Spanish Vocal 78rpm records

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Since 1972



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



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Section V - Spanish Vocal 78rpm records Nos. J0648 – J0822

J0648. MANUEL CARVALHO (Bar.): Chamarita (Freitas) / Fado novo do Avelino (de Burro) (both in Portuguese). 10” black V 72117, POM-22 July, 1918. A to M-A, beautiful copy has, Sd.1 only, sev.superficial lt.scrs, inaud. MB 10

J0649. MARGUERITE D’ALVAREZ: El relicario (Padilla). 10” brown shellac Vocalion 30129, POM-1921. A to M-A MB 10

J0650. MARGUERITE D’ALVAREZ: Homing (1921 Version) (del Riego). 10” brown shellac Vocalion 30121, POM-1921. A to M-A MB 10

J0651. MARGUERITE D’ALVAREZ, w.Morton Howard (Pf.): Homing (del Riego) / Do not go, my love (Hageman) (1925 Versions). 10” (AC label) Vla 1116, only form of issue, 5 May, 1925. M-A, choice Reviewer’s Copy. MB 8

“What a relief it is when, after listening to singer after singer of talent, one is able to listen to a singer of genius! Mme d’Alvarez has chosen two of her most popular encores with which to make her début in electric recording, and, believe me, it takes all the electricity going to reproduce her electrically. She has the quality of dangling some utterly commonplace string of Ciro pearl words as if they were jewels sparkling….”


- Compton Mackenzie, GRAMOPHONE, Oct., 1926


J0652. MARGUERITE D’ALVAREZ, w.Neale Blair (Pf.): Tus ojillos negros (de Falla) / La zagalina (Tabuyo). 10” Orth Vla 1139, only form of issue, 8 Dec., 1925 (Sd. 2 being ‘Take’ 8 of two issued Versions). M-A MB 25

J0653. MARGUERITE D’ALVAREZ, w.Mme Adami (Pf.): La première (Amherst Webber) / w.Percy Kahn (Pf.): J’ai pleuré en rêve (Hüe). 10” PW Disque Gram. DA 794, only form of issue, 17 July, 1925 / 18 June, 1926. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. Exceedingly Rare! MB 45

J0654. MARGUERITE D’ALVAREZ, w.Ivor Newton (Pf.): Platero (arr Schindler) / Mi pobre reja (Tabuyo). 10” PW Disco Gramófono DA 830 (Bb9308-2/99313-1), only form of issue, 13 Oct., 1926. [Most elusive, the only copy we’ve ever seen!] A to M-A MB 45

J0655. MARGUERITE D’ALVAREZ, w.Ivor Newton (Pf.): Caro mio ben (Giordani) / Down here (Brahe). 10” PW HMV DA 831, only form of issue, 14 Oct., 1926. A-, lovely copy has faint rubs; Sd.1 only has 2 minuscule scrs, inaud. MB 15

J0656. MARGUERITE D’ALVAREZ: Stille Nacht (in English) (Gruber). 12” brown shellac Vocalion 52020, POM-1921. M-A, pristine copy has faint rub, inaud. MB 8

J0657. MARGUERITE D’ALVAREZ: ELIJAH – O rest in the Lord (Mendelssohn). 12” brown shellac Vocalion 52018, POM-1921. M-A, as New! MB 12

J0658. MARGUERITE D’ALVAREZ: LE PROPHÈTE – Ah, mon fils! / SAMSON ET DALILA – Mon coeur s’ouvre à ta voix (1920 Version). 12” brown shellac Vocalion 70010, POM-1920, issued USA only. M-A, as New! MB 12

J0659. MARGUERITE D’ALVAREZ: CARMEN – Habañera (1920 Version, D’Alvarez’s first recording) / MARGUERITE D’ALVAREZ & GIULIO CRIMI: IL TROVATORE – Ai nostri monti. 12” pink Eng. Vocalion A-200 (5151/7359), POM-1920. A-/M-A, lovely copy has, Sd. 1 only, mere hint of grey on peaks. MB 10

J0660. MARGUERITE D’ALVAREZ: SAMSON ET DALILA – Mon coeur s’ouvre à ta voix / Printemps qui commence (1920 Versions). 12” Orth Vla 6590, POM-23 April, 1926. M-A, as New! MB 8

J0661. MARGUERITE D’ALVAREZ: SAMSON ET DALILA – Mon coeur s’ouvre à ta voix (1920 Version). 12” brown shellac Vocalion 52000, POM-1920. M-A, as New! MB 10

J0662. MARGUERITE D’ALVAREZ: SAMSON ET DALILA – Mon coeur s’ouvre à ta voix (1920 Version). 12” brown shellac Vocalion 52000, POM-1920. M-A, as New! Label Autographed in black ink by D’Alvarez. MB 20

“Marguerite d’Alvarez is gifted with a most extraordinary contralto voice of great range and flexibility, and of a mellow and luscious quality.”


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


J0663. MARGUERITE D’ALVAREZ: CANZONES ARABESCAS – Mira la bien (Pedrell) / CARMEN – Séguedille (1921 Version). 10” brown shellac Vocalion 60031, POM-1921. M-A MB 15

J0664. MARGUERITE D’ALVAREZ, w.Ivor Newton (Pf.): CARMEN – Séguedille / SAMSON ET DALILA – Mon coeur s’ouvre à ta voix (1928 Versions). 10” EL PW HMV DA 1000, only form of issue, 14 Sept., 1928. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 15

“D’Alvarez studied in Brussels and made her operatic début at Rouen as Dalila in 1907 or 1908. In 1909 she joined Oscar Hammerstein's Manhattan Opera Company, first appearing as Fidès in LE PROPHÈTE. With the Boston Opera Company in 1913 she made a strong impression as the Mother in Ermanno Wolf-Ferrari's I GIOIELLI DELLA MADONNA, and at Covent Garden in 1914 her Amneris won acclaim for the power, rich quality and ease of her singing. She appeared as Carmen at La Scala and as Léonor in LA FAVORITE at Marseilles. After 1918 she sang principally in concerts, specializing in French and Spanish song, and gave her last London recital in 1939. She wrote a colourful autobiography, FORSAKEN ALTARS (London, 1954), published also as ALL THE BRIGHT DREAMS (New York, 1956) [B1131 & B1132 on our website]. Her recordings show an exceptionally rich and well-produced voice.”


- Ashot Arkelyan


J0665. RAFAELO DIAZ: Because (d’Hardelot) / How dy do, Mis’ Springtime (Guion). 10” black early Col. 117-M, only form of issue, 19 Nov., 1925. A-, lovely copy has lt.rubs, inaud. [Met Opera, 1918-30; Particularly charming renditions, in Diaz’s delightfully inflected English!] MB 15

J0666. CARLOS MEJIA: LES PÊCHEURS DE PERLES – Je crois entendre (in Italian) / BARBIERE – Ecco ridente. 12” blue Victor 55091, POM-7 / 10 Aug., 1917. A to M-A, superb copy has, Sd.2, faintest rub, inaud. & hardly worth mention. MB 15

“Carlos Mejía Lango was a Mexican tenor and composer and is recognized as one of the most important tenors of the Latin American music scene of the beginning of the last century. He made his first public appearance at age 23 on 4 April, 1915 at the Abreu Theater in LA FAVORITA. Subsequently Mejia appeared in New York at the Lírico Theater in a company of zarzuelas and operettas.”


