subito-cantabile

K1261. EVA von der OSTEN: Lohengrin – Einsam in trüben Tagen / Euch Lüften, die mein Klagen. 12” AC vinyl Historic Masters HMB 16, POM-24 Aug., 1911. MINT MB 12

K1262. EVA von der OSTEN & FRIEDRICH PLASCHKE: Aïda – Ciel! mio padre! (in German), 2s. 2-12” AC white Gram. Monarch Test Pressings for Mx. 438/39m, POM-1909. A-B, very decent copy has rubs & hint of grey on peaks; Sd. 2 only has various superficial scrs, minimally audible. MB 35, the Pair.

K1263. MARGARETHE SIEMS: Der Rosenkavalier – Kann mich auch an ein Mädelerinnen (Marschallin’s monologue) (Creator Record, 26 Jan., 1911, Dresden) / EMMY DESTINN: Zauberflöte – Ach, ich fühl’s (1908 Version). 12” AC vinyl Historic Masters HMB 55, POM-25 Aug., 1911 / 1908. MINT MB 8

K1264. MARGARETHE SIEMS, EVA von der OSTEN & MINNIE NAST: Der Rosenkavalier – Hab’mir’s gelobt (Final trio) / MARGARETHE SIEMS: Kann mich auch an ein Mädelerinnen (Marschallin’s monologue) (Creator Record, 26 Jan., 1911, Dresden), 2s. 12” AC black Schall. Gram. 65200 (2302/03o), POM-25 Aug., 1911. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 65

K1265. MARGARETHE SIEMS: Les Huguenots – O beau pays de la Touraine; A ce mot seul (w.cabaletta) (in German), 2s. 12” AC Art Label (Girl holding phonodisc at morninglory gramophone by window) Lindstrom Parlophon P.574/75, recorded 1911, Berlin, only form of issue, Sd.2. A-, lovely copy has very occasional mainly superficial tiny scrs, only occasionally ltly audible. A rare opportunity to acquire Siems’ greatest single disc, only Sd.1 of which was ever otherwise issued. Aside from Siems’ exquisite phrasing, messa di voce, morendo, fila di voce and remarkable breath control, she exhibits her legendary 20-second shaded trill prior to a stunning high D! MB 850

“Finest of all [in Les Huguenots], perhaps, is Margarete Siems, the original Marschallin, whose version is easily the most elaborate but who sings with indolent grace and effortless bravura. When this is allied to a meticulous attention to dynamic markings, it has the expansiveness and grandeur of style that this music requires.”

- Vivian A. Liff, IL CORRIERE DELLA GRISI, 9 Sept., 2008

“The steady slow pulse of ‘O beau pays’ is hypnotically interpreted by Siems as she subtly colours phrases by swelling her tone and then pulls back to a narrow pianissimo….Margarethe Siems was clearly an extraordinary artist, and her recordings are treasures that still enrich our lives today. Along with the brilliant virtuosity, there is an emotional intensity in her singing that is hypnotic and haunting….She had the ability to colour her voice and drew out patterns of light and shadow as she sang.”

-Harold Bruder, THE RECORD COLLECTOR, 2000

K1266. META SEINEMEYER , w.Weissmann Cond.: Gretchen am Spinnrade / Die junge Nonne (both Schubert). 12” EL red Decca-Odeon G-25832, POM-19 / 24 April, 1928. M-A, Exemplary! MB 12

K1267. META SEINEMEYER , w.Weissmann Cond.: Tristan – Liebestod / IVAR ANDRÉSEN, w.Weissmann Cond.: Tatest du’s wirklich? 12” EL PW Parl. E10829, POM-19 Jan., 1928. M-A, choice copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12

K1268. META SEINEMEYER , w.Weissmann Cond.: Don Carlos – Tu che le vanità (in Italian), 2s. 12” EL brown German Lindström Parlophon P.9873, POM-2 Nov., 1927. M-A, choice copy has, Sd. 1 only, faintest pap. rub, inaud. Most Elusive! MB 45

K1269. META SEINEMEYER , w.Weissmann Cond.: Nozze – Dove sono? (in German), 2s. 12” EL PW Parl. E11130, POM-4 May, 1927. A to M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 15

K1270. META SEINEMEYER , w.Weissmann Cond.: Madama Butterfly – Un bel dì / Tosca – A te quest’ inno (both in German). 12” EL dark-blue German Lindström Parlophon P.9639, POM-22 June, 1928. M-A, choice copy has, Sd. 1 only, infinitesimal dust scr, inaud. MB 15

K1271. META SEINEMEYER , w.Weissmann Cond.: Manon Lescaut – In quelle trine morbide / META SEINEMEYER & IVAR ANDRÉSEN: Forza – Chi puo legger nel futuro (both in German). 12” EL PW Parl. E11153, POM-2 Nov. / 27 Dec., 1927, only form of issue, Sd.2. M-A, lovely copy has, Sd. 2 only, faintest hint of nr, inaud. MB 15

K1272. META SEINEMEYER , w.Weissmann Cond.: Forza – Son giunta, grazie o Dio; Madre, pietosa Vergine (in Italian), 2s. 12” EL PW Parl. E10605, POM-5 May, 1927. M-A, lovely copy has, Sd. 2 only lt. rub, inaud. MB 15

K1273. META SEINEMEYER , w.Weissmann Cond.: Forza – La vergine degli angeli / IVAR ANDRÉSEN: Il sante nome (both in German). 12” EL brown German Lindström Parlophon P.9808, POM-27 Dec., 1927. M-A, Exemplary! MB 15

”Meta Seinemeyer, whose early death was much lamented…excelled in all rôles requiring an emotional, lyric-dramatic ability….No tombstone inscription could be more apt than the final words from the German translation of La Forza del Destino: ‘Die Seele lebt’ – the soul lives on.”

- Fritz Busch

K1274. META SEINEMEYER & SIGISMUND PILINSKY , w.Weissmann Cond.: Die Meistersinger – Morgenlich leuchtend (Prize Song), 2s. 12” EL PW Parl. E10947, POM-25 April, 1928. M-A, Exemplary! MB 12

K1275. META SEINEMEYER, SIGISMUND PILINSKY, HELENE JUNG, ROBER BURG & FRITZ DÜTTBERND , w.Weissmann Cond.: Lohengrin – Zug zum Münster, 2s. 12” EL PW Parl. E10933, POM-25 June, 1928. M-A, a gleaming copy. MB 12

K1276. META SEINEMEYER & HELENE JUNG , w.Weissmann Cond.: Hänsel und Gretel – Abends will ich shlafen geh’n / Juchei, nun ist die Hexe tot. 12” EL PW Parl. E10870, POM-15 Feb., 1929. M-A, a gleaming copy. MB 12

K1277. META SEINEMEYER & HELENE JUNG , w.Weissmann Cond.: Madama Butterfly – Flower duet (in German), 2s. 12” EL PW Parl. E10883, POM-15 Feb., 1929. M-A, lovely copy has, Sd. 1 only, faintest pap. rub, inaud. MB 12

