French Vocal 78rpm records

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

Since 1972



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



Regarding AUCTION #148 (Closing Date: Saturday, 15 April, 2017), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

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

TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – 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].

Section IV - French Vocal 78rpm records Nos. J0403 – J0647



J0403. AINO ACKTÉ: FAUST – Le Roi de Thulé. 10” red Victor G & T Monarch 5074 (1507-F), POM-1903, Paris. A to M-A, superb copy has faintest pap.scr, positively inaud.; minuscule edge scuff not to grooves. MB 45

“It is difficult to realise that Ackté's sensational début at Covent Garden was as Salome in Richard Strauss' opera. Here she sings…with grace and excellent coloratura technique, and although she was Finnish, the style is typically French, and with immaculate diction.


- John Freestone


J0404. ROSE CARON: Prière (Gounod) / SIGURD – Des présents de Gunther (Reyer). 10½” Milano Fonotipia 39096/97 (XPh 523/521), POM-20 Dec., 1904. A-B, lovely copy has rubs & faintest scrs., very faintly audible merely a few turns. MB 45

J0405. FÉLIA LITVINNE: SAMSON ET DALILA – Mon coeur s’ouvre à ta voix / LA FAVORITE – O mon Fernand. 10½” brown & white French Odéon 56219/20 (XP 5022/23), POM-1910. A-, lovely copy has faintest rubs, positively inaud.; Sd.2 has faint grey on peaks. MB 45

J0406. FÉLIA LITVINNE: SAMSON ET DALILA – Mon coeur s’ouvre à ta voix / LA FAVORITE – O mon Fernand. 10" silver IRCC 5011, RRs-1908, Phrynis. Numbered Copy #16 of a Limited Edition, w.Litvinne’s photo affixed to Sd. 1. M-A MB 12

“We now go down in tessitura from Falcon to one of Litvinne’s successful mezzo roles, Léonor in Donizetti’s LA FAVORITE. Litvinne’s ‘O mon Fernand’, is delivered with grave beauty….There is also an authoritative downward run….The recording climaxes with an astounding cadenza taking in almost her entire range, thrillingly secure throughout its compass….Félia Litvinne is doubtless a virtual Rosetta Stone to vocal history.”


-Geoffrey Riggs, Marston’s Litvinne Issue


J0407. FÉLIA LITVINNE: AÏDA – I sacri nomi (in French) / L’AFRICAINE – Sur mes genoux. 10½” Paris Fonotipia 39217/18 (XPh 694/695), POM-1904. A to M-A/A-, bright copy has, Sd.2 only, faintest nr, audible only 4 or 5 turns. MB 45

J0408. FÉLIA LITVINNE: AÏDA – I sacri nomi / Cavalleria – Voi lo sapete (both in French). 12” vinyl Historic Masters HMB 10, POM-1905, (10¾” record pressed onto a 12” blank). MINT MB 8

J0409. FÉLIA LITVINNE: Lohengrin - Einsam in trüben Tagen (in French) / EMMA CARELLI: Manon - Je suis encore tout étourdie (in Italian). 12” vinyl Historic Masters HMB 93, POM-1905/'06, resp., (10¾” record pressed onto a 12” blank). MINT MB 15

J0410. FÉLIA LITVINNE: IL TROVATORE – D'amor sull'ali rosee (a glorious rendition, in French) / LILLI LEHMANN: Norma – Casta Diva. 12” Société Française de Gramophilie AFG 4, RRs-1910 (not 1907, as stated) /1907 (although artists' signatures appear in shellac inner margins), Numbered Copy #208. M A MB 15

J0411. FÉLIA LITVINNE, w.ALFRED CORTOT (Pf.): LE CID - Pleurez, mes yeux. 10" black Paris G & T G.C.-33158X (227F), POM-1902. A to M-A, exceptional bright copy has wee pressing bump & faintest label smudge. MB 175

J0412. EVA GAUTHIER: Chanson triste (Duparc) / Romance; Fêtes Galantes – Fantoches (both Debussy). 10” black V 69669, POM-20 June, 1917. M-A, an outstanding copy. Exquisitely lovely performances! MB 25

“[Gauthier’s] artistry, like the artistry of Miss Teyte, although it achieves different ends, is the artistry of sophistication. As signal interpreter of the moderns and ultra-moderns, she is to song what Miss Garden is to opera. She is mistress of tonal imagery and tonal illusion….Into her singing passes every inflection, every suggestion of the composer, be it a golden image of Duparc, a sensuous tremor of Debussy, an ironic stroke of Ravel. Often she matches subtlety for subtlety….”
- Horatio T. Parker, EIGHTH NOTES, pp.103-04


J0413. EVA GAUTHIER: Chants de soldats – En passant par la Lorraine; 7 Vieilles chansons et danses. 10” black V 72166, POM-21 June, 1918. A-/A to M-A, lovely copy has, Sd.1, lt. rubs & wee scrs, ltly & momentarily audible. MB 15

"[Gauthier's] career as a recording artist was as unconventional as her life....In 1917, she began a series for Victor, but these were made, under the cheap black label, for the Canadian trade, and never listed in the general U.S. catalog….The Victor recordings are consistently good; the voice is lovely and well forward and she sings with obvious relish."


- Philip L. Miller, liner notes to Town Hall LP


J0414. EVA GAUTHIER: Au clair de la lune; Il pleut, il pleut, bergère; Promenade en bateau; Fais dodo, Colas / Savez-vous planter les choux?; Trempe ton pain; Marlbrough s'en va t'en guerre; La Mère Michel (all from Walter-Ballard French Songs). 10" black V 72165, POM-21 June, 1918. A-, lovely copy has faint rubs, inaud. MB 15

“Eva Gauthier was the sister of Juliette Gaultier (sic) de la Vérendrye, the violinist and folksinger. Eva Gauthier's voice was celebrated not only for its technical security but also for an expressive intensity that gave to each song a particular colour. During her farewell tour of Canada in 1906 Emma Albani declared, 'As an artistic legacy to my country, I leave you Eva Gauthier.' Gauthier recorded as early as 1914 for Columbia, then in 1917, for Victor.”


- Gilles Potvin, HISTORICA CANADA


J0415. FÉLY DEREYNE: MANON – Je marche sur tous les chemins / LA BOHEME – Quando m’en vo (in Italian, actually!). 10” Col. A1234, only form of issue, 12 April, 1912. M-A, choice copy of Dereyne’s sole published disc. MB 12

“Dereyne made her début in Marseilles, 1905, singing Gounod’s Mireille. She was then engaged for Nice during the winter season and Vichy the following summer. Heard there by impresario Henry Russell, Dereyne accepted a contract with the U.S. San Carlo Opera, making her U.S. début as Musetta in New Orleans. From 1907-09 she was a member of the Covent Garden Opera and also during the 1907-08 season appeared at the Metropolitan Opera as Musetta nine times and twice as Nedda in PAGLIACCI to the Canio of Caruso. She sang with the Boston Opera 1909-10, she débuted as Urbain in LES HUGUENOTS. She made only this one record.”


- Lawrence F. Holdridge


J0416. ZINA BROZIA: HÉRODIADE – Il est doux, il est bon / MADAMA BUTTERFLY – Ancora un passo. 12” tri-color Col. A5417, only form of issue, 12 Nov., 1912. A-, lovely copy has, Sd.2 only, long lam, inaud. MB 12

“Having studied with Elena Teodorini in Paris, Brozia’s Opéra-Comique début was as Violetta on 13 September, 1905 (where she remained until 1909), also singing the roles of Gilda, Manon and Seso in the world première of Erlanger’s APHRODITA. In 1907 she sang at Monte Carlo, making her début as Elena in MEFISTOFELE, and thereafter appearing as Elisabeth in Verdi’ s DON CARLOS. She made guest appearances at the Monnaie, Brussels, and in 1908 at the Teatro Regio, Parma, as Butterfly and Manon. She débuted at the Palais Garnier on 27 March, 1908, as Gilda and also sang Juliet in the Gounod opera, Marguerite in both FAUST and in MEFISTOFELE, Thaïs, and then, in 1909, Ophelia in HAMLET. In 1911 Henry Russell brought her to Boston, after which she returned to France.”


- Ipernity


J0417. YVONNE GALL: At dawning (Cadman). 11½” grey paper label H & D US-Pathé 54072, Original 1919 USA Issue. A, lovely copy has faintest pap. rubs, inaud. MB 10

J0418. YVONNE GALL: At dawning (Cadman) / Annie Laurie (Scott) 10” brown & gold Pathé Actuelle 025085, recorded 1920. M-A, gorgeous copy appears unplayed. MB 10

J0419. YVONNE GALL: Ave Maria (Bach-Gounod) / Ave Maria (Schubert). 10” brown & gold Pathé Actuelle 025102, recorded 1920. M-A, gorgeous copy appears unplayed. MB 10

J0420. YVONNE GALL: Élégie (Massenet). 11½” grey paper label H & D US-Pathé 54055, Original 1919 USA Issue. M-A, a gleaming copy. MB 15

J0421. YVONNE GALL: Élégie (Massenet) / JOCELYN – Cachés dans cet asile (Berceuse) (Godard). 10” brown & gold Pathé Actuelle 025070, recorded 1920. M-A, gorgeous copy appears unplayed. MB 10

J0422. YVONNE GALL: JOCELYN – Cachés dans cet asile (Berceuse) (Godard). 11½” grey paper label H & D US-Pathé 54074, Original 1920 USA Issue. M-A MB 12

J0423. YVONNE GALL: Good-bye (Tosti) / Comin’ thro’ the rye. 10” brown & gold Pathé Actuelle 025097, recorded 1920. A-, lovely copy has faint rubs, inaud.; Sd.1 only has wee scrape, also inaud. MB 8

J0424. YVONNE GALL: My old Kentucy home / Old folks at home (both Foster). 10” brown & gold Pathé Actuelle 025088, recorded 1920. M-A, gorgeous copy has, Sd.1 only very faintest rubs, inaud & hardly worth mention. MB 10

J0425. YVONNE GALL: Quand tu chantes (Gounod) / LAKMÉ – Dans la forêt près de nous. 11” green paper label H & D Pathé 0431, only form of issue, 1924. M-A, superb copy. MB 12

J0426. YVONNE GALL: JÉRUSALEM – Les tribus plaintives / Jérusalem, Jérusalem! (Gounod). 11” black paper label H & D Pathé 3128, only form of issue, 1917. M-A, superb copy. MB 12

J0427. YVONNE GALL: LE CID – Alleluia / HÉRODIADE – Il est doux, il est bon (both Massenet). 11” black paper label H & D Pathé 209, only form of issue, 1917, only form of issue, Sd.1. M-A, superb copy, in Original Pathé sleeve. MB 12

J0428. YVONNE GALL: STABAT MATER – Inflammatus (Rossini), 2s. 11” green paper label H & D Pathé 2564, recorded 1922. M-A, superb copy. MB 12

J0429. YVONNE GALL: MANON – À nous, les amours et les roses / Profitons bien de la jeunesse. 11” green paper label H & D Pathé 241, recorded 1918. M-A, superb copy. MB 12

J0430. YVONNE GALL: MANON – Adieu, notre petite table / Je marche sur tous les chemins. 11” green paper label H & D Pathé 240, recorded 1918. M-A, superb copy. MB 12

J0431. YVONNE GALL: THAÏS – L’amour est une vertu rare / Dis-moi que je suis belle (Scène du miroir). 11” black paper label H & D Pathé 208, recorded 1917. A to M-A, lovely copy has few lt.rubs, inaud.. MB 12

J0432. YVONNE GALL: THAÏS –Dis-moi que je suis belle (Scène du miroir) / FAUST – Le Roi de Thulé. 11½” grey paper label H & D US-Pathé 60080, recorded 1917. M-A, superb copy. MB 12

J0433. YVONNE GALL: THAÏS – L’amour est une vertu rare / Faust – Air des bijoux. 11½” grey paper label H & D US-Pathé 60078, recorded 1917. A to M-A, lovely copy has few lt.rubs, inaud.. MB 12

J0434.YVONNE GALL: LES CHANSONS DE MIARKA – L’eau qui court (Alexandre Georges) / LAKMÉ – Pourquoi dans les grands bois (Delibes). 11¾” art label Pathé X.7169, only form of lateral issue, 1927. A-, lovely copy has faint rubs, positively inaud. [Sd.1 in particular is a great Desert Island Record – exquisitely beautiful!] MB 20