- Wikipedia


J0667. CRISTINA SORO BARRIGA DE BALTRA: Lejos de ti (Ponce) / Vida mia (Fuentes). 10” Vla 954, POM-25 / 27 Sept., Sept., 1922, (assigned S/S numbers, but never issued). Never listed in a North American Victor Catalogue. M-A, as New! [Sd.2 is particularly exquisite!] MB 25

J0668. CRISTINA SORO BARRIGA DE BALTRA: Estrellita (Ponce) / EL CARRO DEL SOL – Canción veneciana (Serrano). 10” Vla 920, POM-18 Sept. / 3 Oct., 1922, Never listed in a North American Victor Catalogue. M-A, as New! MB 15

J0669. CRISTINA SORO BARRIGA DE BALTRA: , w.Enrique Soro Barriga (Pf.): Copihue rojo (Nueva canción) (Acc. by the Composer). 10” Vla 64762, only form of issue, 24 June, 1917, Havana, Original ‘A’ Plate Issue, long believed not to have been issued. Never listed in a North American Victor catalogue. M-A, as New! MB 35

J0670. CRISTINA SORO BARRIGA DE BALTRA: LA WALLY – Ebben? Ne andró lontana (Cilea). 12” Vla 74585, only form of issue, 24 June, 1917, Havana, Original ‘A’ Plate Issue, long believed not to have been issued. Never listed in a North American Victor catalogue. M-A Exceedingly rare! M-A, choice copy has faintest rubs, inaud. MB 35

“Soro began vocal studies with Italian teachers who had settled in Chile. She made her début at the age of 15 at the Santiago Teatro Municipal, singing compositions of her brother, Enrique Soro Barriga. It was Barriga who accompanied Soro in her first group of Red Seal Victor records (originally trial recordings), these made in Santiago (another souce indicates Havana, Cuba) in 1917 on portable equipment by a Victor talent scout then visiting Central and South America. This was a year after she had graduated with highest honors from the Santiago Conservatory of Music, receiving a degree of Professor of Music. On the success of these trials (which included the LA WALLY disk, above), Victor wanted her to come to Camden to record with orchestra, but she had entered a course of study at the Verdi Conservatory in Milano and wasn’t available until 1922, when she made her second and final group of records. A concert tour of Mexico with pianist/composer Manuel Ponce followed this. Apparetly Soro didn’t appear in opera, her career having been as a recitalist and teacher She was active in the latter capacity in 1949 when she was interviewed for Hobbies Magazine by William R. Moran (and from which article this information is taken).”


- Lawrence F. Holdridge


J0671. CRISTINA SORO BARRIGA DE BALTRA: IL TROVATORE – D’amor sull’ali rosee / GABRIELLA BESANZONI: SAMSON ET DALILA – Printemps qui commence (in Italian). 12” Vla 6409, POM-30 Sept., 1922 / 10 March, 1920. Never listed in a North American Victor catalogue. M-A MB 12

J0672. ZÉLIE de LUSSAN: Spoken message, followed by Joaquin Miller’s poem ‘If all God’s world a garden were’ / I know a lovely garden (d’Hardelot). 10” Private UK shellac disk, recorded 1948 at Star Sound Studios, London / RR-1906, from Beka Grand. A to M-A MB 15

J0673. ZÉLIE de LUSSAN: Spoken message discussing all her ‘murders’ by fifty-seven different Don Josés, followed by her 1906 recording of ‘Me voici dans son boudoir’ from MIGNON. 12” Private black & white Star Sound Studios S/S shellac disk SSS 1609, recorded 4 Nov, 1946. Label Autographed in black ink by de Lussan. A to M-A MB 35

J0674. ZÉLIE de LUSSAN: Lili (Guétary). 10” red Victor Monarch 81002 (B-16), POM-17 May, 1903, Original ‘A’ Plate Issue, Never Doubled in any regular series, only as the elusive IRCC & AGS reissues. A-, excellent copy has faint rubs & minor ndl cut, momentarily very ltly audible 2 or 3 turns; uncommonly bright label. MB 25

J0675. ZÉLIE de LUSSAN: Lili (Guétary) / La Paloma (Yradier). 10” mauve & gold HMV AGSA 33, POM-17 May, 1903. M-A MB 15

J0676. ZÉLIE de LUSSAN: Rosy Morn (Ronald). 10” red Victor Monarch 81008 (B-20), early ‘B’ Plate Issue, POM-17 May, 1903, Never Doubled in any regular series, only as the elusive IRCC reissue. A-, excellent copy has faint rubs, inaud.; uncommonly bright label. MB 35

J0677. ZÉLIE de LUSSAN: Rosy Morn (Ronald) / Lili (Guétary). 10” PW silver Vla IRCC 69, POM-17 May, 1903. Numbered Copy #8 of Limited Edition, Sd.1 label is Autographed by de Lussan, to which her photo is affixed. M-A, as New. MB 45

J0678. ZÉLIE de LUSSAN: La Paloma (Yradier). 10” GP V 64003 (B-17), POM-17 May, 1903, Never Doubled in any regular series, only as the elusive AGS reissue. A-, lovely copy has faintest rubs, inaud.; sl. smudged label. MB 15

J0679. ZÉLIE de LUSSAN: MIGNON – Connais-tu le pays? 10” red Victor Monarch 81003 (B-19), POM-17 May, 1903, early ‘B’ Plate Issue, Never Doubled in any regular series, only as the elusive IRCC reissue. A-, excellent copy has faint rubs, inaud. MB 25

J0680. ZÉLIE de LUSSAN: MIGNON – Connais-tu le pays? 10” white Vla 64005 (B-19), POM-17 May, 1903, Never Doubled in any regular series, only as the elusive IRCC reissue. M-A, as New! MB 20

J0681. ZÉLIE de LUSSAN: MIGNON – Me voici dans son boudoir / CARMEN – Habañera (1906 Version). 10” dark-red John Bull 8314/13, POM-1906, from Beka Grand matrices. B, very decent copy has rubs & very lt. scrs, occasionally audible. MB 15

J0682. ZÉLIE de LUSSAN: CARMEN – Habañera 10” white Vla 64004 (B-18), POM-17 May, 1903, Never Doubled in any regular series, only as the elusive IRCC reissue. M-A, as New! MB 20

J0683. ZÉLIE de LUSSAN: CARMEN – Habañera / MIGNON – Connais-tu le pays? (1903 Versions). 10” PW silver Vla IRCC 22, POM-17 May, 1903. Numbered Copy #44 of Limited Edition, Sd.1 label is Autographed by de Lussan, to which her photo is affixed. M-A, as New. MB 45

“Zélie de Lussan was born in Brooklyn but lived in London most of her life. In 1888 she was engaged by Augustus Harris for his first Covent Garden season, when she sang Carmen. This became her signature role, with over 1000 performances. In an interview after her retirement she claimed she'd been murdered by fifty-seven different Don Josés. From 1890-1910, she performed in the Royal Opera Covent Garden, and with New York City's Metropolitan Opera, 1895-96. She toured the U.S. with the Metropolitan, circa 1900.”


- Sophia Smith Collection, Smith College


J0684. ROSALIA CHALIA & EMILIO de GOGORZA (as Sig. Francisco): CARMEN – Si tu m’aimes (in Italian). 10" flush black Victor Monarch 3406, announced, only form of issue, 24 May, 1901. A-, remarkably fine unworn copy has faint rubs & a few superficial scrs, inaud.; 1 tiny ‘stressed’ groove, ltly. Audible merely 3 ticks; uncommonly bright label. Most extraordinary to find a Chalia disc in such good condition. MB 135

“Rosalia Chalia was born into Cuban nobility in 1866 and despite her family's wishes, she mounted a tremendously successful stage career. She was especially known for her Santuzza, which she sang at the Metropolitan Opera in the 1898-99 Season. But possibly her greatest mark will be her role as the first major operatic star to make a series of disc recordings: the Eldridge R. Johnson Improved Record (Victor) in 1900 - 1901. She also sang for Bettini, Zonophone, and Columbia. Her records are rare and hard to find in good condition. Her voice is extremely flexible with a huge range and supple timbre. She negotiates coloratura passages with breathtaking agility and beauty. Her recordings are spellbinding and each one is a treasure.”


– Ward Marston


J0685. EMILIO de GOGORZA (as Sig. Francisco): National hymn of Argentine Republic (Blas Perera). 10” black GP V 2385 (B-60), only form of 10” issue, 8 June, 1903. A-, very decent copy has lt.rubs & few superficial scrs, inaud.; plays very well. MB 15

J0686. EMILIO de GOGORZA (as Sig. Francisco): La Marseillaise (1903 Version) (de l’Isle), announced. 10" black Victor Monarch 1850, only form of issue, 5 Jan., 1903. A to M-A, exemplary copy has faintest rubs & 1 tiny scr, inaud.; uncommonly bright label. MB 25

J0687. EMILIO de GOGORZA (as Sig. Francisco): The Holy City (1904 Version) (de l’Isle), announced. 10" black Victor Monarch 4163 (B 1762), only form of issue, 11 Sept.., 1904. A-, lovely copy has faintest rubs, inaud.; uncommonly bright label. MB 25

J0688. EMILIO de GOGORZA: Musica proibita (Gastaldon). 10” V 64596, POM-18 April, 1916, Never Doubled. A to M-A, choice copy of a particularly beautiful & elusive issue. MB 15

J0689. EMILIO de GOGORZA: CHANSON DE FORTUNIO - Sérénade (Offenbach). [Offenbach's obituary in The New York Times considered this song to be one of his best compositions!] 10” Vla 64632, POM-23 Oct, 1916. M-A, a spectacular copy! MB 15