K1278. META SEINEMEYER & TINO PATTIERA , w.Weissmann Cond.: Otello – Gia nella notte densa (in Italian), 2s. 12” EL PW Parl. E10816, POM-11 May, 1928. M-A, a gleaming copy. MB 12

K1279. META SEINEMEYER & TINO PATTIERA , w.Weissmann Cond.: Aïda – Pur ti riveggo (in Italian), 2s. 12” EL PW Parl. E10905, POM-11 May, 1928. A to M-A, lovely copy has, Sd.1 only, wee pressing bump & lt. rubs. MB 12

K1280. META SEINEMEYER & TINO PATTIERA , w.Weissmann Cond.: Andrea Chénier – Udite! Sono sola! / La Boheme – O soave fanciulla (both in German). 12” EL PW Parl. E10976, POM-3 Nov., 1926. M-A, Exemplary! MB 15

“Meta Seinemeyer had, in my opinion, one of the greatest soprano voices of the 20th century. I believe that, if she hadn't died so young, she would be known as one of the greatest singers ever. Her voice is one of great intensity, and it possesses a certain poignancy, a quality that has been described as ‘tears in the voice’, which makes it unique. She was also quite versatile, and equally at home in the German and Italian repertoires. Seinemeyer was especially well-known for her Verdi rôles; she was a leading figure in what was called the ‘Verdi Renaissance’ in Germany. But she also sang, to great acclaim, several Wagnerian rôles, and in addition, she sang a great variety of other rôles, from Mozart to Busoni. Her repertoire included at least 51 rôles in 46 operas, quite a few when you consider that her career lasted only 11 years. She also made over 100 recordings, in which her incredible voice can be heard today.”

- Vicki Kondelik, THE RECORD COLLECTOR, 2002

K1281. META SEINEMEYER & EMANUEL LIST , w.Weissmann Cond.: Faust – Church Scene (in German), 2s. 12” EL PW Parl. E10835, POM-14 Jan., 1929. M-A, Exemplary! MB 12

K1282. META SEINEMEYER, JARO DWORSKY & EMANUEL LIST , w.Weissmann Cond.: Faust – Final Scene (in German), 2s. 12” EL PW Parl. E10834, POM-14 Jan., 1929. M-A, a gleaming copy. MB 12

K1283. META SEINEMEYER, ELISA STÜNZNER & EMANUEL LIST , w.Weissmann Cond.: Der Rosenkavalier – Nicht dort, das ist das Vorzimmer / META SEINEMEYER, GRETE MERREM-NIKISCH & EMANUEL LIST: Bin von so viel Finesse charmiert. 12” EL red Decca-Odeon 25237, POM-21 Sept., 1928. M-A, Exemplary! MB 12

K1284. META SEINEMEYER, ELISA STÜNZNER & GRETE MERREM-NIKISCH, w.Weissmann Cond.: Der Rosenkavalier – Mein Gott, s’war mehr wie eine Farce / Hab mir’s gelobt. 12” EL PW Parl. E10865, POM-21 Sept., 1928. M-A, a gleaming copy. MB 15

K1285. META SEINEMEYER, HELENE JUNG, MAX HIRZEL, WILLY BADER & IVAR ANDRÉSEN , w.Weissmann Cond.: Aïda – Iside venerata (Act I ensemble) / Che vegg’io! Egli? Mio padre! (Act II ensemble [part I], in German). 12” EL brown German Lindström Parlophon O-8717, POM-1 Nov., 1927. A to M-A, lovely copy has, Sd. 2 only, 3 wee pressing bumps, inaud.; Sd. 1 only has 2 faintest pap. scrs, inaud. MB 15

K1286. META SEINEMEYER, HELENE JUNG, MAX HIRZEL, WILLY BADER & IVAR ANDRÉSEN , w.Weissmann Cond.: Aïda – Che vegg’io! Egli? Mio padre! (Act II ensemble [parts II & III], in German). 12” EL PW Parl. E10747, POM-1 Nov., 1927. M-A, Exemplary! MB 15

K1287. META SEINEMEYER & CARL MARTIN ÖHMAN: Tosca – Ah! franchigia; O dolci mani (in German), 3s / Sd. 4 = DMITRI SMIRNOV: E lucevan le stelle (in Italian). 2-12” EL / AC vinyl Historic Masters HMB 63/64, POM-12 Feb., 1926 / 1909, resp., Sd.3 from Unpublished Master. MINT MB 8, the Pair

“Together with singers like Tino Pattiera, Ivar Andrésen and Robert Burg [Seinemeyer] played an important part in the Verdi Renaissance that started in Dresden in the 1920s. Her partner in many rôles was the passionate Tino Pattiera with whom she recorded several duets. In 1929 Meta Seinemeyer was invited to sing at Covent Garden as Sieglinde, Eva and Elsa. Soon after her return from London she fell seriously ill with leukemia. On her deathbed she married the conductor and pianist Frieder Weissmann, with whom she had often worked in recitals and recordings.”

- Andrea Shum-Binder, subito-cantabile

K1288. OTTILLE METZGER: Der Tod und das Mädchen (Schubert) / Les Dragons de Villars – Denkt nur, vor dem Eremiten (Maillart). 12“ AC Art Label (Girl holding phonodisc at morninglory gramophone by window) Parlophon P.1211/10, POM-28 Feb.,1912, only form of issue, Sd.2. A-, very decent copy has lt. rubs, inaud.; Sd. 2 only has few lt. scuffs & scrs, mainly cosmetic; alas, tiny hlc, primarily Sd. 2. MB 12

K1289. OTTILLE METZGER: Der Evangelimann – O schöne Jugentage (Kienzl) / Il Trovatore – Stride la vampa (in German). 12“ AC Art Label (Girl holding phonodisc at morninglory gramophone by window) Parlophon P.614/617, POM-1911. A to M-A, lovely copy has very occasional infinitesimal dust mk, inaud. MB 25

K1290. OTTILLE METZGER & WOLFGANG von SCHWIND: Aïda – Già i sacerdoti adunansi (Act IV) (in German), 2s. 12“ AC black Berlin Monarch Gram. 043166/044177 (2167/66½c), only form of issue, 20 Jan., 1911. A to M-A, glorious copy has mere hint of grey on peaks. MB 25

“Metzger sang at Bayreuth in 1901, 1902, 1904 and 1912, where she was most noted for her stately interpretations of Waltraute in Götterdämmerung and Erda in Siegfried. Numerous other engagements decorated her long career, including ones at Berlin, Dresden, Leipzig, Prague, Oslo, Zürich, Amsterdam, Wiesbaden, Vienna, Düsseldorf, Hague and St. Petersburg. Metzger-Lattermann was also a distinguished recitalist; at one point her accompanist was none other than Richard Strauss. On records, Metzger displays the sort of otherworldly, deep and compelling voice needed for Wagner’s earth mothers and all-knowing goddesses.”