J0435. YVONNE GALL, w.Cohen Cond.: TOSCA – Vissi d’arte / Non la sospiri (in French). 12” black Viva-Tonal Col. 50177-D, POM-10 /11 Jan., 1929. A-, lovely copy has lt.rubs, inaud. MB 8

J0436. YVONNE GALL, w.Büsser Cond.: LA DAMNATION DE FAUST – D’amour, l’ardente flamme (Berlioz), 2s. 12” Eng. Col. LFX 5, POM-4 Dec.,1929. M-A, a gleaming copy. MB 8

J0437. YVONNE GALL, w.Büsser Cond.: LA DAMNATION DE FAUST – D’amour, l’ardente flamme (Berlioz), 2s. 12” Col. MasterWorks 9117-M, POM-1929, POM-4 Dec.,1929. M-A, a gleaming copy of preferred MasterWorks Pressing. MB 15

J0438. YVONNE GALL & JEAN NOTÉ: Le Crucifix (J. B. Faure) / THAÏS – Duo de l’oasis. 11” yellow & white paper label H & D Pathé 2539, only form of issue, 1917. M-A, superb copy. MB 12

"After graduating from the Paris Conservatoire, Yvonne Gall made her début as a Rhinemaiden in a performance of LE CRÉPUSCULE DES DIEUX (GÖTTERDÄMMERUNG) at the Opéra-Comique in 1908. Her first leading role was Mathilde in Rossini’s GUILLAUME TELL opposite Léon Escalaïs. She took part in a number of novelties. She sang in Bachelt’s SCEMO in 1914, in Magnard’s GUERCOEUR opposite Marthe Chenal and Maria Kuznetsova. It was not until after the war that she became a principal at the Opéra-Comique. Her first appearance was as Marguerite. In due course she sang, Manon, Antonia, Tosca, Louise, Donna Anna, Juliette and Daphne in Busser’s LES NOCES CORINTHIENNES. In 1918 she was invited to the Teatro Colón at Buenos Aires, where she was heard as Thaïs, Juliette and Salomé in Massenet’s HÉRODIADE. She made her début at the Chicago Opera as Thaïs the same year. There, she was called to undertake whatever the great Diva Mary Garden was unwilling or unable to sing. She was very successful in the first American performance of Ravel’s L’HEURE ESPAGNOLE. She greatly pleased as Tosca, Manon, Salomé and Mathilde. The remarkable Russian impresario Raoul Gunsbourg brought her to Monte Carlo for THAÏS, a French TRISTAN with Paul Franz and Ariane in Dukas’s ARIANE ET BARBE-BLEU. Gall made Pathé and Columbia recordings. Hers is a bright sounding lyric soprano voice of a typically 'gallic' sound and full of dramatic energy."


- Andrea Shum-Binder, subito-cantabile


J0439. GEORI BOUÉ: Les yeux / ROGER BOURDIN: Messe d’amour (both (Heitz-Boyer). 10” French Odéon 188.948, only form of issue, 1946. M-A, exceptional copy has faintest rubs, inaud., hardly worth mention. MB 45

J0440. GEORI BOUÉ, w.André Collard (Pf.): Le Rossignol des lilas; Mai / Si mes vers avaient des ailes; Infidelité (all Hahn). 10” French Odéon 188.953, only form of issue, 1945. M-A, as New! MB 45

J0441. GEORI BOUÉ, w.André Collard (Pf.): Le Rossignol des lilas; Mai / Si mes vers avaient des ailes; Infidelité (all Hahn). 10” French Odéon 188.953, only form of issue, 1945. A-, very decent copy is considerably rubbed, inaud. MB 15

J0442. GEORI BOUÉ, w.André Collard (Pf.): D’une prison / Paysage (both Hahn). 10” French Odéon 188.959, only form of issue, 1945. M-A, exceptional copy has faintest rubs, inaud., hardly worth mention. MB 45

J0443. GEORI BOUÉ, w.André Collard (Pf.): ARIETTES OUBLIÉES – Il pleure dans mon coeur / AQUARELLES - Green (both Debussy). 10” French Odéon 188.954, only form of issue, 1945. M-A, exceptional copy has, Sd.1 only, faintest rubs, inaud., hardly worth mention. MB 45

J0444. GEORI BOUÉ, w.Louis Beydts (Pf.): L’étranger / Mélancolie (all Acc. by the Composer). 10” French Odéon 188.960, only form of issue, 1946. M-A, as New! MB 45

J0445. GEORI BOUÉ, w.Louis Beydts (Pf.): C’est moi / w.Louis Beydts (Pf.) & Roger Cortet (Fl.): En Arles; On cri (all Acc. by the Composer). 10” French Odéon 188.947, only form of issue, 1946. M-A, exceptional copy has faintest rubs, inaud., hardly worth mention. MB 45

J0446. GEORI BOUÉ, w.Cloëz Cond.: MANON – Je suis encore toute étourdie / Adieu, notre petite table. 10” French Odéon 188.944, only form of issue, 1945. M-A MB 12

J0447. GEORI BOUÉ, w.Cloëz Cond.: MIREILLE – Mon coeur ne peut changer / À toi mon âme, je suis ta femme. 10” French Odéon 188.945, only form of issue, 1945. M-A, choice copy w.faintest rubs, inaud., hardly worth mention. MB 12

J0448. GEORI BOUÉ, w.Cloëz Cond.: MIREILLE – Scène de la Crau, 2s. 10” French Odéon 188.946, only form of issue, 1945. M-A MB 15

J0449. GEORI BOUÉ, w.Cloëz Cond.: OTELLO – Canzone del Salce / Ave Maria (in French) (Verdi). 12” French Odéon 123.870, only form of issue, 1943. M-A MB 15

J0450. GEORI BOUÉ, w.Cloëz Cond.: NOZZE – Voi che sapete / Deh! vieni, non tardar (in French). 12” French Odéon 123.893, only form of issue, 1947. M-A MB 15

J0451. GEORI BOUÉ, w.Cloëz Cond.: FAUST – Le Roi de Thulé / Air des bijoux. 12” French Odéon 123.872, only form of issue, 1943. M-A MB 15

J0452. GEORI BOUÉ, w.Cloëz Cond.: LA BOHEME– Mi chiamano Mimi / MADAMA BUTTERFLY - Un bel dì (both in French). 12” French Odéon 123.871, only form of issue, 1947. M-A MB 15

J0453. GEORI BOUÉ, w.Pascal Quartet & Raymond Trouard (Pf.): Chanson perpétuelle (Chausson), 2s. 12” French Odéon 123.889, only form of issue, 1947. M-A MB 15

J0454. GEORI BOUÉ, w.Jean Brizard (Cello) & Jean Pasquier (Violin): Ave Maria (Schubert) / ROGER BOURDIN, w.Jean Brizard (Cello) & Robert Steinmetz (Organ): Panis angelicus (Franck). 12” Le Lutrin ‘Picture Disc’ C 402 (134/142), only form of issue, 1952-53. A to M-A, choice copy w.faintest rubs, inaud. Exceedingly Rare! MB 45

J0455. GEORI BOUÉ & ROGER BOURDIN, w.Albert Wolff Cond.: CIBOULETTE – Nous avons fait un beau voyage / MALVINA – Duo du vieux chêne (both Hahn). 10” Saturne ‘Picture Disc’ D 604 (I 118/119), only form of issue, 1952-53. A to M-A, choice copy w.faintest rubs, inaud. Exceedingly Rare! MB 45

J0456. GEORI BOUÉ & ROGER BOURDIN, w.Albert Wolff Cond.: VÉRONIQUE – De ci, de là (Duo de l'âne) (Messager) / MALVINA – Duo du vieux chêne (Hahn). 10” Saturne ‘Picture Disc’ D 603/604 (I 117/119), only form of issue, 1952-53. A to M-A, choice copy w.faintest rubs, inaud. Exceedingly Rare! MB 45

“French soprano Géori Boué was born on 16 October, 1918 in Toulouse and managed an exemplary career in her native country. She studied at the Music Conservatory in Touluse, taking on voice with Claude Jean, piano and harp. She made her début in Toulouse in 1938 and rose to fame singing staples of the French repertoire that include Marguerite from FAUST, Juliette from ROMÉO ET JULIETTE and Manon from Massesent’s opera of the same name. As her career progressed she expanded into other repertoire taking on Gilda in Verdi’s RIGOLETTO, Violetta in LA TRAVIATA, Mimi in LA BOHEME, Cio Cio San in MADAMA BUTTERFLY, Tatiana in EUGEN ONÉGIN, Desdemona in OTELLO and Thaïs among other roles. In later years CARMEN, WERTHER and numerous operettas would enter her repertoire. She also appeared in a 1943 film entitled LA MALIBRAN. She also managed an international career in Mexico, Barcelona, Rio de Janeiro and at La Scala in Milan where she appeared as Mélisande in Debussy’s PELLÉAS ET MÉLISANDE under the baton of Victor de Sabata. She appeared in that Debussy work alongside her husband Roger Bourdin. She died at age 98, 5 Jan., 2017.”


- David Salazar, operawire.com, 6 Jan., 2017


J0457. GEORGES RÉGIS: Illusion (Barbirolli) / Parais à ta fenètre (Gregh). 10” blue Victor 45025, POM-1908 / 27 Nov., 1908, neither side ever doubled. A-, lovely copy has faintest rubs, inaud. MB 10

J0458. PAULINE DONALDA: FAUST – Air des bijoux. 10” London red G & T G.C.-33620 (8453b), POM-7 Sept., 1906. A-, bright copy has lt.rubs & faint grey on peaks, inaud. MB 45

“Born in Montréal 5 March, 1882, Donalda auditioned for the title role in Massenet's CHÉRUBIN but lost it to Mary Garden. With Massenet's help, however, she made her début 30 Dec., 1904 in Nice, singing Manon. She was equally successful in the roles of Marguerite, Micaëla, and Mimi. Leoncavallo was in Nice for the French premiere of his CHATTERTON, in which Donalda sang Jenny and, subsequently, under his direction she sang Nedda in PAGLIACCI. She made her London début 24 May, 1905 at Covent Garden, singing Micaëla with Emmy Destinn and Charles Dalmorès, under the direction of André Messager. At Covent Garden on 28 June, 1905 she sang the role of Ah-Joe in the premiere of Franco Leoni's L'ORACOLO, with Dalmorès, Scotti, and Vanni-Marcoux as partners. On 24 July, 1919 she sang Concepción in the English premiere of Ravel's L'HEURE ESPAGNOLE. Considered a rival of Melba, she often replaced her and thus sang Mimi with Enrico Caruso. She made her New York début 7 Dec., 1906 in FAUST and sang in CARMEN, MARTHA, DON GIOVANNI, LA TRAVIATA, LOHENGRIN, AND PAGLIACCI in the course of Hammerstein’s historic season that brought together Melba, Calvé, Bonci, Ancona, Sammarco, Renaud and Gilibert. In the spring of 1910, she opened the Covent Garden season replacing Luisa Tetrazzini, on short notice, in LA TRAVIATA with McCormack and Sammarco. Returning to Montréal in 1937 Donalda opened a studio there.”