J0690. EMILIO de GOGORZA (as Sig. Francisco): UN CAPITÁN DE LANCEROS - Sevillana (Caballero). 10” black GP V 4767 (B-2748), only form of issue, 12 Sept., 1905. A to M-A, an extraordinary copy. MB 20

J0691. EMILIO de GOGORZA (as Carlos Francisco): Ständchen (in Spanish) (Schubert). 10” black GP V 4643 (B-3085), POM-5 Feb., 1906, ‘Take’ 2 (of 2 issued ‘takes’; ‘Take’ 1 issued in Canada). A to M-A MB 12

J0692. EMILIO de GOGORZA: Linda mia (Folk song). 10” black GP V 4307 (B-2127), Original Issue, 10 Jan., 1905. A-, very decent copy has lt.rubs & few superficial scrs, inaud.; plays very well. MB 10

J0693. EMILIO de GOGORZA: La Marseillise (de Lisle). 10” black GP V 4326 (B-2120), Original Issue, 10 Jan., 1905. A-B, very decent copy has lt.rubs, a few superficial cosmetic scrs & lt. scuffs, yet plays well; inherently noisy matrix. MB 10

J0694. EMILIO de GOGORZA: FAUST - Avant de quitter ces lieux (in Italian) / w.Helen M. Winslow (Pf.): Voici que le printemps (Debussy). 10” PW silver Victor IRCC 72, POM-15 Sept., 1903 / 6 April, 1928, resp; Sd.2 from Unpublished Master. Numbered Copy #25 of a Limited Edition. Sd.1 label Autographed by de Gogorza, whose Photo is affixed. de Gogorza considered Debussy's ‘Voici que le Printemps’ his personal favorite. Among the most desirable and elusive of the entire IRCC Catalogue! M-A/A to M-A, exemplary copy has, Sd.2 only, faintest rubs, inaud. MB 95

J0695. EMILIO de GOGORZA, w.Helen Winslow (Pf.): Bergère légère (arr.Weckerlin) / Menuet (Exaudet). 10” Vla 1108, only form of issue, 4 Feb., 1925 / 11 Dec., 1922. A to M-A, choice copy has, Sd 1 only, faintest rubs, inaud. Elusive very late AC-era issue enjoyed extremely brief Catalogue life! MB 12

J0696. EMILIO de GOGORZA, w.Helen Winslow (Pf.): Leetle Bateese / De Capitaine of de Marguerite (both O’Hara). 12” Vla 6535, only form of issue, 4 Feb., 1925. M-A, superb copy! Elusive very late AC-era issue had a brief Catalogue life! MB 25

J0697. EMILIO de GOGORZA: Tambourin (arr. Tiersot). 10” Special vinyl pressing of Unpublished Victor Matrix B-31800-2, POM-3 Feb., 1925. MINT MB 35

J0698. EMILIO de GOGORZA: Juanita (Norton) / In old Madrid (Trotère). 10” Scroll V 1179, POM-12 Jan., 1926, on ‘Z’ shellac. A to M-A, choice copy has faintest rubs, inaud. & hardly worth mention. MB 12

J0699. EMILIO de GOGORZA: Mother o’ mine (Tours) / The unknown soldier (Schubert-O’Hara). 10” Vla 1107, only form of issue, 18 / 19 Dec., 1924. M-A Elusive very late AC-era issue enjoyed extremely brief Catalogue life! MB 15

J0700. EMILIO de GOGORZA (as Sig. Francisco): La paloma (13 Jan., 1904 Version) (Yradier). 10” black GP V 2702 (B-1059), Original Issue, 3 Jan., 1904. A-, very decent copy has lt.rubs & few superficial scrs, inaud.; plays very well. MB 10

J0701. EMILIO de GOGORZA (as Sig. Francisco): La paloma (11 Sept., 1904 Version) (Yradier). 12” black GP V 31346 (C-1917), Original Issue, 11 Sept., 1904. M-A, superlative copy has 2 superficial mks, inaud. & hardly worth mention. MB 12

J0702. EMILIO de GOGORZA (as Sig. Francisco): La paloma (Yradier) / La golondrina (Serradell) (1913 Versions) 10” black V 17442, POM-5 / 3 Sept., 1913. A to M-A, lovely copy has faint rubs, inaud. MB 8

J0703. EMILIO de GOGORZA: La paloma (Yradier) / La golondrina (Serradel) (1926 Versions). 10” PW V 1141, POM-12 Jan., 1926. M-A MB 8

J0704. EMILIO de GOGORZA (as Sig. Francisco): BARBIERE – Largo al factotum. 10" black Victor Monarch 4001 (M-3056), original form of issue, 11 Feb., 1903, Take’ 5 (of 3 issued ‘takes’); a remarkably ‘forward’ recording! A to M-A, extraordinary copy has a few faint rubs, inaud.; exceedingly bright label. MB 20

J0705. EMILIO de GOGORZA: Tavira o’ la remeria (Encilla). 10” Pat.’08 [5 line] V 64110, only form of issue, 19 Nov., 1909. A-, lovely copy has faintest rubs & sev.superficial lt. scrs, inaud. Elusive & charming issue enjoyed brief Catalogue life! MB 15

J0706. EMILIO de GOGORZA: La Seviliana (Yradier) (1904 Version). 10" black Victor Monarch 4162 (B-1764), POM-12 Oct., 1904. B, decent copy has rubs & a few superficial scrs, only 1 tick sounds; uncommonly bright label. MB 15

J0707. EMILIO de GOGORZA: El Canto del Presidiario (1928 Version) (Álvarez) / La Partida – Canción española (Alvarez). 12” Orth Vla 6839, only form of issue, 6 April, 1928. A to M-A, lovely copy has faintest rubs, inaud. Exceedingly elusive! MB 25

J0708. EMILIO de GOGORZA (as Sig. Francisco): CADIZ – Era una pobe nega (as ‘Tango de los Negritos’ (Chueca). 10" black Victor Monarch 4090 (B-1735), original form of issue, 5 Oct., 1904, Take’ 3 (of 2 issued ‘takes’). A to M-A, extraordinary copy has a few faint rubs, inaud.; uncommonly bright label. MB 20

J0709. EMILIO de GOGORZA (as Sig. Francisco): CADIZ – Era una pobe nega (as ‘Tango de los Negritos’ (Chueca). 10" black GP V 4090 (B-1735), only form of issue, 5 Oct., 1904, Take’ 3 (of 2 issued ‘takes’). A to M-A, lovely copy has a few faint rubs, inaud.; uncommonly bright label. MB 12

J0710. EMILIO de GOGORZA (as Sig. Francisco): MARTHA – Chi mi dirà (Porter Song) (Flotow). 10" black Victor Monarch 2708 (B-1106), original form of issue, 11 March, 1904; a remarkably ‘forward’ recording! A-B, very decent copy has lt. rubs & few superficial scrs, inaud.; uncommonly bright label. MB 20

J0711. EMILIO de GOGORZA (as Sig. Francisco): MARTHA – Chi mi dirà (Porter Song) (Flotow). 10" black GP V 2708 (B-1106), POM-11 March, 1904; a remarkably ‘forward’ recording! A to M-A, extraordinary copy has a few faint rubs, inaud.; uncommonly bright label. MB 12

J0712. EMILIO de GOGORZA (as Sig. Francisco): CARMEN – Chanson du Toréador. 10" black Pat.12 V 4074 (B-1105), POM-11 March, 1904; a remarkably ‘forward’ recording! M-A, a spectacular copy, with an uncommonly bright label. MB 15

J0713. EMILIO de GOGORZA: PATRIE - Jadis elles chantaient gaiment (Paladilhe) / BENVENUTO CELLINI – De l'art, splendeur immortelle (Diaz). 12” silver Victor IRCC 141, POM-19 Sept., 1911 / 1 Feb., 1909, resp; Sd.2 from Unpublished matrix. Numbered Copy #22 of a Limited Edition. Sd.1 label Autographed by de Gogorza. M-A, lovely copy has very occasional wee pressing bump. Among the most desirable and elusive IRCCs! MB 45

J0714. EMILIO de GOGORZA: IL TROVATORE – Il balen. 12” GP V 74124, POM-15 April, 1908, Never Doubled US. Label Autographed & dated 10 Nov, 1947, in de Gogorza’s own hand. A-, lovely copy has lt. rubs, inaud. MB 15

