French Vocal 78rpm records

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

Since 1972



Auction Number 149 ­- AUCTION Closing Date: Monday, 21 May, 2018



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Section III - French Vocal 78rpm records Nos. V0107 - V0450

V0107. BÉTOVE (Michel-Maurice Lévy): Folies musicales (Imitations of Spanish, Chinese, Russian, German, English & American Songs), 2s. 10” red Decca-Odeon G-20478 [KI 1011/12], POM-1926. [Bétove’s ‘version’ of ‘Ich grolle nicht’ is so uproariously funny as to rival Anna Russel of a subsequent decade!] A to M-A MB 12

V0108. BÉTOVE (Michel-Maurice Lévy): Pastiches musicaux (in the manner of Debussy, Massenet, Hahn, Wagner & Rossini), 2s. 10” dark-blue Parl. R 1947 [KI 1017/18], POM-1926. [Bétove’s concept of Yniold is quite unique!] A to M-A MB 15

V0109. BÉTOVE (Michel-Maurice Lévy): Chansons pompadour / Symphonies de Bétove. 10” red Decca-Odeon G-20481 [KI 1238/37], POM-1927. A to M-A, very lt.rubs, inaud. MB 12

V0110. BÉTOVE (Michel-Maurice Lévy): Imitations de Cinema, 2s. 10” green French Odéon 166.016 [KI 1041/42], POM-1926. A to M-A MB 12

“Michel-Maurice Lévy is a French composer who studied at the Conservatoire de Paris with Xavier Leroux. He appeared as BÉTOVE at the music hall, both as a comedian and a pianist. Bétove's collaborations were with the screen and the stage, as a composer of film music with orchestral accompaniment during the projection of silent films. He appeared as Bétove at the music hall, both as a comedian and a pianist.”
- francemusique.fr


V0111. CLÉMENT DOUCET (Pf.): Chopinata – fantaisie sur des motifs de Chopin / Wagneria – d’après des thèmes de Wagner. 10” black Viva-Tonal Col. 1657-D, POM-14 Sept., 1927. A to M-A, choice copy has, Sd. 1, harmless minor under label lam. MB 12

“I wonder if there has ever been two more irrepressible practioners of the two-piano genre than these two Frenchmen (Doucet & Wiener) who recorded jazz and pop tunes as well as their own transmogrifications of the classics - Godowsky had nothing on these two, believe me - during what the French call ‘Les annees folles’, or the Roaring Twenties…definitely NOT to be missed.”
- J. R. Peters


V0112. HUGUETTE BOULANGEOT & BERNARD PLANTEY, w.Nuvolone Cond.: L'AUBERGE DU CHEVAL BLANC (Im weißen Rössl am Wolfgangsee) – Tout bleu, tout bleu (Stolz) / Je vous emmènerai sur mon joli bateau (Profès). 10" French Decca MF 36345, POM-1953. [At the Théâtre du Châtelet AUBERGE became one of the Châtelet's mascot operettas. For twenty years, from 1948 to 1968, it ran for nearly 1,700 performances.] M-A MB 12

V0113. COLETTE RIEDINGER & BERNARD PLANTEY, w.Nuvolone Cond.: L'AUBERGE DU CHEVAL BLANC (Im weißen Rössl am Wolfgangsee) - Valse / Tango (Benatzky). 10" French Decca MF 36346, POM-1953. [At the Théâtre du Châtelet AUBERGE became one of the Châtelet's mascot operettas. For twenty years, from 1948 to 1968, it ran for nearly 1,700 performances.] M-A MB 12

“Colette Riedinger was engaged by the Lile Grand Theatre in roles of operetta and comic opera. Maurice Lehmann, who had heard her at Cannes, hired her to be Clairette in LA FILLE DE MME ANGOT at the Opéra-Comique, then Joséfa in L'AUBERGE DU CHEVAL BLANC at the Châtelet. The shows were so sumptuous and the reputation of Colette Riedinger was great. In L'AUBERGE DU CHEVAL BLANC, she remains unequaled in the role of Joséfa.”
- operette-theatremusical.fr


V0114. YVETTE GUILBERT: De quatre-z-étudiants (Xanroff) / La Soularde (Jules Jouy). 10” black V 62995 (5235½/37h), POM-1907. M-A, gorgeous copy has, Sd.1 only, faintest rub, inaud. MB 20

V0115. YVETTE GUILBERT: I will give you the key of heaven (in English). 10” black HMV 3737 (5275 h), POM-1904 G & T. M-A MB 20

V0116. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): Madame Arthur (Sung by the Composer) / Le fiacre (Xanrof). 10" green LVSM SG.69, POM-1934, issued France only. A to M-A, beautiful copy has faintest rubs, inaud. MB 10

V0117. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): Verligodin / L'loge des vieux (both Sung by the Composer). 10” green LVSM SG.70, POM-1933, issued France only. M-A, lovely copy has faintest pap. rubs, inaud.; Sd.1 only has wee edge crunch, nowhere near grooves. MB 8

V0118. YVETTE GUILBERT, w.Sayejozin (Pf.): Dites-moi si je suis belle. 10” S/S Victor Special shellac Pressing of Disque Gram. Mx. BB13810-1, w.Victor ‘spiderweb’ verso, POM-1926. A to M-A, beautiful copy has faint rubs, inaud. MB 15

V0119. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): L'hôtel du No. 3 (1933 Version, featuring Guilbert’s delicious spoken introduction) (Xanroff) / Les caquets de la couchée (Sung by the Composer). 10" plum Disque Gram. K-7302, only form of issue, 1933. A, lovely copy has faint rubs, inaud. MB 15

V0120. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): La fille du Roi Loys, La Passion du doux Jésus, La ballade du Jésus-Christ, Le miracle de Sainte-Berthe, Les anneaux de Marianson, Le voyage à Bethléem, Enfance, Écoute dans le jardin (the latter two by Ferrari), L'Éloge des vieux, Verligodin (both Sung by the Composer). 6-10" plum Disque Gram. K-7063/68, only form of issue, 1933, in Orig. elaborate Disque Gram. Album, w.Brochure. M-A MB 45, the Set.

“Yvette Guilbert was frequently billed as a diseuse and her numbers were rowdy, funny and often just plain bawdy – their content belied by the innocent manner in which she presented them. Her fame went beyond the Boulevards and she was a great favourite in London and New York. She was to come out of retirement in 1933 to make several recordings (in the above set) – which became best sellers.”
- Willym, Le Caf’Conc, 13 March, 2016


V0121. YVETTE GUILBERT, w.Maurice Eisner (Pf.): La glu / Ah! que l'amour cause de peine. 10" Tri-Color Col.A2735, only form of issue, 1918 – USA only. A to M-A, beautiful copy has faintest rubs, inaud. MB 20

V0122. YVETTE GUILBERT, w.Maurice Eisner (Pf.): Le Roy a fait battre tambour / Est-il donc bien vrai? 10" Tri-Color Col. A2738, only form of issue, 1918 – USA only. A-, lovely copy has lt. rubs, ltly audible. MB 12

V0123. YVETTE GUILBERT, w.Maurice Eisner (Pf.): L'hôtel du No. 3 (1918 Version) (Xanroff) / La défense inutile. 10” Tri-Color Col. A2739, POM-1918 – USA only; only form of issue, Sd.2. A-, lovely copy has lt. rubs, ltly audible.; Sd.1 only has label tear. MB 12

“The singer and actress Yvette Guilbert was the icon of the café-concert in the fin de siècle. With her lanky appearance, striking voice, and contemporary repertoire, she played to full houses and was a favourite subject of printmakers who depicted Paris night-life, such as Henri-Gabriel Ibels and Henri de Toulouse-Lautrec. She also commissioned posters from them, which made her even more famous.
- vangoghmuseum.nl


V0124. MARIE DUBAS, w.Carcel Cond.: Les Housards dela garde / La Chanson du Roulier. 10” green French Odéon 166.361 [KI 3728/29], POM-1930. A-, Excellent copy has faint rubs & very few lt.scrs, very occasionally ltly audible. MB 10

“Born on September 3, 1894 to a Polish Jewish tailor in the Paris district of Grenelle, Marie Dubas was an actress turned singer whose mastery of gesture and stage presentation made a deep impression on the young Edith Piaf. The two women, who knew each other, shared the same sentiment: that being on stage in front of an audience was the only time they felt 100% alive. As someone said of Marie Dubas, ‘Il faut que le rideau lui tombe sur la tete pour qu’elle s’arrete’ (The curtain would have to fall on her head to make her stop). As Marie Dubas’ son, Francois Bellair-Dubas, said in an interview, his mother subscribed to a saying of the Comedie-Francaise, that ‘if you do not add to the text, you detract from it’. She exploited the multiple facets of her talent, moving effortlessly from singing, to dancing, to mime, to caricature, to pathos. She filled the stage with a vitality and exuberance which was not lost on the young Edith Piaf, who attended her performances constantly and declared her to be her main inspiration – particularly with regard to gesture, which the younger star made so singularly her own. Indeed, this emphasis on the visual aspect of a singer’s performance had one unfortunate consequence in that Marie Dubas agreed only reluctantly to any form of recording; hence the comparatively rare examples of her work.”
- Chanson and Immigration in France


V0125. MARIANNE OSWALD, w.Wal-Berg (Voldemar Rosenberg) Cond.: Mes soeurs n’aimez pas les marins (Cocteau) / Les boules de neige (Beydts). 10” early PW Col. 306-M, POM-1937. M-A, a superlative copy! MB 12

“Marianne Oswald was the stage name of Sarah Alice Bloch, a French singer and actress born in Sarreguemines in Alsace-Lorraine. She took this stage name from a character she much admired, the unhappy Oswald in the Ibsen play GHOSTS. She was noted for her hoarse voice, heavy half-Lorraine, half-German accent, and for singing about unrequited love, despair, sadness, and death. She sang the songs of Kurt Weill and Bertolt Brecht. She was friends with Jean Cocteau, Jacques Prévert, François Mauriac, and Albert Camus. She was an inspiration for the composers Francis Poulenc and Arthur Honegger.


- Europeana Collections


V0126. LOUISE DHAMARYS, w.Heurteur Cond.: LA FILLE DE MME ANGOT – Chanson politique / LE PETIT DUC – Enfin nous voici (both Lecocq). 10” PW red French Col. D 12025, POM-1930. A to M-A MB 8

V0127. LOUISE DHAMARYS, w.Heurteur Cond.: LA FILLE DE MME ANGOT – De la mere Angot, je suis la fille (Lecocq) / MAMZELLE NITOUCHE – Halleluia (Hervé). 10” green Viva-Tonal Col. 34218-F, POM-1928. A-, Excellent copy has fine edge lam, very ltly audible during initial turns; Sd.2 only has 2 harmless wee ec - down only to laminate. MB 8

V0128. LOUISE DHAMARYS & GEORGES VILLIER, w.Georis Cond.: VÉRONIQUE – Duo de l’âne / Duo de l’escarpolette (Messager). 10” PW red French Col. D 12056, POM-1928. M-A MB10

“Georges Villier was born in Brussels in 1884 and was a leading Belgian baritone. He studied law but gravitated to music at the Liège Conservatoire, making his début at the Monnaie in 1910. During the Great War, after military service in which he was taken prisoner, he directed the opera house at Antwerp. He then sang in Marseille and at the Trianon Lyrique in Paris, moving to the Opéra-Comique in 1925 and singing major rôles there for ten years. In Belgium he organized the Quatuor Villier which gave many concerts, and he was a well-known solo recitalist. His later opera performances were in Belgian houses, giving his farewell performance as Figaro in BARBIERE at the Théatre du Parc in 1946.”
- Tully Potter


V0129. LOUISE DHAMARYS & GEORGETTE SIMON, w.Clemandh Cond.: LA BASOCHE – Si, de la souverainete (Messager) / LOUISE DHAMARYS & GEORGES VILLIER, w.Georis Cond.: LE PRÉ AUX CLERCS – Les rendez-vous de noble compagnie (Hérold). 12” PW red French Col.D 14253, POM-1928. M-A MB 10

"Many of these recordings come from a very good time for recorded operetta: the late 1920s and early ‘30s, when the new electrical equipment clearly captured artists with stylistic roots extending back to the very period when many of these works were created….The phrasing, the diction, the sensuousness and feeling of these 78s is something hard to recapture today. In the ‘20s and ‘30s, Paris had several theatres performing operettas, new and old, and the experience of the singers in all these productions is apparent.”