- Gilles Potvin, HISTORICA CANADA


J0459. BLANCHE ARRAL: El bolero grande (Vasseur). 10” Pat.’08 V 64107, POM-19 March, 1909, Never Doubled (other than as the elusive IRCC reissue). A to M-A, lovely copy has faintest rubs, inaud. MB 12

J0460. BLANCHE ARRAL: L’AMOUR MOUILLÉ - Valse d’oiseau (Varney). 10” Pat.’12 V 64099, POM-19 March, 1909, Never Doubled. M-A MB 12

J0461. BLANCHE ARRAL: DER BETTELSTUDENT – Doch wenn’s im Lied hinaus dann klinget (Czardas) (Millöcker). 10” Pat.’08 V 64098, only form of issue, 18 March, 1909, Orig. ‘A’ Plate Issue. M-A Most elusive! MB 15

J0462. BLANCHE ARRAL: CARMEN - Je dis que rien ne m'épouvante / LE COEUR ET LA MAIN - Boléro (Lecocq). 2” yellow & red PW 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

J0463. BLANCHE ARRAL: LES NOCES DE JEANETTE – Au bord du chemin (Air du rossignol) (Massé). 12” Pat.’08 V 74142, POM-19 March, 1909, only form of regular issue (other than AGS reissue). A to M-A, beautiful copy has 2 infinitessimal scrs, very faintly audible 2 or 3 turns. [A sheer delight!] MB 12

J0464. BLANCHE ARRAL: LA TRAVIATA – Ah! fors’ è lui; Sempre libera (in French). 12” Pat.’08 V 74132, only form of issue, 19 March, 1909. A to M-A, beautiful copy has few lt. rubs, inaud. MB 15

J0465. BLANCHE ARRAL: ROMÉO – Je veux vivre. 12” Pat.’08 V 74151, POM-18 March, 1909, Never Doubled. M-A MB 15

J0466. BLANCHE ARRAL: FAUST – Air des bijoux. 12” Pat.’08 V 74147, POM-18 March, 1909, only form of shellac issue (other than vinyl RCA reissue). A to M-A, beautiful copy has few lt. rubs, inaud. MB 12

J0467. BLANCHE ARRAL: I LOMBARDI – Quelle ivresse bonheur suprême. 12” Pat.’08 V 74146, POM-18 March, 1909. A to M-A, beautiful copy has few lt. rubs, inaud. MB 12

J0468. BLANCHE ARRAL: I LOMBARDI – Quelle ivresse bonheur suprême / FAUST - Air des Bijoux. 12” red vinyl RCA Heritage DeLuxe 15-1016, POM-18 March, 1909. M-A, as unplayed! MB 6

“[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


J0469. GEORGETTE LEBLANC MAETERLINCK: Elle avait trois couronnes d’or (Février) / AMADUIS DE GAULE – Bois épais (Lully). 10” Tri-Color Col.A1243, only form of issue, 15 Feb., 1912. A to M-A, lovely copy has lt.rubs, inaud. MB 25

J0470. GEORGETTE LEBLANC MAETERLINCK: THAÏS - L'amour est une vertu rare / CARMEN - En vain pour éviter. 10" Col. Tri-Color A1153, only form of issue, 8 Feb., 1912. A to M-A, lovely copy has lt.rubs, inaud. [Leblanc’s complete discography, a mere four sides!] MB 25

“Georgette Leblanc Maeterlinck was the mistress (or common-law wife) of Belgian poet Maurice Maeterlinck. Her singing career was more extensive and successful than is generally recognised – there can be no doubt that she was a major artistic personality at the height of her career. She had a phenomenal triumph as Carmen wherever she sang it, and created the principal soprano role of Francoise in Alfred Bruneau’s L’ATTAQUE DU MOUILIN and the title role in ARIANE ET BARBE-BLEUE of Paul Dukas. Her reputation was, however, fatally compromised by Debussy’s refusal to cast her as Mélisande in the world premiere…. [the above] represent Leblanc’s complete published discography, a mere four sides!]”


- Richard Bebb, THE RECORD COLLECTOR, 2001


J0471. BLANCHE DESCHAMPS-JEHIN: LE PROPHÈTE – Ah! Mon fils / SAMSON ET DALILA – Mon coeur s’ouvre à ta voix. 10¾” brown French Odéon 97041/28 (Xp4299-2/4298), POM-1908. A to M-A, lovely copy has, Sd.2 only, infinitessimal pap.scr, inaud. MB 75

“The leading French mezzo of her generation, Blanche Deschamps made her 1879 début in Brussels singing in the operetta GIROFLÉ-GIROFLA, soon followed by her operatic début at the Monnaie as Mignon. There, she was associated with two important creations: Herodias in Massenet’s HÉRODIADE (1881) and Uta in Reyer’s SIGURD (1884). Her creator parts at the Paris Opéra-Comique, where she sang beginning in 1885, included principal mezzo/contralto roles in Lalo’s LE ROI D’YS (1888), Massenet’s CENDRILLON (1899) and Charpentier’s LOUISE (1900). As a member of the Paris Opéra beginning in 1891, she appeared in many major roles: Azucena, Amneris, Fricka, and Brangäne, and most notably, the Paris Opéra’s first Dalila in SAMSON ET DALILA (1892), a role she sang on many other stages. That same year, she appeared as Fidès in the Paris Opéra’s revival of LE PROPHÈTE, and the following year, sang at the Meyerbeer centenary concert. Much of her career was centered in Monte Carlo where her husband, Léon Jehin, was for many years the house conductor. Her first role there was Maddelena in RIGOLETTO in 1889. Soon thereafter, she took on more important roles, such as Carmen, Léonore in LA FAVORITE, Margared in LE ROI D’YS, and the Queen in HAMLET, opposite Nellie Melba in 1890. Also at Monte Carlo, Deschamps-Jehin was the first woman to sing the trouser role of Pygmalion in Victor Massé’s GALATHÉE, as the composer had originally intended it.


- Vincent Giroud, Marston Program Notes


J0472. EMMA CALVÉ: Plaisir d'amour (Martini). 12” GP V 88134, POM-6 March, 1908, Never Doubled, USA. Most Elusive in this original pressing which enjoyed a brief catalogue life. A-, lovely copy has lt.rubs & wee scr, positively inaud., remarkably quiet surface. MB 35

“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


J0473. EMMA CALVÉ: Où voulez-vous allez (Gounod) / CARMEN – Chanson bohème. 11¾” grey H & D US-Pathé 59090 (2370/2304), recorded 1920. A to M-A MB 25

J0474. EMMA CALVÉ, w.Landon Ronald (Pf.): Enchantement (Massenet). 10" Victor Monarch 91001 (2060-F), POM-1902, Never Doubled. A-, lovely copy has faintest rubs & a few lt. scrs, only faintly audible. [Obviously very pleased with her rendition, Calvé emits a soothing ‘oooooh’ at the end!] MB 85

J0475. EMMA CALVÉ, w.Remualdo Sapio (Pf.): Trois chansons pour les tous petits. 12” V 88572, POM-6 June, 1916. M-A, remarkably quiet surface. 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


J0476. EMMA CALVÉ: Ma Lisette (18th Century); Le printemps (Gounod). 12” Pat.'08 Vla 88123, POM-6 March, 1908, Never Doubled in any regular series (other than IRCC & AGS). M-A MB 35

"[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


J0477. EMMA CALVÉ, w.Édouard Mathé (Pf.): L’heure exquise / Dernier voeu (both Hahn). 11¾” green H & D Pathé 3193 (2573/2577), recorded 1920, only form of issue; Calvé’s final recordings (before her ‘Message suprême, 2 Jan., 1942). A to M-A, lovely copy has faint rubs, inaud. MB 25

“The French songs are all among her greatest recordings, especially what appears to have been her very last effort before the acoustic horn, Hahn’s ‘L’heure exquise’ and ‘Dernier voeu’. In the former she is in full command of her ravishing pianissimo upper G – once heard, you can never forget this record – and in the latter she re-arranges the tempo and phrasing after her own fashion to produce a deeply felt performance.”


- Michael Aspinall, THE RECORD COLLECTOR, 2008


J0478. EMMA CALVÉ: In questa tomba oscura (in Italian) (Beethoven) / NORMA – Casta diva. 11¾” green H & D Pathé 0277 (2343/2345), recorded 1920, only form of issue. A to M-A, choice copy has infinitessimal pap.scr, Sd.2, inaud., in Original Pathé sleeve. MB 25

J0479. EMMA CALVÉ: Quand tu chantes (Gounod) / LES CONTES D’HOFFMANN – Belle nuit, o nuit d’amour. 11¾” green H & D Pathé 0275 (2318/2303), recorded 1920, only form of issue. A to M-A MB 25

J0480. EMMA CALVÉ: NOZZE - Voi che sapete (in French) / w.Édouard Mathé (Pf.): AMADIS DE GAULE – Amour, que veux-tu de moi? (Lully). 11¾” green H & D Pathé 0288 (2291/2365), recorded 1920, only form of issue, Sd.2. A to M-A, choice copy in Original Pathé sleeve. MB 25

J0481. EMMA CALVÉ: NOZZE - Voi che sapete (in French) / AMADIS DE GAULE - Amour, que veux-tu de moi? (Lully). 10" silver IRCC 196, RRs-1919, Pathé. Numbered Copy #10 of a Limited Edition; Calvé's Photo is affixed to Sd.1 label. M-A MB 15

J0482. EMMA CALVÉ: LA VIVANDIÈRE – Viens avec nous, petit (Godard) / SAPHO – Pendant un an je fus ta femme (Massenet). 11¾” green H & D Pathé 0290 (2363/2364), only form of issue, 1920; [Sd.2 is a Creator Record, 27 November 1897, Opéra-Comique, at the Théâtre Lyrique on the Place du Châtelet, Paris]. M-A, a spectacular copy in Original Pathé sleeve! MB 45

0483. EMMA CALVÉ: LA PERLE DU BRÉSIL – Charmant oiseau (1920 Version) (Félicien David), 2s. 11¾” green H & D Pathé 0276 (2334/2343), recorded 1920. M-A, a spectacular copy! MB 25

J0484. EMMA CALVÉ, w.Landon Ronald (Pf.): CAVALLERIA – Voi lo sapete (1902 Version, in Italian). 10" Victor Monarch 91003 (2063-R), POM-1902, Never Doubled. A, excellent copy has faintest rubs, inaud. MB 35

J0485. EMMA CALVÉ: CAVALLERIA – Voi lo sapete (1919 Version, in French) / CARMEN – Chanson bohème. 11¾” green H & D Pathé 0274 (2293/2304), recorded 1919. M-A, spectacular copy has wee pap.scr, end Sd. 1, inaud. MB 25

J0486. EMMA CALVÉ, w.Landon Ronald (Pf.): CARMEN - Habañera (1902 Version). 10" Victor Monarch 91000, Original "A" Plate Issue, (2058-R), POM-1902. A, excellent copy has very light rubs, inaud. [Thrilled with her rendition, Calvé emits an enthusiastic laugh at the end!] 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


J0487. EMMA CALVÉ, w.Landon Ronald (Pf.): CARMEN – Séguedille (2062-II) [Less-than-thrilled with her final note, Calvé emits ‘Ah, mon Dieu!’ after the very end!] / JEANNE GERVILLE-RÉACHE: En vain pour éviter. 10" silver Victor IRCC 5, POM-1902/ 30 Oct., 1909, resp. Numbered Copy #54 of an Limited Edition. M-A, choice copy of preferred 1930s pressing. MB 35

J0488. EMMA CALVÉ: CARMEN – Habañera / CAVALLERIA – Voi lo sapete (in French). 11¾” black H & D England-Pathé 55559 (2292/2293), recorded 1920. A to M-A, a glorious copy! MB 25

J0489. EMMA CALVÉ, w.Landon Ronald (Pf.): CARMEN - Séguedille. 10" Victor G & T 91002, (2062-II), POM-1902. A, exceptional copy! [Less-than-thrilled with her final note, Calvé emits ‘Ah, mon Dieu!’ after the very end!] MB 35

“…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


J0490. EMMA CALVÉ: CARMEN - En vain pour éviter / Habañera (1920 Version). 11¾” green H & D Pathé 0273 (2313/2292), Recorded 1920, only form of issue, Sd.1. A/M-A, beautiful copy has, Sd.1 only, faint rubs, inaud. MB 25

J0491. EMMA CALVÉ: CARMEN - En vain pour éviter / Habañera (1920 Version). 11¾” green H & D Pathé 0273 (2313/2292) (Late pressing), Recorded 1920, only form of issue, Sd.1. A to M-A, beautiful copy of late issue. MB 25

“For whatever reason, [Calvé] had never previously recorded the Carmen ‘Air des cartes’, and here for Pathé she delivers a dark and brooding interpretation that goes well beyond the nice ‘vocalization’ of most of her recordings and gives, for once, a suggestion of the dramatic intensity for which she was so famous.”


