Female Vocal 78rpm Records:  0666 - 1085

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

Since 1972



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



Regarding AUCTION #145 (Closing Date: Sunday, 22 December, 2013), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

To view pictures within the Auction, click on the picture with your cursor over it and this will enlarge the picture. When done viewing the picture, simply click on your browser’s back-arrow. This will return you to the previous page.

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

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

Nos. 0666 - 1085 are choice Female Vocal 78rpm records:



0666. ALICE VERLET: Serenade ŕ Laura (in Italian) (Pons, set to words by Caruso). 10” black London Concert Gram. G.C.-7–53000 (10245e), only form of issue, 8 June, 1909. A-, lovely copy has lt. rubs, inaud. Exceedingly elusive! MB 85

“Alice Verlet, a soprano with a legato that is perhaps as flawless as any on record. And her scale work is also marvellously even and fluent…..”


- J.B. Steane, THE GRAND TRADITION, p.84


0667. ALICE VERLET: Les Filles de Cadiz (Delibes). 12” black London Concert Gram. 2–033003 (3142f), only form of issue, 14 June, 1909. A to M-A, lovely copy has rubs & insignificant scrs, inaud. Exceedingly elusive! MB 45

0668. ALICE VERLET: Rigoletto – Caro nome (in French). 12” black Paris Concert Gram. 033052 (603i), only form of issue, 1908. A to M-A, exceptional copy has faintest pap.rubs & long faint pap.scr, positively inaud. Exceedingly elusive! MB 85

0669. ALICE VERLET: Rigoletto – Caro nome (in French). 12” black Paris Concert Gram. 033052 (603i), only form of issue, 1908. A-, lovely copy has very lt.rubs & lfew very lt.scrs, positively inaud. Exceedingly elusive! MB 45

“[Verlet] was a gifted singer with a soprano leggiero of great beauty, a voice of astonishing flexibility and evenness. She was also a compelling actress of great charm. Critics repeatedly spoke of her fiorature, trills and ornamentation. Her upper range was unique in its purity and ability to sing trills effortlessly. [Her début at the Paris Opéra, as Blondine in DIE ENTFÜHRUNG AUS DEM SERAIL, came in 1903. She sang her first RIGOLETTO in that house on 11 April, 1904; Adelina Patti, who was in attendance, conspicuously displayed enthusiasm for Verlet's singing. At the Théâtre de la Gaîté-Lyrique Verlet appeared for a run of LAKMÉ with David Devričs and Félix Vieuille].”


- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.248


0670. ALICE VERLET: Lakmé – Oů va la jeune indoue? / Scčne et légende. 10˝ AC A.P.G.A 1073/74, only form of issue, 1907, both sides announced. M-A, exceptional copy has, Sd. 1 only, infinitesimal pap. scr,barely visible & positively inaud.; occasional very minor pressing bumps. Exceedingly elusive! MB 85

“Among those ‘minor’ companies that flourished in France before the end of the first decade, there is one that stands out above all the others for its originality of organization and its technical excellence. A.P.G.A. (L’Association Phonique des Grands Artistes) was founded in May, 1906…with a group of ten artists: Agustarello Affre, Charlotte Agussol, André Gresse, Jean Noté, Alice Verlet, Henri Weber, Bergeret, Dranem, Mayol & Polin….The records were uniform in size: 27cm. or about 10˝ inches….All A.P.G.A. records play at an average speed of 86 r.p.m., and I know of many that go well over 90. These extraordinary speeds might have accounted for the lack of sales….However, when pitched properly, these records are astoundingly good – I might venture to say better than any other needle-cut record of the period.”
- Victor Girard, THE RECORD COLLECTOR, 1954


0671. GEORGETTE BRÉJEAN-SILVER: Manon – Je suis encore tout étourdie / Faust – Faites-lui mes aveux. 10˝” AC brown French Odéon 56069/72 (XP2864/3269), POM-1905. A to M-A, lovely copy has mere hint of grey on peaks, inaud.; Sd.2 only has very short nr, positively inaud. MB 45

[In the Manon aria], “Bréjean-Silver sounds impetuous and child-like and enhances her reading with wonderful enunciation and witrh a top E, shirked by many others….Massenet…wrote the Fabliau for her…[and] it is worth noting that she created his CINDERELLA in 1899.”


- Alan Blyth, OPERA ON RECORD, Vol. I, p.485


0672. GEORGETTE BRÉJEAN-SILVER: Thaďs – Qui se fait si sevčre / Faust – Le Roi de Thulé. 10˝” AC brown French Odéon 56063/62(XP2875/73), POM-1905. A -, lovely copy has hint of grey on peaks, plus lt.rubs & wee scrs, positively inaud. MB 35

“Bréjean-Silver joined the Opéra-Comique in 1894, making a strong impression as Manon, which remained a favourite rôle; Jules Massenet wrote the ‘Fabliau’ (as an alternative to the gavotte in Act 3) specifically for her to sing in Brussels. She appeared as Manon and Lakmé at Monte Carlo the following season, adding LES PĘCHEURS DE PERLES and GUILLAUME TELL a year later. At this time she sang under the name Bréjean-Gravičre, later changing it upon her marriage to the composer Charles Silver, whose opera LA BELLE AU BOIS DORMANT provided her with another leading part. She also appeared as the Fairy Godmother in the premičre (1899) of Massenet's CENDRILLON.”


0673. ELIETTE SCHENNEBERG, w.André Collard (Pf.): Chansons Grises – Nos. 1, 2, 3 & 5 (Complete, as recorded) (Hahn), 2s. 10” EL dark blue French Col. LF 257, only form of issue, 1948. M-A, lovely copy has faintest pap. rubs, inaud. MB 25

“Eliette Schenneberg made her début at the Palais Garnier on 7 December 1934 in D’Indy’s L’ÉTRANGER and performed in the world premičre of Marcel Delannoy’s GINČVRA at the Opéra Comique in 1942. The same year she performed in Sylvio Lazzari’s LA LÉPREUSE with Madeleine Sibille, also at the Comique. Eliette Schenneberg’s repertoire was quite large and included opera and song: SAMSON ET DALILA (Saint-Saëns); ARIANE ET BARBE-BLEU (Dukas); and LE COQ D’OR (Rimsky-Korsakov) as well as “Chanson Grises” (Hahn); “Les Amours de Ronsard” (Milhaud); and “Trois Psaumes” (Honnegger). Eliette Schenneberg’s career was [noted for] her great musicianship and collaborations with some of the 20th Century’s greatest French composers.”
- Ward Marston


0674. MARISE BEAUJON, w.Bigot Cond.: Sigurd – Salut, splendeur du jour! (Reyer), 2s. 10” EL PW dark blue French Col. LF 43. M-A, lovely copy has, Sd.1 only, minor ‘heat’ mk. MB 10

0675. MARISE BEAUJON, w.Büsser Cond.: Guillaume Tell – Sombre foręt, 2s. 10” EL PW dark-blue French Col. LF 10. M-A. MB 12

0676. CHARLOTTE TIRARD, w.Wolff Cond.: Le Cid – Pleurez, pleurez mes yeux (Massenet) / Cinq-Mars – Nuit resplendissante (Gounod). 12” EL PW black French Polydor 556024, POM-1928. Glorious voice and artist – in many respects redolent of the glorious Régine Crespin. M-A, an exceptional copy. MB 35

0677. CHARLOTTE TIRARD, w.Wolff Cond.: Le Tasse – Les regrets (Godard) / La Reine de Saba – Plus grand dans son obscurité (Gounod). 12” EL PW black French Polydor 56611, POM-1931. Glorious voice and artist – in many respects redolent of the glorious Régine Crespin. M-A, an exceptional copy. MB 35

“Charlotte Tirard made a late début as an opera singer as Helmwige in DIE WALKÜRE in 1926. A year later she appeared as Aďda opposite Giacomo Lauri-Volpi, as the Marschallin in Strauss’ DER ROSENKAVALIER, as Tosca and as Violetta in LA TRAVIATA. She was an admired Marguerite and was also a great Thaďs and played the role opposite Thill and Vanni-Marcoux. She was invited to sing the first French performance of Aithra in Strauss’ DIE ÄGYPTISCHE HELENA at the opera house of Monte Carlo. She often sang Wagnerian roles and enjoyed many of her greatest successes in his music. In addition to her Elisabeth and Helmwige she also appeared in PARSIFAL and DAS RHEINGOLD. She was especially loved in the Puccini repertory (she was considered the greatest French Tosca). She was regularly invited by all French opera houses.”


- Andrea Shum-Binder, subito-cantabile


0678. GERMAINE MARTINELLI, w.Jean Doyen (Pf.): Frauenliebe und Leben (Schumann; in French), 4s. 2-12”EL French Col. RFX 40/41, only form of issue, 1935 . M-A, a spectacular copy. Exceedingly Elusive! MB 45, the Pair.

0679. GERMAINE MARTINELLI, w.Andolfi Cond.: Dichterliebe – Five Songs (in French) (Schumann), 2s. 10”-EL PW red Pathé X.3923, only form of lateral issue, 1929. A to M-A, lovely copy has faintest rubs, inaud. MB 15

0680. GERMAINE MARTINELLI, w.Bigot Cond.: Gretchen am Spinnrade / Die junge Nonne (both in French) (both Schubert). 12” EL Eng. Col. LX 450, only form of issue, 1935. M-A, a gleaming copy. MB 20

0681. GERMAINE MARTINELLI, w.Wolff Cond.: Les Roses d’Ispahan (Faure ) / L’Enfant Prodigue – Air de Lia (Debussy). 12”-EL PW black French Polydor 566.170, only form of issue, 1933. A-, very decent copy has lt.rubs, inaud. MB 12

0682. GERMAINE MARTINELLI, w.Wolff Cond.: Nocturne / 8me Béatitude - Mater Dolorosa (both Franck). 12”-EL PW black French Polydor 566.044, only form of issue, 1930. M-A, a spectacular copy. MB 20

0683. GERMAINE MARTINELLI, w.Wolff Cond.: Nocturne / 8me Béatitude - Mater Dolorosa (both Franck). 12”-EL PW black French Polydor 566.044, only form of issue, 1930. A to M-A, beautiful copy has, Sd. 1 only, tiny lt.scr, positively ltly audible. MB 12

0684. GERMAINE MARTINELLI, w.Wolff Cond.: La Damnation de Faust – Autrefois un roi de Thulé / D’amour l’ardente flamme (Berlioz). 12” EL PW black French Polydor 566.040, POM-1929. M-A, lovely copy has faintest rubs, inaud.; Sd.1 only has sev.cosmetic lt.scrs, inaud. MB 12

“Germaine Martinelli possessed one of the most sumptuous French soprano voices of the twentieth century….Though she sang in Holland, Belgium, Switzerland and Spain, her career and reputation were confined largely to France. In this, she was typical of her generation….Martinelli’s performance as Berlioz’s Marguerite and Massenet’s Charlotte are as fine as any on record. Her interpretations of these heroines are statuesque rather than girlish, but nevertheless deeply felt and exquisitely phrased.”


- Patrick Bade


0685. GERMAINE MARTINELLI, w.Wolff Cond.: Marie-Magdeleine - O bien-aimé / C’est ici męme ŕ cette place (Massenet). 12” EL black French Polydor 566.100, only form of issue, 1930. M-A, a spectacular copy. MB 15

0686. GERMAINE MARTINELLI, w.Wolff Cond.: Ottone - Vieni, o figlio / Xerxes - Ombra mai fu (both in French). 12” EL PW black French Polydor 566.101, only form of issue, 1930. M-A, exceptional copy has faintest rubs, inaud. MB 15

0687. GERMAINE MARTINELLI, w.Wolff Cond.: Salammbo – Air des Colombes (Reyer) / Cavalleria – Voi lo sapete (in French). 12” EL PW black French Polydor 566.056, only form of issue, 1930. M-A, exceptional copy has few very lt. rubs, inaud. MB 15

0688. GERMAINE MARTINELLI, w.Wolff Cond.: Aďda – Ritorna vincitor! / Otello – Ave Maria (both in French). 12” EL PW black French Polydor 566.112, only form of issue, 1930. M-A, exceptional copy has faintest rubs, inaud. MB 15

0689. GERMAINE MARTINELLI, w.Wolff Cond.: Werther – Va! laisse-les couler / Tosca – Vissi d’arte (in French). 10” EL PW dark green French Polydor 524.117, POM-1931. A to M-A, beautiful copy has few lt.rubs, inaud. MB 15

0690. GERMAINE MARTINELLI: Tristan - Liebestod (in French), 2s. 12” EL black Art Label Pathé‚ X.7220, only form of issue, 1928. A to M-A, lovely copy has faintest rubs, inaud. Exceedingly Elusive! MB 30

0691. GERMAINE MARTINELLI: Tannhäuser - Dich teure Halle / LOHENGRIN - Einsam in trüben Tagen (both in French). 12” EL black Art Label Pathé‚ X.7219, only form of issue, 1928. A to M-A, lovely copy has faintest rubs, inaud. Exceedingly Elusive! MB 30

“I love sopranos who can command the rich middle and lower register of a mezzo….[Martinelli’s] alluring tone would be wasted without such strong musical instincts, but she is unerring in her breadth of phrasing and her timing.”


- Tully Potter, THE RECORD COLLECTOR, 2007


0692. BLANCHE DESCHAMPS-JEHIN: Le Prophčte – Ah! Mon fils / Samson et Dalila – Mon coeur s’ouvre ŕ ta voix. 10ľ” AC brown French Odéon 97041/28 (Xp 4299-2 / 4298), POM-1908. A to M-A, lovely copy has hint of grey on peaks; Sd.2 only has infinitessimal pap.scr, positively inaud. MB 150

0693. BLANCHE DESCHAMPS-JEHIN: Samson et Dalila – Mon coeur s’ouvre ŕ ta voix / RENÉ FOURNETS: Les Huguenots – Bénédiction des poignards. 10" AC rgrey IRCC 228, RRs-1908. Numbered Copy #129 of a limited edition. A-, very decent copy has lt.rubs, inaud. MB 8

“The leading French mezzo of her generation, Blanche Deschamps studied at the Conservatories in Paris and Brussels. In 1879, she made her début in Brussels singing in the operetta GIROFLÉ-GIROFLA, soon followed by her operatic début at the Monnaie as Mignon. There, she was associated with two important creations: Herodias in Massenet’s HÉRODIADE (1881) and Uta in Reyer’s SIGURD (1884). Her creator parts at the Paris Opéra-Comique, where she sang beginning in 1885, included principal mezzo/contralto roles in Lalo’s LE ROI D’YS (1888), Massenet’s CENDRILLON (1899) and Charpentier’s LOUISE (1900). As a member of the Paris Opéra beginning in 1891, she appeared in many major roles: Azucena, Amneris, Fricka, and Brangäne, and most notably, the Paris Opéra’s first Dalila in SAMSON ET DALILA (1892), a role she sang on many other stages. That same year, she appeared as Fidčs in the Paris Opéra’s revival of LE PROPHČTE, and the following year, sang at the Meyerbeer centenary concert. Much of her career was centered in Monte Carlo where her husband, Léon Jehin, was for many years the house conductor. Her first role there was Maddelena in RIGOLETTO in 1889. Soon thereafter, she took on more important roles, such as Carmen, Léonore in LA FAVORITE, Margared in LE ROI D’YS, and the Queen in HAMLET, opposite Nellie Melba in 1890. Also at Monte Carlo, Deschamps-Jehin was the first woman to sing the trousers role of Pygmalion in Victor Massé’s GALATHÉE, as the composer had originally intended it. She continued singing there, after retiring from the Opéra-Comique in 1902. In 1909, she sang Erda in DAS RHEINGOLD and Marthe in MEFISTOFELE. This was to be her final role, which she last interpreted in 1913. Deschamps-Jehin recorded five Edison cylinders in 1906 and four sides for Odeon in 1908, which are highly prized by record collectors."
- Vincent Giroud, Marston Program Notes


0694. ROSE CARON: Sigurd – Sigurd! Les Dieux dans leur clémence (Des présents de Gunther) (Reyer). Creator Record, (7 Jan., 1884, Théâtre Royal de la Monnaie, Brussels) / Ah! Si vous saviez comme on pleure (Pričre) (Gounod). 11ľ” AC violet German Fonotipia Odeon HRS 1019 (xPh 523/521), POM-20 Dec., 1904. M-A, gleaming copy of this superb mid-1930s German pressing (renowned for its quiet surface) has faintest pap.rubs, positively inaud. MB 45

“Rose Caron’s first operatic appearance in Brussels was as Alice in ROBERT LE DIABLE, followed by Salomé in HÉRODIADE and Marguérite in FAUST; noticed by Ernest Reyer, he chose her to create the role of Brunehild in SIGURD in 1884 (and the Paris premiere in 1885). The title role in SALAMMBO in 1890 was also created by Caron. Her repertoire included several Wagnerian rôles, Rachel in LA JUIVE and Valentine in LES HUGUENOTS. At the Opéra-Comique she sang Léonore in FIDELIO in 1898, Iphigénie en Tauride and Orphée (Gluck). After 1895 she reduced her public appearances considerably and concentrated on teaching at the Paris Conservatoire (1904–09) and then private tuition. One of her pupils was soprano Alice Zeppilli.”


0695. TERESA ARKEL: I Pescatori di Perle -Siccome un dě / Il Trovatore – D’amor sull’ ali rosee. 10ľ” AC Parl.-Odeon PO 127 (xPH409/411), POM-30 Oct, 1905. M-A, a gleaming copy. MB 15

“Teresa Arkel made her début as a concert singer in Lviv, in 1883 and made her stage début there the following year as Valentine in Meyerbeer’s LES HUGUENOTS. In 1885 she toured very successfully at the Warsaw Opera as Aďda, as Selika in Meyerbeer’s L’AFRICAINE and as Leonora in IL TROVATORE. In 1886 she appeared in Vienna and in Paris, and in the 1886-87 season she was engaged at the National Theatre of Prague, 1887-90 at the Municipal Theatre (Opera House) in Hamburg. She toured in 1888 in Budapest, 1889 in Milan, 1890 in Madrid and Bilbao, 1891 in Odessa, 1892 in Barcelona, 1893 and 1896 in Lisbon, 1894 and 1896, again in Madrid, and in 1894 at the Teatro de l’Opera in Buenos Aires as Desdemona in Verdi’s OTELLO and as Elsa in LOHENGRIN. In 1898 she was heard again at the Lviv Opera, and in 1899 at the Grand Opera of Warsaw. In Madrid, where she was very popular, she sang in the world premiere of Emilio Serrao’s JUANA LA LOCA. In 1891 she came to La Scala as a partner of Hariclea Darclée. In 1892 she sang there as Norma and Desdemona. In 1897 she appeared at La Scala as Alessandro Bonci’s partner in the premiere of Alberto Franchetti’s SIGNOR DE POURCEAUGNAC. In 1900 she sang the GÖTTERDÄMMERUNG Brünnhilde at the Teatro Carlo Felice in Genoa. Arkel’s major roles were in Wagner’s operas as Isolde, Brünnhilde, Senta, Elsa, Sieglinde and Elisabeth, and also as Moniuszko’s HALKA , as well as Amelia in Verdi’s UN BALLO IN MASCHERA. In 1900 she opened a singing school in Milan, which earned a great reputation. Among her students were important singers such as Claire Dux, Lucette Korsoff, Eugenia and Irene Bronskaja Eden.”


0696. REGINA PACINI: Povera mamma / Aprile (both Tosti). 10ľ“ AC Milano Fonotipia 39770/85 (XPh 2060/2048), POM-1906, Paris. A, lovely copy has few faint rubs & hint of grey on peaks, inaud; Sd.1 has wee pressing bump. MB 20

0697. REGINA PACINI: Thčme et variations (Proch; in Italian) / I Puritani – O rendetemi la speme (incorrectly labeled as ‘Qui la voce’). 10ľ“ AC Milano Fonotipia 39232/38 (XPh 297/287), POM-1905. A to M-A, bright copy has few faintest rubs, inaud. MB 20

0698. REGINA PACINI: Zauberflöte – Zum leiden … Du, du, du wirst (in Italian) / Legenda valacca (Braga). 10ľ“ AC Milano Fonotipia 39777/78 (XPh 2059/61), POM-1906. A-B, decent copy has lt. rubs & scrs, ltly audible. MB 15

0699. REGINA PACINI: La Traviata – Ah! fors’ č lui / Sempre libera. 10ľ“ AC Milano Fonotipia 39237/33 (XPh 299/89), POM-1905. A-B, very decent copy has lt. rubs & wee scrs, ltly audible, if at all. MB 15

0700. REGINA PACINI: Barbiere – Una voce poco fŕ, 2s. 10ľ“ AC U.S. Fonotipia 39783/84 (XPh 2053/54), POM-1906, Paris. M-A, a spectacular copy. MB 20

0701. REGINA PACINI: La Perle du Brésil – Charmant oiseau / Mireille – O légčre hirondelle (both in Italian). 10ľ“ AC U.S. Fonotipia 39236/39774 (XPh 2055/286), POM-1906/’05. M-A, spectacular copy has faintest rubs, barely visible & certainly inaud. MB 20

0702. REGINA PACINI: La Perle du Brésil – Charmant oiseau (in Italian) / Tosca – Vissi dárte. 10ľ“ AC Milano Fonotipia 39774/73 (XPh 2055/64), POM-1906. A-, fine copy has lt.rubs & superficial scrs, inaud. MB 20

“Regina Pacini de Alvear was born in Lisbon, Portugal in 1871, and died in 1965, at 94 years of age, in Buenos Aires, Argentina. With the exception of some performances at Covent Garden, her life and career took place almost entirely within the Latin world where she was celebrated both as a gifted lyric bel canto soprano, and also as First Lady of Argentina for many years, as wife of Don Marcelo Torcuato de Alvear, president of Argentina from 1922 to 1928.

She was born into a musical family, as daughter of the Italian baritone Pietro Andrea Giorgi-Pacini. Regina was born in Lisbon during one of her father’s periods of residency at the Teatro San Carlos, in 1871. She studied in Paris with Mathilde Marchesi and made her début there in 1888, at 17 years of age as Amina in Bellini’s LA SONNAMBULA. Lucia was also part of her early repertoire. Also part of her standard repertoire were BOHČME, RIGOLETTO, PURITANI, MANON, and IL BARBIERE. Theaters in which she commonly sang were the San Carlos in Lisbon, Covent Garden, the Paris Opéra, La Scala, the Teatro Solís in Montevideo, and the Teatro Politeama in Buenos Aires.