J0715. EMILIO DE GOGORZA & EMMA EAMES: VÉRONIQUE – Duo de l’escarpolette (Swing Song, in English) (Messager). 12” V 89063, only form of issue, 27 Nov., 1911. M-A, gleaming copy has minor label crease (not 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


J0716. EMILIO DE GOGORZA & EMMA EAMES: DON GIOVANNI – Là ci darem la mano (1906 Version) [C-3170-2] / NOZZE – Crudel, perchè finora. 12” 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 faintset rubs, inaud. MB 20

“de Gogorza spent his youth in Spain, France and in England, where he sang as a boy soprano. He returned to New York and made his début as assistant to Marcella Sembrich in 1897. Because he was extremely near-sighted he never sang in opera, but he soon found a place as a leading recitalist and festival soloist, often appearing jointly in recitals with Emma Eames, whom he married in 1911. From about 1898 he was very active in various recording studios, using a variety of pseudonyms (Carlos Francisco, M. Fernand, Herbert Goddard, etc.); eventually, under his own name, he became one of the most successful and prolific Victor Red Seal artists. Because of his own success and his association with many of the leading singers of his day, he became artistic director for Victor and supervised many recording sessions. In 1925 he joined the faculty of the Curtis Institute. His voice was a vibrant and virile baritone of wide range and ample power, as can be heard on numerous recordings. He was master of many styles, especially admired in music of the French and Spanish schools, but he had a gift of lending distinction to simple home songs and popular selections.”


- Philip Lieson Miller


J0717. JOSÉ MOJICA: Te he de querer (Oteo) / Morena mia (Villarrel). 10” paper label Edison H & D 60048 (10377/92), only form of issue, 1925. M-A, a gleaming copy in Original Edison sleeve. MB 45

J0718. JOSÉ MOJICA: Golondrina Mensajera (both Oteo). 10” paper label Edison H & D 80792 (9527/28), only form of issue, 1924. M-A, a gleaming copy in Original Edison sleeve. MB 35

J0719. JOSÉ MOJICA: Pasas por el abismode mis Tristezas (del Moral) / w.John F. Burckhardt (Pf.): Gratia plena (Talavera). 10” paper label Edison H & D 76018 (11005/10989), only form of issue, 1926. M-A, a gleaming copy in Original Edison sleeve. MB 35

J0720. JOSÉ MOJICA: Adios, Trigueña (Robles) / Ay-Ay-Ay. 10” paper label Edison H & D 80793 (9525/26), only form of issue, 1924. M-A, a gleaming copy in Original Edison sleeve. MB 35

J0721. JOSÉ MOJICA: Agua que va Rio Abajo - Couplet (Abades) / Virgencita (Pérez). 10” paper label Edison H & D 76016 (7266/74), only form of issue, 1924. M-A, gleaming copy has, Sd.2 only, clouded grooves, inaud., in Original Edison sleeve. MB 25

“Enrico Caruso helped Mojica to obtain a contract with the Chicago Civic Opera company. Two additional introductions made on his behalf by Caruso impacted his career - when Caruso recommended Mojica to Edison to become one of Edison's Three Tenors, and when Caruso gave him letters of introduction and told him to go to Hollywood where they would need young voices to sing in 'talkies'. He went to California, and except for individual trips back to Chicago and New York for singing engagements, his career was in films in Hollywood and throughout Latin America.”


- MOJICA, José Fray José de Guadalupe - Escritores del Cine Mexicano Sonoro UNAM, Universidad Nacional


J0722. JOSÉ MOJICA: Princesita (Padilla) / Al pie de tu Ventana. 10” paper label Edison H & D 80794 (9531/32), only form of issue, 1924. M-A, a gleaming copy in Original Edison sleeve. MB 35

J0723. JOSÉ MOJICA: Agua que va Rio Abajo - Couplet (Abades) / Virgencita (Pérez). 10” paper label Edison H & D 76016 (7266/74), only form of issue, 1924. M-A, gleaming copy has, Sd.2 only, clouded grooves, inaud., in Original Edison sleeve. MB 25

J0724. JOSÉ MOJICA: Ausencia (Pérez) / Cancion de los Achares (Valverde). 10” paper label Edison H & D 76014 (7187/88), only form of issue, 1924. M-A, gleaming copy has, end Sd.2 only, several additional runout grooves, in Original Edison sleeve. MB 35

J0725. JOSÉ MOJICA: Fingida (Jordá) / Ojos tapatios – las Musas del Pais (Velásquez). 10” paper label Edison H & D 76015 (7267/75), only form of issue, 1924. M-A, a gleaming copy in Original Edison sleeve. MB 35

J0726. JOSÉ MOJICA, w.John F. Burckhardt (Pf.): La Cancion de Flor de Mayo (Talavera) / LOS GAVILANES – Flor Roja (Guerrero). 10” paper label Edison H & D 76017 (11013/16), only form of issue, 1926. M-A, a gleaming copy in Original Edison sleeve. MB 35

J0727. JOSÉ MOJICA: Lolita (Buzzi-Peccia) / L’ELISIR – Una furtiva lagrima (both in Italian). 10” paper label Edison H & D 82344 (11000/10999), only form of issue, 1926. M-A, a gleaming copy in Original Edison sleeve. MB 35

J0728. JOSÉ MOJICA: LAKMÉ – Fantaisie aux divine mensonges (Donizetti) / GLI UGONOTTI – Bianca al par (Meyerbeer) (both in Italian). 10” paper label Edison H & D 82347 (11003/11010), only form of issue, 1926. M-A, a gleaming copy in Original Edison sleeve. MB 35

J0729. JOSÉ MOJICA: BARBIERE – Ecco ridente (Rossini) / LES PÊCHEURS DE PERLES – Je crois entendre (Bizet) (both in Italian). 10” paper label Edison H & D 82343 (10391/98), only form of issue, 1926. M-A, a gleaming copy in Original Edison sleeve. MB 35

J0730. JOSÉ MOJICA: FAUST – Salut! demeure (in Italian) / SNEGOROUTCHKA – Full of wonders (in [impeccable] English) (Rimsky-Korsakov). 12” Orth Vla, only form of issue, 20 Sept., 1928. Never listed in a pre-1931 U.S. catalogue. MB 25

J0731. JOSÉ MOJICA & RODOLFO HOYOS (Baritone): Su mamá tuvo la culpa (Oteo) / Paloma blanca (Lerdo de Tejada). 10” paper label Edison H & D 76019 (11007/09), only form of issue, 1926. M-A, a gleaming copy in Original Edison sleeve. MB 35

J0732. JOSÉ MOJICA & RODOLFO HOYOS (Baritone): Cinita (Talavera) / w.John F. Burckhardt (Pf.): Te vengo a decir adios (Oteo). 10” paper label Edison H & D 76020 (11007/09), only form of issue, 1926. M-A, a gleaming copy in Original Edison sleeve. MB 35

“Born in México in poverty, but gifted with a fine voice and good looks, José Mojica joined the Chicago Opera Company in 1919 and remained there until 1930, when he went into films, returning once more to Chicago to sing Fenton in FALSTAFF in 1940. His parts ranged from Pelléas, which he sang opposite Mary Garden , to Don Basilio in LE NOZZE DI FIGARO. In 1921 he sang the Prince in the première of THE LOVE FOR THREE ORANGES, in which he scored a further success the following year in New York. On his mother's death in 1943 he gave up his career and became Father José Francisco de Guadaloupe , a Franciscan priest, working as a missionary in Peru. He undertook a concert tour of Central America to raise funds in 1954, and later wrote his autobiography, YO PECADOR (I, a sinner) (México City, 1956). His recordings show an attractive lyric voice often used with skill and imagination.”


