FEMALE VOCAL 78RPM RECORDS:  G101   – G828
Regarding AUCTION #143 (Closing Date: Saturday, 8 May, 2010), 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.

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].

G101 – G828: FEMALE VOCAL 78RPM RECORDS.

G101. JANE BATHORI (Self-Accompanied): Histoires naturelles – Le Paon; Le Grillon; Le Martin-Pêcheur (Ravel), 2s. 12” EL PW Eng. Col. D 15179, only form of issue, 1929. M-A, a gleaming copy. MB 45

G102. JANE BATHORI (Self-Accompanied): Fêtes Galantes, Set II – Les Ingénus; Le Faune; Colloque sentimental (Debussy), 2s. 12” EL PW Eng. Col. D 15196, only form of issue, 1929. M-A, a gleaming copy. MB 45

G103. JANE BATHORI (Self-Accompanied): Clair de lune (Fauré) / Lied (Chabrier). 10" EL PW Eng. Col. D 13097, only form of issue, 1929. M-A, a gleaming copy. MB 45

G104. JANE BATHORI (Self-Accompanied): Chansons de Bilitis – La flûte de Pan / La chevelure (Debussy). 10" EL PW French Col.D 13086, POM-1929. M-A, a gleaming copy. MB 45

G105. JANE BATHORI (Self-Accompanied): Chansons de Bilitis – Tombeau des Naïades / Ariettes oubliées – C’est l’éxtase langoureuse (both Debussy). 10" EL PW French Col. LF 50, POM-1929. M-A, a gleaming copy. MB 55

G106. JANE BATHORI, w.Darius Milhaud (Pf.): Fumée; Fête de Bordeaux; Fête de Montmartre (all Acc. by the Composer) / w.Darius Milhaud (Pf.): Daphénéo; La statue de bronze; Le chapelier (all Satie). 12” EL PW French Col. D 15195, both POM-1929, Sd.1 being only form of issue. M-A, a gleaming copy. MB 45

"I had admired [Bathori] a few weeks previously singing ‘Les Chansons de Bilitis’ to her own accompaniment at the piano. I was unaware, however, that she was capable of reading any manuscript at sight, and when at her request I showed her my music, I committed the faux pas of singing it myself. She did not bear any malice, and when I met her again a few years later she said to me: 'I'm sure you must have improved, come and see me!' This time she sang; ever after that, she was for me an exceptionally good interpreter and friend." - Darius Milhaud, NOTES WITHOUT MUSIC, p.46

G107. JANE BATHORI, w.Darius Milhaud (Pf.): Poemes Juifs - Chant de nourrice / Chant de résignation; Chant d’amour (all Acc. by the Composer). 12” EL PW French Col. D 15194, only form of issue, 1930. M-A, a gleaming copy. MB 50

G108. JANE BATHORI, w.Darius Milhaud (Pf.): Les Soirées de Petrograd - L'ancien régime / La révolution (Acc. by the Composer). 12” EL PW Eng. Col.D 15135, POM-1929. M-A, a gleaming copy. MB 65

G109. CLAIRE CROIZA, w.Pierre de Bréville (Pf.): Une jeune fille parle / La belle au bois (both Acc. by the Composer). 10” EL PW French Col. D 13085, only form of issue, 1928. M-A, a gleaming copy. MB 75

G110. CLAIRE CROIZA, w.Albert Roussel (Pf.): Light / w.Pierre de Bréville (Pf.): Deux rondels (each Acc. by the Composer). 12” EL PW French Col. D 15129, only form of issue, 1928. M-A, a gleaming copy. MB 75

G111. CLAIRE CROIZA, w.Albert Roussel (Pf.): Quatre Poèmes – L’Invocation / w.Pierre de Bréville (Pf.): Les Fées (each Acc. by the Composer). 12” EL PW French Col. D 15187, only form of issue, 1928/’29, resp. M-A, a gleaming copy. MB 65

G112. CLAIRE CROIZA, w.Albert Roussel (Pf.): Amoureux séparés / w.Arthur Honegger (Pf.): Chansons de la Petite Sirène - Chanson des sirènes; Berceuse de la sirène (all Acc. by the Composer). 10” EL PW Eng. Col. D 13082, only form of issue, 1928. M-A, a gleaming copy. MB 75

G113. CLAIRE CROIZA, w.Albert Roussel (Pf.): Deux Melodies - Sarabande (Acc. by the Composer) (Croiza was the dedicatée of this Cycle, which she premièred 9 Dec., 1928, Paris / w.Francis Poulenc (Pf.): Ariettes oubliées - Il pleure dans mon coeur (Debussy). 10" EL PW French Col. D 13084, only form of issue, 1928. M-A, a gleaming copy. MB 65

G114. CLAIRE CROIZA, w.George Reeves (Pf.): Jardin d'amour (Vuillermoz) / L'amour de moy (arr. Tiersot). 10" EL PW French Col. LF 61, POM-1930. M-A, a gleaming copy. MB 50

G115. CLAIRE CROIZA, w.Francis Poulenc (Pf.): L'invitation au voyage (Duparc) / Le Bestiaire, ou Le cortège d’Orphée (Acc. by the Composer). 12” EL PW French Col. D 15041, POM-1928. M-A, a gleaming copy. MB 45

“It may come as a surprise to some (it did to me) that Claire Croiza, universally acknowledged as one of the high priestesses of French art song, dedicated the first half of her career to opera….It was not until after World War I that Croiza essentially forsook the opera house and, becoming a champion of modern French music, dedicated herself almost exclusively to the recital hall.” - Victor Girard, Marston Program notes

G116. CLAIRE CROIZA, w.de Vocht Cond. Anvers Ensemble; van Hertbruggen: Judith (Honegger), 4s. 2-12” EL PW Eng. Col. D 15240/41, POM-1929. M-A, a gleaming copy. MB 30, the Pair.

G117. CLAIRE CROIZA, w.de Vocht Cond. Anvers Ensemble; van Hertbruggen & van Steenbergen: LES CHOÉPHORES - L'Orestie d'Eschyle (Milhaud). 2-12” EL PW Eng. Col. D 15242/43, POM-1929. M-A, a gleaming copy. MB 30, the Pair.

"The program...also included LES CHOÉPHORES with Claire Croiza magnificently playing the speaking rôle. The same success was repeated in Paris. Like the Belgian audience, the Parisians appeared chiefly impressed by the exaltation and power of the voices under the electrifying direction of de Vocht, whose fervor and enthusiasm had a superhuman effect. It was after this performance that Columbia made recordings of extracts from LES CHOÉPHORES..." - Darius Milhaud, NOTES WITHOUT MUSIC, p.46 G118. CLAIRE CROIZA, w.Ivana Meedintiano (Pf.): Trois Ballades de Villon - Ballade que Villon fait à la requeste de sa mère / Deux Romances - Les Cloches; Les Angélus (all Debussy). 12” EL Lumen 32.045, only form of issue, 1936. M-A, a gleaming copy. MB 65

G119. CHARLOTTE MELLOT-JOUBERT, w.Le Boucher (Pf.): Die Schöne Müllerin - 3 Excerpts (in French) (Schubert), 2s. 10" EL PW French Col. D12034. M-A, a gleaming copy. MB 15

G120. AGNÈS CAPRI, w.France Olivier (Pf.): Dans la sciure (Doser) / Le Naturaliste (Honegger); La Grande Opéra (Karveno). 10" EL Boîte à Musique V.505, only form of issue, 1948. M-A, a gleaming copy. MB 25

"Agnès Capri was born in 1915, L'Arbresle, Rhône. She first studied drama with Charles Dullin and Louis Jouvet, and learned revolutionary ideas, becoming a member of the Association of Revolutionary Writers and Artists. In 1935, she embarked on the Boeuf sur le Toit Cabaret opened at the initiative of Jean Cocteau, where her success was immediate, and all Paris rushed to listen to this young woman whose voice and direction were quickly recognized. She caused a scandal on Easter Sunday by reciting a poem by Jacques Prévert ‘Our Father which art in heaven, stay there.’ Before opening her own place in 1938, Capricorn, in Paris, where she hosted many surrealist artists and friends such as Jacques Prévert, Michel Vaucaire, Joseph Kosma, and Germaine Montero. Always interpreting the work of Jacques Prévert, she created, ‘The big guy’, for which she wrote the lyrics, and recorded it that year. The arrival of German troops forced her to close the Capricorn. Pursued, she left France for Algiers. She presented and hosted performances in Algiers, then with the assistance of Jacques Canetti, the great talent scout, she returned to Paris in 1944, and created her Théâtre Agnès Capri which presented, among others, Catherine Sauvage, Cora Vaucaire, Mouloudji, Serge Reggiani and Jacques Brothers, all of whom won their first successes, but competition rendered it closed in 1958. Agnès Capri, author of many songs (‘The Great Opera’, ‘Lets talk about Jacob'), may truly be considered one of the pioneers of women in song.”

G121. IRENE JOACHIM, w.Jane Bathori (Pf.): L'Échelonnement des haies; Ariettes Oubliées - Green (Aquerelle #1) / Trois Chansons de Bilitis – La flûte de Pan; La cheveleure; Le tombeau des Naïades (all Debussy). 2–10" EL Boîte à Musique 54/55, only form of issue, 1948. M-A, a gleaming copy. MB 45, the Pair.

G122. IRÈNE JOACHIM, w.Jane Bathori (Pf.): L'Échelonnement des haies; Ariettes Oubliées - Green (Aquerelle #1) / Trois Chansons de Bilitis - Le tombeau des Naïades (all Debussy). 10" EL Boîte à Musique 55, only form of issue, 1948. M-A, a gleaming copy. MB 25

G123. IRÈNE JOACHIM, w.Jean Germain (Pf.): Réponse d’une épouse sage (Roussel) / La chanson de Tessa (Jaubert). 10" EL Boîte à Musique 48, only form of issue, 1948. M-A, a gleaming copy. MB 25

G124. IRÈNE JOACHIM, w.Ludwig Bergmann (Pf.): An Chloe / Dans un bois solitaire (both Mozart). 10” EL LVSM DA 4917, only form of issue, 1938. M-A, a gleaming copy. MB 20

G125. IRÈNE JOACHIM, w.Ludwig Bergmann (Pf.): O wüsst’ ich doch den Weg zurück / Am Sonntag Morgen; Wie Melodien zieht es mir (all Brahms). 12” EL plum Disque Gram. L-1055, only form of issue, 1938. M-A, a gleaming copy. MB 35

G126. IRÈNE JOACHIM, w.Leibowitz Cond.: Four Songs, Op.2 (Berg), 2s. 12” EL French Classic 2.084, only form of issue, 1949. M-A, a gleaming copy. MB 25

“Daughter of Herman Joachim and Suzanne Chaigneau, and grand-daughter of the violinist Joseph Joachim, Irène Joachim made her debut at the Opéra-Comique on 2 February, 1939. She is probably best remembered for her interpretation of Mélisande in PELLÉAS ET MÉLISANDE which she sang at the Opéra-Comique in 1940, 1949 and 1952, a rôle she recorded in 1942 under Roger Désormière. Irène Joachim also sang German lied (Schubert, Schumann, Berg): she won a 'Grand Prix du disque' in 1959 for her recording of lieder by Carl Maria von Weber (with Hélène Boschi at the piano). She was renowned for her impeccable diction, and was for many years a professeur of singing at the Conservatoire de Paris.”

G127. SOPHIE WYSS: Au clair de la lune / Il était une bergère (both French folk). 10” EL red Eng. Decca M.497. M-A, lovely copy has sev. tiny closed pressing blisters, ltly audible. MB 8

G128. SOPHIE WYSS, w.Kathleen Long (Pf.): La Bonne Chanson (Fauré), 9s / Sd. 10 = w.Josephine Southey-John (Pf.): L’échelonnement des haïes (Debussy); Nicolette (Ravel). 5–10” EL dark-blue Eng. Decca AF.9414/18. M-A, gleaming copy has, Sd. 3 only, infinitesimal pap. scr, inaud. MB 35

G129. SOPHIE WYSS, w.Josephine Southey-John (Pf.): Les berceaux (Fauré) / Villanelle des petits canards (Chabrier). 10” EL red Eng. Decca M.529. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

G130. SOPHIE WYSS, w.Benjamin Britten (Pf.): Le Roi n’en va-t-en chasse / La belle est au jardin d’amour (both French folk). Sophie Wyss, the Swiss soprano, premièred with the composer at Wigmore Hall, 30 Jan., 1940, was the dedicatée of Britten’s ‘Les Illuminations’.10” EL red Eng. Decca M.568. M-A MB 12

G131. MADELEINE MARTINETTI, w.Marcel Delannoy (Pf.): Le bateau à soupe – Nanou filhadoue (Méodie en forme de rumba) / Ginèvre – Berceuse du Grillon (both (Acc. by the Composer). 10” EL French Col. LF 254, only form of issue, 1947. M-A, a gleaming copy. Exceedingly elusive! MB 45

G132. MADELEINE MARTINETTI, w.Madge Wilmot (Pf.): La chanson de Tessa (Jaubert) / L’esclave (Lalo). 10” EL French Col. LF 252, only form of issue, 1946. M-A, a gleaming copy. Elusive! MB 35

G133. MADELEINE MARTINETTI, w.Margaret Azaïs (Pf.): Flavio – Amor, nel mio penar (Handel) / Amouri (John Blow). 10” EL French Col. LF 237, only form of issue, 1946. M-A, a gleaming copy. MB 25 G134. MADELEINE MARTINETTI, w.Honegger Cond.: Poème de Verlaine; Poème de William Aguet / Psaume 130 – Mimaamaquan (all Cond. by the Composer). 12” EL French Col. LFX 741, only form of issue, 26 June, 1947. M-A, a gleaming copy. MB 20

G135. SOLANGE RENAUX, w.Andolfi Cond.: Mandrin – Stances d’Isabelle / Chanson d’Isabelle (Szulc). 10” EL dark-blue Pathé PA 469, only form of issue, 1934. M-A, gleaming copy has, Sd. 1 only, infinitesimal pap. scr, faintly audible 3 turns. Sd.1 truly exquisitely beautiful! MB 12

G136. SOLANGE RENAUX, w.Cauchie Cond.: Roland – Par le secours / Persée – O Mort! (both Lully). 12” EL Col. MasterWorks P-9154-M, POM-1935. M-A, a gleaming copy. MB 12

G137. MARGUERITE MÉRENTIÉ: Salammbó – Les colombes (Reyer) / Le Cid – Pleurez, mes yeux (Massenet). 13½” AC US grey paper label H & D Pathé 80010 (0040/41), recorded 1911, Paris. M-A MB 25

“Marguerite Mérentié had been an immediate success. She made a most promising début at the Opéra in 1905 in the rôle of Chimène in LE CID, just one year after graduating from the Conservatoire national with first prize for singing and second prize for opera. She sang progressively heavier rôles at the Opéra, especially in contemporary French works, notably Ariane in the Massenet opera of the same name in 1907, and Salammbô in the same year. She became a noted Wagnerian, starting with Sieglinde in 1907, before going on to Brünnhilde and Isolde just before the First World War put a stop to opera in Paris and directly or indirectly to Mérentié’s own career. In the meantime, she had spent a few years at the Opéra-Comique, singing notably Carmen, which she recorded complete in 1911. In 1910 she sang Ariane in ARIANE ET BARBE-BLEUE, and later that year her first Tosca. In 1911 she created the title rôle in Albéric Magnard’s BÉRÉNICE.” Back at the Opéra, in 1912, she again sang Chimène in LE CID. Switching to the Gaîté Lyrique in April, she created the rôle of Naïl in Isidore de Lara’s opera of the same name. In 1913, she participated in the Opéra creation of Lalo’s SORTILÈGE, where she is said to have sung with real power and accuracy. A month later she was singing Armide, then in March her first Brünnhilde in LA VALKYRIE. In Paris she was regarded with the highest esteem. Mérentié left relatively few records.” - John Humbley, Program notes to Marston’s LES FRÈRES DANILO

G138. SUZANNE BALGUERIE: Ariane et Barbe Bleue - Oh! mes clairs diamants / Ah! ce n'est pas encore la clarté véritable (Dukas). 12” EL PW Eng.Col. LFX 23. M-A, a gleaming copy. MB 25

G139. SUZANNE BALGUERIE: Ariane et Barbe Bleue - Oh! mes clairs diamants / Voici la clef de votre aurore (Dukas). 12” AC PW Disque Gram. W 577, only form of issue, 16 June, 1924 – most elusive, late AC issue. M-A MB 85

G140. SUZANNE BALGUERIE: Alceste – Non! ce n’est pas un sacrifice (Gluck), 2s. 10” EL PW Eng.Col.LF 54. M-A, a gleaming copy. MB 25

G141. SUZANNE BALGUERIE: Iphigénie en Tauride – O malheureuse Iphigénie / Alceste – Divinités du Styx (both Gluck). 12" EL red Eng. Decca-Polydor LY.6065, POM-1932/’31, resp. M-A MB 15

G142. SUZANNE BALGUERIE: Tristan – Liebestod (in French), 2s. 10" EL PW black French Polydor 561.054, only form of issue, 1932. M-A MB 45

G143. SUZANNE BALGUERIE, w.Wolff Cond.: Tannhäuser – Allmacht'ge Jungfrau / Lohengrin - Einsam in trüben Tagen (both in French). 12” EL PW black French Poydor 566104, only form of issue, 1931. M-A, gleaming copy has, Sd. 1 only, 2 infinitesimal pap. scrs, positively inaud. MB 35

“Balguerie made her début at the Opéra-Comique as Ariane in Dukas’ ARIANE ET BARBE-BLEU. She remained a member of this opera house for more than twenty years, but she also appeared at the Paris Grand Opéra. She sang leading rôles in several contemporary French operas by composers such as Alfred Bachelet, Milhaud, Léo Sachs and Henri Rabaud. She was successful as Isolde at the Opéra-Comique, and her repertory also included Donna Anna, Contessa in LE NOZZE DI FIGARO, Brünnhilde in DIE WALKÜRE, Antonia, Marguerite, Tosca and Pénélope (Fauré). She was admired by the French public in Paris, Toulouse, Bordeaux, Monte Carlo and rarely appeared outside France. She finished her career in 1950 and became a renowned coach at the conservatory of Grenoble.”

G144. LUCY PERELLI: Mignon – Connais-tu le pays? / LOUIS MUSY: Hérodiade – Vision fugitive. 10" EL black Disque Gram. P-762, only form of issue, 24 Nov. / 27 Oct., 1927. M A/A-, lovely copy has, Sd. 2 only, sev infinitessimal pap. scrs, inaud. MB 12

G145. LUCY PERELLI: La Favorite – O mon Fernand / Samson et Dalila – Amour viens aider ma faiblesse. 12" EL black Disque Gram. W-1161, only form of issue, c.1930. M A MB 12

G146. LUCY PERELLI: Samson et Dalila – Mon coeur s’ouvre à ta voix / LUCY PERELLI & ÉMILE MARCELIN: Lakmé – C’est le Dieu de la jeunesse. 10" EL black Disque Gram. P-678, only form of issue, 21 Oct., 1926. M A, lovely copy has minor adhesive on labels. MB 12

G147. LUCY PERELLI: Carmen – Les tringles des sistres tintaient / LUCY PERELLI & ÉMILE MARCELIN: Non, tu ne m’aimes pas. 12" EL black Disque Gram. W-836, only form of issue, 27 Oct. / 30 Sept., 1926. M A/A, lovely copy has, Sd 2 only, hint of grey on peaks. MB 12

G148. YVONNE GALL: Ave Maria (Bach-Gounod) (in Latin) / Ave Maria (Schubert) (in English). 10” AC brown Pathé Actuelle 025102, recorded 1919-20. M-A, a gleaming copy. MB 12

G149. YVONNE GALL, w.Simone Petit (Pf.): Pour ta fête; Du haut de l’arbre / Devant le bazar aux jouets; Mon bon chien (all Büsser). 10” EL PW dark-blue Col. DF 930. M-A, a gleaming copy. Exceedingly elusive! MB 20 G150. EMMA CALVÉ: Le message suprême (Deathbed Message), 4 Jan., 1942 / Où voulez-vous aller? (Gounod) – recorded 1920, Pathé. 12” EL / AC Société Française de Gramophilie AFG 2, Numbered Copy #252 of a Limited Edition. M-A MB 50

“On 2 January, 1942, three days before her death, Michel de Bry recorded the voice of Calvé reciting, most beautifully, in subdued though emotionally charged tones, two passages from her autobiography ‘Sous tous les ciels j’ai chanté’. A rare record…it is a moving experience.” - Michael Aspinall, THE RECORD COLLECTOR, 2008

“In fact, the ‘message’ is simply [Calvé’s] reading from pages 262-3 of her book….It takes the form of a diary of events in her life between 1891 to 1938. The section she reads concerns a war-charity concert she gave in New York in 1916 and was written one o’clock in the morning on board the ship returning to France immediately afterwards….She was taken to the boat knowing she had raised $50,000 for the charity. She then says how she would sleep contentedly knowing she had done her duty to France….The last few sentences, read out in a tired voice, do sound like someone dying, but in fact I’m sure she is simply acting her part….Her reading is taken almost word for word from the book. It is interesting all the same, but not quite so morbid as the myth!” - Richard Copeman, THE RECORD COLLECTOR, 1994

G151. EMMA CALVÉ: In questa tomba oscura (Beethoven) / Carmen – En vain pour éviter. 10” AC orange IRCC 85, RRs-1920, Pathé. M-A MB 15

G152. EMMA CALVÉ: In questa tomba oscura (Beethoven); Derniers voeux (Hahn) / Norma - Casta Diva. 12” AC vinyl black IRCC 3141, RRs-1920, Pathé. M-A MB 10

G153. EMMA CALVÉ: Ma Lisette (18th Century); Le printemps (Gounod). 12” AC RCA Vla 88123, choice mid-1930s Elaine pressing, POM-6 March, 1908, Never Doubled in any regular series. M-A MB 20

"[In the above], hear one of the miracles of singing snatched by the early gramophone. In the folksong Ma Lisette, Calvé makes her famous leap up to a high, pianissimo D that is one of those notes from what she called her 'fourth voice'. She had learned the technique, she claimed, from Domenico Mustafa, one of the last of the Papal castrati. What is remarkable about the note is its fullness despite its quietness." - Patrick O'Connor, INTERNATIONAL CLASSIC RECORD COLLECTOR, Autumn, 1997

G154. EMMA CALVÉ: Ma Lisette (18th Century); Le printemps (Gounod) / Sérénade du passant; Sapho – O Magali (in Provençal; introduced by Calvé into Massenet’s SAPHO (both Massenet). 12” AC silver Victor IRCC 134, POM-6 March, 1908 / RR-1902. Numbered Copy #65 of Limited Edition. M-A MB 25

G155. EMMA CALVÉ: Où voulez-vous aller (Gounod) / Carmen – Les tringles des sistres tintaient (both 1920 Versions). 11¾” AC grey US-H & D Pathé 59090 (2370/2304), both only form of issue, 1920. A-/A, lovely copy has, Sd.1 only, lt. rubs, inaud. MB 15

G156. EMMA CALVÉ: Chantez, riez, dormez (Gounod) (1920 Version) / Les Contes d’Hoffmann – Belle nuit, o nuit d’amour. 11¾” AC green H & D Pathé 0275 (2318/2303), only form of issue, 1920. M-A, a gleaming copy. MB 20

G157. EMMA CALVÉ: Chantez, riez, dormez (Gounod) (1ST 1908 Version). 12” AC Pat.’08 Vla 88119 (‘Take’ 1), only form of issue, 9 March, 1908. M-A MB 10

G158. EMMA CALVÉ: Chantez, riez, dormez (Gounod) (2ND 1908 Version). 12” AC Pat.’12 Vla 88119 (‘Take’ 2), POM-9 March, 1908; Never Doubled. M-A MB 10

G159. EMMA CALVÉ: Chantez, riez, dormez (Gounod) (1916 Version). 12” AC Vla 88119 (‘Take’ 9), POM-6 June, 1916. M-A MB 8

G160. EMMA CALVÉ: Plaisir d'amour (Martini). 12” AC GP V 88134, POM-6 March, 1908. Most Elusive in this original pressing which enjoyed a brief catalogue life. M-A, choice copy has faintest pap. rub, inaud. MB 30

G161. EMMA CALVÉ: Plaisir d'amour (Martini) / La Rosilla (Canción española) (Yradier). 12” AC Historic Catalogue #2 HMV DB 124, POM-6 March, 1908. A/M-A, choice copy has, Sd. 1 only, infinitesimal pap. scr, inaud. MB 20

“On the same exalted level is [Calvé’s] superb singing of ‘Plaisir d’amour’ in a very plain version, shorn of all ornament, relying entirely on the perfectly floated vocal line and infinite shadings of volume. This is one of the greatest examples of legato singing that I know, and I can understand why Calvé herself gasps an ecstatic ‘Ooh!’ at the end, overwhelmed by her own artistry.” - Michael Aspinall, THE RECORD COLLECTOR, 2008

G162. EMMA CALVÉ: La Rosilla (Canción española) (Yradier). 12” AC HMV 063003, POM-6 March, 1908. M-A, choice copy of this rarity, although recorded at Camden, this never appeared on Victor. MB 45

G163. EMMA CALVÉ: Trois chansons pour les tous petits. 12” AC V 88572, POM-6 June, 1916. A to M-A, lovely copy has faintest pap. rub, inaud.; tiny label tear. MB 15

“…If you would hear almost all the riches that Calvé has to give, on one record, play [the above]….no one save a very great artist could get them over with such humour, such a sense of drama, and such lovely tone in all her several voices. We may never listen to her like again….” - Cedric Wallis, THE AMERICAN MUSIC LOVER, July, 1936

G164. EMMA CALVÉ: La Marseillaise (de l'Isle). 12” AC Vla 88570, POM-8 June, 1916. A to M-A, lovely copy has mere hint of grey on peaks. MB 8 G165. EMMA CALVÉ: Old folks at home (1907 Version) (Foster). 12” AC GP V 88089, only form of issue, 22 April, 1907. A-, lovely copy has lt. rubs, inaud.; faint nr on label. MB 10

G166. EMMA CALVÉ: Old folks at home (1916 Version) (Foster). 12” AC V 88089, POM-8 June, 1916. M-A MB 10

“In all her records, [Calvé’s] mastery of the legato style is evident, and when she chooses to show off her long line and her haunting pianissimo in ‘The Old Folks at Home’, even the muddy recording of the 1907 Victor cannot impair the thrill of such ravishing sounds….but there are also some memorable moments in the 1916 version for which she has carefully re-studied her phrasing and pronunciation.” - Michael Aspinall, THE RECORD COLLECTOR, 2008

G167. EMMA CALVÉ: Norma - Casta Diva / Sapho (Massenet) - Pendant un an je fus ta femme (Creator Record, 27 Nov., 1897, l’Opéra-Comique). 12” AC shellac black Collectors Record Shop CS 043200/01, RRs-1920, Pathé. M-A MB 10

G168. EMMA CALVÉ: Amadis de Gaule - Amour, que veux-tu de moi? (Lully) / Nozze - Voi che sapete (in French). 10" AC silver IRCC 196, RRs-1920, Pathé. Numbered Copy #26 of a Limited Edition; Calvé's Photo is affixed to Sd.2 label. M-A MB 20

G169. EMMA CALVÉ: Perle du Brésil – Charmant oiseau (‘Take’ 1), 1907 Version, w.Orch. & Flute). 12” AC GP V 89087, POM-22 April, 1907. M-A MB 12

G170. EMMA CALVÉ: Perle du Brésil – Charmant oiseau (‘Take’ 2), 1908 Version, w.Piano & Flute). 12” AC V 89087, POM-9 March, 1908. M-A, a gleaming copy. MB 12

G171. EMMA CALVÉ: Hérodiade – Il est doux, il est bon. 12” AC GP V 88130, POM-5 March, 1908. M-A MB 10

“Salome’s air from HÉRODIADE is a ‘desert-island disc’ for Massenet fans….the timbre of the voice is fresh and warm….and she never sings aggressively louder as she goes up the scale….she possessed a personal kind of feeling for the musical line together with a similar feeling for words, resulting in musical and dramatic eloquence.” - Michael Aspinall, THE RECORD COLLECTOR, 2008

G172. EMMA CALVÉ: Cavalleria – Voi lo sapete. 12” AC Pat.’08 Vla 88086, POM-22 April, 1907. M-A MB 10

G173. EMMA CALVÉ: Carmen - Habañera (1902 Version). 10" AC V Monarch 91000, Early "B" Plate Issue, (2058-R), POM-1902. A-B, very decent copy has numerous very lt. superficial scrs, inaud. MB 35

“What perfect singing [the above] is! The rich mezzo-soprano is as smooth as velvet, but there is an ocean of feeling beneath the even flow of creamy tone. These modern singers…should cease their would-be dramatic screams for a while and learn how to act with the voice and keep it beautiful at the same time.” - Cedric Wallis, THE AMERICAN MUSIC LOVER, July, 1936

G174. EMMA CALVÉ: Carmen - Habañera (1907 Version). 12” AC Pat.’12 Vla 88085, POM-22 April, 1907. M-A MB 8

G175. EMMA CALVÉ: Carmen - Habañera (1907 Version) / MATTIA BATTISTINI: Ernani – O sommo Carlo. 12” AC V 18144, POM-22 April, 1907 / 2 Sept., 1909. M-A MB 6

G176. EMMA CALVÉ: Carmen - Séguedille (2nd Version, described below). 10" AC GP V 91002, Early "E" Plate Issue, (2062-R2), POM-1902. A to M-A, lovely copy has infinitesimal nr, positively inaud. MB 25

“…in coming up to the final high note [above], Calvé had a small but noticeable disaster….This time Calvé's performance was still more intense. There was more dancing, and then the final phrase...emerged precisely as it had done before. 'Ah, Mon Dieu!' exclaimed Calvé through her teeth, and these words were also recorded. After that, they gave up on Carmen." - Jerrold Northrop Moore, A MATTER OF RECORDS, pp.73-74

G177. EMMA CALVÉ: Carmen – Les tringles des sistres tintaient. 12” AC Pat.’08 Vla 88124, POM-20 March, 1908. M-A MB 10

G178. EMMA CALVÉ & CHARLES DALMORES: Carmen - Là-bas dans la montagne. 12” AC Pat.'12 Vla 89019, POM-20 March, 1908, Never Doubled, USA. M-A MB 12

G179. EMMA CALVÉ, DIPPLE & JOURNET: Faust – Fragments, 15 Feb., 1902 / Emma Calvé, w.Bridewell & de Marchi: Cavalleria – Fragments, 22 Feb., 1902. 12” AC gold IRCC 163, RRs-Mapelson Cylinders, both from Actual Performances, Met Opera. Numbered Copy #51 of a Limited Edition. Photos of Calvé's Marguerite & Santuzza affixed to respective labels. M-A, lovely copy has, Sd. 1 only, tiny pap. rub, inaud. MB 35

“In CAVALLERIA RUSTICANA….She is singing intensely, with dark tone, and ascends easily to the higher-lying passages, but the great thing is to be able to hear her curse Turiddu….It is a spine-chilling moment.” - Michael Aspinall, THE RECORD COLLECTOR, 2008

G180. HÉLÈNE LUDOLPH, w.Herbert Dawson (Organ) & Gerald Moore (Pf.): Nuit d’étoiles (Debussy) / w.Herbert Dawson (Organ) & Cedric Sharpe (Cello): Atalanta – Care selve (Handel). 10” EL PW plum HMV B 8200. M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 12

“The Belgian-born Dutch soprano, Hélène Ludolph, moved after World War I, at young age, to Holland, where she settled down in Haarlem. In Holland, she received her entire musical training where her beautiful, shining voice and musicality were highly praised. Hélène Ludolph has sung - with great success - in opera, primarily 1930-41 with the Nederlandse Opera Ensemble.” G181. 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 gleaming copy. MB 20

G182. GERMAINE MARTINELLI, w.Wolff Cond.: Ottone - Vieni, o figlio / Xerxes - Ombra mai fu (both in French). 12” EL black French Polydor 566.101, only form of issue, 1930. M-A MB 15

G183. GERMAINE MARTINELLI, w.Wolff Cond.: Marie-Magdeleine - O bien-aimé / C’est ici même à cette place (Massenet). 12” EL PW black French Polydor 566.100, only form of issue, 1930. M-A, gleaming copy has very occasional faintest pap. rub, inaud. MB 20

“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

G184. GERMAINE MARTINELLI, w.Wolff Cond.: Aïda – Ritorna vincitor! / Otello – Ave Maria (both in French). 12” EL black French Polydor 566.112, only form of issue, 1930. M-A, lovely copy has a few ‘damp’ spots, inaud. MB 15

G185. GERMAINE MARTINELLI, w.Wolff Cond.: Werther – Va! laisse-les couler / Tosca – Vissi d’arte (in French). 10” EL PW black French Polydor 561.065, only form of issue, 1930. M-A, a gleaming copy. MB 25

G186. GERMAINE MARTINELLI & RENÉ VERDIÈRE, w.Defosse Cond.: Il Trovatore – Miserere (in French), 2s. 10” EL French Odéon 188.043, only form of issue, 1930. M-A, a gleaming copy. MB 20

G187. GERMAINE MARTINELLI & GEORGES THILL, w.Bigot Cond.: Lohengrin – Das süsse Lied verhallt (in French), 4s. 2–12” EL Eng. Col. LFX 455/56, POM-10 Oct., 1936. A to M-A, lovely copy w.faintest pap. rub, inaud. MB 25, the Pair

“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

G188. FÉLIA LITVINNE: La Favorite – O mon Fernand / Samson et Dalila – Mon coeur s’ouvre à ta voix. 10¾” AC French Odéon 56220/19 (XP 5023/22), POM-1908. A-, lovely copy has faintest rubs & very occasional superficial scr, positively inaud. MB 35

G189. FÉLIA LITVINNE: Cavalleria – Voi lo sapete / Aïda – I sacri nomi (both in French). 12” AC vinyl Historic Masters HMB 10, POM-1905, (10¾” record pressed onto a 12” blank). MINT MB 12

G190. FÉLIA LITVINNE: L'Africaine – Sur mes genoux / Lohengrin – Einsam in trüben Tagen (in French). 10¾" AC brown German Odeon X 39218 / 39182 (xPh 695/676), POM-1905. M-A, choice copy of preferred 1930's Pressing, produced for IRCC. MB 45

“…[one] had never heard another voice like Litvinne’s, for fullness of the sound itself, for the enchanting timbre, for the softness and the richness of the range of colourings, or for such music in the sound itself and its overtones….In each rôle, Litvinne’s voice seemed made for that particular rôle: in every sound was the music of the particular character. Irrespective of the tessitura and language in which she was singing, the articulation of every word was clear and somehow transparent….Every phrase was alive with her temperament and involvement….” - Sergei Levik, THE LEVIK MEMOIRS, p. 307

G191. SUZANNE JUYOL, w.Bigot Cond.: Faust – Le roi de Thulé / Air des bijoux. 12” EL LVSM DB 11.178, only form of issue, 1947. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10

G192. SUZANNE JUYOL, w.Bigot Cond.: Carmen – Les tringles des sistres tintaient / Habañera. 12” EL LVSM DB 11.192, only form of issue, 1947. M-A MB 12

G193. SUZANNE JUYOL, w.Fourestier Cond.: Le Roi d’Ys – Lorsque je t’ai vu / Tosca – Vissi d’arte (in French). 12” EL LVSM DB 11.203, only form of issue, 1947. M-A MB 12

G194. SUZANNE JUYOL, w.Fourestier Cond.: La Damnation de Faust – Autrefois un roi de Thulé / D’amour l’ardente flamme. 12” EL LVSM DB 11.188, only form of issue, 1947. A to M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 10

“Suzanne Juyol,the leading dramatic soprano of her era in France, made her professional début at the Palais Garnier, in 1942, as Margared in LE ROI D'YS, followed by Fauré's PÉNÉLOPE, Dukas' ARIADNE, Marguerite in Berlioz's LA DAMNATION DE FAUST and in Gounod's FAUST. Her début at the Opéra-Comique took place in 1946, as Charlotte in WERTHER; other rôles included: Carmen, Tosca, Santuzza in CAVALLERIA RUSTICANA, etc. She made her début at the Monte Carlo Opera in 1947, where she began singing Wagner rôles such as Kundry, the two Brünhildes and Ortrud. The success was such that she was invited to sing at the Berlin Staatsoper in TRISTAN UND ISOLDE, opposite Max Lorenz, in 1951. Just as an international career was in the making, Suzanne Juyol retired from the stage in 1960, aged only 40. She was married to Victor Serventi, a voice teacher at the Paris Opéra.”