As a distinguished First Lady of Argentina, Pacini dedicated herself to cultural efforts, and in 1938 founded the Casa del Teatro in Buenos Aires, which was a retirement home for actors similar to the Casa Verdi in Milan. Widowed in 1942, Regina Pacini lived on, until the age of 94, distributing her fortune on worthy causes to the point where, at the time of her death, she was living simply, on a modest government pension. There is a town in Argentina, Villa Regina, which was named after her.”


- Edmund St Austell


0703. PEPITA SANZ, w.Salvatore Cottone Cond.: Dinorah – Ombra leggiera, 2s. 10ľ” AC Milano brown Odeon 37030/37621 (Xm67/1058), POM-1907. A to M-A, lovely copy has faintest rubs, inaud. MB 20

“Pepita Sanz’s earliest performance was in Brescia in LA SONNAMBULA, in 1903. She then proceeded to the Milano Teatro Lirico in IL BARBIERE DI SIVIGLIA. She moved to the Teatro Real in Madrid, again in IL BARBIERE DI SIVIGLIA. Her small discography features only six sides for Odéon in 1907.”


0704. EUGENIA MANTELLI: Serenata (Leggenda valacca) (Braga). 12” AC S/S Special Vinyl Pressing of Zonophone 12613 (I 6556), only form of issue, 1906-07. MINT. MB 25

“Eugenia Mantelli was an Italian opera singer who had a prolific career in Europe, the United States, and South America from the 1880s through the early part of the twentieth century. She possessed a flexible warm voice with a wide vocal range that, while focusing mostly within the mezzo-soprano repertoire, enabled her to sing roles normally associated with contraltos and sopranos. Indeed, during her lifetime she was often identified as either a mezzo-soprano or a contralto by music critics without much consistency. She is more at home in two splendid records, Mascagni’s ‘Ave Maria’ and Braga’s ‘Serenata’ (Leggenda valacca), which is, I believe, the only Mantelli record for which an original stamper survives, so we may hear it in a modern vinyl pressing [above] bringing her lovely voice into our rooms with all its velvety clarity….We revel in her clean execution of intervals and ornaments, and in the brilliance of her trill - Patti and Melba had better look out!”


- Michael Aspinall, Marston Program Notes


0705. EUGENIA MANTELLI: La Gioconda – Voce di donna / Faust – Faites-lui mes aveux (in Italian). 10" AC red & gold IRCC 5008, RRs-1904/’06, Zonophone. Numbered Copy #80 of a Limited Edition to which Mantelli’s photo is affixed to Sd. 1 label. M-A MB 15

“In ‘Voce di donna’ from LA GIOCONDA [Mantelli] allows herself rather too many breaths, but the illusion of unbroken legato is still there, due to the impeccable floating of the voice on the breath and the masterly use of upward and downward portamento, creating an effect of warmth and grandeur. Siébel’s Flower Song from FAUST she sings, a tone down in B-flat, with vivacity and sweet tone, making the necessary contrasts in the middle section, and ending with a brilliant cadenza!”


- Michael Aspinall, Marston Program Notes


0706. AUGUSTA OLTRABELLA, w.d’Erasmo (Pf.): Gretchen am Spinnrade / Der Leiermann (both Schubert; in Italian). 10” EL LVDP DA 5355, only form of issue, 1938. Exceedingly uncommon. M-A MB 15

0707. AUGUSTA OLTRABELLA, w.Capuana Cond. La Scala Orch.: Mefistofele – Spunta l’aurora pallida / La Traviata – Addio del passato. 10” EL LVDP DA 5351, only form of issue, 1938. M-A, a gleaming copy. MB 12

0708. AUGUSTA OLTRABELLA, w.Antonicelli Cond. La Scala Orch.: Suor Angelica – Senza mamma / AUGUSTA OLTRABELLA & GINO del SIGNORE: Fedora – Vedi, io piango. 12” EL LVDP DB 5350, only form of issue, 1934. M-A, a gleaming copy. MB 8

0709. AUGUSTA OLTRABELLA & BERNARDO de MURO: Andrea Chénier – Ora soave; Vicino a te, 2s. 10” AC white Archive HMV VA 52, POM-12 Feb., 1923. MINT MB 6

0710. AUGUSTA OLTRABELLA & GINO del SIGNORE, w.Antonicelli Cond. La Scala Orch.: Il Dibuk - Eccoti mia bella amica / Maora torno verso l'anima tua (Rocca). Creator Record [Oltrabella], (24 March, 1934, La Scala). 12” EL V 13781, POM-1934. M-A MB 15

"Augusta Oltrabella was a verismo specialist and a leading exponent of new Italian operas of the period….Her career lasted 40 years and included appearances at…the Metropolitan Opera in 1929…Covent Garden, other European houses, and the Salzburg Festival under Toscanini."


- Vivian A. Liff, AMERICAN RECORD GUIDE, July/August, 2005


0711. LINA AIMARO: Rigoletto –Caro nome / Lucia – Ardon gl’incensi (1940 versions). 12” EL MasterWorks Col. 69489-M, POM-1940. M-A , a gleaming copy of preferred MasterWorks pressing. MB 8

0712. LINA AIMARO, w.Berrettoni Cond.: Rigoletto –Caro nome / Lucia – Ardon gl’incensi (1939 versions). 12” EL LVDP DB 5359, POM-1939. M-A MB 8

“Lina Aimaro made her début in 1934 in Turin as Lucia. In the following years she sang in Parma, Palermo, Genoa, Florence, Rimini, Brescia Rome and Milan. In the 1938-39 season Aimaro appeared at the Metropolitan Opera as Lucia with Gigli as her partner. Her roles included Amina, Adina, Oscar, Violetta, Philine (MIGNON) and Lauretta (GIANNI SCHICCHI). She sang at La Scala, Rome, Turin and the major Italian houses. In 1950 she sang in the world premiere of the opera L'ORSO by L. Ferrari-Trecate and in 1953 in the world premiere of Orff’s TRIONFO D'AFRODITE. Aimaro was engaged to sing at the Met in 1940-41 but had to remain in Italy during the war. She made guest appearances in Lisbon, Cairo, the Netherlands, Budapest, Antwerp, Stockholm, Switzerland and Rome. She became a teacher in Milan after she retired from the stage.”


0713. LYANA GRANI, w.Berrettoni Cond.: Barbiere – Una voce poco fŕ, 2s. 10” EL dark green Italian Col. BQ 6019, only form of issue, 18 June, 1946. M-A MB 10

0714. LYANA GRANI, w.Berrettoni Cond.: Il Matrimonio Segreto – Perdonate, signor mio (Cimarosa) / Rigoletto – Caro nome. 12” EL green Italian Col. GQX 11097, only form of issue, 11 / 10 April, 1946. M-A MB 8

0715. LYANA GRANI, w.Berrettoni Cond.: La Traviata – Ah! fors’ č lui; Sempre libera, 2s. 12” EL green Italian Col. GQX 11098, only form of issue, 18 June / 11 April, 1946. M-A MB 10

0716. LYANA GRANI, w.Morelli Cond.: Don Pasquale – Quel guardo il cavaliere; So anch’io la virtů magica, 2s. 10” EL LVDP DA 11303, only form of issue, 1948. M-A, gleaming copy has faintest pap.rub, inaud. MB 10

0717. LYANA GRANI, w.Morelli Cond.: Lucia – Regnava nel silenzio / Quando rapita in estasi. 12” EL LVDP DB 11317, only form of issue, 1948. M-A, a gleaming copy. MB 8

0718. LYANA GRANI, w.Morelli Cond.: Carmen - Je dis que rien ne m’épouvante / Mignon – Je suis Titania (both in Italian). 12” EL LVDP DB 11318, only form of issue, 1948. M-A, a gleaming copy. MB 8

“Lyana Grani had one of the most beautiful coloratura voices within her generation in Italy.”


- Jozef Sterkens


0719. ONELIA FINESCHI, w.Basile Cond: Otello – Ave Maria / Tosca – Vissi d’arte. 12” EL dark green Cetra BB 25197, only form of issue, 30 June, 1947. M-A MB 8

0720. ONELIA FINESCHI , w.Basile Cond: Madama Butterfly – Tu, tu, piccolo iddio! / Manon Lescaut – In quelle trine morbide. 12” EL dark green Cetra BB 25204, only form of issue, 4 July / 29 June, 1947. M-A MB 8

0721. ONELIA FINESCHI, w.Basile Cond.: La Wally – Ebben? Ne andrň lontana / La Boheme – Donde lieta uscě. 12” EL dark green Cetra BB 25195, only form of issue, 2/8 July, 1947. M-A MB 8

0722. ONELIA FINESCHI & FRANCESO ALBANESE, w.Basile Cond.: La Boheme – O soave fanciulla / Sono andati. 12” EL dark green Cetra BB 25210, only form of issue, 8 July, 1947. M-A MB 8

“Onelia Fineschi is almost always known as a lyric soprano voice which was too quickly pushed to sing a repertoire too heavy for her fach, thus untimately paying with a very sharp decline in voice. After years of silence and study Onelia Fineschi resumed his career in the mid 50's in a repertoire similar to that of Tebaldi, but without having the latter’s notoriety. If the repertoire is similar to that of Tebaldi, it must be said that both voices were the voice of an angel. Fineschi’s performance style of is of the more traditional style of her period.”


0723. CARLA CASTELLANI, w.Berrettoni Cond. La Scala Orch.: Aďda - O cieli azzurri / Il Trovatore - Tacea la notte. 12” EL LVDP DB 11301, only form of issue, 29 April, 1946. M-A MB 25

"I sang with so many Aidas, and among the finest I would put Tebaldi, when she was at her peak...and Carla Castellani. The latter's Nile Scene was unforgettable, a texture of silk and divinity. You know, 'O cieli azzurri' is one of the most difficult arias Verdi ever wrote, and Carla made it seem as if it were the easiest thing in the world."
- Elena Nicolai


0724. CARLA CASTELLANI, w.Berrettoni Cond. La Scala Orch.: La Wally – Ebben, me andro lontana / Il Trovatore – D’amor sull’ali rosee. 12” EL LVDP DB 11302, only form of issue, 30 April, 1946. M-A MB 25

“Discovered by Gino Marinuzzi, Carla Castellani débuted as Elvira in ERNANI at La Scala’s opening night, 26 December 1941. Also in the cast were Francesco Merli, Tancredi Pasero and Gino Bechi. She remained at La Scala for several seasons, singing under Victor De Sabata and Vittorio Gui, as well as Marinuzzi. In 1946 she sang Amelia in UN BALLO IN MASCHERA, and the following year appeared as Tosca, alongside Ferruccio Tagliavini. She appeared at major Italian theaters.”


0725. BLANCHE MARCHESI: Cavalleria – Voi lo sapete. 10” AC black Berlin G & T G.C.53441 (4135b), only form of issue, 1906. A to M-A, beautiful copy has mere hint of grey on peaks. MB 350

0726. BLANCHE MARCHESI: Queen Anne Boleyn in prison (O death, rock me asleep) (arr. Dolmetsch) / L’Été (Chaminade). 10" EL / AC silver Orth/AC Victor IRCC 97, POM-1936 / Sd.2 – RR, 1906. Numbered Copy #87 of Limited Edition, Sd.2 label is Autographed by Marchesi, to which her photo is affixed. M-A, a gleaming copy. MB 75

"In 1906, Mme Marchesi made some records for the HMV Company in Berlin; the matrices were destroyed the same year in submission to an ultimatum of Nellie Melba - a dark chapter in the story of recorded song....Then, after a lapse of thirty years, Mme Marchesi returned to the HMV Studios to make three records, already historic....The records which [she] has recently made in London represent the first major triumph of the record collectors....There is thus preserved for us the most important link in that chain which constitutes the history of recent song, a chain that leads back through the grandeur of the Golden Age directly to Manuel Garcia."


- Stephen Fassett, HOBBIES, Feb., 1937


0727. BLANCHE MARCHESI: Amuri, amuri (arr. Sadero) / Dido and Aeneas - When I am laid in earth (Purcell). 10" EL silver Orth Victor IRCC 89, POM-1936. Numbered Copy #3 of Limited Edition to which Marchesi’s photo is affixed, Sd.2 label; Sd.1 Autographed by Marchesi. M-A, a gleaming copy. MB 75

“With Marchesi, there is the hauntingly peculiar sound of her still-beautiful seventy-five year old voice; also an eloquent compassion making itself felt through the old-fashioned portamenti at ‘Wohl seh'ich, Herrin’ and the following bars – not just a local access of feeling, this, but something which pervades the whole performance.”


- J.B. Steane, THE GRAND TRADITION, p.609


“Blanche Marchesi was virtually ordained at conception to a musical life. Her father, Salvatore Marchesi (1822 – 1908), was an internationally known Italian baritone who also taught at the Vienna Conservatory and wrote a voice methodology. Her mother, of course, was Mathilde Marchesi (1821 – 1913), the German-born mezzo-soprano whose Paris voice studio included an array of female students who went on to become the most famous singers of their era. Dame Nellie Melba, Emma Calvé, Etelka Gerster, Ilma de Murska, Frances Alda, Selma Kurz, Frances Saville, Sigrid Arnoldson and Emma Eames (whether she liked to admit it or not) were all products of the famed ‘Marchesi School’, as were many others, including Blanche herself. She worked in her mother’s studio as an accompanist, but also taught; the Wagnerian soprano Ellen Gulbranson, Bayreuth’s only Brünnhilde from 1897 – 1914, was for the most part the product of Blanche’s tuition. She settled in London, and taught almost till the day she died.

Blanche Marchesi is of great importance in the history of classical singing. For obvious reasons, she was most likely the finest exponent of her mother’s teachings. And here the links to the earliest years of 19th century musical styles and standards begin. Mathilde Marchesi had studied with Manuel García II (1805 - 1906); his sisters Maria Malibran and Pauline Viardot are legendary names in operatic history, and his other pupils included Sir Charles Santley and Jenny Lind. More remarkably, if one chooses to go back a generation to the elder García, it is certain that musical values of the 18th century were handed down, father-to-son, then mother-to-daughter, by these two amazing families.

Blanche Marchesi made her first records in Berlin early in 1906. Her second ventures into the recording studios were in 1936 – 37, by which time she was well into her 70s. By far, the recordings from the 1930s are more remarkable. They were made just a few years before her death, and nature had darkened the shading of the voice. It is important to remember when listening to any of them (mostly song titles and oratorio excerpts) that the singer was in her 70s; they become all the more impressive with this thought in mind. Saving the best for last, Marchesi’s famous recording of the ‘Sicilian Cartdriver’s Song’ is a revelation. Here, the fact that the voice sometimes sounds a bit elderly and weary only adds appropriate dramatic intensity to the words. The voice is remarkably steady once she gets going; her trills and adept negotiation of scales are positively spine-tingling and haunting. Like a great master before a canvas, Blanche Marchesi creates a masterpiece, carefully applying her voice like dabs of paint to a great work of art until she is sure the colors and texture are just right. This is a ‘desert island’ record, without doubt one of the finest ever made.”


- Andrea Shum-Binder, subito-cantabile


0728. LUISA BERTANA: Nerone – Padre nostro / MARCEL JOURNET: Ecco il magico specchio. 12” AC Vla 6483, POM-16 May, 1924. Double Creator Record, (1 May, 1924, La Scala).Never listed in a North American Victor catalogue. M-A, a gleaming copy. MB 15

0729. EBE STIGNANI, w.Tansini Cond.: Barbiere – Una voce poco fŕ / Il Trovatore – Condotta ell’era in ceppi (1942 Version). 12” EL dark green Cetra BB 25098, POM-16 Nov., 1941 / 21 Aug., 1942. M-A MB 8

0730. EBE STIGNANI, w.Tansini Cond.: Mignon – Connais-tu le pays? (1941 Version, in Italian) / L’Amico Fritz – Laceri, miseri. 12” EL dark green Cetra BB 25041, POM-16 Nov., 1941. M-A MB 6

0731. EBE STIGNANI, w.la Rosa Parodi Cond.: La Gioconda – A te questo rosario / Cavalleria – Voi lo sapete (1940 Versions). 12” EL dark green Cetra BB 25055, POM-21 May, 1940. M-A MB 20

0732. EBE STIGNANI, w.Quadri Cond.: La Gioconda – Stella del marinar / Fedora – O grandi occhi. 12” EL Eng. Col. LX 1253, POM-1946. M-A MB 8

0733. EBE STIGNANI, w.Berrettoni Cond.: Samson et Dalila – Printemps qui commence (in Italian), 2s. 10” EL LVDP DA 5383, only form of issue, 1940. M-A, lovely copy has wee pressing bump, Sd.1. MB 20

0734. EBE STIGNANI, w.Tansini Cond.: Xerxes – Ombra mai fu (Handel) / Gloria in excelsis Deo - Pastorale (Parelli). 12” EL dark blue Cetra CB 20310, only form of issue, 21 Aug., 1942. A to M-A, lovely copy has faintest pap.rubs, inaud. Exceedingly Elusive, only the second copy we’ve ever seen! MB 65

0735. EBE STIGNANI, w.la Rosa Parodi Cond.: Orfeo – Che farň senza Euridice / Alceste – Divinités du Styx (in Italian). 12” EL Parl.-Odeon R.30002, POM-20 Dec., 1940. A to M-A, choice copy has 2 minuscule dust scrs. MB 6

0736. EBE STIGNANI, w.Petralia Cond.: Serenata / Marechiare (both Tosti). 10” EL dark blue Cetra AR 0126, only form of issue, 25 Oct., 1942. M-A, a gleaming copy. Exceedingly Elusive! MB 25

0737. EBE STIGNANI, w.Petralia Cond.: Canto d’Aprile (Bossi) / M’ama non m’ama (Mascagni). 10” EL dark blue Cetra AR 0127, recorded 25 Oct., 1942; only form of issue,Sd.1. M-A, a gleaming copy. Exceedingly Elusive! MB 25

“I had heard [Stignani] in Florence many times in the late twenties and thirties and had been, like everyone else, totally awed by the voice, which was usually referred to as the miracle of the century….The Carnegie Hall recital [20 Nov., 1949] was a triumph that those who attended will never forget. This simple woman walked out on that bare stage and all she had to do was to open her golden mouth to leave everyone astounded at the beauty of the timbre, the enormous control, the stunning facility with which she went up and down the scale, and the purity of the vocal line.”


- Lanfranco Rasponi, THE LAST PRIMA DONNAS, pp.35-38


0738. EBE STIGNANI, w.Ricci Cond.: Samson et Dalila – Mon coeur s’ouvre ŕ ta voix (1946 Version, in Italian), 2s. 12” EL Eng. Col. LX 976, POM-10 Dec., 1946. M-A, a gleaming copy. MB 6

0739. EBE STIGNANI: Samson et Dalila – Printemps qui commence; Amour, viens aider; Mon coeur s’ouvre ŕ ta voix (c.1935 Versions, in Italian), 5s. / Sd.6 = Linda di Chamounix – Cari luoghi ov’io passai. 3-12” EL Parl. DPX 21/23, POM-c.1935. M-A, a gleaming copy. MB 15, the Set.

0740. EBE STIGNANI: La Favorita – O mio Fernando (1937 Version) / Mignon – Je connais une pauvre enfant (in Italian). 12” EL Parl. DPX 20, POM-1937. M-A MB 6

0741. EBE STIGNANI, w.Bellezza Cond.: La Favorita – O mio Fernando (preceeded by ‘Fia dunque vero!’), 2s. 12” EL Eng. Col. LX 1106, POM-10 Dec., 1946. M-A MB 8

0742. EBE STIGNANI: Carmen – Habanera / Mignon – Connais-tu le pays? (1927 Versions, both in Italian). 10” burgundy Viva-Tonal Col.43001-F, POM-1927. M-A, gleaming copy has, Sd.2 only, 2 infinitessimal pap.scrs, positively inaud. MB 10

0743. EBE STIGNANI, w.Capuana Cond.: Carmen – Habanera / Mignon – Connais-tu le pays? (1952 Versions, both in Italian). 12” EL Eng. Col. LX 1578, POM-1952. M-A, a gleaming copy. MB 8

0744. EBE STIGNANI, w.Votto Cond.: Carmen – Habanera (1946 Version) / En vain pour éviter (both in Italian). 12” EL dark blue Italian Col. GQX 11136, POM-10 Dec., 1946. M-A, a gleaming copy. MB 10

0745. EBE STIGNANI, w.Quadri Cond.: Carmen – Séguedille / Samson et Dalila – Amour, viens aider (1950 Versions, both in Italian). 12” EL dark blue Italian Col. GQX 11376, POM-17 June, 1950. M-A, a gleaming copy. MB 10

0746. EBE STIGNANI, w.la rosa Parodi Cond.: Don Carlos – O don fatale / Il Trovatore – Stride la vampa!. 12” EL Parl.-Odeon R.30018, POM-21 May, 1940. M-A, a gleaming copy. MB 6

0747. EBE STIGNANI, w.la rosa Parodi Cond.: Semiramide – Ah! quel giorno / Ballo – Re dell’abisso affrettati. 12” EL Parl.-Odeon R.30023, POM-20 Dec., 1940. M-A, a gleaming copy. MB 6

0748. EBE STIGNANI, w.Ricci Cond.: Cavalleria Rusticana – Voi lo sapete / Il Trovatore – Condotta ell’era in ceppi (1946 Versions). 12” EL Eng. Col. LX 1049, POM-1946. M-A, a gleaming copy. MB 6

0749. EBE STIGNANI, w.Tansini Cond.: Norma – Casta Diva / Ah! bello a me ritorna. 12” EL red Cetra BB 25097, POM-21 Aug., 1942. M-A, gleaming copy has infinitessimal dust mk, Sd.2. MB 20

0750. EBE STIGNANI, w.Tansini Cond.: Norma – Casta Diva / Ah! bello a me ritorna. 12” EL dark green Cetra BB 25097, POM-21 Aug., 1942. A glorious performance by this great artist who in her dotage would ultimately sing Adalgisa to Callas’ Norma, in the 1950s! M-A MB 10

0751. EBE STIGNANI & GIANINA ARANGI-LOMBARDI: Norma – Mira, o Norma, 2s. 12” EL burgundy Viva-Tonal Col. 83015-F, POM-24 April,1927. M-A, gleaming copy of this preferred Viva-Tonal pressing. MB 15

0752. EBE STIGNANI & GIANINA ARANGI-LOMBARDI: Norma – Mira, o Norma, 2s. 12” EL dark blue Italian Col. GQX 10160 POM-24 April,1927. M-A, another gleaming copy. MB 10

0753. EBE STIGNANI & GIANINA ARANGI-LOMBARDI: La Gioconda – L’amo come il fulgor / STIGNANI, ARANGI-LOMBARDI, NESSI, BARACCHI & MENNI: A te questo rosario (1927 version). 12” EL dark blue Italian Col. GQX 10168, POM-24 April,1927. M-A, a gleaming copy. MB 12

0754. EBE STIGNANI & GIANINA ARANGI-LOMBARDI: La Gioconda – L’amo come il fulgor / STIGNANI, ARANGI-LOMBARDI, NESSI, BARACCHI & MENNI: A te questo rosario (1927 version). 12” EL dark blue PW Eng. D 18030, POM-24 April,1927. M-A MB 6

“Ebe Stignani sang more than one hundred roles in her career that lasted more than three decades! Her last appearance was as Ulrica in Florence in 1957. Clemens Höslinger wrote: ‘The mezzo-soprano Ebe Stigani had a prominent place in the ensemble of La Scala between the wars. She was a versatile, devoted artist, a lively and passionate actress, a singer with an expansive, metallic voice, eminently suited for dramatic, high-strung roles such as Amneris, Eboli, Carmen and Santuzza. Veracity of expression, absolute dedication to the artistic task in hand were characteristic of her personality….’ Her voice is glorious.”