- Victor Girard, notes to Marston’s Calvé CD


J0492. EMMA CALVÉ: CARMEN – Chanson bohème / CAVALLERIA – Voi lo sapete (in French). 11¾” black H & D Pathé 0274 (2304/2293), recorded 1920. A to M-A MB 25

J0493. EMMA CALVÉ & CHARLES DALMORES: CARMEN - Là-bas dans la montagne. 12” Pat.'12 Vla 89019, POM-20 March, 1908, Never Doubled, USA. M-A, choice copy has wee rub, inaud. MB 12

J0494. BLANCHE MARCHESI: L’Été (Chaminade) / Queen Anne Boleyn in prison (O death, rock me asleep) (arr. Dolmetsch). 10" silver AC / Orth Victor IRCC 97, RR, 1906 / POM-1936. Numbered Copy #87 of Limited Edition, Sd.1 label is Autographed by Marchesi, to which her photo is affixed. [The Chaminade song is a fabulous tour-de-force!] M-A MB 75

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


- Stephen Fassett, HOBBIES, Feb., 1937


J0495. ANNA TARIOL-BAUGÉ: LA CRUCHE CASSÉE – Chanson espagnole (Vasseur). 10” black Paris G & T G.C.- 33580 (9095u), POM-1905. A-, lovely copy has very occasional lt. rub & tiny ndl cut, momentarily ltly. audible. MB 12

J0496. ANNA TARIOL-BAUGÉ: BARBE-BLEUE – Couplets de Boulotte / LAGRANDE DUCHESSE DE GÉROLSTEIN – Dite-lui (Offenbach). 10” black Disque Gram. G.C.- 33809/08 (6531h/14101u), POM-19 / 25 Nov.,1908. M-A, a fabulous copy! MB 20

J0497. ANNA TARIOL-BAUGÉ: LE GRAND MOGOL - Sois Gentil mon petit mari (Audran) / LES RENDEZ VOU STRASBOURGEOIS – Couplets de Bertha (Cuvillier). 10” dark-green Paris Zonophone X-83279/82 (6530/33h), POM-19 Oct.,1908. A to M-A, fabulous copy has harmless sl.warp. MB 12

J0498. ANNA TARIOL-BAUGÉ: LE PETIT DUC – La leçon de chant / La leçon de solfège / (Lecocq). 10” dark-green Paris Zonophone X-83297/98 (14097/98u), POM-25 Nov.,1908. M-A, fabulous copy has harmless sl.warp; Sd.1 only has faintest rubs, positively inaud. MB 15

J0499. ANNA TARIOL-BAUGÉ: LE PETIT DUC – La leçon de chant / La leçon de solfège / (Lecocq). 10” black Disque Gram. G.C.-83297/98 (14097/98u), POM-25 Nov.,1908. A to M-A, lovely copy has faintest rubs, positively inaud.; Sd.1 has pressing bump, very ltly audible. MB 10

J0500. ANNA TARIOL-BAUGÉ & ALFRED DAMBRINE: MISS HELYETT – Duetto espagnol (Audran) / LA PÉRICHOLE - L’Espagnol et la jeune indienne (Offenbach). 10” black Disque Gram. G.C.-34254/53 (14521/20u), POM-30 March,1909. A to M-A, lovely copy has, Sd.1 only, lt.label scrs. MB 15

J0501. ANNA TARIOL-BAUGÉ & ALFRED DAMBRINE: LE JOUR ET LA NUIT – Nous sommes deux amoureux (1906 Version) (Lecocq) / CHARLUS: L’Invalide belge (recitation) (Delormel & Garnier). 10” dark-green Paris Zonophone X-84004/81102 (6003/6033o), POM-1906. A-, lovely copy has harmless sl.warp; Sd.2 primarily has lt. rubs, inaud. MB 10

J0502. ANNA TARIOL-BAUGÉ & ALFRED DAMBRINE: LE JOUR ET LA NUIT – Nous sommes deux amoureux (1909 Version) (Lecocq) / ALIX MARTELL & MARTHE BAKKERS (as Mme CEZAC): LES BRIGANDS – Duetto du notaire (Offenbach). 10” black Disque Gram. G.C.-34269/68 (14519/15847u), POM-30 March,1909 / 7 June, 1910. M-A, a fabulous copy! MB 20

J0503. ANNA TARIOL-BAUGÉ & ALEXIS BOYER: LE COEUR ET LA MAIN – Par toi, divine créature (Lecocq) / LE GRAND MOGOL – Dans ce beau palais (Audran) 10” black Disque Gram. G.C.-34179/80 (6691/90), POM-1907. A to M-A, a fabulous copy! MB 20

“Tariol-Baugé began her career at the Grand Théâtre in Bordeaux. Here she appeared in CARMEN, MIGNON, WERTHER and FAUST. She made guest appearances in Russia and began to appear with great success in operettas. She toured through the French provinces and North Africa. She made her début at the Nouveau Théâtre in Paris in Suppé’s BOCCACCIO and had a sensational success. After her appearance at the Théâtre Eldorado in Paris, she became the big star of the Théâtre des Bouffes Parisiens. Here she took over in the premieres of operettes. Her career reached its climax when she created the role of Agathe in Messager’s VÉRONIQUE at Théâtre des Bouffes Parisiens, Paris, on 10 December 1898, then the part of Fiorella in Offenbach’s LES BRIGANDS in 1900 at the Théâtre des Variétés in Paris. In 1925 she sang at the Opéra-Comique in Paris in its première of VÉRONIQUE (together with her son, André).


- Ashot Arkelyan


J0504. JULIETTE SIMON-GIRARD & DELVOYE: LA MASCOTTE – Duo des dindons (Audran). 10” black Paris G & T 34018 (1918-P), Original Stamper, only form of issue, 1903. M-A, an outstanding copy; uncommonly bright label. MB 20

J0505. YVONNE GEORGE (Chanteuse), w.Georges van Parys (Pf.): Pars (Lenoir) / Chanson de marin (Auric). 10” red PW French Col. D 12022 (C-3/4), POM-3 Dec., 1926. M-A MB 15

J0506. YVONNE GEORGE (Chanteuse), w.Georges van Parys (Pf.): C'est pour ça qu'on s'aime (Borel-Clerc) / w.Armand Bernard Cond.: L'autre (Lenoir). 10” dark-blue PW French Col. D 19093 (L 1136/53), POM-7 / 10 June, 1928. M-A MB 15

J0507. YVONNE GEORGE (Chanteuse), w.Armand Bernard Cond.: Le Bossu (Vielle chanson) / Les cloches ne Nantes (Arr: Ferrari). 10” dark-blue PW French Col. D 19095 (L 1150/52), POM-10 June, 1928. M-A MB 15

“Yvonne George was discovered by Paul Frank, director of Olympia, during a stay in Belgium. She made her début in Paris on 8 October 1920. Acclaimed rather quickly by the intellectual milieu of Montparnasse, she was nicknamed ‘The Muse of Montparnasse’, but throughout her career she had to fight to win. It must be said that she was a true tragedian and an interpreter of marine folklore, but in addition to fighting for her talent, Yvonne George was constantly fighting for her own life; this excessive woman lived in alcohol, cocaine, and opium. Yvonne George was the first great love of poet Robert Desnos. She was the star for which he wrote some of his best poems. He was completely crazy about her, even going so far as to get drugs to make sure that his beloved lacked nothing. Desnos desperately tried to get closer to the Star he so loved by following her in her artificial universe but in vain ... her love was never shared. Robert Desnos declared ‘Yvonne George expresses with all her gestures, her attitude, her very existence; she was not a woman,but a flame. She was better than intelligent: sensitive, more than beautiful and moving. The modern woman, so long calumniated by fools, found in her her highest expression’."


-Theodore Fraenkel, 1956, Algiers


J0508. ALBERT ALVAREZ: Le biniou (Durand) / Stances (Flégier). 11½" H & D brown paper label label Pathé 3022 [1626/27], recorded 1908, Paris. M-A, choice copy. MB 25

J0509. ALBERT ALVAREZ: FAUST – Salut, demeure / Ô, mon dernier matin. 11½" H & D center-start etched label Pathé 0241/0244 [22066/54774], recorded 1905, Paris, announced. M-A, choice copy has, end Sd.1 only, faint grey. MB 25

J0510. ALBERT ALVAREZ: MARTHA – M’appari (in French) / CARMEN – Air de la fleur. 11½" H & D center-start etched label Pathé 1628/1644 [38238/38981], recorded 1903, Paris, announced. A-, fine copy has faintest rubs, inaud.; Sd 1 only has superficial dust scrabble, inaud. MB 25

J0511. ALBERT ALVAREZ: PAGLIACCI – Un grande spettacolo / Povero Pagliaccio (in French) 11½" H & D center-start etched label Pathé 1636/1656 [22774/10650], recorded 1903, Paris, announced. M-A, as New! MB 35

J0512. ALBERT ALVAREZ: PAGLIACCI – Entrata di Pagliaccio / Povero Pagliaccio (in French) 11½" H & D black paper label label Pathé 61 [1656/38], recorded 1903, Paris. M-A, choice copy. MB 25

J0513. ALBERT ALVAREZ: L’AFRICAINE – O Paradis! / OTELLO – Ora e per sempre addio. 10" PW silver Victor IRCC 178, RRs, 1903. Numbered Copy #24 of an extremely Limited Edition; Sd.1 label has Alvarez’s Photo affixed. M-A MB 12

“Albert Alvarez studied with Martini and made his début (1887) in Ghent as Faust, a role he reprised for his Paris Opéra début in 1892. He created more than ten roles for that house including Mirka in Augusta Holmès’ LA MONTAGNE NOIRE in 1895, Walther in (MEISTERSINGER) in 1897, Manrique (LE TROUVÉRE), Tristan in 1904, and Nicias in the world premiere of THAÏS (1894). In the 1899-1903 seasons he appeared at the Metropolitan Opera in New York.”


- Historic Opera


J0514. LÉON CAMPAGNOLA: SIGURD – Esprits gardiens (Reyer). 12” red Pat.’12 V 74297, Orig. ‘A’ Plate Issue, POM-10 July, 1911. Never listed in a North American Catalogue. Most elusive! M-A MB 15

J0515. LÉON CAMPAGNOLA: SIGURD – Esprits gardiens (Reyer) / CARMEN – Air de la fleur. 12” lilac Disque Gram. 032199/96, POM-10 July / 16 June, 1911. A-, fine copy has very lt. rubs, inaud. MB 10

J0516. LÉON CAMPAGNOLA: SIGURD – J’ai gardé mon âme / Un souvenir poignant (Reyer). 10” lilac Disque Gram. U 11, POM-27 Nov., 1911 / 30 Oct., 1912. A to M-A, leaning M-A, choice copy! MB 12

J0517. LÉON CAMPAGNOLA: DIE WALKÜRE – Winterstürme / Siegmund heiss’ ich (in French). 10” lilac Disque Gram. U 8, POM-14 / 21 Feb., 1922. A to M-A MB 12

J0518. LÉON CAMPAGNOLA: MANON LESCAUT - Donna non vidi mai / Ah! Manon, mi tradisce (in French). 10” black Schall.Gram.F.2015/14, POM-11 / 5 Dec., 1911. A to M-A, gorgeous copy has nr on Sd.2 label. MB 12

J0519. LÉON CAMPAGNOLA: L’AFRICAINE – O Paradis! / MARTHA – M’appari (in French). 10” lilac Disque Gram. G-C.4-32277/78, POM-21 / 26 Oct., 1911. A to M-A, leaning M-A, choice copy! MB 12

J0520. LÉON CAMPAGNOLA: MANON – Le rêve / PAGLIACCI – Non, pagliacco non son! (in French). 11” green paper label H & D Pathé 0291, only form of issue, 1919. A-, fine copy has occasional faint pap.scr, inaud. MB 12

J0521. LÉON CAMPAGNOLA: TOSCA – O dolci mani / LÉON CAMPAGNOLA & DANIEL VIGNEAU: LA BOHEME – O Mimi, tu più non torni (both in French). 10” lilac Disque Gram. U 9, POM-5 Dec. / 17 Nov.,1911. A to M-A, lovely copy has lt. rubs, inaud.; Sd.2 has faint, ltly audible scr. [Notably lyrical & beautiful renditions!] MB 8

J0522. LÉON CAMPAGNOLA & BERTHE CÉSAR: MANON – J’éris à mon père / Adieu, notre petit table. 10” lilac Disque Gram. U 22, POM-3 Nov., 1911. A to M-A, lovely copy has faint rubs, inaud.; very beg.Sd.1 has a few ‘stressed’ grooves, thus a noisy start, but not affecting voices. MB 8

J0523. LÉON CAMPAGNOLA & BERTHE CÉSAR: MANON – Et je sais votre nom / Non, votre liberté ne sera pas ravie. 12” blue Victor 55086, POM-2 Nov., 1911. A to M-A, lovely copy has, very beg.Sd.1 minuscule edge scr, inaud. MB 12