G195. LAURE TESSANDRA, w.Defosse Cond.: Samson et Dalila – Mon coeur s’ouvre à ta voix / Il Trovatore – Stride la vampa (in French). 10” EL French Odéon 188.030. M-A MB 12 G196. ELEN DOSIA, w.Fourestier Cond. l'Opéra Orch.: Thaïs - L'amour est une vertu rare / Dis moi que je suis belle. 12” EL LVSM DB 11.225, only form of issue, 1948. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

“Elen Dosia, (born Hélène Odette Zygomala, sometimes known as Ellen Dosia), was a French opera singer of Greek origin. Dosia was born in Constantinople. She became a soprano singer, and enjoyed her first major success at age 20 with the title part in TOSCA. She quickly became one of the most popular singers at Opéra Garnier and Opéra-Comique, where she performed from 1935 through 1952. She appeared often in Massenet operas, performing in MANON and THAÏS, and appearing at the 1942 Massenet Gala singing the title rôle in a tableaux of ESCLARMONDE. In 1947 Dosia débuted at the Metropolitan Opera, again playing Tosca. She retired from the stage in 1952, and then concentrated on her family life.”

G197. HÉLÈNE BOUVIER, w.Bigot Cond. Lamoureux Orch.: Werther – Va! laisse-les couler, 2s. 10" EL Pathé PD 44, only form of issue, 1943. M-A, choice copy has, Sd. 2 only, tiny label tear. MB 15

G198. HÉLENE BOUVIER, w.Fourestier Cond. l'Opéra Orch.: Samson et Dalila - Printemps qui commence / Amour viens aider ma faiblesse. 12” EL Pathé PDT 188, only form of issue, 1943, not from any set. M-A MB 15

G199. MARCELLE DENYA, w.G.Courquin Fils Cond.: Les cent vièrges / Le jour et la nuit (both Lecocq). 10” EL dark-blue French Ultraphone AP 534. A to M-A MB 15

G200. BLANCHE ARRAL: El Bolero grande (Vasseur) / PAULINE DONALDA: Faust - Air des bijoux. 10" AC silver Victor IRCC 46, POM-19 March, 1909/9 July, 1906, resp. Numbered Copy #33 of an Limited Edition. Each Label is Autographed by the respective Artist, to which her Photo is affixed. M-A MB 45

G201. BLANCHE ARRAL: La véritable manola (Bourgeois) / Manon - Au Cours-la-Reine. 12” AC red & gold IRCC 100, RRs-1908, from Edison cylinders, Sd.2 Unpublished. Numbered Copy #60 of a Limited Edition. Sd. 2 label Autographed by Arral, but her photo is missing. M-A MB 25

G202. BLANCHE ARRAL: L’Amour Mouillé - Valse d’oiseau (Varney). 10” AC Pat.’12 V 64099, POM-19 March, 1909, Never Doubled. M-A MB 12

G203. BLANCHE ARRAL: Giroflé-Girofla - Le punch scintille (Lecocq) / Mignon - Je suis Titania. 12” AC pink IRCC 160, RRs-1908, Edison Cylinders. Sd.2 Label Autographed by Arral. M-A MB 25

G204. BLANCHE ARRAL: Der Bettelstudent – Le pauvre étudiant (Czardas) (Millöcker). 10” AC white Vla 64098, only form of issue, 18 March, 1909. A-, very decent copy has lt rubs & few isolated infinitesimal pap. scrs, inaud. MB 12

G205. BLANCHE ARRAL: Les Noces de Jeanette – Au bord du chemin (Air du rossignol) (Massé). 12” AC Pat.’08 V 74142, POM-19 March, 1909, only form of regular issue (other than AGS reissue). A-, lovely copy has few lt. rubs, inaud. 15

G206. BLANCHE ARRAL: Carmen - Je dis que rien ne m'épouvante / Le Coeur et la Main - Boléro (Lecocq). 12” AC yellow IRCC 135, RRs-1908, from Edison cylinders. Numbered Copy #46 of a Limited Edition; Sd.1 label Autographed by Arral, to which her photo is affixed. M-A MB 25

G207. BLANCHE ARRAL: Roméo – Je veux vivre. 12” AC Pat.’08 V 74151, POM-18 March, 1909, Never Doubled. M-A 15

G208. BLANCHE ARRAL: Faust – Air des bijoux. 12” AC Pat.’08 V 74147, POM-18 March, 1909, only form of shellac issue (other than vinyl RCA reissue). A-, lovely copy has few lt. rubs, inaud. 12

G209. BLANCHE ARRAL: I Lombardi – Quelle ivresse bonheur suprême. 12” AC white Vla 74146, POM-18 March, 1909. M-A MB 15

G210. BLANCHE ARRAL: I Lombardi – Quelle ivresse bonheur suprême / Faust - Air des Bijoux. 12” AC red vinyl Heritage RCA 15-1016, POM-18 March, 1909. M-A, as unplayed! MB 12

“[Arral’s] recordings show a technically well-trained virtuoso coloratura of the most beautiful quality, and bear the stamp of Marchesi training.” - Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.190

G211. BERNADETTE DELPRAT, w.Andolfi Cond.: Madama Butterfly – Un bel dì / Tosca – Vissi d'arte (both in French). 10" EL Pathé PD 5, only form of issue, 1934. M-A, lovely copy has, Sd.1 only, faintest pap.rubs, inaud. MB 15

G212. BERNADETTE DELPRAT & GEORGES THILL, w.Bigot Cond.: Tosca – Mario! Mario! . . Perchè chiuso (in French), 2s. 12” EL PW French Col. LFX 315, POM-25 April, 1933. M-A MB 15

“When, in 1935, [Vallin] began recording what was anticipated as a complete Louise, the relationship between her and Thill worsened to the point that, in utter fury, she walked out of the recording sessions, leaving Columbia with an incomplete and disjointed set of recordings. In order to salvage the project, Columbia called in Bernadette Delprat to record some of Louise's music in the finale of the opera.” - Vincent Giroud, Program notes to Marston’s Vallin Issue

G213. INÈS JOUGLET: Louise – Depuis le jour / L’Enfant Prodigue – Azaël! Pourquoi m’as tu quittée? 12” EL Eng. Col. LX 315. M-A, a gleaming copy. MB 12

G214. JULIANA FARKAS, w.Erede Cond.: Lakmé – Où va la jeune Indoue, 2s. 12” EL French Decca K.28262, only form of issue, 1949. M-A, a gleaming copy. MB 12 G215. BERTHE AUGUEZ de MONTALANT: La Charité (Rossini). 12” AC black Paris Pre-Dog 033069. A-, very decent copy has lt. rubs, inaud. MB 15

G216. BERTHE AUGUEZ de MONTALANT: Stabat Mater - Inflammatus (Rossini) / ALINE VALLANDRI & ANTONIO ROCCA: Lakmé – C‘est le Dieu de la jeunesse. 12” AC black Paris Pre-Dog 033047/020, POM-1908. A-, very decent copy has lt. rubs & superficial scrs, inaud. MB 12

G217. BERTHE AUGUEZ de MONTALANT & LÉON BEYLE: Marie-Magdeleine – Heureux ceux qui vivent dans l’amour (Massenet). 10” AC black Paris Pre-Dog G.C.-34220. M-A, Exceptional copy. MB 15

“Berthe de Montalant began a long and successful career as a concert soloist in works such as Berlioz’s L’ENFANCE DU CHRIST, ROMÉO ET JULIETTE, and LA DAMNATION DE FAUST. In 1892, she married Numa Auguez, a baritone who early in his career had sung comprimario parts at the Paris Opéra, but by the end of the 1880s had become a well-established concert singer, appearing regularly on the Lamoureux and Colonne programs. After their marriage, Berthe continued her career as Mme. Auguez de Montalant, and on 16 April 1899, she made her only appearance at the Opéra-Comique, substituting for Rose Caron as Fidelio. It should be mentioned here that her husband’s sister, Mathilde Auguez, was a light-soprano who had sung at the Opéra-Comique between 1887 and 1889. Some recent biographical sources have inadvertently confused and conflated the careers of these two very different sopranos. Berthe Auguez de Montalant made nearly 50 sides for French Gramophone, which display a powerful, dramatic voice that immediately commands the listener’s attention.” - Vincent Giroud, Program notes to Marston’s MEYERBEER ON RECORD

G218. JEANNE GUYLA, w.Mosse Cond.: Les jolies viennoises – Que je t'aime ô nid charmeur / w.MAX MOUTIA: Oh, ma Colombe; Trinquons, buvons, à nos amours (Air de la lettre) / (Johann Strauss, in French). 10” EL PW plum Disque Gram. K-7386, POM-1934. M-A, a gleaming copy. Exceedingly elusive! MB 20

G219. JEANNE GUYLA & ODETTE RICQUIER, w.Coppola Cond. Pasdeloup Orch.: La Damoiselle élue, 4s; Coppola Cond.: Printemps, 5s; Images – Cloches à travers les feuilles (all Debussy). 4-12” EL PW V 12051/54, POM-1934, in Orig. Album M-363. M-A MB 20, the Set.

G220. JEANNE GUYLA & MARTIAL SINGHER, w.Bret Cond.: Cantata #212 – Der Herr is mein getreuer Hirt (in French) (Bach), 4s. 2-12” EL PW Disque Gram. DB 4939/40, POM-28 March, 1934. M-A, Exemplary! MB 15, the Pair.

G221. ALICE ZEPPILLI: Manon – Obéissons quand leurs voix appellent / Les Contes d’Hoffmann – Les oiseaux dans la charmille. 10” AC Col. A1213, only form of issue, 14 March, 1912. M-A MB 10

“For an International artist with a repertory of about fifty rôles who usually sang in the best company, Zeppilli’s recorded output is tiny. Only two of the four sides recorded in her Chicago were released by Columbia….she made a worthwhile contribution to opera in the golden age.” - Michael F. Bott, THE RECORD COLLECTOR, 1983

G222. MARIE DELNA: Les Troyens – Chers Tyriens / FÉLIA LITVINNE: Adieu, Fière cité (Berlioz). 10” AC silver IRCC 200, RRs-1904. Numbered Copy #40 of a Limited Edition; Artists’ photos affixed to respective labels. M-A MB 15

G223. MARIE DELNA: La Vivandière – Viens avec nous, petit (Godard) / MARIE DELNA & ALBERT ALVAREZ: La Favorite – Viens, viens, je cède éperdu. 10” AC pink IRCC 88, RRs-1903/’05, Pathé, Sd.1 featuring Delna having performed the rôle first in Paris, 1 April, 1895, L’Opéra-Comique. Numbered Copy #10 of a Limited Edition; Artists’ photos affixed to respective labels. M-A MB 15

G224. MARIE DELNA: Werther – Va! laisse-les couler / GUILLAUME IBOS: Werther - Pourquoi me réveiller? (plus Ibos’ Autographe vocal, 1948). 12” AC Société Française de Gramophilie AFG 9, RR's-1907/'02, resp. Limited Edition. M-A, choice copy of Creator Record (French Version, 16 Jan., 1893, l’Opéra-Comique). MB 35

"Rehearsals [for the French première of WERTHER] began at the Opéra-Comique. The distribution of parts was superior even to my hopes, between Mlle Delna...and, furthermore, Ibos, the excellent tenor." - Jules Massenet, ECHO DE PARIS, Jan., 1893

G225. MIREILLE BERTHON: La Damnation de Faust – Autrefois un roi de Thulé, 2s. 10” EL PW black Disque Gram. P-806, only form of issue, 31 Oct., 1928. M-A MB 12

G226. MIREILLE BERTHON, w.Coppola Cond.: Otello – Salce, salce (in French), 2s. 10" EL PW black Disque Gram. P-815, only form of issue, 21 May, 1929. M-A, a gleaming copy. MB 15

G227. MIREILLE BERTHON & WILLY TUBIANA, w.Coppola Cond.: Faust – Scène de l’église, 2s. 12" EL PW black Disque Gram. W-880, only form of issue, 17 Nov., 1927. M-A MB 12

G228. IRENE PAVLOVSKA: I love you truly (Bond) / Long, long ago (Bayly). 10” AC blue Bruns.13014, only form of issue, 1920. A-, lovely copy has lt.rubs & very occasional superficial scr. MB 8

G229. IRENE PAVLOVSKA: Carmen – Habañera / La Boheme – Quando m’en vo. 10” AC blue Bruns.13004, only form of issue, 1920. Pavlovska’s sole recorded operatic titles. A to M-A, lovely copy has very occasional superficial scr, inaud.; Sd. 1 only has infinitesimal pressing bump. MB 10

“[Pavlovska, née Irène Lévi, born 17 Feb., 1889, St Jean, Québec] sang ‘a spirited, vivid, and impulsive Mercédès’ for the Montréal Opéra, 9 Nov., 1911, in a CARMEN featuring Fély Dereyne in the title rôle…with Edmond Clémont as Don José….’” - Jim McPherson, THE RECORD COLLECTOR, 1999 G230. FÉLY DEREYNE: Manon – Je marche sur tous les chemins / La Boheme – Quando m’en vo (in Italian, actually!). 10” AC Col. A1234, only form of issue, 12 April, 1912. M-A, a gleaming copy of Dereyne’s sole published disc. MB 15

G231. MARISE BEAUJON, w.Cohen Cond.: Hérodiade - Il est doux, il est bon / Charme des jours passés. 12” EL PW French Col. D.15095. A-/A, lovely copy has, beg. Sd. 1 only, 2 tiny edge scrs, faintly audible during first few turns. MB 10

G232. MARISE BEAUJON, w.Bigot Cond.: Madama Butterfly – Un bel dì / Tosca – Vissi d’arte (both in French). 12” EL PW French Col. LFX 76. M-A MB 10

G233. MARISE BEAUJON, w.Truc Cond.: Faust – Le Roi de Thulé / Air des bijoux. 12” EL Eng. Col. D15044. M-A MB 10

G234. MARISE BEAUJON & FRED BORDON, w.Grovlez Cond.: Faust – Scène de l’église, 2s. 12” EL PW French Col. D15045. M-A MB 12

G235. SUZANNE DANCO: Wohin / Die Forelle (both Schubert). 10” EL orange French Decca AG 658. M-A MB 12

G236. SUZANNE DANCO, w.Phyllis Spurr (Pf.): Amarilli (Caccini) / Deh piu a me non v’ascondete (Bononcini). 12” EL red Eng. Decca K.2070. M-A MB 8

G237. SUZANNE DANCO, w.Guido Agosti (Pf.): Chansons de Bilitis (Debussy), 2s. 12" EL orange Eng. Decca K.533. M-A MB 12

G238. SUZANNE DANCO, w.Guido Agosti (Pf.): Dichterliebe (Schumann), 6s. 3–12" EL red Eng. Decca AK.2310/12. M-A, a gleaming copy. MB 25

G239. SUZANNE DANCO, w.Ansermet Cond. Paris Conservatoire Orch.: Shéhérazade (Ravel), 4s. 2-12” EL red Eng. Decca AK.1966/67. M-A MB 15

"[Danco's] performance in [Shéhérazade] has been described as 'ravishing': surely no other word could describe adequately the magnificent singing of these poems....she has long had an enviable reputation as being one of the few great bel canto singers of to-day." - Roger Musgrave, RECORD NEWS, Aug., 1949

G240. SUZANNE DANCO, w.Perlea Cond.: Nozze – Voi che sapete / Così fan Tutte – Come scoglio. 12” EL beige French Decca GAG 1732. M-A MB 12

G241. SUZANNE DANCO, w.Perlea Cond.: Così fan Tutte – Per Pieta ben mio, 2s. 12” EL red Eng. Decca K.1815. M-A, lovely copy has, Sd. 2 only, infinitesimal nr, inaud. MB 10

G242. SUZANNE DANCO, w.Erede Cond.: Carmen – Je dis que rien ne m’épouvante, 2s. 12” EL orange Eng. Decca X.359. M-A MB 12

G243. SUZANNE DANCO, w.Erede Cond.: Manon – Adieu, notre petite table / Louise – Depuis le jour. 12” EL red Eng. Decca K.28310. M-A MB 12

G244. SUZANNE DANCO, w.Erede Cond.: La Traviata - Ah! fors’è lui / Sempre libera. 12” EL orange Eng. Decca KX.28311. M-A MB 12

“With a curious melding of a bright vocal timbre and a somewhat-reserved temperament, Suzanne Danco became a leading artist among the lyric sopranos of the 1940s and 1950s. She was a frequent visitor to the recording studio and left an appreciable legacy on disc, each one reflecting her high purpose and musical exactitude. Her choice of operatic rôles was wide-ranging, extending from Mozart to Alban Berg with several French heroines occupying a central place among them. After winning a prize in Vienna, she followed the advice of conductor Erich Kleiber and traveled to Prague to study with lyric tenor Fernando Carpi. Following a series of recitals in Italy in 1940, Danco's 1941 début as Fiordiligi attracted notice in Genoa and the rôle remained a central one in her subsequent career. She presented herself in the same part for a 1947 production at La Scala. Danco visited the United States on a recital tour with accompanist Paul Ulanowsky. For La Scala in 1947, she sang Ellen Orford in Milan's first performance of Britten's PETER GRIMES. In 1948, she presented her Jocasta in Stravinsky's OEDIPUS REX to La Scala audiences and in 1949, she ventured Marie in Berg's WOZZECK for the Teatro San Carlo, afterward declaring it a part holding no difficulties for her. At Rome, her Mélisande was acclaimed and she became a valued artist at the Edinburgh, Aix-en-Provence, and Glyndebourne festivals. In orchestral concerts, she was regarded as exemplary in Berlioz's LES NUITS D'ÉTÉ and Ravel's SHÉHÉRAZADE, both of which she commercially recorded. In her recital repertory, works by Berlioz, Gounod, Fauré, Chausson, Debussy, Ravel, and Poulenc alternated with ones by Schubert, Schumann, Berg, Schönberg, Falla, and Britten.” - Erik Eriksson, All Music Guide

G245. GRAZIELLA SCIUTTI, w.Gitton Cond.: Mozart – Excerpts (Reynaldo Hahn), 4s. 2–12” EL LVSM DB 11.255/56, only form of issue, 1952. M-A, a gleaming copy. MB 35, the Set.

G246. JEANNE FERENCZY & ALBERTO DE BASSINI: Carmen – Si tu m’aimes (Announced). 10” AC black & silver Col. 1247, only form of issue, 1903. A-, very decent copy has lt. rubs & few lt. mks. MB 15

G247. MARTHE COIFFIER, w.Bervily Cond.: Peer Gynt – Chanson de Solveig / Berceuse. 12” EL PW plum Disque Gramophone L-912, only form of issue, c.1930. M-A, lovely copy has adhesive on labels. MB 12

G248. MARTHE COIFFIER & GASTON REY, w.Carivan Cond.: Au temps des merveilleuses (Richepin), 2s. 12 EL PW dark-blue French Col. DFX 200, only form of issue, c.1931. M-A, a gleaming copy. MB 15 G249. ALICE VERLET: Le carnaval de Venise (Benedict), 2s. 10” AC etched label Edison H & D 83070 (3826/55), only form of issue, 1917. M-A, a gleaming copy. MB 12

G250. ALICE VERLET: Chanson d’amour (Hollman) / MARIE TIFFANY & MARIO LAURENTI: Don Giovanni – Là ci darem la mano. 10” AC etched label Edison H & D 82178 (6336/50), only form of issue, 1919/’20, resp. M-A MB 12

G251. ALICE VERLET: La vièrge à la crèche (Perilhou) / Mireille – O légère hirondelle (Gounod). 10” AC paper label Edison H & D 80750 (4297/3559), only form of issue, 1923. M-A, lovely copy has, Sd. 1 only, faintest pap. rub, inaud. MB 10

G252. ALICE VERLET: Chanson de Florian (Godard) / Arminio - Pur dicesti (Lotti). 10” AC etched label Edison H & D 83060 (4889/21), only form of issue, 1916/’17, resp. A-, very decent copy has few lt. mks. MB 15

G253. ALICE VERLET: Serenata (Tosti) / ALICE VERLET & ARTHUR MIDDLETON: Lucia – Se tradirmi tu potrai. 10” AC paper label Edison H & D 82312 (3548/4789), only form of issue, 1924. M-A MB 10

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

G254. ALICE VERLET: Le Toréador – Ah! vous dirai-je maman (Adam) / Roméo – Je veux vivre. 10” AC paper label Edison H & D 83051 (5465/6182), only form of issue, 1919. M-A, a gleaming copy. MB 10

G255. ALICE VERLET: Mignon – Je suis Titania / ALICE VERLET & RALPH ERROLE: Roméo – Ange adorable. 10” AC paper label Edison H & D 82211 (4245/5961), only form of issue, 1921/’20, resp. M-A, a gleaming copy. MB 10

G256. ALICE VERLET: Ernani – Ernani, involami / Harry Humphrey: Explanatory talk. 10” AC etched label Edison H & D 82084 (4709/5657), only form of issue, 1917. M-A MB 12

G257. ALICE VERLET & GIOVANNI ZENATELLO: La Boheme – O soave fanciulla / Harry Humphrey: Explanatory talk. . 10” AC etched label Edison H & D 83057 (4836/4972), only form of issue, 1917. A to M-A MB 15

G258. ALICE VERLET & MARY ZENTAY (Violin): Il Re Pastore – L’amaró saró costante / ARTHUR MIDDLETON: Scipione – Tutta raccolta ancor (Hear me! Ye winds and waves!) (in English) (Handel). 10” AC etched label Edison H & D 82217 (4853/7426), only form of issue, 1920/’21, resp. M-A MB 15

G259. ALICE VERLET & RALPH ERROLE: Roméo – Ah! ne fuis pas encore! / ALICE VERLET & ANITA RIO: Norma – Mira, o Norma. 10” AC paper label Edison H & D 82299 (5967/4041), only form of issue, 1923. M-A, a gleaming copy. MB 10

“Verlet made her début at the Opéra-Comique in 1894 as Philine in Thomas' MIGNON. From that point forward, Verlet enjoyed a successful career, particularly in Francophone Europe. Her début at the Monnaie in Brussels took place on 7 September, 1901 in RIGOLETTO; she remained a member of that company for the balance of the season and later would make periodic appearances there. 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. In 1905 and 1906, Verlet played the Naiad in the first modern revival of Gluck's ARMIDE in Paris. Other cast members included Lucienne Bréval, Agustarello Affre, Dinh Gilly, and Geneviève Vix. Two years later, she was at the Théâtre de la Gaîté-Lyrique for a run of LAKMÉ with David Devriès and Félix Vieuille. Verlet made her London début in the Thomas Beecham Opera Comique Season at His Majesty's Theater. As in her Paris Opéra debut, the opera was DIE ENTFÜHRUNG AUS DEM SERAIL, but now Verlet played Constanze opposite Maggie Teyte as Blonde and Robert Radford as Osmin, all under Beecham's baton. Verlet’s U.S. début was in 1896, followed by.her New York début at Carnegie Hall.] Some twenty-five years later, ending a concert tour, Verlet would revisit that hall on 17 March, 1922. Although primarily a concert singer in the United States, Verlet did perform some opera. In 1915 the Chicago Opera engaged her as Philine in several performances of Thomas's MIGNON. Also in the cast were Conchita Supervia, Charles Dalmorès, and Marcel Journet. She also performed with the Boston Opera. The sort of elaborate ornamentation in which she excelled having fallen out of fashion, Verlet retired from performing in 1920. Thereafter, she taught voice until her death in Paris in 1934. Verlet made both vertical and lateral cut recordings in Europe, and in the United States the Victor Talking Machine Company issued some of her European lateral records, but Verlet was most closely associated with the Edison company and its diamond discs.”

G260. MARY BOYER: Quand l’amour meurt (Crémieux). 10” AC black & silver Col. 50549, POM-1905. M-A, lovely copy has 2 wee edge lams, appearing playing side only. MB 20

G261. MARY BOYER: La Boheme – Mi chiamano Mimi (in French) / Mme Allens: Pour ton amour (Bosc). 10” AC black Col. E478, POM-1905. M-A, lovely copy has has, Sd. 1 only, infinitesimal pap. scr, inaud. MB 8

G262. SOLANGE MICHEL, w.Michel Dens, Lina Dachary, Marguerite Legouhy, Joseph Peyron, René Ronsil, Germain, Bonté, etc.; Gressier Cond.: La Fille de Mme Angot – Excerpts (Lecocq), 12s. 6–10” EL Pathé PG 125/30, POM-1950. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 50

G263. EDMÉE FAVART: La Fille de Mme Angot – Tournez, tournez / Chanson politique (Lecocq). 11½” AC H & D brown paper label Pathé 2552, recorded 1921. A-, lovely copy has hint of grey on peaks. MB 10

G264. EDMÉE FAVART: Le Petit Duc – Rondo de la paysanne (Lecocq) / Les Travaux d’Hercule – Air du rire (Terrasse). 10” EL green Pathé PG 28, only form of issue, 1934. Exuding infectious charm! M-A, a gleaming copy. MB 15 G265. JEANNE MARIÉ de L’ISLE: Mignon – Connais-tu le pays / Prière (1906 Versions). 10” AC dark-green Paris Zonophone X-83080/77 (5927/6014). A to M-A MB 55

“Jeanne Marié de l’Isle made her L’Opéra-Comique début as Malika in LAKMÉ with the American-soprano, Marie Van Zandt, who had previously created the rôle of Lakmé. Coached by her aunt Célestine, the creator of Carmen, a fact which makes her recordings of special interest, Marié de l’Isle quickly established herself as a leading exponent of the part. Thanks also to Galli-Marié’s coaching, she was also a highly successful Mignon. Her most important rôle, however, was Charlotte in Massenet’s WERTHER, which she first sang for the 1903 revival, with Léon Beyle as Werther and Marguerite Carré as Sophie. Ten years after the Paris première, this new cast finally established the work’s masterpiece status. Though she never achieved the sensational fame of a Delna, she deserves to be remembered as one of the glories of French singing in the early years of the 20th century.

Marié de l’Isle has a light mezzo voice, free at the top; lacking the rich, contralto lower register of a Delna, she has to resort to chest coloring below the staff, though, by the standards of the time, she does not abuse it. These virtues are apparent in the MIGNON extracts, which one would like to think are a reflection of what Galli-Marié may have sounded like in 1866. ‘Connais-tu le pays’ is never oversung, and features an exquisite filé E-flat on ‘bleu’. Thomas’ abundant indications of dynamics (p, pp) and expression (dolce, sempre dolce) are scrupulously observed. The Act 3 prayer is done simply and movingly, also eschewing the lower options and ending on a middle B.” - Vincent Giroud, Program notes to Marston’s Delna Issue

G266. YVONNE GUILLET: Romance (Crénieux) / Sadko – Chanson indoue (Rimsky-Korsakov). 10” AC dark-blue Eng. Odeon 49.142. A to M-A, lovely copy has, Sd. 1 only, wee label tears. MB 10

G267. HUGUETTE GREGORY & GUY FERRANT / HUGUETTE GREGORY, GAY MURIEL & JANE MORLET: Ô Mon Bel Inconnu – Excerpts (Reynaldo Hahn) (Cond. by the Composer), 2s. (All-Creator Record) 10” EL dark-blue Pathé PA 64, only form of issue, 1933. M-A, a gleaming copy. MB 45

G268. FANELY REVOIL, Lucie Thelin, Jeanne Mattio, René Herent, André Balbon, Alban Derroja & René Bonneval; Désormière Cond. L’Opéra-Comique Ensemble: L’ÉTOILE – Excerpts (Chabrier), 10s. 5-10" EL Pathé PD 21/25, only form of issue, 1943. M-A MB 55

“L’Étoile's first major revival was on 10 April 1941 at the Opéra-Comique in Paris under Nazi occupation, with Fanely Revoil, René Hérent, Lillie Grandval and André Balbon, at which time the highlights of the score were recorded, conducted by Roger Désormière”

G269. HÉLÈNE RÉGELLY, w.Minssart Cond.: Les Cloches de Corneville – Vive le cidre de Normadie / GEORGES FOIX: Je regardais en l’air (Planquette). 10” EL red Decca-Odeon G-20602. A-, very decent copy has has lt. rubs, inaud. MB 6

G270. HÉLÈNE RÉGELLY, Morlet, Morel, Henry-Laverne, Hirigaray & Duvaleix; w.Minssart Cond.: Les Saltimbanques – Pourquoi vous occupez de moi / C’est la première fois (Ganne). 10” EL dark-blue French Odéon 166.600. M-A, a gleaming copy. MB 8

G271. HÉLÈNE RÉGELLY, Morel, Henry-Laverne & Duvaleix; w.Minssart Cond.: Les Saltimbanques – Mademoiselle, je vous prie / La Bergère Colinette (Ganne). 10” EL dark-blue French Odéon 166.601. M-A, a gleaming copy. MB 8

G272. HÉLÈNE RÉGELLY, Morlet, Jysor, Henry-Laverne, Hirigaray & Duvaleix; w.Minssart Cond.: Les Saltimbanques – Tendre fleur de riant printemps / ROBERT JYSOR: Va, gentil soldat (Ganne). 10” EL dark-blue French Odéon 166.603. M-A, a gleaming copy. MB 8

G273. HÉLÈNE RÉGELLY, Morlet, Jysor, Henry-Laverne, Hirigaray, Duvaleix & Brouet; w.Minssart Cond.: Les Saltimbanques – Voleurs, vous en avez menti / Renonce à ton rêve (Ganne). 10” EL dark-blue French Odéon 166.604. M-A, lovely copy has faintest pap. rubs, inaud. MB 8

G274. HÉLÈNE RÉGELLY, w.Minssart Cond.: Rêve de Valse – C’est nous les p’tit’s musiciens / LE CLEZIO & GILLES: Oui c’est une valse de Vienne (Oscar Straus). 10” EL dark-blue French Odéon 250.232. M-A, a gleaming copy. MB 8

G275. HÉLÈNE RÉGELLY & JANE MORLET, w.Minssart Cond.: Rêve de Valse – Ah! Si j’étais artiste / BRIÈRE & LE CLEZIO: Pourquoi la voir, tout est fini (Oscar Straus). 10” EL dark-blue French Odéon 250.235. M-A, a gleaming copy. MB 8

G276. HÉLÈNE RÉGELLY & LE CLEZIO, w.Minssart Cond.: Rêve de Valse – Voyons puisque la destinée / HENRY-LAVERNE, DUVALEIX, DARBONNES, BRISON & CHABANCE: Suivant une loi commune (Oscar Straus). 10” EL dark-blue French Odéon 250.233. M-A, lovely copy has, Sd. 1 only, minor edge scr, inaud. MB 8

G277. HÉLÈNE RÉGELLY & HENRY-LAVERNE, w.Minssart Cond.: Rêve de Valse – Piccolo, Piccolo, Tsin! Tsin! / JANE MORLET, CLAIRE BRIÈRE, LE CLEZIO, HENRY-LAVERNE & DUVALEIX: Ah! tenez, la valse chantée (Oscar Straus). 10” EL dark-blue French Odéon 250.234. M-A, a gleaming copy. MB 8

G278. HÉLÈNE RÉGELLY, w.Robert Jysor, Duvaleix & Gillar; Minssart Cond.: La Mascotte – Excerpts (Audran), 10s. 5–10” EL dark-blue French Odéon 166.391/95. M-A MB 45

“Instead of joining the Opéra-Comique, Régelly signed with the Mogador Theatre Company and became a member of the hit revival of Offenbach’s LA VIE PARISIENNE. She became an instant star.” - VRCS Program notes G279. CLAIRE BRIÈRE, JANE MORLET & DUVALEIX, w.Minssart Cond.: Rêve de Valse - Jamais je ne fus plus heureuse / HENRY-LAVERNE, LE CLEZIO & DUVALEIX: Mesdam’s, Messieurs, j’ai de l’émoi (Oscar Straus). 10” EL dark-blue French Odéon 250.231. M-A, a gleaming copy. MB 8

G280. JANE MARNAC, w.Minssart Cond.: La Périchole – O mon cher amant (Air de la lettre) / La Belle Hélène – Dis-mois, Venus (both Offenbach). 10” EL dark-blue French Odéon 166.738. A to M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 10

G281. YVETTE GUILBERT: Les ingénues (Marinier) / Le fiacre (Xanrof). 10” AC dark-green Disque pour Gram. 233050/51 (5233/34h), POM-1904. M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud. MB 15

G282. YVETTE GUILBERT, w.Maurice Eisner (Pf.): L'hôtel du No. 3 (1918 Version) (Xanroff) / La défense inutile. 10” AC Col. A2739, POM-1918, only form of issue, Sd.2. M-A MB 15

G283. YVETTE GUILBERT, w.Maurice Eisner (Pf.): Le Roy a fait battre tambour / Est-il donc bien vrai? 10" AC Col. A2738, only form of issue, 1918. A-, lovely copy has, Sd. 1, faint rubs & sev. wee dust scrs, ltly audible. MB 10

G284. YVETTE GUILBERT, w.Maurice Eisner (Pf.): Saint-Nicolas / Le voyage a Bethléem (1918 Version). 10” AC Col. A2737, only form of issue, 1918. A to M-A, lovely copy has edge lam. MB 12

G285. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): La fille du Roi Loys, La Passion du doux Jésus, La ballade du Jésus-Christ, Le miracle de Sainte-Berthe, Les anneaux de Marianson, Le voyage à Bethléem, Enfance, Écoute dans le jardin (the latter two by Ferrari), L'Éloge des vieux, Verligodin (both Sung by the Composer). 6-10" EL PW plum Disque Gram. K-7063/68, in Orig. elaborate Album, w.Brochure. M-A MB 50, the Set.