- Richard Traubner, AMERICAN RECORD GUIDE, May/June, 2006


V0130. MAURICE CAPITAINE: LE POSTILLON DE LONJUMEAU – Ronde de Postillon / Romance de la Tourterelle (Adam). 11” black paper label H & D Pathé 12.228, only form of issue, 1918. M-A MB 15

“Maurice Capitaine made his debut at the Paris Opéra-Comique in 1911. In 1917 he appeared there in the premiere of Charpentier’s opera JULIEN. His repertoire included roles like Chapelou in Adam’s LE POSTILLON DE LONJUMEAU, Gérald in LAKMÉ, George Brown in Boieldieu ‘s LA DAME BLANCHE, Nadir in LES PÊCHEURS DE PERLES.”
- Ashot Arkelyan


V0131. ÉMILE ROUSSEAU: LA FILLE DE MME ANGOT – Certainement j’aimais Clairette / Est-elle tellement innocente (Lecocq). 10” black Disque Gram. P-778, POM-22 June, 1928. A to M-A, lobvely copy has faint rubs, inaud. MB 12

“Émile Rousseau began his career as tenor in the 1922-1923 season when appeared at the Metropolitan Opera in two Sunday Night Concerts. In 1924 he made his debut as baritone at the Opéra-Comique in Paris, where he remained thirty years. He made guest appearances at the Théâtre de la Monnaie in Brussels and in many French provincial operatic stages, where he was popular above all in the classical French operettas. From 1936-1946 he was a professor of the conservatoire in Orléans.”
- Ashot Arkelyan


V0132. JULIETTE GAULTIER: Miracle song of St Nicholas / Va ingrate bergère; Berceuse acadienne (all Acadian). 10” black Orth V 22311, only form of issue, 22 Jan. / 11 March, 1930 – very brief catalogue life. A to M-A MB 10

“Canadian soprano Juliette Gaultier de la Vérendrye was trained in Europe and then based in New York during the late 1920s where she performed what she called ‘Canadian folk songs’ on the concert stage, seeking to entertain and educate her audiences. Gaultier’s Town Hall debut in 1927 was a huge success, and she was later invited to perform a 16-week engagement at the Neighborhood Playhouse - a New York venue that celebrated avant-garde performance and experimentation. Gaultier’s connections in Canada and the United States during this period were significant.”
-Judith Klassen, CANADIAN MUSEUM OF HISTORY


V0133. DORVILLE (Georges-Henri Dodane) & GILLS: LES AVENTURES DU ROI PAUSOLE - Excerpts (Honegger) (Cond. by the Composer), 2s. 10" green French Odéon 166.390 [KI 4044/45], POM-1930. (CREATOR Record, Honegger conducted the premiere, with Dorville, Bouffes Parisiens, 12 Dec., 1930). M-A MB 15

V0134. JEAN LUMIERE, w.Valsien Cond.: Les émigrants (Gabaroche) / Le Passeur du Printemps (Goublier). 10" dark-blue French Odéon 166.562 [KI 5531/33], only form of issue, 15 Sept., 1932. M-A MB 15

“Jean Lumière (Jean Anezin) was a French singer who first considered a career as an actor. He won first prize in comedy and tragedy at the Conservatoire, then he began singing in Nice and Marseille. Following a meeting with the singer Esther Lekain , he made his debut in 1930 in Paris. It was Esther Lekain who chose her pseudonym: ‘Your voice is clear, you are from the South, you will be called Jean Lumière’. In 1934, he enjoyed huge success with the songs of Paul Delmet and Charles Fallot and won the Grand Prix du Disque. He then pursued a brilliant career as a charming singer in France and, after the Second World War, in many foreign countries (Europe, North and South America, Middle and Near East).”
- Zillah Dorset Akron


V0135. JOSEPH PEYRON & ODETTE ERTAUD, w.Désormière Cond.: Le Jaloux (Saintonge) / Chantons pour le passer le temps - Chanson de bord (arr.: Auric). 10” Chant du monde 527, only form of issue, 1938. M-A, choice copy has, Sd.2 only, a few superficial mks, inaud. MB 12

V0136. MADELEINE LEYMO, w.Elie Cohen Cond.: GIASONE – Invocation de Medée / ERCOLE AMANTS - dell’antro magico (both Cavalli). 10” early PW French Col. DF 135, POM-1930. M-A MB 12

V0137. GABRIELLE GALLAND, w.Bervilly Cond.: MAM’ZELLE NITOUCHE – Légende la Grasse Caisse / Babet et Cadet (Meilihac & Milhaud), 2s. 10” plum PW Disque Gram. K 6507, only form of issue, 1930. M-A MB 10

V0138. FANÉLY REVOIL: LE PETIT DUC – Je t’aime … Il l’oreille basse / FANÉLY REVOIL &: ANDRÉ NOËL: Hélas elle a raison (Lecocq). 10” green Pathé PG 22, only form of issue, 1934. M-A MB 12

V0139. FANÉLY REVOIL, LUCIE THELIN, JEANNE MATTIO, RENÉ HERENT, ANDRÉ BALBON, ALBAN DERROJA, etc.; Désormière Cond. L’Opéra-Comique Ensemble: L’ÉTOILE – Excerpts (Chabrier), 10s. 5-10" Pathé PD 21/25, only form of issue, 1941. M-A MB 35, the Set.

“A specialist in operetta and musicals, Fanély Revoil was born in Marseilles in 1910. Her reputation in Paris was first established at the Théâtre des Champs-Elysées in 1932 and later triumphs at the Châtelet and elsewhere made her one of the most sought-after French artists of her generation. An operetta star, she also sang soubrette parts at the Comique where, between 1936 and 1946 she was heard in works by Roussel, Hahn, Chabrier and Pierné.”
- Peter Dempsey


V0140. YVONNE PRINTEMPS w.Louis Beydts Cond.: S.A.D.M.P. – Air des cartes de visite / Sourire aux lèvres (Cond. by the Composer). 12” Disque Gram. DB 1607, only form of issue, 26 Nov., 1931. M-A, a glorious copy! Exceedingly Elusive . . . and delightful! MB 20

“Louis Beydts was a student of André Messager and a disciple of Reynaldo Hahn. He is one of the last operetta composers to have sought to preserve the French tradition of the classic operetta while trying to renew it. SADMP (The Friendly Society of the Prudent Gentlemen), with libretto by Sacha Guitry was mounted at the Theater de la Madeleine in 1931. He was one of seven composers to contribute to the oratorio JOAN OF ARC created April 28, 1942 under the direction of Charles Munch. In 1941, he supervised the recording of PELLÉAS ET MÉLISANDE directed by Roger Désormière. His career closed as director of the Opéra-Comique.”
- Wikipedia


V0141. YVONNE PRINTEMPS, w.Marcel Carivan Cond.: MARGOT – Printemps (Auric) / MARGOT – À sa guitare (Poulenc). 10” Disque Gram. DA 4879, only form of issue, 20 Dec., 1935. A to M-A, lovely copy has faintest pap.rubs, inaud.; Sd.2 only has minuscule nr, barely visible & inaud. Exceedingly Exquisite & Elusive! MB 20

V0142. YVONNE PRINTEMPS, w.Mme Peltier (Harpsichord): Plaisir d'amour (Martini) / Au clair de la lune (Lully). 12” HMV DB 1625, POM-8 Dec., 1931. M-A MB 8

V0143. YVONNE PRINTEMPS, w.Labis Cond.: Le Pot-Porri d’Alain Gerbault (Willemetz), 2s. 12” black PW Disque Gram. W-1175, POM-7 Jan., 1931. M-A, beautiful copy has faintest pap.rubs, inaud. MB 10

V0144. YVONNE PRINTEMPS, w.Marcel Carivan Cond.: VERONIQUE / L'AMOUR MASQUÉ - Excerpts (both Messager). 12” Disque Gram. DB 5114, only form of issue, 7 / 6 March, 1941. M-A, choice copy has faintest pap. rubs, inaud. MB 12

V0145. YVONNE PRINTEMPS, w.Marcel Carivan Cond.: LES TROIS VALSES – Oui, je t’aime, ô Paris / Je t’aime (Oscar Straus, after Johann Strauss). 10” LVSM DA 4908, POM 10 June, 1937. M-A MB 8

V0146. YVONNE PRINTEMPS, w.Marcel Carivan Cond.: LES TROIS VALSES – C’est la saison d’amour / YVONNE PRINTEMPS & PIERRE FRESNAY: Te souvient-il? (Oscar Straus, after Johann Strauss). 10” PW Disque Gram. DA 4903, POM 12 May, 1937. M-A MB 8

V0147. YVONNE PRINTEMPS, w.Marcel Carivan Cond.: LES TROIS VALSES – C’est le destin, peut-être / YVONNE PRINTEMPS & PIERRE FRESNAY: Je ne suis pas ce que l’on pense (Oscar Straus, after Johann Strauss). 10” Swiss HMV DA 4904, POM 12 May, 1937. M-A MB 8

V0148. YVONNE PRINTEMPS & PIERRE FRESNAY, w.Marcel Carivan Cond.: LES TROIS VALSES – Selections (Oscar Straus, after Johann Strauss), 6s. 3-10” PW V 1847/49, POM 12 May, 1937, in Orig. Album M- 416. M-A, exemplary copy has, Sd 3 only, tiny pressing bump. MB 25, the Set.

V0149. YVONNE PRINTEMPS, w.Marcel Carivan Cond.: MARGOT – Printemps (Auric) / MARGOT – À sa guitare (Poulenc). 10” Disque Gram. DA 4879, only form of issue, 20 Dec., 1935. A to M-A, lovely copy has faintest pap.rubs, inaud.; Sd.2 only has minuscule nr, barely vuisible & inaud. Exceedingly Exquisite & Elusive! MB 20

V0150. YVONNE PRINTEMPS & NOEL COWARD, w.Burston Cond.: CONVERSATION PIECE – Selections (Noel Coward), 8s. 4-10” Scroll & Late Orth V 1682/85, POM-26 Feb., 1934. M-A MB 35, the Set.

V0151. YVONNE PRINTEMPS & NOEL COWARD, w.Burston Cond.: CONVERSATION PIECE – I’ll follow my secret heart (Noel Coward), 2s. 10” HMV DA 1363, POM-26 Feb., 1934. M-A MB 8

V0152. YVONNE PRINTEMPS & SACHA GUITRY, w.Marcel Carivan Cond.: MARIETTE (Oscar Straus); MOZART (Hahn); L'AMOUR MASQUÉ (Messager) – Excerpts from the Three Works, 10s. 3-12" Orth Vla 9643/45; 2-10" PW V 4181/82, POM-1929, London, in Orig. Album C-8, w.Brochure. M-A, a spectacular pressing! MB 35, the Set.

“At 21, Yvonne Printemps had already established the singing style that she would retain for three decades. The middle of the voice has a lovely, warm, almost mezzo-ish tone, the high notes are pure, bird-like – she was always compared to a nightingale. The breath-control is remarkable, as Poulenc later wrote: ‘She sang as she breathed, as she lived, that’s to say that her voice could equally reflect joy and sadness’.”
- Patrick O’Connor, CLASSIC RECORD COLLECTOR, Summer, 2003


V0153. GUSTAVE SIMON (Bar.): LES DEUX AVARES – Nièces, neveux, race haissable / LA FAUSSE MAGIE – Quand l’âge vient (both Grétry). 10” dark-blue Eng. Col. DCB 48. M-A MB 10

V0154. MADO ROBIN, w.Briez Cond.: Je t'aime (Weber) / Les filles de Cadix (Delibes). 10" Disque Gram DA-4940, only form of issue, 7 July, 1942. M-A, as unplayed. MB 25

V0155. MADO ROBIN, w.Briez Cond.: Villanelle (dell’Aqua) / PEER GYNT – Chanson de Solveig (Grieg). 10” Disque Gram DA 4939, only form of issue, 30 April / 7 July, 1942. M-A, as unplayed. MB 25

V0156. MADO ROBIN, w.Carivan Cond.: Ton épaule pour y dormir / C’est à Champ-Dominelle (both Richepin). 10" LVSM DA-5024, only form of issue, 24 Oct., 1947. A, lovely copy has faintest rubs, inaud. Very rare . . . the only copy we’ve ever seen! MB 25

V0157. MADO ROBIN, w.Briez Cond.: L'Oiseau (Février) / Chanson bohème (Gallini) (earlier Versions). 10" Disque Gram. DA 4943 (OLA 3881-4/3927-2), only form of issue, 10 Nov., 1942 / 5 May, 1943. M-A, choice copy has microscopic dust scr, Sd.2, inaud. MB 20

V0158. MADO ROBIN, w.Briez Cond.: L'Oiseau (Février) / Chanson bohème (Gallini) (later Versions). 10" Disque Gram.DA 4943 (OLA 4199-1/4198-1), only form of issue, 14 / 8 Jan., 1943, not to be confused with earlier ‘Takes’, issued under the same number. M-A MB 20