J0524. LÉON CAMPAGNOLA & BERTHE CÉSAR: MANON – Duo de Saint-Sulpice, 2s. 12” dark-blue Canadian HMV Victor 55089, POM-31 Oct., 1911. A to M-A MB 12

J0525. LÉON CAMPAGNOLA & JOAQUIN CERDAN: FAUST – Mais ce Dieu, que peut-il pour moi; À moi les plaisirs, 2s. 12” blue Victor 55087, RR-4 Nov., 1911. M-A MB 12

J0526. LÉON CAMPAGNOLA: WERTHER – J’aurais sur ma poitrine / La Mort de Werther. 10” lilac Disque Gram. U 8, POM-8 / 14 Nov., 1911. A to M-A MB 12

J0527. LÉON CAMPAGNOLA: RIGOLETTO – La donna è mobile / Questa o quella (in French). 10” blue Victor 45118, POM-8 / 12 July, 1911. M-A MB 10

J0528. LÉON CAMPAGNOLA: RIGOLETTO – La donna è mobile / Questa o quella (in French). 10” lilac Disque Gram. U 3, POM-8 / 12 July, 1911. A to M-A, choice copy has incipient hlc, primarily Sd.1. MB 8

J0529. LÉON CAMPAGNOLA: TOSCA – Recondita armonia / E lucevan le stelle (in French). 10” lilac Disque Gram. U 5, POM-9 July / 4 Nov., 1911. A to M-A MB 10

J0530. LÉON CAMPAGNOLA: LA FAVORITE – Un ange, une femme inconnue / Ange si pur. 10” lilac Disque Gram. U 4, POM-11 / 13July, 1911. A to M-A MB 10

J0531. LÉON CAMPAGNOLA: LA FAVORITE – Un ange, une femme inconnue / Ange si pur. 10” blue Victor 45119, POM-11 / 13July, 1911. M-A, pristine copy has wee nr, Sd.2 label. MB 8

J0532. LÉON CAMPAGNOLA: CAVALLERIA – O Lola (Siciliana) / Viva il vino (in French) 10” lilac Disque Gram. U 6, POM-3 / 30 Oct., 1911. A to M-A MB 10

“Léon Campagnola, originally a baritone who converted to tenor while undertaking further studies in Paris, was called by the critics of his time 'The French Caruso'. Campagnola made his début at Versailles in 1903 as Vincent in MIREILLE by Gounod. He spent the next five years in Belgium, moving to France in 1908 where he débuted at l’Opéra in 1910 as Roméo. He remained at that house (singing David in DIE MEISTERSINGER, the Duke in RIGOLETTO, Armel in Chabrier’s GWENDOLINE, and Faust) until 1913 in which year he sang Gennaro in the French première of Wolf-Ferrari’s I GIOIELLI DELLA MADONNA. He then appeared in several French provincial houses and in Chicago, Boston and Los Angeles where he sang with Mary Garden in Charpentier’s JULIEN.”


-Zillah Dorset Akron


J0533. CHARLES DALMORÈS: Bonjour, Suzon! (Delibes). 10” Pat.’12 Vla 87119, only form of issue, 28 Oct., 1912. M-A MB 15

J0534. CHARLES DALMORÈS: Je t’aime (Massenet). 10” Pat.’12 Vla 87120, only form of regular issue, 28 Oct., 1912, Orig. ‘A’ Plate Issue; this appeared otherwise only as the rare gold HRS private issue. M-A MB 15

J0535. CHARLES DALMORÈS: Je t’aime (Massenet) / SAMSON ET DALILA – Arrêtez, o mes frères. 10” gold Victor HRS 1054, POM-28 Oct., 1912 / 30 Oct., 1911. Numbered Copy #12 of an extraordinarily Limited Edition. A to M-A, lovely copy has faintest rubs, inaud. MB 35

J0536. CHARLES DALMORÈS: SAMSON ET DALILA – Arrêtez, o mes frères. 10” white Vla 87087, only form of regular issue, 30 Oct., 1911, this appeared otherwise only as the rare gold HRS private issue & as AGSA 15. M-A, pristine copy has pinpoint pressing bump at very end only in orchestra’s final chord. MB 10

J0537. CHARLES DALMORÈS: LE PROPHÈTE – Roi du ciel / SAMSON ET DALILA – Arrêtez, o mes frères. 10” mauve & gold HMV AGSA 15, POM-25 March,1908 / 30 Oct., 1911, Sd. 1 Unpublished. MINT MB 10

J0538. CHARLES DALMORÈS: LES CONTES D’HOFFMANN – C’est elle! (1908 Version). 10” Pat.’08 [5 line] Vla 81088, POM-25 March, 1908, ‘Take’ 1, of two issued ‘takes’; believed not to have been issued in this format! M-A MB 20

J0539. CHARLES DALMORÈS: LES CONTES D’HOFFMANN – C’est elle! (1911 Version). 10” Pat.’08 [3 line] Vla 87089, POM-26 Oct., 1911. ‘Take’ 3, of two issued ‘takes’. M-A MB 12

J0540. CHARLES DALMORÈS: LOHENGRIN – Atmest Du nicht. 10” Vla 87088, POM-26 Oct., 1911. A to M-A, lovely copy has pinpoint pressing bump, momentarily ltly audible. MB 8

J0541. CHARLES DALMORÈS: CARMEN – La fleur que tu m’avais jetée (1907 Version) / GERALDINE FARRAR: MADAMA BUTTERFLY – Un bel dì. 12” V 18141, POM-3 April, 1907 / 2 Oct.,1909. MINT MB 6

J0542. CHARLES DALMORÈS: CARMEN – La fleur que tu m’avais jetée / ROMÉO – Ah! lève-toi, soleil! (1912 Versions). 12” red vinyl RCA Heritage DeLuxe 15-1013, POM-25 / 28 Oct., 1912. MINT MB 6

J0543. CHARLES DALMORÈS: IL TROVATORE – Ah! sì ben mio / GRISÉLIDIS – Ouvrez-vous sur mon front (Massenet). 12” mauve & gold HMV AGSB 9, POM-12 April, 1907 / 25 Oct., 1912. MINT MB 8

"…[Dalmorès’] style is exemplary, and the phrasing and attack that of a consummate musician. He also supplies the written trill in the TROVATORE excerpt – a vital component of the aria, but largely ignored by contemporary tenors….”
- Vivian Liff, CLASSIC RECORD COLLECTOR, Spring, 2001


J0544. ÉMILE SCARAMBERG: MANON – Ah! fuyez / LA REINE DE SABA – Inspirez-moi (Gounod). 10½” Paris Fonotipia 39174/80 (XPh 641/656). A, exceptional copy has very lt.rubs & hint of grey on peaks, endemic to his records; very beg.Sd.1 has minuscule scr, ltly audible merely a very few turns. MB 65

J0545. ÉMILE SCARAMBERG: WERTHER – Pourquoi me réveiller? / MIREILLE – Anges du Paradis. 10½” Paris Fonotipia 39186/89 (XPh 760-3/686). A-, lovely copy has very lt.rubs & hint of grey on peaks, endemic to his records; various minuscule pressing ‘bubbles’ are harmless. MB 65

J0546. ÉMILE SCARAMBERG: LOHENGRIN – Atmest du nicht (in French) / SIGURD – Prince du Rhin. 10½” Paris Fonotipia 39187/76 (XPh 661/672). A-B, very decent copy has minuscule dust scr, end Sd.1; Sd.2 has nd & short nr at very beg., audible in piano introduction, into Scaramberg’s initial note. Otherwise a bright copy. MB 45

J0547. ÉMILE SCARAMBERG: ROMÉO – Ah! lève-toi, soleil! / CAVALLERIA – O Lola (Siciliana) (in French). 10½” Paris Fonotipia 39172/75 (XPh 640-2/665-3). B/A-, very decent copy has faint rubs, inaud.; Sd.1 only has sev. audible lt.scrs. MB 45

“Émile Scaramberg’s [recordings] are undeniably among the great treasures of pre-1914 French singing. They reveal a remarkably phonogenic voice of considerable intrinsic beauty, effortlessly produced, even throughout its range, admirably supported, and particularly impressive in piano singing. Equally importantly, they show Scaramberg to be a committed performer, a tasteful yet generous artist who, not just seemingly undaunted by the unenviable conditions under which the recordings were made, always conveys the impression that he is going to try to give the performance of his life. One can only marvel at the thought of the extraordinary roster of forts ténors the Paris Opéra had on its roster when he sang there between 1903 and 1907: Affre, Rousselière, Alvarez, Muratore, and others. On the evidence of his recorded legacy, Scaramberg may have been the best of them.”


- Vincent Giroud, Marston Program Notes


J0548. CHARLES FRIANT, w.Mahieux Cond.: DEUX SOUS DE FLEURS –Je pense à vous / Mon seul trésor (Benatzky). 10” dark-blue French Odéon 166.695, only form of issue, 28 Sept. / 5 Oct., 1933. [Creator recording, 6 Oct., 1933, Théâtre L’Empire, Paris]. M-A MB 15

J0549. CHARLES FRIANT, w.Mahieux Cond.: DEUX SOUS DE FLEURS –C’est la plus belle des roses / J’entends la chanson (Benatzky). 10” dark-blue French Odéon 166.696, only form of issue, 5 Oct., 1933. [Creator recording, 6 Oct., 1933, Théâtre L’Empire, Paris]. M-A MB 15

“Friant, in his most charming voice, sings [the] above four songs [which] enable him to demonstrate a much lighter character than in his operatic roles.”


- Alan Bilgora, THE RECORD COLLECTOR, 2016


J0550. CHARLES FRIANT: LA HULLA – Nos destins sont écrits sue les tables du ciel (Samuel-Rousseau) [CREATOR Record, 9 March, 1923, l’Opéra-Comique] / PAGLIACCI – Vesti la giubba (in French). 11½" green H & D Pathé 0415, recorded 1924, only form of issue, Sd.1. A to M-A MB 25

J0551. CHARLES FRIANT: LAKMÉ – Fantaisie aux divine mensonges / PAGLIACCI – Vesti la giubba (in French). 10" brown shellac gold & green Pathé Actuelle X.0053, recorded 1923/’24, resp. M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. & hardly worth mention. MB 12

J0552. CHARLES FRIANT: LE JONGLEUR DE NOTRE-DAME – Liberté, ô liberté, ma mie / LA BOHEME - Che gelida manina (in French). 11½" green H & D Pathé 0360, recorded 1923, only form of issue. A to M-A MB 12

J0553. CHARLES FRIANT: CARMEN – Air de la fleur (1923 Version) / TOSCA - E lucevan le stelle (in French). 11½" green H & D Pathé 0356, recorded 1923, only form of issue, Sd.1, in Original Pathé sleeve. A to M-A MB 12

J0554. CHARLES FRIANT: WERTHER – Invocation à la nature / TOSCA - E lucevan le stelle (in French). 11½" green H & D Pathé 0358, recorded 1923, only form of issue. A to M-A MB 12

J0555. CHARLES FRIANT: WERTHER – Pourquoi me réveiller? / LAKMÉ – Fantaisie aux divine mensonges. 11½" green H & D Pathé 0357, recorded 1923. A to M-A MB 12

J0556. CHARLES FRIANT: WERTHER – Lorsque l’enfant revient d’un voyage / Invocation à la nature. 12” black PW Disque Gram. W-406, only form of issue, 6 / 10 March, 1920. A to M-A MB 20

J0557. CHARLES FRIANT: WERTHER – Invocation à la nature / CHARLES FRIANT & ROGER BOURDIN, w.Cloëz Cond.: Au bonheur dont mon âme est pleine. 12” French Odéon 123.557, only form of issue, 28 Dec. / 31 May, 1928. M-A MB 20

J0558. CHARLES FRIANT: WERTHER – Pourquoi me réveiller? / MANON – Le rêve. 10" brown shellac gold & green Pathé Actuelle X.0055, recorded 1923/’25, resp. M-A MB 12

J0559. CHARLES FRIANT: WERTHER – J’aurais sur ma poitrine / MANON – Ah! fuyez, douce image (1925 Versions, very soon replaced by EL Versions). 11½" green H & D Pathé 0466, recorded 1925. A to M-A MB 15

J0560. CHARLES FRIANT: WERTHER – Lorsque l’enfant revient d’un voyage / MANON – Le rêve (1925 Versions). 11½" green H & D Pathé 0463, recorded 1925. A-, lovely copy has 2 minuscule hlc & scuff, Sd.1. MB 8

J0561.CHARLES FRIANT: MANON – Le rêve / Ah! fuyez, douce image. 12” black PW Disque Gram. W-374, only form of issue, 10 March, 1920. A to M-A MB 20

J0562. CHARLES FRIANT, w. Cloëz Cond.: MAROUF – Maschallah! Dans le jardin fleuri / MANON – Le rêve. 10” French Odéon 188.668, , original form of issue, 3 July,1929 (this appeared otherwise only in Argentina). M-A, exceptional copy! MB 15

J0563. CHARLES FRIANT, w.Cloëz Cond.: L'ATTAQUE DU MOULIN – Adieu à la forêt (Bruneau) / LE JONGLEUR DE NOTRE-DAME – Liberté, ô liberté, ma mie (Massenet). 12” French Odéon 123.549, only form of issue, 24 April, 1928. M-A MB 20

"Friant's repertoire was large and varied....He also took part in the premieres of numerous French operas which have long since fallen into obscurity. Perhaps his most admired role was Jean in Massenet's LE JONGLEUR DE NOTRE-DAME in which he impressed with his dancing and juggling, as well as his vocal skills. He was clearly a reliable as well as versatile artist."