G286. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): La fille du Roi Loys / Les anneaux du Marianson. 10" EL PW plum Disque Gram. K-7066, only form of issue 1933. M-A, a gleaming copy. MB 12

G287. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): Les vieux messieurs (Donnay) / Son nombril (Petitveau). 10” EL green LVSM SG.71, POM-1933; issued France only. M-A, a gleaming copy. MB 12

G288. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): Verligodin / L'loge des vieux (both Sung by the Composer). 10” EL green LVSM SG.70, POM-1933; issued France only. M-A, lovely copy has faintest pap. rubs, inaud. MB 12

G289. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): Madame Arthur (Sung by the Composer) / Le fiacre (Xanrof). 10" EL green LVSM SG.69, POM-1934. M-A, a gleaming copy. MB 12

G290. YVETTE GUILBERT, w.Sayejozin (Pf.): Dites-moi si je suis belle / Pourque me bat mon mari. 10” EL PW black HMV E 527, POM-1926. M-A MB 12

"[Guilbert’s] is an art that defies classification....Her voice is not a musical instrument - and I believe it is as musical now as ever it was. Yet there is no singer of our time who would not double his present artistic stature if he could borrow half of Guilbert's genius." - Walter Legge, ON AND OFF THE RECORD, p.49

G291. MERCEDES CAPSIR: Campanone (Mazza) / Tonadillas – El Majo discreto (Granados). 10” EL red Spanish Col. R 14709. M-A, a gleaming copy. Exceedingly elusive! MB 25

G292. MERCEDES CAPSIR: El salto del pasiego (Caballero) / Maruska (Rulli). 10” EL red Spanish Col. R 14710. M-A, a gleaming copy. Exceedingly elusive! MB 25

G293. MERCEDES CAPSIR, w.Molajoli Cond.: Barbiere – Una voce poco fa, 2s. 12” EL Eng. Col. DX 612 (WBX 610/14), from 1929 Complete Set), POM-1929. M-A, a gleaming copy. MB 8

G294. MERCEDES CAPSIR & DINO BORGIOLI, w.Molajoli Cond.: Rigoletto – Ah! veglia, o donna, 2s. 12” EL Eng. Col. DX 143 (WBX 860/61), from 1929 Complete Set), POM-1929. M-A, a gleaming copy. MB 8

G295. MERCEDES CAPSIR, w.Mannarini, de Muro Lomanto, Molinari, Baccaloni & Venturini; Molajoli Cond.: Lucia – Chi mi frena, 2s. 12” EL PW Col. 9145-M (WBX 728/35), from Complete 1928 Set), POM-1928. M-A, a gleaming copy. MB 8

“Curiously, Mercedes Capsir was born in the same house where, 14 years earlier, Maria Barrientos had been born. She studied in Barcelona and Italy, making her début as Gilda in 1914 at the Teatro Principal in Gerona. She sang in Spain and Portugal until 1918 and appeared at the Teatro Colón in 1916. Her most important roles were Lucia, Ophélie, Rosina, Gilda and Violetta. In 1919 she began her Italian career at Bologna and Florence, frequently appearing at Naples, Turin and Rome until 1943. She sang at La Scala from 1924-1934, taking also part in Giordano’s IL RE (1929), appearing opposite Chaliapin, Galeffi, Lauri-Volpi and Pinza, among others. She often returned to Spain. She was heard in Berlin in 1924, at Covent Garden in 1926 and at the Vienna State Opera in 1935. Her last appearance took place in 1949 at Barcelona.”

G296. BIANCA LAVIN DE CASAS, w.Ardoni & Gaetano Pini-Corsi: Mefistofele – La luna immobile. 10” AC white Vla 87561 (13833b), POM-3 Nov., 1909, Never Doubled. M-A MB 12

G297. BIANCA LAVIN DE CASAS & ELENA RUSZKOWSKA: La Gioconda – L’amo come il fulgor del creato. 12” AC red Milano Gram. Monarch 054271 (1864c), POM 1 Nov., 1909, Never Doubled USA. A-B, very decent copy has lt. rubs & grey on peaks. MB 10

G298. BIANCA LAVIN DE CASAS & ARISTODEMO GIORGINI: La Favorita – Pietoso al par d’un nume. 12” AC red Milano Pre-Dog 054196 (1284c). A, lovely copy has faintest pap. rubs, inaud.; wee label smudge. MB 20 G299. BIANCA LAVIN DE CASAS: Pallide mammole (Trimarchi). 10” AC black GP V 52405 (2353I), POM-1904. A to M-A, lovely copy has tiny rub at end, inaud. MB 12

G300. BIANCA LAVIN DE CASAS: Pallide mammole (Trimarchi) / ENRICO PIGNATARO: Hamlet – Come il romito fior. 10” AC black V 63424, POM-1904/’05, resp. A-, lovely copy has few superficial scrs, inaud. MB 8

G301. BIANCA LAVIN DE CASAS: Orfeo – Che farò senza Euridice. 12” AC red Milano Pre-Dog 053168 (1343c). A, lovely copy has faintest pap. rubs, inaud. MB 20

G302. BIANCA LAVIN DE CASAS: Carmen – Séguedille (in Italian). 10” AC red Milano Pre-Dog G.C.-53529 (10926½b). A to M-A, lovely copy has very faint creases, inaud. MB 8

G303. BIANCA LAVIN DE CASAS: Carmen – En vain pour éviter (in Italian) / Sabajno Cond. La Scala Orch.: Overture. 10” AC black V 62617 (2354I/8000b), POM-1904. A to M-A, lovely copy has, Sd. 2 only, lt. rubs & nr on label. MB 8

G304. BIANCA LAVIN DE CASAS & RIZZO SANT’ELIA: Aïda – Ohimè, morir mi sento. 12” AC V 88270 (1871c), POM-6 Nov. 1909. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

G305. BIANCA LAVIN DE CASAS & ELENA RUSZKOWSKA: Aïda – Fu la sorte dell’ armee. 12” AC Milano Gram. Monarch 054272 (1860c), POM 1 Nov., 1909. M-A MB 20

G306. BIANCA LAVIN DE CASAS & ELENA RUSZKOWSKA: Aïda – Ebben, qual nuovo fremito. 12” AC Vla 89150 (1861c), POM 1 Nov., 1909. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

G307. BIANCA LAVIN DE CASAS & ELENA RUSZKOWSKA: Aïda – Pietà ti prendi. 12” AC plain label V 88373 (1862c), POM 1 Nov., 1909, Never listed in a North American Victor catalogue (although assigned this issue number), w.RCA embossed spiderweb verso; choice mid-1930s pressing, Never Doubled, USA. M-A, a gleaming copy. MB 25

“As Amneris, the Catalan contralto Bianca Lavin De Casas is a worthy antagonist, singing with incisive and sumptuously rich tones. Her voice, like that of many of her Spanish contemporaries, is warm, open, and free from excessive vibrato–an ‘old-fashioned’ Italian voice, in fact.” - Michael Aspinall, Program notes to Marston’s Kruszelnicka – Ruszkowska Issue

G308. INES SALVADOR & FRANCESCO CIGADA: Carmen – Si tu m’aimes (in Italian) / Sabajno Cond.: Intermezzo, Act III. 10” AC Pat.’12 black V 62102, POM-1907. A-, very decent copy has few lt. mks, inaud. MB 8

G309. CRISTINA SORO: Estrellita (Ponce) / El Carro del Sol – Canción veneciana (Serrano). 10” AC Vla 920, POM-18 Sept. / 3 Oct., 1922, Never listed in a North American Victor Catalogue. M-A MB 15

G310. ELVIRA de HIDALGO: I Puritani – Son vergin vezzosa / ISIDORO AGNOLETTO: A te, o cara. 10” AC black Col. E200. M-A, an exceptional copy. MB 15

G311. ELVIRA de HIDALGO: La Sonnambula – Ah! non giunge / MARCEL JOURNET: Vi ravviso. 10” AC dark-blue Col. C2396, POM-1905. M-A, an exceptional copy. MB 15

G312. ELVIRA de HIDALGO: Barbiere - Una voce poco fà / CESARE PREVE: La Calunnia. 10” AC blue Col.C2377. A/A-, lovely copy has, Sd.2 only, hint of grey on peaks. MB 12

“Elvira de Hidalgo made her début in 1908 at the Teatro San Carlo as Rosina, also the rôle of her Metropolitan début in 1910, where she also sang Amina. She appeared at La Scala, Rome, Buenos Aires and Covent Garden where she sang Gilda in 1924 with the British National Opera Company. Returning to the Metropolitan, she sang Gilda and Lucia. At San Francisco (1925) she sang Rosina, Violetta and Martha, then toured the United States in IL BARBIERE DI SIVIGLIA with Feodor Chaliapin. Her repertory included Elvira in I PURITANI, Linda di Chamounix and Marguerite de Valois in LES HUGUENOTS. She retired in 1932, taught in Athens where her pupils included Maria Callas.”

G313. 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 unquestionably Quartararo’s most beautiful rendition. M-A, a gleaming copy. MB 15

G314. FLORENCE QUARTARARO, w.Morel Cond.: Il Trovatore – Tacea la notte placida, 2s. 12” EL RCA 12-0530, only form of issue, 1947. M-A, a gleaming copy. MB 10

G315. FLORENCE QUARTARARO & RAMON VINAY: Tosca - Perchè chiuso?, 2s. 12” EL RCA 12-0531, Original Issue, 9 Dec., 1947. M-A, a gleaming copy. MB 8

“A surprise is the Vinay-Quartararo TOSCA duet, not so much for Vinay’s fine performance…but for the really lovely voice of the soprano, who, after only a few seasons at the Met, disappeared from the scene.” - Harold Rosenthal, OPERA, Feb., 1970

G316. FLORENCE QUARTARARO & RAMON VINAY: Carmen - Parle-moi de ma mère, 2s. 12” EL RCA 12-0687, Original Issue, 9 Dec., 1947. M-A, a gleaming copy. MB 8

"Intriguingly, Quartararo was Toscanini’s first choice for his Desdemona, but Edward Johnson refused to release her from her contract with the Met….The soprano is something of a revelation, her Italian heritage manifesting itself in her idiomatic performance, her coloring and lyricism, and her power, yet ease, of production. Quartararo’s was a voice suited to veristic opera….she was also an artist of some refinement and versatility....Lamentably, the attractive California-born soprano...left a somewhat lean discography....Her legacy includes only a handful of commercial recordings." - Barry R. Ashpole, THE RECORD COLLECTOR, 2006 G317. CONCHITA SUPERVIA: El relicario (Padilla) / El Huésped del Sevillano – Las lagarteranas (Reoyo). 10” EL red Decca-Odeon P-G-20462, POM-25 April, 1931. M-A MB 12

G318. CONCHITA SUPERVIA: Bésame (Habañera) (Godes) / El Panuelo de Lunares – Canción andaluza (Alonso). 10” EL red Decca-Odeon P-G-20464, POM-28/27 May, 1932. M-A MB 12

G319. CONCHITA SUPERVIA: La rosa oriental (Espigul) / Lamento borincano (sung in Cuban style) (Hernandez). 10” EL red Decca-Odeon P-G-20465, POM-27 Oct., 1932. M-A, lovely copy has 2 wee pressing bumps, ltly audible, merely a few turns. MB 10

G320. CONCHITA SUPERVIA: Clavelitos (1ST Version, 1927) (Valverde) / w.María Gil (Pf.): Cantares (Turina). 10” EL French Odéon 188.714 (SO 4620-3 / 4699), POM-1927. M-A, a gleaming copy. MB 20

G321. CONCHITA SUPERVIA: Clavelitos (2ND Version, 1931) (Valverde) / Tríptico – La farruca (Turina). 10” EL Parl.-Odeon RO 20154, POM-25 April, 1931 / 1928, resp. M-A MB 15

G322. CONCHITA SUPERVIA: El Corral de la Pachca – La presumida (Canción epigramática) (Vives) / w.María Gil (Pf.): Romanç de Santa Llucia (Toldrá). 10” EL French Odéon 188.746 (SO 4909/4698), POM-1928/’27, resp. A to M-A, lovely copy has, Sd. 2 only, faint hint of nr & wee edge lam, inaud. MB 20

G323. CONCHITA SUPERVIA: Ay-ay-ay (Freire) / w.Capdevilla Cond.: Las Hijas del Zebedeo – Al pensar en el dueño (Carceleras) (Chapì). 10” Parl.-Odeon RO 20165, POM-25 April, 1931 / 8 March, 1930. M-A MB 12

G324. CONCHITA SUPERVIA: Nozze – Voi che sapete / Non so più. 12” EL Parl.-Odeon R 20077, POM-1928. M-A MB 8

G325. CONCHITA SUPERVIA: El Amor Brujo - Canción del amor dolido / Canción del fuego fatuo (de Falla). 12” EL vinyl Historic Masters HMB 54, POM-13 Oct., 1930, (pressed onto 12" [30cm] Blank), otherwise published only in Spain. MINT MB 15

G326. CONCHITA SUPERVIA, w.María Gil (Pf.): Cantares (Turina) / w.Capdevilla Cond.: Canción del paje (Sartorio). 10” EL red Decca-Odeon P-G-20548, POM-1927 / 6 March, 1930, resp. M-A MB 12

G327. CONCHITA SUPERVIA, w.Gennai Cond.: Canzoncine – Il gallo / Preghiera della sera (both Acc.by Composer), all preceded by Supervia’s spoken introductions. 10” EL Italian Odeon M 6060, POM-7 Feb., 1929. M-A, a gleaming copy. MB 25

G328. CONCHITA SUPERVIA, w.Gennai Cond.: Canzoncine – Filastrocca del ‘asino / La scarpetta e la neve (both Acc.by the Composer), all preceded by Supervia’s spoken introductions. 10” EL Italian Odeon M 6061, POM-7 Feb.,1929. M-A, a gleaming copy. MB 25

“During the first war Conchita Supervia fell in love with an Italian lawyer named Francesco Santamaria, who was later to become the Mayor of Naples; he died in 1947. Their son Giorgio was born in October 1918; and some ten years later, in order to amuse her little ‘Giorgino’, she recorded a set of nursery songs by a composer named Gennai, each one with a spoken introduction. They are enchanting, and I believe that the Italian, spoken as well as sung, is pretty well flawless….Leopoldo Emanuele Gennai conducts the orchestra. How exciting to hear Supervia speaking: she introduces each song talking in exactly the same way that she sings–of course, she is “on stage” here, too, and may not have placed the voice so theatrically in the mask when chatting intimately to her ‘little Giorgio’, who, she claims, is in the studio with her.” - Michael Aspinall, Program notes to Marston’s Supervia, Vols. II & III

G329. CONCHITA SUPERVIA, w.Frank Marshall (Pf.): Tonadillas (Granados), 4s. 2–10” EL Parl.-Odeon P.O. 161/62, POM-1932. M-A MB 15

G330. CONCHITA SUPERVIA, w.Frank Marshall (Pf.): Siete Canciones Populares Españolas (de Falla), 6s. 3–10” EL Parl.-Odeon P.O. 153/55, POM-24 Dec., 1928, in Orig. Parlophone Album P-52. M-A MB 25

G331. CONCHITA SUPERVIA, w.Romero Cond.: De la serrania (Fandanguillo de concierto) (2nd Version, 1929) (Cond. by the Composer) / w.Capdevilla Cond.: La Paloma (Yradier). 10” EL red Decca-Odeon P-G-20460, POM-1929 / 24 Oct., 1930. M-A MB 12

G332. CONCHITA SUPERVIA, w.Capdevilla Cond.: Pel teu amor (Rosá) (Rivas; in Catalán) / With a primrose (erroneously titled ‘Le Printemps’) (Grieg; in French). 10” EL Parl.-Odeon P.O. 180, POM-11 March, 1930. A to M-A, lovely copy has occasional faintest pap. rub, inaud. MB 12

G333. CONCHITA SUPERVIA, w.Capdevilla Cond.: Occhietti amati (Falconieri) / Se tu m’ami (Pergolesi). 10” EL red Decca-Odeon G-20550, POM-4 April, 1930. M-A MB 12

G334. CONCHITA SUPERVIA, w.Capdevilla Cond.: Canción del paje (Sartorio) / Occhietti amati (Falconieri). 10” EL blue Italian Odeon M 6064, POM 4 / 6 March,1930. M-A, a gleaming copy. MB 15

G335. CONCHITA SUPERVIA, w.Capdevilla Cond.: L’ultima canzone (Tosti) / Pel teu amor (Ribas). 10” EL blue Italian Odeon M 6067, POM 28 Feb. / 11 March, 1930. M-A, a gleaming copy. MB 15

G336. CONCHITA SUPERVIA, w.Capdevilla Cond.: Siete Canciones Populares Españoles – Seguidilla murciana (‘Take’ 1) / Jota (de Falla). 10” EL blue Italian Odeon M 6065, POM 10 March, 1930. M-A, a gleaming copy. MB 15

G337. CONCHITA SUPERVIA, w.Minssart (?) Cond.: Damnation de Faust – Autrefois un roi de Thulé (Berlioz) / Faust - Il était un roi de Thulé (Gounod) (both in French). 12” EL vinyl Historic Masters HMB 11, POM-26 Oct., 1931, both from Unpublished Masters. MINT MB 12 G338. CONCHITA SUPERVIA, w.Capdevilla Cond.: Bonjour, Suzon / w.Romero Cond.: Viens, une flûte invisible (Églogue) (both Delibes). 10” EL blue Italian Odeon M 6068, POM 7 March / 28 Feb., 1930. M-A, a gleaming copy. MB 15

“She had the rare gift which enabled her to penetrate beneath the externals of musical form and to recreate the human qualities of everything that she touched” - H. M. Barnes and Victor Girard

G339. CONCHITA SUPERVIA, w.Ivor Newton (Pf.): A lesson with the fan (d’Hardelot) / Sould he upbraid (Bishop) (both in English). 10” EL Parl.-Odeon RO 20186, Original Issue, 17 March, 1932. M-A, a gleaming copy. Enchantingly delightful! MB 20

G340. CONCHITA SUPERVIA, w.Ivor Newton (Pf.): O no, John! (Sharp) / Have you seen but a whyte lillie grow? (Dolmetsch). 10” EL Parl.-Odeon RO 20193, only form of issue, 17 March, 1932. M-A, a gleaming copy. MB 15

G341. CONCHITA SUPERVIA, w.Ivor Newton (Pf.): When I bring to you colour'd toys (Carpenter) / Lullaby (Scott) (both in English). 10” EL vinyl BIRS Historic Masters HMA 1, POM-17 March, 1932, both from Unpublished Masters. MINT MB 12

“In 1931 she married Ben Rubenstein and settled in London; and in the autumn of 1931 she made a long provincial concert tour in England. During this tour she sang a group of English songs, although she had only just begun to learn the language; and with these she created quite a sensation owing to the clarity and extraordinary charm of her enunciation.” - Desmond Shawe-Taylor, OPERA, Jan., 1960

G342. CONCHITA SUPERVIA, w.Romero Cond.: Granada (2nd Version) (Albéniz) / w.Frank Marshall (Pf.): Andaluza (Danza V) (Granados). 12” EL red Spanish Odeon 121.146 (XXS 6027-2 / 6071), POM-20 Nov. / 11 March, 1930, only form of issue, Sd.1 (being the rare ‘Take’ 2 [of two issued ‘takes’]). M-A, a gleaming copy. Exceedingly elusive! MB 85

G343. CONCHITA SUPERVIA, w.Romero Cond.: Granada (1st Version) (Albéniz) / w.Frank Marshall (Pf.): Andaluza (Granados). 12” EL Parl.-Odeon R 20130, POM-28 Feb./11 March, 1930. M-A MB 15

G344. CONCHITA SUPERVIA, w.Romero Cond.: Flor de España – En Zaragoza / El Niño Judío – De España vengo (both Luna). 12” EL French Odéon 123.694 (XXS 4618-1 / 4619), POM-1927. M-A Exceedingly Elusive! MB 65

“Both on the opera stage and on the concert platform [Supervia] displayed a communicative power which can hardly have been surpassed; and this warmth of temperament is evident too almost every one of the 200 or so recordings she made. She was incapable of dullness; even in the most trivial song there will come a phrase so personal and so completely genuine that the listener feels something akin to physical contact. In whatever language she sang – and she was a gifted linguist – she filled each word with meaning, and lent the utmost grace and point to the turn of every musical phrase….she always conveys to the listener an extraordinary sense of joy in the sheer act of singing.” - Desmond Shawe-Taylor, THE OPERA BEDSIDE BOOK, pp.71-72

G345. CONCHITA SUPERVIA & INES MARIA FERRARIS: Hänsel und Gretel - Suse, liebe Suse; Brüderchen, komm, tanz' mit mir (in Italian). 12” EL red Decca-Odeon P-G-25872, POM-20 June,1928. M-A MB 8

G346. CONCHITA SUPERVIA & INES MARIA FERRARIS: Der Rosenkavalier – Mir ist die Ehre widerfahren (Presentation of the silver rose) (in Italian), 2s. 12” EL red Decca-Odeon P-G-25870, POM-20 June, 1928. A-/A-B, very decent copy has lt. rubs & occasional scr, occasionally very faintly audible. MB 8

G347. CONCHITA SUPERVIA & INES MARIA FERRARIS: Der Rosenkavalier – Ist ein traum (Final duet) (in Italian), 2s. 12” EL red Decca-Odeon P-G-25871, POM-20 June,1928. A-B/B, decent copy has lt. rubs & occasional scr, ltly audible; Sd.2 only has dust scrabble, positively ltly audible. MB 8

G348. CONCHITA SUPERVIA, w.Bastide Cond.: Frasquita – Qui a dit ‘voleurs’? (Entrée de Frasquita) / Ce que c’est que l’amour (Lehár). 10” EL French Ultraphone AP 1020, only form of issue, Sd.2; Supervia & Bastide were featured in the Paris première, 3 May, 1933. A/A-, lovely copy has, Sd.2, lt. grey on peaks. MB 45

G349. CONCHITA SUPERVIA, w.Bastide Cond.: Frasquita – Il y avait une fois (Lehár) / Tengo dos lunares (Valverde); Los ojos negros (Barta) (the latter two interpolated in Act II of Frasquita). EL 12” French Ultraphone EP 1024, only form of issue, 1934; Supervia & Bastide were featured in the Paris première, 3 May, 1933. M-A, gleaming copy has, end Sd. 2 only, infinitesimal pap. rub, inaud. Exceedingly elusive! MB 85

G350. CONCHITA SUPERVIA, w.Cloez Cond.: Samson et Dalila – Printemps qui commence / Mignon - Connais-tu le pays? 12” EL Parl.-Odeon R 20192, POM-24 Oct., 1931, issued Spain & UK only. M-A MB 15

G351. CONCHITA SUPERVIA, w.Cloez Cond.: Faust – Faites-lui mes aveux / La Boheme – Quando m’en vo (in French). 10” EL Parl.-Odeon R.O. 20180, POM-24 Oct., 1931. M-A MB 12

G352. CONCHITA SUPERVIA, w.Cloez Cond.: Carmen – En vain pour éviter (Card scene), 2s. 12” EL Parl.-Odeon R 20131, POM-1930. M-A MB 8

G353. CONCHITA SUPERVIA, w.Cloez Cond.: Carmen – Séguedille / Les tringles des sistres tintaient. 12” EL Parl.-Odeon R 20127, POM-1930. M-A MB 8

G354. CONCHITA SUPERVIA, w.Cloez Cond.: Carmen – Habañera / CONCHITA SUPERVIA & GASTON MICHELETTI: Non, tu ne m’aimes pas (2nd ‘Take’). 12” EL French Odéon 123.773 (xxP 7267/65-2), POM-1930. M-A, a gleaming copy. MB 15 G355. CONCHITA SUPERVIA, w.Cloez Cond.: Carmen – Habañera / CONCHITA SUPERVIA & CARLO SCATTOLA, w.Albergoni Cond.: L’Italiana in Algeri – Oh! che muso. 12” EL red Decca-Odeon P-G-25837, POM-1930/’27, resp. M-A MB 8

G356. CONCHITA SUPERVIA & GASTON MICHELETTI, w.Cloez Cond.: Carmen – Non, tu ne m’aimes pas (2nd ‘Take’), 2s. 12” EL red Decca-Odeon P-G-25895, POM-1930. M-A MB 8

G357. CONCHITA SUPERVIA & GASTON MICHELETTI, w.Cloez Cond.: Carmen – C’est-toi? C’est moi! (Final scene), 2s. 12” EL red Decca-Odeon P-G-25897, POM-1930. M-A MB 10

G358. CONCHITA SUPERVIA & GIOVANNI MANURITTA: Barbiere – Contra io cor (Lesson scene), 2s. 12” EL red Decca-Odeon P-G-25834, POM-1928. M-A MB 8

G359. CONCHITA SUPERVIA, w.Albergoni Cond.: Carmen – Habañera / Séguedille (both in Italian). 10” EL red Milano Fonotipia M 6034 (Pho 6053 / 54-2), POM-1927. M-A, a gleaming copy. MB 15

G360. CONCHITA SUPERVIA, w.Albergoni Cond.: Samson et Dalila – Printemps qui commence (in Italian), 2s. 10” EL blue Italian Odeon M 6040, POM 1927. M-A, a gleaming copy. MB 15

G361. CONCHITA SUPERVIA, w.Albergoni Cond.: Barbiere – Una voce poco fà, 2s. 12” EL brown Fonotipia-Odeon L-305 (xxPh 6046/47), POM 1927. M-A, a gleaming copy. MB 15

G362. CONCHITA SUPERVIA, w.Albergoni Cond.: Barbiere – Una voce poco fà, 2s. 12” EL Parl.-Odeon R 20074, POM 1927. M-A, a gleaming copy. MB 8

G363. CONCHITA SUPERVIA, w.Albergoni Cond.: L’Italiana in Algeri – Amici, in ogni evento . . .Vedi per tutta Italia, 2s. 10” EL red Decca-Odeon P-G-20398, POM-1927. M-A MB 12

G364. CONCHITA SUPERVIA & GIOVANNI MANURITA, w.Albergoni Cond.: Barbiere – Contro un cor, 2s. 12” EL PW red Argentinian Odeon 125032, POM 1928. A to M-A, lovely copy has, Sd. 2 only, infinitesimal dust mk, inaud. MB 12

G365. CONCHITA SUPERVIA, w.Albergoni Cond.: La Cenerentola – Nacqui all’affanno; Non più mesta, 2s. 12” EL Parl.-Odeon R 20140, POM-1927. M-A MB 8

G366. CONCHITA SUPERVIA & VINCENZO BETTONI, w.Albergoni Cond.: La Cenerentola – Signore, una parola / Mignon – Légère hirondelle (in Italian). 12” EL red Milano Fonotipia U 556 (xxPh 6455/56-2), POM-8 Feb., 1929. M-A, a gleaming copy. MB 15

G367. CONCHITA SUPERVIA & VINCENZO BETTONI, w.Albergoni Cond.: La Cenerentola – Signore, una parola / CONCHITA SUPERVIA, NINO EDERLE, CARLO SCATTOLA & VINCENZO BETTONI: L’Italiana in Algeri - Per lui che adoro. 12” EL red Decca-Odeon P-G-25836, POM-1929/’27, resp. M-A MB 8

G368. CONCHITA SUPERVIA & VINCENZO BETTONI, w.Albergoni Cond.: L’Italiana in Algeri – Oh! che muso / CONCHITA SUPERVIA, NINO EDERLE, CARLO SCATTOLA & VINCENZO BETTONI: Per lui che adoro. 12” EL red Milano Fonotipia U 558 (xxS 4598/4617), POM-1927. M-A, a gleaming copy. MB 15

G369. CONCHITA SUPERVIA, w.Appoloni, Mannarini, Nessi & Baracchi; Albergoni Cond.: Carmen – Nous avons en tête une affaire (in Italian), 2s. 10” EL green Italian Odeon M 6037 (Pho 6059-2 / 6060-2), POM-1927. M-A MB 15

“[Supervia’s] singing is always “forward”, her tone bright–even brassy–and she is a great instrumentalist among singers, playing the legato line with infinite modulations of accent, color, and volume. She is a gypsy Patti…. If you like to be wheedled by a voluptuous kitten, then you will succumb with a sigh, but it will be a sigh of pleasure.” - Michael Aspinall, Program notes to Marston’s Supervia, Vol. II

G370. ELSIE HOUSTON: Singing America – Santo San Juanito (Ecuador); From yon mountain verdant (Peru); Tutú Marambá (Brazilian) / Walter Preston: La cuisinière (French Canadian); Walter Preston & Margaret Daum: The turtle dove (English); Quartet: Boule’s Ball (French Canadian). 10” EL black PW V 27280. M-A, lovely copy has, Sd. 2 only, wee label tear. ‘Santo San Juanito’ alone is worth the price of this disc! MB 15

"Elsie Houston...of insinuating voice, was one of those rare artists who make every individual song sound important and still leave us with the impression of a unified, rounded program....Though she was thought of as essentially a diseuse, Houston's voice had been carefully trained; its quality, to my ears, was outstandingly beautiful." - Philip L. Miller, VOCAL MUSIC, p.329

G371. ELSIE HOUSTON, w.José Garcia (Bongo Drum): Jongo (Brazilian) / w.Augusto Mesquita (Guitar) & Antonio Silva (Violao) Fado (Portugese). 10" EL PW Liberty Music Shop L 232, only form of issue, 1938. B-C, decent copy has lt. rubs & scrs, ltly audible; Sd. 2 only has 2 ec, not to grooves. MB 10

G372. ELSIE HOUSTON, w.Pablo Miguel (Pf.): Siete Canciones Populares Españolas (de Falla), 4s. 4-12” EL vinyl RCA S/S Test Pressings of Unpublished Mx. CS-063377/80 (each side is ‘Take’ 2, except Sd.3, which is ‘Take’ 1), POM-1941. M-A MB 95

G373. ELSIE HOUSTON, w.Pablo Miguel (Pf.): Eleven Brazilian Songs, 6s. 3-12” EL RCA 13667/69, POM-17 Jan., 1941, in Orig. Album M-798, w.Notes. M-A, a gleaming copy. MB 25

"The [above] recording does justice to Miss Houston's wholly delightful and searching interpretations." - Howard Taubman, THE NEW YORK TIMES, 1941 G374. ELSIE HOUSTON, w.Jonas e Zezimho (Clarinet, et al): O barão da Bajia (Barros) / w.Zezimho, Petit & Jonas (Tam-Tam, et al): Cadê minha pomba rôla (arr. Elsie Houston). 10” EL PW Brazilian Col. 7014, on blue shellac, only form of issue, 1930. M-A, a gleaming copy. Exceedingly elusive & enchanting! MB 60

G375. ELSIE HOUSTON, w.Mme Villa-Lobos (Pf.): Serestas – Realejo; Estrella do céo / Desejo; Na paz do outomno (Villa-Lobos). 10” EL PW black Disque Gram. P-760, only form of issue, 20 June, 1928. M-A, gleaming copy has, end Sd 2 only, infinitesimal pap. rub, inaud. Companion disc to #G1261, Abreu. MB 50

G376. ELSIE HOUSTON, w.Cy Walter (Pf.): Mon Ami (Herpin) / The Cherry Tree (Barlow). 10" EL PW Liberty Music Shop L 263, only form of issue, 1938. A to M-A, lovely copy has occasional lt. rub, inaud. MB 20

“Elsie Houston was born in Rio de Janeiro in 1902. She was the descendent of confederados, southern plantation owners who had come to Brazil after the American Civil War. Elsie's father was James Frank Houston, a prominent Rio dentist and Elsie Houston's mother, Arinda Galdo, was a native of Rio de Janeiro, and had Portuguese roots in the Madeira Islands. Elsie Houston figured in the Brazilian literary/art/music scene during a critical time in its history. It was an era of tremendous creative energy. In addition to Mário de Andrade and Patricia Galvão ( Pagu), Elsie Houston knew other famous members of this artists’ movement, including the composer Heitor Villa-Lobos, the painters Flavio de Carvalho, Anita Malfatti and Tarsila do Amaral, and the leader of Brazilian modernism, Oswald de Andrade.

Elsie moved to Germany and studied with Lilli Lehmann, a notorious voice teacher. She then studied with another famed soprano, Ninon Vallin, first in Argentina and then in Paris. Houston's relationship with Heitor Villa Lobos began in her teens and she was a soloist at Villa Lobos' 1927 Paris concerts. In 1928 she married Benjamin Péret, French surrealist poet, with whom she lived in Brazil from 1929 to 1931. Their son, Geyser, was born in Rio de Janeiro in 1931. By the late 1930s, Elsie Houston had moved to New York. She was a brilliant singer, particularly skilled in the interpretation of Brazilian songs. The New York Times during this era praised her performances. She was also an active supporter of young Latin American composers, performing early pieces by composers such as Jayme Ovalle and Camargo Guarnieri. She died in 1943; her death was listed as an apparent suicide.”