- Andrea Shum-Binder, subito-cantabile

K1291. TIANA LEMNITZ , w.Hertha Klust (Pf.): Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart]) / Guten Abend, gut’ Nacht (Wiegenlied) (Brahms). 10" EL Electrola DA 5506, only form of issue, 18 Feb., 1948. M-A, Exemplary! MB 25

K1292. TIANA LEMNITZ , w.Seidler-Winkler (Pf.): Nachtgruss / Die Kleine (both Wolf). 10" EL Electrola DA 4491, only form of issue, 1940. M-A, lovely copy has, Sd. 1 only, few minor ‘damp’ spots, inaud. MB 25

K1293. TIANA LEMNITZ , w.Lutze Cond.: Ave Maria (Bach-Gounod) / Ave Maria (Schubert). 10" EL Eng.Telefunken GF.63018, only form of issue, 28 April., 1951. M-A, bright copy has, Sd. 2 only, few lt. rubs, positively inaud. Ravishingly beautiful! MB 25

K1294. TIANA LEMNITZ , w.Raucheisen (Pf.): Wesendonck Lieder – Der Engel / Stehe still (Wagner). 12” EL burgundy German Grammophon 57084, POM-6 April, 1937. M-A, a gleaming copy. MB 20

K1295. TIANA LEMNITZ , w.Raucheisen (Pf.): Wesendonck Lieder – Im Treibhaus / Träume (Wagner). 12” EL burgundy German Grammophon 57028, POM-2 April, 1936. M-A, a gleaming copy. MB 20

K1296. TIANA LEMNITZ , w.Blech Cond. Berlin Staatsoper Orch.: Tannhäuser – Dich teure Halle / Allmächt’ge Jungfrau. 12” EL red German Grammophon 15079, POM-16 Dec., 1934. M-A, a gleaming copy. MB 15

K1297. TIANA LEMNITZ , w.Leopold Ludwig Cond. Berlin Staatsoper Orch.: Tannhäuser – Allmächt’ge Jungfrau, 2s. 12” EL Swiss HMV DB 6809, only form of issue, 2 Feb., 1948. M-A, Exemplary! MB 35

K1298. TIANA LEMNITZ , w.Schüler Cond. Berlin Staatsoper Orch.: Lohengrin – Einsam in trüben Tagen / Euch Lüften, die mein Klagen. 12” EL violet German Grammophon 35081, POM-1 July, 1937. M-A, a gleaming copy. MB 15

K1299. TIANA LEMNITZ , w.Blech Cond. Berlin Staatsoper Orch.: Der Freischütz – Wie nahte mir der Schlummer; Leise, leise, fromme Weise / Und ob die Wolke (1935 Version). 12” EL burgundy Brunswick-Polydor 95032, POM-18 Jan., 1935. M-A, gleaming copy of choice mid-1930s Columbia pressing. MB 15

K1300. TIANA LEMNITZ , w.Leopold Ludwig Cond.: Der Freischütz – Wie nahte mir der Schlummer; Leise, leise, fromme Weise / Und ob die Wolke (1948 Version). 12” EL Electrola DB 11523 (2RA6153-1/54-1), only form of issue, 20 Feb., 1948; Sd.1 is 'Take' 1, of two issued 'Takes'. M-A, beautiful copy has, Sd. 1 only, 3 infinitesimal dust scrs, positively inaud. MB 35

K1301. TIANA LEMNITZ , w.Leopold Ludwig Cond.: Der Freischütz – Wie nahte mir der Schlummer / Leise, leise, fromme Weise (1948 Version). 12” EL Swiss HMV DB 6802 (2RA6153-2/54-1), only form of issue, 20 Feb., 1948; Sd.1 is 'Take' 2, of two issued 'Takes'. M-A, a gleaming copy. MB 45

“…the radiant Tiana Lemnitz, whose seamless, infinitely pleading vocal work in Agathe’s two arias from Der Freischütz almost define in themselves the essence of German Romanticism.”

- Alan Rich, NEW YORK, 8 June, 1981

K1302. TIANA LEMNITZ & TORSTEN RALF ; Seidler-Winkler Cond. Berlin Staatsoper Orch.: Lohengrin – Das süsse Lied verhallt, 2s. 12” EL Electrola DB 4667, POM 1939. M A, beautiful copy has, Sd. 2 only, few minor ‘damp’ spots, inaud. MB 15

K1303. TIANA LEMNITZ & TORSTEN RALF ; Seidler-Winkler Cond. Berlin Staatsoper Orch.: Otello – Già nella notte densa (Act I) (in German), 2s. 12” EL Electrola DB 4668, POM 1939. A-, very decent copy has few lt. rubs, inaud.; Sd. 2 only has sev. lt. scrs, positively inaud. MB 12

K1304. TIANA LEMNITZ & MARGARETE KLOSE , w.Ludwig Cond.: Orfeo – Viens! Suis un époux qui t'adore / Quelle épreuve cruelle (in German). 12” EL Swiss HMV DB 6801, only form of issue, 4 Feb., 1948. M-A, a gleaming copy. Most elusive! MB 35

K1305. TIANA LEMNITZ & HELGE ROSWAENGE , w.Eduard Künneke Cond.: Die Grosse Sünderin – Immerzu singt dein Herz / HELGE ROSWAENGE (Solo): Das Lied vom Leben (both Cond. by the Composer). 12” EL DGG 15099, POM-24 March, 1935. (All Creator Recording, 31 Dec., 1936, Berlin Staatsoper.) M-A, a gleaming copy. MB 15

K1306. TIANA LEMNITZ, ERNA BERGER & VIORICA URSULEAC ; Krauss Cond.: Der Rosenkavalier – Hab’mir’s gelobt (Final trio) / TIANA LEMNITZ & ERNA BERGER: Ist ein Traum (Final duet). 12” EL black German Grammophon 67075, POM-26 Jan. / 19 April, 1936. M-A, a gleaming copy. MB 15

K1307. TIANA LEMNITZ & GEORGINE von MILINKOVIC ; Leitner Cond.: Der Rosenkavalier – Kann mich auch an ein Mädelerinnen (Marschallin’s monologue), 2s. 12” EL Variable Micrograde DGG 72147, only form of issue, 24 Jan., 1952 (Lemnitz’s final recording). M-A, gleaming copy has, Sd 1 only, faintest pap. rub, inaud. Most elusive! MB 25

K1308. TIANA LEMNITZ, GEORGINE von MILINKOVIC & ELFRIDE TRÖTSCHEL ; Leitner Cond.: Der Rosenkavalier – Hab’mir’s gelobt (Final trio) / GEORGINE von MILINKOVIC & ELFRIDE TRÖTSCHEL: Ist ein Traum (Final duet). 12” EL Variable Micrograde DGG 72121, only form of issue, 31 Oct., 1951. M-A, a gleaming copy. MB 25

“Lemnitz [was an] esteemed member of the Berlin State Opera from (1934-1935),[and] made guest appearances in Vienna, Munich, Rome, Covent Garden and, in 1936 and 1950, at the Teatro Colón. [Lemnitz sang] many leading rôles [including] Pamina; Aida; Micaëla; Wagner’s Elsa, Eva and Sieglinde; and Strauss’ Octavian as well as the Marschallin. One of her most admired performances was at the 1939 Salzburg Festival, where she sang Agathe in Weber’s Der Freischütz. Tiana Lemnitz was known for her exquisite singing, delicate tone, and subtlety of expression.”