- Andrea Shum-Binder, subito-cantabile


0755. BRUNA CASTAGNA, w.Wilfrid Pelletier Cond.: Carmen – Séguedille / En vain pour éviter (Air des cartes). 10” EL PW V 1936, POM-22 April, 1938. M-A, Exemplary Copy MB 8

0756. BRUNA CASTAGNA, w.Wilfrid Pelletier Cond.: Carmen – Les tringles des sistres tintaient / Mignon – Me voici dans son boudoir. 10” EL PW V 2161, POM-22 April, 1938. M-A, Exemplary Copy. MB 8

“…Bruna Castagna, whose voluptuous mezzo voice made her one of the finest Carmens of our century. Tullio Serafin had been one of her earliest mentors, and had negotiated her successful South American tours in the late 1920s. Toscanini intervened next, bringing her to the attention of La Scala….”


- Rosa Ponselle, PONSELLE, A SINGER’S LIFE, p.140


0757. BRUNA CASTAGNA, w.Antonini Cond.: Samson et Dalila – Printemps qui commence / Mon coeur s’ouvre ŕ ta voix. 12” EL PW Col. 71058-D, only form of issue, 1941. M-A, Exemplary Copy. MB 8

0758. BRUNA CASTAGNA, w.Antonini Cond.: Samson et Dalila – Amour viens aider / Werther – Air des lettres. 12” EL PW Col. 71390-D, only form of issue, 1942. M-A, Exemplary Copy. MB 8

0759. BRUNA CASTAGNA, w.Antonini Cond.: Don Carlos – O don fatale / La Gioconda – Voce di donna. 12” EL PW Col. 71276-D, only form of issue, 1941. M-A, Exemplary Copy. MB 8

“Although the Metropolitan Opera didn't have Ebe Stignani, it had Bruna Castagna, another mezzo soprano of voluminous voice and uncommon agility who similarly succeeded as Bizet's Carmen despite a less than exemplary figure. Toscanini engaged Castagna both in her native Italy and again for performances in America. Air checks of live performances from the Metropolitan reveal a chocolate-colored instrument being guided by a musicianly singer possessing both passionate commitment and considerable discretion. At Barcelona's Liceo, she undertook Carmen for the first time; it would soon become one of her signature roles. After triumphant stage performances in France, Germany, Romania, Egypt, and Australia, Castagna received invitations from Chicago and San Francisco and enjoyed a major success in a concert appearance at New York's Hippodrome in 1934. She made her New York stage début on 2 March, 1936, singing a strong Amneris and winning the approval of the city's music critics. Her Azucena in IL TROVATORE was found a searing dramatic presence with voice to match and her Carmen, though Italianate in flavor, was a persuasive departure from the hands-on-hips excesses of previous interpreters. Assessing her approach to the role, Pitts Sanborn enthusiastically commented ‘always she is the accomplished musician. The mantle of the great Carmens has fallen upon her, and royally she wears it’. Despite leaving too few commercial recordings, live performances preserved on disc attest to a superior singer. Especially persuasive are the Verdi REQUIEM and Beethoven’s MISSA SOLEMNIS she recorded with Toscanini, plus examples of her wonderfully sung Verdi specialties.”


- Erik Eriksson, allmusic.com


0760. BIANCA SCACCIATI: La Wally – Ebben, ne andró lontano / La Gioconda – Suicidio! 10” EL dark red PW Eng. Col. D12576, POM-1927. A-/A-B, very decent copy has lt.rubs, inaud.; Sd.2 has various lt.scrs & scuffs, mainly cosmetic. MB 5

0761. BIANCA SCACCIATI: La Boheme – Donde lieta uscě / GIANNINA ARANGI-LOMBARDI: Cavalleria – Voi lo sapete. 10” EL burgundy Viva-Tonal Col. 43003-F, POM-1927. M-A, gleaming copy of preferred Viva-Tonal pressing. MB 8

0762. BIANCA SCACCIATI: LA BOHEME - Mi chiamano Mimi / TANCREDI PASERO: BARBIERE - La calunnia (1927 Version). 12” EL red PW Eng. Col.D14691, POM-1927. M-A, a gleaming copy. MB 8

0763. BIANCA SCACCIATI: Ballo - Morrň, ma prima in grazia / Tosca – Vissi d’arte. 12” EL blue PW Eng. Col.D18027, POM-1927. M-A, a gleaming copy. MB 6

0764. BIANCA SCACCIATI: Andrea Chénier – La mamma morta / MARIANO STABILE: Un dě mi era di gioia. 12” EL dark blue Italian Col. GQX 16502, POM-1928. M-A, a gleaming copy. MB 8

0765. BIANCA SCACCIATI: Loreley - O forze recondite (Catalani) / SCACCIATI, FRANCESCO MERLI & TANCREDI PASERO: Forza - Final Trio. 12” EL blue Italian Col. GQX 10213, POM- 26 Feb., 1929. M-A MB 10

0766. BIANCA SCACCIATI & FRANCESCO MERLI: Turandot – In questa reggia, 2s. 10” EL red PW Eng. Col. D12517, POM-28 May, 1926. M-A MB 8

0767. BIANCA SCACCIATI & FRANCESCO MERLI : Ruy Blas - O dolce voluttŕ (Marchetti), 2s. 12” EL blue Italian Col. GQX 10202, POM-20/21 Feb., 1929. M-A MB 10

0768. BIANCA SCACCIATI & FRANCESCO MERLI: Loreley - Vieni! Deh! vieni (Catalani), 2s. 12” EL blue Italian Col. GQX 10203, POM- 26 Feb., 1929. M-A, a gleaming copy. MB 8

0769. BIANCA SCACCIATI & FRANCESCO MERLI: Il Guarany – Sento una forza indomita (Gomes), 2s. 12” EL blue PW Eng. Col.D18064, POM-20 Feb., 1929. M-A, lovely copy has faintest pap.rubs, Sd, inaud. Elusive! MB 12



“In an era that boasted Italian-repertory dramatic sopranos of the quality of Giannina Arrangi-Lombardi, Rosa Ponselle and Eva Turner, Bianca Scacciati held her own, winning the admiration of audiences, critics and (more significantly) conductors, particularly Toscanini. Make no mistake, here is a spectacular voice coupled with a strong temperament and intelligence.”


- Ira Siff, OPERA NEWS, June, 2000


0770. EUGENIA BURZIO: Ballo – Ma dall’arido stelo divulsa; Mezza notte, 2s. 10ľ“ AC Milano Fonotipia 39513/14 (XPh 1543/44), POM-18 Dec., 1905. M-A, choice copy has hint of grey on peaks, inaud. MB 25

“Few singers have Burzio’s gift of making records that convey the electrifying sense of a live performance….Her Verdi style is the anthesis of Toscaninian…[she is] in the front rank of Verdi singers. Her greatest achievement is ‘Ma dall’arido’ [in which] she lingers lovingly over each phrase, swelling and diminishing tones at will, throbbing with suppressed terror. She seems to have unlimited supplies of breath [allowing] her musical imagination to run riot.”


- Michael Aspinall, THER RECORD COLLECTOR, 2001


0771. EUGENIA BURZIO: L’Africaine – Sur mes genoux (in Italian) / Bracale Cond. La Scala Orch.: Preludio. 10ľ“ AC Milano Fonotipia 62510/92772 (XPh 4271/4454), POM-1910. M-A, a spectacular copy. MB 35

0772. EUGENIA BURZIO: Aďda – O Patria mia / Mefistofele – Spunta, l’aurora pallida. 10ľ“ AC Milano Fonotipia 62414/15 (XPh 4268/72), POM 1910. A-B, very decent copy has lt. rubs & wee scrs, ltly audible, if at all. MB 20

0773. EUGENIA BURZIO & GIUSEPPE ACERBI; Martucci Cond.: Cavalleria – Stu qui, Santuzza?, 2s. 10ľ“ AC Milano Art Label Phonodisc Mondial 89 / 56 (711/12), only form of issue, c.1914. A-B, very decent copy has, primarily Sd. 2, lt. rubs & lt. scrs; Sd.2 only has 2 minor pressing indents, momentarily audible. MB 20

0774. EUGENIA BURZIO: Forza – Pace, pace mio Dio! / EUGENIA BURZIO & GIUSEPPE de LUCA: La Gioconda – Cosě mantieni il patto? 12” AC green Fonotipia-Odeon F-5513 (xxPh 2279/2391), POM-18 Dec., 1906 / 31 Jan., 1907. M-A, lovely copy has, Sd. 1 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


0775. NINI FRASCANI:& MARIO GILION: Samson et Dalila – Mon coeur s’ouvre ŕ ta voix (in Italian) / Il Trovatore – Ai nostri monti. 10ľ” AC Milano Fonotipia 92855/56 (xPh 4431/33), POM-3 Dec., 1910. A-B/A-, very decent copy has lt. rubs & cosmetic scrs.; wee ec, Sd.1, not to grooves. MB 12

“Nini Frascani made her début at Naples in LA FAVORITA in 1899. In 1903 she was at La Scala as Fricka in the Italian premičre of DAS RHEINGOLD, and appeared there also as the Principessa in ADRIANA LECOUVREUR. In 1909 she appeared as Neris in Cherubini’s MEDEA. In 1905 she guested at the Teatro San Carlo in Naples andin the premiere of Leopoldo Mugnone's opera VITA BRETONNE. In 1904 she sang at Covent Garden, and in 1906 and then 1914-15 with great success at the Teatro Colón in Buenos Aires. In 1909 she again appeared at the Teatro San Carlo in Naples, this time as queen in Thomas’ AMLETO, and in 1911 at the Teatro Regio in Parma she guested as Laura in LA GIOCONDA. Beginning in 1909 she sang regularly at La Scala where she appeared in the premičre of Dukas’ ARIANE ET BARBE-BLEUE. In 1913 she appeared in the Verdi-commemorative celebrations in many of the big Italian theaters. She married the tenor Gaetano Tommasini and appeared with him in North America, in 1921 with Favorita Opera Company in New York, then later with San Carlo Opera Company.”


0776. ROSINA STORCHIO: Linda di Chamounix – O luce di quest’anima / Fra Diavolo – Si domani, si domani. 10ľ“ AC Milano Fonotipia 39402/39597 (xPh1794/1502), POM-1905/’06. A to M-A/A-, choice copy has faintest rubs, inaud; Sd.2 only has few lt.mks & hint of grey on peaks. MB 35

0777. ROSINA STORCHIO & IDA RAPPINI: Linda di Chamounix – Al bel destin / IDA RAPPINI: Dom Sebastiano – Terra adorata. 10ľ“ AC Milano Fonotipia 92775/76 (xPh4517/07), POM-1911 A to M-A, choice copy has, Sd.1 only, infinitessimal dust mks, barely visible & inaud.. MB 45

“Rosina Storchio was an important Italian lyric soprano who starred in the world premieres of operas by Puccini, Leoncavallo, Mascagni and Giordano. Renowned throughout her homeland for her vivacious acting and sparkling stage presence. Born in Venice, Storchio studied at the Milan Conservatory before making her operatic début as Micaëla in Bizet’s CARMEN at Milan’s Teatro Dal Verme in 1892. Three years later, she débuted at Italy's most famous opera house, La Scala, Milan, performing in Massenet’s WERTHER. Milan became her home base from then on. Her final public performance was as Cio-Cio San in Puccini's MADAMA BUTTERFLY at Barcelona in 1923, (the rôle she had created in the first performance of MADAMA BUTTERFLY, at La Scala, 17 Feb., 1904).”


0778. ELENA NIKOLAIDI, w.Cleva Cond. Columbia S.O.: Semiramide - Bel raggio lusinghier, 2s. 12” EL Col. 72885-D, only form of issue, 1949. M-A MB 15

0779. ELENA NIKOLAIDI, w.Cleva Cond. Columbia S.O.: Macbeth – Una macchia č qui tuttora (Sleep walking scene) / Don Carlos – O don fatale. 12” EL Col. 72884-D, only form of issue, 1949. M-A MB 15

“Nikolaidi was cast by Bruno Walter as Princess Eboli in Verdi's DON CARLOS with the Vienna State Opera on 16 December, 1936. She made her Town Hall début recital in New York in January of 1949. The following morning, Jerome D. Bohm of the New York Herald Tribune wrote: ‘In 20 years of music reviewing and in twice that number spent in listening to most of the world's best singers, I have encountered no greater voice or vocalist’; the New York Times critic wrote of her "rare brilliance."


0780. ISABELLA de FRATE: Barbiere – Una voce poco fŕ, 2s. 10ľ“ AC Milano Fonotipia 92903/04 (XPh 48828/29), POM-1912. A to M-A, spectacular copy has faintest pap.rubs, barely visible, certainly inaud. MB 65

“Isabella de Frate (daughter of Ines de Frate) had a successful, but short career as an opera singer. These two [above] sides are a small part of her discography of only ten issued recorded sides. Her better-known mother, Ines, made her début in 1892 in LA TRAVIATA at the opera theatre of Piacenza. In 1895 she guested at the Teatro Politeama in Buenos Aires, in 1898 at the Teatro Adriano in Rome in LA GIOCONDA. In 1895 she guested at La Scala in Milan as Leila in I PESCATORI DI PERLE. In the 1898-99 season she again appeared at La Scala in NORMA under A. Toscanini. She was known for her interpretations of the heroines in Verdi's operas. In 1901 she appeared at the Teatro La Fenice in Venice in LA GIOCONDA, in 1907 at Reggio Emilia in NORMA. In 1902 at Berlin she sang soprano-solo in Rossini’s STABAT MATER. Then she moved to America where with other famous Italian opera singers she guested at the Teatro Tivoli in San Francisco. Here she performed in LUCREZIA BORGIA, AĎDA and NORMA, her special rôle, with great success. In America she gave a series of concerts under the direction of Mascagni. She appears to have retired from the opera stage in 1908 [close to the time of her daughter, Isabella’s emerging career]. For the latter part of her life, she lived at Verdi’s Casa di Riposo in Milan.”


0781. AMELIA TALEXIS: Voi lo sapete / Turridu mi tolse. 10ľ“ AC Milano Fonotipia 39550/62263 (XPh 1684/2656), POM-1906/’07. A to M-A, a spectacular copy. MB 45

0782. AMELIA TALEXIS: Il Trovatore – Tacea la notte / AMELIA TALEXIS & MARIO GILION: Ah! che la morte ognora (Miserere) (1908 Italian Version). 10ľ“ AC Milano Fonotipia 92407/06 (XPh 3461/31-2), POM-1908. A to M-A, beautiful copy has, Sd.2 only, finfinitessimal scr, positively inaud. MB 45

0783. AMELIA TALEXIS: Pique Dame – Ah, la mia mente non regge / La Gioconda – Suicidio! (1905 Version). 10ľ“ AC Milano Fonotipia 39309/15 (XPh 356/388), POM-1905. A-/B-, decent copy has lt.rubs, inaud.; Sd.2 greyed on peaks. MB 20

0784. AMELIA TALEXIS: Tosca – Vissi d’arte (1905 Version) / Ballo – Ma dall’arrido. 10ľ“ AC Milano Fonotipia 39333/39534 (XPh 390/1683), POM-1905/’06. B-, decent copy has lt.rubs & scrs, inaud.; greyed on peaks. MB 20

0785. AMELIA TALEXIS: Tosca – Vissi d’arte / La Gioconda – Suicidio! (1907 Versions). 10ľ“ AC Milano Fonotipia 92063/62 (XPh 2889/88), POM-1907. B-, decent copy has lt.rubs & mks plus considerable greying on peaks. MB 20

0786. AMELIA TALEXIS & FERRUCCIO CORRADETTI: Cavalleria – Turridu, mi tolse l’onore / GIUSEPPE ARMANINI & FERRUCCIO CORRADETTI: Avete altro a dirmi. 10ľ“ AC Milano Fonotipia 92134/35 (XPh 2890/2985), POM-1907. B, decent copy has lt. rubs & scuffs, inaud.; lt. grey on peaks. MB 20

0787. AMELIA TALEXIS & EDOARDO GARBIN: Madama Butterfly – Vogliatemi bene, 2s. 10ľ“ AC Milano Fonotipia 92258/59 (XPh 3448/49-2), POM-1908. A to M-A, beautiful copy has wee pressing bump, inaud. MB 45

0788. AMELIA TALEXIS & GASTON DUBOIS: La Traviata – Brindisi / Il Trovatore – Ah! che la morte ognora (Miserere) (1907 French Version) (both in French). 10˝” AC brown French Odéon 60521/34 (XP3778/18), POM-1907. A /A/B, lovely copy has few very lt.scrs, inaud.; Sd.2 only, sev.scrs, positively audible. MB 25

0789. AMELIA TALEXIS & LUCIEN RIGAUX: Faust – Seigneur, daigne permettre, 2s. 10˝” AC brown French Odéon 60541/20 (XP3776/77), POM-1907. A-, lovely copy has superficial rubs & very lt.scrs, positively inaud.; mere hint of grey on peaks. MB 25

0790. AMELIA TALEXIS & JUSTE NIVETTE: Les Huguenots – Dans la nuit toute seule, 2s. 10˝” AC brown French Odéon 60644/51 (XP3883/82), POM-1908. A-B, very decent copy has lt. grey on peaks, occasional lt.scr. & wee hlc, barely forming, practically invisible; Sd.1 only has lt.nr, faintly audible. MB 12

0791. AMELIA TALEXIS & GASTON DUBOIS: Le Prophčte – Mon fils? … Je n’en ai plus! / A la voix de ta mčre. 10˝” AC brown & white French Odéon 60561/86 (XP3802/03), POM-1907. A to M-A/A-, choice copy has, Sd.2 only, few superficial scrs, faintly audible, if at all. MB 45

0792. AMELIA TALEXIS & LISE LANDOUZY: Le Roi dÝs – En silence pourqoi souffrir? /Lakmé – Dôme épais . 10˝” AC brown & white French Odéon 56128/45 (XP3623/30), POM-1907. A to M-A, a spectacular copy. MB 45

“At an early age, Amélie Talexis began studying piano and cello at the Toulouse Conservatory, and then studied singing under Jacques Roudil who had previously sung at the Paris Opéra and then taught at the Toulouse Conservatory. Her earliest engagement was most likely at the French Opera in New Orleans during the 1897–1898 season. It was there that Talexis probably met her future husband, Henri Berriel, who was the director and first baritone of the New Orleans company. During the 1898–1899 season, Talexis was the forte chanteuse falcon at Antwerp’s Théâtre Royal. Berriel was also engaged there as premiere baritone but was found unsatisfactory and his contract was cancelled. Talexis and Berriel both sang in Montréal during the 1899–1900 season and in the spring of 1900. Talexis sang 11 performances at the Grand Théâtre de Bordeaux: Salomé in HERODIADE; Bertha in LE PROPHČTE; both Eudoxie and Rachel in LA JUIVE; Chimčne in LE CID. Talexis returned to New Orleans for the 1900–1901 season, where Berriel was again doubling as director and first baritone. At this point in her career, we seem to lose track of her, though she is said to have sung Aďda in Barcelona, as well as Donna Anna at La Scala, the Colón, and the Havana Opera. As evidenced by her recordings, her voice was powerful with a wide range and a secure technique, equally comfortable in French and Italian. She recorded for Fonotipia and Odeon including the Act 4 duet from LES HUGUENOTS with Léon Escalaďs, which unfortunately was never released. Talexis died tragically in a freak accident in the bathroom of a hotel in Calais on her way to London at 36 years of age.”


- Vincent Giroud, Marston Program Notes


0793. IRIS ADAMI CORRADETTI: Madama Butterfly - Un bel děŤ / Lodoletta - Flammen perdonami. 12" EL dark blue Cetra CB.20265, only form of issue, 1940. M-A, gleaming copy has wee label tear, Sd.1. Exceedingly Rare! MB 225

0794. IRIS ADAMI CORRADETTI: Francesca da Rimini - Paolo datemi pace / LINA PAGLIUGHI: Rigoletto -Tutte le feste. 10" EL dark blue Cetra AT.0110, only form of issue, Sd.1 only, 1940. M-A, gleaming copy has wee label tear, Sd.2. Exceedingly Rare! MB 150

The above 3 sides represent Adami Corradetti's entire published discography!

"Madama Butterfly was another opera destined to be for long synonymous with Iris Adami Corradetti and to elevate her as a Puccini singer par excellence....During the war years, it was the role of Cio-Cio San which she was most often asked to perform, and the role in which she poured the greatest intensity of feeling....Sadly, as far as discography goes, little evidence remains."


- Paolo Padoan, THE RECORD COLLECTOR, 1991


0795. MARIA MENEGHINI CALLAS, w.Basile Cond.: Tristan – Liebestod (in Italian), 2s. 12” EL red Cetra CB 20481, only form of issue, 3 Nov., 1949. M-A, a gleaming copy. Exceedingly Rare! MB 450

0796. MARIA MENEGHINI CALLAS, w.Basile Cond.: I Puritani - O rendetemi la speme; Qui la voce, 2s. 12” EL Parl.-Odeon R.30043, POM-10 Nov., 1949. M-A, Exemplary! MB 45

“The vocal emission and musical style of Maria Callas in her 1949 Cetra 78 of ‘Qui la voce’….has the delicate clarity that we associate with Patti and Melba. Callas employs a sweeping portamento, far more than any of her successors have used in this music, and with a touch of a master….In both parts of the aria she achieves an amount of expression that nobody, in 1949, would have thought possible in this music.”