G377. ADELINA PATTI, w.Landon Ronald (Pf.): Serenata (Tosti). 12" AC Pat.’08 Vla 95038 (548f), POM-1905, Never Doubled. A to M-A MB 15

G378. ADELINA PATTI, w.Landon Ronald (Pf.): Old folks at home (Foster). 12” AC Vla 95033 (540f), POM 1905, Never Doubled. M-A MB 15

G379. ADELINA PATTI, w.Landon Ronald (Pf.): Si vous n’avez rien à me dire (Baroness de Rothschild). 12” AC Vla 95036 (551f), POM-1905, special ‘Elaine’ 1930s pressing, Never Doubled. M-A, a gleaming copy. MB 35

G380. ADELINA PATTI, w.Landon Ronald (Pf.): Robin Adair (Keppel). 12” AC Canadian Pat.’08 Vla 95031 (549f), POM 1905, Never Doubled. M-A MB 15

"...I consider Patti the representative of the perfect art of singing, gifted with the most beautiful of voices and the utmost of musical talent....There is no more perfect model. [Patti] has also shown us how a voice can be preserved. She enjoys, of course, a rare gift of nature; her eternal youth borders upon the miraculous....not affected by the passage of time. But above all is her incomparable sense of beauty in music. - Eduard Hanslick, VIENNA'S GOLDEN YEARS OF MUSIC, 1850-1900, pp.206-207

G381. ADELINA PATTI, w.Landon Ronald (Pf.): Home, sweet home (Bishop). 12” AC Pat.’12 Vla 95029 (539f), POM 1905, Never Doubled. M-A MB 15

G382. ADELINA PATTI, w.Landon Ronald (Pf.): The last rose of summer (Moore). 12” AC Pat.’08 Vla 95030 (553f), POM 1905, Never Doubled. M-A, lovely copy has faintest pap. rub, inaud. MB 15

G383. ADELINA PATTI, w.Landon Ronald (Pf.): Arminio - Pur dicesti (Lotti). 12” AC pink LVDP S-03052 (538f), w.HMV embossed verso, RR 1905, Never Doubled in any regular series. M-A, a gleaming copy. MB 15

"Patti's last appearances, at which I sang, took place at the Queen's Hall for the benefit of her old accompanist Ganz. She was simply remarkable, and I shall never forget the timbre of her voice, just as I shall never forget Melba's....and she was then 65 years of age....One could never sing for several decades as she did, without perfect technique." - Pauline Donalda

G384. ADELINA PATTI, w.Landon Ronald (Pf.): Arminio - Pur dicesti (Lotti) / Ave Maria (Bach-Gounod). 12” AC PW silver Vla IRCC 33, POM-1905, Sd.2 from Unpublished Master; Numbered Copy #27 of a Limited Edition. M-A, a gleaming copy. MB 45

G385. ADELINA PATTI, w.Landon Ronald (Pf.): Faust – Air des bijoux. 12” AC pink ‘Patti’ London Gram. 03056 (543f), POM-1905. Never Doubled. A to M-A MB 25

G386. ADELINA PATTI, w.Landon Ronald (Pf.): Nozze – Voi che sapete. 12” AC pink Historic Catalogue #2 HMV 03051 (537f), POM-1905, w.HMV embossed verso, Never Doubled. M-A MB 15

G387. ADELINA PATTI, w.Landon Ronald (Pf.): Don Giovanni – Batti, batti, o bel Masetto. 12” AC pink Historic Catalogue #2 HMV 03055 (541f), POM-1905, w.HMV embossed verso, Never Doubled in any regular series. M-A, a gleaming copy. MB 15

G388. ADELINA PATTI, w.Alfredo Barili (Pf.): La Sonnambula - Ah! non credea mirarti. 12” AC pink Historic Catalogue #2 HMV 03084 (683c), RR-1906, w.HMV embossed verso, never doubled; never issued USA. M-A, a gleaming copy. MB 12 G389. ADELINA PATTI, w.Alfredo Barili (Pf.): Norma – Casta Diva! 12” AC pink Historic Catalogue #2 HMV 03082 (681c), RR-1906, w.HMV embossed verso, never doubled; never issued USA. M-A MB 12

G390. ADELINA PATTI, w.Alfredo Barili (Pf.): La calesera (Yradier) / NELLIE MELBA: Elaine - L'amour est pur (Bemberg). 12” AC silver PW Vla IRCC 17, POM-1906, Sd.2 Creator Record & previously Unpublished. Numbered Copy #8 of a Limited Edition. M-A, a gleaming copy. MB 45

"...'La calesera' is sensationally brilliant; the singer might be in the room, so powerfully does her voice ring out - not to mention the excitable Spanish screams which irritated her husband...and perhaps led to the cancellation of this famous record a few months after its issue in 1907 (a subsidiary cause may have been that the powerful recording was found to cause blast and wear, as indeed it still can)." - Sackville-West & Shawe-Taylor, THE RECORD YEAR, 1952, p.362

G391. OLIMPIA BORONAT: Senza l’amore (Tosti). 10” AC red St Petersburg G & T G.C. -53347 (1771L), only form of issue, 1904, Stamper II. A-, very decent copy has few lt. mks, positively inaud.; upper portion of label is defaced. MB 45

G392. OLIMPIA BORONAT: Ave Maria (Bach-Gounod) / I Puritani – Qui la voce (1908 Version). 12” AC vinyl Historic Masters HMB 20, POM-1908. MINT MB 10

G393. OLIMPIA BORONAT: Martha – The last rose of summer (1904 Version) (in Italian) / ANTONINA NEZHDANOVA: Die Nachtigall (Alabieff). 10” AC white Archive HMV VA 19, POM-1904/’08, resp. MINT MB 8

G394. OLIMPIA BORONAT: Martha – The last rose of summer (1908 Version) (in Italian) / Les Huguenots – Ô beau pays. 12” AC vinyl Historic Masters HMB 29, POM-1908; First Edition, each Side. MINT MB 20

"[Boronat's] 'Last Rose of Summer' is an astonishing feat, and her 'Qui la voce' in Puritani will remain as a classic example of the truly lost art of rendering the music of Bellini as the master undoubtedly heard it in his own mind. The same may be said of the poignant and perfect beauty of the air in LES PÊCHEURS DE PERLES....As an exponent of the purest bel canto as a legitimate means of dramatic expression, this exquisite Spanish soprano occupies a place apart." - P.G. Hurst, THE GOLDEN AGE RECORDED

G395. OLIMPIA BORONAT: Rigoletto – Caro nome. 10” AC red St Petersburg G & T G.C. -53348 (1772L), POM-1904, Stamper VI. A-, very decent copy has few lt. mks, positively inaud. MB 35

G396. OLIMPIA BORONAT: La Traviata – Sempre libera. 10” AC red St Petersburg G & T G.C. -53346 (1769L), only form of issue, 1904, Stamper II. A to M-A, lovely copy has wee pap. scr, positively inaud.; minuscule pressing bump is faintly audible, but only a few turns. MB 45

G397. OLIMPIA BORONAT: Les Pêcheurs de Perles – Comme autrefois (in Italian). 10” AC red St Petersburg G & T G.C. -53353 (1777L), POM-1904, Stamper III. A-, very decent copy has few lt. rubs, positively inaud.; minuscule pressing bump is faintly audible, but only 3 turns. MB 35

G398. OLIMPIA BORONAT: I Puritani – Qui la voce (1904 Version). 10” AC red St Petersburg G & T G.C. -53351 (1775L), POM-1904, Stamper II. A-, lovely copy has lt. grey on peaks, minimally audible; 2 tiny scrs, ever-so-faintly audible 2 or 3 turns; wee label smudge. MB 25

G399. OLIMPIA BORONAT: I Puritani – Qui la voce (1904 Version) / Mireille – O légère hirondelle. 10” AC PW silver Victor IRCC 50, POM-1904. Numbered Copy #85 of Limited Edition. M-A, gleaming copy has, beg. Sd. 2, 2 infinitesimal pap. scrs, inaud. MB 35

G400. OLIMPIA BORONAT: I Puritani – Qui la voce (1904 Version) / Les Pêcheurs de Perles – Comme autrefois (in Italian). 10” AC white Archive HMV VA 11, POM-1904. MINT MB 10

G401. OLIMPIA BORONAT: Zabava Putyatishna – Guai! No no! (Ivanov) / Mireille – Ô légère hirondelle (in Italian). 10” AC vinyl Historic Masters HMA 65 (10” record pressed onto 12” blank), POM-1904. MINT MB 10

G402. OLIMPIA BORONAT: Don Pasquale - So anch'io la virtù magica / Rigoletto - Tutte le feste al tempio. 12” AC red vinyl RCA 15-1023, POM-1908. M-A MB 15

Olimpia Boronat sang around the world, particularly the Spanish-speaking world, but was particularly associated with Russia; she first sang there at St Petersburg in 1894. She married a member of the Polish aristocracy, and retired from the stage for six years from 1896 to 1902. After her hiatus, she sang initially in Russia; it was not until 1909 that she returned to her native Italy to sing. Boronat was noted for a voice of great beauty and clarity, and exceptional technical ability, coupled with sensitive musicianship. She was particularly associated with the roles of Rosina, Violetta, Elvira, in I Puritani and Ophélie in Hamlet. After her retirement, Boronat founded a singing school in Warsaw.

G403. CESIRA FERRANI & GIOVANNI APOSTOLU: Faust – Il se fait tard (in Italian). 10” AC black Milano G & T G.C.-54035 (2931-w2), only form of issue, 1902. A-B, very decent copy has lt. grey on peaks & long lateral scr which clicks ltly during 1st inch. MB 25

G404. MARIA GRISI: Ernani – Ernani, involami / Huguet, Salvador, Cigada & Sillich: Ballo – O figlio d’Inghilterra. 10” AC Pat.’08 black V 63173, POM-1906/’07, resp. M-A MB 8

G405. MARIA GRISI & PIETRO LARA: Ruy Blas – O dolce voluttà (Marchetti). 12” AC Pat.’08 black V 58323, POM-1906. M-A, lovely copy has 2 wee dust mks, inaud. MB 8 G406. EUGENIA MANTELLI: Der Asra (Rubinstein; in German). 10“ AC black (crossed bugles label) Zonophone 12619 (6499), only form of issue, 1906-07. A-, decent copy has lt rubs & scrs, inaud; tiny hlc into 1st inch, ever-so-faintly aud. MB 45

G407. EUGENIA MANTELLI: Carmen – Habañera (in French) / Les tringles des sistres (in Italian). 10“ AC dark-green (A Child’s Head ‘On Speaking Terms’ label) Zonophone 40075 (5973/6551), POM-1906. A-B, decent copy has lt rubs & scrs., mainly cosmetic; lt. grey on peaks being only momentarily audible. MB 45

G408. EUGENIA MANTELLI: La Favorita – O mio Fernando / GUERRINA FABBRI: Barbiere – Una voce poco fà. 10“ AC shellac gold HRS 1098, RRs-1905/’03, resp. M-A MB 10

G409. EUGENIA MANTELLI: La Cenerentola – Nacqui all’affanno / Non più mesta. 10“ AC shellac red IRCC 3015, RRs-1905. M-A MB 10

G410. EUGENIA MANTELLI: La Cenerentola – Nacqui all’affanno / Non più mesta. 10“ AC dark-green (A Child’s Head ‘On Speaking Terms’ label) Zonophone 40080 (6553/54), POM-1905. B-, considerably rubbed & scratched copy plays remarkably well, with only the occasional click. MB 45

“Mantelli’s mastery of coloratura is such that we may point to her Rossini records. The florid music is executed with absolute precision combined with perfectly produced and beautiful tone in the style of Rossini’s own singers. Mantelli’s most important recording is the Rondo Finale from LA CENERENTOLA. The voice is most beautifully recorded, catching the lovely timbre; the voice is supported on the breath with admirable solidity. What a lesson she gives us in the properly defined execution of the runs, every note distinct without any hint of intrusive aspirates or diaphragmatic thrust; true to Garcia’s definition, her florid passages sound as though ‘played on the organ’. She interpolates two cadenzas, both similar to Rossini autograph variants. Rubinstein’s ‘Der Asra’ was a concert favorite, which Mantelli sings splendidly, giving full rein to the chest voice….” - Michael Aspinall, Program notes to Marston’s Mantelli issue

G411. 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 95

"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

G412. BLANCHE MARCHESI: Hercules – My father; peaceful rest (Handel) / La lettre (Moret); Spanisches Liederbuch - Nun wandre, Maria (Wolf). 12" EL PW silver Victor IRCC 119, POM-1937. Numbered Copy #46 of Limited Edition, Sd.1 label is Autographed by Marchesi, to which her photo is affixed. M-A, a gleaming copy. MB 135

G413. BLANCHE MARCHESI: Amuri, amuri (Sicilian Cartdriver’s Song) (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 label Autographed by Marchesi. M-A, a gleaming copy. MB 95

“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. 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. Best described by John Williams, "the interpretation is almost unbearingly moving." 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

G414. ADALGISA ROSSI-MURINO & ERNESTO BADINI: La Gioconda – Vo’ farmi più gaia / Rossi-Murino, Bettoni, & Lopez-Nunes: Figlia che reggi. 12” AC blue V 55017, POM-4 / 11 April, 1910. M-A, lovely copy has, Sd. 1 only, 2 infinitesimal pap. scrs, inaud. MB 12 G415. FAUSTA LABIA: Tre giorni son che Nina (Ciampi; att. Pergolesi) / Amica – Padre! Io vi chiamai così (Mascagni). 10¾“ AC Milano Fonotipia 39494/93 (XPh 221/341), only form of issue, 1905. Sd. 1 is particularly expressive, featuring exquisite shading and use of portamento to great effect! B, very decent bright & unworn copy has, primarily Sd.2, numerous lt. scrs. resulting in clicks, yet the performances come through most clearly. MB 35

“Fausta Labia, the elder sister of Maria Labia, had a relatively short career (1892–1912), which included performances as Sieglinde under Toscanini at La Scala. She retired shortly after her marriage to the tenor Emilio Perea.”

G416. MARIA de MACCHI: Lucrezia Borgia – Come è bello / Poliuto – Di qual soavi lagrime (both Donizetti). 10¾“ AC brown German Odeon RX 59135/36 (XPh 1916/2554), POM-1907. M-A, a gleaming copy of choice 1930s pressing, produced for IRCC. MB 75

G417. MARIA de MACCHI: Norma – Casta diva / Ah! bello a me ritorna. 10¾” AC Milano Fonotipia 39495/96 (XPh 478/84), POM-1905. A, lovely copy has, beg. Sd. 1 only, minor ‘heat’ mk, causing very faint swish. MB 50

G418. ROSA CALIGARIS: Forza – Madre pietosa Vergine. 12” AC black Milano G & T 053011 (Con 564), POM-1903. A-, lovely copy has lt. grey on peaks. MB 45

G419. ELISA BRUNO: Le Prophète – Ah, mon fils! (in Italian). 10” AC Milano G & T G.C.-53228 (1725), only form of issue, 1902. A-, lovely copy has hint of grey on peaks & infinitesimal dust scr. MB 65

G420. ALICE CUCINI & FORTUNIO SANCOVY: Il Trovatore – Ai nostri monti. 10” AC red Milano G & T G.C. 54332 (10370b), POM-1907. A-B, very decent copy has lt. rubs & few superficial scrs causing no more than a few lt. clicks; this plays virtually as M-A. MB 35

G421. ALICE CUCINI & EMILIA CORSI: Lohengrin – Ortrud! Wo bist du? (in Italian). 12” AC red Milano G & T 054086 (603c), POM-1906. A-, very decent copy few lt. rubs & superficial mks, positively inaud. MB 45

G422. ALICE CUCINI & GIULIO ROSSI: Mignon – Légères hirondelles (in Italian). 12” AC red Milano G & T 054085 (602c), POM-1906. A-, very decent copy few lt. rubs & superficial mks, positively inaud. MB 45

“Alice Cucini made her theatrical début in Naples at the age of 21 and enjoyed a splendid career….Cucini has a vocal quality of real authority that, without any undue pressure on her lower register and an expressive range, immediately impresses the listener.” - Alan Bilgora, liner notes to Bill Breslin’s Collectors’ Treasures CD

G423. SANTA CHISSARI, w.Basile Cond.: Fra Diavolo – Quel bonheur (Auber, in Italian), 2s. 10” EL pale-blue Cetra AT 0360, only form of issue, 18 Nov., 1953. Remarkably agile coloratura, with quite a lovely voice! M-A, a gleaming copy. MB 25

G424. FERNANDA CHIESA, CARLO ALBANI & LUIGI MANFRINI: I Lombardi - Qual voluttà, 2s. 10¾” AC Milano Art Label ‘Disco Commemorative – Omaggio a Verdi’ Fonotipia 1813/1913. A-, lovely copy has few lt. mks, inaud; beg. Sd. 1 only has few greyed grooves. MB 20

“The pièce de resistance is the ‘Disco Commemorativo Omaggio a Verdi’, issued in 1913 in observance of Giuseppe Verdi's centenary. Verdi had only been dead 12 years, and the record is made by the regular cast and orchestra belonging to La Scala in 1913. So if one desires to hear the music of Verdi much as Verdi himself heard it, then Fonotipia: A Centenary Celebration is the place to go -- that in itself is a strong recommendation for this collection.” - Uncle Dave Lewis, ALL MUSIC GUIDE

G425. MARIA BERNACCHI, LUIGI COLAZZA & ERNESTO CARONNA: Il Trovatore – Di geloso amor. 10” AC white Vla 16808-A (7027b), POM-1905. A to M-A MB 10

G426. MARIA BERNACCHI, LUIGI COLAZZA & TORRES DE LUNA: Ernani – Ferma crudel / MARIA GRISI, REMO SANGIORGI FRANCESCO CIGADA &: O sommo Carlo. 12” AC black V 35170, POM-1905/’06, resp. M-A MB 10

G427. LINA PASINI-VITALE & RINALDO GRASSI: Cavalleria – Tu qui Santuzza?, 2s. 12“ AC Milano Fonotipia 74149/50 (XXPh 3968-2/69-2), POM-1909. A-/A, lovely copy has, Sd. 1 primarily, few insignificant pap. mks, inaud. MB 35

G428. LINA PASINI-VITALE & FERRUCCIO CORRADETTI: Madama Butterfly – Ora a noi, 2s.. 10¾“ AC Milano Fonotipia 92523/24 (XPh 3975/76), POM-1909. A-/A-B, very decent copy has few lt. rubs, inaud.; Sd. 1 only has tiny pressing bump, faintly audible 3 turns; Sd. 2 only has wee ec, not to grooves. MB 25

G429. SARA SCUDERI, w.Erede Cond.: La Boheme – Donde lieta uscì / Manon Lescaut – In quelle trine morbide. 10” EL plum HMV B.9659, only form of issue, 1948. M-A MB 8

G430. SARA SCUDERI, w.Erede Cond.: La Boheme – Mi chiamano Mimi / Andrea Chénier – La mamma morta. 12” EL plum HMV C.4035, only form of issue, 1948. M-A MB 10

G431. SARA SCUDERI & ALDO FERRACUTI, w.Erede Cond.: Cavalleria – Tu qui Santuzza?, 2s. 12” EL plum HMV C.3769, only form of issue, 1948. M-A MB 12

The above appear to be the entire recorded output by Scuderi, perhaps best-remembered for her participation in the 1985 documentary about Milano’s Casa di Riposo per Musicisti Giuseppe Verdi, (constructed 1895-1899), most poignant and charming.

G432. GIUSEPPINA ARNALDI, w.Simonetto Cond.: Zauberflöte – Der Hölle Rache (Mozart, in Italian) / w.Basile Cond.: Barbiere – Una voce poco fá (w.no cabaletta). 10” EL pale-blue Cetra AT 0280, only form of issue, 18 April / 5 Aug., 1952. M-A, a gleaming copy. MB 35

G433. GIUSEPPINA ARNALDI, w.Basile Cond.: Barbiere – Una voce poco fá, 2s (w.cabaletta). 10” EL pale-blue Cetra AT 0290, only form of issue, 5 Aug., 1952. M-A, a gleaming copy. MB 35

G434. GIUSEPPINA ARNALDI, w.Basile Cond.: Manon – Adieu, notre petite table (Massenet, in Italian) / Lodoletta – Flammen perdonami (Mascagni), redolent of the unforgettable performance by Iris Adami Corradetti! Performances such as these clearly demonstrate why this repertoire is best left unsung by the current crop of singers! 10” EL pale-blue Cetra AT 0326, only form of issue, 11 May, 1953. M-A, a gleaming copy. MB 35

G435. GIUSEPPINA ARNALDI, w.Basile Cond.: Fra Diavolo – Quall’ nom del fiero aspetto (not to be confused with the ever-popular ‘Or son sola’) / Nozze – Voi che sapete. 10” EL pale-blue Cetra AT 0343, only form of issue, 6 July, 1953. M-A, a gleaming copy. MB 35

G436. GIUSEPPINA ARNALDI, w.Basile Cond.: L’Elisir d'Amore – Prendi per me sei libero / Linda di Chamounix – O luce de quest’anima. 10” EL pale-blue Cetra AT 0392, only form of issue, 11 / 16 June, 1954. M-A, lovely copy has occasional minuscule ‘damp’ spot, virtually inaud., in this remarkably quiet pressing. It should be noted that all the above Arnaldi issues are on beautiful quiet shellac. MB 35

G437. GRAZIELLA VALLE, w.Basile Cond.: La Boheme – Donde lieta uscì / Tosca – Vissi d’arte. 10” EL green Cetra TI 7063, only form of issue, 10 Sept., 1948. M-A, a gleaming copy. MB 25

G438. GRAZIELLA VALLE, w.Basile Cond.: Cavalleria – Voi lo sapete / I Puritani – O rendetemi la speme; Qui la voce. 10” EL green Cetra TI 7064, only form of issue, 11 / 13 Sept., 1948. M-A, gleaming copy has wee label tear, Sd.1; alas, heavy lateral edge lams cause thumping, beg. Sd.2 only, during first inch. MB 12

G439. GRAZIELLA VALLE, w.Basile Cond.: Adriana Lecouvreur – Poveri fiori / L’Amico Fritz – Non mi resta. 10” EL green Cetra TI 7065, only form of issue, 11 / 13 Sept., 1948. M-A, gleaming copy has wee label tear, Sd.1. MB 25

G440. GRAZIELLA VALLE, w.Basile Cond.: Iris – S’era ammalata la mia amica bambola / Lodoletta – Flammen, pietà (both Mascagni). 10” EL green Cetra TI 7069, only form of issue, 12 -13 Nov., 1948. M-A, a gleaming copy. MB 25

G441. ROSINA ZILIANI, w.Ermelinda Magnetti (Pf.): Ninna nanna (Castelnuovo-Tedesco) / Ninna nanna d’Uliva (Pizzetti). 10” EL green Cetra TI 7053, only form of issue, 2 Oct., 1947. M-A, a gleaming copy. MB 20

G442. ROSINA ZILIANI, w.Ermelinda Magnetti (Pf.): Pioggia (Respighi) / Strambotto in serenata (Trecate). 10” EL green Cetra TI 7054, only form of issue, 2 Oct., 1947. M-A, a gleaming copy. MB 20

“Rosina Ziliani Bianchi was born in Alexandria. She was a participant in the 1937 competitions of the National Theatre, Alexandria, where she shared honors with Clara Petrella. She was active in the Teatro Lirico Sperimentale which lasted until 3 May, 1944, when the Allied Forces bombed and destroyed the Municipal Theatre, thereby causing the interruption of a budding career.”

G443. JOLANDA di MARIA-PETRIS, w.Tore Wiberg (Pf.): I Pastori (Pizzetti) / Quelle fiamma (Marcello). 12” EL HMV DB 6697, only form of issue, 1946. M-A, a gleaming copy. MB 8

G444. JOLANDA di MARIA-PETRIS, w.Sixten Ehrling Cond.: Manon Lescaut - In quelle trine morbide / La Boheme - Donde lieta uscì. 10” EL HMV DA 1886, only form of issue, 1946. M-A MB 8

“Petris’ busiest concert season was 1940-1950, then after World War II she came to Scandinavia, appeared in Europe and also made an extensive American tour in which she was regarded as a sensation. She has recorded Verdi, Mascagni, Boito, Respighi, Granados and Pizzetti arias. In Stockholm, Jolanda di Maria Petris became acquainted with the Finnish Opera baritone Far Forsell. The couple's son Claudio was born in 1949. Petris then became lecturer at the Sibelius Academy from 1960 to 1977.”

G445. ELENA DANESE, w.Fighera Cond.: Lakmé – Où va la jeune Indoue (in Italian), 2s. 10” EL green Cetra TI 7067, only form of issue, 9 Nov., 1948. M-A, a gleaming copy. MB 20

G446. ELENA DANESE, w.Fighera Cond.: La Fille du Régiment – Il faut partir (in Italian) / Rigoletto – Caro Nome. 10” EL green Cetra TI 7068, only form of issue, 10 Nov., 1948. M-A, gleaming copy has, Sd. 1 only, wee label tear. MB 20

G447. MARINA CAMPANARI: Voci di primavera (Johann Strauss) / Roméo et Juliette – Je veux vivre. 10” AC dark-blue Okeh 6006, only form of issue, 1920. M-A, choice copy has, Sd. 2 only, mere hint of grey on peaks. Charming artist, the daughter of celebrated baritone Giuseppe Campanari (Met Opera, 1894-1912, and cellist with the Boston Symphony Orchestra and the La Scala Orchestra). MB 10

G448. MARINA CAMPANARI & FORREST LAMONT: Rigoletto – È il sol dell’anima / FORREST LAMONT: Questa o quella. 10” AC dark-blue Okeh 6009, only form of issue, 1920. A-B, very decent copy has lt. rubs, inaud.; Sd. 1 only has very faint nr & few lt. scrs. MB 8

G449. RENATA EGIZIA, w.Manno Cond.: Serenata (Clausetti) / Ave Maria (Bach-Gounod). 10” EL green Cetra TI 7015, only form of issue, 29 April, 1944. Uncommonly lovely singing. M-A, a gleaming copy. MB 20

G450. MARIA CAPPIELLO: Aïda - O tu che sei d'Osiride / Chi mai fra gl'inni. 12” AC blue V 55005 (Mx.1960/1964c), POM-5 / 7 April, 1909. A to M-A, lovely copy has faintest pap. rubs, inaud.; beg. Sd.1 only has wee scr, inaud. MB 10

G451. LIDIA STIX, w.Giorgio Favaretto (Pf.): Als Luise die Brefe Ihres ungetreuen (Unglückliche Liebe) / Warmung (both Mozart, in Italian). 10” EL green Cetra TI 7076, only form of issue, 15 July, 1949. M-A, a gleaming copy. MB 20 G452. LIDIA STIX, w.Giorgio Favaretto (Pf.): An Chloe / Das Veilchen (both Mozart, in Italian). 10” EL green Cetra TI 7075, only form of issue, 16 /15 July, 1949. M-A, gleaming copy has, visible Sd. 2 only, infinitesimal internal lam, positively inaud. MB 20

G453. LIDIA STIX, w.Giorgio Favaretto (Pf.): Das Traumbild (Mozart, in Italian) / Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart], in Italian). 10” EL green Cetra TI 7081, only form of issue, 16 / 15 July, 1949. M-A, a gleaming copy. MB 20

G454. GABRIELLA BESANZONI: La Gioconda – Voce di donna. 10” AC Vla 64876, POM-9 March, 1920. M-A MB 8

G455. GABRIELLA BESANZONI: Il Trovatore – Stride la vampa. 10” AC Vla 64875, POM-9 March, 1920. M-A MB 8

G456. GABRIELLA BESANZONI: La Gioconda – Voce di donna / Il Trovatore – Stride la vampa. 10” AC LVDP DA 128, POM-9 March, 1920. M-A, choice late LVDP pressing. MB 12

G457. GABRIELLA BESANZONI: Samson et Dalila – Mon coeur s’ouvre à ta voix (in Italian). 10” AC Vla 64877, POM-11 March, 1920. M-A MB 8

G458. GABRIELLA BESANZONI: Samson et Dalila – Printemps qui commence (in Italian) / CRISTINA SORO: Il Trovatore – D’amor sull’ali rosee. 12” AC Vla 6409, POM-10 March, 1920 / 30 Sept., 1922. M-A MB 12

G459. GABRIELLA BESANZONI: Carmen – Habanera (in Italian). 12” AC Vla 74613, POM-20 Feb., 1920. M-A MB 8

G460. GABRIELLA BESANZONI: La Favorita – O mio Fernando. 12” AC Vla 74680, POM-2 March, 1921. M-A, a gleaming copy. MB 8

G461. GABRIELLA BESANZONI: Le Prophète – Ah, mon fils! 12” AC S/S Special vinyl Pressing of Unpublished C 24960, POM-24 Feb., 1921, from Unpublished Master (although Victor assigned Issue #74677, but never issued). MINT MB 25

“Gabriella Besanzoni was very successful at La Scala, as Orfeo and Amneris, and in 1932 as Carmen and Mignon. In the 1910s and ‘20s Besanzoni was a star of the Teatro Colón in Buenos Aires and other South American opera houses. Her rôles included Dalila, Carmen, Amneris, Lola, La Cieca, Preziosilla, Marina, Leonora in LA FAVORITA, Mignon, Adalgisa, Isabella in L’ITALIANA IN ALGERI, not to forget the first performances of Zandonai’s FRANCESCA DA RIMINI and Marinuzzi’s JACQUERIE. She returned to sing at the Colón until 1935. She also appeared at the Met opposite Caruso in the season 1919/20. Guest appearances followed at the opera houses of Chicago, Havana and Berlin. Carmen was the rôle that brought her fame and it was this part she chose for her farewell performance at the Terme di Caracalle in Rome (1939). After her retirement she dedicated herself to teaching. She recorded seven outstanding sides of 78s in the years 1920/21, then in 1932 she recorded some CARMEN with her brother Ernesto Besanzoni as Escamillo. Gabriella Besanzoni is one of the most eminent mezzo-sopranos to be heard on records. Hers is a full-toned and smoothly produced voice. In my opinion, there is but one Italian mezzo being her equal, namely Ebe Stignani. She has a rich low register, a secure middle and a brilliant top register. What I particularly like is not only the beauty of her voice but also its velvety quality. She is one of very few Italian mezzo-sopranos who are able to sing with flexibility, and she can be very charming. Listen to her Carmen! In her interpretation, Carmen is an Italianate “femme fatale” but still it is a subtle portrait. There is a lot of delicacy and grace in her singing which is so essential for this character.” - Andrea Shum-Binder, subito-cantabile

G462. EBE BOCCOLINI: La Wally – Ebben? Ne andrò lontana / GIUSEPPINA HUGUET: Il bacio (Arditi). 12” AC blue V 55024, POM-24 Nov., 1910 / 28 April, 1909. M-A, lovely copy has, Sd. 2, faintest pap. rubs, inaud. MB 25

G463. EBE BOCCOLINI & GUIDO CICCOLINI: L’Amico Fritz – Suzel, buon dì (Cherry Duet) / FANNY LOTTI & ERNESTO BADINI: Amica – Più presso al ciel (both Mascagni). 12” AC black Pat.’12 V 68376, POM-14 Dec. / 26 Nov., 1910. M-A, gleaming copy has, Sd. 2 only, needle run on label. MB 20

G464. EBE BOCCOLINI & LUCA BOTTA: Manon Lescaut – O tentatrice / IRENE SOLLOHUB & LUCA BOTTA: Mefistofele – Amore! Misterio! 12” AC black V 68418, POM-17/25 Sept., 1912. M-A, gleaming copy has, Sd. 2 only, infinitesimal pap. scr, inaud. MB 25

G465. EBE BOCCOLINI & ERNESTO BADINI: La Boheme – C’è Rodolfo? / SANIPOLI, PASSARI, CICCOLINI & BADINI: Addio dolce svegliare (both Act III). 12” AC black Gram. Monarch 054295/99, POM-25/23 Nov., 1910. A to A-, lovely copy has faintest pap.rubs, inaud. MB 15

G466. EBE BOCCOLINI & MATTIA BATTISTINI: Thaïs – Baigne d’eau (in Italian) / MATTIA BATTISTINI: Don Carlos – Io morrò, ma lieto in core. 12” AC vinyl Historic Masters HMB 47, POM-24 Feb., 1924 / 3 June, 1911, the latter being First Edition. MINT MB 8

“Ebe Boccolini first came to attention as Nedda (PAGLIACCI) at the Politeama in Pisa, 1906. Despite her youth, she was soon heard in a number of Italian houses in roles such as Charlotte in WERTHER, WALLY, MANON, MADAMA BUTTERFLY, CONCHITA (Zandonai), Desdemona, and Tosca. Her career encompassed most of the Italian theaters, and she also sang in Holland, Spain, Chile, Peru and Cuba, often appearing with Bernardo de Muro. They performed together in a highly acclaimed performance of Giordano’s ANDREA CHÉNIER in Havana in 1921. She returned to Italy in 1930 and performed throughout the country for the next six years. Her husband was Ermete Zacconi, a noted Italian actor. Boccolini recorded for the Italian Gramophone Company in 1910-11, among which are duets with Mattia Battistini.” - Lawrence F. Holdridge, Program notes to VRCS 2006 Issue & Marston’s THE EDISON TRIALS G467. GIANNA PEDERZINI, w.Favaretto (Pf.): Ständchen (Strauss; in Italian) / Wiegenlied (Brahms, in Italian). 10" EL LVDP DA 5426, only form of issue, 1942. M-A, choice copy has, Sd. 2 only, sev. tiny pap. scrs, inaud. MB 25

G468. GIANNA PEDERZINI, w.Olivieri Cond.: Traum durch die Dämmerung (Strauss; in Italian) / Passione (Tagliaferri). 10" EL LVDP DA 5386, only form of issue, 1940. M-A, choice copy has, Sd. 1 only, faintest pap. rub, inaud. MB 25

G469. GIANNA PEDERZINI, w.Lualdi Cond.: La Canzone di Fraciscio (Cond. by the Composer) / Werther - Letter Scene (in Italian). 10" EL LVDP DA 5424, only form of issue, 1942. A, exemplary copy has faintest pap.rubs, inaud.; Sd. 1 only has infinitesimal pap. scr, inaud. MB 25

G470. GIANNA PEDERZINI, w.Salerno (Pf.): Vidalita (Williams) / Canta pe’ me (de Curtis). 10” EL dark blue Cetra AT 0118, only form of issue, 5 May, 1942. A to A-, lovely copy has faint rubs & mere hint of grey on peaks. Wartime Issue, Italy only. MB 25

G471. GIANNA PEDERZINI, w.Petralia (Cond.): ‘O surdato ‘nnammurato (Cannio) / L’addio del bersagliere (Lama). 10” EL pale blue Cetra AT 0119, only form of issue, 28 June, 1942. A, lovely copy has faintest pap. rubs, inaud. Wartime Issue, Italy only. MB 25

G472. GIANNA PEDERZINI, w.Tansini Cond.: L’Italiana in Algeri - Cruda sorta / Per lui che adoro. 12” EL dark-green Cetra BB 25092, only form of issue, 1942. M-A, a gleaming copy. MB 15

G473. GIANNA PEDERZINI, w.Tansini Cond.: L'Arlesiana - Esser madre È un inferno / Risurrezione - Dio pietoso. 12” EL dark-green Cetra BB 25027, POM-9 April, 1941. M-A, a gleaming copy. MB 15

G474. GIANNA PEDERZINI, w.Tansini Cond.: L'Arlesiana - Esser madre È un inferno / Risurrezione - Dio pietoso. 12” EL Parl.Odeon R.30020, POM-9 April, 1941. M-A, a gleaming copy. MB 12

G475. GIANNA PEDERZINI, w.Nastrucci Cond.: Carmen – Séguedille / En vain pour éviter (Card Scene) (in Italian). 12” EL dark-green Cetra BB 25025, POM-9 April, 1941. M-A, a gleaming copy. MB 15

G476. GIANNA PEDERZINI, w.Nastrucci Cond.: Carmen – Séguedille / En vain pour éviter (Card Scene) (in Italian). 12” EL Parl.Odeon R.30001, POM-9 April, 1941. M-A, a gleaming copy. MB 12

G477. GIANNA PEDERZINI & ANTONIO GELLI, w.Nastrucci Cond.: Forza - Al suon del Tamburo / Sabajno Cond. La Scala Chorus: Nabucco - Va, pensiero. 12” EL plum HMV JOX 43, POM-1930. M-A, a gleaming copy. MB 15

"...Pederzini [was] one of the best mezzos of my whole experience. Hers was not perhaps one of the greatest vocal organs, but she used it splendidly and had a beautiful vocal intensity onstage which made her performances riveting." - Tito Gobbi, MY LIFE, p.156

“Pederzini studied in Naples with Fernando de Lucia, and made her stage début in Messina, as Preziosilla, in 1923. She sang widely in Italy, notably as Mignon and Carmen, and made her début at the Teatro San Carlo in Naples, as Adalgisa, in 1928, and at the Teatro alla Scala in Milan, in 1930. Abroad, she appeared at the Royal Opera House in London in 1931, the Opéra de Paris in 1935, the Teatro Colón in 1938, and the Berlin State Opera in 1941. She took part in the 1930s’ revivals of rare operas by Rossini and Donizetti, while singing the standard mezzo roles; Azucena, Ulrica, Amneris, Laura, but also a few dramatic soprano roles such as Santuzza and Fedora, etc. In the 1950s, she began concentrating on ‘character rôles’ such as the Countess in PIQUE DAME, Mistress Quickly in FALSTAFF, Madame Flora in THE MEDIUM, and took part in the creation of LES DIALOGUES DES CARMÉLITES at La Scala, in 1957.”