V0159. MADO ROBIN, w.Briez Cond.: Chanson provençal (dell’Acqua) / La Gitane et l’oiseau (Benedict-Briez). 10” LVSM DA 4960, only form of issue, 7 July, 1942. M-A MB 10

V0160. MADO ROBIN, w.Bastide Cond.: Petite étoile de Noël (Legrand) / Noël (Holmès). 10” French Decca MF 36082, only form of issue. M-A MB 25

V0161. MADO ROBIN, w.Blareau Cond.: Le Carnaval de Venise (Benedict), 2s. 12” French Decca GAF 15095, only form of issue, 1951. M-A MB 12

V0162. MADO ROBIN, w.Blareau Cond.: BARBIERE – Una voce poco fà (in French) / LAKMÉ – Où va la jeune Hindoue. 12” French Decca GAF 15096, only form of issue, 1951. M-A, gleaming copy has, Sd 2 only, wee pressing bump. MB 12

V0163. MADO ROBIN, w.Bigot Cond.: ZAUBERFLÖTE – O zittre nicht, mein lieber Sohn / Der Hölle Rache (in French). 12” LVSM DB 11.194, only form of issue, 24 Oct., 1947. [Robin’s legendary record!] M-A MB 25

V0164. MADO ROBIN, w.Tomasi Cond.: LA PERLE DU BRÉSIL - Charmant oiseau (David) / MANON LESCAUT – C’est l’histoire amoureuse (L’éclat de rire) (Auber). 10” LVSM DA 5030, only form of issue, 15 Dec., 1949. M-A, as unplayed. MB 25

“Robin's specialty was to interpolate a high B flat into her LUCIA Mad Scene as well as Dell 'Acqua's ‘Chanson Provencale’, Benedict's ‘Carnival of Venice’ (the version conducted by Benedetti), and the ‘Romance Waltz’ by Strauss. If you can't find these particular arias, rest assured that there was never an absence of altissimo excursions when Robin sang - most of her many aria and birdsong recordings have high Gs and the like sprinkled liberally throughout. Robin was a singer of taste and elegance, however, usually only incorporating her high note excursions at suitable moments. Unlike Sack's whistling high notes, Robin's were full-bodied tones of great intensity completely integrated into the rest of her instrument, and her swiftly spun upper octave was rich with harmonics. As with Sack, Robin's coloratura facility was not notable for its absolute clarity, but her sweet, childish timbre was immediately appealing to the listener.”
- Nicholas E. Limansky, THE LEGACY OF THE DIVA


V0165. SOLANGE VIÈRE: LES NOCES DE JEANNETTE – Air du rossignol (Massé) / LA FILLE DE MME ANGOT - De la mère Angot je suis la fille (Lecocq). 10” brown Pagode G.5.051, only form of issue, 1934. M-A, lovely copy has, Sd. 2 only, lateral ipc, not to edge. MB 8

V0166. LEILA ben SÉDIRA: Thème varié / Le Bonheur est choe légère (both Saint-Saens). 10” red Ultraphone BP 1537, only form of issue, 1934. A to M –A MB 12

V0167. LEILA ben SÉDIRA, w.Frigara Cond.: LAKMÉ – Pourquoi dans les grands bois / Dans la forêt près de nous (Delibes). 10” dark-blue art-label Salabert 3416, only form of issue, 1934. A, lovely copy has faintest pap.rubs & occasional mk, only momentarily very ltly audible. MB 12

V0168. LEILA ben SÉDIRA, w.Frigara Cond.: LAKMÉ – Où va la jeune Hindoue, 2s. 12” dark-blue PW Parl. E11074, POM-1930. M-A MB 8

V0169. LEILA ben SÉDIRA, w.Ortmans-Bach, Blot, Morand, Thibout & Crussard: DIANE ET ENDYMION – Boschi voi ch’in silenzio / SEDEA EURILLA UN GIORNO – A chi sempre (both Scarlatti). 12” French Boîte à Musique 20, only form of issue, 1938. M-A, beautiful copy has, Sd.2 only, sev. very lt lams, only occasionally very faintly audible. MB 8

V0170. LEILA ben SÉDIRA, w.Ars Rediviva: Col dire a me cosi / Labbra gradite; Quanto e dolce quel velen (Scarlatti); D’amor faran le pene (Anon.). 12” Disque Gram. DB-5023, POM-1937. M-A, beautiful copy has, Sd.2 only, faintest pap. rubs, inaud. MB 8

V0171. LEILA ben SÉDIRA & MARIA CASTELLAZZI-BOVY, w.Ars Rediviva: Maledetto; Chiome d’ore / Ohime dov’e il mio ben (all Monteverdi); Lagrimo occhi mici (d’India). 12” Disque Gram. DB-5024, POM-1937. M-A, beautiful copy has, Sd.2 only, faintest pap. rubs, inaud. MB 8

V0172. LEILA ben SÉDIRA, w.Simone Gouat (Pf.): Quanto è folle quell’amante (Pasquini) / Alma del core, spirito dell’alma (Caldara). 10” dark-blue Disque Gram. SK-101, only form of issue, 1947. M-A MB 10

“Leila ben-Sédira made her operatic debut in 1929 at the Opéra-Comique as Olympia. She was a favorite Lakmé in Paris during the 1930s, her voice said to have resembled that of the original Lakmé, Marie van Zandt. Ben Sedira was a gentle, elegant singer with a bright, fastly-spun voice of extensive range and an innocence of timbre that suited the role.”
- Nicholas E. Limansky, THE LEGACY OF THE DIVA


V0173. MARISA FERRER, w.Szyfer Cond.: BORIS GODOUNOV - La polonaise / SZYFER Cond.: Coronation Scene. 12” black Viva-Tonal Col. 50208-D, POM-1928. [Ferrer's sole recording] M A MB 10

V0174. GERMAINE FÉRALDY, w.Bigot Cond.: NOZZE – Voi che sapete / Deh vieni, non tardar (in French). 10" PW French Col. LF 99, only form of issue, 2 Nov., 1932 / 9 Jan., 1933. M-A MB 12

V0175. GERMAINE FÉRALDY, w.Cohen Cond.: MIREILLE – Allons, me voilà reposée / LES PÊCHEURS DE PERLES – Comme autrefois. 12” PW French Col. LFX 25, only form of issue, 18 June, 1928 / 13 Dec., 1929. M-A MB 10

V0176. GERMAINE FÉRALDY & EDMOND RAMBAUD, w.Cohen Cond.: MIREILLE –La fois de son flambeau / O Magali. 12” PW French Col. LFX 99, only form of issue, 5 / 7 Nov., 1930. M-A MB 10

V0177. GERMAINE FÉRALDY & JOSEPH ROGATCHEWSKY, w.Cohen Cond.: MANON – Adieu, notre petite table / Le rêve. 12” PW French Col. D 15162, POM 7 Dec., 1928 (from Complete Set). M-A MB 8

V0178. GERMAINE FÉRALDY & GEORGES THILL , w.Szyfer Cond.: ROMÉO – Tomb scene (Act V), 4s. 2-12” PW Eng. Col. LFX 1/2, POM-6 / 10 Dec., 1929. M-A MB 15, the Pair.

V0179. GERMAINE FÉRALDY & PIERRE DELDI, w.Bigot Cond.: HAMLET – Doute de la lumière, 2s. 10" PW French Col. LF 107, only form of issue, 1932. M-A MB 15

“Germaine Féraldy ‘s… voice presents the essence of charm, a quality hardly cultivated or even properly understood among singers today in any vocal category. Charm almost embarrasses artists nowadays, seeming a rather old-fashioned virtue. Féraldy's gracious, ultra-feminine style summons up another age altogether, when singing actresses knew how to portray both flirtatiousness and vulnerability onstage without affectation. In Féraldy's voice one hears a singer whose every word and phrase brings the youthful, fragile heroines of French opera to life.”
- Roger Pines, THE OPERA QUARTERLY, Vol. 19, #3


V0180. ALICE VERLET: Parla (Arditi) / Carmena (Lane Wilson). 10” etched label H & D Edison 82561 (6387-C/6587-B), only form of issue, 27 March, 1919. Most Elusive! M-A MB 25

V0181. ALICE VERLET: Le carnaval de Venise (Benedict), 2s. 10” etched label H & D Edison 83070 (3826-C/3855-C), only form of issue, 11 May, 1917. Most Elusive! M-A MB 20 Edison 83070

V0182. ALICE VERLET: Chanson d’amour (Hollman) / MARIE TIFFANY & MARIO LAURENTI: DON GIOVANNI – Là ci darem la mano. 10” etched label H & D Edison 82178 (6336-A/6650-C), only form of issue, 1919/’20, resp. M-A MB 15

V0183. ALICE VERLET: Chanson de Florian (Godard) / ARMINIO - Pur dicesti (Lotti). 10” etched label H & D Edison 83060 (4889-C/4821-C), only form of issue, 1916/’17, resp. M-A, albeit slightly hazy surfaces. MB 15

V0184. ALICE VERLET: LE TORÉADOR – Ah! Vous dirai-je maman (Adam) / ROMÉO – Je veux vivre. 10” etched label H & D Edison 83051 (5465-A/6182-C), only form of issue, 1919. Elusive! M-A, immaculate copy! MB 20

V0185. ALICE VERLET: FAUST – Air des bijoux / LA TRAVIATA – Ah, fors’ e lui. 10” paper label H & D Edison 82336 (3585-A/4016-B), only form of issue, 17 April, 1925. Elusive late issue! M-A MB 25

V0186. ALICE VERLET: FAUST – Air des bijoux / Explanatory talk. 10” etched label H & D Edison 82312 (3585-C/3754-B), only form of issue, 13 Feb., 1924. M-A, albeit slightly hazy surface, Sd.1. MB 15

V0187. ALICE VERLET: LA TRAVIATA – Addio del passato / Explanatory talk. 10” etched label H & D Edison 82087 (3562-C/3628-A), only form of issue, 9 Nov., 1915. A to M-A, albeit hint of grey on peaks, Sd.1. MB 12

V0188. ALICE VERLET: RIGOLETTO – Caro nome / Explanatory talk. 10” paper label H & D Edison 82080 (3501-C/3635-B), only form of issue, 1915. M-A, an immaculate copy! MB 15

V0189. ALICE VERLET & RALPH ERROLE: ROMÉO – Ah! ne fuis pas encore! / ALICE VERLET & ANITA RIO: NORMA – Mira, o Norma. 10” paper label H & D Edison 82299 (5967-A/4041-C), only form of issue, 1923. Most Elusive! M-A MB 25

V0190. ALICE VERLET & MARGARETE MATZENAUER: STABAT MATER – Qui est homo / JACQUES URLUS: Cujus animam (Rossini). 10” etched label H & D Edison 83082 (3689-A/5434-C), only form of issue, 1919. M-A, albeit slightly hazy surface, Sd.1. MB 15

V0191. ALICE VERLET & MARY ZENTAY (Violin): IL RE PASTORE – L’amaró saró costante / ARTHUR MIDDLETON: SCIPIONE – Tutta raccolta ancor (Hear me! Ye winds and waves!) (in English) (Handel). 10” etched label H & D Edison 82217 (4853-B/7426-A), only form of issue, 1920/’21. M-A MB 15

V0192. ALICE VERLET & GUIDO CICCOLINI: LA TRAVIATA – Parigi, o cara / Harry Humphrey: Explanatory talk. 10” etched label H & D Edison 83537 (4836/4854-A), only form of issue, 1916. M-A MB 15

V0193. ALICE VERLET & GIOVANNI ZENATELLO: LA BOHEME – O soave fanciulla / Harry Humphrey: Explanatory talk. 10” etched label H & D Edison 83057 (4836/4854-A), only form of issue, 1916. M-A MB 15

V0194. ALICE VERLET & GIOVANNI ZENATELLO: FAUST – Laisse-moi / GIOVANNI ZENATELLO: CARMEN – Air de la fleur (in Italian). 10” paper label H & D Edison 82294 (4867-A/4412-A), only form of issue, 25 June, 1923. M-A MB

“[Alice Verlet] was a gifted singer with a soprano leggiero of great beauty, a voice of astonishing flexibility and evenness. She was also a compelling actress of great charm. Critics repeatedly spoke of her fiorature, trills and ornamentation. Her upper range was unique in its ability to sing trills effortlessly….[Verlet enjoyed a great career at the Monnaie, l’Opéra, and the Théâtre de Gaîté-Lyrique in Paris].”
- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS


V0195.Mlle KELLOR: LES HUGUENOTS – Nobles Seigneurs, salut!. 9 1/4” center start H & D Pathé 1531, recorded 1904, Paris. A to M-A, exceptional copy, the sole one ever to have passed through here. MB 15

V0196. CHARLOTTE MELLOT-JOUBERT, w.Le Boucher (Pf.): MYRTHEN - Die Lotusblume (in French) (Schumann) / POÈME D’UN JOUR - Rencontre (Fauré). 10" PW French Col. D12030, POM-14 Sept., 1927. M-A, choice copy has, Sd.2 only, sl.’hazy’ surface, inaud. MB 15

V0197. MARGUERITE SOYER, w.Henri Tomasi Cond.: MÉLODIES CORSES – Vocero / Ciuciarella (Cond. by the Composer). 10” Disque Gram. DA 4800, only form of issue, c.1930. M-A, choice copy has, Sd.2 only, minuscule pressing indent. Exceedingly Elusive! MB 20

“Marguerite Soyer was contracted for the 1925/1926 season of the l’Opéra-Comique, making her début there as MADAMA BUTTERFLY on 21 October, with Miguel Villabella. Marguerite Soyer remained on the Opéra-Comique's roster for the next ten years. She was to take on more dramatic parts to face the competition with Germaine Lubin. After Balguerie's success as Isolde and Ariane in ARIANE ET BARBE-BLEUE at the Comique, Albert Wolff offered the parts to Soyer for the revival of the 1929/1930 season. She then appeared at the Opera-Comique for the premiere of the TRISTAN revival two months later on 10 October, with Wolff again at the pit. This is a huge success, which was repeated throughout the season. Marguerite Soyer sang MADAMA BUTTERFLY on 22 May, 1929, for its 500 th performance at the Opéra-Comique. Marguerite Soyer was approached by the Paris Grand Opéra for a contract for 1936/1937 season. Her début at the Paris Opéra took place on 18 March, 1936 as… Brangäne. The part of Isolde was sung by Germaine Lubin; de Trévi, Endrèze and Froumenty completed the cast, conducted by Paul Paray. During the winter of 1937 she appeared with the Paris Opéra at the Théâtre des Champs-Elysées, as Ortrud led by Gaubert, including Lubin, Thill and Singher. Between the performances in 1937, she went to Marseille for Brünnhilde in a production of the RING in French, conducted George Sébastian. Marguerite Soyer repeated her Ortrud during the 1937/1938 season.”
- Christophe Delhoume


V0198. ANDRÉE MARILLIET, w.Szyfer Cond.: RICHARD COEUR DE LION – Je crains de lui parler la nuit (Grétry) / w.Cohen Cond.: RADAMISTO – Air de Polissena (Handel). 10" PW French Col. RF 25, POM-14 April, 1930. M-A, beautiful copy has, Sd,.2 only, faintest rub, inaud. MB 15

“In 1922 Marilliet made her debut at the Opéra-Comique in Paris, and she also appeared at the Grand Opéra, where she sang till 1937. Here she performed in several opera premieres: on 21 April, 1931 in Magnard’s GUERCOEUR, on 21 March, 1935 in Hahn’s LE MARCHAND DE VENISE, on 10 March, 1936 in Enescu’s OEDIPE.
– Ashot Arkelyan


V0199. MARISE BEAUJON, w.Cohen Cond.: ESCLARMONDE – Roland! Roland! Comme ce nom me trouble (Massenet) / CAVALLERIA – Voi lo sapete (in French). 10" PW Eng. Col. LF 20, only form of issue, 14 April, 1930. A to M-A, choice copy has sl.’hazy’ surface, inaud. MB 15

V0200. MARISE BEAUJON, w.Cohen Cond.: HÉRODIADE - Il est doux, il est bon / Charme des jours passés. 12” PW French Col. D.15095, POM-1929. M-A, lovely copy has 2 faintest rubs, inaud. MB 10

V0201. MARISE BEAUJON, w.Bigot Cond.: MADAMA BUTTERFLY – Un bel dì / TOSCA – Vissi d’arte (both in French). 12” PW French Col. LFX 76, POM-1930. M-A MB 10

V0202. MARISE BEAUJON, w.Bigot Cond.: SIGURD – Salut, splendeur du jour! (Reyer), 2s. 10” French Col. LF 43, POM-1930. M-A, lovely copy has, Sd.1 only, minor ‘heat’ mk at beg, barely audible. MB 8

V0203. MARISE BEAUJON, w.Büsser Cond.: GUILLAUME TELL – Sombre forêt, 2s. 10” French Col. LF 10, POM-1930. M-A. MB 10

V0204. MARISE BEAUJON, w.Truc Cond.: FAUST – Le Roi de Thulé / Air des bijoux. 12” Eng. Col. D15044, POM-1928. M-A MB 8

V0205. MARISE BEAUJON & FRED BORDON, w.Grovlez Cond.: FAUST – Scène de l’église, 2s. 12” black Viva-Tonal Col. 50175-D, POM-1929. M-A MB 10

“Beaujon was first heard at the Paris Opéra as Mathilde in Rossini’s GUILLAUME TELL. In 1928 she was the Paris Opéra’s first Turandot, with Georges Thill. Beaujon’s repertoire included roles such as Marina in BORIS GODOUNOV, Alice Ford in FALSTAFF, Marguerite in FAUST and Nedda in PAGLIACCI. She was noted as much for her visual allure and acting as for her voice.”
– Zillah Dorset Akron


V0206. YVONNE BROTHIER: LE ROI MALGRÉ LUI - Il est un vieux chant de Bohème / L’amour, ce divin maître (Chabrier). 10" black Disque Gram. P 843, only form of issue, 28 Feb., 1928. M-A MB 12

V0207. YVONNE BROTHIER: NOZZE – Non so più / Voi che sapete (both in French). Sd.1 only has minuscule ec, far from grooves. MB 10

V0208. YVONNE BROTHIER: LE ROI D’YS – Tais-Toi ! Margared / LOUISE – Depuis le jour. 12" black Disque Gram. W 378, only form of issue, 30 Dec., 1919 / 17 May, 1920. A to M-A, lovely copy has faintest rubs, inaud. MB 15

V0209. YVONNE BROTHIER, w.Bervily Cond.: RICHARD COEUR DE LION - La danse n’est pas que j’aime (Grétry), 2s. 10” plum PW Disque Gram. K-7301, only form of issue, 1933. [This beautiful aria will be fondly remembered by those who heard it, inserted into Tschaikowsky’s PIQUE DAME, sung in a most haunting manner by Leonie Rysanek at the very end of her illustrious Met Opera career.] M-A MB 15

V0210. YVONNE BROTHIER, w. MARCEL MOYSE (Flue obbligato): LUCIA DI LAMMERMOOR – Ardon gl’incensi; Spargi d'amaro pianto (in French), 2s. 12" black Disque Gram. W 966, only form of issue, 7 June, 1928. A to M-A, lovely copy has faint rubs, inaud. MB 25

“Marcel Moyse was one of the most influential players and teachers of the twentieth century. He was professor of flute at the Paris Conservatoire and was the author of many books of etudes and exercises that are the backbone to the studies of flute players around the world.”
- Robert Bigio


V0211. YVONNE BROTHIER, w.M. G. Boo (Flute); Lauweryns Cond.: LES HUGUENOTS – Ô beau pays (Meyerbeer), 2s. 12" black Disque Gram. W 1086, only form of issue. A to M-A, lovely copy has, Sd.2 only, faintest rubs, inaud. MB 15

V0212. YVONNE BROTHIER & EMIL MARCELIN: LAKMÉ – Lakmé, c’est toi; Dans la forêt près de nous, 2s. 10" black Disque Gram. P 559, POM-26 May, 1920. [Brothier debuted in 1916 as Lakmé at the Paris Opéra-Comique. Although she sang at the Paris Opéra after 1931, she seldom appeared outside of France.] M-A MB 12

V0213. MARTHE NESPOULOUS, w.Cohen Cond.: LE ROI D’YS – Air de Rozenn (Lalo) / w.Szyfer Cond.: MAROUF - Pourquoi ces mots inattendus (Rabaud). 12" PW Eng. Col. RFX 21, POM-1928. A-, fine copy has lt.rubs, inaud. MB 8

“At the end of March 1923, at the funeral of Sarah Bernhardt, Marthe Nespoulos performed ‘Pie Jesu’ from Fauré’s REQUIEM, and Jacques Rouché, director of the Paris Opera, immediately hired her. She began there October 13, 1923, and In 1925 she sang Thaïs, in 1926 Nedda, in 1927 Sophie in ROSENKAVALIER, and Elsa in LOHENGRIN. In 1928, she was with José de Trevi, in MAROUF.”
- BIJOUTERIE DU SPECTACLE


V0214. JANE BOURGUIGNON, w.Elie Cohen Cond.: CARMEN – Habanera / En vain pour éviter (Card Scene). 10” early PW Eng. Col. LF 64, POM-1930. A-, Excellent copy has, Sd.2 only, minor pressing bump, briefly very ltly audible. MB 10

V0215. SOLANGE MICHEL, w.Cluytens Cond.: MIGNON – Connais-tu le pays / Je connais une pauvre enfant. 12" Pathé PDT 227, only form of issue, 1953. M-A MB 12

“Solange Michel was one of the most popular interpreters of the title heroine in Bizet's CARMEN in post World War II France. Michel studied at the Conservatoire de Paris under Thomas Salignac and André Gresse. She began her career as a concert singer, giving her first performance on French Radio in 1936, and made her stage debut in 1942, as Charlotte in WERTHER. In 1945, she became a member of the Opéra-Comique where she debuted as Mignon. Shortly afterwards, she was invited to perform at the Paris Opéra, and quickly established herself as the most important mezzo of her era. Her interpretation of Carmen is now widely regarded as a classic. She made guest appearances at the Royal Opera House in London, at La Scala in Milan, the Teatro San Carlo in Naples, the Liceu in Barcelona, the Teatro Colón in Buenos Aires. Michel, also much admired as a recitalist, made her last appearance in Besançon, in 1978.”
- Wikipedia


V0216. MARTHA ANGELICI, w.Eugène Wagner (Pf.): WINTERREISE - Wasserflut / SCHWANENGESANG - Der Doppelgänger (Schubert) (both in French). 10" Lumen 30.091, only form of issue, 27 Sept., 1943. M-A, lovely copy has fantest rubs, inaud. MB 20

V0217. MARTHA ANGELICI, w.Jean Hubeau (Pf.): Du bist die Ruh' / Die Forelle (both in French) (both Schubert). 10" Lumen 30.086, only form of issue, 10 Dec., 1942. M-A MB 20

V0218. MARTHA ANGELICI, w.Jean Hubeau (Pf.): Adelaide (in French) (Beethoven), 2s. 12" Lumen 32.064, only form of issue, 1 Jan., 1945. M-A MB 20

V0219. MARTHA ANGELICI, w.Jean Hubeau (Pf.): Un moto di gioia; Ridente la calma / Das Lied der Trennung (all Mozart). 12” L'Anthologie Sonore 93, only form of issue, 1939, w.Printed Notes & Texts. M-A, as unplayed. MB 15

V0220. MARTHA ANGELICI, w.Lily Laskine (Harp): Jeunes fillettes (arr.Weckerlin) / Plaisir d’amour (Martini). 10” LVSM DA 5031, only form of issue, 24 April, 1950. M-A, a gleaming copy. MB 20

V0221. MARTHA ANGELICI, w.Lily Laskine (Harp): Non, je n’irai plus au bois (arr.Weckerlin) / Le temps des cerises (Benard). 10” LVSM DA 5032, only form of issue, 24 April, 1950. M-A, a gleaming copy. MB 20

V0222. MARTHA ANGELICI, w.Lily Laskine (Harp): Maman, dites-moi (arr.Weckerlin) / Pauvre Jacques (Marie Antoinette). 10” LVSM DA 5033, only form of issue, 24 April, 1950. Elusive! M-A, a gleaming copy. MB 20

V0223. MARTHA ANGELICI, w.Valsien Cond.: Occhi castagni / Fior di Rosa (both Agostini). 10” dark-blue French Odéon 281.123, only form of issue, 24 Dec., 1936. M-A, a gleaming copy. Most Elusive! MB 35

V0224. MARTHA ANGELICI, w.Cebron Cond.; Pierront (Organ): Exsultate, Jubilate – Alleluia, K.165 (Mozart) / Ave Maria (Schubert). 12” Lumen 32.060, only form of issue, 11 March, 1942. M-A, a gleaming copy. MB 25

V0225. MARTHA ANGELICI, w.Cebron Cond.: CANTATA #51 – Jauchzet Gott in allen Landen (in French) (Bach), 2s. 10” Lumen 30.096, only form of issue, 1943. M-A MB 20

V0226. MARTHA ANGELICI, GERMAINE CERNAY & JULIEN GIOVANETTI, w. Noëlie Pierront (Organ), w.Cebron Cond.: CANTIQUE DE JEAN RACINE (Fauré), 2s. 10" Lumen 30.080, only form of issue, 1945. Most Elusive! M-A MB 25

V0227. MARTHA ANGELICI, MAX MIELI & JOSEPH PEYRON: COMBATIMENTO DI TANCREDI E CLORINDA (Monteverdi), 6s. 3-12” L'Anthologie Sonore 141/43, only form of issue, 1948. M-A as unplayed. MB 20, the Set.