- Michael Aspinall, THE RECORD COLLECTOR, 2008


0797. AĎDA GONZAGA: Lucia – Spargi d’amaro pianto / Libda di Chamounix – O luce di quest’’anima. 10ľ“ AC brown Milano Odeon 59151/52 (XPh 2599/2600). POM-2 May, 1907. M-A, a gleaming copy. MB 15

“Aďda Gonzaga had her first big success during the years after the turn of the 20th century in the leading opera houses in Spain and Portugal as well as in the theaters of Rio de Janeiro and Săo Paulo where she appeared in RIGOLETTO, LAKMÉ and I PESCATORI DI PERLE. Appearances followed in Parma, Milan, Messina, Modena and Torino. She also made guest appearances in Havana, Odessa, Prague and St. Petersburg. She retired from the stage in 1923.”


0798. LINA BRUNA-RASA & CARLO GALEFFI: Aďda – Rivedrai le foreste imbalsamate, 2s. 12” EL PW Eng. Col. D18052, POM-1928. A to M-A, beautiful copy has faintest pap.rubs, inaud.; this very forward recording usually turns up considerably greyed. MB 12

0799. FEDORA BARBIERI, w.Morelli Cond.: Werther – Ces lettres (in Italian), 2s. 10” EL LVDP DA 11302, only form of issue, 1949. M-A, Copy of excellent late pressing! MB 12

0799. FEDORA BARBIERI, w.Morelli Cond.: Werther – Ces lettres (in Italian), 2s. 10” EL LVDP DA 11302, only form of issue, 1949. M-A, Copy of excellent late pressing! MB 12

0800. FEDORA BARBIERI, w.Quadri Cond.: Carmen – Habanera (in Italian) / Il Trovatore – Stride la vampa. 12” EL LVDP DB 11336, Original issue, 12 Dec., 1949. M-A, Exemplary Copy of excellent late pressing! MB 12

0801. FEDORA BARBIERI, w.Quadri Cond.: Il Trovatore – Condotta ell’era in ceppi / Stride la vampa. 12” EL HMV DB 21261, POM-12 Dec., 1949. M-A MB 8

0802. FEDORA BARBIERI, w.Quadri Cond.: La Favorita – O mio Fernando / Il Trovatore – Stride la vampa! 12” EL HMV DB 11323, POM-14 Jan. / 12 Dec., 1949. M-A, lovely copy has faintest pap.rubs, barely visible & inaud. MB 8

“Billed as mezzo-soprano during her career, Fedora Barbieri might more accurately have been described as a mezzo-contralto, a term reserved for dramatic voices placed slightly lower than mezzo-sopranos and with a darker coloration. While she possessed a strong top register, it could not match in ease or splendor like that boasted by Giulietta Simionato, whose career roughly paralleled Barbieri's. Barbieri recorded extensively, sometimes leaving multiple studio recordings of her most celebrated roles. Her prime years lasted into the 1960s.

Barbieri became a pupil of the famous dramatic soprano Giulia Tess (who had herself begun her career as a mezzo soprano). Barbieri made her stage début in Florence on 4 November, 1940, in Cimarosa'sIL MATRIMONIO SEGRETO. Her appearance as Fidalma was followed the next day by the role of Azucena in Verdi's IL TROVATORE. The third night, she returned to the role of Fidalma, beginning a reputation for endurance that accompanied her throughout her career. After her beginnings in Florence, Barbieri sang for two and a half years at La Scala in Milan, initiating her relationship with that theatre as Meg Page in FALSTAFF. A part (Dariola) in the world premiere of Franco Alfano's DON JUAN DE MAŃARA at the 1941 Maggio Musicale Fiorentino attracted considerable attention as did her participation in two revivals of works by Monteverdi, IL RITORNO D'ULISSE IN PATRIA (1942) and L’ORFEO (1943). In 1943, she retired for two years to begin married life as the wife of the Maggio Musicale Fiorentino director, Luigi Barlozetti. Her return to the stage in 1945 took place as Amneris in Verdi's AĎDA at the Teatro Verdi in Florence. Her career thereafter grew in depth and breadth as she undertook increasing numbers of roles in both the Verdi and bel canto repertories both at La Scala and elsewhere. During this decade, one of her most convincing triumphs came in the title role of Donizetti's LA FAVORITA, then a seldom-produced work. In 1950, Barbieri was chosen by Rudolf Bing to perform the role of Princess Eboli in the new Metropolitan Opera manager's calling card production of DON CARLO. The acclaim she received in that much-heralded cast assured her presence at the Met for a total of nine seasons, during which she sang such additional roles as Amneris, Azucena, Dame Quickly, Carmen, Laura, and Adalgisa in Bellini's NORMA (in which she, together with Maria Callas, opened the 1956 - 1957 season). She reprised Eboli in Covent Garden's DON CARLOS of 1958.”
- Erik Eriksson, allmusic.com


0803. LICIA ALBANESE, w.Victor Trucco (Pf.): Amarilli (Caccini); Se Florindo č fedele (Scarlatti); O quand je dors (Liszt); Clair de lune (Szulc); A Spirit Flower (Campbell-Tipton); Lullaby (Tschaikowsky), 6s. 3-10” EL RCA 10-1481/83, only form of issue, 1949, in Orig. Album MO-1316. M-A, as New. MB 15, the Set.

0804. LICIA ALBANESE, w.Olivieri Cond.: Tuo mi chiami (Scarlatti) / Colombetta (Buzzi-Peccia). 10” EL LVDP DA 5372, only form of issue, 1940 (Italy only). M-A, Exemplary Copy of an exceptionally elusive disk! MB 15

0805. LICIA ALBANESE, w.Olivieri Cond.: Dicitencello vuje (Falvo) / Manon Lescaut – In quelle trine morbide. 10” EL LVDP DA 5391, only form of issue, 1940 (Italy only). M-A, Exemplary Copy. MB 10

0806. LICIA ALBANESE, w.Weissmann Cond.: Tosca- Vissi d’arte / Gianni Schicchi - O mio babbino caro. 12” EL RCA 11-9115, recorded 1945. M-A, as New. MB 5

0807. LICIA ALBANESE, w.Weissmann Cond.: Pagliacci – Qual fiamma aves nel guardo! / Otello – Ave Maria. 12” EL RCA 11-9957, recorded 1947. M-A, as New. MB 5

0808. LICIA ALBANESE, w.Weissmann Cond.: La Traviata – Addio del passato / w.Leinsdorf Cond.: Carmen – Je dis que rien ne m,’épouvante. 12” EL RCA 12-0014, recorded 1946/’47. M-A, as New. MB 5

0809. LICIA ALBANESE, w.Weissmann Cond.: La Traviata – É strano; Ah! fors’ e lui / Sempre libera. 12” EL RCA 11-9331, recorded 1945. M-A, as New. MB 5

0810. LICIA ALBANESE, w.Olivieri Cond.: Turandot – Signore, ascolta! / Tu che di gel sei cinta. 10” EL LVDP DA 5390, only form of issue, 1940 (Italy only). M-A, Exemplary Copy of excellent late pressing! MB 10

0811. LICIA ALBANESE, w.Olivieri Cond.: Adriana Lecouvreur – Io son l’umile ancella / Madama Butterfly – Un bel dě. 12” EL LVDP DB 5383, only form of issue, 1940 (Italy only). M-A, Exemplary Copy of excellent late pressing! MB 10

0812. LICIA ALBANESE, w.Jean Paul Morel Cond.: Hérodiade – Il est doux, il est bon / Manon – Adieu, notre petite table. 12” EL RCA 12-0525, only form of issue, 1947. M-A, as New. MB 5

0813. LICIA ALBANESE, w.Marzollo Cond.: Adriana Lecouvreur – Io son l’umile ancella / Don Giovanni – Batti, batti, o bel Masetto. 12” EL RCA 12-0658, recorded 1947. M-A, as New. MB 5

0814. LICIA ALBANESE, w.Marzollo Cond.: Don Pasquale – So anch’io la virtů magica / w.Jean Paul Morel Cond.: Nozze – Giunse alfin il momento; Deh vieni, non tardar. 12” EL RCA 12-0733, recorded 1947. M-A, as New. MB 8

0815. LICIA ALBANESE, w.Victor Trucco Cond.: Madama Butterfly – Ancora un passo / Con onor muore. 12” EL RCA 12-1001, recorded 1949. M-A, as New. MB 5

0816. LICIA ALBANESE, w.Victor Trucco Cond.: Madama Butterfly – Ancora un passo / Con onor muore. 12” EL HMV DB 21406, recorded 1949. M-A, as New. MB 5

0817. LICIA ALBANESE, w.Victor Trucco Cond.: La Boheme – Mi chiamano Mimi / Suor Angelica – Senza mamma. 12” EL RCA 12-1048, recorded 1949. M-A, as New. MB 8

0818. LICIA ALBANESE, w.Victor Trucco Cond.: La Boheme – Mi chiamano Mimi / FIRST PIANO QUARTET: An American in Paris (Gershwin). 12” EL vinyl RCA Special Promotional Pressing for D9-RC-1040/EI-RC-3473, POM-1949. M-A, choice copy has faint pap.scr, Sd.1, inud. MB 8

0819. LICIA ALBANESE, w.Victor Trucco Cond.: Louise – Depuis le jour /Adriana Lecouvreur – Poveri fiori. 12” EL RCA 12-1308, recorded 1950/’47. M-A, as New. MB 8

0820. LICIA ALBANESE, w.Victor Trucco Cond.: La Boheme – Addio senza rancor / Manon Lescaut – Il quelle trine morbide. 12” EL RCA 12-1307, recorded 1949/’50. M-A, as New. MB 8

“One of the most delicate, sighing, judiciously used women’s voices one might ever hear. Licia Albanese would move on stage purposefully, with precision, painting her tones with careful control of her means and a clear perception of their end.”


- Giacomo Lauri-Volpi, VOCI PARALLELE (Bologna ed., 1977)


0821. LICIA ALBANESE & JAN PEERCE, w.Victor Trucco Cond.: La Traviata – Brindisi / Parigi, o cara. 12” EL RCA 12-1320, recorded 1950. Rare issue on 78rpm, thought not to exist as such. M-A, as New. MB 10

0822. LICIA ALBANESE & ROBERT MERRILL, w.Weissmann Cond.: La Traviata – Dite alla giovine, 2s. 12” EL RCA 11-9175, recorded 1946. M-A, as New. MB 5

0823. LICIA ALBANESE & ROBERT MERRILL, w.Jean Paul Morel Cond.: Pagliacci – Nedda! Silvio! A quest’ora, 2s. 2–12” EL RCA 12-1355/56, recorded 1947 (from elusive RCA set of duets, DM-1433). M-A, as New. MB 10, the Pair.

0824. LICIA ALBANESE & LUCILLE BROWNING, w.Weissmann Cond.: Madama Butterfly – Spoglio č l’orto / TOSCANINI Cond.NBC S.O.: Prometheus – Overture (Beethoven). 12” EL vinyl RCA Special Promotional Pressing for D6-RC-15212/D4-RC-0564, recorded 1946/’45. M-A, as New. MB 8

0825. LICIA ALBANESE, di STEFANO, WARREN & MUNSEL; Cellini Cond. RCA Orch.: La Boheme – Act IV Finale (beginning with ‘Sono andati?’), 4s. 2–12” EL LVDP DB 9777/78, only form of issue (Italy only), 23 March, 1951 (although recorded in New York). M-A, gleaming copy of choice late LVDP pressing. MB 20, the Pair.

"One of the most respected and reliable artists at the Met when I began there was Licia Albanese. Her contribution to the lyric theatre will always be remembered for her superb, clear Italian diction and the warm, velvety sound of her voice. Of all Licia’s roles I most admired her Butterfly. Her beautiful voice was perfect as Cio Cio San, and she enjoyed great success in this opera for well over two decades.”


- Dorothy Kirsten, A TIME TO SING, p.76


0826. FLORENCE QUARTARARO, w.Morel Cond.: Andrea Chénier - La mamma morta / Atalanta - Care selve (Handel). 12” EL RCA 12-1000, only form of issue, 30 Dec., 1947. Sd.2 is truly a Desert Island record; Quartararo’s most beautiful recording! M-A MB 15

0827. FLORENCE QUARTARARO, w.Morel Cond.: Il Trovatore – Tacea la notte placida, 2s. 12” EL RCA 12-0530, only form of issue, 1947. M-A. MB 8

0828. FLORENCE QUARTARARO & RAMON VINAY: Carmen - Parle-moi de ma mčre, 2s. 12” EL RCA 12-0687, Original Issue, 1947. M-A MB 6

0829. FLORENCE QUARTARARO & RAMON VINAY: Carmen - Parle-moi de ma mčre, 2s. 12” EL RCA vinyl 12-0687, POM-1947. M-A MB 8

0830. FLORENCE QUARTARARO & RAMON VINAY: Tosca - Perchč chiuso?, 2s. 12” EL RCA 12-0531, Original Issue, 1947. M-A MB 6

0831. FLORENCE QUARTARARO & RAMON VINAY: Tosca - Perchč chiuso?, 2s. 12” EL RCA vinyl 12-0531, POM-1947. M-A MB 8

“An American of Italian parentage, Quartararo had been discovered nearly by accident when singing as an untrained twenty-three year old. Two years later she was on the stage of the Met. Having met and married the bass Italo Tajo, she left singing to bring up their daughter. She also left a studio legacy of four 78rpm discs [all above]. This is lyric soprano singing of the very highest order. The voice soars with clarity whilst words, expression, legato and colouration combine to give superb characterisation. On the evidence of these recordings, Quartararo’s is a voice to set alongside the giants of the 20th century. Colleagues and other contemporaries likened her voice and vocal skills to that of Ponselle. There can be no greater recommendation."


- Robert J Farr, MusicWeb International, Nov., 2004


0832. LUISA TETRAZZINI: Lucia – Spargi d’amaro pianto. 10ľ“ AC black Zonophone 10000 (3515), only form of issue, 8 Sept., 1904. A-B, very decent copy has lt. rubs & superficial scrs; hint of grey on peaks; minor ulc, of absolutely no consequence. MB 20

0833. LUISA TETRAZZINI: Lucia – Spargi d’amaro pianto. 10ľ“ AC black Zonophone 10000 (3515), only form of issue, 8 Sept., 1904. B, very decent copy has lt. rubs & superficial scrs; disfigured label once had a promotional label superimposed. MB 20

0834. LUISA TETRAZZINI: Rigoletto – Caro nome. 10ľ“ AC black Zonophone 10001 (3511), only form of issue, 8 Sept., 1904. A-, lovely copy has lt.rubs, inaud.; exceptional for this series. MB 35

0835. LUISA TETRAZZINI: Rigoletto – Caro nome. 10ľ“ AC white ‘Tetrazzini Record’ label superimposed over Zonophone 10001 (3511), only form of issue, 8 Sept., 1904. A-, lovely copy has lt.rubs & wee scrs, inaud. MB 25

0836. LUISA TETRAZZINI: Barbiere – Una voce poco fŕ. 8ľ“ AC dark green Zonophone 10002 (3513), only form of issue, 8 Sept., 1904. A-, lovely copy has lt. rubs & sev. wee scrs, possibly very ltly. audible, if at all. MB 35

0837. LUISA TETRAZZINI: Barbiere – Una voce poco fŕ. 8ľ“ AC Zonophone 10002 (3513) pressed onto 10” S/S vinyl blank, POM- 8 Sept., 1904. MINT MB 35

0838. LUISA TETRAZZINI: Roméo – Je veux vivre (in Italian). 8ľ“ AC black Zonophone 10003 (3508), only form of issue, 8 Sept., 1904. A-, lovely copy has lt.rubs, inaud.; exceptional for this series. MB 35

0839. LUISA TETRAZZINI: Roméo – Je veux vivre (in Italian). 8ľ“ AC Zonophone 10003 (3508) pressed onto 10” S/S vinyl blank, POM- 8 Sept., 1904. MINT MB 35

0840. LUISA TETRAZZINI: La Sonnambula – Ah, non giunge. 8ľ“ black AC Zonophone 10004 (3516), only form of issue, 8 Sept., 1904. A-, lovely copy has lt. rubs & wee scr, certainly inaud. MB 35

0841. LUISA TETRAZZINI: La Sonnambula – Ah, non giunge. 8ľ“ AC Zonophone 10004 (3516) pressed onto 10” S/S vinyl blank, POM- 8 Sept., 1904. MINT MB 35

“Here is a handsome glittering voice of appreciable power capable of technical feats few other singers would think feasible.”


– Alan Blyth, THE DAILY TELEGRAPH


0842. LUISA TETRAZZINI: Frühlingsstimmen (Johann Strauss, in Italian.). 12” AC pink Schall.Gram. 053197 (12586f), POM-1908, Never issued USA & doubled only as the IRCC private issue. A-, lovely copy has few lt.mks, positively inaud. MB 15

0843. LUISA TETRAZZINI: Thčme et variations (Proch). 12” AC pink HMV 2–053065 (5182f), POM-14 July, 1911, never issued USA. A, lovely copy has faint rubs, inaud. MB 12

0844. LUISA TETRAZZINI: O che assorta (Venzano). 12” AC pink Monarch Gram.2- 053075 (Ho 196), only form of issue, 12 July, 1912. A to M-A, glorious copy has 2 infinitessimal dust scrs, positively inaud. MB 15

0845. LUISA TETRAZZINI: Tre giorni son che Nina (Ciampi). 12” AC V 88505, POM-11 May, 1914, Never Doubled. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15

0846. LUISA TETRAZZINI: Home, sweet home (Bishop). 12” AC pink HMV 03286 (195Ho), POM-10 July, 1912, never issued USA. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

0847. LUISA TETRAZZINI: Peer Gynt– Solvejg’s song (in Italian) (Grieg). 12” AC V 88508, POM-13 May, 1914, Never Doubled, USA. M-A MB 15

0848. LUISA TETRAZZINI: Aprile (Tosti). 12” AC Spanish Disco Gramofono 053229 (3103f), POM-2 June, 1909. M-A MB 12

0849. LUISA TETRAZZINI: Aprile (Tosti). 12” AC Vla 88306 (3103f),, POM-2 June, 1909. M-A, a gleaming copy. MB 20

“If one were to listen to one of Tetrazzini’s records and one only, it might be her enchanting rendition of Tosti’s little song ‘Aprile’. Here, the best of her talents and the flawed middle (which one critic likened to ‘the wailing of a cross infant’) are neatly summarized in about three minutes of music. She sings the simple melody with great charm and feeling and adds a breathtaking (not for her) high B flat at the end, almost as if to dispel any doubt that this is the great Tetrazzini.”


- Andrea Shum-Binder, subito-cantabile


0850. LUISA TETRAZZINI: Rhapsody (de Koven; in English); Vergebliches Ständchen (Brahms; in Italian). 12” AC white special mid-1930s pressing (w.RCA spiderweb verso, label written in longhand) Vla 88427, POM-19 Feb., 1913, Never Doubled (and in the catalogue briefly!). M-A, a supreme copy. MB 45

0851. LUISA TETRAZZINI: Nozze – Voi che sapete. 12” AC pink London Pre-Dog 053145 (2177f), POM-1907, Never Doubled (other than as the RCA red vinyl edition). M-A, gleaming copy has faintetst pap.rub, positively inaud. MB 15

0852. LUISA TETRAZZINI: Nozze - Voi che sapete / Mignon - Je suis Titania (in Italian). 12” AC red vinyl Heritage RCA 15-1001 (2177/71f), POM-1907, London. Never Doubled (other than as this ‘RCA red vinyl edition. MINT MB 5

0853. LUISA TETRAZZINI: Don Giovanni – Batti, batti o bel Masetto (1907 Version). 12” AC pink London Pre-Dog 053148 (2180f), POM-1907, Never Doubled. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15

0854. LUISA TETRAZZINI: Don Giovanni – Batti, batti o bel Masetto (1911 Version). 12” AC Opera Disc 76275 (5168f), POM-11 July, 1911, never issued USA (other than as this ‘Pirate’ Edition). M-A, a gleaming copy. MB 35

0855. LUISA TETRAZZINI: Don Giovanni – Batti, batti o bel Masetto (1911 Version) / Semiramide – Bel raggio lusinghier. 12” AC PW HMV Historic Catalogue #2 DB 537, POM-11 July, 1911/ 2 Nov., 1910, Sd.1 Never Doubled, USA. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

0856. LUISA TETRAZZINI: Semiramide – Bel raggio lusinghier. 12” AC pink HMV 2–053034 (14578f), POM-2 Nov., 1910, never issued USA. A to M-A, lovely copy has faintest ‘waxing’, inaud.; rubbed label. MB 12

0857. LUISA TETRAZZINI: Hamlet – Ed ora a voi (Act IV) / Linda di Chamounix – O luce di quest’anima. 12” AC Historic Catalogue #2 HMV DB 543, POM-14 July, 1911 / 13 May, 1914, Sd. 1 never issued USA; Sd. 2 Never Doubled, USA. M-A, a gleaming copy. MB 15

0858. LUISA TETRAZZINI: Mignon - Je suis Titania (in Italian) (1907 Version). 12” AC pink London Pre-Dog 053142 (2171f), Original 1907 Issue, doubled only in the RCA vinyl 'Heritage' Series. A-, lovely copy has lt rubs & hint of grey on peaks, inaud. MB 12

0859. LUISA TETRAZZINI: Mignon - Je suis Titania (in Italian) (1907 Version). 12” AC Pat.’08 Vla 92015 (2171f), POM-1907, doubled only in the RCA vinyl 'Heritage' Series. M-A, a gleaming copy. MB 15

0860. LUISA TETRAZZINI: Mignon - Je suis Titania (in Italian) (1911 Version). 12” AC pink HMV 2–053058 (5181f), POM-1911, never issued USA. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

0861. LUISA TETRAZZINI: Dinorah - Ombra leggiera (1907 Version). 12” AC pink London Pre-Dog 053143 (2175f), Original 1907 Issue, Never Doubled. M-A MB 15

0862. LUISA TETRAZZINI: Dinorah - Ombra leggiera (1907 Version). 12” AC GP V 92017 (2175f), POM-1907, Never Doubled. M-A MB 15

0863. LUISA TETRAZZINI: Carmen - Je dis que rien ne m'épouvante (in Italian). 12” AC V 88503, POM-11 May, 1914. M-A, lovely copy has wee hlc, jbarely forming. MB 8

0864. LUISA TETRAZZINI: Mireille – Oh d’amor messeggera . 12” AC pink HMV 2–053013 (3426f), POM-1909, never issued USA. A -B, very decent copy has lt.rubs, inaud.; mis-labeled as Micaëla’s aria from Carmen! MB 12

0865. LUISA TETRAZZINI: Roméo – Je veux vivre (in Italian). 12” AC Pat.’08 Vla 92061 (2524f), POM-13 July, 1908. M-A, glorious copy has faintest pap.rub, barely visible, certainly inaud. MB 12

0866. LUISA TETRAZZINI: Lakmé – Oů va la jeune indoue? (1907 Version, in Italian). 12” AC Vla 92016 (2172f), POM-1907, Never Doubled. M-A MB 20

“The [above] forward recording catches the beauty of [Tetrazzini’s] voice; in the hauntingly oriental opening section she floats up to a soft sustained high B like a radiant star….and finally goes into a brilliant series of staccati as Lakmé imitates the bells .”