- Lia Frey-Rabine, Program Notes to Marston’s DER ROSENKAVALIER

K1309. TIANA LEMNITZ & HELGE ROSWAENGE , w.Erwin Baltzer Cond.: The Enchantress - Love Duet (in German) (Tschaikowsky), 2s. 12” EL Electrola DB 5624, issued Germany only, 1941. Released in early 1941, shortly before Germany invaded Russia when all recordings of Russian music were suppressed. Relatively few copies survived, almost none on this original label; most kown copies have blank or ‘test’ labels. Exceedingly elusive! M-A MB 135

K1310. JOHANNA GADSKI: Wesendonck Lieder – Der Engel (Wagner). 10” AC Vla 87273, only form of issue, 4 May, 1917. A, lovely copy has faintest pap. rubs, inaud. Most elusive! MB 20

K1311. JOHANNA GADSKI: Wesendonck Lieder – Stehe still (Wagner). 10” AC white Vla 87275, only form of issue, 4 May, 1917. M-A, Exemplary! Most elusive. MB 20

K1312. JOHANNA GADSKI: Wesendonck Lieder – Träume (Wagner). 12” AC Vla 88591, only form of issue, 4 May, 1917. M-A, Exemplary! Most elusive, this usually appears only as a late white-label pressing. MB 20

K1313. JOHANNA GADSKI: Wesendonck Lieder – Im Treibhaus / Lohengrin – Euch Lüften die mein Klagen (both Wagner). 12” AC gold Victor HRS 1047, POM-4 May, 1917 / 4 April, 1912. Numbered Copy #12 of an extremelyf Limited Edition, the sole double-sided appearance, both sides. A-, lovely copy has lt. rubs, inaud. MB 35

K1314. JOHANNA GADSKI: Die Lotosblume (in German & English) (Schumann). 12” AC V 88578, only form of issue, 25 Oct., 1916. M-A, Exemplary! Elusive! MB 20

K1315. JOHANNA GADSKI: Ständchen (Richard Strauss). 10” AC GP V 87016, Orig. ‘A’ Plate Issue, only form of issue, 14 Jan., 1908. M-A, choice copy has minor label smudge. MB 20

K1316. JOHANNA GADSKI: Widmung (Schumann). 10” AC GP V 87019, only form of issue, 14 Jan., 1908. M-A, Exemplary! MB 20

K1317. JOHANNA GADSKI: Du bist die Ruh’ (Schubert). 12” AC DeLuxe V 85025, only form of issue, 11 Nov., 1903. A-, remarkable copy has few lt. rubs & 1 pap. scrs, inaud. Exceedingly elusive! MB 35

K1318. JOHANNA GADSKI: Der Erlkönig (Schubert). 12” AC Pat.’12 Vla 88040, POM-26 Nov., 1906, issued USA only. M-A, choice copy has faintest nr on label. MB 10

K1319. JOHANNA GADSKI: Schwanengesang – Leise flehen meine Lieder (Ständchen) (Schubert). 12” AC Pat.’12 Vla 88112, POM-14 Jan., 1908, Never Doubled. M-A, Exemplary! MB 12

K1320. JOHANNA GADSKI: Gretchen am Spinnrade (Schubert). 12” AC Pat.’08 Vla 88111, only form of issue, 14 Jan., 1908. M-A, lovely copy has faintest pap. rub, inaud. MB 12

K1321. JOHANNA GADSKI: Gretchen am Spinnrade (Schubert). 12” AC white Vla 88111, only form of issue, 14 Jan., 1908. M-A, a gleaming copy. MB 20

K1322. JOHANNA GADSKI: Auf dem Kirchhofe (Brahms). 10” AC V 87099, ‘Take’ 2, only form of issue, 14 March, 1912. M-A, Exemplary! MB 15

K1323. JOHANNA GADSKI: Auf Flügeln des Gesange (Mendelssohn). 10" AC Pat.’12 Vla 87100, Orig. ‘A’ Plate Issue, only form of issue, 30 Jan., 1912. M-A, Exemplary! MB 15

K1324. JOHANNA GADSKI: Die Lorelei (Silcher). 12” AC V 88564, only form of issue, 26 May, 1916. M-A, Exemplary! MB 15

K1325. JOHANNA GADSKI: Haidenröslein (Werner). 12” AC V 88566, only form of issue, 26 May, 1916. M-A, a gleaming copy. Elusive! MB 20

K1326. JOHANNA GADSKI: Die Wacht am Rhein (Wilhelm) / Lobetanz – An allen Zweigen (Thuille). 12” AC mauve & gold HMV AGSB 23, POM-8 Feb., 1915 / 14 March, 1912, only double-sided issue, for both. MINT MB 25

K1327. JOHANNA GADSKI: Annie Laurie (Scott). 10” AC V 87173, only form of issue, 23 Oct., 1913. M-A MB 10

K1328. JOHANNA GADSKI: Ave Maria (1904 Version) (Bach-Gounod). 10” AC Pat.’08 Vla 81045, only form of issue, 24 April, 1904. M-A, choice copy has minor label id. MB 12

K1329. JOHANNA GADSKI: Ave Maria (1906 Version) (Bach-Gounod). 12” AC Pat.’8 Vla 88039, POM-26 Nov., 1906, Never Doubled. M-A, Exemplary! MB 10

K1330. JOHANNA GADSKI , w.La Forge (Pf.): How much I love you (Acc. by the Composer); The year's at the spring (Amy Beach). 10" AC Pat.’12 Vla 87026, only form of issue, 14 Jan., 1908. M-A, Exemplary! MB 15

K1331. JOHANNA GADSKI , w.La Forge (Pf.): Verborgene Wunden; Like the Rosebud (both Acc. by the Composer). 12" AC GP V 88041, only form of issue, 26 Nov., 1906. A to M-A, lovely copy has few lt. rubs, inaud. Elusive! MB 25

K1332. JOHANNA GADSKI: A slumber song (in English) (Gilmour). 10” AC V 87252, POM-26 May, 1916, Never Doubled. M-A, a gleaming copy. MB 12

K1333. JOHANNA GADSKI: Kathleen Mavourneen (in English) (‘Take’ 3 of 2 issued ‘Takes’) (Crouch). 12” AC V 88546, only form of issue, 15 June, 1915. M-A, Exemplary! MB 15

K1334. JOHANNA GADSKI: Irish Folk Song (Foote). 12” AC V 88117, only form of issue, 26 Feb., 1908. M-A, Exemplary! MB 15

K1335. JOHANNA GADSKI: Stabat Mater – Inflamatus (1907 Version) (Rossini). 12” AC GP V 88059, POM-17 March, 1907, ‘Take’ 1, Never Doubled USA. M-A, choice copy has very minor ulc, nowhere near grooves. MB 10