V0228. ANGELICI, w.Henri Tomasi (Pf.) CHANSONS DE GEISHAS – Fête à Katushita / Printemps (Acc. by the Composer); QUINTETTE À VENT DE PARIS: (Cortet, Oboe, Vacellier, Reumont & Grandmaison): Variations sur un Thème corse (Henri Tomasi). 2-10” Florilège HP 2004/05, only form of issue, 1943. M-A, a gleaming copy. Exceedingly Elusive, especially as a Pair! MB 55, the Pair.

V0229. MARTHA ANGELICI, w.Henri Tomasi Cond.: Sirinatu / Lamento serenata di Spanettu (Cond. by the Composer). 10” dark-blue Pathé PA 1046, only form of issue, 1936. M-A, a gleaming copy. Exceedingly Elusive! MB 35

V0230. MARTHA ANGELICI, w.Henri Tomasi Cond.: Cantu di malincunia / U marcante in fiera; Zilimdrina (Cond. by the Composer). 10” dark-blue Pathé PA 1045, only form of issue, 1936. M-A Exceedingly Elusive! MB 35

V0231. MARTHA ANGELICI, w.Cebron Cond.: Ständchen (Schubert) / PEER GYNT - Chanson de Solveig (Grieg) (both in French). 12" Lumen 32.062, only form of issue, 1 Jan., 1947. Most Elusive! M-A MB 25

V0232. MARTHA ANGELICI, w.Cebron Cond.: Die junge Schäferin (in French) (Schubert) / Les berceaux (Fauré). 10" Lumen 33.191, only form of issue, 1943. M-A MB 20

V0233. MARTHA ANGELICI, w.Cebron Cond.: Rigali di natale / Nanna corsa (both Corsican). 10" Lumen 33.202, only form of issue, 10 July, 1942. Most Elusive! M-A MB 25

V0234. MARTHA ANGELICI, w.Cebron Cond.: Présents des Iles / Douce m'apparait ton image (both Thiriet). 10” Florilège HP 2001, only form of issue, 19 Oct., 1942, w.Printed Notes & Texts. Elusive! M-A, unplayed. MB 20

V0235. MARTHA ANGELICI, w.Briez Cond.: La Légende des Santons / Noël Vendéen (both Agostini). 10" Lumen 33.184, only form of issue, 6 Oct., 1941. Most Elusive! M-A MB 25

V0236. MARTHA ANGELICI, w.Fourestier Cond.: NOZZE – Non so piu / Voi che sapete (in French). 10” LVSM DA 5399, only form of issue, 1951. Elusive! M-A, gleaming copy. MB 20

V0237. MARTHA ANGELICI, w.Cloez Cond.: LES FESTES DE THALIE - Airs pour les jeux et les plaisirs / GERMAINE EPICASTE: Air en rondeau; Mer paisible (Mouret). 12” L'Anthologie Sonore 84, only form of issue, 1938. M-A, as unplayed. MB 15

V0238. MARTHA ANGELICI, w.Cloez Cond.: CALLIRHOE - Air de la Dryade; Air pour les Faunes (Destouches) / GERMAINE EPICASTE: CIRCɐ - Récits et Air (de Blamont). 12” L'Anthologie Sonore 86, only form of issue, 1938. M-A, as unplayed. MB 15

V0239. MARTHA ANGELICI, w.Sachs Cond.: LE DEVIN DU VILLAGE - J'ai perdu mon serviteur; Si des galants / Avec l'objet de mes amours; Allons danser (Rousseau). 12” Gramophone Shop L'Anthologie Sonore 54, POM-1938. M-A MB 15

V0240. MARTHA ANGELICI, w.Ensemble: LÉANDRE ET HÉRO (Clérambault), 4s. 2-12” L'Anthologie Sonore 105/106, only form of issue, 5 May, 1941. M-A, as unplayed. MB 20, the Pair

V0241. MARTHA ANGELICI, w.Cluytens Cond.: MIREILLE – Voici la vaste plaine / Non, non, je ne mourrai pas. 12” LVSM DB 11184, only form of issue, 1948. Elusive! M-A, a gleaming copy. MB 25

V0242. MARTHA ANGELICI, w.Cluytens Cond.: LA BOHEME – Donde lieta uscì (in French) / LOUISE – Depuis le jour. 12” LVSM DB 11253, only form of issue, 1952. Elusive! M-A, a gleaming copy. MB 25

V0243. MARTHA ANGELICI, w.Fournet Cond.: LA BOHEME – Mi chiamano Mimi / MADAMA BUTTERFLY – Un bel dì (both in French). 12” LVSM DB 11220, POM-1948, issued France only. Elusive! M-A, a gleaming copy. MB 25

V0244. MARTHA ANGELICI, w.Maurice Fauré Cond.: Chanson de printemps (Gounod) / LES NUITS D’ÉTÉ – L’absence (Berlioz). 12” LVSM DB 11247, only form of issue, 6 Oct., 1949. M-A, a gleaming copy. MB 20

V0245. MARTHA ANGELICI & ANDRÉE FAURÉ-ESPEREL; Jean Ullern (Pf.): Maria mater gratiae / Ave Verum (both Fauré). 10” Lumen 30.107, only form of issue, 1945. M-A MB 15

V0246. MARTHA ANGELICI & GERMAINE CERNAY, w. Noëlie Pierront (Organ): CHRIST LAG IN TODESBANDEN – Wir eilen mir schwachen (Bach) / GEISTLICHE KONZERTE – Erhöre mich, wenn ich dich rufe (Schütz). 12” Lumen 32.059, only form of issue, 1942. M-A, lovely copy has faintest rubs, inaud. MB 15

V0247. MARTHA ANGELICI & GERMAINE CERNAY, w. Noëlie Pierront (Organ): CHRISTMAS ORATORIO - Cantata for the 14th Sunday after Trinity (Sion tiens-toi prête) (Bach), 2s. 10" Lumen 2.22.002, only form of issue, 10 March, 1942. Elusive! M-A MB 25

V0248. MARTHA ANGELICI, w.Gerlin Cond.: IL POMO D'ORO - Ah! quanto è vero (Cesti) / MARTHA ANGELICI & YVON LE MARC'HADOUR: LA NITTETI - Puoi vanter (Sacchini). 12” L'Anthologie Sonore 82, only form of issue, 1938, w.Printed Notes & Texts. M-A as unplayed. MB 15

V0249. MARTHA ANGELICI, w.Cluytens Cond.: TROIS CHANTS DE LA JUNGLE – Berceuse phoque / QUATRE POÈMES HINDOUS – Madras / Lahore / Beares; Jeypoore (all Delage), 4s. 2-10” LVSM DA 5054/55, only form of issue, 1951. M-A, a gleaming copy. MB 35, the Pair.

V0250. MARTHA ANGELICI & ANDRÉE FAURÉ-ÉSPÉREL, w.Jean Ullern (Pf.): La nuit / Réveil (both Chausson). 12" Lumen 32.071, only form of issue, 1 Jan., 1947. Most Elusive! M-A MB 25

V0251. MARTHA ANGELICI, w.Cebron Cond.: Nozze - Deh vieni, non tardar / w.Jean Pasquier (Violin): IL RE PASTORE - L'ameró, saró costante [the first of Angelici’s two recordings]. 12” L'Anthologie Sonore 118, only form of issue, 23 Nov., 1942, w.Printed Notes & Texts. Exquisite renditions! Elusive! M-A, unplayed. MB 20

“Martha Angelici was a Corsican [who], after studies in Brussels, followed the same route to fame as Solange Michel, singing in concert and on the radio throughout the Benelux countries. In 1936 she made her operatic début in Marseille as Mimì. From 1938 she sang at the Opéra-Comique and from 1953 also at the Opéra, making guest appearances in Brussels and Monte Carlo. She was acclaimed in the rôle of Micaëla, which she sang at La Scala with Karajan, and commanded a wide range of repertoire in concert.”
- Tully Potter


V0252. GERMAINE CERNAY, w.Cloëz (Pf.): L’Ane Blanc (Huë) /The Rose and the Nightingale (Rimsky-Korsakov); Lilacs (Rachmaninoff) (both in French). 10” red Decca-Odeon G-20579, POM-1930. M-A, lovely copy has, Sd 2 only, minor rubs, inaud. MB 15

V0253. GERMAINE CERNAY, w.Cloëz Cond.: JOCELYN – Berceuse (Godard) / LES SALTIMBANQUES – C’est l’amour (Ganne). 12” French Odéon 123.544, POM-1930. M-A, choice copy has few faintest rubs, inaud. MB 12

V0254. GERMAINE CERNAY, w.Büsser Cond.: HÉRODIADE – Ne me refuse pas / MIGNON – Connais-tu le pays? 10" PW French Col. LF 109, only form of issue, 1930. M-A MB 15

V0255. GERMAINE CERNAY, w.Cloëz Cond.: WERTHER – Air de la lettre, 2s. 10” French Odéon A188607, POM-1929. M-A MB 12

V0256. GERMAINE CERNAY & PIERRE DUPRÉ, w. Cloëz Cond.: MIGNON - Légères hirondelles, 2s. 10” French Odéon 188.758, POM-1930. M-A MB 12

V0257. GERMAINE CERNAY & BERNADETTE DELPRAT, w.Cohen Cond.: LE ROI D’YS – Margared, ô ma soeur (Lalo), 2s. 10" PW French Col. LF 115, only form of issue, 14 Nov., 1932. Elusive! M-A, an immaculate copy! MB 25

V0258. GERMAINE CERNAY, ROGER BOURDIN & JULIEN LAFONT, w. Cloëz Cond.: DON QUICHOTTE – Écoute, mon ami (La mort de Don Quichotte) (Massenet), 2s. 12” French Odéon 123.518, POM-1930. M-A, choice copy has tiny edge ‘crunch’ not affecting performance, positively inaud. MB 12

“Germaine Cernay made her debut at the Opéra-Comique on 16 May 1927 as la Bossue in the Paris premiere of Alfano's RISURREZIONE. [Cernay’s] classically pronounced and inflected French is so naturally integrated into a smooth, beautiful voice. Everything she does is so unassumingly right and idiomatic that one wonders why so few singers today can manage to emulate her….Cernay - who had a big career at the Opéra-Comique (1927-42) and in concert - is a singer whose work ought to be represented in every collection.”
- GRAMOPHONE


V0259. MADELEINE GREY, w. Elie Cohen Cond.: CHANTS D'AUVERGNE (in Languedoc dialect, sung by the dedicatée) (Arr: Joseph Canteloube), 6s. 3-12” early PW Col.7238/40-M, POM-5 Feb., 1930, on Royal Blue Shellac, in Orig.Gramophone Shop Album #154. M-A, immaculate copy of the best-possible pressing! MB 25, the Set.

V0260. MADELEINE GREY, w. MAURICE RAVEL Cond. MARCEL MOYSE (Flute), etc.: CHANSONS MADÉCASSES (Cond. by the Composer), 4s. 2-10” PW black French Polydor 561076/77, POM-1932. A to M-A, lovely copy has faintest rubs, inaud. MB 35, the Pair.

V0261. MADELEINE GREY, w. MAURICE RAVEL (Pf.) & MARCEL MOYSE (Flute): Trois chants hébraiques (Acc. by the Composer), 2s. 10” PW black French Polydor 62706, POM-1932. A to M-A, lovely copy has faintest rubs, inaud. MB 35, the Pair.

"...since Bathori's perfect first performance [of the above], quite a number of years ago, this very difficult work has been taken up by many other distinguished artists: Not one has expressed its character as faithfully as Madeleine Grey. I designated her recently when the Polydor Company asked me to record these 3 pieces, allowing me to select the performers."
- Maurice Ravel, (letter to Guido Gatti, 5 Jan., 1933) in Orenstein's A RAVEL READER, p.313


V0262. ELIETTE SCHENNEBERG, w. ARTHUR HONEGGER (Pf.): Trois Psaumes (Acc. by the Composer), 2s. 12” French Col. LFX 690, only form of issue, 1946. A to M-A, lovely copy has faintest rubs, inaud. MB 15

V0263. ELIETTE SCHENNEBERG, w. ANGELICI, PLANEL, CORKE & NOGUÉRA; Louis Martini Cond. Concerts Colonne: DE PROFUNDIS (de Lalande), 10s. 5-12” Pathé PDT 139/143, only form of issue, 1948. M-A MB 15, the Set.