– Michael Aspinall, Program notes to EMI’s Luisa Tetrazzini, The London Recordings


0867. LUISA TETRAZZINI: Lakmé – Oů va la jeune indoue? (1913 Version, in Italian; ‘Take’ 2 / JEANNE GERVILLE-RÉACHE: Samson et Dalila – Mon coeurs’ouvre ŕ ta voix. 12” AC Japanese V 10024 (2172f / C-6981-2) , POM-13 Feb., 1913 / 29 April, 1909. M-A, beautiful copy has faintest rubs, inaud. MB 15

0867. LUISA TETRAZZINI: La Sonnambula – Ah! non credea mirarti. 12” AC pink Monarch Gram.053227 (3101f), POM-2 June, 1909, Never Doubled. A to M-A, glorious copy has faintest pap.rubs, barely visible, positively inaud. MB 15

0868. LUISA TETRAZZINI: Faust – Air des bijoux (in Italian) (1914 Version, Unpublished [other than the vinyl Historic Masters special issue]). 12” AC white HMV shellac pressing of Unpublished Mx. HO552c, POM-20 June, 1914. M-A, a gleaming copy. MB 45

0869. LUISA TETRAZZINI: Rosalinda – Meco verrai su quella (Pastorale) (1913 Version) (Veracini) / Barbiere – Una voce poco fŕ. 12” AC PW HMV Historic Catalogue #2 DB 690, POM-21 Feb., 1913 / 17 March, 1911, Sd.1 Never Doubled USA. M-A, a gleaming copy. MB 15

0870. LUISA TETRAZZINI: Rosalinda – Meco verrai su quella (Pastorale) (1914 Version, Unpublished) (Veracini). 12” AC white HMV shellac pressing of Unpublished Mx. HO550c, POM-20 June, 1914. Enchanting! M-A, a gleaming copy. MB 75

“…unpublished records include some made in 1914 – possibly overlooked on account of the War. Aspinall praises ‘the sparkling, caressing and dainty way’ in which Tetrazzini sings the 18th century music of the pastorale from Veracini’s ROSALINDA.”


– Charles Neilson Gattey, LUISA TETRAZZINI, THE FLORENTINE NIGHTINGALE, p.359


0871. LUISA TETRAZZINI: Rosalinda – Meco verrai su quella (Pastorale) (1913 Version) (Veracini). 12” AC Pat.’12 Vla 88432, POM-21 Feb., 1913, Never Doubled, USA. Enchanting! M-A, a gleaming copy. MB 12

0872. LUISA TETRAZZINI: La Perle du Brésil – Charmant oiseau (1909 Version). 12” AC Disco Grammofono 053228 (3102f), POM-2 June, 1909, never issued USA. A to M-A, lovely copy has faint rubs, inaud. MB 12

0873. LUISA TETRAZZINI: La Perle du Brésil – Charmant oiseau (1911 Version). 12” AC Pat.’08 Vla 88318, POM-17 March, 1911, issued USA. M-A, a gleaming copy. MB 15

0874. LUISA TETRAZZINI: I Pescatori di Perle – Brahma, gran Dio! 12” AC HMV 2–053012 (3423f), POM-1909, never issued USA. M-A MB 15

“[…the best performance on record, exibiting] a fullness of tone and brilliance of execution without serious rival.”


– Lord Harwood, OPERA ON RECORD, Vol. II, p.190


0875. LUISA TETRAZZINI: I Puritani – Vien diletto / La Traviata – Addio del passato. 12” AC silver Victor IRCC 116, POM-12 July, 1912 / 26 Sept., 1913, (Neither Side ever issued USA in any regular series). Numbered Copy #28 of an extremely Limited Edition; Sd.2 label Autographed by Tetrazzini, to which her Photo is affixed. M-A, a gleaming copy. MB 35

0876. LUISA TETRAZZINI: Linda di Chamounix – O luce di quest’anima. 12” AC V 88506, POM-13 May, 1914, Never Doubled, USA. M-A, a gleaming copy. MB 12

0877. LUISA TETRAZZINI: Linda di Chamounix – O luce di quest’anima. 12” AC white Vla 88506, POM-13 May, 1914, Never Doubled, USA. M-A, a gleaming copy. MB 15

“…a model of lyric soprano singing [offering a] quietly unobtrusive final cadenza.”


– Michael Aspinall, Program notes to EMI’s Luisa Tetrazzini, The London Recordings


0878. LUISA TETRAZZINI: Rigoletto – Caro nome (1907 Version). 12” AC pink London Pre-Dog 053141 (2170f), Original 1907 Issue, Never Doubled. A-. lovely copy has few faint rubs, inaud.; sev.wee pressing bumps. MB 12

0879. LUISA TETRAZZINI: Rigoletto – Caro nome (1907 Version). 12” AC Pat.’08 Vla 92014 (2170f), POM-1907, Never Doubled. M-A, a gleaming copy. MB 12

0880. LUISA TETRAZZINI: Rigoletto – Caro nome (1911 Version). 12” AC Opera Disc 76273 (C-10074), POM-18 March, 1911. M-A, a gleaming copy. MB 15

“Here [in the 1911 version] is a most magical version and a most winning personality…[with] a bird-like brilliance in the cadenza. Yet with what heart-rending innocence the voice can soar: one goes back to the record for that alone.”


– Richard Osborne, OPERA ON RECORD, Vol. I, p.217


0881. LUISA TETRAZZINI: Lucia – Quando rapita in estasi. 12” AC pink Monarch Gram.053224 (3078f), POM-1909, Never issued USA. M-A, a gleaming copy. MB 15

0882. LUISA TETRAZZINI: Lucia – Splendon le sacre faci. 12” AC Pat.’08 Vla 92018 (2176f), POM-1907, Never Doubled. M-A, a gleaming copy. MB 15

0883. LUISA TETRAZZINI: La Traviata - Sempre libera (1907 Version) (incorrectly labeled as ‘Ah! fors’ č lui’). 12” AC pink London Pre-Dog 053147 (2179f), Original 1907 Issue, Never Doubled. A-B, very decent copy has sev. very faint nr, causing the occasional tick. MB 8

“Adelina Patti named Tetrazzini as her successor after listening to her Violetta at Covent Garden in 1908. Tetrazzini [later] did the same for Lina Pagliughi…..”


– Charles Neilson Gattey, LUISA TETRAZZINI, THE FLORENTINE NIGHTINGALE, p.262


0884. LUISA TETRAZZINI: Il Trovatore – Tacea la notte / Mignon - Je suis Titania (in Italian) (1911 Version). 12” AC Historic Catalogue #2 HMV DB 540, POM-18 Feb., 1913 / 14 July, 1911, Sd. 2 never issued USA. M-A, a gleaming copy. MB 15

0885. LUISA TETRAZZINI: Aďda - Ritorna vincitor! 12” AC S/S Special vinyl Pressing of 5170f, POM-11 July, 1911, (never issued USA in any regular series). MINT MB 25

0886. LUISA TETRAZZINI: Aďda - Ritorna vincitor! / Lakmé – Blanche Dourga (in Italian). 12” AC silver Victor IRCC 27, POM-11 July, 1911, (Neither Side ever issued USA in any regular series). Numbered Copy #66 of an extremely Limited Edition; Sd.1 label Autographed by Tetrazzini, to which her Photo is affixed. M-A, a gleaming copy. MB 45

0887. LUISA TETRAZZINI: I Vespri Siciliani - Mercč, dilette amiche (1914 Version). 12” AC V 88504, POM-12 May, 1914, Never Doubled, USA. M-A, a gleaming copy. MB 15

0888. LUISA TETRAZZINI: I Vespri Siciliani - Mercč, dilette amiche (1910 Version). 12” AC pink HMV2- 053033 (4577f), POM-2 Nov., 1910, Never issued USA. M-A, a gleaming copy. MB 35

“[Tetrazzini] was the Horowitz of vocalists and there is an exemplary clarity and firmness about all her singing. The London version (1910) unlike the American (1914) ends with a top E and contains some extraordinary singing.”


– Lord Harwood, OPERA ON RECORD, Vol. III, p.107


0889. LUISA TETRAZZINI: Las Hijas del Zebedeo – Al pensar en el dueńo (Carceleras) (Chapi). 12” AC Pat.’08 Vla 88294, Orig. ‘A’ plate issue, POM-18 March, 1911. M-A, a gleaming copy. MB 20

0890. LUISA TETRAZZINI: Las Hijas del Zebedeo – Al pensar en el dueńo (Carceleras) (Chapě). 12” AC V 88294, Orig. ‘A’ Plate Issue, POM-18 March, 1911, Never Doubled, USA (other than in most elusive HRS Series). M-A, gleaming copy has faintest pap. scr, positively inaud. MB 25

“Of course, Tetrazzini made no records of her contralto singing, but there is one which does show what a remarkable low register she had. It is the striking Carceleras from THE DAUGHTERS OF ZEBEDEO, a Spanish opera by Chapě.”


– Frieda Hempel, THE AMERICAN MUSIC LOVER, June, 1940


0891. LUISA TETRAZZINI, CARUSO, AMATO, JOURNET, JACOBY & BADA: Lucia – Chi mi frena. 12” AC Pat.’12 Vla 96201, POM-19 Jan., 1912, Never Doubled in any regular series. M-A, gleaming copy has 1 infinitesimal dust mk, hardly worth mention. MB 10

0892. LUISA TETRAZZINI, CARUSO, AMATO, JOURNET, JACOBY & BADA: Lucia – Chi mi frena. 12” AC Vla 96201, POM-19 Jan., 1912, Never Doubled in any regular series. M-A, a gleaming copy. MB 8

0893. LUISA TETRAZZINI, CARUSO, JACOBY & AMATO: RIGOLETTO - Bella figlia dell'amore / NELLIE MELBA, JOHN McCORMACK & MARIO SAMMARCO: FAUST - Final Trio (in Italian). 12” AC red vinyl Heritage RCA 15-1019 (C11447-4/4190f), POM-1910/'12. MINT MB 8

“Luisa Tetrazzini scored what was undoubtedly the most sensational individual triumph of the [past] century, with the possible exception only of Caruso....with a voice of softly metallic beauty, and a technique that was bewildering in its completeness.”


- P.G. Hurst, THE GOLDEN AGE RECORDED


0894. LINA PAGLIUGHI, w.Tansini Cond.: Rigoletto – Tutte le feste al tempio / L’Elisir –Prendi per me si libero. 12” EL Parl. DPX 26, recorded 1940. M-A MB 6

0895. LINA PAGLIUGHI, w.Tansini Cond.: Il Guarany – Céra una volta un principe (Ballata) (Gomes), 2s. 12” EL dark green Cetra BB 25086, recorded 1941. M-A MB 8

0896. LINA PAGLIUGHI, w.Tansini Cond.: Il Re – O Colombello sposarti (Giordano) / Falstaff – Sull fin d’un soffio etesio. 12” EL dark green Cetra BB 25093, recorded 13 Oct., 1941. Among Pagliughi’s loveliest titles, especially the Giordano aria which is so little-known. M-A MB 10

0897. LINA PAGLIUGHI, w.Tansini Cond.: La Sonnambula – Ah! non credea mirarti / La Figlia del Reggimento – Convien partir. 12” EL dark green Cetra BB 25001, recorded 28 Dec., 1936. M-A MB 8

0898. LINA PAGLIUGHI, w.Tansini Cond.: La Sonnambula – Ah! non credea mirarti / La Figlia del Reggimento – Convien partir. 12” EL Parl. DPX 18, POM-28 Dec., 1936. M-A MB 6

0899. LINA PAGLIUGHI, w.Tansini Cond.: I Puritani – Qui la voce / Son vergin vezzosa. 12” EL Parl. DPX 18, POM-28 Dec., 1936. M-A MB 6 0900. LINA PAGLIUGHI, w.Tansini Cond.: Cosě fan Tutte – Come scoglio / Le Coq d’Or –Hymn to the Sun (in Italian). 12” EL Parl. DPX 17, POM-28 Dec., 1936. M-A MB 6

0901. LINA PAGLIUGHI, w.Tansini Cond.: Guglielmo Tell – Selva opaca / Les Pęcheurs de Perles – Comme autrefois (in Italian). 12” EL Parl. E 11406, POM-1938. M-A MB 6

0902. LINA PAGLIUGHI, w.Tansini Cond.: Guglielmo Tell – Selva opaca / Falstaff – Sull fin d’un soffio etesio. 12” EL Parl. R.30004, POM-28 Dec., 1936. M-A MB 6

0903. LINA PAGLIUGHI, w.Tansini Cond.: Rigoletto – Caro nome / Mignon – Je suis Titania (in Italian). 12” EL Parl. E 11324, POM-28 Dec., 1936. M-A MB 6

0904. LINA PAGLIUGHI, w.la Rosa Parodi Cond.: Entfuhrüng – Ach ich liebte / Welche Wonne, welche Lust (in Italian). 12” EL dark green Cetra BB 25010, recorded 11 July, 1942. M-A MB 8

0905. LINA PAGLIUGHI, w.la Rosa Parodi Cond.: Semiramide – Bel raggio lusinghier / Carmen – Je dis que rien n’épouvante (in Italian) 12” EL dark green Cetra BB 25110, recorded 1942. M-A MB 8

0906. LINA PAGLIUGHI, w.Capuana Cond.: Lucia – Ardon gl’incensi / Spargi d’amaro pianto. 12” EL Parl. DPX 16, POM-1934. M-A MB 6

0907. LINA PAGLIUGHI, w.Capuana Cond.: Don Pasquale – So anch’io la virtú magica / Barbiere – Una voce poco fŕ. 12” EL Parl. DPX 15, POM-1934. M-A MB 6

0908. LINA PAGLIUGHI, w.Capuana Cond.: La Sonnambula – Come per me sereno / Fra Diavolo – Or son sola. 12” EL Parl. DPX 14, POM-1934. M-A MB 6

0909. LINA PAGLIUGHI, w.John Amadio (Flute) & Nils Nelson (Pf.): Il Carnevale di Venezia (Benedict), 2s. 10” EL PW V 2061, POM-1940. M-A , a gleaming copy. Delightful performance! MB 10

0910. LINA PAGLIUGHI, w.Capuana Cond.: Linda di Chamounix – O luce di quest’anima / LINA PAGLIUGHI & RITA MONTICONE: A consolarmi affrettati. 12” EL dark blue Italian Lindström Parl. PP.60012. Orig. 1934 I ssue – issued Italy only. A to M-A, lovely copy has faintest pap.rubs, inaud.; Sd.1 has 3 wee ec, not to grooves. Among Pagliughi’s rarest. MB 25

0911. LINA PAGLIUGHI, w.Tansini Cond.: Nozze – Giunse alfin il momento; Deh! Vieni, non tardar / Don Giovanni – Batti, batti, o bel Masetto. 10" EL pale blue Italian Cetra AT 0102, original form of issue, 1940. M-A Most elusive! MB 25

0912. LINA PAGLIUGHI, w.Tansini Cond.: Nozze – Giunse alfin il momento; Deh! Vieni, non tardar / Don Giovanni – Batti, batti, o bel Masetto. 12” EL Parl. DPX 26, recorded 1940. Elusive! M-A MB 10

0913. LINA PAGLIUGHI, w.Tansini Cond.: Lakmé – Oů va la jeune indoue? (in Italian), 2s. 10" EL dark blue Italian Cetra AT 0103, original form of issue, 1940. M-A Most elusive! MB 25

0914. LINA PAGLIUGHI, w.Tansini Cond.: Lakmé – Oů va la jeune indoue? (in Italian), 2s. 12” EL Parl. DPX 27, recorded 1940. M-A MB 6

0915. LINA PAGLIUGHI, w.Tansini Cond.: Rigoletto – Tutte le feste al tempio / L’Elisir –Prendi per me si libero. 10" EL dark blue Italian Cetra AT 0104, original form of issue, 1940. M-A Most elusive! MB 25

0916. LINA PAGLIUGHI, w.Capuana Cond.: La Gazza Ladra – Di piacer mi balza il cor / Deh! tu reggi in tal momento . 12” EL Parl. DPX 13, POM-1934. M-A MB 6

0917. LINA PAGLIUGHI & ALEXANDER SVÉD, w.Simonetto Cond.: Rigoletto – Chi č mai, chi č qui in sua voce . . . Lassů in cielo, 2s. 12” EL dark-green Cetra BB 25202, only form of issue, 1 July, 1947. M-A, a gleaming copy. MB 10

0918. LINA PAGLIUGHI & GIOVANNI MALIPIERO, w. Tansini Cond.: Lucia – Verranno a te / LINA PAGLIUGHI, MALIPIERO, MANACCHINI, etc.: Chi mi frena . 12” EL dark green Cetra BB 25127, POM-21 May, 1939 (obviously from their complete recording). M-A, a gleaming copy. MB 8

“Lina Pagliughi was one of the great lyric coloraturas of her day. After studying in San Francisco and Milan, her career blossomed in 1927 with performances of Gilda (RIGOLETTO) in Milan. She sang throughout Italy and in the Netherlands, the Americas, Australia and at Covent Garden (Gilda again, in 1938). Excelling in the operas of Rossini, Bellini and Donizetti, Pagliughi also sang those rôles by Mozart, Richard Strauss, Leoncavallo - even Wagner - to which her elegant technique and sweet voice were ideally suited. In retirement she taught in Milan.”
Paul Campion


0919. ALDA NONI, w.Basile Cond.: Il Signor Bruschino – Ah donate il caro sposa / Perdonate signor mio (Cimarosa). 12” EL red Cetra CB 20535, only form of issue, 5 Dec., 1951. M-A, a gleaming copy. MB 20

0920. ALDA NONI, w.Quadri Cond.: Don Pasquale - So anch'io la virtů magica / Les Pecheurs de Perles - Comme autrefois (in Italian). 12” EL LVDP DB 11346, only form of issue, 25 Jan., 1951. M-A, a gleaming copy. MB 15

0921. ALDA NONI, w.Quadri Cond.: La Sonnambula – Care Compagne; Sovra il sen. 12” EL LVDP DB 11341, only form of issue, 25 Jan., 1951. M-A, a gleaming copy. MB 15

0922. ALDA NONI, w.Rother Cond.: La Traviata – Addio del Passato / Rigoletto – Caro nome (both in German). 12” EL black Polydor Meisterklasse 68303, POM-1942. Exquisitely beautiful! M-A, gleaming copy. MB 15

0923. ALDA NONI, w.Rother Cond.: Barbiere – Una voce poco fa (in German), 2s. 12” EL pale blue Polydor Meisterklasse 68108, POM-1942. M-A, gleaming copy has, Sd.1, wee pressing bump. MB 15

0924. ALDA NONI, w.Süsskind Cond. Philharmonia Orch.: Cosě fan Tutte – In uomini, in soldati / Una donna a quindici anni. 10” EL HMV DA 1986, only form of issue, 1950. M-A MB 6

0925. ALDA NONI, w.Süsskind Cond. Philharmonia Orch.: Ballo – Volta la terrea / Saper vorreste. 10” EL HMV DA 1954, only form of issue, 1950. M-A MB 6

“Richard Strauss personally selected Alda Noni to sing Zerbinetta in a famous performance of his opera ARIADNE AUF NAXOS in Vienna to mark his 80th birthday in June 1944. She was described by commentators as a soprano leggiero, a singer with a light, agile voice, possessing brilliant-sounding vowel projection, but nevertheless with a warmth to her vocal timbre that is not always to be found in other coloratura sopranos. Making her debut as Rosina in Rossini’s THE BARBER OF SEVILLE in Ljubljana in 1937, and after a number of appearances in Yugoslavia, she joined the Vienna State Opera in 1942; her German accent was widely admired. The ARIADNE occasion came at a time when Strauss’s relations with Hitler were under severe strain, to the point where the Führer had decreed that there should be no celebration of the composer’s birthday. Wiser counsel prevailed, however, and the conductor Karl Böhm mounted a small Strauss festival that included a new production of ARIADNE that also featured the 25-year-old Irmgard Seefried. The occasion was broadcast by Austrian radio and released on disc some 20 years later by Deutsche Grammophon, leading critics to compliment Alda Noni’s ‘piquant, sparkling, wonderfully accurate Zerbinetta’; for many decades hers was regarded as the foremost interpretation of the role. In 1946, after leaving Vienna, Alda Noni appeared as Norina with the New London Opera Company in Donizetti’s DON PASQUALE with the baritone Mariano Stabile. Her performance was particularly amusing, noted Desmond Shaw-Taylor, because of ‘the suddenness of her transitions from drooping convent lily to mischievous wildcat’. By 1949 she was a member of La Scala, appearing with the company at Covent Garden the following year. She returned to Glyndebourne in 1951 to sing Despina in Mozart’s COSĚ FAN TUTTE and Blonde in DIE ENTFÜHRUNG AUS DEM SERAIL, giving the character ‘a spitfire sharpness’. She also made an appearance in Glyndebourne’s first LA CENERENTOLA in 1952.”


- THE TELEGRAPH, 24 May, 2011


0926. ZARA DOLUKHANOVA: Semiramide – Ah, quel giorno (in Italian!), 2s. 12” EL CCCP 018007/08, only form of issue, 1950. M-A, a gleaming copy. MB 25

0927. ZARA DOLUKHANOVA & GALINA PETROVNA SAKHAROVA: Semiramide – No, non ti lascio; Serbani ognor (in Russian), 2s. 12” EL CCCP 018786/87, only issue, 1950. M-A, appears unplayed. MB 25

“Zara Dolukhanova is often cited as the greatest Soviet mezzo-soprano of her time. Her powerful, flexible voice was usually categorized as a coloratura mezzo, but her vocal range also allowed her to sing convincingly as an alto. Dolukhanova was as much a star in the Soviet Union in the mid-20th century as Callas and Tebaldi were in the West. She commanded a huge repertory inclusive of works ranging from J.S. Bach, Handel, and Vivaldi to Mozart, Rossini and Tchaikovsky and on to Prokofiev, Shostakovich, and Khachaturian. She sang folk and traditional songs as well, and was best known on the operatic stage for her Rossini, particularly as Angelina in LA CENERENTOLA and Isabella in L'ITALIANA IN ALGERI. But Dolukhanova is also remembered as a recitalist, earning herself the reputation as one of the world's greatest interpreters of art songs, becoming a sort of female counterpart to Fischer-Dieskau.