K1336. JOHANNA GADSKI: Stabat Mater – Inflamatus (1907 Version) (Rossini) / Tristan – Liebestod. 12” AC PW Historical Catalogue #2 HMV DB 660, POM-17 March, 1907, Sd. 2 being ‘Take’ 1 of 3 issued ‘Takes’. M-A, Exemplary! MB 15

K1337. JOHANNA GADSKI: Stabat Mater – Inflamatus (1910 Version) (Rossini). 12” AC Pat.’12 Vla 88059, POM-30 Sept., 1910, ‘Take’ 4, Never Doubled. M-A, a gleaming copy. MB 10

K1338. JOHANNA GADSKI: Stabat Mater – Inflamatus (1910 Version) (Rossini). 12” AC V 88059, POM-30 Sept., 1910, ‘Take’ 4, Never Doubled. M-A, gleaming copy has pinpoint nd. MB 8

K1339. JOHANNA GADSKI: Messiah – He shall feed His flock (in English) (Handel). 12” AC V 88571, only form of issue, 25 May, 1916. M-A, Exemplary! Elusive! MB 20

K1340. JOHANNA GADSKI: Oberon – Ozean, du Ungeheuer, 2s. 12” AC silver Victor IRCC 164, POM-6 May, 1914 / 15 June, 1915. Numbered Copy #25 of a Limited Edition. M-A, a gleaming copy. MB 35

"...Mme Gadski gains stature as a recording artist by her vital handling of this brilliant aria....As always, when faced with the torturous vocal line she meets the challenge with an abandon that would founder a less skillful singer and she distinguishes herself....the more taxing the music, the better she performs."

- Louis Migliorini, THE RECORD COLLECTOR, 1957

K1341. JOHANNA GADSKI: Der Fliegende Holländer – Traft ihr das Schiff. 12” AC Pat.’12 Vla 88116, POM-26 Feb., 1908. This was doubled only as the elusive IRCC 26. M-A, a gleaming copy. MB 15

K1342. JOHANNA GADSKI: Lohengrin – Einsam in trüben Tagen. 12” AC Pat.'12 Vla 88038, POM-26 Nov., 1906, Never Doubled. M-A, a gleaming copy. MB 15

K1343. JOHANNA GADSKI: Tannhäuser – Verzeiht, wenn ich weiss / Zurück von ihm. 12” AC silver Victor IRCC 121, POM-23 April,1913. Numbered Copy #47 of a Limited Edition, Gadski’s photo is affixed to Sd. 1 label; the only double-sided issue of these titles. M-A, Exemplary! MB 35

K1344. JOHANNA GADSKI: Tannhäuser – Allmächt’ge Jungfrau. 12” AC white Vla Test Pressing for Unpublished Mx.C-4129-2, POM-8 Dec., 1906, (w.RCA embossed spiderweb verso); this appeared only as IRCC 186. M-A,choice copy has sev. infinitesimal pap. mks, positively inaud. MB 25

K1345. JOHANNA GADSKI: Tannhäuser – Dich, teure Halle. 12” AC Pat.’08 Vla 88057, POM-17 March, 1907, doubled only in a 1940s RCA pressing. M-A, Exemplary! MB 15

K1346. JOHANNA GADSKI: Tannhäuser – Dich, teure Halle. 12” AC white Vla 88057, POM-17 March, 1907, doubled only in a 1940s RCA pressing. M-A, Exemplary! MB 20

K1347. JOHANNA GADSKI: Tristan – Dein Werk? 12” AC V 88165, POM-30 April, 1909, Never Doubled. M-A, Exemplary! MB 20

K1348. JOHANNA GADSKI: Tristan – Liebestod (‘Take’ 1, 1907 Version). 12” AC Pat.’08 Vla 88058, POM-17 March, 1907, Never Doubled. M-A, choice copy has faintest pap. rubs, inaud. MB 15

K1349. JOHANNA GADSKI: Tristan – Liebestod (‘Take’ 3, 1913 Version). 12” AC Vla 88058, only form of issue, 23 Oct., 1913. M-A, gleaming copy has infinitesimal dust mk, inaud. MB 15

K1350. JOHANNA GADSKI: Tristan – Liebestod (‘Take’ 7, 1915 Version). 12” AC Vla 88058, only form of issue, 16 June, 1915. M-A, a gleaming copy. MB 15

K1351. JOHANNA GADSKI: Tristan – Liebestod (‘Take’ 7, 1915 Version). 12” AC white Vla 88058, only form of issue, 16 June, 1915. M-A, a gleaming copy. MB 20

K1352. JOHANNA GADSKI: Die Walküre – Du bist der Lenz (Gadski’s departure from Brünnhilde – now singing Sieglinde!). 10” AC white Vla 87167, POM-23 April, 1913, Never Doubled. M-A, a gleaming copy. MB 20

K1353. JOHANNA GADSKI: Die Walküre – Ho-jo-to-ho (1903 Version). 10” AC Monarch V 81018, POM-11 Nov., 1903, Never Doubled. A-B, very decent copy has lt. grey on peaks & few scuffs. MB 15

K1354. JOHANNA GADSKI: Die Walküre – Ho-jo-to-ho (1906 Version). 10” AC GP V 87002, ‘Take’ 1, only form of issue, 26 Nov., 1906. M-A, Exemplary! MB 15

K1355. JOHANNA GADSKI: Die Walküre – Ho-jo-to-ho (1910 Version). 10” AC Pat.’08 Vla 87002, ‘Take’ 3, only form of issue, 30 Sept., 1910. M-A, Exemplary! MB 10

K1356. JOHANNA GADSKI: Die Walküre – Ho-jo-to-ho (1916 Version). 10” AC V 87002, ‘Take’ 7, POM-26 May, 1916. M-A, a gleaming copy. MB 10

K1357. JOHANNA GADSKI: Die Walküre – Ho-jo-to-ho (1916 Version) / MARGARETE MATZENAUER: Fort denn, eile. 10” AC Vla 904, POM-26 May, 1916 / 8 March, 1912. M-A, Exemplary! MB 8

8. JOHANNA GADSKI: Die Walküre – War es so schmählich? (Brünnhildes Bitte). 12” AC Pat.’08 Vla 88183, POM-30 April, 1909, Never Doubled. M-A, Exemplary! MB 20

K1359. JOHANNA GADSKI: Siegfried – Ewig war ich (Brünnhilde’s awakening). 12” AC Pat.’08 Vla 88186, POM-1 May, 1909, Never Doubled. M-A, Exemplary! MB 15

K1360. JOHANNA GADSKI: Siegfried – Ewig war ich (Brünnhilde’s awakening). 12” AC V 88186, POM-1 May, 1909, Never Doubled. M-A, a gleaming copy. MB 15