“Eliette Schenneberg made her début at the Palais Garnier on 7 December 1934 in D’Indy’s L’ÉTRANGER and performed in the world première of Marcel Delannoy’s GINÈVRA at the Opéra Comique in 1942. The same year she performed in Sylvio Lazzari’s LA LÉPREUSE with Madeleine Sibille, also at the Comique. Eliette Schenneberg’s repertoire was quite large and included opera and song: SAMSON ET DALILA (Saint-Saëns); ARIANE ET BARBE-BLEU (Dukas); and LE COQ D’OR (Rimsky-Korsakov) as well as CHANSON GRISES (Hahn); LES AMOURS DE RONSARD (Milhaud); and TROIS PSAUMES (Honnegger). One of the most interesting aspects of Eliette Schenneberg’s career featured collaborations with some of the 20th Century’s greatest French composers.”
- Ward Marston


V0264. JEAN PLANEL, w.Andolfi (Pf.): Sérénade nouvelle (Acc. by the Composer) / Les rêves d’amour (Rollane). 10” dark-blue Pathé PA 563, POM-1935. Most Elusive! M-A MB 35

V0265. JEAN PLANEL: La chanson de mon coeur (Verdun) / MAX RÉJEAN: Garde-moi ton amour (Erwin). 10” dark-blue Pathé X.94.162, only form of issue, 1931. M-A MB 15

V0266. JEAN PLANEL: Quand l'oiseau chante (Tagliafico) / Parais à ta fênetre (Gregh). 10" dark-blue Pathé X.93.130, only form of issue, 1933. M-A, as unplayed! MB 15

V0267. JEAN PLANEL: Notre Père qui êtes aux cieux (Büsser) / Panis angelicus (Franck). 10" green Pathé X.93.111, only form of issue, 1933. A to M-A, lovely copy has faintest rubs, inaud. MB 10

V0268. JEAN PLANEL: w.Gerlin (Pf.): Benedictus Deus / Deus in Dominus (both de la Lande). 10" Lumen 30.078, only form of issue, 1939. M-A MB 15

V0269. JEAN PLANEL, w.Briez Cond.: Mon beau sapin / Voici Noël, o douce nuit! (both arr.Hamelle). 10" dark blue Pathé PA 1248, only form of issue, 1937. M-A MB 15

V0270. JEAN PLANEL, w.Briez Cond.: Le rideau de ma voisine / Carmen (both Combes). 10" dark-blue Pathé PA 1249, only form of issue, 1937. M-A, as unplayed! MB 15

V0271. JEAN PLANEL, w.Andolfi (Pf.): D'une prison / Offrande (both Hahn). 10" dark blue Pathé X.93.137, only form of issue, 1933. A-, lovely copy has faint rubs, inaud. MB 12

V0272. JEAN PLANEL, w.Andolfi (Pf.): Ouvre tes yeux bleus (Massenet) / A Trianon (Rémy). 10" dark blue Pathé X.93.099, only form of issue, 1932. A-, lovely copy has faint rubs, inaud. MB 12

V0273. JEAN PLANEL, w.Andolfi (Pf.): Idylle Funambulesque – À Colombine / Sérénade à Bettine (both Robert Planel). 10” green Pathé PG 32, only form of issue, 1934. M-A MB 15

V0274. JEAN PLANEL, w.Andolfi Cond.: Marche des fils de Provence (Diolot) / Les Ésclaireurs et Louveteaux d’Henri IV: Chant fédéral des ésclaireurs de France ésclaireurs (Taupin). 10” dark-blue Pathé PA 561, only form of issue, 1935. Most Elusive! A to M-A, lovely copy has faintest rubs, inaud. MB 25

V0275. JEAN PLANEL, w.Andolfi Cond.: À la petite blonde (Plasse) / Lettre à Ginette (Yerri). 10" dark-blue Pathé PA 564, only form of issue, 1935. M-A, lovely copy has 2 infinitessimal scrs, inaud. MB 15

V0276. JEAN PLANEL, w.Andolfi Cond.: LES CLOCHES DE CORNEVILLE - Va, petit Mousse / Je regardais un l'air (Planquette). 10" early dark-blue Pathé X.91.028. A to M-A, lovely copy has, Sd.2 only, faint rubs, inaud. MB 12

V0277. JEAN PLANEL, w.Andolfi Cond.: LA MASCOTTE – Le je ne sais quoi (Audran) / LES DRAGONS DE VILLARS – Ne parle pas, Rose (Maillart). 10” green Pathé X.91.053, only form of issue, 1933. A to M-A, lovely copy has faint rubs, inaud. MB 12

V0278. JEAN PLANEL, w.Andolfi Cond.: LALLA-ROUKH - Ma maîtresse a quitt‚ la tente / SOLANGE RENAUX: Si vous ne savez plus charmer (David). 10" red Pathé PD 11, only form of issue, 1935. M-A A rare issue! MB 25

V0279. JEAN PLANEL, w.Andolfi Cond.: LAKMɂ - Prendre le dessin d'un bijou / Au bras poli de la païenne. 10" green Pathé PG 33, only form of issue, 1934. M-A, as unplayed! Most Elusive! MB 15

V0280. JEAN PLANEL, w.Andolfi Cond.: LA JOLIE FILLE DE PERTH - A la voix d'un amant fidèle (Bizet) / JOCELYN - Berceuse (Godard). 10" green Pathé X.90.046, only form of issue, 1932. M-A, choice copy has, Sd.2 only, 2 microscopic scrs, positively inaud. MB 15

V0281. JEAN PLANEL, w.Ruhlmann Cond. Lamoureux Orch.: LA FILLE DU RÉGIMENT - Pour me rapprocher Marie / BARBIERE - Se il mio nome (in French). 10" Pathé X.90.063, only form of issue, 1932. A rare issue! M-A MB 25

V0282. JEAN PLANEL, w.Ruhlmann Cond. Lamoureux Orch.: MANON - Le rêve / LE ROI D'YS - Vainement, ma bien-aimée. 10" green Pathé X.90.036, only form of issue, 1931. M-A MB 15

V0283. JEAN PLANEL, w.Ruhlmann Cond. Lamoureux Orch.: DIE LUSTIGE WITWE - Sieh' dort im kleinen Pavillon (Lehár) / EIN WALZERTRAUM - Da draussen im duftenden Garten (Oscar Straus) (both in French). 10" Pathé X.91.031, only form of issue, 1932. M-A MB 15

V0284. JEAN PLANEL, w.Ruhlmann Cond. Lamoureux Orch.: L'ENFANCE DU CHRIST - Le repos de la Sainte Famille (Berlioz), 2s. 12” Master Works Col. P-69340-D, POM-1933. [Jean Planel’s voice had a rare, sensitive and nuanced timbre, his range from light tenor to high counter-tenor, his impeccable technique in terms of breathing, emission and articulation, led him to achieve brilliant success. As soloist of the Grands Concerts Parisiens he recorded often, mainly at Pathé Marconi. He participated in the creation of the works of his friends Darius Milhaud, Gustave Charpentier, Germaine Tailleferre, Poulenc, Messiaen, Jolivet among others. PLANEL won First Prize of the Grand Prix de Rome in 1933 for this legendary recording of Berlioz's ‘Le repos de la Sainte Famille’ from L'ENFANCE DU CHRIST.] M-A MB 10

V0285. JEAN PLANEL, JANE BATHORI, BREGA, VALENCIN, PETIT & HAZART, w.Darius Milhaud Cond.: TROIS OPÉRAS-MINUTE, including L'ABANDON D'ARIANE; LA DÉLIVRANCE DE THÉSÉE; L'ENLÈVEMENT D'EUROPE (all Cond. by the Composer), 6s. 3-12” Master Works Col.69059/61-D, POM-1929, Orig. Album 309, w.Brochure. M-A, pristine copy. MB 45, the Set.

V0286. RENÉ VERDIÈRE, w.Defosse Cond.: LA JUIVE - Dieu que ma voix tremblante / DIE WALKÜRE - Winterstürme (in French). 10” French Odéon 188.034, only form of issue, 1929. M-A MB 12

V0287. RENÉ VERDIÈRE & GERMAINE MARTINELLI: IL TROVATORE - Miserere (in French), 2s. 10” French Odéon 188.043, only form of issue, 1929. M-A MB 12

“In 1926 Verdière made his debüt at L’Opéra as Max in DER FREISCHÜTZ. He subsequently had a long career at both the Grand Opéra and (from 1930) at the Opéra-Comique. There, he participated in the original production in 1935 of Antoine Mariotte’s GARGANTUA, among other works. He made many successful guest appearances, notably at Covent Garden and at the Opéra in Monte Carlo. At Covent Garden in 1936 he sang Julien in Charpentier's LOUISE. Throughout his career he specialized in heroic roles in the French repertory and in Wagner. In 1948 and 1949 he made guest appearances at the Opéra in Monte Carlo as Dmitri in BORIS GODUNOV. In 1953 he played the role of Adario in the glamorous production of Rameau’s LES INDES GALANTES.”
- Ashot Arkelyan


V0288. PAUL DEVOS (T), w. Gilberte Lecompte (Pf.): Chanson d’avril (Bizet); Ballade à la lune (Lalo) / Ou voulez-vous aller [Barcarolle] (Gounod); À Colombine (Massenet). 12” Pathé PDT 283 (CPT1324/CPTX1325), only form of issue, 1953. M-A, choice copy of a late 78 rarity. MB 12

V0289. LOUIS DISTER & LOUIS RICHARD, w.Bastin Cond.: Le Crucifix (Fauré) / LES PÊCHEURS DE PERLES – Au fond du Temple-Saint. 12” PW red Eng. Col. D 14255, POM-1930. A-, excellent copy has faint rubs, inaud.; wee label smudge, Sd.2. MB 10

“By almost any standard of comparison, Louis Richard had an extraordinary career, performing for over forty years. With a repertoire of some ninety-seven operatic roles, he gave over three thousand performances….[Louis Dister] sang at the Monnaie as a member of the company in the season of 1906-1907 and later…1927 through 1930….[His few records] reveal a lovely style and timbre”
- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS


V0290. PAUL DUFAULT: LE CID – O souverain / MIGNON – Elle ne croyait pas. 12” green Col. E5118 (37407/08), only form of issue, 30 Sept., 1915. A-B, very decent copy has considerable cosmetic rubs, inaud. MB 10

“[Canadian tenor] Paul Dufault sang with the Société symphonique de Québec in 1903, where the program mentioned that he had been living in New York 'for many years', making several concert and church appearances there. Barring the occasional oratorio appearance, his career was confined exclusively to the concert platform, and he should not be confused with the French dramatic tenor Jean Dufault, who sang with Hammerstein's Manhattan Opera. In his prime (c.1906 to 1921) Paul Dufault appeared with great success in many parts of the world, including Australia, China, and Japan. In 1921 he toured Canada. His programs, comprising exclusively French classical arias and French and English songs were served well by a sympathetic lyric tenor of somewhat limited range. Following a typical New York recital in 1911, the TIMES wrote, 'Mr. Dufault has very considerable requirements in the management of a not wholly tractable organ, in the matters of diction, style, phrasing, interpretation, which are much to his credit’.”
- James B. Mcpherson, HISTORICA CANADA


V0291. JOSEPH SAUCIER: Ouvre tes yeux bleues / Mlle ALPHONSE THIBODEAU: Chantez, riez, dormez (both Massenet). 10’ green Col. E4587, only form of issue, 1920. A-, very decent copy has lt.rubs, inaud. MB 10

“Joseph Saucier is believed to be the first French-Canadian artist to make a recording in Canada (c. 1904). He left Montréal to study voice with Auguste-Jean Dubulle at the Conservatoire de Paris. While in Europe, he sang with success in concerts held in London and Paris. He returned to Canada in 1902, to sing the role of Satan in Théodore Dubois’ LE PARADIS PERDU, presented by Laval University as part of its 50th anniversary celebrations. From 1927 to 1936, he was choirmaster at St-Louis-de-France Church in Montréal, where he had performed as a soloist in 1914.”
- HISTORICA CANADA