Dolukhanova toured Europe and the Americas, making her U.S. début in 1959 at Carnegie Hall, drawing scores of rave reviews. Dolukhanova was extremely active throughout the 1960s, but shortly after a return tour to the U.S. in 1970, she retired from singing. She spent most of the remainder of her career as a teacher at the Gnessin Institute, counting among her students mezzo-soprano Olga Borodina.”


- Robert Cummings, allmusic.com


0928. GALINA PETROVNA SAKHAROVA, w.Kovaleva Cond.: Two songs. 10” EL CCCP 16989/90, only form of issue, 1949. M-A MB 10

0929. GALINA PETROVNA SAKHAROVA, w.Kovaleva Cond.: Keto da Kote – Keto’s aria / VLADIMIR ARAKEVICH KANDILAKY: Sako’s comic song (Dolidze). 10” EL CCCP 16704/05, only form of issue, 1949. M-A MB 10

0930. NINA KOSHETZ: The rose and the nightingale (as 'Eastern Romance') (Rimsky-Korsakov) / Humoresque (Moussorgsky). 10" AC gold Bruns. 15031, POM-1922. M-A, a pristine copy. MB 50

"...Koshetz's voice was an exquisite instrument....I'll give you one example to watch for when listening to her 'Eastern Romance'. The concluding high passage without words is meant for the piano alone, but it is so hauntingly beautiful that the female voices that can reach those heights on a pianissimo have appropriated it. And believe me, it is an experience to hear Koshetz do it. She begins with a sound positively celestial in its loveliness - if there is 'music of the spheres', this must be it. At this point, and to the end of the passage, I scarcely breathe for fear of losing the tiniest bit of such enrapturing beauty."


- Aďda Favia-Artsay, HOBBIES, May, 1969


0931. NINA KOSHETZ: To the Sun (Sung by the Composer) / Over the Steppe (Gretchaninoff). 10” AC purple Bruns. 10139, POM-1922. M-A, a pristine copy. MB 50

0932. NINA KOSHETZ: To the Sun (Sung by the Composer) / Over the Steppe (Gretchaninoff). 10” AC purple Bruns. 10139, POM-1922. A to M-A, lovely copy has, Sd.2 only, lt.rubs, inaud. MB 25

0934. NINA KOSHETZ: At the ball / None but the lonely heart (Tschaikowsky). 10” AC gold Bruns. 15029, POM-1922. M-A, a pristine copy. MB 50

0935. NINA KOSHETZ: Winds are blowing / Ol' Mamo (both Ukranian). 10” AC purple Bruns. 10140, POM-1922. M-A, a pristine copy. MB 50

0936. NINA KOSHETZ: Estrellita / Serenata Mexicana (both Ponce). 10” EL PW Disque Gram. DA 1005, POM-12 / 5 April, 1928. A-, very decent copy has lt.rubs, inaud. MB 15

0937. NINA KOSHETZ: Estrellita / Serenata Mexicana (both Ponce). 10” EL Scroll V 4040, POM-12 / 5 April, 1928. A-, very decent copy of z-type pressing has lt.rubs, inaud. MB 15

0938. NINA KOSHETZ: Kaddish (arr. Ravel) / Eili! Eili! ('Take' 4). 12” EL PW Disque Gram.DB 1205, POM-6 / 12 April, 1928. A-, very decent copy has, Sd.1 primarily, lt.rubs, inaud. MB 25

0939. NINA KOSHETZ: Plaisir d’amour (Martini) / Étude in E (Chopin-Litvinne) (1930 Version). 12” EL Orth Vla 9675, POM-5 Nov., 1928 / 4 April, 1930. M-A, a pristine copy. Exceedingly Elusive! MB 85

0940. NINA KOSHETZ: Étude in E (Chopin-Litvinne) (1928 Version). 12” EL S/S heavy vinyl Special Pressing of Mx. CVE 47897-1, POM-8 Nov., 1928, from Unpublished Master. MINT MB 75

0941. NINA KOSHETZ: Fais dodo, Mignonne (Wiosna) (Chopin, Op.74, #2, in French). 12” EL S/S vinyl Special Pressing of Mx.CVE 47898-1, POM-8 Nov., 1928. from Unpublished Master. MINT MB 75

0942. NINA KOSHETZ, w.Gretchaninoff (Pf.): Berceuse; Snowdrops / Dobrynia Nikititch - The flowers were growing in the fields (tenor aria arranged for soprano) (all Acc. by the Composer). 12” EL ORTH Vla 7111, POM-15 April, 1929. M-A MB 25

“[Koshetz’ voice]…vibrates in all its registers like a Stradivarius in the hands of a sensitive violinist.”
- Samuel Chotzinoff


0943. NINA KOSHETZ, w.Dougherty (Pf.): Eleven Songs (Rachmaninoff), 8s. 4–12” EL Schirmer 55108/11, in Original Schirmer Album 16, only form of issue, 1941. M-A, a pristine copy. MB 75, the Set.

0944. NINA KOSHETZ, w.Dougherty (Pf.): Valse (Arensky) / None but the lonely heart; At the ball (both Tschaikowsky). 12” EL Schirmer 5512, only form of issue, 1941. M-A, a pristine copy. Exceedingly Rare! MB 150

0945. NINA KOSHETZ, w.Dougherty (Pf.): Amuri, Amuri (Sadero) / Dark eyes. 12” EL Schirmer 5513, only form of issue, 1941. M-A, a pristine copy. Exceedingly Rare! MB 175

"...these [Schirmer] sessions did produce what many consider to be [Koshetz'] greatest recording, Sadero's 'Amuri, Amuri.' It is Nina Koshetz' individual style that continues to live through all her recordings, singing as she does with 'a passionate Russian melancholy,' as described by J.B. Steane, and with a voice acclaimed by Samuel Chotzinoff that ‘vibrates in all its registers like a Stradivarius in the hands of a sensitive violinist’."
- Edward Hagelin Pearson, Koshetz' Opal CD Program Notes


0946. NINA KOSHETZ: Prince Igor - Arioso of Jaroslavna (Borodin) / Sadko - Berceuse (Rimsky-Korsakov). 12” EL Orth Vla 9233, POM-12 / 13 April, 1928. M-A, superlative copy. MB 20

0947. NINA KOSHETZ: Prince Igor - Arioso of Jaroslavna (Borodin) / Sadko - Berceuse (Rimsky-Korsakov). 12” EL PW V 9233, on ‘Z’ shellac, POM-12 / 13 April, 1928. M-A, a pristine copy. MB 35

“[In the above}, there is the thrill of real distinction. It is partly in the tone, vibrant and shining, partly in the sheer power and in its contrast with the softness where this very Russian ice-princess melts, all tenderness. And it is partly in a kind of glamour, which marks also her later recordings, made in 1939, principally of songs by Rachmaninov...Koshetz clamours with a passionate Russian melancholy, then passes a veil over the voice as a deep sigh comes from the soul in the depths of mortal weariness...”


- J. B. Steane, THE GRAND TRADITION, p.308


0948. NINA KOSHETZ: Sorotchinski Fair - Parassia's Reverie (Moussorgsky) / Pique Dame - It is midnight (Tschaikowsky). 12” AC gold Bruns.50036, issued USA only, 1922 (Koshetz’s only 12” Brunswick). M-A, a pristine copy. Exceedingly Elusive! MB 75

“Nina Koshetz studied piano with Konstantin Igumnoff and Vasily Safonov and composition with Sergei Taneiev. Graduating at 16, she had performed a Rachmaninov concerto for her final recital. She subsequently became interested in singing and she was eventually instructed by Enzo Masetti and Félia Litvinne. Konstantin Stanislavsky was her coach in dramatic arts. It seems her real career began with a performance as Tatyana in EUGENE ONÉGIN with Zimin’s Opera Company. Until 1917 she appeared there in operas such as PIQUE DAME, THE TSAR’S BRIDE, THE DEMON, THE ENCHANTERESS, plus singing Tosca, Nedda, Marguerite, Nedda and Aďda. Her fame soon spread and the composers Tcherepnin, Medtner, Gretchaninov and Prokofiev wanted to co-operate with the young singer! Serge Koussevitzky and Nina Koshetz brought music to the outlying regions, she was his soloist for many years. In 1915 she met Sergei Rachmaninov and they appeared together in successful recitals, culminating in a romance (the composer was 20 years older than Nina and a married man). He dedicated to her a cycle of six love songs. (Op. 38).

She made her official American début as a soloist with the Detroit Symphony Orchestra under Ossip Gabrilowitch in 1920 and was warmly received. Mary Garden invited her to sing the role of Fata Morgana in Prokofiev’s THE LOVE FOR THREE ORANGES. She was now in demand for concerts and recitals by Stokowski, Koussevitzky, Rodzinski and Klemperer. Considered as one of her greatest achievements in the 1920s was the series of four New York Town Hall recitals celebrating for the most part Russian’s greatest song writers in which Pierre Luboshutz, Walter Damrosch and Samuel Chotzinov all accompanied her. She became the authoritative voice for the Russian emigré composers. In 1924 she returned to Félia Litvinne, now living in Paris and Koshetz received further vocal training by the famous soprano. In 1927, commemorating her 15 years in music, she gave a recital devoted entirely to songs dedicated to her. The composer Gretchaninov renewed the collaboration with her and both were enthusiastically admired.”


- Andrea Shum-Binder, subito-cantabile


0949. LUCILLE WEINGARTNER MARCEL, w.FELIX WEINGARTNER Cond.: Thou art a child (in English) (Cond. by the Composer) / Otello – Ave Maria (in Italian). 12“ AC Col. A5482 (36608/32) only form of issue, 19-20 Feb., 1913. B, very decent copy has lt. rubs & scrs, only minimally audible; faint lamination hlc appears both sides. Exceedlingly elusive, only the second copy ever to have come through here! MB 45

“The quality of Marcel’s voice has been well caught on the short list of recordings she made in Vienna and later in the Unitd States….Weiungartner’s song ‘Thou art a child’ displays the limpid production in a long, smoothly-sustained piano line….Her recoridings reveal a full and rounded lyrical voice of a particularly beautiful quality throughout its range, a singer of considerable skill and a refined artist….The ‘Ave Maria’ of Desdemona she phrases affectionately with well-judged and graceful portamenti and the final difficult ascent to the soft high A-flat is brought off with perfect security and poise.”


- Michael Scott, THE RECORD OF SINGING, Vol. II, pp.135-36


0950. JARMILA NOVOTNÁ: Psohlavci – Zeleni Hájové (Kovarovic) / Hubicka – Skrivánci Pisen (Smetana) (in Czech). 10” AC plum PW Czech HMV AM 418, only form of issue, 1926 (although recorded 1925). M-A, a gleaming copy. Exceedingly rare! MB 35

0951. JARMILA NOVOTNÁ, w.Orthmann Cond. Berlin Staatsoper Orch.: La Traviata – Ah! fors’ č lui / Sempre libera (in Czech). 12” EL plum PW Czech HMV AN 682, only form of issue, 1931. M-A MB 25

“Jarmila Novotná…was a legendary beauty with an uncanny gift for the stage….She brought a radiance to every role she undertook: her every entrance was like a burst of sunshine.”


- Lanfranco Rasponi, THE LAST PRIMA DONNAS, p.296


0952. JARMILA NOVOTNÁ, w.Weissmann Cond.: Les Contes d’Hoffmann - Elle a fui, la tourterelle / Barcarolle. 12” EL RCA 11-9263, only form of issue, 16 Feb., 1945. M-A MB 8

0953. JARMILA NOVOTNÁ, w.Weissmann Cond.: Hubicka – Ukolébavka (Smetana) / w.Joseph Fuchs (Violin): Gypsy Songs – Songs my mother taught me (in Czech) (Dvorák). 12” EL V 11-9153, only form of issue, 18 Oct., 1945. M-A MB 10

“Jarmila Novotná was widely considered one of the finest singing actresses of her time. Her interpretations of such roles as Donna Elvira, Euridice, Manon, Mélisande, Antonia and Marenka were praised for their intelligence and lyrical grace. She also excelled in trouser roles, particularly Orlofsky in DIE FLEDERMAUS, Cherubino in LE NOZZE DI FIGARO and Octavian in DER ROSENKAVALIER. On hearing her American début in San Francisco in MADAMA BUTTERFLY in 1939, Olin Downes wrote in The New York Times: ‘There is grace, warmth, communicative feeling in all that she does’.

She made her Metropolitan début in LA BOHEME in 1940, singing with Jussi Björling. That year Downes also praised her ‘great’ Violetta at the Met: ‘She conceived the music, from first note to last, dramatically, and portrayed the character with an aristocratic sensibility and simplicity. The word and the tone were indissoluble; the phrasing was that of the finest musician’. In her years at the Metropolitan Opera, Miss Novotna sang 193 performances and won consistent praise for her expressiveness and musicianship.

Miss Novotná studied with Emmy Destinn and made her début at the age of 17 with the Prague National Opera. She continued her studies in Milan and became a member of the Vienna State Opera from 1933 to 1938, eventually singing opera and concerts in most of the major houses of Europe. Toscanini brought her to the attention of the Met after she sang Pamina under his direction in Salzburg in 1937. She came to New York in 1940, arriving, she noted years later, the day Hitler marched into Prague. During the war years she recorded ‘Songs of Lidice’, in memory of the victims of the Nazi massacre. The recording presents folk songs of her native land; the piano accompaniments are by Jan Masaryk, the son of the former president of Czechoslovakia.”


- Edward Rothstein, THE NEW YORK TIMES, 10 Feb., 1994


0954. JARMILA NOVOTNA: w.Jan Masaryk (Pf.): 15 Songs of Lidice (Czech Folk Songs), 6s. 3-12” EL V 11-8318/20, only form of issue, 1942, New York (except for 2 Sides, otherwise issued only on HMV, those being dubbings), in Orig. Album M-936. M-A MB 25, the Set.

“[Concerning] how the SONGS OF LIDICE Set came to be recorded just before the massacre took place....Jan Masaryk, who was an accomplished amateur pianist, was in America and he offered to improvise accompaniments to a series of Czech folk songs. Before they were ready for publication, Lidice happened and the decision was made to name the set in honour of those martyred."


- James Dennis, THE RECORD COLLECTOR, 1979


0955. LILLI LEHMANN: Heidenröslein (Schubert) / Freudvoll und leidvoll (Schumann). 10ľ” AC brown German Odeon 50389/90 (xB 3142/38), POM-2 July, 1907. M-A, gleaming copy of this superb mid-1930s German pressing (renowned for its quiet surface) has, Sd.2 only, faintest pap.rub, inaud. MB 50

0956. LILLI LEHMANN: Intermezzo (Schumann) / Du bist die Ruh’ (Schubert). 10ľ” AC brown German Odeon 50372/50432 (xB 3133/37), POM-2 July, 1907. M-A, gleaming copy of this superb mid-1930s German pressing (renowned for its quiet surface) has, Sd.2 only, faintest pap.rub, inaud. MB 50

0957. LILLI LEHMANN: Mondnacht (Schumann) / Les Huguenots – O beau Pays (in German). 10ľ” AC silver & blue IRCC 37 (xB3135/49), POM-2 / 5 July,1907, NumberedCopy #16 of an extremely Limited Edition. M-A, choice copy of mid-1930s Columbia pressing has, Sd.1 only, sev. faint lateral lams, of no consequence. MB 35

‘[Lehmann]...sent a thrill through the house which was intensified fourfold when her clarion tones rang out....Mme Lehmann's voice was a full-toned dramatic soprano, immense in volume and resonance, and of voluptuous quality....In moments of tragic fury her voiced pealed like a trumpet....her tone production was that of a consummate singer....What seems to me most important to record was the impressive grandure of her greatest operatic impersonations. This grandure was inherent in the woman."


- W. J. Henderson, THE ART OF SINGING, pp.365-67


0958. LILLI LEHMANN: Auf dem Wasser zu singen (Schubert) / Fidelio - Abscheulicher! (Beethoven), 3s. 2-12” AC vinyl Historic Masters HMB 59/60 (xB 1304; xB 3049, xxB 3050 & xxB 3051) [the former 2 are 10ľ” records pressed onto 12” blanks], POM-29 / 22 June, 1907. MINT MB 10, the Pair.

0959. LILLI LEHMANN: La Traviata – Ah! fors’ č lui; Sempre libera (in Italian), 2s. 10ľ” AC red Eng.Odeon Ux.52741/42 (xxB 2976/77), POM-18 June, 1907. M-A, spectacular copy of choice 1931 pressing. MB 50

0960. LILLI LEHMANN: La Traviata – Alfredo, Alfredo, in questo core (in Italian) / Fidelio – Abscheulicher! (part 1). 10ľ” AC red Eng.Odeon Ux.52699/52597 (xB 3047/49), POM-22 June, 1907. M-A, spectacular copy of choice 1931 pressing. MB 60

0961. LILLI LEHMANN: Norma – Casta Diva / LILLI LEHMANN & HEDWIG HELBIG: Ah! sě, fa core e abbracciami (in German). 10ľ” AC red Eng.Odeon Ux.52698/06 (xB 2978/3063), POM-18 / 25 June, 1907. M-A, spectacular copy of choice 1931 pressing has, Sd.1 only, vague shadow of pressing line, merely visual & positively inaud., found in all copies. MB 75

0962. LILLI LEHMANN: Fidelio – Abscheulicher! (parts 2 & 3). 12” AC red Eng.Odeon UAA.79300/01 (xxB 3050/51), POM-22 June, 1907. M-A, spectacular copy of choice 1931 pressing has, Sd.1 only infinitessimal dust mk, inaud. MB 65

0963. LILLI LEHMANN: Fidelio – Abscheulicher! (parts 2 & 3). 12” AC early blue Odeon 80006/07 xxB 3050/51), POM-22 June, 1907. A, lovely copy has, Sd 2 primarily, faintest pap. rubs, inaud. MB 50

“We are indeed lucky to have this whole scene, recorded on three sides, by Lehmann. It suits her uncommonly well….The recitative is done in her grand titanic manner….the scene as a whole is a striking piece of work.”


- James Dennis, THE RECORD COLLECTOR, 1981


0964. LILLI LEHMANN: Entführung – Marten aller arten / Ach ich liebte. 12” AC red Eng.Odeon AA.57895/96 (xxB 3048/2980), POM-22 / 18 June, 1907. M-A, spectacular copy of choice 1931 pressing. MB 65

0965. LILLI LEHMANN: Nozze – Porgi amor (in German) / Die Walküre – Du bist der Lenz. 10ľ” AC Parl.-Odeon PO 63 (xB 3150/471), POM-5 July, 1907. M-A, a gleaming copy. MB 15

0966. LILLI LEHMANN: Don Giovanni – Don Ottavio, son morta! / Or sai che l’onore. 10ľ” AC red Eng.Odeon Ux.52577/78 (xB 1478/79), POM-20 July, 1906. M-A, spectacular copy of choice 1931 pressing. MB 65

“…this traversal of Donna Anna’s rage scene is the classic example of Lilli Lehmann in titanic mode. Heaven help any of the other singers in a performance of DON GIOVANNI who couldn’t keep the pace with her….altogether one of Lehmann’s most impressive recordings….”


- James Dennis, THE RECORD COLLECTOR, 1981


0967. LILLI LEHMANN: Don Giovanni – Non mi dir / Fors’ č un giorno il cielo. 10ľ” AC red Eng.Odeon Ux.52575/76 (xB 3045/46), POM-22 June, 1907. M-A, spectacular copy of choice 1931 pressing. MB 85

“As Lilli Lehmann’s career became restricted to continental Europe, she devoted more time to making her dream come to reality when in 1901 there was a week of music from August 5 to August 9. This was the beginning of the now famous Salzburg Festival….Today at the Mozarteum, there is an honorary medal called the Lilli Lehmann medal, which is to be presented to talented singers who followed the Lilli Lehmann tradition in the singing of Mozart….you will [also] find a Lilli Lehmann Strasse which was named after her.”


Lim M. Lai, THE RECORD COLLECTOR, 1981


0968. LILLI LEHMANN & HEDWIG HELBIG: : Nozze – Sull’aria! Che soave zeffiretto / Cosě fan Tutte – Prederň quel brunettino (both in German). 10ľ” AC red Eng.Odeon Ux.52605/52600 (xB 3060/61), POM-25 June, 1907. M-A, spectacular copy of choice 1931 pressing. MB 75

“German singer Lilli Lehmann was regarded by many critics and opera mavens as the greatest soprano of her day, not least because of her command of an unbelievably wide range of roles -- 170! She started her career as a coloratura soprano, but gradually took on dramatic roles of heavier character, especially in Wagner's operas. The power, steadiness, and versatility of her voice were given many testimonials by critics from both the late nineteenth and early twentieth centuries. But what may be most astonishing about her career was that while Lehmann was in semi-retirement after 1900, she sang in concerts until 1920 (when she was 71 years old), generally still garnering critical acclaim.

In 1865 Lehmann made her début in Prague portraying the First Boy in Mozart's DIE ZAUBERFLÖTE. Soon, however, she graduated to the role of Pamina, and then quickly ascended to the highest circles of the operatic stage, appearing at the Berlin Hofoper (1869), Bayreuth (1876), London (1880), Vienna (1882), and at New York's Metropolitan Opera in 1885, where she was signed on as a member of the company. There she impressed critics and audiences with a clutch of varied roles, but especially with her Wagner: she appeared in the New York premiere of TRISTAN UND ISOLDE (1886) and later in the first American RING cycle (1889). From 1890 to 1900 Lehmann was in her prime, dazzling audiences not only at the Met, but in Berlin, Bayreuth, and Covent Garden, where she appeared in 1899 in Wagner (Isolde, Sieglinde), Mozart (Donna Anna), and Bellini (Norma). While she still appeared in certain operatic roles and on the concert stage after 1900, her appearances became increasingly infrequent. She helped create Mozart festivals in Salzburg beginning in 1906. That same year -- at the age of 58 -- she made her first recordings, and after 1907 made no more. Her recordings have been highly praised. Lehmann completely retired from all performance activity in 1920.”


- Robert Cummings, allmusic.com


0969. ELENA GERHARDT, w.Gerald Moore (Pf.): Frauenliebe und Leben (Schumann), 6s. 3-12” EL white 'Special Record' HMV GS 37/39, only form of issue, 1953 (Private Issue recorded 14 Jan. & 18 Feb., 1948). M-A Exceedingly Rare, originally available only through Gerhardt herself, plus specialist dealers. MB 475, the Set.