K1361. JOHANNA GADSKI: Götterdämmerung – Zu neuen Thaten. 10” AC Pat.’08 Vla 87098, only form of regular issue, 14 March, 1912 (this appeared otherwise only as the elusive IRCC 128). M-A, a gleaming copy. MB 20

K1362. JOHANNA GADSKI: Götterdämmerung – Zu neuen Thaten. 10” AC white Vla 87098, only form of regular issue, 14 March, 1912 (this appeared otherwise only as the elusive IRCC 128). M-A, a gleaming copy. MB 20

K1363. JOHANNA GADSKI: Götterdämmerung – Zu neuen Thaten / Betrug’ Schändlichster Betrug! 10” AC silver Victor IRCC 128, POM-14 March, 1912 / 7 May, 1910. Numbered Copy #48 of a Limited Edition. M-A, a gleaming copy. MB 25

K1364. JOHANNA GADSKI: Götterdämmerung – Betrug’ Schändlichster Betrug! / Helle Wehr! 10” AC mauve & gold HMV AGSA 36, POM-7 May, 1910, only form of issue, Sd.1. M-A, Exemplary! MB 25

K1365. JOHANNA GADSKI: Götterdämmerung – Fliegt heim ihr Raben (Immolation Scene). 12” AC Pat.’12 Vla 88185, POM-30 April, 1909, Never Doubled, except as the elusive AGSB reissue. M-A, Exemplary! MB 20

K1366. JOHANNA GADSKI: Götterdämmerung – Fliegt heim ihr Raben (Immolation Scene). 12” AC white Vla 88185, POM-30 April, 1909, Never Doubled, except as the elusive AGSB reissue. M-A, Exemplary! MB 25

K1367. JOHANNA GADSKI: Nozze – Porgi amor. 12” AC white Vla 88275, only form of issue, 29 Sept., 1910. M-A, a gleaming copy. Most Elusive! MB 30

K1368. JOHANNA GADSKI: Il Trovatore – D'amor sull'ali rosee. 12” AC Pat.’12 Vla 88379, only form of issue, 4 April, 1912. M-A, a gleaming copy. Among Gadski’s most celebrated and beautiful rarities! MB 30

K1369. JOHANNA GADSKI: Aïda – Ritorna vincitor! (‘Take’ 2, 1908 Version). 12” AC Pat.’08 Vla 88137, POM-26 Feb., 1908. M-A, Exemplary! MB 15

K1370. JOHANNA GADSKI: Aïda – Ritorna vincitor! (‘Take’ 4, 1912 Version). 12” AC Vla 88137, POM-4 April, 1912. M-A, Exemplary! MB 15

K1371. JOHANNA GADSKI: Aïda – O Patria mia (‘Take’ 2, 1904 Piano acc. Version). 12” AC De Luxe V 85012, only form of issue, 5 March, 1904. A, lovely copy has hint of grey on peaks & faintest pap. rubs, inaud. MB 20

K1372. JOHANNA GADSKI: Aïda – O Patria mia (‘Take’ 2, 1904 Piano acc. Version). 12” AC GP V 85012, only form of issue, 5 March, 1904. A, lovely copy has hint of grey on peaks & faintest pap. rubs, inaud. MB 15

K1373. JOHANNA GADSKI: Aïda – O Patria mia, 1912 Version. 12” AC Pat.’08 Vla 88042, POM-4 April,1912. M-A, Exemplary! MB 12

K1374. JOHANNA GADSKI: Ballo – Morrò, ma prima in grazia / Ma dall’arido stelo divulsa. 12” AC PW Historical Catalogue #2 HMV DB 661, POM-6 May, 1914. M-A/A-, lovely copy has, Sd. 2 only, sev. wee dust scrs. MB 12

K1375. JOHANNA GADSKI: Ballo – Morrò, ma prima in grazia / Ma dall’arido stelo divulsa. 12” AC white Archive HMV VB 52, POM-6 May, 1914. MINT MB 8

K1376. JOHANNA GADSKI: Cavalleria – Voi lo sapete. 12” AC GP V 88136, Orig. ‘A’ Plate Issue, (‘Take’ 1 of 2 issued ‘Takes’), POM-26 Feb., 1908, Never Doubled. M-A, Exemplary! MB 15

“Vocally, Gadski possessed a magnificent instrument, expertly trained and thoroughly disciplined; interpretively she was schooled in the finest traditions; and stylistically she was at home in the work of several dissimilar composers. As Brünnhilde she must have been superb, and in Wagner generally she was magnificent. The music of Verdi also took on a remarkable lustre from her great voice, and certain rôles in Mozart and Meyerbeer gained new color and beauty when she sang them... Johanna Gadski was a great artist, one of the very greatest artists, and her records must be collected and studied--selected naturally, as is true with anyone who recorded--but selected and admired as long as fine singing is appreciated and respected.”

- Louis Migliorini,The Record Collector, 1957

K1377. JOHANNA GADSKI & OTTO GORITZ: Still wie die Nacht (Goetze). 12” AC Pat.'12 Vla 88440, POM-16 April, 1913, Never Doubled USA. M-A, a gleaming copy. MB 15

K1378. JOHANNA GADSKI & OTTO GORITZ: Zauberflöte – Papagena, Papageno! 10” AC V 87510, POM-16 April, 1913, Never Doubled (other than in most elusive HRS Series). M-A, Exemplary! MB 12

K1379. JOHANNA GADSKI & OTTO GORITZ: Zauberflöte – Bei Männern. 12” AC Pat.'12 Vla 88369, POM-14 March, 1912, Never Doubled, USA. M-A, Exemplary! MB 15

K1380. JOHANNA GADSKI & OTTO GORITZ: Der Fliegende Holländer – Ver’sank ich jetzt; Wohl kenn'ich Weibes, 2s. 12” AC silver Victor IRCC 146, POM-14 March, 1912. Numbered Copy #6 of a Limited Edition, the only double-sided issue of these titles. M-A, Exemplary! MB 25

K1381. JOHANNA GADSKI, MATTFIELD, van HOOSE, JOURNET & REISS: Die Meistersinger – Selig, wie die Sonne. 12” AC Pat.’08 Vla 95201, POM-29 Jan., 1908, Never Doubled. M-A, Exemplary! MB 15

K1382. JOHANNA GADSKI, MATTFIELD, van HOOSE, JOURNET & REISS: Die Meistersinger – Selig, wie die Sonne. 12” AC white Vla 95201, POM-29 Jan., 1908, Never Doubled. M-A, gleaming copy has faintest nr on label. MB 15

K1383. JOHANNA GADSKI & LOUISE HOMER: Aïda – Fu la sorte dell’armee; Alla pompa, che s’appresta, 2s. 2-12” AC Pat.’08 Vla 89024/25, POM-1 May, 1909, Never Doubled, USA. M-A, Exemplary! MB 15, the Pair.

K1384. JOHANNA GADSKI & LOUISE HOMER: Aïda – Fu la sorte dell’armee; Alla pompa, che s’appresta, 2s. 2-12” AC white Vla 89024/25, POM-1 May, 1909, Never Doubled, USA. M-A, beautiful pair, only the 2nd disc has faintest pap. rubs, inaud. MB 15, the Pair.