V0292. PIERRE DE SEYGUIÈRES, w. Witkowski Cond. Lyon Conservatoire Orch.: Le Parfum Imperissable / SHYLOCK – Madrigal; Chanson (both Fauré). 10” dark-blue French Col. DF 2542, only form of issue, 1938. M-A, choice copy has faintest rub, Sd. 2 only, inaud. MB 10

V0293. FRANZ KAISIN, w.Albert Wolff Cond. Lamoureux Orch.: FAUST – Salut à mon dernier matin / FRANZ KAISIN & ROBERT COUZINOU: LES PÊCHEURS DE PERLES – Au fond du Temple-Saint. 12” green French Polydor 516.589, POM-1929. A to M-A MB 12

“Franz Kaisin received very enthusiastic reviews for his Walther, a role in which his clear and unforced style as well excellent acting made a fine impression. The Lyonnais regretted that his rapid rise soon led him to the Opéra-Comique where he sang from 1924 to 1927….At the Opéra he made his debut in a gala performance of MANON on 10 Nov., 1927….In London in 1928 he repeated many of his roles from Paris appearances….He was frequently partnered by other Belgian artists – Bovy, Heldy and Crabbé….He enjoyed a long and fulfilling career singing in many countries and opera houses around the world.”
- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS


V0294. PIERRE GIANNOTTI, w.Challan Cond.: La Procession / Panis angelicus (both Franck). 12” Pathé PDT 216 (CPTX855/856), only form of issue, 1949. M-A, choice copy has, Sd.1 only, faintest rub, inaud. MB 12

V0295. PIERRE GIANNOTTI, w.Cebron Cond.; Pierront (Organ): Sancta Maria (Fauré) / Agnus Dei (Bizet). 12” Lumen 32.061, only form of issue, 3 Oct., 1942. M-A, beautiful copy has, Sd.1 only, wee pressing bump; Paris label sticker, Sd.2 label. MB 12

V0296. AUGUSTIN (FRANCISCO) NUIBO: ROMÉO – Ah! lève-toi, soleil (1906 Version). 10” black & silver Col. 3129, only form of issue, 1906. A or better, beautiful copy has an insignificant ipc, nowhere near center nor edge; uncommonly bright label. MB 20

V0297. AUGUSTIN (FRANCISCO) NUIBO: Noël d’amor (Luigini) / LAURA – Sérénarde napolitaine (Pons). 11¾” etched label center-start H & D Pathé 4574/4577 (12062/13500), recorded 1907, Paris. A to M-A, beautiful copy has hint of grey on peaks. MB 25

V0298. AUGUSTIN (FRANCISCO) NUIBO: LAKMÉ – Fantaisie ô divin mensonge / LA BOHEME – Che gelida manina (in French). 11¾” etched label center-start H & D Pathé 4569/4660 (88601/86900), recorded 1907, Paris. M-A MB 25

V0299. AUGUSTIN (FRANCISCO) NUIBO: Je ne pleurerai plus (Abet Queille). 10” black & silver Col. 3130, only form of issue, 1906. A-, lovely copy has lt.rubs, inaud.; uncommonly bright label has wee label tear. MB 35

V0300. AUGUSTIN (FRANCISCO) NUIBO: CARMEN – La fleur que tu m’avais jetée. 10” black & silver Col. 3128, only form of issue, 1906. A-, lovely copy has faint rubs, inaud.; uncommonly bright label. MB 20

V0301. AUGUSTIN (FRANCISCO) NUIBO: WERTHER – Pourquoi me réveiller? 10” black & silver Col. 3138, only form of issue, 1906. A-, lovely copy has lt.rubs, inaud.; uncommonly bright label. MB 20

V0302. AUGUSTIN (FRANCISCO) NUIBO: MARTHA – M’appari (1906 Version) (in French) / MARCEL JOURNET: LAKMÉ – Lakmé, ton doux regard. 10” black Col. A545 (3127/3135), POM-1906. A to M-A MB 20

V0303. AUGUSTIN (FRANCISCO) NUIBO: FAUST – Salut! demeure / MIREILLE – Anges du Paradis (1905 Versions). 12” mauve & gold HMV AGSB 79 (C2205/21), only form of issue, 25 Jan. / 7 Feb., 1905, from Unpublished Masters. M-A MB 20

V0304. AUGUSTIN (FRANCISCO) NUIBO: ROMÉO – Ah! lève-toi, soleil (1905 Version). 12” GP V 85075 (C2202), Orig. ‘A’ Plate Issue, POM-25 Jan., 1905, Never Doubled. A-, lovely copy has lt. rubs & various minor scrs, inaud. MB 15

V0305. AUGUSTIN (FRANCISCO) NUIBO: MIREILLE – Anges du Paradis. 10” GP V 64016 (B2221-1), Orig. ‘A’ Plate Issue, POM-7 Feb., 1905, Never Doubled in any regular series (only as rare HRS reissue). A-, very decent copy has lt. rubs & various minor scrs.; faint label nr. MB 15

V0306. AUGUSTIN (FRANCISCO) NUIBO: MIGNON – Elle ne croyait pas. 10” GP V 64017 (B2222), POM-7 Feb., 1905, Never Doubled. A-, lovely copy has faintest rubs & infinitessimal nd.; very faint label nr. MB 15

V0307. AUGUSTIN (FRANCISCO) NUIBO: MARTHA – M’appari (1905 Version) (in French). 10” GP V 64015 (B2204), POM-25 Jan., 1905, Never Doubled. A-, lovely copy has very lt.rubs, inaud. MB 15

“Nuibo studied in Marseille under Boudouresque, then in Paris under Victor Capoul. He made his debut at the Grand Opéra of Paris in 1900 as Fischer in GUGLIELMO TELL, remaining there until 1908. In the 1904-05 season he was a member of the Metropolitan Opera, afterwards he embarked on a North American tour. In 1908 he joined the Opéra-Comique of Paris and sang later at the Théâtre Lyrique, also in Paris. In 1913 he appeared at the Théâtre des Champs-Elysées of Paris in Isidore de Lara’s LES TROIS MASQUES. He made guest appearances at Covent Garden in London and in Lisbon, Mexico City, San Francisco and Havana.”
- Ashot Arkelyan


V0308. PAUL FRANZ: CARMEN – La fleur que tu m’avais jetée. 12” pink HMV 032239, POM-28 Nov., 1911. A to M-A MB 10

V0309. PAUL FRANZ: SIEGFRIED – Nothung! Nothung! Neidliches Schwert (in French). 10” Disque Gram. 4-32553, POM-10 Jan., 1914. A to M-A, lovely copy has 2 wee rubs, inaud. MB 10

V0310. PAUL FRANZ: DIE WALKÜRE - Winterstürme / SIEGFRIED – Nothung! Nothung! Neidliches Schwert (both in French). 11½” green paper label H & D Pathé 0266, recorded 1919. M-A, exemplary. MB 12

V0311. PAUL FRANZ: PARSIFAL – Nur eine Waffe taugt / DIE MEISTERSINGER – Preislied (both in French). 11½” green paper label H & D Pathé 0272, recorded 1919. M-A, exemplary. MB 15

V0312. PAUL FRANZ: ROMÉO – Salut, tombeau (1914 Version). 12” pink HMV 032227, POM-11 Nov., 1914. A-, lovely copy has lt.rubs, inaud. MB 10

V0313. PAUL FRANZ: ROMÉO – Salut, tombeau (1919 Version) / SIGURD – Esprits gardiens. 11½” green paper label H & D Pathé 0265, recorded 1919. A-, lovely copy has lt. grey on peaks. MB 10

V0314. PAUL FRANZ, w.Bigot Cond.: HÉRODIADE – Ne pouvant réprimer / SIGURD – Le bruit des champs. 12” PW French Col. LFX 56, only form of issue, 6 May, 1930. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

V0315. PAUL FRANZ, w.Szyfer Cond.: LA FILLE DE ROLAND – Chanson des epées (Rabaud) / MEISTERSINGER – Morgenlich leuchtend (in French), 2s. 10” PW French Col. LF 23, only form of issue, 5 Feb., 1930. M-A MB 15

V0316. PAUL FRANZ, w.Ruhlmann Cond.: SIEGFRIED – Das der mein Vater nicht ist (Waldweben) (in French), 2s. 12” Pathé X.7.235. A-, Excellent copy has faintest rubs, inaud.; Sd.2 only has microscopic ipc, absolutely inaud & barely visible. Most uncommon! MB 20

V0317. PAUL FRANZ, w.Ruhlmann Cond.: SAMSON ET DALILA – Vois ma misère, hélas! (Scène de la Meule) 2s. 12” Pathé X.90.043. M-A MB 25

“Paul Franz’s début in 1908 as Lohengrin in Nantes was a remarkable success and he subsequently joined the ensemble of l’Opéra, where he remained as an admired member until 1938. He was not only compared with Jean de Reszke but also with the great Ernest van Dyck and Charles Rousselière. Apart from his extraordinary vocal qualities, Paul Franz also enchanted his audiences with his impressive stage appearance. He was much acclaimed at Covent Garden where he sang between 1910 and 1914. In 1915 he appeared at La Scala and in 1918 at the Teatro Colón in Buenos Aires. After his stage farewell he was appointed a professor at the Conservatoire National de Paris. His height, his build, also the size of his voice suited him to the great heroic roles.…The voice is admirable, it is at once very large and of a charming delicacy, at times even caresses. He possessed a dark and powerful voice, with fully blended registers and a pronounced expressivity. His Wagner singing is equally outstanding as that of Jaques Urlus and Lauritz Melchior. The voice itself was unforced, at once lyrical and strong, with broad, well-bounded phrases. Some electrical recordings, made when he was more than 50, still show him at the height of his abilities. In all Wagnerian excerpts and in Sigurd’s aria ‘Un souvenir poignant’ he is at his absolute best.“
- Emma Albani


V0318. JOSÉ JANSON, w.Ruhlmann Cond. Lamoureux Orch.: WERTHER - Lorsque l'enfant revient / Pourquoi me réveiller? 10" green Pathé‚ PG 111, only form of issue, 1939. [Janson was heard at the Paris Opéra-Comique, 1939-40.] M-A MB 15

V0319. JACQUES JANSEN, w.Cariven Cond.: L’AMIABLE SABINE – Air de Maurice / Berceuse (Beydts). 10” Disque Gram. DA 5012, only form of issue, 16 April, 1947. M-A, as unplayed! Remarkably quiet surfaces. Most Elusive! MB 15

V0320. JACQUES JANSEN, w.Raymond Legrand Cond.: Für Elise (Bagatelle #25 in a minor) (Beethoven) / Träumerei (as ‘Dans le jardin du ciel’) (Schumann) (both in French). 10” photo-label French Decca AB 20131, only form of issue, 1949. M-A, as unplayed! Most Elusive! MB 15

“Jacques Jansen, the distinguished French baritone and actor, was renowned as the foremost exponent of the role of Pelléas in Debussy's opera PELLÉAS ET MÉLISANDE for the two decades from 1940 to 1960. He sang the part - memorably - in the ground-breaking wartime recording conducted by Roger Désormière which many consider to be unassailable as an authentic interpretation, even today, by all accounts an unforgettable experience. In total contrast, Jansen was also a magnetic interpreter of the raffish Danilo in THE MERRY WIDOW, a role he performed some 1,500 times in France. Jansen had aspirations to be an actor and studied with that great exponent of French drama, Louis Jouvet. His singing teachers were the baritone Charles Panzéra, himself a notable Pelléas and a noted interpreter of mélodies, and Claire Croiza. Jansen gained a notable reputation as an interpreter of mélodies, which he recorded for Decca. After quitting the stage, he taught at the Paris Conservatoire until he retired in 1982
.
- THE GUARDIAN, 7 April, 2002


V0321. RAOUL JOBIN, w.Jean Beaudet (Pf.): Le mariage des roses (Franck) / DAS LAND DES LÄCHELNS – Dein ist mein ganzes Herz (as ‘Je t'ai donné mon coeur’) (Lehár). 10” Canadian RCA 10-1496, only form of issue, 1949 (issued Canada only). M-A, as unplayed! Beautiful beveled edge pressing. Most Elusive! MB 20

V0322. RAOUL JOBIN, w.Roland Roy (Organ): Sancta Maria (Fauré) / Notre Père qui êtes aux cieux (Henri Büsser). 10” Canadian RCA 10-3884, only form of issue, 1949 (issued Canada only). M-A, as unplayed! Beautiful beveled edge pressing. Most Elusive! MB 20

V0323. RAOUL JOBIN, w.Maurice Montgrain Cond.: Hymne à Samuel de Champlain (Caron-Lepage; Charles Magnan) / O Canada (National anthem of Canada) (Calixa Lavallée). 10” black Canadian RCA 56-5394, only form of issue, 1958 (issued Canada only) – extremely late 78rpm issue! M-A, as unplayed! Beautiful beveled edge pressing. Elusive! MB 20

V0324. RAOUL JOBIN, w.Charles Goulet Cond. Les Disciples de Massenet: Les anges dans nos campagnes / Ça, bergers assemblons-nous. 10” Canadian RCA 10-1180, only form of issue, 1945 (issued Canada only). M-A, choice copy has, Sd.1 only, faintest rubs, inaud. Most Elusive! MB 15

V0325. RAOUL JOBIN, w.Cluytens Cond. l'Opéra-Comique Orch.: TOSCA – Recondita armonia / E lucevan le stelle (both in French). 10” French Col. LF 270, only form of issue, 1 April, 1948. M-A MB 12

V0326. RAOUL JOBIN, w.Cluytens Cond. l'Opéra-Comique Orch.: WERTHER – J'aurais sur ma poitrine / CARMEN – La fleur que tu m’avais jetée. 12” French Col. LFX 827, only form of issue, 1 April, 1948. M-A MB 12

V0327. RAOUL JOBIN, w.Pelletier Cond. Metropolitan Opera Orch.: Arias from Roméo, Manon, L'Africaine, Hérodiade, Werther & La Damnation de Faust, 6s. 3-12” Col. 72138/40-D, POM-1947, in Orig. Album MM-696. M-A MB 15, the Set.