G478. OLGA OLGINA: Lakmé – Où va la jeune Indoue, 2s. 12” EL black Eng. Decca S 10002. A-, very decent copy has lt. rubs & few superficial scrs, inaud. MB 8

G479. OLGA OLGINA, w.Basil Cameron Cond.: Barbiere – Una voce poco fà, 2s. 10” EL white Eng. Decca review copy for M92 (MB 748/49). A to M-A, lovely copy has, Sd. 2 only, few superficial scrs, inaud.. MB 8

G480. SALOMEA KRUSZELNICKA: Ti rivedrò (Tosti) / Forza – Pace, pace, mio Dio! 12” AC Milano Fonotipia 74026/25 (XXPh 2225/2215), POM-7 Nov., 1906. A-B, very decent copy has various cosmetic lt. rubs & faint scrs, virtually inaud.; this plays virtually as M-A. The Tosti song is among Kruszelnicka’s most enchanting performances! MB 45

“Tosti’s waltz ‘Ti rivedrò’ is one of the loveliest records in the Fonotipia catalogue. In contrast to the preceding matrix, the Wally aria, here her tone is warm and caressing, charmingly seductive. She gives us a lesson in how to sing a waltz, and her mastery of rhythm and rubato serve to remind us that, after all, she is a compatriot of Chopin….Her high standard of accuracy of execution, together with her cello-like legato and delicate expression, are typical of the artistic finish expected from the performances of great singers in the salon of a hundred years ago….She brings out all the pathos of ‘Poveri fiori’ with a beautifully sustained climax in which she is able to intensify her tone without any harshness.” - Mark Bailey, Program Notes to Marston’s Kruszelnicka issue

G481. SALOMEA KRUSZELNICKA: Adriana Lecouvreur – Poveri fiori / Io son l’umile ancella (1907 Version). 10¾” AC Milano Fonotipia 92089/88 (XPh 2853/54), POM-14 Nov., 1907. A to M-A, choice copy has, Sd. 2 only, hint of grey on peaks and sev. infinitesimal dust mks, very faintly audible a turn or three. MB 45

G482. SALOMEA KRUSZELNICKA: Mefistofele – L’altra notte / Adriana Lecouvreur – Io son l’umile ancella (1906 Version). 10¾” AC Parl.-Odeon PO 132 (xxPH 2212/13), POM-6 Nov., 1906. A to M-A, lovely copy has very occasional pap. scuff, inaud. MB 35 G483. ODA SLOBODSKAYA: w.Ivor Newton (Pf.): The Dreary Steppe (Gretchaninoff); From my Tears, Spring Flowers; Water Nymphs (all Borodin); Hebrew Melody (Balakirev). 12” EL Eng. Decca K.1206, only form of issue, 1939. M-A MB 15

G484. ODA SLOBODSKAYA: w.Nicolas Medtner (Pf.): To a dreamer / TATIANA MAKUSHINA, w.Nicolas Medtner (Pf.): Spanish romance; Butterfly (all Acc. by the Composer). 12” EL HMV DB 6565, only form of issue, 1947. M-A MB 15

G485. ODA SLOBODSKAYA, w.Percy Kahn (Pf.): Lilacs (Rachmaninoff); Roses (Rubinstein) / The Fair at Sorochintsi - Parassia's Reverie (Moussorgsky). 10" EL plum HMV EK.113, only form of issue, 1931. M-A MB 15

"[Slobodskaya] has a never-failing power to convey the precise significance of each song she sings to audiences ignorant of the Russian language. And it is with a Russian richness of temperament that she enjoys or suffers everything she sings....Working with her was always an adventure...." - Ivor Newton, AT THE PIANO, THE WORLD OF AN ACCOMPANIST, p.111

G486. ODA SLOBODSKAYA, w.Ivor Newton (Pf.): Songs by Taneiev, Tschaikowsky, Tcherepnin, Cui & Rachmaninoff, 8s. 4-12” EL orange Eng.Decca RVW.104/107, only form of issue, 1938. Privately issued by Rimington van Wyck. A to M-A MB 65

"...the [above] recordings were made and issued in a limited edition of 2,000 copies, bearing a classy orange label....the Rimington van Wyck set comprising four 12" 78rpm records, made in 1938, [includes] her own favourite recording, Tschaikowsky's 'Golden Cornfields' [and] captures Slobodskaya in her vocal prime, she was just 50, and at her interpretative best. Ivor Newton, her accompanist, is sensitive and supportive....Even if a Rimington van Wyck set can be discovered nowadays, and it is exceedingly rare, the records may be seriously impaired." - Maurice Leonard, SLOBODSKAYA, A Biography

G487. MARIA MAKSAKOVA: You will soon forget me / It’s all the same to me (both Dargomyzhsky); My genius, my angel, my friend (Tchaikovsky). 10” EL orange CCCP Aprelevski Zavod 15807/06, recorded 1948. M-A MB 12

G488. MARIA MAKSAKOVA: Hug me, kiss me (Balakirev) / No, it is not you (Titov). 10” EL blue Aprelevski Zavod 12112/13, recorded 1944. M-A MB 12

G489. MARIA MAKSAKOVA: Esli est ne svete (Zhivotov) / Neva (Yurtaikin). 10” EL blue Aprelevski Zavod 14043/44, recorded 1946. M-A MB 12

G490. MARIA MAKSAKOVA: The beautiful maid no longer loves me / Listen, friends, to my song (both Borodin ). 10” EL black Aprelevski Zavod 14676/77, recorded 1947. M-A MB 12

G491. MARIA MAKSAKOVA: Krasavitsa-Rybachka (Borodin) / Tolko uzna (Glinka). 10” EL black Aprelevski Zavod 15660/61, recorded 1948. M-A MB 12

G492. MARIA MAKSAKOVA: Songs by Borodin / Varlamov. 10” EL red CCCP Aprelevski Zavod 21100/21099, recorded 1952. M-A MB 12

G493. MARIA MAKSAKOVA: Pique Dame – Dear friends for whom I sing (Pauline’s romance) / MARIA MAKSAKOVA & XENIA DERZHINSKAYA: Already shades of night. 10” EL red CCCP Aprelevski Zavod 16743/42, recorded 1949. M-A/A, lovely copy has, Sd. 2 only, few superficial pap. scrs. MB 10

G494. MARIA MAKSAKOVA: Khovanschina – Mysterious powers! (Martha’s divination) (Mussorgsky), 2s. 10” EL red CCCP Aprelevski Zavod 24442/43, recorded 1955. M-A MB 12

G495. MARIA MAKSAKOVA: The Stone Guest – Fog has decended on Granada / Here am I, Inezilla (Dargomyzhsky), 2s. 10” EL red USSR Aprelevski Zavod 15677/78, recorded 1948. M-A, lovely copy has, alas, hlc. MB 6

“Maria Maksakova was an ultimately Russian singer. Her timbre and intonation were so genuinely Russian that it was only natural that she fit so perfectly into the Russian classical format, especially when it came to portraying strong characters that gave such ample credit to her unique talent of a dramatic actress. The Bolshoi’s lead singers loved partnering with Maksakova on stage because she had that rare ability to feel her partner and latch onto his state of mind.” - Olga Fyodorova, THE VOICE OF RUSSIA

G496. OXANA PETRUSENKO: Swim, swim, little swan (Stetsenko) / Natalka Poltavka – The winds are blowing (Lysenko). 12" EL red CCCP Aprelevski Zavod 08690/05289, recorded 1939/’37, resp. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12

G497. CLAUDIA NOVIKOVA: Die Fledermaus – Mein Herr Marquis (Johann Strauss) / The Geisha – Song of the laugh (Lambelt; inserted into the Sidney Jones operetta ‘The Geisha’) (both in Russian). 10” EL purple Argee 1119, recorded 1940. A to M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud. MB 25

G498. CLAUDIA NOVIKOVA: La Périchole – Ah, quel diner! (in Russian) (Offenbach) / Pyatnitzky Chorus: The pathway (Russian Folksong). 10” Keynote 219, recorded 1939. A to M-A, lovely copy has, Sd. 1 only, infinitesimal pap. mk, inaud. MB 20

“Claudia M. Novikova was a leading singer of operetta and light opera. She was an excellent vocalist with a technique firmly based in the classical tradition, having studied with the great contralto Eugenia Zbruyeva. In 1926 she joined the prestigious Moscow Operetta Theatre where she remained until her retirement from the stage in 1958. Novikova’s voice was clear and beautifully focused. She was a very expressive singer….Her laugh may be the most infectious on record.” - William R. Skinner, Program Notes to Eclectra’s ‘Laughing with Novikova’ CD G499. IRINA MASLENNIKOVA: The Evening is fading away (Rimsky-Korsakov) / Meadow song (Vasilenko). 10” EL red CCCP Aprelevski Zavod 16840/41, recorded 1949. M-A, choice copy has label tear, Sd. 1. MB 15

G500. IRINA MASLENNIKOVA: La Boheme – Mi chiamano Mimi (in Russian) / Tsar Saltan – Swan Princess’ Aria (Rimsky-Korsakov). 7¾” EL purple Aprelevski Zavod Extended Play 00901/02, recorded c.1950. M-A MB 15

G501. IRINA MASLENNIKOVA: Snegoroutchka – And yet I faint (Death of Snegoroutchka) (Rimsky-Korsakov). 10” EL green Aprelevski Zavod 16677/78, recorded 1949. M-A MB 15

G502. IRINA MASLENNIKOVA: Ruslan and Ludmilla – Soon I must leave thee (Glinka), 2s. 12” EL red CCCP Aprelevski Zavod 018434/35, recorded 1950. M-A MB 20

G503. IRINA MASLENNIKOVA & SERGEI LEMESHEV: La Traviata – Libiamo, libiamo / SERGEI LEMESHEV: De’ miei bollenti spiriti (both in Russian). 10” EL red CCCP Aprelevski Zavod 14915/16, recorded 1947. M-A MB 15

G504. IRINA MASLENNIKOVA & SERGEI LEMESHEV: La Traviata – Un dì felice, eterea (Act I) (in Russian), 2s. 10” EL red CCCP Aprelevski Zavod 12118/19, recorded 1944. A-, very decent copy has lt. rubs, inaud.; Sd. 1 only has few wee scrs, ever-so-faintly audible a few turns. MB 8

G505. IRINA MASLENNIKOVA, ANATOLI ORFENOV & IVAN PETROV: Two Trios (Dmitriyev / Dargomyzhsky). 12” EL red CCCP 021384/85, recorded 1952. M-A Beautiful & Exceedingly elusive! MB 15

“The Bolshoi's singer and Kozlovsky's partner in several operas, Irina Maslennikova, said: ‘At the beginning of my career at the Bolshoi I sang first in RIGOLETTO and than in THE BARBER OF SEVILLE. As a singer I was absolutely unknown to anyone. My first partners were such celebrities as Ivan Kozlovsky and Marc Reizen. Who was I? Just a beginner. But how they cared for me! At rehearsals they treated me like an accomplished singer making no difference between me and themselves’.” - N. Victorova, AN INTERNATIONAL CONFERENCE IN THE MOSCOW KREMLIN, 2000

G506. EUGENIA SMOLENSKAYA: Pique Dame – ‘Twill soon be midnight (Tchaikovsky), 2s. 10” EL purple Aprelevski Zavod 16802/03, recorded 1949. M-A MB 15

G507. YELIZAVETA CHAVDAR. Tsar’s Bride – In Novgorod / Snegoroutchka – And yet I faint (Death of Snegoroutchka) (both Rimsky-Korsakov). 7¾” EL red Aprelevski Zavod Extended Play 00843/44, recorded c.1950. M-A MB 15

G508. NINA SERVAL & SOFIYA PREOBRAZHENSKAYA: Mazeppa – Duet of Maria & Liubov (Tchaikowsky), 2s. 12” EL red CCCP Aprelevski Zavod 026298/99, recorded 1951. MINT MB 15

G509. NADEZHDA KAZANTSEVA: How fair this spot; In my garden at night (both Rachmaninoff) / A midsummer night’s dream (Rimsky-Korsakov); I shan’t tell anyone (Dargomyzhsky). 7¾” EL red Aprelevski Zavod Extended Play 00699/700, recorded c.1950. M-A MB 15

G510. NADEZHDA KAZANTSEVA: Horch! Horch! die Lerch’ / Ständchen (both Schubert; in Russian). 10" EL red Aprelevski Zavod 21079/80, recorded 1952. M-A MB 15

G511. NADEZHDA KAZANTSEVA: G’schichten aus dem Wiener Wald (Johann Strauss; in Russian), 2s. 10" EL yellow Akkora 24377/78, recorded 1955. A to M-A, lovely copy has, very beginning Sd.2 only, very few damaged grooves affecting introduction only. MB 12

G512. NADEZHDA KAZANTSEVA: Puteshestvie - Valse (Offenbach) / Der Bettelstudent – Laura’s song (Millöcker) (both in Russian). 10" EL red Aprelevski Zavod 16280/81, recorded 1948. A to M-A, lovely copy has occasional pap. rub, inaud. MB 15

G513. NADEZHDA KAZANTSEVA: Lucia di Lammermoor – Ardon gl’incensi . . . Spargi d’amaro pianto (in Russian), 2s. 12" EL red CCCP Aprelevski Zavod 018856/57, recorded 1950. A to M-A, lovely copy has occasional pap. rub, inaud.; beg. Sd. 1 only has few minor scrs causing a few lt. clicks. MB 10

G514. NADEZHDA KAZANTSEVA: Pecheurs de Perles – Comme autrefois / KAZANTSEVA & LEMESHEV: Par cet étroit sentier (in Russian). 10" EL red Aprelevski Zavod Extended Play 1342/43, recorded 1935. A to M-A, lovely copy has, beg. Sd.2 only, very few damaged grooves affecting introduction only. MB 12

“Nadezhda Kazantseva made her début at age 17 and was engaged by the Bolshoi Opera in 1932. She became an instant success in lyric and coloratura soprano rôles, such as Lakmé, Gilda & Violetta. She was named a People’s Artist of the USSR in 1950.” - VRCS Program Notes, 1992 LP issue

G515. YELENA KATULSKAYA: Evening glow (Cui) / I love thee, Op.5, #3 (in Russian) (Grieg). 10” EL red CCCP Aprelevski Zavod 20011/12, recorded 1951. MINT MB 12

G516. YELENA KATULSKAYA: Night (Rubinstein) / Twilight (Rachmaninoff). 10” EL red CCCP Aprelevski Zavod 15774/75, recorded 1948. M-A MB 25

G517. YELENA KATULSKAYA: In an enchanting dream / Only one instant (both Glinka). 10” EL red CCCP Aprelevski Zavod 18587/88, recorded 1950. M-A MB 25

G518. ELENA KATULSKAYA: Demon – Calm and clear is the night (Rubinstein), 2s. 10” EL Art Label (commemorating the Bolshoi’s 175th Anniversary) red Aprelevski Zavod 16453/54, POM-1948. A to M-A, lovely copy has occasional dust scr. MB 20

G519. ELENA KATULSKAYA & SERGEI LEMESHEV: Do not tempt me (Glinka), 2s. 10” EL red USSR Aprelevski Zavod 15971/72, POM-1947. A-, lovely copy has faintest pap. rubs & occasional dust scr. MB 20 G520. NADEZHDA OBUKHOVA. Romances by Kochubei, Bulakhov, Titov, etc., 2s. 7¾” EL red Aprelevski Zavod Extended Play 00853/54, recorded c.1950. A/A-, lovely copy has, Sd. 2 only, tiny dust scr, audible a few turns. MB 12

G521. NADEZHDA OBUKHOVA: Weeping willows are slumbering / A foggy morning. 10” EL red USSR Aprelevski Zavod 15339/57, recorded 1947. M-A, lovely copy has, Sd. 2 only, tiny pressing bump. MB 10

G522. NADEZHDA OBUKHOVA: Khovanschina – Mysterious powers! (Martha’s divination) (Mussorgsky), 2s. 10” EL yellow CCCP Aprelevski Zavod 10931/32, recorded 1941. MINT MB 12

G523. NADEZHDA OBUKHOVA, w.Melik-Pashaev Cond.: Sadko - Liubava's Recitative and Aria (Rimsky-Korsakov) / Khovantchina - Martha's Aria (Moussorgsky). 12" EL red CCCP Aprelevski Zavod 016088/89, recorded 1948. MINT MB 15

“Nadezhda Obukhova was born into a talented Russian family. Her great-grandfather was the poet Yevgeny Boratinsky, a close friend of Pushkin. Her grandfather was the pianist Adrian Mazaraki, a friend of Nikolay and Anton Rubinstein. Two uncles were singers, one of them became opera director of the Bolshoi. Obukhova’s family spent the summers in Nice where the girl received first singing lessons by Eleanora Lipman, a student of Pauline Viardot-Garcia . In 1907 she entered the Moscow conservatory, studying under Umberto Masetti, teacher also of Antonina Nezhdanova, Nina Koshetz, Beniamino Gigli, Tito Schipa, Riccardo Stracciari and Valeria Barsova. Nadezhda made her rather late operatic début at the Bolshoi in 1916, as Pauline in PIQUE DAME. She soon became one of the most acclaimed opera stars there, appearing as Carmen, Dalila, Marfa, Lyubasha, Spring Fairy in SNEGOROUTCHKA, Fricka, Marina, Clarissa in Prokofiev’s THE LOVE FOR THREE ORANGES and Lyubava in SADKO, among many other rôles. In 1922 she took part in the first radio concert in the USSR, singing Pauline’s aria. In the first radio broadcast from the Bolshoi she appeared in Rimsky-Korsakov’s THE TSAR’S BRIDE, opposite Nadezhdanova, Leonid Speransky and Vasily Petrov. In the 1930s, concert work began to occupy most of her time. In 1937 she was awarded the title ‘People’s Artist of the USSR’. It was not until that same year, that she was invited to record in the studio (!), but fortunately her voice was still in its prime. Her repertory was immense, and included opera rôles as well as many hundreds of songs and folk songs. Nadezhda Obukhova retired in 1943, spending her time with occasional singing in concerts, radio broadcasts and recording. Her last concert took place in June 1961, two months before her death in the same year.

Hers was a light, lyrical and colorful mezzo-soprano, easily reaching into the low register but with a curiously light, almost soprano timbre in the middle register. She was one of the singers who always sang within their means. You will never hear her darkening the voice or making it heavier for effect which is certainly one of the reasons for her longevity. If you compare her earlier recordings of 1937 with her final ones of 1960, breath and legato are not only intact but better than most singers half her age!” - Andrea Shum-Binder, subito-cantabile

G524. MÁRIA BASILIDES: Komm, süsser Tod (Bach) / Xerxes – Ombra mai fu (Handel). 12” EL red Decca–Odeon 25017, ‘Take’ 2, Sd.1. A to M-A, lovely copy has few lt. rubs, inaud. MB 12

G525. MÁRIA BASILIDES: Komm, süsser Tod (Bach) / Xerxes – Ombra mai fu (Handel). 12” EL PW purple Parl. E 10757, ‘Take’ 1, Sd.1. A-, very decent copy has lt. rubs & few superficial scrs, iaud. MB 12

G526. MÁRIA BASILIDES: Nacht und Träume / Der Kreuzzug (both Schubert). 10” EL PW dark-blue Parl. R 1234. M-A, a gleaming copy. MB 25

G527. MÁRIA BASILIDES: Geistliches Wiegenlied (Brahms) / Ave Maria (Bach-Gounod). 12” EL red Decca-Odeon 25257. M-A, choice copy has, Sd. 2 only, faint pressing ripple inherent in original master (appearing in all copies), positively inaud. MB 15

G528. MÁRIA BASILIDES, w.Béla Berkes Cond.: Cserebogár zöldre van a rágsoskapu festve / Nem akar az ökörcsorda legelni érik a, érik a Buzakalász. 10” EL PW dark-blue Eng. Col. D 31036. M-A MB 25

G529. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Istenem, Istenem; Ha kimegyek arr’a magas tetörë/ Fekete föld; Asszonyok, asszonyok (all Hungarian Folksongs, arr. Béla Bartók). 10” EL PW plum Czech HMV AM 1671, only form of issue, 1928. M-A, a gleaming copy. MB 85

G530. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Kitrákotty mese / Szomorú füzfának (both Hungarian Folksongs, arr. Kodály). 10” EL PW plum Czech HMV AM 1672, only form of issue, 1928. A, lovely copy has very occasional pap. mk, inaud. MB 65

G531. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Rossz feleség / Elkiáltom magamat; Egy nagy orrú bóha (all Hungarian Folksongs, arr. Kodály). 10” EL PW plum Czech HMV AM 1673, only form of issue, 1928. M-A, a gleaming copy. MB 85

G532. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Akkor szép az erdö / Kocsi szekér, kocsi szán; Asszony, asszony ki az ágybol (all Hungarian Folksongs, arr. Kodály). 10” EL PW plum Czech HMV AM 1674, only form of issue, 1928. M-A, a gleaming copy. MB 85

G533. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Meghalok, meghalok; Szöllöhegyen keresztül / Körtéfa – Virágos kenderem elázott (all Hungarian Folksongs, arr. Kodály). 10” EL PW plum Czech HMV AM 1675, only form of issue, 1928. M-A, a gleaming copy. MB 85

G534. MÁRIA BASILIDES, w.Vilmos Komor Cond.: Székely Fonó (The Spinning Room of the Székélys) – Szomorú füzfának / A rossz feleség (Kodály). 10” EL red Hungarian HMV HUC 108. (Creator Record, 24 April, 1932, Budapest) A to M-A MB 45 G535. MÁRIA BASILIDES, w.Meyerowitz Cond. Berlin Staatsoper Orch.: Samson et Dalila – Printemps qui commence / Mon coeur s’ouvre à ta voix (in German). 12” EL green Hungarian M.H.V. 8003 (2–20674/75). A to M-A, lovely copy has, Sd. 1 only, sev. infinitesimal dust scrs, positively inaud. Gorgeous performances! MB 25

“Basilides, one of the great contralto voices Hungary produced, had a large operatic repertory but was best known for her oratorio work and as the foremost interpreter of the music of Bartók and Kodály.” - Andrew Farkas, OPERA AND CONCERT SINGERS, p.18

G536. DEBORA PANTOFEL-NECHETSKAYA: Vocalise en forme de habanera (Ravel) / Le Cygne (Saint-Saëns) (both in Russian). 10" EL red CCCP Aprelevski Zavod 16643/44, recorded 1949. M-A MB 15

G537. DEBORA PANTOFEL-NECHETSKAYA: Song of the elpf / The spring is gone, the roses faded. 10" EL red CCCP Aprelevski Zavod 14035/36, recorded 1946. M-A MB 15

G538. DEBORA PANTOFEL-NECHETSKAYA: Tirolskaya Pesnia (Bollan) / Chudesnye Glazaki (Stigelli). 10" EL red Aprelevski Zavod 16092/93, recorded 1948. M-A MB 15

G539. DEBORA PANTOFEL-NECHETSKAYA: Pesn Pastushi (Godard) / Tarantella (Bizet) (both in Russian). 10" EL blue Aprelevski Zavod 13254/55, recorded 1945. M-A MB 15

G540. DEBORA PANTOFEL-NECHETSKAYA: Vesna Proshla / Pesenka Elva. 10" EL blue Aprelevski Zavod 14035/36, recorded 1946. M-A MB 15

G541. DEBORA PANTOFEL-NECHETSKAYA: Le Coq d’Or – Hymn to the sun (Rimsky-Korsakov), 2s. 10" EL red CCCP Aprelevski Zavod 13686/87, recorded 1946. M-A MB 15

“In December, 1939, they were holding a national competition of variety artists in Moscow. More than 700 reciters, dancers and singers, all under 35 years old were taking part, the most populous category being the singers of operas, operettas and popular songs. The highest award went to the 34 year-old Debora Pantofel-Nechetskaya, a coloratura soprano [highly reminiscent of Miliza Korjus] from Sverdlovsk in the Ural mountains. Her richly textured voice was like a perfectly-cut diamond and for many years was a highlight of countless gala concerts attended by top Soviet officials.” - Olga Fyodorova, THE RUSSIAN MUSICAL HIGHLIGHTS OF THE 20TH CENTURY

G542. HILDA CREVENNA, w.Schmalstich Cond.: Otello – Canzone del Salce; Ave Maria (in German), 2s. 12” EL plum PW HMV EH 715, POM-c.1930. M-A, lovely copy has, Sd. 1 only, wee pap. rub, inaud. MB 15

G543. URSULA VAN DIEMEN: An die Musik / Wanderers Nachtlied (both Schubert). 10” EL PW plum HMV EG 271, POM-1928. M-A MB15

G544. URSULA van DIEMEN: Ave Maria (Schubert) / Der Freischütz – Leise, leise, fromme Weisse. 10” EL dark-green German Orchestrola 5041 (B8519/20), only form of issue, 1929. A-, very decent copy has lt. rubs & pap. mks, inaud. Most Elusive, Orchestrola issues had extremely limited distribution! MB 25

G545. URSULA VAN DIEMEN: Der rote Sarafan (Varlamoff) / Zigeunermelodien – Als die alte Mutter (Dvorák). 10” EL black Orth V V-6037, POM-1928. M-A Exceedingly elusive! MB 25

G546. URSULA van DIEMEN, w.Árpád Sándor (Pf.): Es muss ein Wunderbares sein (Liszt) / Waldeinsamkeit (Reger). 10” EL plum PW HMV EG 813, POM-1928. M-A, a gleaming copy. Exquisitely beautiful! MB 25

G547. URSULA van DIEMEN, w.Siegfried Ochs Cond.: Vesperæ de Dominica, K.321 - Laudate Dominum (Mozart) / Loreley (Unfinished Opera, 1847) - Ave Maria (Mendelssohn). 12” EL plum HMV C.2736, POM-1928. M-A MB 10

“…Ursula van Diemen…is positively revelatory….Here, back in 1928, we have the female counterpart in perception to Fischer-Dieskau. To add to these virtues, van Diemen has a quite distinctive voice, its very slight edge adding character to the firm tone.” - Alan Blyth, SONG ON RECORD, Vol. I, p.163

G548. ADELAIDE ANDREJEWA de SKILONDZ: Roméo – Je veux vivre / Ballo – Saper vorreste (both in German). 10” AC black Berlin Concert Gram. G.C.-2–43432/31 (13149/44r), POM-10 Oct., 1913. M-A, an extraordinary copy! Andrejewa de Skilondz is perhaps best-remembered as the teacher of Elisabeth Söderström. MB 45

G549. LOLA ARTÔT de PADILLA: Don Giovanni – Batti, batti, o bel Masetto / Vedrai carino (in German). 12” AC black Schall Gram. 043280/81 (914/915m), POM-1915. M-A, exemplary copy has, Sd 1 only, 2 faintest pap. rubs, inaud. MB 35

“Lola Artôt de Padilla was the daughter of the famous Belgian mezzo-soprano Désirée Artôt and the Spanish baritone Mariano Padilla y Ramos. Her real name was Dolores de Padilla. She studied exclusively with her mother and in 1902 made her début in Thomas’ MIGNON at the Hoftheater Wiesbaden. After her retirement she became a well-known teacher in Berlin. She is a very fine lyric soprano of a pure and sweet color. Most of the recorded arias are sung in German but she sings them with perfect legato, the tone is superbly carried on the breath. She also recorded some duets with Karl Jörn and Björn Talen.” - Andrea Shum-Binder, subito-cantabile

G550. FRITZI SCHEFF, THOMAS SALIGNAC & EDOUARD de RESZKE; Mancinelli Cond.: Faust - Il t'aime, from Mapleson Cylinders recorded during Actual Performance, Met Opera, 14 Feb., 1903 / MARCELLA SEMBRICH, CHARLES GILIBERT & EMMA van CAUTERAN; Flon Cond.: Fille du Régiment – Selections, from Mapleson Cylinders recorded during Actual Performance, Met Opera, 30 Jan., 1903. 10” gold IRCC 170, Numbered Copy #57 of a Limited Edition; Sembrich's & Scheff's Photos affixed to respective labels. A to M-A, lovely copy has very minor spindle hole mks. MB 20 G551. LILLI LEHMANN: Erlkönig (Schubert). 12” AC red IRCC 5005, RR-1906. Numbered Copy #25 of a Limited Edition. M-A MB 12

G552. LILLI LEHMANN: Die Loreley (Bungert) / LILLI LEHMANN & HEDWIG HELBIG: Crucifix (Jean-Baptiste Faure). 10” AC silver IRCC 204, RRs-1907. Numbered Copy #67 of a Limited Edition; Sd. 1 label, has Lehmann’s Photo affixed. A-, lovely copy has very occasional pap. scr. MB 12

‘[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

G553. 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 10¾” records pressed onto 12” blanks], POM-29 / 22 June, 1907. MINT MB 15

G554. LILLI LEHMANN: Entführung – Marten aller arten / Ach ich liebte. 12” AC Eng. Odeon AA.57895/96 (xxB 3048/2980), POM-22 / 18 June, 1907. M-A, gleaming copy of choice 1931 pressing. MB 85

G555. LILLI LEHMANN: Nozze – Porgi amor (in German) / Die Walküre – Du bist der Lenz. 10¾” AC Parl.-Odeon PO 63 (xB 3150/471), POM-5 July, 1907. M-A, a gleaming copy. MB 35

G556. LILLI LEHMANN: Don Giovanni – Don Ottavio, son morta! / Or sai che l’onore. 10¾” AC Eng. Odeon Ux.52577/78 (xB 1478/79), POM-20 July, 1906. M-A, gleaming copy of choice 1931 pressing has, Sd 2 only, faintest pap. rubs, inaud. . MB 75

“…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

G557. LILLI LEHMANN: Don Giovanni – Non mi dir / Fors’ è un giorno il cielo. 10¾” AC Eng. Odeon Ux.52575/76 (xB 3045/46), POM-22 June, 1907. M-A, gleaming copy of choice 1931 pressing. MB 75

G558. LILLI LEHMANN: Don Giovanni – Non mi dir / Fors’ è un giorno il cielo. 12” AC vinyl Historic Masters HM 105 (xB 3045/46) (10¾” record pressed onto 12” blank), POM-22 June, 1907. MINT MB 12

“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

G559. LILLI LEHMANN: La Traviata – Ah! fors’ è lui; Sempre libera (in Italian), 2s. 10¾” AC Eng. Odeon Ux.52741/42 (xxB 2976/77), POM-18 June, 1907. M-A, gleaming copy of choice 1931 pressing. MB 75

G560. LILLI LEHMANN: La Traviata – Alfredo, Alfredo, in questo core (in Italian) / Fidelio – Abscheulicher! (part 1). 10¾” AC Eng. Odeon Ux.52699/52597 (xB 3047/49), POM-22 June, 1907. M-A, gleaming copy of choice 1931 pressing has, Sd. 1 only tiny edge scr, very ltly audible during orchestral intro. MB 75

G561. LILLI LEHMANN: Fidelio – Abscheulicher! (parts 2 & 3). 12” AC Eng. Odeon UAA.79300/01 (xxB 3050/51), POM-22 June, 1907. M-A, gleaming copy of choice 1931 pressing. MB 75

“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

G562. LILLI LEHMANN: Norma – Casta Diva / LILLI LEHMANN & HEDWIG HELBIG: Ah! sì, fa core e abbracciami (in German). 10¾” AC red Eng. Odeon Ux.52698/06 (xB 2978/3063), POM-18 / 25 June, 1907. M-A, gleaming copy of choice 1931 pressing. MB 75

“Lehmann sang in the first Bayreuth Festival in 1876, performed in London in 1884, and appeared at the Metropolitan Opera in 1885-1890. Together with her Met colleagues Fischer, Alvary, Brandt and Seidl, she helped to popularise Wagner's music in America. She appeared at the Royal Opera House, Covent Garden, in 1899 and sang in Paris and Vienna in 1903 and 1909, respectively. In 1905, she sang at the Salzburg Festival, later becoming the festival's artistic director. Lehmann was also renowned as a Lieder singer and she continued to give recitals until her retirement from the concert stage in the 1920s.