K1385. JOHANNA GADSKI & LOUISE HOMER: Aïda – Fu la sorte, 2s. 12” AC PW Historical Catalogue #2 HMV DB 666, POM-1 May, 1909, the only double-sided issue of these titles. M-A, a gleaming copy. MB 20

K1386. JOHANNA GADSKI & LOUISE HOMER: Orfeo – Su è con me vieni cara. 12” AC Pat.'08 Vla 89041, POM-7 Feb., 1910, Never Doubled, USA. M-A, Exemplary! MB 15

K1387. JOHANNA GADSKI & PASQUALE AMATO: Aïda – Ciel! mio padre!; Su dunque, 2s. 2-12” AC Pat.’12 Vla 89067/68, POM-14 April, 1913. M-A, a gleaming copy. MB 15, the Pair.

K1388. JOHANNA GADSKI & PASQUALE AMATO: Il Trovatore – Mira, d’acerbe lagrime; Vivra, contende il giubilo, 2s. 2-12” AC Pat.’12 Vla 89069/70, Orig. ‘A’ Plate Issues, POM-14 April, 1913, Never Doubled outside USA. M-A, a gleaming copy. Generally considered to be the definitive version of this duet. MB 20, the Pair.

K1389. JOHANNA GADSKI & ENRICO CARUSO: Aïda – La fatal pietra; O terra addio, 2s. 2-12” AC Pat.’12 Vla 89028/29, POM-7 / 6 Nov., 1909. M-A, Exemplary! MB 15, the Pair.

K1390. JOHANNA GADSKI & ENRICO CARUSO: Aïda – La fatal pietra; O terra addio, 2s. 12” AC pale-green LVDP DM 114, POM-7 / 6 Nov., 1909. M-A, gleaming copy of preferred late LVDP pressing. MB 15

K1391. JOHANNA GADSKI , w.Mancinelli Cond.: Ero e Leandro – Fragment of Act III Aria (Cond. by the Composer) / GADSKI, HOMER, de MARCHI & JOURNET, w.Mancinelli Cond.: Aïda – Su! del Nilo. 10” AC silver IRCC 3058, RRs, 4 March / 31 Jan., 1903, Live Performances, Metropolitan Opera House (from Mapleson Cylinders). M-A MB 15

K1392. JOHANNA GADSKI & EDOUARD de RESZKÉ: Les Huguenots - Act III Duet (4 fragments), 2s. 12” AC gold IRCC 168, RRs, from Mapleson Cylinders recorded during Actual Performance, Met Opera, 24 Jan., 1903. Numbered Copy #24 of Limited Edition, to which Gadski’s photo is affixed to Sd. 1 label; de Reszké’s photo affixed to Sd. 2 label. (N.B.: the red label IRCC reissue lacks the vital ‘presence’ of this original IRCC.) M-A, Exemplary! MB 35

“Of Gadski's cylinders the duet from Les Huguenots with Edouard De Reszke is certainly a very remarkable performance. Her energy seems unfailing, and for a startling moment or two she sustains top C through to five measures while her companion sings a jaunty tune underneath!...The fragments from Les Huguenots in the big duet with Gadski are certainly his most striking showing. Indeed Mapleson was very lucky with this famous singer. Practically all the cylinders from which he can be heard are good, and the ones from Les Huguenots are among the very best acoustically of the lot. And besides, the singing is something near hair-raising!”

- John Stratton

K1393. ERNA SACK: La Folletta (Salvatore Marchesi) / Gasparone – Komm, mia bella (Canzonetta) (Millöcker). 10” EL red Swiss Telefunken A2035, POM-12 June, 1936. M-A, lovely copy has faintest pap. rubs, inaud. MB 10

K1394. ERNA SACK: In sonniger Zeit (Gold und Silber) (Lehár) / Lysistrata – Glühwürmchen-idyll (Lincke). 12” EL dark-blue Austrian Telefunken C22347, POM-26 May, 1937. M-A, Exemplary! MB 10

K1395. ERNA SACK: Nanon – So verliebt wie heut’ war ich nie / Lockende Geigen (Lachwalzer) (both Melichar). 10” EL dark-blue Swiss Telefunken A2669, POM-5 Sept., 1938. M-A, Exemplary! MB 10

K1396. ERNA SACK , w.Hansgeorg Otto Cond.: Ich hab’ amal a Räuscherl g’habt (Kapeller) / Die Kätzchen – Unter dem Lindenbaum (Hugo Felix). 12” EL dark-blue German Telefunken E2250, POM-11 June, 1937. M-A, choice copy has, Sd. 1 only, faint nr & pap.scr, positively inaud. MB 10

K1397. ERNA SACK , w.Bund Cond.: Ay-ay-ay (in German) (Freire) / Schlaf’ ein, mein Blondengelein (Wiegenlied, [one wonders how any child could sleep through this!]) (Sattler). 10” EL dark-blue Swiss Telefunken A1718, POM-15 Oct., 1934. M-A, lovely copy has, Sd. 1 only, wee pressing bump. MB 10

K1398. ERNA SACK , w.Bund Cond.: Wenn sich eine schöne Frau verliebt (Sattler) / Clivia – Ich bin verliebt (Dostal). 10” EL dark-blue German Telefunken A1676, POM-30 Aug., 1934. M-A, lovely copy has tiny dust mk, inaud. MB 10

K1399. ERNA SACK , w.Melichar Cond.: Estrellita (Ponce) / Villanelle (dell’Acqua) (both in German). 10” EL black & silver PW Bruns. 53110, POM-13 June, 1936. A to M-A, lovely copy of preferred mid-1930s Columbia pressing. MB 10

K1400. ERNA SACK , w.Cerné Cond.: In einem kühlen Grunde / Der rote Sarafan (both folksongs). 10” EL dark-blue German Telefunken A10067, POM-14 Dec., 1939. M-A, Exemplary! MB 10

K1401. ERNA SACK , w.Schmidt-Isserstedt Cond.: Parla (in German) (Arditi) / Marta – Den Teuren zu versöhnen. 12” EL dark-blue Swiss Telefunken E1772, POM-29 Jan., 1935. M-A, a gleaming copy. The Flotow aria from the German edition is omitted in the Italian score. This is an unusually lovely performance. MB 12

K1402. ERNA SACK , w.Schmidt-Isserstedt Cond.: Frühlingsstimmen / Die Tänzerin Fanny Eisler – Draussen in Sievering (both Johann Strauss). 12” EL black Eng. Telefunken GX.61013, POM-2 April, 1935, Sd. 2 = 1st ‘Take’. A-, very decent copy has lt. rubs, inaud.; Sd. 1 only has tiny cluster dust scrs, ever-so-faintly audible a turn or three. MB 12

K1403. ERNA SACK , w.Schmidt-Isserstedt Cond.: Frühlingsstimmen / Die Tänzerin Fanny Eisler – Draussen in Sievering (both Johann Strauss). 12” EL dark-blue German Telefunken E1774, POM-2 April, 1935, Sd. 2 = 2nd ‘Take’, only form of issue. M-A, a gleaming copy. MB 12