- J. B. Steane


J0733. INOCENCIO NAVARRO: La Adoración (Gelabert). 10” Vla 64738, POM-27 Nov., 1915. Never listed in a North American Victor catalogue. M-A, choice copy has minuscule dust mk at very end, inaud. & hardly worth mention. MB 12

J0734. INOCENCIO NAVARRO: Mia bandera (González) / Viva la pilarica (Chanes). 10” blue Victor 45127, POM-12 May / 19 July, 1915. A to M-A, choice copy has faintest rubs, inaud. MB 12

J0735. INOCENCIO NAVARRO: Caminito de Belén (Monterde). 10” Vla 64739, POM-27 Nov., 1915. Never listed in a North American Victor catalogue. A-B, decent copy has considerable rubs, inaud. MB 8

J0736. INOCENCIO NAVARRO: Le Crucifix (in Spanish) (J. B. Faure). 10” Vla 64740, POM-1915. Never listed in a North American Victor catalogue. A to M-A, choice copy has very few isolated superficial mks, inaud. & hardly worth mention. MB 12

J0737. ANTONIO PAOLI: LE PROPHÊTE – Re del cielo. 10” Pat.’08 V 91080 (10522b), POM-1907, Never Doubled, USA. M-A, an extraordinary copy! MB 25

J0738. ANTONIO PAOLI: ANDREA CHÉNIER – Un dì all’azzurro spazio (Improvviso). 12” Gramophone Monarch 052271 (1842c), only form of issue, 1908. M-A, lovely copy has faintest rubs, inaud. MB 20

J0739. ANTONIO PAOLI: OTELLO – Dio, mi potevi scagliar. 12” V 88240 (1260c), POM-1907, Never Doubled (other than as the rare HRS reissue). M-A, lovely copy has faintest rubs, inaud. MB 20

J0740. ANTONIO PAOLI, VITTORIO de GOETZEN & GIUSEPPE SALA: OTELLO – Una vela! Un vessillo; Esultate! (the latter not stated on label!) / ANTONIO PAOLI & VITTORIO de GOETZEN: Ah! mille vitigli donassi Iddio. 12” PW HMV DB 467 (360/370ai), POM-1912. A to M-A, extraordinary copy! MB 15

J0741. ANTONIO PAOLI, VITTORIO de GOETZEN & SALVATORE SALVATI: OTELLO – Questa e una ragna. 10” HMV 54451 (1291ah), POM-1911. A to M-A, lovely copy has faintest rubs, inaud. MB 15

J0742. ANTONIO PAOLI: SAMSON ET DALILA – Figli miei, v’arrestate. 10” Pat.’08 V 91078 (10521b), POM-1907, Never Doubled, USA. A-, lovely copy has faint rubs, inaud. MB 20

J0743. ANTONIO PAOLI: SAMSON ET DALILA – Spezza i ceppi Israel. 10” red Milano G & T 052169 (1179c), only form of issue, 1907. A-, lovely copy has lt. rubs & few superficial scrs, inaud. MB 25

J0744. ANTONIO PAOLI: IL TROVATORE – Deserto sulla terra. 10” red Milano G & T G.C.-2-52596 (10540b), POM-1907. A-, lovely copy has faint rubs, inaud. MB 25

J0745. ANTONIO PAOLI: IL TROVATORE – Di quella pira. 12” Pat.’08 V 92032 (1182c), only form of regular issue, 1907 (other than as the rare HRS reissue), Original ‘A’ Plate Issue. [Most remarkable that such a ‘forward’ recording plays so brilliantly, without even a hint of distortion!] M-A, lovely copy has faintest rubs, inaud.; very slight label smudge. MB 25

J0746. ANTONIO PAOLI: IL TROVATORE – Di quella pira. 12” Vla 92032 (1182c), only form of regular issue, 1907 (other than as the rare HRS reissue), Original ‘A’ Plate Issue, choice late pressing with Victor ‘spiderweb’ verso. [Most remarkable that such a ‘forward’ recording plays so brilliantly, without even a hint of distortion!] M-A, lovely copy has faintest rubs, inaud. MB 25

J0747. ANTONIO PAOLI & CLARA JOANNA: IL TROVATORE – Di geloso amor. 10” red Milano G & T G.C. 54340 (10519b), POM-1907. M-A, extraordinary copy has minuscule pap.scr, inaud.; Original Printed Grammofono Sleeve which has Paoli’s photo affixed! MB 35

J0748. ANTONIO PAOLI & CLARA JOANNA: IL TROVATORE – Miserere. 12” red Milano G & T 054159 (1178c), POM-1907, Never Doubled. A-, fine copy has lt.rubs & hint of grey on peaks, inaud.; wee pressing bump is audible sev. turns. MB 25

J0749. ANTONIO PAOLI & PERELLO de SEGUROLA: AÏDA – Nume custode e vindice. 12” Pat.’08 [3 line] Vla 88268 (1844½c), POM-11 May, 1909, Original ‘A’ Plate Issue. A to M-A MB 15

J0750. ANTONIO PAOLI & MARIA PASSARI: CARMEN – Io t’amo ancor (Final Duet, Act IV). 12” Pat.’12 Vla 92050 (1257c), POM-1907, Never Doubled, USA. [Once again, most remarkable that such a ‘forward’ recording plays so brilliantly, without even a hint of distortion! With such declamatory singing from Paoli, one wonders whether the Carmen may have died from being overwhelmed with terror! Not so at the opera today!] A to M-A, extraordinary copy has wee pressing bump, faintly audible. MB 25

J0751. ANTONIO PAOLI, HUGUET, CIGADA & INES SALVADOR: CARMEN – Mia tu sei! (Finale to Act III). 12” Pat.’12 Vla 92035 (1204½c), POM-1907, Never Doubled, USA. [Once again, most remarkable that such a ‘forward’ recording plays so brilliantly, without even a hint of distortion!] A to M-A, an extraordinary copy! MB 25

J0752. ANTONIO PAOLI, HUGUET, CIGADA & INES SALVADOR: CARMEN – Mia tu sei! (Finale to Act III). 12” white Vla 92035 (1204½c), POM-1907, Never Doubled, USA. [Once again, most remarkable that such a ‘forward’ recording plays so brilliantly, without even a hint of distortion! In addition to the powerful Paoli, Cigada’s Escamillo, too, would be unimaginable in performances of today!] A to M-A, an extraordinary copy! MB 25

“Judging from remarks by colleagues who heard him, Paoli must have been the great dramatic tenor of his era. ‘Paoli was one of the greatest dramatic tenors in the world of his time – and of this time, too’ (Lázaro). ‘Paoli was one of the greatest singing actors I have ever seen in my life’ (Piccaluga). [After ‘O Paradiso’ in l’AFRICANA] ‘sounded the most stupendous ovation I have heard in my fifty years [as a chorister] at La Scala’ [Enrico Neni]. ‘I sang with Paoli several times. His high notes...sounded so loud that to sing with him you had to know the music well, as otherwise you had no chance to hear the orchestra’ [Manfredo Polverosi]. ‘Let me tell you that during my long life I have not heard a better Otello than his, and believe me I have heard a lot of Otellos’ (Elvira de Hidalgo).”


- Jesus M. López, THE RECORD COLLECTOR, Vol. XXII, Nos. 1-2


J0753. ANTONIO PAOLI & FRANCISCO CIGADA: GUGLIELMO TELL – Ché finger tanto. 12” Pat.’08 V 92048 (1186c), POM-1907, Original ‘A’ Plate Issue. A to M-A, an extraordinary copy! MB 25

J0754. ANTONIO PAOLI, FRANCISCO CIGADA & ARISTODEMO SILLICH: GUGLIELMO TELL – Troncar suoi dì. 12” Pat.’12 V 92051 (1187c), POM-1907. A, an extraordinary copy! MB 25

J0755. ANTONIO PAOLI, CIGADA, ROSCI & GAETANO PINI-CORSI: PAGLIACCI – Un grande spettacolo! (Cond. By the Composer). 12” V 92009 (1215½c), POM-1907. A-, lovely copy has faintest rubs, inaud. MB 12

J0756. ANTONIO PAOLI, HUGUET, CIGADA & GAETANO PINI-CORSI: PAGLIACCI – Versa il filtro (Cond. By the Composer). 10” red Milano G & T G.C. 54339 (10609b), POM-1907. A-, lovely copy has faintest rubs, inaud. MB 20

J0757. ANTONIO PAOLI, HUGUET, BADINI, CIGADA & GAETANO PINI-CORSI: PAGLIACCI – Bravo…Ebben, Se mi giudici di te indegna (Finale) (Cond. By the Composer). 12” Pat.’12 Vla 92013 (1231), POM-1907. A to M-A, an extraordinary copy! MB 15

“A Puerto Rican tenor who, at the height of his fame, was known as ‘The King of Tenors’ and ‘The Tenor of Kings’. Paoli is considered to be the first Puerto Rican to reach international fame in the musical arts. Paoli has been recognized as ‘one of the most outstanding opera singers of all time’, and as one who had ‘one of the most lyric and powerful voices...superior even to his contemporary rival, Enrico Caruso’."