- Patrick Bade


J0564. CHARLES FRIANT, w.Cloëz Cond.: MAY NIGHT – Dans la nuit silencieuse (Rimsky-Korsakov) / FAUST - Salut, demeure. 12" French Odéon 171.027, only form of issue, 24 April, 1928 / 1927. M-A, choice copy has, Sd.2 only sev. infinitessimal mks, barely faintly audible. [The MAY NIGHT Aria is truly a Desert Island Record!] MB 25

J0565. CHARLES FRIANT, w. Cloëz Cond.: PRINCE IGOR - Daylight is fading away (in French) (Borodin), 2s. 12” French Odéon 123.543, only form of issue, 19 April, 1928. M-A, pristine copy of this gorgeous Friant rarity! Another Desert Island Record! MB 45

J0566. CHARLES FRIANT, w. Cloëz Cond.: WERTHER – Lorsque l’enfant revient d’un voyage / J’aurais sur ma poitrine. 10" French Odéon 188.502, only form of issue, 1927. A to M-A MB 12

J0567.CHARLES FRIANT, w. Cloëz Cond.: WERTHER – Pourquoi me réveiller? / LAKMÉ – Ah! viens dans la forêt profonde. 10" French Odéon 188.503, only form of issue, 1927. A to M-A MB 12

J0568.CHARLES FRIANT, w. Cloëz Cond.: CARMEN – Air de la fleur / L'ENFANT PRODIGUE – O temps à jamais éffacé (Debussy). 12” French Odéon 171.028, only form of issue, 1927. M-A, a virtually pristine copy! MB 20

J0569. CHARLES FRIANT, w. Cloëz Cond.: LAKMÉ – Fantaisie aux divine mensonges / MANON – Ah! fuyez, douce image. 12” French Odéon 171.012, only form of issue, 1927. M-A MB 20

J0570. CHARLES FRIANT, w. Cloëz Cond.: TOSCA - Recondita armonia / E lucevan le stelle (both in French). 10" French Odéon 188.544, only form of issue, 1927. M-A MB 12

J0571. CHARLES FRIANT & GERMAINE CERNAY, w. Cloëz Cond.: CARMEN – Je vais danser en votre honneur / Au quartier! Pour l’appel!, 2s. 10” French Odéon 188.593, only form of issue, 31 May, 1928. A to M-A, choice copy has, Sd.1 only, 1 ltly grey groove, only momentarily audible. MB 15

J0572. CHARLES FRIANT & GERMAINE CERNAY, w. Cloëz Cond.: WERTHER - Au clair de la lune, 2s. 12” PW French Odéon 123.556, only form of issue, 31 May, 1928. M-A, a supreme copy! MB 20

J0573. CHARLES FRIANT & GERMAINE CERNAY, w. Cloëz Cond.: WERTHER – Mort de Werther, 3s / Sd. 4 = GERMAINE CERNAY, w. Cloëz Cond.: MIGNON – Elle est aimée. 2–12” French Odéon 123.585/86, only form of issue, 24 Nov., 1928. M-A MB 35, the Pair.

J0574. CHARLES FRIANT, w. Cloëz Cond.: WERTHER – Pourquoi me réveiller?; CHARLES FRIANT & GERMAINE CERNAY: Ah! ce premier baiser (Act III duet), 2s. 12” PW French Odéon 123.572, only form of issue, 29 Oct., 1928. M-A, beautiful copy has, Sd.2 only, infinitessimal rub, inaud & hardly worth mention. MB 20

J0575. CHARLES FRIANT & EMMA LUART, w. Cloëz Cond.: MANON - Duo de Saint-Sulpice, 2s. 12” French Odéon 171.029, only form of issue, 1927. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J0576. CHARLES FRIANT & EMMA LUART, w. Cloëz Cond.: MANON – Duo de la rencontre, 2s. 12” French Odéon 123.657, only form of issue, 5 July, 1929. A to M-A, choice copy has faintest rub, very beg. Sd.2, faintly audible during initial turns. MB 15

J0577. CHARLES FRIANT & EMMA LUART, w. Cloëz Cond.: MANON – Mort de Manon, 2s. 12” French Odéon 123.658, only form of issue, 5 July, 1929. A to M-A, lovely copy has faintest rubs, inaud. MB 15

J0578 CHARLES FRIANT & JANE ROLLAND, w. Cloëz Cond.: CARMEN - Parle-moi de ma mère, 2s. 12” French Odéon 123.807, only form of issue, 29 Jan.,1931. M-A, exceptional copy has faintest rubs, inaud. & hardly worth mention. MB 15

J0579. CHARLES FRIANT & SUZANNE BROHLY: CARMEN – Je vais danser en votre honneur / Non, tu ne m’aime pas. 12” black PW Disque Gram. W-449, only form of issue, 15 June, 1921. A to M-A, lovely copy has faintest rubs, inaud. MB 20

J0580. CHARLES FRIANT & VERA PEETERS, w. Masson Cond.: LE PEAU DE CHAGRIN – Pauline, mon enfant (Act IV duet) (Levadé), 2s. [All-CREATOR Record, 24 April, 1929, l'Opéra-Comique]. 12” French Odéon 123.649, only form of issue, 21 May, 1929. M-A MB 45

“With his strong family theatrical background, becoming a dancer, training and performing as an actor with the great Sarah Bernhardt and winning an award as a singer at the Paris Conservatoire, Charles Friant occupied a special place in a long line of French tenors active in the first half of the 20th century….He not only moved extraordinarily well on stage, portraying a role with histrionic subtlety but, more importantly, sang with great taste, style and musicality. His many talents were both natural and also the result of training and, although not unique, it seems rare today to find all these gifts apparent in one tenor. He was without doubt a truly fine and important French artist.”


- Alan Bilgora, THE RECORD COLLECTOR, 2016


J0581. GABRIEL SOULACROIX: PANURGE – Berceuse / Chanson à boire (Planquette), [Creator Record, Thetre de la Gai Paris, 22 Nov., 1895]. 11¾” etched label center-start H & D Pathé 3725/26/4936 (17304/23331), recorded 1903, announced. M-A, an immaculate copy! MB 20

J0582. CHARLES ROUSSELIÈRE: Mon gentil Pierriot (Leoncavallo). 10” black Paris G & T G.C. 2-32919 (2135-F), Stamper II, only form of issue, 1903. A-, lovely copy, has few lt. scrs, ltly audible; pressing bump is audible at very beginning. MB 45

J0583. DAVID DEVRIÈS: MANON – Le rêve / FAUST – Salut! demeure. 11½" H & D center-start etched label Pathé 0080/4790 [12372/75104], recorded 1905/’07, resp., announced. M-A, choice copy has, end Sd.2 only, faint grey. MB 25

J0584. DAVID DEVRIÈS, w.Émile Nerini (Pf.): Cimetière de campagne (Hahn) / Les anes du Caire (Acc. by the Composer). 10" French Odéon 188.596, only form of issue, 5 July, 1928. A to M-A, lovely copy has very occasional pap. rub, inaud. MB 35

J0585. DAVID DEVRIÈS, w. Cloëz Cond.: MÉLODIES PERSANES – Tournoiement / Au Cimetière (Saint-Saëns). 10" EL French Odéon 188.584, original form of issue, 25 April, 1928 (this appeared otherwise only in Argentina). M-A, lovely copy has very faintest rubs, inaud. & hardly worth mention. [Heavenly renditions!] MB 25

J0586. DAVID DEVRIÈS, w. Cloëz Cond.: FORTUNIO – J’aimais la vieille maison grise (Messager), 2s. 10" French Odéon 188.525, only form of issue, 1927. M-A, lovely copy has very faintest rubs, inaud. & hardly worth mention. MB 20

“…David Devriès…exemplified the art of the French ténor légère. As did Edmond Clément and the ill-fated Louis Cazette, he exhibited in his singing the elegance, style and good taste that has seemingly been eroded during the last half of the 20th Century.”


- Alan Bilgora, THE RECORD COLLECTOR, 2004


J0587. DAVID DEVRIÈS, w. Cloëz Cond.: BARBIERE - Ecco ridente (in French), 2s. 10" French Odéon 188.524, only form of issue, 1927. A-B, lovely copy has lt.rubs & occasional lt.scrs, ltly audible. [The labels feature special Devriès photo stamps.] MB 35

“[The above] is a great record, particularly the first half.”


- Alfred de Cock, THE RECORD COLLECTOR, 2004


J0588. DAVID DEVRIÈS, w. Cloëz Cond.: TOSCA – Recondita armonia / E lucevan le stelle (in French). 10" French Odéon 188.774, only form of issue, 25 Nov. / 27 Oct.,1927. M-A, lovely copy has faintest rubs, inaud.; very beg. Sd.1 has 2 microscopic dust scrs, ever-so-faintly audible a few turns. MB 20

J0589. DAVID DEVRIÈS: LAKMÉ – Prendre le dessin d’un bijou / Ah, viens dans la forêt. 11½" H & D center-start etched label Pathé 0044/0072 [4593/96], recorded 1904-05, Paris, announced. M-A, choice copy has, Sd.1 only, faint grey. MB 25

J0590. DAVID DEVRIÈS: MIGNON – Adieu Mignon, courage / Elle ne croyait pas. 11½" H & D black paper label Pathé 124 [35500/44292], recorded 1907, Paris. M-A MB 25

J0591. DAVID DEVRIÈS: WERTHER – Pourquoi me réveiller? / Un autre est son époux. 11½" H & D brown paper label Pathé 125 [4588/98], recorded 1907, Paris. M-A MB 25

J0592. DAVID DEVRIÈS: LE ROI D’YS – Vainement, ma bien aimée (Aubade) (1910 Version) (Lalo). 12” purple Pat.’08 V 70021, 4 April, 1910, Orig. ‘A’ Plate Issue, only form of issue. A-, lovely copy has lt.rubs, inaud. MB 35

J0593. DAVID DEVRIÈS, w. Cloëz Cond.: LE ROI D'YS - Vainement, ma bien-aimée (Aubade) (1927 Version) (Lalo) / MANON - Le Rêve. 10" EL French Odéon 188.505, only form of issue, 1927. [The Lalo rendition is truly a Desert Island Record, among Devriès’ greatest!] M-A, a virtually pristine copy. MB 25

“In the delightful Aubade from Lalo’s LE ROI D’YS, recorded for Victor, the actual colour of [Devriès’] vocal tone is to be heard to advantage. Captured here is a light and not unattractive vibrato which allows his beautifully managed poised soft top A’s to float effortlessly over the gentle accompaniment.”