"It may have been the considerable and prolonged success which [Gerhardt] enjoyed at Myra Hess' National Gallery concerts during the war that persuaded her to repeat the project of a private album, with Gerald Moore as accompanist...containing the FRAUENLIEBE UND LEBEN cycle. She made no great claims for this effort, referring to it deprecatingly as her swan-song. It contains, as might have been expected, much insight into and sympathy with Schumann's world....As an old and faithful admirer of Gerhardt's consummate art, I am glad to have this souvenir of a cycle that I often heard her sing...."


- Desmond Shawe-Taylor, THE RECORD COLLECTOR, 1987


0970. ELENA GERHARDT, w.Arthur Nikisch (Pf.): Ich hab’ ein kleines Lied erdacht (Bungert) / Wie sollten wir geheim sie halten? (Strauss); Neue Liebe (Rubinstein). 10” AC silver Victor IRCC 208 (3539/40r), POM-1907, Berlin. Numbered Copy #30 of an extraordinarily Limited Edition. M-A, exemplary copy has faintest rubs, inaud. MB 65

0971. ELENA GERHARDT, w.Arthur Nikisch (Pf.): Heimweh /Und willst du deinen Liebsten sterben sehen? (both Wolf). 10” AC Japanese V 3061 (5167/69r), POM-1907, Berlin. M-A, a gleaming copy in Orig. Japanese sleeve. MB 25

“…our artistic minds became one, and I think that is why the Gerhardt-Nikisch recitals still linger in the minds of the public who heard them….Yes, Arthur Nikisch…was the greatest happiness in my life for twenty years.”


- Elena Gerhardt, RECITAL, p.159


0972. ELENA GERHARDT, w.Gerald Moore (Pf.): New Selection Of Songs, 1939, incl.: Zigeunerlieder - Complete; Der Gang zum Liebchen; Therese; Der Tod, das ist die kühle Nacht (all Brahms); Die Stadt; Dithyrambe; Wiegenlied; Ellen's zweiter Gesang (all Schubert); Der Mond hat eine schwere Klag'erhoben; Und willst du deinen Liebsten sterben (both Wolf), 12s. 6-10" EL white ‘Private Issue’ HMV GR 16-21, only form of Private Issue, 1939, in Orig. Album, w.Brochure. Gerhardt's Autographed Card is tipped in front cover. M-A, exemplary copy. MB 125, the Set.

“In 1939, a few days shy of 56 years old, Elena Gerhardt recorded songs in London, with Gerald Moore accompanying her on the piano. It was among a set of six 10″ records, privately published under the HMV White Label. It was not a great moment in the English-speaking world for German Lieder, and I don’t think more than two or three hundred sets were published. It’s been out-of-print for years, and is now almost unobtainable. Electrical recording in 1939 was done straight to wax disc; there was no editing involved. We hear today, as if a live recording, what they recorded on 20 October ’39. How sensitive is Moore’s accompaniment, how clear Gerhardt’s diction, how profoundly moving her interpretation.”

- John Lathrop


“The [above1939 Collection] is a most treasurable possession. The voice is no longer young, but the mezza voce is still exquisite, while the sheer vitality and variety of the singing is, if anything, more striking than ever. In this volume are to be found some of Mme Gerhardt's greatest performances which had previously eluded the gramophone....[Gerhardt] once told me wryly that she had been advised, if she wanted to be re-engaged by HMV, 'to make love to Mr Legge'; 'I do not want to make love to Mr Legge', she said, with comic distaste. Instead, she yielded to the suggestion of her friends that she should publish...a private album of six 10-inch records accompanied (for the first time on disc) by Gerald Moore.”


- Desmond Shawe-Taylor, THE RECORD COLLECTOR, Sept., 1987


0973. CLARA BUTT: God save the King (Elgar). 12” AC special Coronation ‘picture label’ Record HMV 03240 (z4970f), only form of issue, 24 April, 1911. B-C, well-worn copy has heavy rubs & scrs, positively audible; tiny hlc just forming; nr on label. Offered merely as a curiosity memento. MB 10

0974. CLARA BUTT: Absent (Metcalf) / Until (Sanderson). 10” EL dark blue Eng. Col. PB 1 (WA6181-3/9558-2), POM-15 Sept., 1927 / 23 Sept., 1929, Sd.2 recorded in Central Hall, Westminster. M-A MB 15

0975. CLARA BUTT: Four Biblical Songs (Dvorák), 4s. 2–10” EL dark blue Eng. Col. X 335/36 (WA4242/45) POM-21 March, 1927. M-A, lovely copy has faint rubs, inaud. MB 45, the Pair.

0976. CLARA BUTT: Sea Pictures – Where corals lie (Elgar). 12” AC purple Eng. Col. 7246 (74157), POM-16 Sept., 1920. Creator Record (1899, Norwich Festival, and among Butt’s loveliest recordings). M-A, a gleaming copy. MB 20

0977. CLARA BUTT: Faust – Faites-lui mes aveux (in English). 12” AC pink Eng. Col. 74003 (6605), POM-1915. M-A, a glorious copy, w.faintest pap.rub, positively inaud. MB 15

“The greatest voice that has come from a national institution is Clara Butt’s…..”


- Blanche MarchesI, SINGER’S PILGRIMAGE, p 222


0978. CLARA BUTT: Sosarme – Rend’ il sereno al ciglio (Handel). 12” AC advance pressing HMV 2–053088 (Ac6382f), POM-24 July, 1912, with longhand-written label. M-A, glorious copy has very sl.grainy surface. MB 15

0979. CLARA BUTT: Sosarme – Rend’ il sereno al ciglio (Handel) / Lucrezia Borgia – Il segreto per esser felici (Donizetti). 12” AC mauve & gold HMV AGSB 75 (Ac6382/3487f), POM-1912/’09. A to M-A, lovely copy has few faint rubs, inaud. MB 15

0980. CLARA BUTT: Orfeo – Che farň senza Euridice. 12” AC dark blue Eng. Col. 7217 (6767), POM-1915. A-, very decent copy has lt. rubs & lt. grey on peaks. MB 12

0981. CLARA BUTT: Don Carlos - O don fatale (1915-16 Version) in Italian) 12” AC pink Eng. Col. 74000 (6605), POM-1915-16. M-A, a glorious copy. MB 15

0982. CLARA BUTT: Don Carlos - O don fatale (1910 Version, in Italian) / AGNES NICHOLLS: Oberon - Ozean, du Ungeheuer (in English, as written). 12” AC vinyl Historic Masters HMB 31 (2130c/Ac5840f), POM-19 Dec/. 1910 / 19 Dec., 1911, both from Unpublished Masters. MINT MB 15

“Clara Butt possessed one of the greatest and most powerful contralto voices; there was a vast and ‘baritonal’ bottom and a lighter toned pure top. Her repertory consisted of oratorio arias, ballads and songs (although she had some opera arias in her repertory). Today, most of her repertoire might not be of much interest, but we have to realize that Dame Clara had to sing against the background of Victorian taste. Her true contralto voice, however, is one of the most glorious ever recorded.”


- Andrea Shum-Binder, subito-cantabile


0983. CAMILLA WILLIAMS, w.Ralph Berkowitz (Pf.): O, what a beautiful city / City called Heaven. 10” EL RCA 10-1425, only form of issue, 1946. M-A, choice copy has faintest rubs, inaud. MB 15

“Beginning in the late 1930s, Geraldine Farrar was to prove an advocate for African American classical singers….[Farrar, who had heard Williams in a concert in 1944 recommended her to RCA Victor (the above recording having been the result). She and Arthur Judson] took me over to the New York City Center Opera Company to audition for the director, Laszlo Halasz….In 1946…he gave me the opportunity to sing Madama Butterfly [début, 15 May, 1946, New York City Center].”


- Camilla Williams, GERALDINE FARRAR, OPERA’S CHARISMASTIC INNOVATOR, pp.132-33


0984. GERALDINE FARRAR: Tu me dirais (Chaminade). 10” AC white Vla 87256, POM-24 May, 1916, Never Doubled. M-A , beautiful copy has tiny blister. MB 12

0985. GERALDINE FARRAR: Robin Adair (Burns). 10” AC Pat.’12 Vla 87024, POM-9 Dec., 1908, Never Doubled. M-A MB 12

0986. GERALDINE FARRAR: La Rencontre Imprevu – Wonnervoller Mai (Gluck). 10” AC V 87127, POM-19 Dec., 1912,Orig. ‘A’ Plate Issue, Never Doubled in any regular series, only as the IRCC reissue. A to M-A, lovely copy has faintest pap.rubs, inaud. MB 8

0987. GERALDINE FARRAR: I’ve been roaming (Horn). 10” AC Pat.’12 Vla 87160, POM-16 April, 1913, issued USA only. M-A, choice copy has faintest pap.rubs, inaud. MB 8

0988. GERALDINE FARRAR: Love has eyes (Bishop). 10” AC Pat.’12 Vla 87164, POM-16 April, 1913, Never Doubled. M-A, choice copy has faintest pap.rubs, inaud. MB 8

0989. GERALDINE FARRAR: Der Liebe Augustin – Der Himmel hängt ihm voller geigen (Leo Fall). 10” AC Pat.’12 Vla 87134, POM-27 Feb., 1913,Orig. ‘A’ Plate Issue, Never Doubled in any regular series, only as the IRCC reissue. M-A, exceptional copy. MB 15

0990. GERALDINE FARRAR: Il Segreto di Susanna – Via, cosi non mi lasciate (Woilf-Ferrari) 10” AC Pat.’12 Vla 87136, only form of issue, 17 Feb., 1913, Orig. ‘A’ Plate Issue, Never Doubled in any regular series, only as the IRCC reissue. M-A, exceptional copy. MB 15

0991. GERALDINE FARRAR: Roland von Berlin - Fahr wohl! Trautgesell! (Leoncavallo). 10” shellac HMV Test Pressing for Mx. 2496L, POM-1904. M-A, outstanding copy appears unplayed. MB 35

0992. GERALDINE FARRAR: Roland von Berlin - Fahr wohl! Trautgesell (Leoncavallo) / Dear Heart (Mattei). 10” silver Victor IRCC 132 ( 2496L/3799h), POM-1904/27 Sept. 1905. Numbered Copy #59 of a very Limited Edition. Sd.1 label Autographed by Farrar, to which her photo is affixed. M-A, outstanding copy appears unplayed. MB 35

“DER ROLAND VON BERLIN is an opera in 4 acts by composer Ruggero Leoncavallo. The work uses a German-language libretto by Leoncavallo which is based on Willibald Alexis's 1840 historical novel of the same name. The opera premiered at the Berlin State Opera on 13 December 1904. Its premiere in Italy was given at the Teatro di San Carlo in Naples the following month where it was sung in Italian with the title ROLANDO.”


0993. GERALDINE FARRAR: La Traviata - Follie, follie…Sempre libera. 10” AC black Berlin Pre-Dog G.C.-53469 (1316r), only form of issue, 23 June 1906. A-, lovely copy has one long scr, ltly audible. MB 15

0994. GERALDINE FARRAR: Roméo et Juliette - Je veux vivre. 10” AC black London HMV G.C.-33618 (1315r), POM- 23 June 1906. M-A, exceptional copy has faintest pap.scrs, positively inaud. MB 15

0995. GERALDINE FARRAR: Roméo et Juliette - Je veux vivre / Faust – Air des Bijoux (in German). 10” silver Victor IRCC 29 ( 1315r/3802h), POM- 23 June 1906 / 27 Sept. 1905. Numbered Copy #42 of a very Limited Edition. Sd.1 label Autographed by Farrar, to which her photo is affixed. M-A, outstanding copy appears unplayed. MB 35

0996. GERALDINE FARRAR: Mignon - Connais-tu le pays / Martha- The Last Rose of Summer (both in German). 10” AC black Berlin G & T G.C.- 43733 / 43841 (3803/1718h), only form of issue, 27 Sept., 1905 / 1906. A-, lovely copy has hint of grey on peaks; Sd.1 only has very lt label nr, plus faintest nr, inaud. MB 20

0997. GERALDINE FARRAR: Königskinder – Lieber Spielmann (Humperdinck). 12” AC Pat.’12 Vla 88405, POM-19 Dec., 1912, Never Doubled USA. A to M-A , lovely copy has faintest pap.rubs, inaud. MB 12

0998. GERALDINE FARRAR & LOUISE HOMER: Alla campanna andiamo (Campana). 12” AC V 89072, Early ‘B’ Plate Issue, POM-15 April, 1913, Never Doubled USA. M-A , a gleaming copy. MB 12

0999. GERALDINE FARRAR & EDMOND CLÉMENT: Au clair de la lune (Lully). 10” AC Pat.’12 V 87509, Early ‘B’ Plate Issue, POM-17 March, 1913. A, lovely copy has faintest pap. rubs, inaud.. MB 10

1000. GERALDINE FARRAR & EDMOND CLÉMENT: Roméo – Ange adorable. 12” AC Pat.’12 Vla 88421, POM-13 Feb., 1913. M-A, bright copy has few faintest pap.rubs,positively inaud. MB 8 1001. GERALDINE FARRAR & EDMOND CLÉMENT: Mefistofele – Lontano, lontano. 12” AC Vla 89114, POM-13 Feb., 1913. A to M-A, lovely copy has few faintest pap.rubs,positively inaud. MB 8

1002. GERALDINE FARRAR & GIOVANNI MARTINELLI: Carmen – Je t’aime encore. 12” AC V 88531, POM-19 May, 1915. M-A MB 10

1003. GERALDINE FARRAR & GIOVANNI MARTINELLI: Carmen – Halte-lŕ! Qui va lŕ? 12” AC V 88536, POM-17 May, 1915. M-A, a gleaming copy. MB 10

1004. GERALDINE FARRAR & HERMANN JADLOWKER: Le Donne Curiose – Il cor nel contento (Wolf-Ferrari) / GERALDINE FARRAR & PASQUALE AMATO: Il Segreto di Susanna – Il dolce idillio (Wolf-Ferrari). 12” buff PW HMV DK 124, POM-21 Feb., 1912, Sd.2 Never Doubled, USA. M-A MB 12

“There were famous prima donnas before Geraldine Farrar. Maria Malibran, Jenny Lind, and Adelina Patti all achieved world fame. But none—not even Nellie Melba or Luisa Tetrazzini—reached a wider audience than the American soprano. Farrar was not only an international opera star, she made more than 200 recordings and appeared in 14 silent films. During her 16-season reign at the Metropolitan Opera, Farrar commanded higher fees and appeared in more new productions than any other leading soprano. She sang 671 performances of 34 roles in 29 operas, a record matched by no soprano in the eight decades since Farrar’s retirement.”


- Robert Baxter, Marston Program Notes


1005. ROXY KING: Lo Schiavo - O Ciel di Parahyba (Gomes). 12” AC RCA S/S Special Vinyl Pressing of Mx.C-6171, POM-5 May, 1908. M-A, as New. MB 35

1006. ROXY KING: La Gioconda – Suicidio! 12” AC RCA S/S Special Vinyl Pressing of Mx.C-6183, POM-11 May, 1908. M-A, as New. MB 35

“Roxy King demonstrates a voice capable of great delicacy but also freeness and power. Its intonation is occasionally wayward, but King uses her attractive sound with imagination.”


- Barry Brenesal, FANFARE


1007. WINIFRED CECIL; w.Mario Rossi Cond.: La Wally - Ebben, ne andrň lontana / Loreley - Non fui da un padre mai benedetta. 12” EL dark blue Italian Cetra CB 20458, only form of issue, 7/6 Oct., 1948. M-A, gleaming copy has, Sd.1 only, 2 wee pap.scrs, inaud. MB 25

“Winifred Cecil studied singing with Marcella Sembrich and Elena Gerhardt. Miss Cecil was ready for a Town Hall recital in 1933 which was greeted with great praise by The New York Times. After establishing herself at La Scala, she performed in other leading opera houses throughout Italy and Europe. The outbreak of World War II prevented Miss Cecil from returning to the United States for her scheduled Metropolitan Opera début. She stayed in Italy, and at the war's end she acted as a liaison between American troops and the Italians, for which she was made an Honorary Dame of the Order of Malta. Miss Cecil returned to the United States after the death of her husband in 1949 and resumed her career as a recitalist and soloist. During this time she originated and founded the popular master classes, JOY IN SINGING.”


- Joy in Singing


1008. VIOLET MOUNT (L’INCOGNITA): Mireille – Oh d’amor messeggera / Tom Jones – Waltz Song (Edward German). 10“ AC dark red Zonophone 43687/88 (21920/36), only form of issue, 1920. A-, lovely has lt. rubs , inaud. MB 10

1009. VIOLET MOUNT (L’INCOGNITA): La Figlia del Reggimento – Convien partir / Maritana – Scenes that are brightest (Wallace). 10“ AC dark red Zonophone 43695/96 (21922/23), only form of issue, 1920. M-A, lovely has faint rub, Sd.2 only, inaud. MB 12

1010. VIOLET MOUNT (L’INCOGNITA): La Traviata – Ah! fors’ č lui. 10“ AC white & green Zonophone X-93135 (8146e), only form of issue, 1920. M-A, lovely has infinitessimal cosmetic ndl. cut, faintly audible, if at all. MB 12

1011. VIOLET MOUNT (L’INCOGNITA): Rigoletto – Caro nome. 10“ AC white & green Zonophone X-93138 (8199e), only form of issue, 1920. A to M-A, lovely has very lt.rubs, inaud.; tiny superficial scr. MB 12

“Violet Mount was an Australian soprano, active in Australia from at least 1902, and afterwards Britain around 1910. In 1907, she left Australia for London, having sung oratorio in Melbourne and Sydney for several years. The Sydney Mail claimed she was ‘doubtless Australia's best soprano’. By May 1908, London critics were praising her in the guise of a masked soprano calling herself ‘L'Incognita’. This disguise followed a suggestion by George Byng, conductor at the Alhambra Music Hall, at which she was singing arias from opera since March, 1908. In this hall, she appeared on the same bills as marionettes and a musical dog. Her choice of arias mirrored the work at the time of Luisa Tetrazzini at Covent Garden, and there was some speculation that that diva was in fact L'Incognita. Mount also appeared at the Hippodrome in programmes of similar content to that of the Alhambra, billed simply as ‘soprano soloist’, and billed lower than two performing monkeys, despite her talent. She was still active in 1921, when she was working with the distinguished Australian flautist John Amadio. She recorded extensively for the Zonophone label around 1910 as L'Incognita, and her identity was unknown for years. She toured the Moss Empire circuit for two years and was by one critic found to be a ‘first class artist with a very pleasing and graceful stage presence’. This latter detail was related in a letter of 1943 to The Gramophone magazine signed by F. W. Gaisberg (Fred Gaisberg), a major executive from EMI. Listening now to the recordings reveals that she possessed a bright, open voice, and that she had no fear of high notes, some of which are added ad lib. Her pitch was just occasionally insecure.”


1012. ELLEN BEACH YAW: Schweizer-Echolied (Swiss Echo Song) (Eckert). 10” AC GP V 64079, POM-24 Sept., 1907, Never Doubled. A-, lovely copy has lt. rubs & minuscule nd, ltly audible once or twice. MB 12

1013. ELLEN BEACH YAW: The Skylark (Sung by the Composer) / Mignon – Je suis Titania. 12” AC vinyl purple IRCC 3082, RRs-1913, Edison; Sd.2 otherwise Unpublished. Sd.1 must be heard to be believed! M-A MB 15

"By the time she went to Marchesi in 1900, Yaw had already been touring Europe for five years, her most significant moment arriving in 1899, when she created the role Sir Arthur Sullivan had written for her in his last completed operetta, THE ROSE OF PERSIA.”


- Peter G. Davis, THE AMERICAN OPERA SINGER, p.194


1014. ELLEN BEACH YAW: Le bonheur est chose légčre (Saint-Saëns) / Lucia – Ardon gl’incensi. 12” AC gold Victor HRS 1026, POM-25 Sept., 1907, both from Unpublished Masters. Numbered Copy #97 of an extraordinarily Limited Edition. Sd.2 label Autographed by Yaw. M-A, lovely copy has, Sd.2 only, faintest pap. rubs, inaud. MB 55

1015. ELLEN BEACH YAW: Les Noces de Jeannette – Au bord du chemin (Air du Rossignol) (Massé). 12” AC V 74092, POM-24 Sept., 1907, Doubled only as the elusive AGSB 202. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

1016. ELLEN BEACH YAW: Les Noces de Jeannette – Au bord du chemin (Air du Rossignol) (Massé) / Le Timbre d’Argent – Le bonheur est chose légčre (Saint-Saëns). 12” AC mauve & gold HMV AGSB 202, POM-24 / 25 Sept., 1907, Sd.2 from Unpublished Master. MINT MB 15

1017. ELLEN BEACH YAW, w.Mme Stefani Dvorák Worthing (Pf.): Hamlet - Mad Scene (in English), 2s. 12” EL Co-Art 5025, only form of issue, 1941. Numbered Copy #22 of an extraordinarily Limited Edition. Autographed by Ellen Beach Yaw. A-, lovely copy has very lt. rubs & superficial scuffs, positively inaud. MB 65

"On 16th June, 1941 [the above] was recorded in the home of the noted arranger and Academy Award winner, Mr Arthur Lange in Beverly Hills, California. The Co-Art Company recorded only special musical compositions issued as limited editions....It was issued as a limited edition, and autographed by Mme Yaw."


- Antonio Altamarino, THE RECORD COLLECTOR, Dec., 1955


1018. ELLEN BEACH YAW: Lakmé - Oů va la jeune Hindoue? 12” AC Pat.’12 V 74090, POM-25 Sept., 1907, Never Doubled. M-A, gleaming copy has 2 wee pressing bumps. MB 20

1019. ELLEN BEACH YAW: La Perle du Brésil – Charmant oiseau / Lucia – Ardon gl’incensi. 12” AC mauve & gold HMV AGSB 66, POM-24 / 25 Sept., 1907, both from Unpublished Masters. MINT MB 20

“Ellen Beach Yaw was an American coloratura soprano, best known for her concert singing career. She had an extraordinary vocal range and could produce unusually high notes. Known as ‘Lark Ellen’ or ‘The California Nightingale’, she was reportedly the only known soprano of her era who could sing and sustain the D above high D. She was also able to trill in major thirds or fifths (trills usually involve rapidly alternating notes over an interval of a minor or major second).In 1898 and 1899, Yaw was singing in private concerts in London, and at one of these she so impressed Sir Arthur Sullivan that he prevailed upon the D'Oyly Carte Opera Company to cast her as the Sultana Zubedyah in his comic opera THE ROSE OF PERSIA, which opened on 29 November, 1899 at the Savoy Theatre in London. Sullivan went so far as to write a special high cadenza for her song 'Neath My Lattice’, a cadenza that only she could sing. Yaw gave a single performance of LUCIA DI LAMMERMOOR at the Metropolitan Opera on 21 March, 1908 (after which she was described by the Met's manager as ‘the world’s greatest coloratura soprano’). Yaw was much in demand as a recording artist, and her first records were made in May 1899. Thomas Edison, inventor of the phonograph, recorded her voice for mechanical experiments on a visit to his Orange, New Jersey laboratories. She sang various songs throughout her range into several machines. Afterwards, Edison said of her voice, ‘I can see no defects of any kind in this voice. Sweet on lower notes, and mellow’."