Her mature voice, of splendid quality and large volume, gained for her the reputation of being not only one of the greatest Wagnerian singers of her day but also an ideal interpreter of Bellini's NORMA and the operatic music of Mozart. She was considered unsurpassed in the rôles of Brünnhilde and Isolde but sang an astonishingly wide array of other parts. Indeed, across the span of her career, she performed 170 different parts in a total of 119 German, Italian and French operas. She was also a noted voice teacher. Her voice can be heard on the recordings which she made prior to World War I. Although past her peak as an operatic singer when she made these records, they still impress.” G563. RIA GINSTER, w.Paul Baumgartner (Pf.): Herbstgefühl / Mit einem gemalten Bande (both Schoeck). 10" EL Swiss HMV DA 6009, only form of issue, 1943, Zürich. A, lovely copy has pap. rubs, inaud. Exceedingly elusive and ethereal Schoeck titles! MB 45

G564. RIA GINSTER, w.Gerald Moore (Pf.): Schöne Fremde; In der Fremde; Geisternähe / Meine Rose (all Schumann). 12” EL Scroll V 14025, on ‘Z’-type shellac, POM 1932. M-A, a gleaming copy. MB 25

G565. RIA GINSTER, w.Gerald Moore (Pf.): Entführung – Marten aller arten / w.Sargent Cond.: Nozze – Voi che sapete. 12” EL PW HMV DB 1832, POM-1932. M-A MB 15

G566. RIA GINSTER, w.Sargent Cond.: Nozze – Non so più. 10" EL S/S RCA shellac pressing of Mx. OB6401-1, POM-13 Jan., 1933, w.RCA embossed spiderweb verso. M-A MB 15

G567. RIA GINSTER, w.Holger Cond.: Misera dove son! / Vorrei spiegarvi o Dio! (both Mozart). 12” EL Scroll V 8871, on ‘Z’-type shellac, POM 1933. M-A, gleaming copy has, Sd. 1 only, 2 infinitesimal pap. scrs, positively inaud. MB 25

G568. RIA GINSTER, w.Holger Cond.: Zauberflöte – Ach, ich fühl’s. 10" EL S/S RCA shellac pressing of Mx. OB4194-1, POM-1933, w.RCA embossed spiderweb verso. M-A MB 15

G569. RIA GINSTER, w.Sargent Cond.: Idomeneo – Zeffiretti lusinghieri (in German) / Se il padre perdei (in Italian). 12” EL PW HMV DB 1870, POM-13 Jan., 1933. M-A, a gleaming copy. MB 25

“Ria Ginster concentrated almost exclusively on concert performances and recitals (although she sang Mélisande and Suor Angelica in broadcasts). In 1931 she appeared in England where she was particularly admired in a number of oratorios. Ria Ginster worked with all the great conductors of her time: Wilhelm Furtwängler, Otto Klemperer, Felix Weingartner, Eugen Jochum, Othmar Schoeck, Serge Koussevitzky, Sir Thomas Beecham, Sir John Barbirolli, Sir Malcom Sargent, Herbert von Karajan, Clemens Krauss, among many others. From 1934 - 1939 she regularly visited the United States and Canada. In 1938 she took over a class for concert singing at the Music Academy of Zürich where she remained more than 30 years. Her reputation as a singer was transmitted to her teaching and her class soon became an international one. After several concerts with Wilhelm Furtwängler she was invited, in 1949, to work as a teacher at the Mozarteum, Salzburg. Ria Ginster’s voice was a delicate and subtle instrument, best suited to songs and the concert platform. Her singing was characterized by depth and purity; her achievement in Brahms, Schubert and Wolf is of utmost directness, honesty and truth.” - Andrea Shum-Binder, subito-cantabile

G570. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Ave Maria (not to be confused with the ‘Ave Maria’ from OTELLO) / URSULA van DIEMEN, w.Siegfried Ochs Cond.: Vesperæ de Dominica, K.321 - Laudate Dominum (Mozart). 12” EL plum HMV E.H.1223, POM-1935. A desert-island disc! M-A MB 15

G571. MARGHERITA PERRAS, w.Walter Meyer (Organ): Cantata #68 - Mein gläubiges Herze / & Marcel Saillet (Oboe): Cantata #21 - Seufzer, Tränen (both Bach). 12” EL Swiss HMV DB 10093, only form of issue, 1944, Switzerland only. M-A, a gleaming copy. Exquisitely beautiful! MB 20

G572. MARGHERITA PERRAS, w.Walter Meyer (Organ) & André Jaunet (Flute): Cantata #69 – Brich dein Hungrigen / Johannes-Passion – Ich folge Dir (both Bach). 12” EL Swiss HMV DB 10094, only form of issue, 1944, Switzerland only. M-A, gleaming copy has occasional pap. rub, inaud. Exquisitely beautiful! MB 20

G573. MARGHERITA PERRAS, w.Walter Meyer (Organ) & André Jaunet (Flute): Cantata #151 – Süsser Trost, mein Jesus kömmt, 2s. (Bach). 12” EL Swiss HMV DB 10096, only form of issue, 1944, Switzerland only. M-A, a gleaming copy. Exquisitely beautiful! MB 20

G574. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Zigeunermelodien – Mein Lied ertönt (Dvorák). 10” EL S/S RCA shellac Test Pressing of HMV Mx. ORA 1857-1, POM-1937, w.RCA embossed spiderweb verso; choice mid-1930s pressing. M-A MB 15

G575. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Zigeunermelodien – Als die alte Mutter (Songs my mother taught me) (Dvorák). 10” EL S/S RCA vinyl Test Pressing of HMV Mx. ORA 1858-1, POM-1937, w.RCA embossed spiderweb verso; choice mid-1930s pressing. M-A MB 15

G576. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Entführung - Welcher Kummer; Traurigkeit / Il Pensieroso - Sweet bird (in German). 12” EL PW V 12328, POM-1937. M-A MB 10

G577. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Entführung - Welcher Kummer; Traurigkeit / Nozze – Deh vieni, non tardar (in German). 12” EL PW HMV DB 4484, POM-1937. M-A MB 10

G578. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Entführung - Ach, ich liebte / Marten aller arten. 12” EL Scroll V 12007, on ‘Z’-type shellac, POM-6 Nov., 1935. M-A, gleaming copy has, Sd. 1 only, infinitesimal pap. scr, positively inaud. Remarkably quiet surfaces! MB 12

G579. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Mignon – Je suis Titania / Martha – The last rose of summer (both in German). 12” EL Swiss HMV DB 4438, POM-1935. M-A MB 20

G580. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: La Traviata – Sempre libera / Madama Butterfly – Un bel dì (both in German). 12” EL HMV DB 4473, POM-1937. M-A MB 10

G581. MARGHERITA PERRAS, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Tosca – Vissi d’arte / MARGHERITA PERRAS & HELGE ROSWAENGE: Ah! quegli occhi (both in German). 12” EL Electrola DB 4475, POM-1937. M-A, choice copy has, Sd. 1, infinitesimal edge scr, faintly audible only during orchestral introduction. MB 15 G582. MARGHERITA PERRAS & WALTHER LUDWIG, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Carmen – Parle-moi de ma mère (in German), 2s. 12” EL Swiss HMV DB 4498, POM-1937. M-A, a gleaming copy. MB 12

G583. MARGHERITA PERRAS & HERBERT JANSSEN: Madama Butterfly - Ora a noi (in German), 2s. 12” EL black German Ultraphon G 213. A-, lovely copy has lt. rubs, inaud. MB 12

G584. MARGHERITA PERRAS & GERHARD HÜSCH, w.Müller Cond. Berlin Staatsoper: Zauberflöte – Bei Männern / Don Giovanni – Là ci darem la mano (in German). 10” EL PW V 4374, POM 20 Feb., 1935. M-A MB 8

G585. MARGHERITA PERRAS, WALTER LUDWIG & GERHARD HÜSCH, w.Seidler-Winkler Cond. Berlin Staatsoper: La Traviata – Excerpts (in German). 12” EL brown HMV FKX 181, POM 6 Nov., 1935. M-A, a gleaming copy. MB 10

“Margherita Perras studied at the Salonica State Conservatory and then at the Berlin Hochschule für Musik; where, in 1927, she caught the attention of Bruno Walter who heard her Norina, engaging her for the Städtische Oper. She appeared as Nuri in Eugen d᾽Albert's TIEFLAND and as Cupid in Gluck's ORFEO ED EURIDICE (and sang the title rôle in the Berlin première of Paul Graener's HANNELES HIMMELFAHRT). She later moved to the Berlin Staatsoper, having toured in Spain, Argentina and Brazil. In 1935 she was engaged by the Vienna Staatsoper and was highly praised as Mozart's Konstanze under Felix Weingartner. She repeated the rôle in Salzburg (1935) and at Glyndebourne (1937), and had further successes as the Queen of Night, Susanna, Pamina and other Mozart roles. In 1936 she sang Gilda at Covent Garden. Having married in 1943, she settled in Zürich, and until 1944 appeared only in recitals, but returned to the operatic stage for the 1946-47 season in Vienna. Her firm, well-schooled voice possessed a gently glowing tone colour.”

G586. GRETE FORST: Don Giovanni – Batti, batti, o bel Masetto / Vedrai, carino (in German). 10” AC black Wien G & T G.C.-43872/65 (9947/54u), POM-1906. M-A, a gleaming copy. MB 15

G587. GRETE FORST: Nozze – Non so più / Mignon – Je suis Titania (both in German). 10” AC black Wien Concert Gram. G.C.-2–43263/64 (13855/14666½u), POM-1908/’09, resp. A-, lovely copy has, Sd. 2 only, hint of grey on peaks. MB 12

G588. GRETE FORST & HERMINE KITTEL: Lakmé – Sous le dôme épais (in German) / ELISE ELIZZA, GRETE FORST, HERMINE KITTEL & RICHARD MAYR: Der Wildschütz – Kann es im Erdenleben (Lortzing). 10” AC black Wien Concert Gram. G.C.-3–44070/71 (15100/15312u), POM-1909. A-, lovely copy has, Sd. 1 only, hint of grey on peaks. MB 15

G589. GRETE FORST & GEORG MAIKL: Der Barbier von Bagdad – O holdes Bild / GRETE FORST, HERMINE KITTEL & GEORG MAIKL: Er kommt! (Cornelius). 10” AC black Wien Concert Gram. G.C.-3–44075/74 (11586/85L), POM-13 Oct., 1910. A to M-A, lovely copy has, Sd. 2 only, hint of grey on peaks. MB 15

“Grete Forst made her début in Cologne in 1900 as Lucia, and three years later, made her Hofoper début in the same rôle. She remained in Vienna until 1911 singing coloratura roles such as Olympia, The Queen of the Night, Oscar, and Fiordiligi, as well as lyric ones such as Cio-Cio-San. She continued her career as a concert singer and teacher in Vienna for many years. Because Forst was Jewish, she was deported in 1942 and died in Minsk, presumably the same year.” - Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNA

G590. LAURA HILGERMANN: Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart], in Italian) / Die Walküre – Du bist der Lenz. 9½” AC etched label center-start H & D Wien Pathé 19119/18 (39181/39267), Original 1905 issue, both sides announced. A to M-A, bright copy has hint of grey on peaks. MB 85

“Laura Hilgermann débuted in Prague in 1885 as Azucena. From 1890 to 1900 she was engaged in Budapest and then came to Vienna where she remained a popular member of the Hofoper ensemble until 1920. Gifted with a wide vocal range, she sang both mezzo and soprano roles, including many new works. Later in life she became a much-sought-after teacher in Budapest under the name Hilgermann-Radó; her pupils included Maria Németh and Gitta Alpar.”

G591. SIGRID ONÉGIN: Die Mainacht / Von eiger Liebe (both Brahms). 12” AC Schall. Gram. 72687 (1464/59s), POM-1919. A to M-A, exemplary copy has very few minuscule nicks, only occasionally minimally audible. MB 35

G592. SIGRID ONÉGIN: Carmen – Habañera / En vain pour éviter (in German). 12” AC Schall. Gram. 72693 (1467/68s), POM-1919. A-, lovely copy has hint of grey on peaks; end Sd. 2 only has tiny scr from label, ltly audible at end of performance. MB 20

G593. SIGRID ONÉGIN: Samson et Dalila – Printemps qui commence / Mon coeur s’ouvre à ta voix (1919 Versions) (in German). 12” AC Schall. Gram. 72695 (1469/65½s), POM-1919. M-A, a choice copy. MB 35

G594. SIGRID ONÉGIN, w.Blech Cond.: Samson et Dalila - Mon coeur s'ouvre à ta voix / Printemps qui commence (1929 Versions) (in French). 12” EL PW V 7320 (CLR 5800-1 / 5799-2), on ‘Z’ shellac, POM-19 Nov., 1929. M-A, exemplary copy. MB 15

G595. SIGRID ONÉGIN, w.Blech Cond.: Samson et Dalila - Mon coeur s'ouvre à ta voix / Printemps qui commence (1929 Versions) (in French). 12” EL Scroll V 7320 (CLR 5800-1 / 5799-2), on ‘Z’ shellac, POM-19 Nov., 1929. A to M-A, choice copy has faintest pap. rubs, inaud. MB 20

G596. SIGRID ONÉGIN, w.Blech Cond.: Samson et Dalila - Mon coeur s'ouvre à ta voix / Printemps qui commence (1929 Versions) (in German). 12” EL Orth Vla 7305 (CLR 5800-2 / 5799-3), POM-19 Nov., 1929. M-A, exemplary copy. MB 12 G597. ELISE ELIZZA: Zauberflöte – O zittre nicht / LUCIE WEIDT & FRIEDRICH WEIDEMANN: Il Trovatore – Mira, di acerbe lagrime (in German). 12” AC black Wien G & T 043061/044044 (470c/805f), POM-1905/’04, resp. A to A-, lovely copy has hint of grey on peaks. MB 150

G598. ELISE ELIZZA: Tannhäuser – Gelibte, komm! Sieh dort die Grotte / Dich, teure Halle. 11¼” AC center start etched label H & D Pathé 19272/75, only form of issue, 1905. A to M-A, choice copy. MB 35

G599. ELISE ELIZZA: Cavalleria – Fior di giaggiolo (in German). 10” AC black Wien G & T G.C.-43878 (9955u), POM-1906. A-B, very decent copy has few minor scrs & lt grey on peaks. MB 15

G600. ELISE ELIZZA: Die Königin von Saba – Der Freund ist dein (the Goldmark aria is justly celebrated and famous!) / LEOPOLD DEMUTH, ARTHUR PREUSS & ELISE ELIZZA: Ernani – Solingo, errante e misero (in German). 10” AC black Wien Pre-Dog G.C.- 43752 / 3–42499 (704/701r), POM-1905. A-, lovely copy has lt. grey on peaks. MB 15

G601. ELISE ELIZZA: Faust – Scène de l’église / Manon – Obéissons quand leur voix appelle (both in German). 10” AC black Wien G & T G.C.-43952/53 (11085/86u), POM-1907. A-B, very decent copy has very lt. rubs & lt. grey on peaks. MB 15

G602. ELISE ELIZZA: Manzoni Requiem – Requiem aeternam (in Latin [although label indicates in German]). 10” AC black Wien G & T G.C.-43445 (899z), only form of issue, 1903. A-B, very decent copy has few lt. mks, minor scuff & long but faint hlc visible topside only. Exceedingly Elusive and ethereally beautiful! MB 15

G603. ELISE ELIZZA & HERMINE KITTEL: Hänsel und Gretel – Abends will ich shlafen geh’n / ELISE ELIZZA & FRIEDRICH WEIDEMANN: Nozze – Crudel, perchè finora (in German). 10” AC black Wien G & T G.C.- 2-44049/44194 (653r/10052u), POM-1905/’06. A-, lovely copy has lt. rubs & lt. grey on peaks. MB 20

G604. ELISE ELIZZA, FRIEDRICH WEIDEMANN & WILHELM HESCH: Don Giovanni – Masked Trio (in German) / Dora Keplinger, Philla Siegmann-Wolff, Hermine Kittel, Arthur Preuss, Rudolf Hofbauer & Carlo Böhm: Die Fledermaus – Bruderlein und Schwesterlein. 12” AC black Wien Gram. Monarch 044055/54 (150/154s), POM-1905. B, decent copy has considerable rubs & lt. scrs, audible. MB 15

“Elise Elizza was born Elisabeth Letztergroschen in Vienna. Marrying her first singing teacher Adolf Limley, Elizza also appeared under the name of Elise Limley. After three years as a soubrette, Elizza furthered her studies with Amalie Materna and made her Hofoper debut in 1895. She remained with the company until 1919 but returned as occasional guest until 1923. A most versatile artist, she sang an enormous variety of rôles including The Queen of the Night, Venus, and the SIEGFRIED Brünnhilde. Apart from smaller Wagner rôles, she was most often heard as Marguerite de Valois in LES HUGUENOTS and Philine in MIGNON. In many works she sang more than one rôle, e.g. Adele and Rosalinde in DIE FLEDERMAUS, Adalgisa and Norma in NORMA, and four roles in HÄNSEL UND GRETEL.” - Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNA

G605. SENA JURINAC, w.Braithwaite Cond. Philharmonia Orch.: Prodaná Nevesta – Endlich allein (in German), 2s. 12” EL HMV DB 21136, only form of issue, 11 Sept., 1950. M-A MB 8

G606. SENA JURINAC, w.Busch Cond. Glyndebourne Festival Orch.: Idomeneo – Se il padre perdei / RICHARD LEWIS: Fuor del mar. 12” EL HMV DB 21529, only form of issue, 1951. M-A MB 8

G607. SENA JURINAC, w.Busch Cond. Glyndebourne Festival Orch.: Idomeneo – Quando avran fine amai / Padre, germani, addio! 12” EL HMV DB 21527, only form of issue, 1951. M-A MB 8

G608. SENA JURINAC, w.Busch Cond. Glyndebourne Festival Orch.: Idomeneo – Zeffiretti lusinghieri / SENA JURINAC, McNEIL, YOUNG & LEWIS: Andrò ramingo e soto. 12” EL HMV DB 21525, only form of issue, 1951. M-A MB 8

G609. SENA JURINAC, w.Busch Cond. Glyndebourne Festival Orch.: Così fan Tutte – Come scoglio / SENA JURINAC, BLANCHE THEBOM & MARIO BORRIELLO: Soave sia il vento. 12” EL HMV DB 21118, POM-12-15 July, 1950. M-A MB 8

G610. SENA JURINAC, w.Busch Cond. Glyndebourne Festival Orch.: Così fan Tutte – Per pietà, w.recit., 2s. 12” EL HMV DB 21120, POM-12-15 July, 1950. M-A MB 8

G611. SENA JURINAC & BLANCHE THEBOM, w.Busch Cond. Glyndebourne Festival Orch.: Così fan Tutte – Prenderò quel brunettino / BLANCHE THEBOM & ERICH KUNZ: Il core vi dono. 12” EL HMV DB 21119, POM-12-15 July, 1950. M-A MB 8

G612. SENA JURINAC, THEBOM, LEWIS, KUNZ & BORRIELLO, w.Busch Cond. Glyndebourne Festival Orch.: Così fan Tutte – Sento, o Dio!, 2s. 12” EL HMV DB 21117, POM-12-15 July, 1950. M-A MB 8

G613. SENA JURINAC, THEBOM, LEWIS, KUNZ & BORRIELLO, w.Busch Cond. Glyndebourne Festival Orch.: Così fan Tutte – Excerpts, 12s (Complete, as recorded). 6–12” EL RCA 12–3177/82, POM-12-15 July, 1950, in Orig. Album DM-1500. M-A, gleaming copy of this elusive RCA pressing which offers remarkably quiet surfaces. MB 45

“[Jurinac’s] voice, in its pristine state, was about as beautiful a soprano sound as one could imagine: a warm, softly glowing instrument with a touch of smokiness, radiant on top, strong in the middle, always steadily and smoothly produced. When she caressed a musical phrase, the notes melted exquisitely into each other. Jurinac was, moreover, an eloquent and intensely personal interpreter. Her characters were vibrant and specific, never faceless….Indeed, her repertory was staggeringly diverse.” - Ralph V. Lucano, AMERICAN RECORD GUIDE, Nov./Dec., 2001 G614. EMILIE HERZOG: Barbiere – Una voce poco fa (part 2) (1904 Version) (in German) / Orch.: Overture. 10” AC purple Berlin Col. 40555 / 80, POM-1904. B, decent copy has lt. rubs & few lt. scrs. MB 15

G615. EMILIE HERZOG: Barbiere – Una voce poco fa (1905 Version) (in German), 2s. 10” AC black Berlin Pre-Dog G.C.- 43693/94 (151/152r), only form of issue, 10 June, 1905. A-B, decent copy has lt. grey & lt. scrs; Sd. 2 only has 2 heavy scrs, causing no more than lt. clicks. A delightful coloratura tour-de-force! MB 10

G616. EMILIE HERZOG: Robert le Diable – Robert, toi que j’aime / Les Huguenots – O beau pays (both in German). 10” AC black Berlin Pre-Dog G.C.- 43695/43863 (153r/9678½u), only form of issue, 10 June, 1905 / 1906, resp.; Sd.2 offers ‘Take’ 2 (of two issued ‘takes’). A to M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 35

G617. MARGARET MATZENAUER: Pregúntales á las estrellas (Mexican Folk) / La golondrina (Serradell). 10” EL Vla 1080, only form of issue, 18/19 March, 1925. M-A, Exemplary! MB 10

G618. MARGARET MATZENAUER: Aprile (in Italian) / Kiss me, love (in English) (both Tosti). 12” AC Col. A5698, POM-15 May, 1915, only form of issue, Sd.1. M-A, choice copy. MB 12

G619. MARGARET MATZENAUER: Home, sweet home (Bishop) / In the sweet bye and bye (Webster). 10” AC US Pathé Actuelle 027519, recorded 1921. A to M-A MB 12

“Margarete Matzenauer…the possessor of the greatest mezzo-soprano voice of my day….” - Rosa Ponselle, PONSELLE – A SINGER’S LIFE, p.43

G620. MARGARETE MATZENAUER: Orfeo – Che farò senza Euridice / Harry Humphrey: Explanatory talk. 10” AC paper label Edison H & D 83050 (4603/3787), only form of issue, 23 March, 1916. M-A, a gleaming copy. MB 15

G621. MARGARET MATZENAUER: L’Africaine – Sur mes genoux (in Italian) (Meyerbeer). 12” AC Pat. ’08 Vla 88360, Early ‘C’ Plate Issue, only form of regular issue, 8 March, 1912, (appeared otherwise only as the elusive IRCC 120). A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

G622. MARGARET MATZENAUER: L'Africana - In grembo a me / Die Walküre - Nicht weise bin ich. 12” AC silver Victor IRCC 120, POM-1907 (München) / 1912 (Camden). Numbered Copy #61 of a Limited Edition, Sd.1 Label Autographed by Matzenauer, to which her Photo is affixed. M-A, a gleaming copy. MB 45

G623. MARGARET MATZENAUER: Robert le Diable - Robert, toi que j’aime (in Italian) (Meyerbeer). 12” AC Vla 88365, Early ‘D’ Plate Issue, only form of issue, 25 March, 1912. M-A, a gleaming copy. MB 20

G624. MARGARET MATZENAUER: Les Huguenots – Nobles seigneurs, salut! (in Italian) / La Gioconda – Voce di donna. 12” AC Vla 6471, POM-12 Feb., 1924 / 26 Dec., 1923. M-A Elusive! MB 20

G625. MARGARETE MATZENAUER: Carmen – Séguedille. 10” AC Pat.’12 Vla 87103, POM-8 March, 1912, Never Doubled. A, lovely copy has sev. minuscule dust scrs, positively inaud. MB 12

G626. MARGARETE MATZENAUER: Carmen – Habañera / En vain pour éviter (Card Scene) (in German). 10” AC black Schall. Gram. 61774 (6626/27r), POM-1910. A to M-A, choice copy has faintest pap. rub & mere hint of nr, positively inaud. MB 15

G627. MARGARETE MATZENAUER: Carmen – Les tringles des sistres / GUIDO CICCOLINI: Lucia – Fra poco a me ricovero. 10” AC etched label Edison H & D 82570 (4604/5609), only form of issue, 1921. M-A MB 15

G628. MARGARETE MATZENAUER: Cavalleria – Voi lo sapete. 12” AC Pat. ’12 Vla 88430, Early ‘C’ Plate Issue, POM-27 Feb., 1913, issued USA only. M-A MB 12

G629. MARGARETE MATZENAUER: Parsifal – Ich sah das Kind. 12” AC Pat. ’12 Vla 88364, Early ‘D’ Plate Issue, POM-8 March, 1912. M-A, lovely copy has faintest pap. rub, inaud. MB 12

G630. MARGARETE MATZENAUER: Parsifal – Ich sah das Kind. 12” AC Vla 88364, POM-8 March, 1912, Label Autographed by Matzenauer. M-A MB 25

G631. MARGARETE MATZENAUER: Le Prophète – Ah, mon fils! / Samson et Dalila – Mon coeur s’ouvre à ta voix. 12” EL Vla 6531, POM-18 / 19 March, 1925, issued USA only. M-A MB 10

G632. MARGARETE MATZENAUER: Samson et Dalila – Printemps qui commence / Mon coeur s’ouvre à ta voix (in German). 10” AC black Schall. Gram. G.C.- 2-43377/76 (15240/39b), POM-7 Dec., 1910. A to M-A, choice copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 20

G633. MARGARETE MATZENAUER: Don Carlos – O don fatale / Faust – Faites-lui mes aveux (in Italian). 12” EL Orth Vla 6618, only form of issue, 5 Oct., 1926. M-A, a gleaming copy. MB 12

G634. MARGARETE MATZENAUER: Elijah – O rest in the Lord (Mendelssohn) / Messiah – He shall feed His flock (Handel). 12” EL Orth Vla 6555, only form of issue, 1 Dec., 1925. Sd. 2 Label Autographed by Matzenauer. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 20

G635. MARGARETE MATZENAUER: Lucrezia Borgia – Il segreto per esser felice (Brindisi) (‘Take’ 4) / Il Trovatore – Stride la vampa! 10” AC Vla 999, only form of issue, 12 Feb., 1924, (although Victor assigned Issue Nos. 87388 & 87387, but never used). M-A MB 10

G636. MARGARETE MATZENAUER & ALICE VERLET: Stabat Mater – Qui est homo / JACQUES URLUS: Cujus animam (Rossini). 10” AC etched label Edison H & D 83082 (3689/5434), only form of issue, 1919. A to M-A MB 15 G637. MARGARETE MATZENAUER: Die Walküre – Fort denn, eile. 10” AC Pat. ’08 Vla 87102, Early ‘B’ Plate Issue, POM-8 March, 1912. Label Autographed by Matzenauer (above which original owner’s name appears). A to M-A MB 20

G638. MARGARETE MATZENAUER: Die Walküre – Fort denn, eile. 10” AC Pat. ’08 Vla 87102, POM-8 March, 1912. M-A MB 10

G639. MARGARETE MATZENAUER: Die Walküre – Ho-yo-to-ho / Lohengrin – Entweihte Götter. 10” AC black München G & T G.C.-43938/39 (3315/16r), POM-1907. A to M-A, choice copy. MB 25

“Marguerite [sic] Matzenauer was, I think, the finest artist I ever worked with. What a joy it was for me to hear her great golden voice ringing above the orchestra sound. I could relax and be sure of this superb singer, I can assure you.” - Pierre Monteux, IT’S ALL IN THE MUSIC, p.104

G640. MARGARETE MATZENAUER: La Favorita – O mio Fernando. 12” AC Pat. ’08 Vla 88363, Early ‘B’ Plate Issue, only form of issue, 8 March, 1912. A to M-A, lovely copy has infinitesimal pap. scr, positively inaud. MB 12

G641. MARGARETE MATZENAUER & PASQUALE AMATO: La Favorita – Ah! l’alto ardor. 12” AC Pat. ’12 Vla 89062, Early ‘F’ Plate Issue, POM-22 March, 1912. M-A MB 10

G642. MARGARETE MATZENAUER, RAPPOLD, ZENATELLO, MIDDLETON, CHALMERS & BARONI: Lucia – Chi mi frena / ALICE VERLET, CICCOLINI, MIDDLETON, SCOTT, ALCOCK & BARONI: Lucia – Chi mi frena. 10” AC paper label Edison H & D 82266 (5224/5787), only form of issue, 1922. M-A, lovely copy has very minor spindle hole mks. MB 20

“Margarete Matzenauer studied opera in Graz and Berlin making her début in 1901 as Puck in Weber's OBERON. She began singing major roles such as Azucena, Carmen, Mignon, Waltraute, Erda and Ortrud. She first achieved fame in Europe as an acclaimed dramatic alto and mezzo soprano. Soon she began to sing dramatic soprano parts as well; her vocal scope extending from contralto to high-dramatic soprano. She made her début at the Metropolitan Opera in Aïda on 13 November, 1911, singing Amneris on opening night with a cast that also featured Emmy Destinn as Aïda and Enrico Caruso as Radames, with Toscanini on the podium. A few days later she sang in TRISTAN UND ISOLDE. She saved the day on 1 January, 1912, when on a few days' notice she appeared as Kundry, a rôle she had not sung before. Matzenauer was at the Met for nineteen seasons in a wide variety of rôles including Eboli in the first Met production of DON CARLOS, Santuzza, Marina in BORIS GODUNOV, Leonore in FIDELIO and Brünnhilde in DIE WALKÜRE. She sang her final Met performance 17 February, 1930, as Amneris, but continued singing opera, giving concerts and teaching; one of her pupils was Blanche Thebom.”

G643. GJURGJA LEPPEE, w.Leo Demant (Pf.): Caro mio ben (Giordani) / Chansons de Bilitis – La flûte de Pan (Debussy). 10” EL HMV DA 1872. M-A MB 12

G644. IRMA BEILKE: Der Freischütz – Einst träumte meiner seligen Base / Trübe Augen. 10” EL Electrola DA 4495. M-A MB 12

G645. HILDE KONETZNI, w.von Nordberg (Pf.): Cäcilie / Heimliche Aufforderung (both Strauss). 10” EL Eng.Col.LB 101, only form of issue, 23 Dec., 1946. M-A MB 12

G646. HILDE KONETZNI, w.Schmidt-isserstedt Cond.: Tannhäuser – Dich, teure Halle / Allmächt’ge Jungfrau. 12” EL black German Telefunken SK 2151, POM 1937. A-, lovely copy has few lt. rubs, inaud. MB 12

G647. HILDE KONETZNI, w.Schmidt-isserstedt Cond.: Der Freischütz - Wie nahte mir der Schlummer; Leise, leise fromme Weise, 2s. 12” EL black German Telefunken SK 2160, POM 1937. M-A, a gleaming copy. MB 15

G648. HILDE KONETZNI, w.von Karajan Cond. Vienna Phil.: Der Rosenkavalier – Kann mich auch an ein Mädel, 2s. 12” EL Eng. Col. LX 1135, recorded 1947; issued England & Austria only. M-A, a gleaming copy. MB 10

G649. HILDE KONETZNI, w.von Karajan Cond. Vienna Phil.: Verkaufte Braut – Endlich allein, 2s. 12” EL Eng.Col.LX 1074, recorded 1947; issued England & Austria only. M-A, a gleaming copy. MB 8

G650. HILDE KONETZNI, w.Oskar Straus Cond.: Der Tapfere Soldat – Komm Held meiner Träme / Ein Walzertraum – Leise ganz Leise (Cond. by the Composer). 12” EL black French Harmona 15004. A to M-A, lovely copy has, Sd. 2 only, infinitesimal pap. scr, positively inaud. MB 15

G651. HILDE KONETZNI, w.Erwin Baltzer Cond. Vienna Staatsoper Orch.: Der Rosenkavalier – Da geht er Hin / HILDE KONETZNI, EMMI LOOSE & ELISABETH HÖNGEN: Hab’ mir’s Gelobt. 12” EL red French Telefunken Pacific SK-3732-137. M-A, lovely copy has, Sd. 2 only, infinitesimal pap. scr, positively inaud. MB 15

G652. HILDE KONETZNI, ELISABETH HÖNGEN, ALOIS PERNERSTORFER & GEORG OEGGL, w.Erwin Baltzer Cond. Vienna Staatsoper Orch.: Don Carlos – Ah! Si maledetto, sospetto fatale; Pietà! Perdon! Per la rea che si pente (in German). 12” EL dark-blue German Telefunken E-3853. M-A, a gleaming copy. A sublimely beautiful performance! MB 15

“Hilde Konetzni made her début in Gablonz, as Sieglinde, in 1929, and sang in Prague from 1932 to 1938. In 1936, she made her début at the Vienna State Opera and the Paris Opéra, as Donna Elvira. She appeared at the Royal Opera House in London 1938-39, returning in 1947, and at La Scala, in 1950, as Sieglinde with Furtwängler. A stylish singer, she possessed a voice of great beauty, other notable roles included; Agathe, Isolde, Brünnhilde, Elisabeth, Marschalin, Leonora, Chrysothemis, etc. She was very popular in Vienna, and continued singing small roles until the 1970s. She had a sister, Anny Konetzni, who was also a soprano noted for Richard Wagner and Richard Strauss rôles.” G653. ELISABETH HÖNGEN, w.Hans Zipper (Pf.): Die Kartenlegerin (Schumann) / Nur wer die sehnsucht kennt (Wolf). 10” EL Eng. Col. LB 62, POM-5 Nov., 1946. Sd.1 label has Höngen’s Autograph affixed. M-A MB 12

G654. ELISABETH HÖNGEN, w.Gerald Moore (Pf.): Auf eine Christblume (Wolf), 2s. 10” EL Eng. Col. LB 140, only form of issue, 10 Oct., 1947. M-A, a gleaming copy. MB 12

G655. ELISABETH HÖNGEN, w.Gerald Moore (Pf.): Wesendonck Lieder – Der Engel / w.Hermann von Nordberg (Pf.): Stehe still (Wagner). 12” EL Eng. Col. LX 1282, only form of issue, 14 April, 1948 / 7 Nov., 1947. M-A, a gleaming copy. MB 12

G656. ELISABETH HÖNGEN, w.Leitner (Pf.): Frauenliebe und Leben – Nos. 5 – 8 (first 4 songs appear on a different disc) (Schumann). 12” EL Variable Micrograde DGG 72010, only form of issue, 30 May, 1950. M-A, a gleaming copy. MB 12

G657. ELISABETH HÖNGEN, w.Leitner Cond.: Carmen – Habañera / Leitner Cond.: Écoute, compagnons! (in German). 10” EL Variable Micrograde DGG 36068, only form of issue, 17 Feb., 1953. M-A, a gleaming copy. MB 12

G658. ELISABETH HÖNGEN, w.Leitner Cond.: Samson et Dalila – Mon coeur s’ouvre à ta voix / Printemps qui commence (in German). 12” EL Variable Micrograde DGG 68442, only form of issue, 24 March, 1950. M-A, a gleaming copy. MB 12

G659. ELISABETH HÖNGEN & WALTER LUDWIG, w.Leitner Cond.: Il Trovatore – Condotta ell’era in ceppi; Ai nostri monti (in German), 2s. 12” EL Variable Micrograde DGG 72120, only form of issue, 28 May, 1951. M-A, a gleaming copy. MB 12

“Possessed of neither a great voice nor outstanding personal beauty, Elisabeth Höngen bewitched her collaborators on stage, the conductors who worked with her, and intensely loyal audiences in Austria, Germany, and elsewhere. Not a superstar, she was an ensemble player and valued colleague. Even without the vocal resplendence certain other artists brought to these rôles, her interpretations remain inescapably compelling. Among her Strauss creations, the Nurse in DIE FRAU OHNE SCHATTEN became as incisive an impersonation as her giddy Clairon in CAPRICCIO. The two addled mothers in SALOME and ELEKTRA also became largely Höngen's property in Vienna and they both figured in her single season at the Metropolitan Opera in 1952 where ten performances in all represented her entire Met career. She had been made a Kämmersängerin in 1947 and was equally celebrated at Salzburg (where her Orfeo was revered). She participated with Furtwängler in his La Scala RING in 1950 and was one of a handful of veteran artists invited to reopen the Bayreuth Festival in 1951.” - Erik Eriksson, ALL MUSIC GUIDE

G660. CHRISTEL GOLTZ, w.Heger Cond.: Oberon – Ozean, du Ungeheuer, 2s. 10” EL Variable Micrograde DGG 36052, only form of issue, 19 /25 Sept., 1952. M-A, a gleaming copy. MB 12

“Here is a worthy tribute to a dramatic soprano who enjoyed an international career in the middle years of the past century. She was trained originally as a dancer with voice lessons as an adjunct….The sound of a penetrating soprano voice riding above a full symphony orchestra can be a thrilling experience, and Goltz could manage it with ease….The noble lines of Gluck’s ALCESTE are thrillingly and fearlessly delivered, and both the testing arias from FIDELIO and OBERON are creditably surmounted.” - Vivian A. Liff, AMERICAN RECORD GUIDE, March/April, 2010

G661. CHRISTEL GOLTZ, w.Leitner Cond.: Aïda – O patria mia / Ritorna vincitor! (in Italian). 12” EL Variable Micrograde DGG 72116, only form of issue, 7 June, 1951. M-A, a gleaming copy. MB 12

G662. CHRISTEL GOLTZ, w.Leitner Cond.: Aïda – O patria mia / Ritorna vincitor! (in German). 12” EL Variable Micrograde DGG 72119, only form of issue, 31 July / 22 Aug., 1951. M-A, a gleaming copy. MB 12

G663. CHRISTEL GOLTZ, w.Rother Cond.: Il Trovatore – D’amor sull’ali rosee / Christel Goltz & Silvia Menz: Tacea la notte (in Italian). 12” EL Variable Micrograde DGG 72456, only form of issue, 5 April, 1954. M-A, a gleaming copy. MB 12

G664. CHRISTEL GOLTZ, w.Rother Cond.: Il Trovatore – D’amor sull’ali rosee / Christel Goltz & Silvia Menz: Tacea la notte (in German). 12” EL Variable Micrograde DGG 72449, only form of issue, 14 Dec., 1953. M-A, a gleaming copy. MB 12

G665. CHRISTEL GOLTZ & JULIUS KATONA, w.Schmidt-Isserstedt Cond.: Romeo und Julia – Excerpts (Sutermeister), 4s. 2 12” EL DGG Musica Nova 68148/49, POM 1944. Important Creator Record (Goltz) (13 April, 1941). M-A, a gleaming copy. MB 25

“One of the leading dramatic sopranos of her generation, Christel Goltz possessed a rich voice with a brilliant range and intensity. She was particularly associated with the operas of Richard Strauss, especially SALOME and ELEKTRA, and with contemporary operas. Born in Dortmund, she studied in Munich with Ornelli Leeb and with Theodor Schenk, whom she later married. After singing small rôles, she made her official début in Fuerth, as Agathe, in 1935. She sang one season in Plauen, before joining the roster of principle sopranos at the Staatsoper Dresden through the invitation of Karl Böhm in 1936. She remained at that house until 1950. She began appearing at both the Berlin State Opera and the Stadtische Oper Berlin in 1947, and at the Munich State Opera and Vienna State Opera in 1950. Beginning in 1951, she also made guest appearances in Salzburg, Milan, Rome, Brussels, Paris, London, Buenos Aires, and sang at the Metropolitan Opera in 1954. Besides Salome and Elektra, her greatest successes included the title rôle in JENUFA, Marie in WOZZECK, Die Farberin in DIE FRAU OHNE SCHATTEN, Leonora in FIDELIO, and Elettra in IDOMENEO. She created the title rôle in Carl Orff's ANTIGONAE and Rolf Liebermann's PENELOPE. An intense singing-actress with a clear and powerful voice of great range, she also tackled a few Italian rôles, notably Turandot.” G666. SIEGLINDE WAGNER, w.Schüchter Cond. Berlin Staatsoper Chorus & Orch.: Carmen – Habañera / SIEGLINDE WAGNER & LISA OTTO: En vain pour éviter (Card Scene) (in German). 12” EL Electrola DB 11570. M-A, a gleaming copy. MB 15

“Sieglinde Wagner, a genuine contralto (a rare species) had a wide range, enabling her to sing many mezzo rôles as well. Her long career lasted for 44 years, and 34 of those years were spent in Berlin at the Deutsche Oper. Her large repertory included a number of operas by her namesake Richard (no relation), but also works by Richard Strauss and several Italian composers, as well as operas by mid-20th-century composers. She was a fine concert singer with an affinity for Bach's Passions and Cantatas. Sieglinde Wagner was engaged by the Wiener Volksoper in 1947, remaining until 1952. Since 1952 she was active at the Städtischen Oper (later Deutsches Opernhaus Berlin), and remained their member until 1987. She made guest appearances at La Scala, the Rome Opera, in Amsterdam, Madrid and Barcelona. Beginning in 1949 Sieglinde Wagner participated in the Salzburg Festival where she sang many rôles. At the Bayreuth Festival she participated from 1962 through 1973.”