- Alan Bilgora, THE RECORD COLLECTOR, 2004


J0594. DAVID DEVRIÈS, w. Cloëz Cond.: SAPHO - Qu'il est loin mon pays / JONGLEUR DE NOTRE-DAME - O liberté! ma vie (both Massenet). 12” French Odéon 171.034, only form of issue, 1927. A to M-A, choice copy has faint rubs, inaud. MB 35

J0595. DAVID DEVRIÈS & GABRIELLE LEJEUNE-GILIBERT: LA FILLE DE MME ANGOT – Voyons, Monsieur, raisonnons-nous politique (Lecocq). 12” purple Pat.’08 V 70025, only form of issue, 4 April, 1910, Orig. ‘A’ Plate Issue. A-, lovely copy has lt.rubs, inaud. MB 35

J0596. DAVID DEVRIÈS, NANSEN, DANGÈS & BELHOMME: L’ARLÉSIENNE – Marche des Rois (Bizet) / POUMAYRAC, NANSEN, DANGÈS & BELHOMME: L’AFRICAINE – Choeur des matelots (Meyerbeer). 10¼“ H & D black paper label Canadian-Pathé 127 (0777/0838), recorded 1910. A to M-A MB 20

“David Devriès was a typical example of the tenor lèger of opéra-comique. He was endowed with an agreeable timbre, a voice of some flexibility, clear, brilliant, a delicious mezza-voce, a head voice of great beauty and a sensational, genuine trill. The charm of his emission was pure, soft, elegant; he could caress the note, ‘la voce pastosa’ as the Italians say, all combined with a perfect, impeccable diction with open vowels, so that each word could be clearly and perfectly understood.”


- Alfred de Cock, THE RECORD COLLECTOR, 2004


J0597. JULIEN LEPRESTRE: LES DRAGONS DE VILLARS – Ne parle pas, Rose (Maillart) / MANON – Ah! fuyez, douce image. 10½” brown & gold French Odéon 36431/32 (XP 2138/39). A-B, fine copy has lt.rubs, inaud.; Sd.1 only has tiny audible pressing bump. MB 35

“Leprestre made his Opéra-Comique début as Des Grieux at an important revival of MANON which marked the role début of Georgette Bréjean-Gravière (not yet Silver), historically the third major exponent of the role, and for whom Massenet subsequently wrote the Fabliau as an alternative to the Gavotte. When Leprestre recorded his 11 sides for Odéon in 1905, his operatic career was largely behind him….They do, however, convey a good impression of this fine singer, then only 41. He can be heard to particular advantage…the resonant, well projected voice, free at the top, is characterized by its clear, attractive, slightly nasal timbre…. Another classic French Opéra-Comique tradition is the effective use of voix mixte and ‘covering’ at the top. This feature is also in evidence in Sylvain’s romance from LES DRAGONS DE VILLARS….As for the MANON aria (missing the middle section as is often the case in early recordings) it is a classic account, vibrant yet free from exaggeration, with a subtle, unaffected use of portamento, and a useful testimony of an important revival of the work, for which Leprestre probably benefited from the composer’s advice.”


- Vincent Giroud, Marston Program Notes


J0598. DINH GILLY, w.George Reeves (Pf.): Amarilli (Caccini) / O del mio amato ben (Donaudy). 12” silver Victor IRCC 188, POM-1928. Numbered Copy #62 of an extraordinarily Limited Edition; Gilly's photo is affixed to Sd.1 label. M-A, a superlative copy! MB 45

J0599. DINH GILLY: LE JONGLEUR DE NOTRE-DAME – La Vièrge entend fort bien / Fleurissait une sauge (Massenet). 12” mauve & gold HMV AGSB 13, POM-24 Aug., 1924. MINT MB 15

J0600. DINH GILLY: HÉRODIADE – Vision fugitive / DMITRI SMIRNOV: SADKO – Song of the Indian Guest. 12” vinyl Historic Masters HMB 97, POM-22 Aug., 1923 / 20 Nov., 1911. MINT MB 12

J0601. DINH GILLY: LA COUPE DU ROI DE THULÉ – Il est venu ce jour de lutte (Diaz), 2s. 10” HMV DA 558, POM-24 Aug., 1923. A to M-A MB 15

“In an air from LA COUPE DU ROI DE THULÉ by Eugène Diaz…Gilly’s polished phrasing, controlled intensity and suave line recall Maurice Renaud. By any standards, this is distinguished singing….”


- Michael Scott, THE RECORD OF SINGING


J0602. CHARLES GILIBERT: Plaisir d’amour (Martini). 12” GP V 85118, only form of issue, 1 April, 1907, Original ‘A’ Plate Issue. A to M-A MB 15

J0603. CHARLES GILIBERT: Plaisir d’amour (Martini) / EDUARDO CASTELLANO: Tosca – Recondita armonia. 12” Tri-Color Col.A5070, POM-29 March, 1907 / 3 April, 1906. A to M-A MB 20

J0604. CHARLES GILIBERT: Les Rameaux (J. B. Faure). 12” Tri-Color Col. 30089, Original Issue, 29 March, 1907. A, choice copy has tiny dust scrabble, ever-so-faintly audible, hardly worth mention. MB 15

J0605. CHARLES GILIBERT: La Vierge à la crèche (Périlhou). 12” Tri-Color Col. 30088, Original Issue, 29 March, 1907. A to M-A MB 20

J0606. CHARLES GILIBERT: XERXES – Ombra mai fu (in French) (Handel). 12” V 74155, POM-28 Jan., 1910. M-A, as New! MB 12

J0607. CHARLES GILIBERT: DON GIOVANNI – Deh, vieni alla finestra (in French) (2nd Version). 12” Tri-Color Col. 30121, POM-1908, (‘Manhattan Record’ label superimposed). A to M-A, an exceptional copy. MB 25

J0608. CHARLES GILIBERT: Margoton va-t-à l’iau (delightfully introduced in English by Gilibert [as ‘Old French Song’]); DON GIOVANNI – Deh, vieni alla finestra (1st Version) / LILLIAN BLAUVELT: Home, sweet home (Bishop). 12” Tri-Color Col. A5008, POM-29 / 27 March, 1907. A to M-A MB 20

J0609. CHARLES GILIBERT: LAKMÉ – Lakmé, ton doux regard. 12” Tri-Color Col. 30107, Original Issue, 12 Oct., 1907. A to M-A, superb copy has infinitessimal scr, barely visible, inaud. & hardly worth mention. MB 25

J0610. CHARLES GILIBERT: LA JOLIE FILLE DE PERTH – Quand la flamme de l’amour (1907 Version) (Bizet). 12” Tri-Color Col. 30108, Original Issue, 12 Oct., 1907, (‘Manhattan Record’ label superimposed),. A to M-A MB 20

J0611. CHARLES GILIBERT: LA JOLIE FILLE DE PERTH – Quand la flamme de l’amour (1910 Version) (Bizet). 12” Pat.’08 V 74208, POM-28 Jan., 1910. Original ‘A’ Plate Issue. M-A MB 12

J0612. CHARLES GILIBERT: LA JOLIE FILLE DE PERTH – Quand la flamme de l’amour (1910 Version) (Bizet) / CHARLES GILIBERT, LEJEUNE, DUCHÊNE, DUMESNIL & LEROUX: CARMEN – Nous avons en tête une affaire. 12" mauve-&-gold HMV AGSB 73, POM-28 Jan./25 March, 1910. MINT MB 15

J0613. CHARLES GILIBERT, GABRIELLE LEJEUNE, DUCHÊNE, DUMESNIL & LEROUX: CARMEN – Nous avons en tête une affaire. 12” Pat.’08 [5 line] Vla 88237, only form of regular issue (other than the elusive AGSB issue), 25 March, 1910. A to M-A, lovely copy has faintest rubs, inaud. MB 15

J0614. CHARLES GILIBERT & GABRIELLE LEJEUNE (Mme Gilibert): Colinette (Alary; arr: Weckerlin). 10” flush black & silver Col. 1254, announced by Charles Gilibert, only form of issue, 1903. A-, beautiful copy has faint rubs, inaud.; uncommonly bright label. MB 65

“Charles Gilibert made his début in 1888 at the Paris Opéra-Comique. In 1891 he joined the ensemble of the Théâtre de la Monnaie in Brussels, where he was highly appreciated and remained until 1900. From 1894 to 1909 he made guest appearances at Covent Garden, where on 20 June, 1894 he sang in the premiere of Massenet’s LA NAVARRAISE. In 1900 he was engaged by the Metropolitan Opera in New York and made his début in ROMÉO ET JULIETTE. He remained with the Met until 1903 where he performed in the following Met Opera premières: 1900 LA BOHÈME (Schaunard), 1901 TOSCA (Sacristan) and 1902 MESSALINE (Myrrhon). In 1906 he moved to the Manhattan Opera House and sang there until 1910. There, in 1908, he created the role of the father in the American première of Charpentier’s LOUISE. He married the Belgian soprano Gabrielle Lejeune who recorded under the name Mme Gilibert.”


- Ashot Arkelyan


J0615. ÉDOUARD DE RESZKE: Sérénade de Don Juan (Tschaikowsky), self-announced / ERNANI – Infelice e tuo credevi – announced, but not by de Reszke. 10” blue Col. A617 (1223/21), POM-1904. A to M-A, beautiful copy has mere hint of grey on peaks, inaud. This beauty plays as M-A. MB 75

J0616. ÉDOUARD DE RESZKE: MARTHA – Chi mi dirà (Porter Song) (Flotow), self-announced. 10” flush red & gold Col. 1222 (1222-1A), POM-1904. A to M-A, beautiful copy of this Original Pressing has minor pressing indent, endemic in matrix. MB 275

“Edouard de Reszke made his London début in 1880, at Covent Garden, as Indra in Massenet’s LE ROI DE LAHORE. His popularity was as great as Jean’s, not only in Paris, but also in London, La Scala, Chicago and at the Met. His voice was described as powerful and sonourous but lacked the fine artistry and finesse which was so admirable in his brother’s singing. He was one of the artists involved in the first USA Grand Opera series of records published by Columbia in 1903, sounding very much a French-school singer.”


- Andrea Shum-Binder, subito-cantabile


J0617. JEAN-FRANÇOIS DELMAS: LA TOUSSAINT – Conte bleu (Lacôme). 10” flush black Paris G & T G.C. –2-32627 (1293F), POM-1902. A to M-A, supreme copy has microscopic scr near beg., hardly worth mention; uncommonly bright label. MB 95

J0618. JEAN-FRANÇOIS DELMAS: PATRIE – Pauvre martyr obscur (2nd 1902 Version) (Paladilhe). 10" black Paris G & T G.C.-2-32622 (1287F), POM-1902. M-A, immaculate copy has hint of grey on peaks. MB 65

J0619. JEAN-FRANÇOIS DELMAS: PATRIE – Pauvre martyr obscur (1st 1902 Version) (Paladilhe), announced / HENRI DANGÈS: FAUST – Mort de Valentin. 11¾” etched label center-start H & D Pathé 2494/4936 (44971/62414), recorded 1902/’08, resp. M-A, an immaculate copy! MB 45

J0620. JEAN-FRANÇOIS DELMAS: PATRIE – Pauvre martyr obscur (1904 Version) (Paladilhe) / FAUST – Vous qui faites l’endormie. 10½” Paris Fonotipia 39085/51 (XPh 513/510), POM-1904. M-A, choice copy, critically graded, has a few minuscule ‘pimples’, only one being momentarily audible, of no concern; Sd.2 only has visible but inaud. ‘scuff’ which appears to be endemic in matrix. MB 85

J0621. JEAN-FRANÇOIS DELMAS: FAUST – Non, tu ne prieras pas (Scène de l’église). 10” flush black Paris G & T G.C. –2-32624 (1289F), POM-1902. A to M-A, superb copy has lt grey on peaks and is generally noisy –apparently endemic in matrix; this fine copy is not in the least worn; minuscule nr, inaud & hardly worth mention; uncommonly bright label. MB 65

J0622. FRANÇOIS DELMAS: LA JOLIE FILLE DE PERTH - Quand la flamme de l'amour (Bizet). 10” flush black Paris G & T G.C. –2-32626 (1292F), POM-1902. M-A, another immaculate copy. These Delmas rarities, all with uncommonly bright labels, are from a duly well-cared for collection. MB 75

J0623. FRANÇOIS DELMAS: LA JOLIE FILLE DE PERTH - Quand la flamme de l'amour (Bizet). 10” red Victor Monarch 5081 (1292F), POM-1902. M-A, another immaculate copy. These Delmas rarities, all with uncommonly bright labels, are from a duly well-cared for collection. MB 75

J0624. FRANÇOIS DELMAS: DON GIOVANNI – Deh, vieni, alla finestra (in French, w.laughter & recit.) (Mozart). 10" black Paris G & T G.C.-2-32639 (1290F), POM-1902; (assigned Victor #91049, but never issued as such). M-A, another immaculate copy has mere hint of grey on peaks. MB 75