- Juan Llanes Santos, National Register of Historic Places Registration: Casa Paoli


J0758. JOSÉ PALET: GUGLIELMO TELL- Andiam, Corrian (Rossini) / BALLO – La rivedrà nell’estasi (Verdi). 10” Vla 919, POM-1921. Never listed in a North American Victor catalogue. M-A, choice copy has faintest rubs, inaud. & hardly worth mention. MB 20

J0759. JOSÉ PALET: GIGANTES Y CABEZUDOS – Coro de repatriados (Caballero). 12” Vla 74761, POM-1921. Never listed in a North American Victor catalogue. M-A MB 15

J0760. JOSÉ PALET: LA BRUJA - Jota (Chapí) / GIGANTES Y CABEZUDOS – Coro de repatriados (Caballero). 12” Vla 6390, POM-23 Aug., 1917 / 1921. Never listed in a North American Victor catalogue. M-A, choice copy has faintest rubs, inaud. & hardly worth mention. [Sd.1 is a phenomenally ‘forward’ recording!] MB 25

J0761. JOSÉ PALET: MEISTERSINGER – Fanget an! (in Italian) / LA TEMPESTAD - Salve costas de Bretana (Chapí). 12" Vla 6393, POM-1921. Never listed in a North American Victor catalogue. M-A MB 25

J0762. JOSÉ PALET: LA DOLORES – Di que es verdad (Bretón) / LUCREZIA BORGIA – Di pescatori ignobile (Donizetti). 10” Vla 927, POM-4 / 11 Sept., 1917. Never listed in a North American Victor catalogue. M-A, choice copy. MB 20

“Palet's international career, mainly in Latin countries, won him acclaim principally in dramatic rôles, but he is best remembered now for his assumption of the tenor lead in Bretón's opera LA DOLORES.”


– Boris Semeonoff


J0763. JOSÉ PALET: LA DOLORES – Grande como el mismo sol (Bretón) / JOSÉ PALET & MERCEDES FARRY: MARINA – Piensa en el que amante (Arietta). 12” Vla 6384, POM-1916. Never listed in a North American Victor catalogue. M-A MB 20

“Valencian soprano Farry had a notable career in Spain in major zarzuela and operatic roles (such as Ophelia in Thomas’ HAMLET). She made her U.S. début in 1922 in concert at Aeolian Hall, New York. One critic indicated that the coloratura arias were ‘exceedingly well sung’ and that ‘Mme. Farry exhibited coloratura abilities of a high order. Her scales were sung with admirable clarity’.”
- Lawrence F. Holdridge


J0764. JOSÉ PALET: MARINA – Costa la da levante (Arietta), 2s. 10” Vla 928, POM-1921. Never listed in a North American Victor catalogue. M-A, lovely copy has, Sd.1 only, wee pressing bump. MB 20

J0765. HIPÓLITO LÁZARO: La Partida – Canción española (Álvarez) / LA BRUJA - Jota (Chapí). 12” dark-blue Spanish Viva-Tonal Regal Col. RS 6503 (KX181/183), POM-1929, [both sides missing entirely in the J. B. Richards discography.] A-, lovely copy has faint rubs, inaud. Elusive! MB 35

J0766. HIPÓLITO LÁZARO: Rinconcito Lajano (Oteo) / Come col capo sotto l’ala bianca - Serenata (Mascagni). 10” red Spanish Viva-Tonal Regal Col. RS 6502 (K1640/76), POM-1929. [Sd.2 is missing entirely in the J. B. Richards discography.] A to M-A, lovely copy has hint of grey on peaks, inaud.; Sd.2 only has light, superficial scr, inaud. MB 35

J0767. HIPÓLITO LÁZARO: Caminito de la serra (Paradavé) / Noches Brujas(Contini). 10” red Spanish Viva-Tonal Regal Col. RS 6503 (K1636/77), POM-1929. A to M-A, lovely copy has hint of grey on peaks, inaud.; Sd.1 only has wee pressing bump, faintly audible 4 turns. MB 25

J0768. HIPÓLITO LÁZARO: Desde Jejos (Contini) / A Granada (Álvarez). 10” red Spanish Viva-Tonal Regal Col. RS 6105 (K1649/72), POM-1929. A-, lovely copy has faintest rubs, inaud. MB 25

J0769. HIPÓLITO LÁZARO: La negra noche (Uranga) / SÉLICA PÉREZ CARPIO & MARCOS REDONDO: La Alsaciana (Guerrero). 10” blue Spanish Col. A 4086 (WK1638/2848), POM-1929. [Sd.1 is missing entirely in the J. B. Richards discography.] A-, lovely copy has faintest rubs, inaud. MB 25

J0770. HIPÓLITO LÁZARO: ISABEAU – Non colombelle! Tu ch’odi lo mio grido (Mascagni) / LA FAVORITA – Spirto gentil. 12” blue Spanish Col. AG 8013 (WKX 349/350), POM-1931. A to M-A, lovely copy has faintest rubs, inaud. MB 25

J0771. HIPÓLITO LÁZARO: LA FANCIULLA DEL WEST – Ch’elle mi creda / O son sei mesi. 12” red Spanish Viva-Tonal Regal Col. RS 5567 (BX 33/34), POM-1926. A to M-A, lovely copy has faintest rubs, inaud. MB 15

J0772. HIPÓLITO LÁZARO: TURANDOT – Non piangere, Liù / Nessun dorma. 12” red Spanish Viva-Tonal Regal Col. RS 5562 (BX 29/30), POM-1926. A to M-A/A-, lovely copy has faint rubs, inaud. MB 15

J0773. HIPÓLITO LÁZARO: GLI UGONOTTI – Bianca al par / L’AFRICANA – O Paradiso! 12” dark-blue early Col. 8936-M (KX 27/32), POM-1926. M-A, a spectacular copy! MB 15

J0774. HIPÓLITO LÁZARO: MEFISTOFELE – Giunto sul passo / Dai campi, dai prati. 12” dark-blue early Eng. Col. D 18005 (BX 40/41), POM-1926. M-A, a spectacular copy! MB 15

J0775. HIPÓLITO LÁZARO: RIGOLETTO – La donna è mobile / Questa o quella. 12” black Barcelona Disco Gramófono 2-052045/46 (z5271/72f), POM-1911, [Lázaro’s first recordings]. A-, lovely copy has faint rubs, inaud. MB 20

J0776. HIPÓLITO LÁZARO & MAFALDA de VOLTRI: IL PICCOLO MARAT – Sei tu? Che cosa vieni a far (Mascagni), 4s. 2-12” dark-blue PW Eng. Col. D 18006 / 18003, POM-1926. A to M-A, lovely copy has very occasional faintest pap. rub, inaud.; Sds 3 & 4 only have faintest rubs, inaud. & hardly worth mention. MB 45, the Pair.

“Lázaro’s upper register was remarkable not only for the power and ringing quality of its high B naturals, and, at the outset of his career, its high Cs, but also for its capacity to sustain with ease long phrases on high F and high G in the manner dear to the ‘verismo’ composers, and to Mascagni in particular.”


- Rodolfo Celletti, THE RECORD COLLECTOR, 1964


J0777. . EMILIO SAGI-BARBA: Alborada (Álvarez). 10” Vla 64510 (18708u), POM-26 Feb., 1914. A-, lovely copy has faintest rubs, inaud.; minor writing on label. contemporaneous Spanish import sticker remains! MB 10

J0778. EMILIO SAGI-BARBA: La Partida – Canción española (Alvarez) / Patria (Canción Española). 12” blue Victor 55144 (02897v/493ac), POM-28 Feb., 1914 / 27 Nov., 1912. M-A, an extraordinary copy. MB 25

J0778a. EMILIO SAGI-BARBA: El nino de Nazareth (La Virgen durmienolo el niño) (Titto) / Plegaria a la Santisima Virgen del Pilar (Agüeral). 10” blue Victor 454284 (17579u/18709u), POM-6 Feb., 1913 / 26 Feb./, 1914. M-A, an extraordinary copy. MB 25

J0779. EMILIO SAGI-BARBA: Widmung (in Spanish) (Schumann) / Plegaria (Alvarez). 10” blue Victor 45286 (17591u/524y), POM-10 Feb., 1913 / 23 March, 1909. M-A, exemplary copy has, Sd 2 only, tiny pressing bump, audible a few turns. The most persuasive rendition of ‘Widmung’ on record; both sides present Sagi-Barba at his most lyrically beautiful! MB 35

J0780. EMILIO SAGI-BARBA: Lolita (Buzzi-Peccia). 10” Pat.’12 V 64179 (H151), POM-6 Jan., 1910. Never listed in a North American Catalogue; no known record of foreign issuance. A to M-A, superb copy has tiny label scr. MB 15