G667. MARGARETHE ARNDT-OBER, Arndt (Pf.): Heimweh (Wolf). 10" AC V 64444, POM-22 April, 1914, Never Doubled. M-A MB 15

G668. MARGARETHE ARNDT-OBER, Arndt (Pf.): An die Musik (Schubert). 10" AC V 64445, POM-22 April, 1914, Never Doubled. M-A MB 15

G669. MARGARETHE ARNDT-OBER, Arndt (Pf.): Ich liebe dich (Beethoven). 10" AC V 64446, POM-22 April, 1914, Never Doubled. M-A MB 15

G670. MARGARETHE ARNDT-OBER, Arndt (Pf.): Widmung (Schumann). 10" AC V 64448, only form of issue, 22 April, 1914. M-A MB 20

G671. MARGARETHE ARNDT-OBER, Arndt (Pf.): Wiegenlied (Humperdinck). 10" AC V 64449, only form of issue, 22 April, 1914. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

G672. MARGARETHE ARNDT-OBER, Arndt (Pf.): Liebestreu (Brahms). 10" AC V 64500, only form of issue, 22 March, 1915. A, lovely copy has wee pap.scr, inaud. MB 15

G673. MARGARETHE ARNDT-OBER: La Gioconda - Stella del marinar. 10" AC V 64442, Orig. ‘A’ Plate Issue, POM-2 April, 1914, Never Doubled. M-A, a gleaming copy. MB 15

G674. MARGARETHE ARNDT-OBER: La Gioconda – Voce di donna. 10" AC V 64443, POM-2 April, 1914, Never Doubled. M-A MB 15

G675. MARGARETHE ARNDT-OBER: Il Trovatore - Stride la vampa! 10" AC V 64506, POM-23 April, 1915, Never Doubled. A to M-A MB 10

G676. MARGARETHE ARNDT-OBER: Samson et Dalila – Amour, viens aider / Mon coeur s’ouvre à ta voix (in German). 12” AC Art Label (Girl at window with morning glory horn) Parlophon P.423/24, POM-1912. A-, very decent copy has lt. rubs, inaud.; Sd. 2 only has sev. scrs, absolutely inaudible. This plays as M-A. MB 12

G677. MARGARETHE ARNDT-OBER: Carmen – Habañera / Séguidille (both in German). 10” yellow IRCC 3001, RRs-1911, Berlin Pathé. Numbered Copy #49. M-A MB 8

G678. MARGARETHE ARNDT-OBER: Le Prophète - Ah! mon fils (1908 Version) (in German) / Der Evangelimann – O schöne Jugendtage (Kienzl). 10” AC green Berlin Concert Gram. V.23369/68 (83/82ab), POM-12 Jan., 1908. A to M-A, lovely copy has hint of grey on peaks. MB 15

G679. MARGARETHE ARNDT-OBER: Le Prophète – Ah! mon fils (1914 Version) (in German). 12" AC V 74397, only form of issue, 2 April, 1914. M-A, a gleaming copy. MB 20

G680. MARGARETHE ARNDT-OBER: Le Prophète – Qui je suis? … Je suis, hélas! la pauvre femme! / Grand Dieu, exaucez ma prière (in German). 11½” AC H & D grey paper label US-Pathé 60022 (54532/33), recorded 1911, Berlin. M-A, a gleaming copy. MB 15

G681. MARGARETHE ARNDT-OBER & REINALD WERRENRATH: Das Rheingold – Weiche, Wotan, weiche. 12" AC white Vla 74396, only form of issue, 2 April, 1914. M-A, a gleaming copy. MB 20

G682. MARGARETHE ARNDT-OBER & PAUL ALTHOUSE: Boris Godounov – Garden Scene (in Italian). 12" AC V 76031, Early ‘B’ Plate Issue, POM-23 April, 1915. M-A, a gleaming copy. MB 12

“Margarethe Ober studied in Berlin with Benno Stolzenberg and married eventually her second teacher Arthur Arndt. Making her début at the Frankfurt opera house as Azucena in 1906, she became a regular member of the Berlin State Opera from 1907 until her retirement in 1944. She sang Amneris with Caruso in 1908 and appeared as Kostelnicka in the Berlin premiere of Janacek’s JENŮFA. In 1913 she made a highly praised début at the Metropolitan as Ortrud and was an admired Octavian in the first American performance of Strauss’ DER ROSENKAVALIER. She took on most of the rôles from Ernestine Schumann-Heink. Her Waltraute was praised as ‘one of the grand figures of the drama’. In 1914 she appeared in Toscanini’s revival of Weber’s EURYANTHE, but on America’s entry into the war she was dismissed from the company and interned because of German-patriotic behaviour during a performance. She was forced to return to Germany where she resumed her career at the Berlin Opera and appeared regularly at the Zoppot Festival. Arndt-Ober retired in 1944.” - Andrea Shum-Binder, subito-cantabile G683. MARIANNE SCHECH, w.Sawallisch Cond.: Cavalleria – Voi lo sapete / MARIANNE SCHECH & JAMES PEASE: Ah il Signore vi manda (in German). 10” EL Variable Micrograde DGG 62925, only form of issue, 17 March, 1954. M-A, a gleaming copy. MB 12

G684. MARIANNE SCHECH, LORENZ FEHENBERGER & JAMES PEASE: Cavalleria – Excerpts (in German), 2s. 12” EL Variable Micrograde DGG 72475, only form of issue. M-A, a gleaming copy. MB 12

“Marianne Schech made her début at Coblenz 1937 as Marta, in TIEFLAND. From 1937 to 1945 she sang in Münster, Munich, Düsseldorf and Dresden. She was a member of the Bavarian State Opera, Munich, 1945–70, specializing in Wagner and Strauss rôles. Her Covent Garden début was in 1956; her Metropolitan Opera début occured in 1957; her San Francisco Opera début was in 1959. Schech was one of the singers in the Final Trio from DER ROSENKAVALIER at Strauss' funeral, 1949.”

G685. ANNELIES KUPPER, w.Heger Cond.: Don Giovanni – Don Ottavio, son morta; Or sai chi l’onore (in German), 2s. 12” EL Variable Micrograde DGG 72049, only form of issue, 4 Jan., 1951. M-A, a gleaming copy. MB 12

G686. ANNELIES KUPPER, w.Lehmann Cond.: Daphne – O bleib’, geliebter Tag; Ich komme, grünende Brüder, 2s. 12” EL Variable Micrograde DGG 72172, only form of issue, 16 Nov., 1951. M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 12

G687. ANNELIES KUPPER, w.Leitner Cond.: Nozze – Dove sono / WALTHER LUDWIG: Dalla sua pace; Il mio tesoro (both in Italian). 12” EL Variable Micrograde DGG 72305, only form of issue, 11 Aug., 1952 / 3 Jan., 1953. M-A, a gleaming copy. MB 12

G688. ANNELIES KUPPER & ELISABETH HÖNGEN, w.Leitner Cond.: Aïda – Fu la sorte dell’armi (in German), 2s. 12” EL Variable Micrograde DGG 72099, only form of issue, 2 June, 1951. M-A, a gleaming copy. MB 12

G689. ANNELIES KUPPER & HANS REINMAR, w.Solti Cond.: Aïda – Ciel! Mio padre! (Nile scene) (in German), 2s. 12” EL DGG 68362, only form of issue, 15 June, 1949. M-A, a gleaming copy. MB 12

G690. ANNELIES KUPPER & KURT BÖHME, w.Rother Cond.: Tiefland – Ich weiss nicht, ver mein Vater war / WOLFGANG WINDGASSEN, w.Rother Cond.: Pedros Abschied; Wolfserzählung (d’Albert). 12” EL Variable Micrograde DGG 72378, only form of issue, 7 July, 1953. M-A, a gleaming copy. MB 12

G691. ANNELIES KUPPER, w.Leitner Cond.: Forza – Son giunta! Madre pietosa Vergine; Sds. 2–4 = ANNELIES KUPPER, JOSEF GREINDL & GUSTAV NEIDLINGER: Cloister scene (all in German), 3s. 2–12” EL Variable Micrograde DGG 72225/26, only form of issue, 2 July, 1952. M-A, a gleaming copy. MB 25

“Annelies Kupper sang Eva in Bayreuth, in 1944, and returned as Elsa in 1960. She created Danae in Richard Strauss' DIE LIEBE DER DANAE in Salzburg, in 1952. Kupper was especially admired as Countess Almaviva, in addition to Wagner and Strauss rôles, she also gained considerable acclaim as Aïda and Desdemona. A sensitive and warm-voiced singer, she retired in 1961 and taught at the Music Conservatory in Munich.”

G692. ANNY SCHLEMM, w.Schüchter Cond.: Nozze – Non so più / Voi che sapete (in German). 10” EL Electrola DA 5519. M-A, a gleaming copy. MB 12

G693. ANNY SCHLEMM, w.Leitner Cond.: Mignon – Connais-tu le pays / Elle est aimée (in German). 10” EL Variable Micrograde DGG 36091, only form of issue, 3 Nov., 1953. M-A, gleaming copy has mere hint of faintest pap. rubs, inaud. MB 12

G694. ANNY SCHLEMM, w.Reinshagen Cond.: Undine – So wisse, dass in allen Elementen / ANNY SCHLEMM & HANS BRAUN: Nun ist’s vollbracht (Lortzing). 12” EL Variable Micrograde DGG 72454, only form of issue, 13 Jan., 1954. M-A, a gleaming copy. MB 12

“Anny Schlemm joined the Berlin State Opera, where she remained until 1961, during which period her rôles included Susanna, Marenka, Donna Elvira, Desdemona, Manon Lescaut, Octavian, Arabella, etc. She also sang at the opera houses of Cologne, Hamburg, Dresden, Frankfurt, Stuttgart, Munich, and at the Bayreuth Festival, etc. She made guest appearances at the Vienna State Opera, the Royal Opera House, the Glyndebourne Festival, the Paris Opéra, the Holland Festival, etc. Later, as her voice darkened, she became a famous exponent of rôles such as Clytemnestra, Herodias, Kabanicha in KÁŤA KABANOVÁ, and Kostelnicka in JENŮFA, etc. A superb singing-actress and highly versatile artist, she was equally at home in comic and dramatic roles.”

G695. ELFRIDE TRÖTSCHEL, w.Leitner Cond.: Nozze – Venite, inginocchiatevi / Deh vieni, non tardar (in German). 10” EL Variable Micrograde DGG 36010, only form of issue, 20 Nov., 1951. M-A, a gleaming copy. MB 12

G696. ELFRIDE TRÖTSCHEL, w.Leitner Cond.: Der Waffenschmied – Wir armen, armen Mädchen (Lortzing) / Pagliacci – Stridono lassu (in German). 10” EL Variable Micrograde DGG 36043, only form of issue, 15 Aug., 1952. M-A, a gleaming copy. MB 12

G697. ELFRIDE TRÖTSCHEL, w.Leitner Cond.: Der Waffenschmied – Er schläft! Wir alle sind in Angst (Lortzing) / Prodaná Nevesta – Endlich allein (in German) (Smetana). 12” EL Variable Micrograde DGG 72398, only form of issue, 19 / 8 March, 1952. M-A, a gleaming copy. MB 12

G698. ELFRIDE TRÖTSCHEL & HORST GÜNTHER, w.Leitner Cond.: Der Jakobiner – In weiter Fremde irrten wir; Ach Gott, wie hoffmungslos (Dvorák), 2s. 12” EL Variable Micrograde DGG 72239, only form of issue, 1Oct., 1952. M-A, a gleaming copy. MB 12 G699. ELFRIDE TRÖTSCHEL & LORENZ FEHENBERGER, w.Schmitz Cond.: La Boheme – Sono andati? / ELFRIDE TRÖTSCHEL, RITA STREICH, LORENZ FEHENBERGER & DIETRICH FISCHER-DIESKAU: Addio, dolce svegliare (in German). 12” EL DGG 68435, only form of issue, 4 / 12 Oct., 1949. M-A, gleaming copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 12

G700. ELFRIDE TRÖTSCHEL & WALTHER LUDWIG, w.Leitner Cond.: Carmen – Parle-moi de ma mère (in German), 2s. 10” EL Variable Micrograde DGG 36003, only form of issue, 15 Sept., 1951. M-A, a gleaming copy. MB 12

G701. ELFRIDE TRÖTSCHEL & HORST GÜNTHER, w.Leitner Cond.: Don Giovanni – Là ci darem la mano / ANNELIES KUPPER, w.Leitner Cond.: Nozze – Porgi amor (both in German). 10” EL Variable Micrograde DGG 36087, only form of issue, 12 Aug. / 3 March, 1952. M-A, a gleaming copy. MB 12

“Elfriede Trötschel began her career as a member of the Dresden Opera choir and became a soloist in 1933 after being selected by the Opera’s director, Karl Böhm. Her many rôles on the operatic stage included Lola, Gretel, Esmeralda, Zerlina, Blondchen, Marie, Susanna, Nannetta, Zdenka, Jenufa, Donna Elvira, Bastienne, Oskar, Papagena, Marzelline, Sophie, Mimi and Madama Butterfly. She sang at the Salzburg Festival in 1941 and at the Berlin State Opera in 1950. In 1950 she sang Susanna at the Edinburgh and Glyndebourne Festivals, sang at the Vienna State Opera in 1952 and appeared at Covent Garden in 1953 in Strauss’ ARABELLA. Trötschel performed with some of the great conductors of the 20th century, such as Fritz Stiedry, Wilhelm Furtwängler, Krauss, Keilbert, Eugen Jochum, Kempe, Otto Klemperer, Karl Böhm and Fricsay.”

G702. ESTHER RÉTHY: Schön ist der Welt – Ich bin verliebt / Der Zarewitsch – Einer wird kommen (Lehár). 10” EL Electrola DA 4497. M-A MB 12

G703. ESTHER RÉTHY, w.Moralt Cond.: La Boheme – Quando m’en vo / Gianni Schicchi – O mio babbino caro (both in German). 10” EL Electrola DA 4506. M-A MB 12

G704. ESTHER RÉTHY, w.Paulik Cond.: Eine Nacht in Venedig – Einmal vergisst man sich / Schwipslied (Johann Strauss). 10” EL Austrian Elite 8290. A to M-A, lovely copy has, Sd.2 only, few minuscule dust scrs, inaud. MB 12

G705. ESTHER RÉTHY, w.Schönherr Cond.: Clivia – Ich bin verliebt (Dostal) / Ball im Savoy – Toujours l’amour (Abraham). 10” EL Austrian Elite 8128. M-A MB 12

G706. ESTHER RÉTHY & JOHANNES HEESTERS, w.Schönherr Cond.: Indian love call (Friml) / Maytime – Sweetheart (Romberg) (both in German). 10” EL Austrian Elite 8129. M-A MB 12

“In 1937 Réthy became a principal artist at the Vienna State Opera, where she remained until 1949. She made her first appearance at that house as Marguerite in Charles Gounod's FAUST with Jussi Björling in the title rôle. Her other roles with the company included Agathe in Carl Maria von Weber's DER FREISCHÜTZ, Countess Almaviva in Mozart's LE NOZZE DI FIGARO, Alice Ford in Verdi's FALSTAFF, Desdemona in OTELLO, Eva in DIE MEISTERSINGER VON NÜRNBERG, Lauretta in Puccini's GIANNI SCHICCHI, Mařenka in Smetana's THE BARTERED BRIDE, Micaela, Mimì, Pamina, Violetta, and the title rôle in Handel's Rodelinda. While singing in Vienna, Réthy was active as a guest artist with many European opera houses. She remained a frequent performer at the Hungarian State Opera House and appeared often as a guest at the Bavarian State Opera, Berlin State Opera, and Semperoper under such conductors as Karl Böhm, Victor de Sabata, Wilhelm Furtwängler, Hans Knappertsbusch, Clemens Krauss, and Josef Krips. She became internationally famous through her many appearances at the Salzburg Festival where she sang Susanna (1937-1939, 1941 with Ezio Pinza as Figaro), Sophie in DER ROSENKAVALIER (1937-1939), Donna Elvira (1950), and Europa in the first public performance of Strauss’ DIE LIEBE DER DANAE (1952). She also appeared at the 1940 Salzburg Festival in an operetta concert. In 1940, she was supposed to appear in several roles at the Metropolitan Opera, but the events of World War II made this impossible. After World War II, Réthy became a highly lauded performer in operettas, beginning with a triumphant portrayal of Rosalinde in DIE FLEDERMAUS under Herbert von Karajan at the Vienna State Opera. From 1948 she sang frequently at the Vienna Volksoper in the operettas of Emmerich Kálmán, Franz Lehár, and Strauss. Réthy retired from the stage in 1968, after which she taught singing in Vienna. She died there at the age of 91 in 2004. She was married first to conductor Anton Paulik and then for many years to Dr. Vincent Imre. Her son from her second marriage, Laszló Imre, became a successful conductor.”

G707. VIORICA URSULEAC, w.Clemens Krauss Cond.: Capriccio – Ihre Liebe schägt mir entgegen (Strauss), 2s. 12” EL black DGG Siemens Spezial 68125, only form of issue, 8 June, 1943. M-A Important Creator Record (28 Oct. 1943, München). MB 15

“Krauss chose me to create Clarion in the world première of CAPRICCIO in Munich on October 28, 1943, so I had plenty of opportunities to watch Ursuleac mold the enchanting rôle of the Countess, and she was a perfectionist. Singing with her was a joy, for she was totally secure and never tried to steal scenes from others….Although she had a lovely, facile top, I was constantly amazed at the two hours’ vocalizing she went through before each performance. Hers was, in my opinion, a marvelously constructed, not really natural voice which she used with uncanny intelligence.” Hildegard Ranczak, THE LAST PRIMA DONNAS, p.232

G708. VIORICA URSULEAC, w.Clemens Krauss Cond.: Cäcilie / Frühlingsfeier (both Strauss). 10” EL red Bruns.-Polydor 35032, POM 1936. A-, very decent copy of preferred mid-1930s Columbia pressing has lt rubs & few superficial scrs, inaud. MB 8

G709. VIORICA URSULEAC & MARGIT BOKOR, w.Clemens Krauss Cond.: Arabella – Aber der Richtige (Strauss), 2s. 10” EL black Grammophon 62712, POM 1933. M-A, a gleaming copy. MB 12 G710. VIORICA URSULEAC & ALFRED JERGER, w.Clemens Krauss Cond.: Arabella – Das war sehr gut, Mandryka (Strauss), 2s. 10” EL black Grammophon 62711, POM 1933. M-A, lovely copy has, Sd. 2, wee pap. rub, inaud. MB 12

G711. VIORICA URSULEAC, ERNA BERGER & TIANA LEMNITZ; Clemens Krauss Cond. Berlin Staatsoper Orch.: Der Rosenkavalier – Hab' mir's gelobt / ERNA BERGER & TIANA LEMNITZ; Ist ein Traum . 12” EL black German Polydor 67075, POM-1936. M A MB 12

“Viorica Ursuleac was the Strauss singer par excellence. She sang in a total of 482 performances of Strauss on stage….The few records which the singer has left us are not fully representative of the exceptional artist she undoubtedly was.” - Dr Ulrich Dahmen, THE RECORD COLLECTOR, 1990

G712. MARIA REINING, w.Krips Cond. Vienna Phil.: Nozze – Dove sono? (in German), 2s. 12” EL Austrian Decca K 28354, POM-1950. M-A, a gleaming copy. MB 15

G713. MARIA REINING, w.Knappertsbusch Cond. Zürich Tonhalle Orch.: Tannhäuser – Dich, teure Halle / Allmächt’ge Jungfrau. 12” EL Austrian Decca K 28165, POM-23 June, 1949. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

G714. MARIA REINING, w.Knappertsbusch Cond. Zürich Tonhalle Orch.: Der Rosenkavalier – Kann mich auch an ein Mädel, 2s. 12” EL Austrian Decca K 28164, POM-23 June, 1949. M-A, lovely copy has, Sd. 1 only, wee pressing bump, audible sev. turns. MB 12

G715. MARIA REINING, w.Lutze Cond.: Der Zarewitsch – Einer wird kommen / Paganini – Liebe, du Himmel auf Erden (both Lehár). 12” EL red German Telefunken E 1165, POM-1939. M-A, a gleaming copy. MB 12

G716. MARIA REINING & KARL FRIEDRICH, w.Reinschagen Cond. Zürich Tonhalle Orch.: Das Land des Lächelns – Wer hat die Liebe uns ins Herz gesenkt / Bei einem Tee en deux (Lehár). 12” EL Austrian Decca K 28167, POM-23 June, 1949. M-A, a gleaming copy. MB 15

G717. MARIA REINING & MAX LORENZ: Tannhäuser – O Fürstin!, 2s. 12” EL Electrola DB 7624, only form of issue, 24 Jan., 1942. M-A, a gleaming copy. MB 20

G718. MARIA REINING & PAUL SCHÖFFLER, w.Knappertsbusch Cond. Zürich Tonhalle Orch.: Die Meistersinger – Gut’n Abend, Meister!, 2s. 12” EL orange Eng. Decca X.312, POM-23 June, 1949. M-A, a gleaming copy. MB 15

G719. MARIA REINING & FRANZ KUBESCH, w.Dol Dauber Orch.: Wienerisch (Edmund Eysler; arr. Hruby), 4s. 2–12” EL pale-blue Austrian HMV BB 251/52, only form of issue, 12 Dec., 1930 (Reining’s first recording). M-A, lovely copy has very occasional faintest pap. rub, inaud. Exceedingly elusive! MB 35

“Maria Reining didn't begin her singing career until the age of 28, when she began at the Vienna State Opera, mainly in soubrette roles. Two years later, she moved to Darmstadt, then to the Munich State Opera, where she made her début as Elsa, under Hans Knappertsbusch. In 1937 she followed Knappertsbusch to the Vienna State Opera, where she sang Elsa again. Reining was a member of the Vienna State Opera ensemble between 1931 and 1933 and again between 1937 and 1957. Between 1937 and 1941, she sang at the Salzburg Festival with great success, conducted, among others, by Arturo Toscanini. She predominantly sang rôles by Mozart, Wagner and Richard Strauss. As a guest, she appeared at the leading European opera houses, at the Royal Opera House and at La Scala.”

G720. LORNA SYDNEY, w.Baltzer Cond. Vienna Staatsoper Orch.: Orfeo - Che farò senza Euridice / Che puro ciel (in German). 12” EL black Vienna 5004. M-A Truly distinguished renditions! MB 12

“In the middle of the 1930s Lorna Sydney’s voice was discovered by Lotte Lehmann during an Australian tour, enabling her to study in Vienna. In 1946 Lorna Sydney came to the Vienna Volksoper, at which she had a great career until 1954. The first rôle she sang was Carmen. She mastered altogether 47 major roles in operas of Verdi, Gluck, Wagner and Richard Strauss, under whom she sang Klytaemnestra, which she performed also at the New Orleans Opera. In 1951 and 1955 she made guest appearances at the New York City Center Opera in Prokofieff’s L'AMOUR DES TROIS ORANGES; on the American Television NBC she appeared as Herodias in Strauss’ SALOME. In addition, Lorna Sydney was a high-estimated concert and oratorio soloist and a splendid Lieder interpreter. She made very successful concert tours in Austria as in Germany, in Italy and France, in North America and in Africa. High points in her concert career were appearances in the USA with Philadelphia Orchestra under Eugene Ormandy and a recital in the New York Town Hall in 1955. Since 1965 she gave interpretation courses in the USA, mainly for Lieder singing.”

G721. MAUD CUNITZ, w.Ackermann Cond. Vienna Phil.: Der Freischütz - Wie nahte mir der Schlummer; Leise, leise fromme Weise, 2s. 12” EL red German Decca K 23268. M-A, a gleaming copy. MB 15

G722. MAUD CUNITZ, w.Rother Cond. Berlin Staatsoper Orch.: Aïda – O patria mia / Ritorna vincitor! (in German). 12” EL Variable Micrograde purple German Telefunken VSK 9015. M-A, a gleaming copy. MB 15

“Maud Cunitz made her Salzburg Festival début in 1943, as the First Lady in DIE ZAUBERFLÖTE, followed by Zdenka in ARABELLA. She created the rôle of Semele in DIE LIEBE DER DANAE (Salzburg dress rehearsal, 1944). Cunitz joined the Bavarian State Opera in 1946, then made her Covent Garden début in 1953 as the Countess in CAPRICCIO, its first London performance.”

G723. Mme CHARLES-CAHIER, w.Meyerowitz Cond. Berlin Staatsoper Orch.: Ich bin der Welt abhanden gekommen / Resurrection Symphony #2 – Urlicht (both Mahler). 12” EL silver IRCC 209, RRs-20 Sept., 1928, Stockholm. Numbered Copy #17 of an extraordinarily Limited Edition. Sd.2 label is Autographed, w.Cahier's Photo affixed. Accompanied by original IRCC text. M-A, a gleaming copy. MB 35 G724. Mme CHARLES-CAHIER, w.Meyerowitz Cond. Berlin Staatsoper Orch.: Ich bin der Welt abhanden gekommen / Resurrection Symphony #2 – Urlicht (both Mahler). 12” EL dark-blue Kalliope K770 (30372/71), POM-20 Sept., 1928, Stockholm. M-A Exceedingly Elusive! MB 65

“Sara Cahier, better known as Mme Charles Cahier, was actually born Sara Jane Walker in Nashville, Tennessee. Her teachers included Jean de Reszke, Victor Capoul, and Amalie Joachim. After her debut in 1904 she joined the Hofoper in 1907 and remained until 1911. Under Mahler, she sang Amneris, Carmen, Dalilah, Fidès, Ortrud, and Santuzza. She was also famous for her interpretation of Mahler’s works, creating the alto version of DAS LIED VON DER ERDE. Among her later pupils were Marian Anderson, Göta Ljüngberg, and Rosette Anday.” - Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNA

G725. SUSAN METCALFE-CASALS, w.Gerald Moore (Pf.): Lied der Mignon / Nachtstück (both Schubert). 12” EL yellow PW HMV Private Record JG 19, only form of issue, 7 July, 1937. A, lovely copy has faintest pap. rubs, inaud. MB 50

G726. SUSAN METCALFE-CASALS, w.Gerald Moore (Pf.): Die Junge Nonne / Liebesbotschaft; Die Liebe hat Gelogen (all Schubert). 12” EL yellow PW HMV Private Record JG 20, only form of issue, 7 July, 1937. A, lovely copy has faintest pap. rubs, inaud. MB 50

G727. SUSAN METCALFE-CASALS, w.Gerald Moore (Pf.): Die Lotusblume; Schneeglockchen; Zum Schluss / Herzeleid; Liebeslied (all Schumann). 12” EL yellow PW HMV Private Record JG 21, only form of issue, 7 July, 1937. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 50

G728. SUSAN METCALFE-CASALS, w.Gerald Moore (Pf.): Le Secret; Le don silencieux / Soir; Nell (all Fauré). 12” EL yellow PW HMV Private Record JG 22, only form of issue, 7 July, 1937. A/A-, lovely copy has faintest pap. rubs, inaud.; Sd. 2 only has sev. superficial scrs, inaud. MB 50

“As a recitalist, Susan Metcalfe Casals made her début in New York in 1897 and gave few, but very select recitals each year. In 1904 she met the cellist Pablo Casals, gave a recital with him (Casals accompanying her at the piano), and briefly developed a 'fervid' friendship, which however was abated when Casals established his close relationship with Guilhermina Suggia in 1906. In 1908 Metcalfe embarked on a European tour during which she sang for the British royal family. As the Suggia relationship became strained, Metcalfe and Casals corresponded. They met again after Casals had given a concert in Berlin, and were married on 8 April, 1914. After this they moved together to Europe. The marriage lasted until 1928, when they were formally separated, but they did not divorce until 1957. During their artistic life together, Casals and his wife often gave recitals together in which he accompanied her song sets at the piano and also performed cello sets in the same concert. The marriage with Casals was stormy, and following their separation in 1929 Mme Metcalfe Casals lived in Paris. Her last known recital was at the École Normale de Musique there, in 1951. Later she moved back to the U.S. to live with her sister, and died there in 1959. Susan Metcalfe Casals made no fully commercial recordings, but she did record eight sides of 78rpm records (yellow label His Master's Voice) for private distribution, with Gerald Moore accompanying, in 1937.”

G729. EMMA ALBANI: Ave Maria (Bach-Gounod) / Xerxes – Ombra mai fu. 10” AC silver IRCC 182, RRs-1904, London, Pathé. Numbered Copy #1 of a Limited Edition; Sd. 2 label, has Albani’s Photo affixed. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12

G730. EMMA ALBANI: Xerxes – Ombra mai fu / BLANCHE MARCHESI: L’Été (Chaminade). 10” AC Les Amis de l’Art Phonique 1, RRs-1904/’06. Apparently a Limited Edition, stated “Il a été tiré de ce disque: 10 exemplaires”. A/A-, lovely copy has, Sd. 2 only, sev. wee scrs, cosmetic. MB 12

“The records of Emma Albani preserve the singing of a celebrated vocal artist whose career spanned the last thirty years of the nineteenth century and the first decade of the [twentieth]….Albani’s pre-eminence as a vocalist is incontestable and vocal attainments of a high order can be detected in her records….She endeared herself to her public, becoming a much-loved figure.” - Paul Lewis, THE RECORD COLLECTOR, 1994

G731. SUZANNE ADAMS: Coquette (Leo Stern) / Roméo – Je veux vivre. 10” AC silver Victor IRCC 98, RRs-1902, London. Numbered Copy #41 of a Limited Edition, Sd.2 Label has Adams’ Photo affixed. (Leo Stern, by the way, not only was Suzanne Adams’ husband, but also the cellist at the first performance of Dvorák’s Cello Concerto.) M-A, a gleaming copy. MB 25

G732. SUZANNE ADAMS (frequently attributed to Nellie Melba): Les Huguenots – A ce mot tout s'anime. 10” AC S/S mauve IRCC 5002, recorded during Live Performance by Lionel Mapleson, 1 March, 1902. Numbered Copy #148 of Limited Edition. Melba's Photo is affixed to Label. M-A, a gleaming copy. MB 45

“Adams had a very peculiar season at the Met this year [1901]. She made her first appearance, as Juliette, at the matinee on January 31st. This date, incidentally, coincides with a period when Mapleson was being exceptionally active with his recorder at the Metropolitan Opera House….Adams and he seemed to be on friendly terms, so why did he not seize the opportunity to record her?....there once was a labeled box, proving that Mapleson had indeed recorded the music. But the cylinder was not in its box. If it wasn’t there, then where was it? (No Melba box is known.)….One thing that surprises me about the Melba-champions is that they do not seem to have taken in how extremely small is the number of performances that the cylinder could even possibly be from. Really only two, as others than me have pointed out: if it isn’t Melba on March 11th, then it has just got to be Adams on March 1st, 1902, and this is the date on the box.” - John Stratton, THE RECORD COLLECTOR, 1989 G733. SUSAN STRONG: Die junge Nonne (Schubert) / Hérodiade – Il est doux, il est bon. 12” AC sliver Victor IRCC 159, POM-1907; Sd.2 = RR, 1908. Numbered Copy #18 of an extremely Limited Edition. Sd.1 Label Autographed by Strong, whose Photo is affixed. M-A, a gleaming copy. MB 35

“…an unusually imaginative and heart-felt account [of the Schubert song].” - J.B. Steane, SONG ON RECORD, Vol. 1, p.79

G734. EDYTH WALKER, w.Eduard Liechtenstein (Pf.): Die Allmacht (Schubert), 2s. 12” AC black German Gram. Monarch 043146/47 (453/54s), POM-20 April, 1910. M-A, choice copy has very occasional faintest pap. rub, inaud. MB 65

G735. EDYTH WALKER: Das Rheingold - Weiche, Wotan / Tannhäuser - Allmächtge Jungfrau. 12” AC black Hamburg Pre-Dog 043093/94 (349/55s), recorded 1907. A-, Exemplary copy has faintest pap.rubs & occasional cosmetic mk, inaud.; uncommonly bright labels. MB 85

G736. EDYTH WALKER: Das Rheingold - Weiche, Wotan / Tannhäuser - Allmächtge Jungfrau. 12” AC red & gold IRCC 221, RRs-1907, Numbered Copy #79; Sd. 1 label is boldly Autographed by Walker. A to M-A MB 20

“Edyth Walker was born in Hopewell, New York. She went to Europe and studied with Aglaja Orgeni, who arranged her début at the Berlin Court Opera as Fidès in Meyerbeer’s LE PROPHÈTE in 1894. She joined the Vienna Hofoper the following year and achieved immediate popular acclaim. There she created the rôle of Magdalena in Kienzl’s DER EVANGELIMANN. She fell foul of Mahler at once, although she did sing in the first performance of DAS KLAGENDE LIED in 1901. Mahler made life so unpleasant for Walker that she broke her contract in 1903. She returned to the U.S., singing three seasons at the Metropolitan. In 1906 she went to Germany continuing to sing mezzo roles, with the exception of Brünnhilde in DIE WALKÜRE. She joined the Hamburg opera in 1907, and there she took on the whole range of dramatic soprano parts, one of her most successful being Elektra, which she created for Hamburg, Bremen, and London. After leaving Hamburg in 1912, she sang guest appearances until 1918, and subsequently taught in France and America.” - Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNA

G737. WINIFRED CECIL, w.Simonetto (Pf.): Tu lo sai (Torelli) / Radamisto – Sommi Dei (Handel). 10” EL green Cetra TI.7006, only form of issue, 8 July, 1939. M-A, a gleaming copy. MB 35

“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

G738. ROSINA BUCKMAN: The Fairy Pipers (Brewer) / The Blackbird (Weatherly). 10” AC dark-blue Eng. Col. 2427. A-, lovely copy has lt. rubs, inaud. Enchanting! MB 12

“Rosina Buckman was a New Zealand soprano, and a professor of singing at the Royal Academy of Music. She was born in Blenheim, and studied in England at the Birmingham School of Music. She then returned to New Zealand, toured Australia and débuted in London in LA BOHEME at Covent Garden, appearing with the Beecham Company from 1915 to 1920. She excelled as Aïda, Madama Butterfly and Isolde. She continued performing into the 1920s, and recorded prolifically.”