1020. ELEANOR STEBER, w.Alec Templeton (Pf.): Roses in Wintertime / Vienna in the Springtime (both Acc.by the Composer). 10” EL RCA 10-1473. Exquisitely beautiful . . . and most Elusive! M-A MB 20

"Those of us privileged to hear [Steber] at her best could not help but be awed by the almost unbearable beauty of her voice, her flawless technique, and her rapturous delight in her art."


- Judith Buffington, HE LOVES ME WHEN I SING, p.ii


1021. ELEANOR STEBER, w.James Quinlan (Pf.): Chčre nuit (Bachelet) / Chanson triste (Duparc). 12” EL V 18088, only form of issue, 5 May, 1941 (although HMV DB 6134 was assigned). Sd.2 label Autographed by Steber. M-A MB 12

1022. ELEANOR STEBER, w.James Quinlan (Pf.): Chčre nuit (Bachelet) / Chanson triste (Duparc). 12” EL V 18088, only form of issue, 5 May, 1941 (although HMV DB 6134 was assigned). M-A MB 8

1023. ELEANOR STEBER, w.James Quinlan (Pf.): By a lonely forest pathway (Griffes) / Rapunzel (Sacco). 10” EL V 10-1071, only form of issue, 14 April, 1941. M-A MB 8

1024. ELEANOR STEBER, w.James Quinlan (Pf.): Auflösung (Schubert) / Canto di primavera (Cimara). 10” EL V 10-1099. Sd.2 label Autographed by Steber. A to M-A MB 12

1025. ELEANOR STEBER, w.James Quinlan (Pf.): Auflösung (Schubert) / Canto di primavera (Cimara). 10” EL V 10-1099. M-A MB 8

1026. ELEANOR STEBER, w.Jay Blackton Cond.: Star Dust (Hoagy Carmichćl) / Porgy and Bess - Summertime. 12” EL RCA 11-9186, only form of issue, 25 Feb., 1946. Steber at her most enchanting; not to be missed! M-A, an outstanding copy. MB 15

1027. ELEANOR STEBER, w.Jay Blackton Cond.: Roberta – The touch of your hand (Jerome Kern) / The King Steps Out – Stars in my eyes (Kreisler). 10” EL RCA 10-1248. M-A, a gleaming copy. MB 8

1028. ELEANOR STEBER, w.Russ Case Cond.: If I could tell you (Firestone) / Smilin’ through (Penn). 10” EL Canadian RCA 10-1443, only form of issue, 1948. A to M-A MB 8

1029. ELEANOR STEBER, w.Russ Case Cond.: Love’s old sweet song (Molloy) / Think on me (Scott). 10” EL RCA 10-1444, only form of issue, 1948. A to M-A, choice copy has few lt.rubs & faded labels. MB 6

1030. ELEANOR STEBER, w.Russ Case Cond.: Songs my mother taught me (Dvorák) / Danny Boy. 10” EL RCA 10-1445, only form of issue, 1948. Sd.1 label Autographed by Steber. M-A MB 12

1031. ELEANOR STEBER, w.Russ Case Cond.: Songs my mother taught me (Dvorák) / Danny Boy. 10” EL RCA 10-1445, only form of issue, 1948. M-A MB 8

1032. ELEANOR STEBER, w.Russ Case Cond.: In the gloaming (Harrison) / In my garden (Firestone). 10” EL RCA 10-1446, only form of issue, 1948. M-A, gleaming copy has faintest pap.scr, Sd.1, barely visible & inaud. MB 8

1033. ELEANOR STEBER, w.Al Goodman Cond.: Oklahoma! – Out of my dreams / ELEANOR STEBER & JAMES MELTON: People will say we’re in love (Richard Rodgers). 10” EL V 10-1143, only form of issue, 1944. A to M-A MB 8

1034. ELEANOR STEBER, w.Morel Cond.: Nozze – Voi che sapete / Roméo – Je veux vivre. 12” EL RCA 12-0526, POM-19 Sept., 1946. Sd.2 label Autographed by Steber. The Roméo recording is among Steber’s very best! M-A MB 15

1035. ELEANOR STEBER, w.Morel Cond.: Nozze – Voi che sapete / Roméo – Je veux vivre. 12” EL RCA 12-0526, POM-19 Sept., 1946. The Roméo recording is among Steber’s very best! M-A MB 12

1036. ELEANOR STEBER, w.Süsskind Cond. Philharmonia Orch.: Carmen – Je dis que rien ne m’épouvante / Louise – Depuis le jour. 12” EL HMV DB 6514, POM-1948. Sd.2 label Autographed by Steber. The Louise recording is sheer enchantment! M-A, appears unplayed. MB 15

1037. ELEANOR STEBER, w.Süsskind Cond. Philharmonia Orch.: Carmen – Je dis que rien ne m’épouvante / Louise – Depuis le jour. 12” EL RCA 12-0690, POM-1948. The Louise recording is sheer enchantment! M-A MB 12

1038. ELEANOR STEBER, w.Süsskind Cond. Philharmonia Orch.: Carmen – Je dis que rien ne m’épouvante / Louise – Depuis le jour. 12” EL RCA vinyl 12” EL RCA 12-0690, POM-1948. The Louise recording is sheer enchantment! M-A MB 15

1039. ELEANOR STEBER, w.Morel Cond.: Faust - Le Roi de Thulé / Air des bijoux. 12” EL RCA 11-9838, only form of issue, 19 Sept., 1946. M-A MB 5

1040. ELEANOR STEBER, w.Morel Cond.: Entführung - Marten aller Arten (in English) / Nozze - Non so piů; Deh vieni, non tardar (both in Italian), 4s. 2-12” EL RCA 11-9774/75, only form of issue, 1947, in Orig. Album DM-1157. Sds.1& 2 label s Autographed by Steber. M-A MB 25, the Set.

1041. ELEANOR STEBER, w.Morel Cond.: Entführung - Marten aller Arten (in English) / Nozze - Non so piů; Deh vieni, non tardar (both in Italian), 4s. 2-12” EL RCA 11-9774/75, only form of issue, 1947, in Orig. Album DM-1157. M-A MB 15, the Set. 1042. ELEANOR STEBER, w.Leinsdorf Cond.: Nozze - Porgi amor / Dove sono. 12” EL RCA 11-8850, only form of issue, 22 Feb., 1945. M-A MB 8

1043. ELEANOR STEBER, w.Leinsdorf Cond.: Don Giovanni - Batti, batti, o bel Masetto (in Italian) / Zauberflöte - Ach, ich fühl's (in English). 12” EL RCA 11-9114, sole issue, 5 Sept., 1945. M-A MB 8

1044. ELEANOR STEBER, w.Charles O’Connell Cond.: Oratorio Arias, incl. Arias from The Creation & Messiah, 6s. 3-12” EL V 11-8294/96, in Orig. Album DM-927. M-A MB 15, the Set.

"[Steber] is the genuine home grown article, exuding confidence and owning a built-in zest for life. Her timbre – silvery, of diamond-like clarity – is distinctive and shimmeringly beautiful in the manner of the best German lyric sopranos….often a delightful touch of phrasing or burst of spirit denotes the superior musician, and the mid and upper voice have a heavenly sheen.”


- Paul Jackson, SATURDAY AFTERNOONS AT THE OLD MET, p.301


1045. ELEANOR STEBER, w.Fausto Cleva Cond.: La Traviata – Ah! fors’ č lui / Sempre libera. 10” EL Col. 17622-D, only form of issue, 1950. A to M-A, lovely copy has lt.rubs, inaud. Rare in 78rpm format. MB 15

1046. ELEANOR STEBER & MARGARET HARSHAW, w.Russ Case Cond.: Beautiful Isle of somewhere (Fearis) / The Old Rugged Cross (Bennard). 10” EL RCA 10-1449, only form of issue, 1948. Elusive! M-A MB 12

1047. ELEANOR STEBER & JAMES PEASE, w.Robert Shaw Cond.: Ein Deutsches Requiem – Ihr habt nun Traurigkeit (first half only)(Brahms). 12” EL vinyl RCA S/S Test Pressing for D7-RG-8064-2A, POM-1948, never issued as a single disk (issued as Complete Performance only). M-A, as New. MB 8

1048. ELEANOR STEBER & JAMES PEASE, w.Robert Shaw Cond.: Ein Deutsches Requiem (Brahms), 18s. 9-12” EL red vinyl RCA 18-0155/63, POM-1948, in Orig. Album DV20. MINT Exceedingly Elusive, especially as this Preferred red vinyl Pressing. MB 15, the Set.

“Eleanor Steber studied at the New England Conservatory in Boston. At the beginning, she did a lot of radio, oratorio, and church work, but made then her début on stage in 1936, appearing as Senta with the Commonwealth Opera. In 1939, Steber went to New York to study with Paul Althouse who had a great influence on her. In 1940 she won first prize at the Met Auditions, earning a Met contract. Her début role there was Sophie in Strauss’ DER ROSENKAVALIER. During the next years she benefited from conductors such as Bruno Walter, Sir Thomas Beecham, Erich Leinsdorf, George Szell and Karl Böhm. She was a versatile artist and appeared in Italian, French and German operas. Things began to change for her at the Met when Rudolf Bing took over the company in 1950. By this time, her career extended well beyond New York (San Francisco, Glyndebourne, Chicago and Bayreuth). At the Met she was the company’s first Arabella in 1955 and its first Marie in WOZZECK in 1959. In 1958 she created Barber’s VANESSA. Thereafter she sang concerts, appeared in musicals and taught subsequently at The Juilliard School of Music.”


- Andrea Shum-Binder, subito-cantabile


1049. FLORENCE EASTON: Values (Vanderpool). 10” AC pale blue Vocalion 30111 (5496), only form of issue,1920. A-, lovely copy has lt.rubs, inaud. MB 10

1050. FLORENCE EASTON: Ma curly headed babby (Clutsam). 10” AC brown shallac Vocalion 30106 (5462), only form of issue,1919. M-A, a gleaming copy, perhaps unplayed! MB 10

1051. FLORENCE EASTON: My Laddie (1921 Version) (Thayer). 10” AC green Bruns. 10036 (5503), only form of issue,1921. M-A MB 8

1052. FLORENCE EASTON: My Laddie (1928 Version) (Thayer) / Comin’ thro’ the rye. 10” EL gold Bruns. 15202 (28424/25), only form of issue, 26 Sept., 1928. A-, very decent copy has lt.rubs, inaud. Elusive! MB 8

1053. FLORENCE EASTON: A Banjo song (Homer) / Croon, croon, underbneat’ de moon (Clutsam). 10” AC purple Bruns. 10211 (16754/16764), only form of issue, 24/26 Oct., 1925. M-A, gleaming copy appears unplayed! MB 10

1054. FLORENCE EASTON: Silent Night (1921 Version) (Gruber). 10” AC green Bruns. 10046 (6422), POM-1921. A-, lovely copy has lt.rubs, inaud. MB 8

1055. FLORENCE EASTON: Silent Night (1923 Version) (Gruber) / Cantique de Noël (Adam). 10” AC purple Bruns. 10113 (11502/11499), POM-1923. M-A MB 8

1056. FLORENCE EASTON: Still wie die Nacht (Böhm) / Treue Liebe (Kücken). 10” AC purple Bruns. 10112 (8830/10715), POM-1922/’23. M-A, a gleaming copy, perhaps unplayed! MB 10

1057. FLORENCE EASTON: O Divine Redeemer (Gounod) / w.Frederick Fradkin (Violin): Ave Maria (1923 Version) (Bach-Gounod). 12” AC gold Bruns. 50025 (10344/20), only form of issue,11 April / 8 June, 1923. A to M-A/A, lovely copy has, Sd.2 only wee dust scrabble & few lt.scrs, only occasionally audible. MB 8

1058. FLORENCE EASTON: O Divine Redeemer (Gounod) / w.Frederick Fradkin (Violin): Ave Maria (1923 Version) (Bach-Gounod). 12” AC gold Bruns. 50025 (10344/21– Variant ‘Take’), only form of issue,11 April / 8 June, 1923. A -, lovely copy has lt.rubs & occasional infinitessimal scr, inaud. MB 8

1059. FLORENCE EASTON: Heart o’ mine (Victor Herbert) / Over the hills (Logan). 10” AC purple Bruns. 10120 (13310/08), POM-12 June, 1924. M-A, a gleaming copy, perhaps unplayed! MB 10

1060. FLORENCE EASTON: Mighty lak’ a rose (Nevin) / Sing me to sleep (Greene). 10” AC purple Bruns. 10100 (13326/23), POM-1924. M-A, choice copy has few faintest rubs, inaud. MB 8

1061. FLORENCE EASTON: Zigeunerlieder - Songs my mother taught me (1933 Version) (Dvorák) / Cradle Song (Iljinsky). 10”AC purple Bruns. 10116 (12305/03), POM-1924. M-A, gleaming copy has faintest pap.rubs, inaud. MB 8

1062. FLORENCE EASTON: I’se gwine back to Dixie (White) / Little old cabin in the lane (Hays). 10” EL purple Bruns. 10246 (18931/34), only form of issue, 27 April, 1926. M-A, gleaming copy appears unplayed! MB 10

1063. FLORENCE EASTON: El Cefiro / Preguntales a la estrellas (both Mexican Folk). 10” AC gold Bruns. 15038 (9369/67), POM-1922. M-A, a gleaming copy. MB 10

1064. FLORENCE EASTON: Rose Marie - Indian love call (Friml) / Mlle. Modiste – Kiss me again (Victor Herbert). 10” EL gold Bruns. 15193 (28412/13), POM- 21 Sept., 1928. A-, very decent copy has rubs, inaud. Elusive! MB 8

1065. FLORENCE EASTON: Mignon – Connais-tu le Pays? / Faust – Le Roi de Thulé. 10” AC gold Bruns. 15030 (8825/27), POM-1922. M-A, a gleaming copy. MB 10

1066. FLORENCE EASTON: La Boheme – Addio senza rancor / Carmen – Habanera. 10” AC gold Bruns. 15000 (6949/7274), POM-1921/’22, only form of issue,Sd.2. M-A, a gleaming copy. MB 10

1067. FLORENCE EASTON: Faust – Air des bijoux. 10” AC green Bruns. 10037 (5547), only form of issue, 1921. M-A, a gleaming copy, perhaps unplayed! MB 10

1068. FLORENCE EASTON: Sadko – Chant indoue (1922 Version) / Snegoroutchka – Song of the Shepherd Lehl (both in English). 10” AC purple Bruns. 10106 (7466/82), POM-1922. M-A, a gleaming copy. MB 10

1069. FLORENCE EASTON: Sadko – Chant indoue (1928 Version) / Peer Gynt – Solvjeg’s Song (both in English). 10” EL gold Bruns. 15214 (28434/33), only form of issue, 1928. M-A, a gleaming copy. MB 10

1070. FLORENCE EASTON: Madama Butterfly – Un bel dě. 12” AC purple Bruns. 30018 (5505), only form of issue, 1921. M-A, a gleaming copy. MB 10

1071. FLORENCE EASTON: Tosca – Vissi d’arte. 10” AC green Bruns. 10044 (5506), only form of issue, 1921. M-A, a gleaming copy. MB 10

1072. FLORENCE EASTON: Tosca – Vissi d’arte. 10” AC green Bruns. 10044 (5507 – Variant ‘Take’), only form of issue, 1921. M-A, choice copy has infinitssimal pap.scr, inaud. MB 10

1073. FLORENCE EASTON: Carmen - Je dis que rien ne m’épouvante / Pagliacci – Che volo d’augelli. 12” AC gold Bruns. 50012 (7275/7651), only form of issue,1922. M-A, a gleaming copy. MB 8

1074. FLORENCE EASTON: Gianni Schicchi – O mio babbino caro / CESIRA FERRANI: La Boheme – Mi chiamano Mimi. 10” AC buff IRCC 234, RRs – 1918 (Vocalion) /’03, Sd.1 being a Creator record, (14 Dec., 1918, Met Opera), Numbered Copy #19 of Limited Edition. M-A MB 12

1075. FLORENCE EASTON, w.Max Rosen (Violin): Ave Maria (1923 Version) (Bach-Gounod). 12” AC green Bruns. 30011 (5545), only form of issue, 1921. M-A, a gleaming copy. MB 10

1076. FLORENCE EASTON, w.Lester Hodges (Pf.): Orpheus with his lute (Sullivan) / DerTod, ist die kühle Nacht (Brahms). 10” EL white IRCC 213, from Live Performance, 13 July, 1939, Juilliard School, New York. M-A MB 15

1077. FLORENCE EASTON, w.Karl Kritz (Pf.): St Elizabeth - Prayer (Liszt) / w.Lester Hodges (Pf.): Giŕ il sole Gange (Scarlatti); Lungi dal caro bene (Secchi). 12” EL red IRCC 166, only form of issue (from New York broadcasts, 10 Feb., 1940 / 13 July, 1939, resp.). Numbered Copy #82 of an extremely Limited Edition. Sd.1 Label Autographed by Easton, whose Photo is affixed. A to M-A, bright copy has faintest pap.rubs, inaud.; Sd.1 label has minor cellophane tape affixed (obviously to protect Easton’s signature). Exceedingly Elusive! MB 25

“[Easton] was a singer’s singer: a consummate professional who one could count on for a faultless performance….”


- Ward Marston, MARSTON Newsletter, Vol. V, #1, Nov., 2001


1078. FLORENCE EASTON, w.Gerald Moore (Pf.): My mother bids me bind my hair (Haydn) / My Laddie (Thayer). 10” EL Scroll V 1705, on Z-type Shellac, only form of regular issue, 1933 (although recorded by HMV, issued [very briefly] only in America)! M-A MB 25

1079. FLORENCE EASTON, w.Gerald Moore (Pf.): Alle dinge haben sprache / Ich bin eine Harfe (both Erich Wolff). 10" EL Scroll V 1712, on Z Shellac, only form of regular issue, 1933 (although recorded by HMV, issued [very briefly] only in America)! M-A MB 25

1080. FLORENCE EASTON, w.Gerald Moore (Pf.): Hat dich die Liebe berührt (Marx). 10" EL S/S vinyl pressing of Mx. OB 5561-1, POM-1933, Unpublished (except for limited IRCC & Historic Masters special editions). MINT MB 12

1081. FLORENCE EASTON, w.Gerald Moore (Pf.): Hat dich die Liebe berührt (Marx) / Zigeunerlieder - Songs my mother taught me (1933 Version) (Dvorák). 10” AC silver Victor IRCC 174 (OB 5561-1/5558-1), Numbered Copy #33 of extremely limited edition; Sd.1 label Autographed by Easton. M-A, a gleaming copy. MB 25

1082. FLORENCE EASTON, w.Gerald Moore (Pf.): Zigeunerlieder - Songs my mother taught me (1933 Version) (Dvorák). 10" EL S/S vinyl pressing of Mx. OB 5558-1, POM-1933, Unpublished (except for limited IRCC & Historic Masters special editions). MINT MB 12

1083. FLORENCE EASTON & MARIO CHAMLEE: La Traviata - Parigi, o cara / Faust - O nuit d'amour. 12” EL gold Bruns.50157 (28459/60), only form of issue, 8 Oct., 1928. A to M-A, lovely copy has faintest rubs, inaud.; tiny hlc just forming, entirely harmless. Most elusive! MB 8

1084. FLORENCE EASTON, w.Georges Sebastian Cond.: Liebestod / FLORENCE EASTON & ARTHUR CARRON: Tristan - Liebesnacht (both in English). 12” EL yellow IRCC 3004, only form of issue, 1942, from Celanese Hour Broadcast. Numbered Copy #108 of a Limited Edition. M-A MB 10

1085. FLORENCE EASTON & LAURITZ MELCHIOR, w.Robert Heger Cond. London S.O.: SIEGFRIED - Final Scene, 7s / Sd.8 = Heger Cond. London S.O.: Act I - Prelude. 4-12” EL PW V 7762/65, POM-29 May, 1932, in Orig. Album M-167, w.Brochure. M-A, outstanding copy of preferred PW pressing. This usually appears rather greyed due to the very forward recording. MB 45, the Set.

“Florence Easton was one of the most versatile singers of all time. She sang no fewer than 88 roles, covering a wide range of styles and periods, from Mozart, Meyerbeer, Gounod, Verdi, Wagner, Puccini, Strauss, Schreker and Krenek. In Wagner she sang virtually every soprano part, large and small from Senta onwards, with the exception of the GÖTTERDÄMMERUNG Brünnhilde.

Florence Easton excelled, rivalling Lilli Lehmann [in the respect of singing dramatic roles]. Her high international reputation, founded mainly in Germany and North America, was almost unique for a British singer of her time. She could move easily through all stages from the light coloratura to the Hochdramatische, from girlish romanticism to powerful Wagnerian and Straussian drama. One of the most important Wagnerian records was made for HMV in 1932: ‘Heil dir Sonne!’ from SIEGFRIED (her best recording in her own estimation). In 1933 HMV recorded six sides of Lieder and songs for Victor, accompanied by Gerald Moore.

It was Richard Strauss who coached Florence Easton as Elektra and Sophie which she presented in English on a tour in Great Britain and in German in Berlin. She continued to expand her repertoire, the new role including Salome (again coached by Richard Strauss) and Minnie, singing with Enrico Caruso in 1913. Easton made her successful Met début as Santuzza in 1917. She remained at the Met for 12 seasons, singing 41 roles, but it was her performance as Saint Elisabeth in the staged version of Liszt’s DIE LEGENDE VON DER HEILIGEN ELISABETH (1918) which set her into the first rank of Metropolitan stars.

At Covent Garden in 1932 she was Isolde and the SIEGFRIED Brünnhilde opposite Lauritz Melchior, the only time they appeared together. Easton’s last appearance on the operatic stage was in 1936 singing Brünnhilde in DIE WALKÜRE at the Met. Her last appearance with orchestra was in a 1942 broadcast where she sang excerpts from TRISTAN AND ISOLDE, using her own English translations! She then taught privately and at the Juilliard School of Music, and still gave occasional recitals in New York.”


- Andrea Shum-Binder, subito-cantabile