J0781. EMILIO SAGI-BARBA: Mis amores (Alfonso). 10” Pat.’12 V 64366 (17580u), POM-6 Feb., 1913, Orig. ‘A’ Plate Issue. Never listed in a North American Catalogue. A to M-A, superb copy has faintest hint of grey on peaks, inaud.; initial grooves are sl.stressed, thus noisy during orchestral intro only. MB 12

J0782. EMILIO SAGI-BARBA: Granada (Álvarez). 10” V 64511 (18707u), POM-26 Feb., 1914, Original ‘A’ Plate Issue. A-, lovely copy has faintest rubs, inaud.; contemporaneous Spanish import sticker remains! MB 10

J0783. EMILIO SAGI-BARBA: Humming (Golden) / Avalon (Rose) (both in Spanish). 10” blue Victor 45446 (BP53-2/58-1), POM-1 / 2 June, 1923. [A rare excursion into American popular fare for this noted artist of the Zarzuela! These WW-I songs were a significant part of American ‘pop’ culture at the time, ‘Avalon’ having been the cause of a lawsuit brought by Giacomo Puccini who claimed that it infringed on his melody for the aria ‘E lucevan le stelle’. He won a settlement of $25,000 – a substantial sum for those years!] M-A, an extraordinary copy. MB 25

J0784. EMILIO SAGI-BARBA: El Canto del Presidiario (Álvarez). 12” Vla 74389 (02898½v), POM-28 Feb., 1914. Never listed in a North American Catalogue. A to M-A, superb copy has faintest rubs, inaud & hardly worth mention. MB 15

J075. EMILIO SAGI-BARBA: Á tus ojos (Fuster). 12” Pat.’12 V 74350 (492ac), POM-26 Nov., 1912. Never listed in a North American Catalogue. A to M-A, superb copy has faintest rubs, inaud & hardly worth mention; tiny pressing bump is momentarily ltly audible. Remarkably quiet surface! MB 15

J0786. EMILIO SAGI-BARBA: ENTRE MI MUJER Y EL NEGRO - Playas americanas (Barbieri). 10” Pat.’08 [5 line] V 64125 (396y), POM-15 Feb., 1909, never listed in a North American Victor catalogue. A-, excellent copy has sev minuscule scrs, barely audible only a few turns. MB 12

“Sagi-Barba’s ample voice has a reedy, clarion cut which is instantly recognizable, and even very late in his career, in the 1932 recorded extracts from LUISA FERNANDA, it had lost none of its firmness or declamatory power.”


- Christopher Webber, THE ZARZUELA COMPANION, p.311


J0787. EMILIO SAGI-BARBA: CAMPANONE - Señorita amigos mios (Salida de Campanone) (A delightful patter song!) (Mazza). 12” Pat.’08 [5 line] V 71047(27z), POM-15 Feb., 1909. M-A, extraordinary copy has remarkably quiet surface! MB 45

J0788. EMILIO SAGI-BARBA: JUGAR CON FUEGO – Coro de locos (Barbieri) / MUJER Y REINA – Serenata (Chapí). 10” blue Victor 45279 (514/513y), POM-20 March, 1909. M-A MB 20

J0789. EMILIO SAGI-BARBA: MOLINOS DE VIENTO - Qué tienes en la mirada? (Luna) / Voreta al mar (de Palau). 10” blue Victor 45288 (17577½u/17586u), POM-6 / 8 Feb., 1913. M-A, exemplary copy has faintest rubs, inaud.; contemporaneous Spanish import stickers remain! MB 15

J0790. EMILIO SAGI-BARBA: LAS DOS PRINCESAS – Vals (Caballero). 10” Pat.’12 V 61188 (157y), POM-19 Dec., 1908, Never Doubled, USA; never listed in a North American Victor catalogue. M-A, beautiful copy has microscopic mk at very beg., ltly audible 3 turns; w.orig. Caballero serial sticker. MB 15

J0791. EMILIO SAGI-BARBA: EL DIABLO EN EL PODAR - Romanza (Barbieri). 10” V 61190 (33ab), POM-14 Oct., 1908, Original ‘A’ Plate Issue, never listed in a North American Victor catalogue. A-, lovely copy has label nr, plus light nr & minuscule scr, very ltly audible a few turns. MB 15

J0792. EMILIO SAGI-BARBA: LES SALTIMBANQUES – Arieta de Romplacero (in Spanish) (Ganne). 12” black Madrid Gram. Monarch 062010 (33z), POM-26 Feb., 1909, Never Doubled. A to M-A, lovely copy has faintest rubs, inaud.; very beg. has wee nr, audible only during initial turns. Choudens serial number is affixed. MB 25

J0793. EMILIO SAGI-BARBA: LA MASCOTA – Balada de Pipo (Audran). 12” Pat.’12 V 74162 (29z), POM-15 Feb., 1909. M-A, extraordinary copy has minuscule pressing bump & faintest edge rub, inaud. Remarkably quiet surface! MB 25

J0794. EMILIO SAGI-BARBA: EL GRUMETE - Despedida (Romanza) (Arietta). 10” Pat.’08 [5 line] V 61195 (31ab), POM-13 Oct., 1908, Original ‘A’ Plate Issue Issue. M-A, choice copy has microscopic scr, barely visible & inaud.; faint incipient hlc is just barely visible. MB 15

J0795. EMILIO SAGI-BARBA: RIGOLETTO – Cortigiani (in Spanish). 12” Pat.’12 V 74161 (37z), POM-15 Feb., 1909, Original ‘A’ Plate Issue Issue. M-A, extraordinary copy has label nr. Remarkably quiet surface! MB 25

J0796. EMILIO SAGI-BARBA & LUISA VELA: LA PRINCESA DEL DOLLAR – Dúo Final (Leo Fall). 10” Pat.’08 [3 line] V 74226 (J 147), POM-6 Jan., 1910, never listed in a North American Victor catalogue. A, lovely copy has faint rubs, inaud. MB 15

J0797. EMILIO SAGI-BARBA & LUISA VELA: LES SALTIMBANQUES – Vals (Finale, Act I, in Spanish) (Ganne). 12” dark-green Madrid G & T Z-54000 (40z), POM-24 March, 1909, Never Doubled. A-, lovely copy has faintest rubs, inaud. Choudens serial number is affixed. MB 25

J0798. EMILIO SAGI-BARBA & LUISA VELA: LOS CADETES DE LA REINA – (Dúo Finale, Act I) (Luna), 2s. 2-12” dark-green Madrid Disco Gramóphone 0264068/69 (02677½ /02678½ ), POM-10 Feb., 1913. [Creator Record, 18 Jan., 1913, Teatro Príncipe Gran Vía, Madrid] A to M-A, superb copy has faintest rubs, inaud.; Sd.1 only has minuscule pressing bump, inaud. MB 25, the Pair.

J0799. EMILIO SAGI-BARBA & LUISA VELA: EL JURAMENTO – Dúo del piano (Gaztambide). 12” Pat.’08 [5 line] V 71052 (28z), POM-15 Feb., 1909. A-, lovely copy has faintest rubs & microscopic scr, inaud. MB 15

J0800. EMILIO SAGI-BARBA: DON JOAN DE SERRALLONGA – Jo vull morir / EMILIO SAGI-BARBA, LUISA VELA & PEDRO QUER: Adéu, adéu senyora (Morera). 10” violet PW Disco Gramófono AC 19 (2-62284/64475 [BK 1172/1179-2]), POM-1922. [Creator Record, 7 Oct., 1922, Teatro Tívoli, Barcelona] A- lovely copy has hint of grey on peaks. MB 25

“Few singers of zarzuela have enjoyed for more than thirty years of so much popularity, the same in Spain as in South America. Sagi-Barba was, in this genre, a unique figure. He captivated audiences by his beautiful voice, his correct diction and his characteristic singing school.

At age nineteen, eager to triumph and see much of the world, he went to Buenos Aires with a modest lyric company where he replaced the baritone who was to play the part of ‘Melchor’ at the premiere of Bretón’s LA DOLORES. He gradually expanded his repertoire to include MARINA, LA TEMPESTAD, LA BRUJA, LA MASCOTA, LOS MADGYARES, EL POSTILLÓN DE LA RIOJA, EL GUITARRICO and EL ANILLO DE HIERRO, which earned him great triumphs in several countries of that continent. In 1905 Sagi-Barba made a rare display of his faculties. While performing at the Victoria Theater in the Argentine capital, the Italian opera company at the Politeama organized a gala function to commemorate the fourth anniversary of Verdi's death where he achieved the greatest success of his career. Both comrades and the press filled him with praise. Later, in Havana, he sang a magnificent RIGOLETTO.