G739. ROSINA BUCKMAN & THORPE BATES: Calm as the night (Goetz) / Maritana – Of fairy wand had I the power (Wallace). 10” AC dark-blue Eng. Col. 2495. A-, lovely copy has lt. rubs, inaud.; Sd.2 has wee audible scr. MB 12

G740. ROSINA BUCKMAN, COURTICE POUNDS & FREDERICK RANALOW; Ethyl Smyth Cond.: The Boatswain’s Mate – Excerpts (Cond. by the Composer), 4s. 4–12” AC S/S violet HMV 04183-85; 03527, POM-1916. B, very decent unworn copy has various lt. rubs & superficial scrs. All-Creator Recording (28 January, 1916, Shaftesbury Theatre, London). MB 45

“Ethyl Smyth was prone to grand romantic passions, most of them with women. She wrote to Harry Brewster, who may have been her only male lover, that it was ‘easier for me to love my own sex passionately, rather than yours’, calling this an ‘everlasting puzzle’. At age 71 she fell in love with Virginia Woolf, who, both alarmed and amused, said it was ‘like being caught by a giant crab’, but the two became friends.”

“THE BOATSWAIN'S MATE, an opera in one act written by British composer and suffragette Ethel Smyth, was Smyth's fourth and most unabashedly feminist opera. The piece centers around a humorous battle of the sexes featuring a feisty and resourceful heroine, based loosely on Emmeline Pankhurst, who outwits her scheming suitor. THE BOATSWAIN'S MATE was first performed at the Shaftesbury Theatre, London on 28 January 1916 under Ethel Smyth. Thomas Beecham had entrusted the première to Eugene Goossens but on that day 'The composer herself elected to conduct the première of her work—much to my annoyance, as I had taken all the preliminary orchestral rehearsals. At the last moment she took over the baton, thinking herself the Heaven-sent conduct she was not’….A peppery woman, if I ever knew one!” - Eugene Goossens, OVERTURE AND BEGINNERS, pp.117-18 G741. LILLIAN NORDICA: Hunyadi László - Ah rebegés a mi vadúl háboritja lelkemet (Erkel) / Ständchen (Strauss). 12” AC burgundy Col. IRCC 87, POM-23 May, 1907 / 16 Feb., 1911. Numbered Copy #82 of a Limited Edition; Nordica's Photo affixed to Sd.1 Label. M-A Exceedingly Elusive and desirable IRCC issue! MB 75

"In the abridged air from HUNYADI LÁSZLÓ it immediately becomes obvious that this is not only a superb voice but also a prodigiously accomplished singer." - Vivian A. Liff, THE RECORD COLLECTOR, 2001

G742. LILLIAN NORDICA, SCHUMANN-HEINK & GEORG ANTHES; Hertz Cond.: Tristan - Liebesnacht, 2s. 10" AC gold IRCC 167, recorded during Actual Performance at Metropolitan Opera by Lionel Mapleson, 9 Feb., 1903. Numbered Copy #26 of a Limited Edition. Nordica's Photo is missing from Sd. 1 label. M-A/A-, lovely copy has, Sd. 2 only, faint scr. MB 15

G743. LILLIAN NORDICA, w.Hertz Cond.: Götterdämmerung - Immolation Scene (Completion). 10" AC S/S gold IRCC 155, recorded during Actual Performance by Lionel Mapleson, 28 Feb., 1903. Numbered Copy #5 of a Limited Edition; Nordica's Photo affixed to label. M-A MB 20

G744. LILLIAN NORDICA: Götterdämmerung – Immolation scene – fragment / DAVID BISPHAM: Die Walküre – Wotan's farewell – fragment. 10” AC red & silver IRCC 3030, RRs from the Mapelson Cylinders recorded during Actual Performance, Metropolitan Opera House, 1903. A to M-A, lovely copy has has faintest pap. rubs, inaud. MB 12

G745. LILLIAN NORDICA: Die Walküre – Ho-jo-to-ho! 12” AC S/S violet Columbia IRCC 95, RR-3 Feb., 1911, from Unpublished Matrix. Numbered Copy #21 of a Limited Edition. Nordica's Photo is affixed to label. M-A, a gleaming copy. MB 35

"The only issue of [the above] recording is from Columbia matrix XP 20986 cut in New York on 16 April, 1937 from a test pressing of the original matrix which was found in a second-hand store in Los Angeles." - W.R. Moran, Discography in YANKEE DIVA, p.299

G746. ADA CROSSLEY: The Gleaner’s slumber song / There is a green hill far away (Gounod). 11½” AC Belgian etched label H & D center-start Pathé 50300/01, only form of issue, 1904, London. A-/B, lovely copy has pressing bump at end resulting in, Sd 2 only, very large nd. MB 20

“Crossley’s first appearance was with the Philharmonic Society at Melbourne in 1892. She sang frequently in Melbourne in 1893 at concerts and in oratorio, and was the principal contralto at the Australian Church. In 1894 she went to Europe and studied under Mathilde Marchesi for voice production, and under Charles Santley for oratorio work. Her first appearance in London was at the Queen's Hall on 18 May, 1895, when she had an immediate success. For many years she held a leading place at music festivals and on the concert platform, and she gave five command performances before Queen Victoria in two years.”

G747. FLORA NIELSEN, w.Gerald Moore (Pf.): Erstes Grün; Frülingsnacht / Requiem (all Schumann). 12” EL plum HMV C.3831, only form of issue, 1948. M-A, exemplary copy has, Sd. 2 only, faintest pap. rub, inaud. MB 8

“…the Canadian Flora Nielsen…sang two performances [in 1938] as Brangæne (with Eva Turner and Walter Widdop) in the English Opera Society Season at Covent Garden. After a period of study with Elena Gerhardt, she devoted herself to recitals.” - John T. Hughes, THE RECORD OF SINGING, Vol. IV program notes

G748. CLARAMAE TURNER, w.Sylvan Levin Cond: The Hills of Home (Calhoun) / Love me tonight (Rodgers–Hart). 12” EL red vinyl Silvertone 28, only form of issue, 1946. M-A-/A-, lovely copy has, Sd. 2 only, sev. fine scrs., causing very faint crackle. A truly sumptuous contralto voice! Turner sang at New York City Opera 1953-69; Metropolitan Opera, 1946-50. MB 8

G749. ANNE BROWN, w.Kjell Olsson (Pf.): Sometimes I feel like a motherless child (arr.Burleigh) / Hold on! (arr. Hall Johnson). 10” EL Danish Tono L 28021. M-A, lovely copy has, Sd.2 only, faintest pap. rubs, inaud. MB 30

“Anne Wiggins Brown was a Baltimore-born African American soprano who created the rôle of Bess in the original production of George Gershwin's folk opera PORGY AND BESS, in 1935 (the rôle having been written for her). She was also a radio and concert singer. Due to racial discrimination and limitations in her homeland, she settled in Norway in her 30's and later became a Norwegian citizen.”

G750. NADINE CONNER, w.Max Rudolf Cond. Metropolitan Opera Orch.: Les Contes d’Hoffmann – Elle a fui, la tourterelle / Louise – Depuis le jour. 12” EL Col. 72540-D, only form of issue, 1947. M-A MB 10

“…unlike many another perpetual ingénue, [Conner] would remain [at the Met] for eighteen seasons and earn star assignments as Mimi, Violetta, and Mélisande, finally gaining a gala farewell celebration and a comparison with Bori and Ponselle (who, like Conner, ‘left at the height of their powers – and much too early’) from Rudolf Bing, a manager little given to sentimental indulgence.” - Paul Jackson, SATURDAY AFTERNOONS AT THE OLD MET, p.385

G751. LOUISE HOMER & GERALDINE FARRAR: Sandmännchen (Becker). 10” AC Pat.'12 Vla 87506, POM-15 April, 1913. M-A, a gleaming copy. MB 8

"…for sheer voice [Homer] has few equals, and because of its strong edge and sharp focus her voice took exceptionally well to recording under pre-electrical conditions....By and large, she is the most satisfyingly recorded contralto of the period." - J.B. Steane G752. LOUISE HOMER: Alceste - Divinités du Styx (in Italian). 12” AC Pat.'08 Vla 88286, Orig. ‘A’ Plate Issue, only form of regular issue, 6 Feb., 1911, this appeared otherwise only as the rare IRCC. M-A, gleaming copy has mere hint of nr, positively inaud. MB 12

G753. LOUISE HOMER: Le Prophète - À toi qui m'abandonnes / Adriana Lecouvreur - Acerba voluttá. 12” AC silver PW Victor IRCC 103, POM-5 Oct., 1903 / 24 Oct., 1906, resp. Numbered Copy #88 of an extremely Limited Edition. Sd.1 label Autographed by Homer. M-A, lovely copy has, Sd. 2 only, infinitesimal pap. scr, positively inaud. Among the most desirable of all IRCC pressings, Sd. 1 is particularly ‘forward’, its brilliance being so great as to have been incompatible with home phonographs of that period; must be heard to be believed! Sd. 1 originally had a very brief catalogue life; the sole double-sided appearance of each. MB 45

G754. EMMA EAMES: Emma Eames Comments on her Records, 2s. 10" EL vinyl red IRCC 3142, broadcast 2 Feb., 1939, Eames' only radio broadcast, presented by Stephen Fassett. M-A MB 20

G755. EMMA EAMES: Si tu le veux (Koechlin); Chérubin – Vive amour qui rêve (Aubade) (Massenet). 12” AC white Vla 88135, POM-18 May, 1908, only form of regular issue, this appeared otherwise only as IRCC & AGS reissues. M-A MB 15

G756. EMMA EAMES: Chanson de baisers (Bemberg) / Cavalleria – Voi lo sapete (2nd 1906 Version). 12” AC silver PW Victor IRCC 90, POM-19 May, 1908 / 16 Nov., 1906. Numbered copy #55 of Limited Edition, Sd. 1 label Autographed by Eames, to which her photo is affixed. M-A, a gleaming copy. MB 45

G757. EMMA EAMES: L’incrédule (Hahn); The year’s at the spring (1st Version, 1905) (Beach) / Otello – Ave Maria (‘Take’ 2 of two issued ‘takes’). 12” AC silver Victor IRCC 125, POM-16 March, 1905 / 14 May, 1906. Numbered copy #7 of Limited Edition, Sd. 2 label has Eames’ photo affixed. M-A, gleaming copy has wee tear on corner of photo. MB 25

G758. EMMA EAMES: Spring (Henschel); The year’s at the spring (2nd Version, 1908) (Beach). 12” AC plain label RCA shellac pressing for Mx. C-6203-1, w.RCA embossed spiderweb verso, POM-18 May, 1908. M-A MB 25

G759. EMMA EAMES: Spring (Henschel); The Year’s at the spring (2nd Version, 1908) (Beach) / Gretchen am Spinnrade (Schubert). 12” AC mauve & gold HMV AGSB 22, POM-18 May, 1908 / 28 Nov.,1911. M-A MB 12

G760. EMMA EAMES: Gretchen am Spinnrade (Schubert). 12” AC Pat.'08 Vla 88367, POM-28 Nov., 1911, Orig. ‘A’ Plate Issue, only form of regular issue, this appeared otherwise only as IRCC & AGS reissues. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 25

“More than any other singer, I think, [Eames] captures the haunted, fear-ridden mood of the girl….beyond any others in these comparisons. The other two early recordings can be mentioned as worthy successors: Johanna Gadski and Meta Seinemeyer….Yet there is an additional quality about Emma Eames’ recording even in this company, and no doubt part of it lies in the quality of the voice itself, one of most exquisite purity and warmth.” - J.B. Steane, SONG ON RECORD, Vol. 1, pp.78-79

G761. EMMA EAMES: Dopo (Tosti). 12” AC Pat.'08 Vla 88344, POM-27 Nov., 1911, Early "D" Plate Issue, only form of regular issue, this appeared otherwise only as IRCC & AGS reissues; Eames’ most moving, sensitive recording. M-A, a gleaming copy. MB 25

"Tosti's 'Dopo' [above] is…intensely conceived; and 'warm' is exactly the term that comes to mind to describe its tone and feeling. It has also a good example of those 'cross vibrations' that recording did manage to catch: the elegiac tone of the opening with its dark shading, and then the ending deliberately and beautifully drained of colour and vibrancy." - J.B. Steane, THE GRAND TRADITION, p.126

G762. EMMA EAMES: Dopo (Tosti) / Roméo et Juliette - Je veux vivre (2nd Version, w.Orch.). 12” AC silver Victor IRCC 43, POM-27 Nov., 1911 / 13 Nov., 1906. Numbered Copy #78 of a Limited Edition. M-A MB 25

G763. EMMA EAMES: Good-bye (Tosti). 12” AC Pat.'08 Vla 88009, POM-16 March, 1905. M-A MB 10

G764. EMMA EAMES: An Sylvia (Schubert; in English). 12” AC Pat.'08 Vla 88013, POM-28 March, 1905, Never Doubled, USA. M-A MB 10

G765. EMMA EAMES: Still wie die Nacht (1905 Version) (Böhm). 12” AC S/S Special vinyl Pressing of C-2315-1 (85052), POM-20 Feb., 1905, Never Doubled. MINT MB 25

G766. EMMA EAMES: Still wie die Nacht (1906 Version) (Böhm). 12” AC Pat.'08 Vla 88005, POM-27 Nov., 1906, issued USA only, Never Doubled. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10

G767. EMMA EAMES: Love in May (Parker); I once had a sweet little doll, dears (Nevin). 12” AC Pat.'08 Vla 88131, POM-18 May, 1908, only form of regular issue. M-A, choice copy has faintest label nr. MB 20

G768. EMMA EAMES: The Star Spangled Banner (Key); Dixie (Emmett). 12” AC Pat.'08 Vla 88012, POM-28 March, 1905, Never Doubled. M-A MB 15

G769. EMMA EAMES, w.Josef Hollman (Cello): Ave Maria (1905 Version) (Bach-Gounod). 12” AC white Vla 88007 (Mx.C 2318), POM-20 Feb., 1905, Never Doubled. M-A, a gleaming copy. MB 20

G770. EMMA EAMES, w.Josef Hollman (Cello): Ave Maria (1906 Version) (Bach-Gounod). 12” AC Pat.’08 Vla 88016, POM-1 Feb., 1906. M-A MB 10 G771. EMMA EAMES, w.Josef Hollman (Cello): Chanson d'amour (Acc. by the Composer). 12” AC Pat.’08 Vla 88015, POM-1 Feb., 1906. M-A, a gleaming copy. MB 10

G772. EMMA EAMES, w.Josef Hollman (Cello): Chanson d'amour (Acc. by the Composer). 12” AC Vla 88015, POM-1 Feb., 1906, Superb ‘Elaine’ Pressing. M-A, gleaming copy of choice mid-1930s pressing, w.RCA embossed spiderweb verso. MB 20

G773. EMMA EAMES: Roméo – Je veux vivre (1st Version, w.Piano, 1905). 12” AC white Test Pressing for Mx. C-2419-1, POM-28 March, 1905, Never Doubled. A-, very decent copy has lt. rubs & superficial scr, inaud. MB 12

G774. EMMA EAMES: Roméo – Je veux vivre (2nd Version, w.Orch., 1906). 12” AC Pat.’12 Vla 88011 (C-4032-1), POM-13 Nov., 1906, Never Doubled (other than on rare IRCC reissue). M-A MB 12

“All the good qualities of the piano version [of the above] remain, with additional enjoyment to be had from the better recording technique….The entire record is more animated and lighter in feeling than its predecessor, with the result that the top notes no longer sound strained. [Eames’] particularly excellent short trills and delicate coloratura…make this one of her very finest recorded performances of an operatic selection.” - Louis Migliorini, THE RECORD COLLECTOR, 1953

G775. EMMA EAMES: Faust – Le Roi de Thulé. 12” AC white Vla 88045 (Mx.C-4066-1), POM-27 Nov., 1906, Never Doubled. M-A MB 15

G776. EMMA EAMES: Faust – Air des bijoux (1st Version, w.Piano [C-2317-1]). 12” AC Vla 88006, POM-20 Feb., 1905, Superb ‘Elaine’ Pressing. A to M-A, lovely copy of choice mid-1930s pressing, w.RCA embossed spiderweb verso. MB 20

G777. EMMA EAMES: Faust – Air des bijoux (1st Version, w.Piano [C-2317-1]) / EMMA EAMES, CHARLES DALMORÈS & POL PLANÇON: Alerte! Alerte! ou vous êtes perdus! 12” AC gold Victor HRS 1016, POM-1905/'07. Numbered Copy #34 of an extraordinarily Limited Edition. Sd.1 Label Autographed by Eames; Sd.2 Label Autographed by Dalmorès, the only D/S issue, for both. M-A, lovely copy has, Sd. 1 only, wee dust scrabble, inaud. MB 75

G778. EMMA EAMES: Otello – Ave Maria (‘Take’ 4 of two issued ‘takes’). 12” AC white Vla 88035 (Mx.C-3385-4), POM-27 Nov., 1906, only form of issue. M-A, a gleaming copy. MB 25

G779. EMMA EAMES: Tosca – Vissi d’arte (1908 Version, w.Orch. [C-4033-4]). 12” AC Pat.’08 Vla 88010, POM-25 Jan., 1908, only form of issue. A to M-A MB 15

G780. EMMA EAMES: Tosca – Vissi d’arte (1905 Version, w.Piano [C-2401-1]). 12” AC GP V 88059, POM-16 March, 1905, Never Doubled (other than as rare IRCC reissue). A to M-A MB 15

G781. EMMA EAMES: Tosca – Vissi d’arte (1905 Version, w.Piano [C-2401-1]) / Carmen – Je dis que rien ne m’épouvante. 12” AC silver PW Victor IRCC 32, POM-16 March, 1905 / 14 May, 1906. Numbered Copy #1 of a Limited Edition. Sd. 1 label Autographed by Eames; her photo is affixed. M-A, lovely copy has, Sd. 2, faintest pap. rubs, inaud. MB 45

G782. EMMA EAMES: Cavalleria – Voi lo sapete (1st 1906 Version [C-3388-2]). 12” AC GP V 88037, POM-14 May, 1906. A-B, very decent copy has lt. rubs & grey on peaks. MB 15

G783. EMMA EAMES: Cavalleria – Voi lo sapete (2nd 1906 Version [C-4034-2]). 12” AC Pat.’08 Vla 88037, POM-16 Nov., 1906, Never Doubled (other than as rare IRCC reissue). A to M-A, lovely copy has few grey grooves, endemic to this issue. MB 15

G784. EMMA EAMES & EMILIO DE GOGORZA: Don Giovanni – Là ci darem la mano (1906 Version [C-3170-2]). 12” AC Pat.’08 Vla 89005, POM-9 March, 1906, Never Doubled (other than as rare IRCC reissue). M-A MB 12

G785. EMMA EAMES & EMILIO DE GOGORZA: Don Giovanni – Là ci darem la mano (1906 Version [C-3170-2]) / Nozze – Crudel, perchè finora. 12” AC silver PW Victor IRCC 20, POM-9 March, 1906 / 6 April, 1909. Numbered Copy #33 of a Limited Edition. A to M-A, lovely copy has mere hint of grey on peaks. MB 25

G786. EMMA EAMES & EMILIO DE GOGORZA: Nozze – Crudel, perchè finora. 12” AC Pat.’08 Vla 89023, POM-6 April, 1909, only form of issue, other than as rare IRCC reissue. A to M-A MB 12

G787. EMMA EAMES & EMILIO DE GOGORZA: Zauberflöte – Bei männern (in Italian) / Il Trovatore – Mira d’acerbe lagrime. 12” AC mauve & gold HMV AGSB 15, POM-9 March, 1906 / 7 April, 1909. M-A MB15

G788. EMMA EAMES & EMILIO DE GOGORZA: Zauberflöte – Bei männern (in Italian). 12” AC Pat.’08 Vla 89003, POM-9 March, 1906. M-A MB 10

G789. EMMA EAMES & EMILIO DE GOGORZA: Il Trovatore – Mira d’acerbe lagrime. 12” AC Pat.’08 Vla 89022, POM-7 April, 1909, only form of issue, other than as rare IRCC & AGS reissues. M-A MB 10

G790. EMMA EAMES & EMILIO DE GOGORZA: Véronique – Duo de l’escarpolette (Swing Song) (Messager; in English). 12” AC V 89063, only form of issue, 27 Nov., 1911. M-A, gleaming copy has insignificant ulc. MB 25

“The [above] music echoes the atmosphere of the Opéra-Comique….de Gogorza tenderly declares his love to Eames. We seem to share a private moment.” - Harold Bruder, Program Notes to Romophone’s Eames issue

G791. EMMA EAMES & LOUISE HOMER: Lohengrin – Du Ärmste kannst wohl. 12” AC Pat.'08 Vla 89021, POM-25 May, 1908, Early "B" Plate Issue; Never Doubled in any regular series. M-A, choice copy has infinitesimal pap. scr, inaud. MB 15 G792. EMMA EAMES & LOUISE HOMER: Lohengrin - Du Ärmste kannst wohl / Lakmé – Dôme épais le jasmin. 12” AC silver PW Victor IRCC 44, POM-25 May, 1908. Numbered Copy #12 of a Limited Edition. M-A, gleaming. MB 35

G793. EMMA EAMES & MARCELLA SEMBRICH: Nozze – Sull’aria; che soave zeffiretto / EMMA EAMES & EMILIO DE GOGORZA: Zauberflöte – Bei männern (in Italian). 12” AC PW buff HMV Historic Catalogue #2 DK 121, POM-25 Jan., 1908 / 9 March, 1906. M-A, a gleaming copy. MB 15

“[Eames’] recording of the letter duet [above] with her friend Marcella Sembrich is excellent. The lovely phrasing, fine feeling for the music and the exquisite blending of their voices are important elements in creating this superlative record. In later life, Madame Eames recalled that she and Sembrich, in preparing this duet, rehearsed endlessly as Eames was afraid that her big voice would drown the more delicate tones of her friends….they worked constantly to achieve a perfect balance, and the result is peerless. One might even say it is unique among two soprano recordings for all time.” - Louis Migliorini, THE RECORD COLLECTOR, 1953

G794. EMMA EAMES, CHARLES DALMORÈS & POL PLANÇON: Alerte! Alerte! ou vous êtes perdus! 12” AC white Test Pressing for Mx. C-4332-1, POM-25 March, 1907, Never Doubled in any regular series. A to M-A MB 15

G795. EMMA EAMES, EMILIO de MARCHI & ANTONIO SCOTTI; Mancinelli Cond.: Tosca - Ah! mostro, lo strazi / EMMA EAMES, EMILIO de MARCHI, ANTONIO SCOTTI & BERNARD BÉGUÉ: Vitoria! Vitoria! 10" AC gold IRCC 179-RRs from Mapleson Cylinders recorded during Actual Performance, Met Opera, 3 Jan., 1903. Numbered Copy #20 of an extremely Limited Edition. Eames' Photo affixed Sd.1 Label. M-A, lovely copy has faintest pap. rubs, inaud. MB 25

G796. EMMA EAMES, w.Mancinelli Cond.: Tosca - Final Scene, recorded during Actual Performance, Met Opera, 3 Jan., 1903 / MILKA TERNINA: Tosca - Final Scene, recorded during Actual Performance, Met Opera, 1 Feb., 1902 / MILKA TERNINA & JEAN de RESZKÉ: Tristan - Isolde extinguishes the torch; Liebesnacht - Fragment, recorded during Actual Performance, Met Opera, 13 March, 1901. 10” AC gold IRCC 216-RRs from Mapleson Cylinders. Numbered Copy #49 of an extremely Limited Edition. M-A/A-, lovely copy has, Sd. 2 only, minor dust scrabble. Accompanied by original IRCC notes. MB 20

“In the period justifiably described as ‘the Golden Age of Opera’ Emma Eames was a prima donna of major importance….Coming out of the Marchesi school, Eames’ voice had a pure, unforced beauty; it floated free of the throat, capable of all the runs, trills & accents of florid music…As a Victorian soprano, coming out of the classical tradition, she rejected the impulsive, combustible naturalism of the newer Italian school. In contrast, Eames created a calm but tense atmosphere within which the drama is expressed poignantly but without exaggeration. Eames always remained a singer in search of an ‘ideal’….Emma Eames is one of the finest representatives of a tradition of beautiful singing we may never encounter again. With her, the ‘Golden Age’ is again brought to life ‘in the pure tones of a noble voice’.” - Harold Bruder, Program Notes to Romophone’s Eames issue

G797. EVELYN SCOTNEY: Lo, here the gentle lark (Bishop). 10” AC brown shellac Vocalion 30157. M-A MB 12

G798. EVELYN SCOTNEY: Your voice (MacDermid). 10” AC brown shellac Vocalion 30163. A-, lovely copy has superficial rubs, inaud. MB 8

G799. EVELYN SCOTNEY: Love’s old sweet song (Molloy). 10” AC brown shellac Vocalion 30159. A, lovely copy has superficial rubs, inaud. MB 8

G800. EVELYN SCOTNEY: Estrellita (Ponce) / Der Vogel im Wald (Taubert) (both in English). 10” EL PW HMV E 406, only form of issue, 1925. A, lovely copy has, primarily Sd.2, faintest pap.rubs. MB 12

G801. EVELYN SCOTNEY: Frühlingsstimmen (Joh. Strauss; in Italian) / Mignon – Je suis Titania. 12” AC brown shellac Vocalion 70014. A-, lovely copy has faint rubs & few minor scrs, inaud. MB 10

G802. EVELYN SCOTNEY: Frühlingsstimmen / An der schönen, blauen Donau (Joh. Strauss; in Italian). 12” EL black PW HMV D 1403. M-A MB 15

G803. EVELYN SCOTNEY: An der schönen, blauen Donau (Joh. Strauss; in Italian) / Roméo – Je veux vivre. 12” AC pale-blue Eng. Vocalion D-02135. A to M-A MB 15

G804. EVELYN SCOTNEY: Faust – Air des bijoux. 12” AC brown shellac Vocalion 52009. A-, lovely copy has superficial rubs, inaud. MB 10

G805. EVELYN SCOTNEY: Perle du Brésil – Charmant oiseau (David). 12” AC brown shellac Vocalion 52027. M-A, gleaming copy has pinpoint nd, faintly audible a turn or two. MB 15

G806. EVELYN SCOTNEY: Don Giovanni – Non mi dir / Mi tradi quell’alma ingrata. 12” EL black PW HMV D 1119. M-A MB 15

G807. EVELYN SCOTNEY & GIACOMO RIMINI: Rigoletto – Piangi, fanciulla. 12” AC brown shellac Vocalion 52016. M-A MB 12

“Evelyn Scotney was an Australian coloratura soprano of great renown in the period from 1913 to the late 1920s. Her range extended to E in altissimo. In her time she was considered by some to be the world's greatest soprano. She was compared very favourably with Amelita Galli-Curci, Luisa Tetrazzini and others. Her recording of ‘Caro nome’ from RIGOLETTO was described by a critic as ‘one of the best soprano records in existence’, and her recording of ‘The Blue Danube’ and other Strauss vocal waltzes was described as ‘absolutely perfect coloratura singing’.” G808. CARMELLA PONSELLE: Ave Maria (Bach-Gounod) / Xerxes – Ombra mai fu. 12” AC silver Flags Label Col. A-6215, POM-10 Oct., 1921 / 11 Jan., 1922, only form of issue, Sd.1. A, lovely copy of preferred Flags Label pressing has occasional lt. rub or mk, inaud. MB 10

G809. CARMELLA PONSELLE: Minnelied (Brahms; in English) / Dream faces (Hutchison). 10” AC Col. A3369, only form of issue, 24 March / 2 Dec., 1920. M-A, a gleaming copy. MB 10

G810. CARMELLA PONSELLE: Somewhere a voice is calling (Tate) / Alice, where art thou (Ascher). 10” AC Col. A3818, POM-28 Dec., 1922, issued USA only. M-A, a gleaming copy. MB 10

G811. CARMELLA PONSELLE: L’heure exquise (Hahn) / Plaisir d’amour (Martini). 10” AC silver Flags Label Col. A3999, only form of issue, 11 July, 1923. M-A, a gleaming copy. MB 10

G812. CARMELLA PONSELLE: Mondnacht (Schumann; in English) / Still wie die Nacht (Böhm; in English). 10” AC silver Flags Label Col.20009-D, only form of issue, 11 Dec., 1923. A to M-A, lovely copy has, Sd. 1 only, lt. rubs & scuffs; Sd. 2 only has sev. faint lams. MB 8

G813. CARMELLA PONSELLE & ROSA PONSELLE: Les Contes d’Hoffmann – Barcarolle. 10” AC Col.78846, POM-8 Dec., 1919. M-A MB 8

G814. ROSA PONSELLE: Rose of my heart (Löhr) / w.Harrison, Miller, Croxton & Sarto: Little Alabama Coon (Starr). 10” AC gold Flags Label Col.33003-D, POM-13 April, 1922, issued USA only. (of dubious distinction, this politically incorrect issue was in the catalogue very briefly!). M-A, gleaming copy has, Sd. 1 only, wee pap. scr & hint of grey on peaks. Exceedingly elusive! MB 45

G815. ROSA PONSELLE: An der schönen, blauen Donau (Joh. Strauss; in English) / Maritana – Scenes that are brightest (Wallace). 12” AC early Col. 7062-M, POM-17 / 9 Sept., 1921. M-A, a gleaming copy. MB 15

G816. ROSA PONSELLE: Lullaby (Scott) / Wiegenlied (Brahms; in English). 10” AC Vla 1002, POM-8 Feb., 1924. This late AC-era issue enjoyed a very brief catalogue life. M-A MB 15

G817. ROSA PONSELLE: When I have sung my songs to you (Charles) / Luna d’estate (Tosti). 10” EL white Archive HMV VA 68, POM-31 Oct., 1939 / RR-18 May, 1926, Sd.1 from Unpublished Master. Both labels Autographed by Ponselle; Sd. 1 label also Autographed by Romano Romani. M-A MB 25

G818. ROSA PONSELLE: Home, sweet home (Bishop) / Ave Maria (Schubert). 12” EL white Archive HMV VB 74, POM-3 June, 1925 / 1 Nov., 1939, both from Unpublished Masters. MINT MB 20

G819. ROSA PONSELLE: La Vestale – Tu che invoco / O Nume tutelar (Spontini) (‘Takes’ 1/1). 12” EL Orth Vla 6605, POM-18 May, 1926. M-A Choice copy of Ponselle’s most distinguished recording. MB 12

G820. ROSA PONSELLE: La Vestale – Tu che invoco / O Nume tutelar (Spontini) (‘Takes’ 1/2). 12” EL Special vinyl Pressing of CVE-35464-1 / 35465-2, POM-18 May, 1926, Sd.2 from Unpublished Master. MINT Remarkably quiet surfaces! MB 25

"Imagine Rostropovich playing with a circular bow on one string covering Ponselle's full compass, and there you have Rosa's legato. On top of this she had words and specific emotions to express, which she did without ever producing a sound that was not in itself musical, beautiful and meaningful....She was the supreme alchemist who turned to the purest gold everything - except Carmen - that she touched. We shall never hear her like again." - Walter Legge, ON AND OFF THE RECORD, p.134

G821. ROSA PONSELLE: Lohengrin – Einsam in trüben Tagen / La Juive – Il va venir. 12” AC white vinyl Col. AF.1, POM-21 Sept., 1923 / 11 Jan., 1924, both from Unpublished matrices. Both labels Autographed by Ponselle. M-A, lovely copy has, Sd. 2 only, the usual inherent pressing bumps. MB 25

G822. ROSA PONSELLE: I Vespri Siciliani – Mercè, dilette amiche (Bolero). 12” AC Col. 49686, POM-4 Nov., 1919. M-A, a gleaming copy. MB 15

G823. ROSA PONSELLE & GIOVANNI MARTINELLI: Aïda - Nile Scene, 2s. 12” AC white Archive HMV VB 73, POM-7 Feb., 1924, from Unpublished Masters (Sd.2 only having appeared otherwise as IRCC). MINT MB 25

G824. ROSA PONSELLE & GIOVANNI MARTINELLI: Aïda – Tomb Scene (1924 Version), 2s. 12” AC dark blue Connoisseur Society HMV ABHB 3, sole issue, 8 Feb., 1924, from Unpublished Masters. MINT MB 25

"Neither one of us was completely satisfied with [the above Aida recordings]. We did the Tomb Scene twice. The first time [in an acoustical recording session at Victor on 8 February, 1924] they had Martinelli [positioned] too far forward and I was too far in the background, so the balance was all wrong. We did the Nile Scene, too, and neither it nor the Tomb Scene [was] good enough, so I wouldn’t give permission to put them out. A little later, when they brought in the microphone [as electrical recording was being introduced at Victor, early in 1925], they had us come back and record the Tomb Scene again [in an electrical recording session on 17 May, 1926]. When they played the test [recordings] for me, I still didn’t like the balance, so I wouldn’t approve them. Finally, they set up a three-way call with Martinelli, [studio conductor] Rosario Bourdon and me, and Martinelli talked me into approving them. He said, ‘Look, Rosa, it’s great singing, and the musical public will accept the balance problem’. So I gave in.” Rosa Ponselle, ROSA PONSELLE, A CENTENARY BIOGRAPHY, pp.193-94

G825. ROSA PONSELLE & JOHN CHARLES THOMAS: Live Performance at the Republican Rally, Baltimore, MD, 25 Sept., 1952. 10” EL vinyl 33 1/3 rpm Private Rosa Ponselle Issue GR-101. Both labels of this Ponselle 1952 Christmas Issue feature Ponselle’s photo. Sd. 1 label Autographed by Ponselle. M-A MB 55 G826. FLORENCE FOSTER JENKINS, w.Cosme McMoon (Pf.): The Musical Snuff Box (Liadoff); Like a Bird (Acc. by the Composer) / Lakmé – Où va la jeune Hindoue? 12” EL Melotone, only form of issue, 1941. M-A, Exceedingly elusive in this condition! MB 35

"Florence Foster Jenkins - dean of the coloraturas, first lady of the sliding scale....She was exceedingly happy in her work. It is a pity that so few artists are. And the happiness was communicated as if by magic to her hearers, who were stimulated to the point of audible cheeriness, even joyous laughter and ecstasy, by the inimitable singing." - Robert Bagar, THE NEW YORK WORLD, TELEGRAM 26 Oct., 1944

G827. FLORENCE FOSTER JENKINS, w.Cosme McMoon (Pf.): Biassy (based on Prelude XVI) (Bach) / Die Fledermaus - Mein Herr Marquis. 12” EL Melotone, only form of issue, 1941. M-A, lovely copy has faintest pap. rubs, inaud. MB 30

G828. FLORENCE FOSTER JENKINS, w.Cosme McMoon (Pf.): Serenata Mexicana (Acc. by the Composer) / Zauberflöte – Der Hölle rache (in English). 12” EL Melotone, only form of issue, 1941. M-A, choice copy has wee pressing bump. MB 35

"...the Queen of the Night declares that she is boiling with fury....Mrs. Jenkins' nightqueenly swoops and hoots, her wild wallowings in descending trill, her repeated staccato notes like a cuckoo in its cups, are innocently uproarious to hear...." - TIME MAGAZINE, 16 June, 1941

“Mme Jenkins’ visits to the studio were a distinct and radical departure from the customary routines of the many artists for whom Melotone has recorded. Rehearsals, the niceties of volume and pitch, considerations of acoustics – all were thrust aside by her with ease and authority. The technicians never ceased to be amazed at her capacity for circumventing the numerous problems and difficulties peculiar to recording. She simply sang; the disc recorded.” - Melotone Recording Studio, 1946 brochure