K1404. ERNA SACK , w.Willy Dehmel Cond.: Wenn das Glück Regie führt und das Herz spilt (Lied; [giving the expression ‘detached top’ a new meaning!]) / Willy Dehmel Cond.: Wenn das Glück Regie führt und das Herz spilt (Tango) (Kirchstein). 10” EL red German Telefunken T5787, only form of issue, 1936, Kino-Platten. A-, lovely copy has lt. rubs, inaud. Exceedingly elusive! MB 15

K1405. ERNA SACK , w.Hugo Diez Cond.: Eine kleine Frühlingsweise (Humoresque) / Heimatlied (set to Largo from ‘New World’ Symphony #5) (both Dvorák). 12” EL dark-blue German Telefunken E3905, only form of issue, 15 Jan., 1952. M-A, Exemplary! Interesting curiosity from Sack’s final recording sessions! MB 10

K1406. ERNA SACK , w.Raucheisen (Pf.): Möchte wohl gerne ein Schmetterling sein / Zur drossel sprach der Fink (both d’Albert). 10” EL dark-blue German Telefunken A2202, only form of issue, 24 April, 1937. M-A, Exemplary! MB 15

K1407. ERNA SACK , w.Raucheisen (Pf.): Mondnacht / Der Nussbaum (both Schumann). 10” EL dark-blue German Telefunken A2233, only form of issue, 24 April, 1937. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10

K1408. ERNA SACK , w.Schmidt-Isserstedt Cond.: Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart]) / Guten Abend, gut’ Nacht (Wiegenlied) (Brahms). 10” EL dark-blue German Telefunken A2257, only form of issue, 26 April, 1937. M-A, Exemplary! MB 15

K1409. ERNA SACK , w.Schmidt-Isserstedt Cond.: Der Vogel im Walde (Tauber) / Sternlein und Mond (Sattler). 10” EL dark-blue German Telefunken A1868, only form of issue, 27 Aug. / 14 Sept., 1935. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10

K1410. ERNA SACK , w.Schmidt-Isserstedt Cond.: Die deutsche Nachtigall (Eine Folge schönster Melodien, incl. Drdla, Toselli, Boldi, Millöcker & Johann Strauss), 2s. 12” EL gold & dark-blue German Telefunken E1879, POM-17 Nov., 1935. M-A, gleaming copy has few ‘damp’ spots, inaud. MB 12

K1411. ERNA SACK , w.Schröder Cond.: Funiculi, Funicula (Denza) / Die Nachtigall (Alabiev) (both in German). 10” EL burgundy German Telefunken A2900, POM-13 / 17 Feb., 1939. M-A, Exemplary! MB 10

K1412. ERNA SACK , w.Schmidt-Isserstedt Cond.: Don Pasquale – Quel guardo, il cavaliere / Rigoletto – Caro nome (both in German). 12” EL dark-blue German Telefunken E1755, POM-10 Dec., 1934 / 4 Jan., 1935. M-A, lovely copy has faintest pap. rubs, inaud. MB 10

K1413. ERNA SACK , w.Schmidt-Isserstedt Cond.: Barbiere – Una voce poco fa (1934 Version) (in German), 2s. 12” EL red French Telefunken E1735, POM-4 Dec., 1934. M-A, Exemplary! MB 10

K1414. ERNA SACK , w.Schütze Cond.: Barbiere – Una voce poco fa (1936 Version) (in German), 2s. 12” EL black German Polydor 35087, POM-1936. M-A, Exemplary! MB 10

K1415. ERNA SACK , w.Schröder Cond.: Die Fledermaus – Mein Herr Marquis / Spiel’ ich die Unschuld. 12” EL red Swiss Telefunken E2571, POM-11 Feb., 1938. M-A, Exemplary! MB 10

K1416. ERNA SACK , w.Schmidt-Isserstedt Cond.: Der Freischütz – Einst träumte meiner sel’gen Base, 2s. 10” EL dark-blue German Telefunken A1771, POM-29 Jan., 1935. M-A, Exemplary! MB 10

K1417. ERNA SACK , w.Czernik Cond.: La Boheme – Mi chiamano Mimi / Linda di Chamounix – O luce di quest’anima (both in German). 12” EL black German Telefunken SK 3242, POM-3 Jan., 1942. M-A, Exemplary! MB 10

K1418. ERNA SACK & MARCEL WITTRISCH , w.Rother Cond.: Paganini – Niemand liebt Dich so wie ich (Lehár) / Der Vogelhändler – Schenkt man sich Rosen in Tirol (Zeller). 12” EL red Austrian Telefunken Exquisit E1010, POM-17 Nov., 1935. M-A, a gleaming copy. MB 12

“Erna Sack’s career really started in high gear in 1930 when her uncanny ability to sing those stratospheric high notes, including C above high C, (thus her nickname ‘The German Nightingale’). (Richard Strauss later wrote a new cadenza for her high voice, for her to sing as Zerbinetta in Ariadne auf Naxos). In 1931 she sang Norina in Don Pasquale at Bielefeld, where her voice made a great impression and her gifts immediately recognised. The Wiesbaden Theatre engaged her in 1932, and in that year she also made several radio broadcasts and recordings. In 1934 she was engaged by the Breslau Theatre, where he rôles included her first Zerbinetta in Richard Strauss' Ariadne auf Naxos, and the following year arrived at the Dresden State Opera, where she attracted the attention of Karl Böhm and, above all, Richard Strauss. In 1934 she also made a spectacular return to Berlin, appearing as Gilda in Rigoletto alongside Heinrich Schlusnus and Walther. The conductor was Erich Kleiber. In 1935, Erna Sack made her first series of concert tours, to Austria, the Netherlands, the French Third Republic and the United Kingdom. During the same year, she signed her exclusive recording contract with Telefunken. She appeared in the world première of Strauss' Die Schweigsame Frau, a rôle in which her special commitment earned her the gratitude of both Strauss and Karl Böhm. As a result she was invited to sing the part of Zerbinetta under Strauss' personal direction when the Dresden State Opera visited the Royal Opera House, Covent Garden, in 1936. After World War II, Erna Sack toured extensively and was particularly successful in Latin America. But it was in Canada that she enjoyed her greatest post-war successes and for a number of years the couple lived in Montréal. In 1953, she carried out an extended tour of the Federal Republic of Germany and West Berlin, a marathon undertaking involving over 40 concerts.”

norpete.com Webutation

Historical Reissue Classical CDs, LPs, 78s, Related Books & Ephemera Since 1972

Auction Number 144 ­- AUCTION Closing Date:Monday, 13 June, 2010

Nos. K572 - K1418 are Female Vocal 78rpm records

Historical Reissue Classical CDs, LPs, 78s, Related Books & Ephemera
Since 1972

Auction Number 144 - AUCTION Closing Date:Monday, 13 June, 2010