During his remarkable career, his most famous roles were in EL GUITARRICO (1900), MOLINOS DE VIENTO (1910), LOS CADETES DE LA REINA (1913), LAS GOLONDRINAS (1914), LOS CALABRESES (1918), LA DOGARESA (1920), EL PÁJARO AZUL (1921), POR UNA MUJER (1922), EL DICTADOR (1923), LA PASTORELA (1926), LA DEL SOTO DEL PARRAL (1927), LA ROSA DEL AZAFRÁN (1930) and LUISA FERNANDA (1932).

For six years he remained in America, and when he turned twenty-five he decided to return to Spain. His first performance was in the Calvo and Vico Theater in Barcelona. He sang Arietta’s EL GRUMETE with great success. A great triumph awaited him with the premiere in Spain of Franz Lehár’s LA VIUDA ALEGRE that he sang with the great Luisa Vela who later became his wife and ideal companion. From that day, Sagi-Barba was the favorite baritone of the public of all Spain who cheered him with delirium. The date that has great value for the Vela / Sagi-Barba marriage is 5 February, 1914, at the premiere LAS GOLONDRINAS, a score that Usandizaga himself dedicated to the baritone, at the Teatro Circo Price in Madrid.”


- lazarzuela.webcindario.com


J0801. VICTORIA de los ANGELES, w.Renata Tarragó Fábregas (Guitar): Spanish Folk Songs, 12s. 6-10” HMV DA 1970-75, POM-1950, in Elaborate pale-blue buckram HMV Album 461. MINT MB 45, the Set.

J0802. VICTORIA de los ANGELES, w.Renata Tarragó Fábregas & Graciano Tarragó (Guitars): El cant des oclls / Din dan boleran (both arr.: Tarragó). 10” HMV DA 1977, only form of issue, 1952. MINT MB 6

J0803. VICTORIA de los ANGELES, w.Gerald Moore (Pf.): CANCIÓNES EPIGRAMÁTICAS - El amor y tos ojos / El retrato de Isabela (both Vives). 10” HMV DA 2059, only form of issue, 1953. M-A MB 8

J0804. VICTORIA de los ANGELES, w.Gerald Moore (Pf.): El Vito / Paño murciano (both arr.: Nin). 10” HMV DA 2046, only form of issue, 1953. M-A MB 8

J0805. VICTORIA de los ANGELES, w.Gerald Moore (Pf.): Stornellatrice / w.Ivor Newton (Pf.): E se un giorno tornasse (both Respighi). 10” HMV DA 1930, only form of issue, 1950. M-A MB 6

J0806. VICTORIA de los ANGELES, w.Gerald Moore (Pf.): DOS CANCIÓNES CASTELLANAS - Non quiero tus avellannas / Jota (Guridi). 10” HMV DA 1961, only form of issue, 21 June, 1950. M-A MB 6

J0807. VICTORIA de los ANGELES, w.Gerald Moore (Pf.): Von ewiger liebe (Brahms) / Der Nussbaum (Schumann). 12” HMV DB 21457, only form of issue, 1952. M-A MB 10

J0808. VICTORIA de los ANGELES, w.Gerald Moore (Pf.): SIETE CANCIONES POPULARES ESPAÑOLAS (de Falla), 4s. 2-12” HMV DB 9731/32, only form of issue, 1951. M-A MB 15, the Pair.

J0809. VICTORIA de los ANGELES, w.Gerald Moore (Pf.): TONADILLAS – El majo discreto / La Maja dolorosa (Granados). 10” HMV DA 1976, only form of issue, 21 June, 1950. M-A MB 6

J0810. VICTORIA de los ANGELES, w.Gerald Moore (Pf.): Háblame de amores (Fuste) / TONADILLAS – El mirar de la maja (Granados). 10” HMV DA 1913, only form of issue, 7 May, 1949. MINT MB 6

J0811. VICTORIA de los ANGELES, w.Gerald Moore (Pf.): Háblame de amores (Fuste) / TONADILLAS – El mirar de la maja (Granados). 10” LVDP DA 1913, only form of issue, 7 May, 1949. M-A MB 8

J0812. VICTORIA de los ANGELES, w.Gerald Moore (Pf.): Clavelitos (Valverde) / TRIPTICO - Farruca (Turina). 10” HMV DA 1926, only form of issue, 1949. MINT MB 6

J0813. VICTORIA de los ANGELES, w.Robinson Cond. Philharmonia Orch.: LA VIDA BREVE – Vivan los que rien! / Alli esta rivendo (de Falla). 12” HMV DB 6702, only form of issue, 14 March, 1948. MINT MB 10

J0814. VICTORIA de los ANGELES, w.Fistoulari Cond. Philharmonia Orch.: GOYESCAS - La Maja y el Ruiseñor (Granados), 2s. 12” HMV DB 21069, only form of issue, 11 May, 1949. MINT MB 6

J0815. VICTORIA de los ANGELES, w.Fistoulari Cond. Philharmonia Orch.: TANNHÄUSER – Dich, teure Halle / LOHENGRIN – Einsam in trüben Tagen. 12” HMV DB 21095, POM-6 March, 1950. MINT MB 8

J0816. VICTORIA de los ANGELES, w.Fistoulari Cond. Philharmonia Orch.: TANNHÄUSER – Dich, teure Halle / LOHENGRIN – Einsam in trüben Tagen. 12” RCA 12-3213, POM-6 March, 1950. M-A MB 10

"[de los Angeles'] singing has the mysterious power of moving and captivating those who hear her. Her voice possesses subtle and passionate inflections, and her diction and tone are pure and clear....She has a personality, a cordiality and charm which are all her own...."


- John Freestone, RECORD NEWS, 1950


J0817. VICTORIA de los ANGELES, w.Süsskind Cond. Philharmonia Orch.: POEMA EN FORME DE CANCIONES – Saeta / Cantares (Turina). 10” HMV DA 1929, only form of issue, 1950. MINT MB 6

J0818. VICTORIA de los ANGELES, w.Süsskind Cond. Philharmonia Orch.: NOZZE - Porgi amor / MANON - Adieu, notre petite table. 12” HMV DB 6994, POM-9 May, 1949. MINT MB 6

J0819. VICTORIA de los ANGELES, w.Süsskind Cond. Philharmonia Orch.: NOZZE - Porgi amor / MANON - Adieu, notre petite table. 12” RCA 12-3227, POM-9 May, 1949. M-A MB 10

J0820. VICTORIA de los ANGELES, w.Süsskind Cond. Philharmonia Orch.: FAUST - Le Roi de Thulé / Air des bijoux. 12” HMV DB 6938, only form of issue, 12 May, 1949. MINT MB 6

J0821. VICTORIA de los ANGELES, w.Serafin Cond. Milano S.O.: BARBIERE – Una voce poco fa, 2s. 10” HMV DA 2030, only form of issue, 1952. MINT MB 6

“For sheer loveliness of timbre, affecting sensitivity, elegance of line and utter ease in florid passagework, de los Angeles was hard to top. By the 1950s she was a mainstay of opera houses around the world and widely admired for her portrayals of leading lyric soprano roles, including Puccini's Mimi and Madama Butterfly, Verdi's Violetta, Massenet's Manon, Bizet's Carmen and Debussy's Mélisande. Though her sound was not enormous, she knew how to project her voice so that it carried effortlessly in the opera house. She even sang lighter Wagner roles with effectiveness and allure, including Elisabeth in TANNHÄUSER, the role of her 1961 Bayreuth Festival debut in Germany, and Eva in DIE MEISTERSINGER.


- Anthony Tommasini, THE NEW YORK TIMES, 16 Jan., 2005


J0822. ANGELES OTTEIN, w. Godés Cond.: Ave Verum, K.618 (Mozart) / Ave Maria (Bach-Gounod). 10” dark-blue Barcelona Odeon 184.331 (SO 8012/13), POM-c.1933. [In 1921 Ottein was signed as the first soprano with the Scotti Grand Opera Company a North American tour. Antonio Scotti provided an engagement for her to the New York Metropolitan Opera where she sang Rosina, Lisina & Gilda in 1922.] A to M-A, beautiful copy has faintest rubs, inaud. MB 15