J0625. FRANÇOIS DELMAS: LES HUGUENOTS – Des troubles renaissants (Bénédiction des Poignards) (Meyerbeer) / FAUST – Le veau d’or. 10½” Paris Fonotipia 39027/28 (XPh 512/514), POM-1904. M-A/A, beautiful copy has, Sd.2 only, hint of grey on peaks – not surprising since Delmas’ recordings are extremely ‘forward’. MB 75

J0626. FRANÇOIS DELMAS: ROMÉO – Allons! jeunes gens (Gounod) / LES HUGUENOTS – Dieu le veut (Meyerbeer). 10½” brown & gold French Odéon 56180/81 (xP 4356/4338), POM-1908, A-B, fine copy has lt. rubs & grey on peaks, ltly audible. Not for the fastidious, but a fine playing copy. MB 25

J0627. FRANÇOIS DELMAS: DIE WALKÜRE – Leb wohl, du kühnes, herrliches Kind! (Les adieux de Wotan) (in French) (Wagner). [For those who lament not ever hearing a true bass sing Wotan, this your ticket to refulgent vocal joy!] 10" black Paris G & T G.C.-2-32625 (1291F), POM-1902. M-A, another immaculate copy has mere hint of grey on peaks; microscopic pressing bump, faintly audible. MB 95

“Delmas made his début at the Paris Opéra on 28 September 1886 as Saint-Bris (LES HUGUENOTS), which began a long association with that house, leaving him little time to sing outside of France. The notable exceptions were the Mariinsky in Saint Petersburg, the San Carlo in Lisbon, and the Monte Carlo Opera House in Monaco. Delmas was particularly successful in the major Wagnerian roles including Hans Sachs, Wotan, and Hagen. He was also a well-known interpreter of the standard French repertoire including FAUST, SIGURD, GUILLAUME TELL, and SAMSON ET DALILA. Delmas holds the record of taking part in more creator-roles than any other singer in the Paris Opera’s history: twenty-one, including Massenet’s LE MAGE (Amour, 16 March 1891), THAÏS (Athanaël, 16 March 1894), and ARIANE (Périthous, 28 October 1906). Delmas had an incredible range, ‘…which was equally powerful in bottom F of the bass register as it was at the top of G of the tenor’s [Georges Pioch, MUSICA, November 1905] and his voice possessed warmth and authority. He recorded for G&T, Pathé, Zonophone, Fonotipia, Odéon, and Opéra-Saphir. All of Delmas’ records are highly sought by collectors worldwide.”


- Vincent Giroud, Marston Program Notes


J0628. PAUL AUMONIER: LE CHALET - Vallons de la Helvétie (Adam) / LES HUGUENOTS - Piff, paff, piff (Meyerbeer). 10½” brown & gold French Odéon 33570/71 (xP297/299), POM-1904, announced by Aumonier in his authoritative black voice! A-B, fine copy has few faintest rubs, positively inaud.; Sd.2 only has minor scuff, very ltly audible. MB 15

J0629. PAUL AUMONIER: LES HUGUENOTS – Des troubles renaissants (Bénédiction des Poignards) / ROBERT LE DIABLE – Nonnes qui reposez (Meyerbeer). 10½” brown & gold French Odéon 33578/33600 (xP298/300), POM-1904, announced by Aumonier in his authoritative black voice! A-B, fine copy has few faintest rubs & occasional superficial scrs., ltly audible. MB 15

“Aumonier entered the Paris Conservatory as a pupil of Léon Melchissédec. Most of his career was spent on the stages of provincial theaters including Monte Carlo, Lausanne, Brussels, Algiers, Nice, and Rouen. He appeared with van Dyck, Albers, Demougeot, and Caruso. Aumonier took part in the premiere of Edouard Trémisot’s PYRAME ET THISBÉ (Monte Carlo, 1904), Mazellier’s GRAZIELLA (Andréa, Theatre des Arts in Rouen, 1913), and Trémisot’s STAMBOUL (Mehmed Pacha, Algiers Opera, 1924). He also sang at the Paris Opéra in SAMSON ET DALILA, SALAMMBÔ, AÏDA, ROMÉO ET JULIETTE, AND RIGOLETTO. Aumonier, who recorded extensively for all of the French record labels, possessed one of the most beautiful basso profondo voices of his time.


- Vincent Giroud, Marston Program Notes


J0630. POL PLANÇON: ROMÉO – Allons! jeunes gens (Gounod). 10” red Victor Monarch 81035 (B-990), POM-29 Jan., 1904, Never Doubled, USA. A-, fine copy has lt.rubs, inaud.; minor ulc, nowhere near grooves. MB 35

J0631. POL PLANÇON: FAUST – Le Veau d’or (1906 Version) / ROMÉO – Allons! jeunes gens (Gounod). 10” PW Historical Catalogue #2 HMV DA 542 (B-3168/B-990), POM-8 March, 1906 / 29 Jan., 1904. M-A MB 15

J0632. POL PLANÇON: Les Rameaux (J. B. Faure). 10” London red G & T G.C.-2-2665 (1922-G), Stamper IV, only form of issue, 1902. A to M-A, beautiful bright copy has minimally raised edge (endemic in matrix); numerous pinpoint pressing indents, inaud.; uncommonly bright label. MB 175

J0633. POL PLANÇON: Embarquez-vous (Godard). 10” red Victor Monarch 81039 (B1052), POM-27 Feb., 1904, Original ‘A’ Plate Issue. Never Doubled (other than as the elusive IRCC reissue). M-A, another immaculate copy with uncommonly bright label has wee harmless pressing bump, inaud. MB 35

J0634. POL PLANÇON: Embarquez-vous (Godard). 10” red GP Victor 81039 (B1052), POM-27 Feb., 1904. Never Doubled (other than as the elusive IRCC reissue). A-B, very decent copy has rubs & few lt.scrs, absolutely inaud. This charming performance plays beautifully. MB 15

J0635. POL PLANÇON: Le Soupir (Bemberg) / DINORAH – En chasse (Meyerbeer). 10” gold PW Victor HRS 1021 (B-2335-1 / B-2338-1), POM-25 Feb., 1905. Numbered copy #32 of extremely Limited Edition. M-A, as New! MB 25

J0636. POL PLANÇON: LES HUGUENOTS - Piff, paff, piff (Meyerbeer). 10” flush red London G & T G.C.-2-2661 (1936-G), Stamper II, only form of issue, 1902. A-, remarkably bright copy has 2 faintest & minuscule scrs, minimally & very ltly audible; uncommonly bright label. [This plays at 66 rpm!] MB 175

J0637. POL PLANÇON: PHILÉMON ET BAUCIS – Au bruit des lourds marteaux d’Airain (Gounod). 10” flush red London G & T G.C.-2-2666 (1921-G), Stamper II, only form of issue, 1902. A to M-A, remarkably bright & virtually flawless copy. [This, Plançon’s first London G & T, plays at 74 rpm!] MB 275

J0638. POL PLANÇON: CARMEN – Air du Toréador. 10” flush red London G & T G.C.-2-2667 (1938-G), Stamper II, only form of issue, 1902. A to M-A, remarkably bright & virtually flawless copy has the occasional minuscule pressing indent, endemic to this period; uncommonly bright label. [This plays at 66 rpm!] MB 275

J0639. POL PLANÇON: LE CAÏD - Enfin, chéri (Air du Tambour-Major) (The rare 1902 Version) (Thomas). 10” red Victor Monarch 91015 (1923G), POM-1902. Never Doubled. A-, fine copy has lt.rubs, inaud. MB 35

"Who better to represent the old school than Pol Plançon with his instrumental-like legato line and a coloratura technique to put many a soprano to shame?"


- Vivian A. Liff, AMERICAN RECORD GUIDE, May/June, 2005


J0640. POL PLANÇON: FAUST – Vous qui faites l’endormie. 10” flush red London G & T G.C.-2-2663 (1924-G), Stamper III, POM-1902, Never Doubled (other than as the HMV ‘Archive’ reissue). A to M-A, remarkably bright copy has sev.minuscule scrs at outer edge, minimally, momentarily & ltly audible; somewhat rubbed label. [This plays at 74 rpm!] MB 125

J0641. POL PLANÇON: FAUST – Le Veau d’or (1904 Version). 10” red Victor Monarch 81038 (B-1051-1), only form of issue, 27 Feb., 1904, Original ‘A’ Plate Issue; NB: the 1905 and 1906 versions also were issued under this number. M-A, another immaculate copy with uncommonly bright label has faintest rub, inaud. & hardly worth mention. MB 45

J0642. POL PLANÇON: LE CHALET - Vallons de la Helvétie (Adam). 10” red Victor Monarch 91037 (B-1050), POM-27 Feb., 1904. Never Doubled (other than as the rare IRCC & AGS reissues). A to M-A, remarkably bright & virtually flawless copy has the occasional minuscule pressing indent, endemic to this period; hint of grey on peaks, inaud.; faintest label nr. MB 25

“…just as we have seen…demands from the singer [display] all his technical expertise in the form of amazing vocalisations and scales sung wih complete ease and mastery and, in that field, Plançon excels head and shoulders above the rest.”


- Francisco L. Segaletva Cabello, THE RECORD COLLECTOR, 2007


J0643. GAETAN AUZENEAU, w.Andre Collard (Pf.): Les roses d'Ispahan (Fauré) / LA JOLIE FILLE DE PERTH - Quand la flamme. 10” pale-blue French Col. LF 251, only form of issue, 7 Nov., 1947. M-A MB 12

J0644. LOUIS AZÉMA: LE CHALET – Arrêtons-nous ici (Adam) / MARCELIN DUCLOS. La Marseillaise (de L’Isle). 8¾” H & D Saphir 103 (1318/54), POM-6 Sept., 1910 / c.1920. A to M-A, spectacular copy has, Sd. 2 only, infinitessimal scr, barely visible & inaud. MB 25

“Louis Azéma was engaged by the Opéra de Lyon, then by the Graslin Theater in Nantes (1903), and finally by the Royal Theater in The Hague (1904), débuting 20 September, 1905 as Basilio in BARBIERE, retiring in 1930 from l’Opéra-Comique. During his extensive career he appeared in 90 roles, with 35 creations.”


- artlyriquefr.fr


J0645. JULES GAUTIER (de l’Opéra): LA DAME BLANCHE – Viens, gentille dame (Boildieu) / MARTHA – M’appari (in French). 10” black Paris Art Label (lady playing harp, with morning glory horn) Homphone 8796/91, recorded presumably 24 March, 1906. B, decent copy has rubs, scuffs & lt. scrs, momentarily ltly audible; beg. Sd. 2 has tiny incipient lam. MB 8

J0646. JULES GAUTIER (de l’Opéra): GUILLAUME TELL – Accours dans ma nacelle / Lakmé – Ah! viens dans la forêt. 10” black Paris Art Label (lady playing harp, with morning glory horn) Homophone 8396/8810 (2817B1/G18U). B, decent copy has, Sd. 1 only, rubs, scuffs & very lt scrs, only very occasionally audible. This plays remarkably well. MB 10

J0647. JULES GAUTIER (de l’Opéra): LA JUIVE – Rachel, quand du Seigneur (Halévy) / DANIEL VIGNEAU: RIGOLETTO – Cortigiani (in French). 12” black Paris Gram. Monarch 032072/71 (599/595i), POM-1908. M-A MB 15

“Jules (Charles) Gautier made his début as Sigurd on 3 July, 1896, at Théâtre de la Haye in Hague. He then sang Manrico in IL TROVATORE at the Grand Opéra in Paris. During 1901-04 he was engaged by the Opéra-Comique in Paris where he made his début as Gérald in LAKMÉ. In the 1908-09 season he appeared at l’ Opéra where he performed in a number of major roles. In 1901, as Charles Gauthier, he appeared at the Metropolitan Opera in New York as Manrico in IL TROVATORE. Daniel Vigneau’s 1907 début was at l’Opéra-Comique where he appeared for the next twenty years. Here on 15 May, 1914 he sang in the premiere of Henri Rabaud's MAROUF in the part of Ali. The same year he sang in the première of de Falla's LA VIDA BREVE. In 1908 he created the role of Mizgir in the Paris première of Rimsky-Korsakov's SNEGOUROTCHKA. In 1924 he sang in the Paris premiere of Léon Sachs’ LES BURGRAVES, also at the Opera House in Monte Carlo in in the premiere of Chabrier's UNE ÉDUCATION MANQUÉE.”


- Ashot Arkelyan