"Raoul Jobin, the leading French Canadian tenor of the 1930s and 1940s, studied in his native Québec and then at the Paris Conservatoire, making both his concert and Paris Opéra debuts in 1930. After a spell back in Canada, he returned to the Opéra in 1934 and was a valued member of the company thereafter. He made his Covent Garden debut in 1937 and from 1940 to 1950 was regularly engaged at the Metropolitan in New York, also singing with other companies in North and South America. He sang at the Opéra-Comique from 1946. Although he was best known in the French repertoire, Jobin also appeared with success in Italian roles and the lighter Wagnerian parts. He taught singing in Montréal from 1957 and made his final stage appearance the following year.
- Tully Potter


V0328. DANIEL VIGNEAU: LE PARDON DE PLOËRMEL (DINORAH) - Ah! mon remords te venge (Meyerbeer) / FAUST - Écoute-moi bien, Marguerite! [Mort de Valentin]. 10” black Paris G & T G.C.-3-32707/06 (7281o/80o), POM-1907. A-, lovely copy has faint rubs, inaud.; a few lt.scrs are ever-so-faintly audible. MB 12

V0329. DANIEL VIGNEAU: SI J’ÉTAIS ROI – La fleur boit la rosée / Un regard de ses yeux (Adam). 10” black Disque Gram. P123 (16162/88u), POM-1910. A to M-A MB 12

“In 1907 Vigneau’s debut occurred at the Paris Opéra-Comique, where he appeared for the next twenty years. Here on 15 May, 1914, he sang Ali in the premiere of Henri Rabaud's MAROUF. The same year he sang in the première of de Falla's LA VIDA BREVE. He sang at the Opéra-Comique in many other important premières. He also performed with success in Nice and Monte Carlo. In 1924 he sang at the Théâtre des Champs-Élysées in Paris in the premiere of Léon Sachs LES BURGRAVES, also appeared at the Opera House in Monte Carlo in in the premiere of Chabrier's UNE ÉDUCATION MANQUÉE. In 1924 and 1928 he guested in Holland; his career lasted through after the Second World War.”
- Ashot Arkelyan


V0330. VICTOR MAUREL: Marechiare (Tosti) / OTELLO – Era la notte (Creator, 5 Feb., 1887. La Scala). 10½” Milano Fonotipia 39032/42 (xPh 65/58-3), POM-21 Nov.,1904, (w.Maurel’s signature embossed in shellac). A to M-A, superb copy has 2 microscopic dust scrs, positively inaud. MB 75

V0331. VICTOR MAUREL: Rondel de l'adieu (de Lara) / Mandolinata (Paladilhe). 10½” Milano Fonotipia 39246/45 (XPh 67/68), POM-21 Nov.,1904, (w.Maurel’s signature embossed in shellac). A, lovely copy has faintest rubs, inaud. MB 65

V0332. VICTOR MAUREL: Ninon (Tosti) / DON GIOVANNI – Deh, vieni alla finestra. 10½” Milano Fonotipia 39247/41 (xPh 69-2/66), POM-23 / 21 Nov.,1904, (w.Maurel’s signature embossed in shellac). A to M-A, superb copy. MB 75

“Maurel is truly respectful of Tosti’s intentions and he sings con amore with his typical elegance of manner and beautifully enunciated text….It is the work of a masterful artist….One can imagine he would have sung the [Don Giovanni] aria with a melting mezza voce in his prime that would have been bewitching. He is frequently at odds with the pianist but it hardly matters and just adds charm to the recording….It was Verdi who chose Maurel to create Iago and Falstaff, despite the availability of many great Italian baritones. [Maurel] was indeed a unique genius and master of his art. Obviously, Verdi wanted his first Iago to be a master of nuance and vocal colour. He chose well with Maurel….it is a worthy memento of the creator.”
- Alfred de Cock, THE RECORD COLLECTOR, 2013


V0333. EDOUARD de RESZKE: ERNANI – Infelice, e tuo credevi. 10½” S/S Columbia test pressing of Mx.1221-1, RR-1903 for IRCC 28 (170727-1), announced. A-, excellent copy has faint rubs, inaud.; very wide outer edge has 3 infinitessimal hlc, not to grooves, of no consequence. Plain white handwritten label. MB 20

"Edouard de Reszke was the younger brother of Jean de Reszke. The two brothers often appeared together, in Massenet’s LE CID, SIEGFRIED, GÖTTERDÄMMERUNG, MEISTERSINGER VON NÜRNBERG, LOHENGRIN, TRISTAN UND ISOLDE, as well as in the Meyerbeer operas. His popularity was as great as Jean’s, not only in Paris, but also at the Met and London. Edouard de Reszke was a giant figure on stage. 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."
- Andrea Shum-Binder, subito-cantabile


V0334. FÉLIX VIEUILLE: LE CAÏD – Enfin chéri (Air du Tambour-Major) (Thomas) / MANON – Epouse quelque brave fille. 10” black & gold art-label (with an Apollo in the lyre) Disque Apollon 2095/96, POM-c.1908. [Vieuille’s superb rendition of the Air du Tambour-Major easily rivals that of the virtually inimitable Plançon!] A-B, excellent copy has lt.rubs, inaud., with very few mks, occasionally extremely ltly audible, primarily Sd.2. A most acceptable copy of a jewel of a disk! MB 65

“Félix Vieuille (1872-1953) was a French operatic bass who sang for more than four decades with the Opéra-Comique in Paris during the first half of the twentieth century. He joined the Paris Opéra-Comique in 1898 where he initially sang supporting roles until he was made a leading bass in 1902, with his first major role being Arkel in the world première of Debussy's PELLÉAS ET MÉLISANDE which he went on to sing 208 times at that house. Debussy was evidently pleased with Vieuille’s interpretation of Arkel. In a letter to Dufranne (who sang Golaud) at the time of an early revival, he wrote ‘you and Vieuille are almost the only two who have maintained your understanding of my artistic aims’. Vieuille continued to perform in leading roles at the Opéra-Comique up until 1940. He notably created roles in more than twenty world premieres, including Gustave Charpentier's LOUISE (1900), Henri Rabaud's LA FILLE DE ROLAND (1904), ARIANE ET BARBE-BLEUE (1907), Bloch’s MACBETH (1910), Rabaud's MÂROUF, SAVETIER DU CAIRE (1914), and Milhaud’s LE PAUVRE MATELOT (1927) to name just a few. He also sang in the Paris premières of Fauré’s PÉNÉLOPE and Rimsky-Korsakov’s THE SNOW MAIDEN (Grandfather Frost, 1908). He continued to sing Arkel in performances of PELLÉAS ET MÉLISANDE at the Opéra-Comique up to 1933, appearing alongside his nephew the baritone Jean Vieuille (as the doctor) from 1930–33. At this point Vieuille had taken up teaching and his nephew, Jean, was one of his many pupils. In addition to his appearances at the Opéra-Comique, Vieuille also appeared at the Manhattan Opera House in New York from 1908-1909 at the invitation of Oscar Hammerstein I. While there he notably sang Arkel in the United States premiere of PELLÉAS ET MÉLISANDE among other roles.”
- Revolvy


V0335. JEAN VIEUILLE: RIP [van Winkel] – Couplets de la paresse (Planquette) / LA PETITE MARIÉE – Rondeau du l’odesiat (Lecocq). 10” brown French Parl. 28 502, POM-c.1928. M-A, choice copy has, Sd.2 only tiny superficial scr, inaud. MB 12

“Jean Vieuille was a French bass-baritone singer who enjoyed a long stage career mainly centred at the Paris Opéra-Comique. His teachers were Albert Carré, Léon David and his uncle, Félix Vieuille. He made his debut as the Count in Mozart’s LE NOZZE DI FIGARO in 1926 at the Théâtre Trianon Lyrique, and undertook a season at the Théâtre Municipal in Strasbourg. From 1928 to 1958 Vieuille sang mainly at the Paris Opéra-Comique, and from 1950 also at the Paris Opéra.”
- Wikipedia


V0336. ARTHUR ENDRÈZE: FAUST - Écoute-moi bien, Marguerite! [Mort de Valentin] / Avant de quitter ces lieux. 12” Pathé‚ X.90.054, only form of issue, 1932. Most Elusive! M-A MB 25

V0337. ARTHUR ENDRÈZE, w.Defosse Cond.: Rondel de l’adieu / MESSALINE – O nuit d’amour (both de Lara). 10" French Odéon 188.771, only form of issue, 28 Oct.,1930 / 29 April, 1931. M-A MB 25

V0338. ARTHUR ENDRÈZE, w.Defosse Cond.: Nocturne / La Procession (both Franck). 12” red Decca-Odeon G-25893, POM-22 Oct. / 24 Dec., 1930. M-A [Among Endrèze’s loveliest records – highly recommended!] MB 15

V0339. ARTHUR ENDRÈZE, w.Defosse Cond.: PATRIE - Pauvre martyr obscur (Paladilhe) / BENVENUTO CELLINI – De l'art, splendeur immortelle (Diaz). 10" French Odéon 188.064, only form of issue, 21 July,1930. M-A MB 25

V0340. ARTHUR ENDRÈZE, w.Defosse Cond.: LE ROI DE LAHORE – Promesse de mon avenir / LA TRAVIATA – Di Provenza il mar (in French). 12” French Odéon 123.021, POM-30 Nov., 1929, only form of issue, Sd.1. M-A MB 25

V0341. ARTHUR ENDRÈZE, w.Defosse Cond.: HAMLET – Comme une pâle fleur / Spectre infernal. 12” French Odéon 123.023, only form of issue, 10 Dec., 1929. Elusive! M-A MB 25

V0342. ARTHUR ENDRÈZE, w.Reynaldo Hahn (Pf.): Psyché (Paladilhe) / ÉTUDES LATINES – Phyllis (Acc. by the Composer). 10” green Pathé PG 88, only form of issue, 1937. Exceedingly Elusive! M-A, a gleaming copy. MB 45

V0343. ARTHUR ENDRÈZE, w.Defosse Cond.: LES PECHEURS DE PERLES - Nadir doit expirer … l’orage s’est calmé / RIGOLETTO - Pari siamo! (in French). 12” French Odéon 123.022, only form of issue, 30 Nov. / 10 Dec., 1929. Most Elusive! M-A, excellent copy has, Sd.2 only, nr only on label. MB 20

V0344. ARTHUR ENDRÈZE, w.Defosse Cond.: HÉRODIADE - Vision fugitive / RIGOLETTO - Cortigiani, vil razza (in French). 12” French Odéon 123.725, only form of issue, 22 Oct. / 24 Dec., 1930. Most Elusive! M-A MB 25

V0345. ARTHUR ENDRÈZE, w.Defosse Cond.: ROMÉO ET JULIETTE – Ballade de la Reine Mab / Que l'hymne nuptial succède. 12” red Decca-Odeon G-25892, POM-22 Oct., 1930. M-A, as unplayed. MB 12

V0346. ARTHUR ENDRÈZE, w.Defosse Cond.: THAIS - Voilà donc la terrible cité / HÉRODIADE – Vision fugitive. 12” red Decca-Odeon G-25880, POM-21 July / 22 Oct., 1930. A to M-A, lovely copy has few minuscule dust mks, Sd.1 only, just barely audible. MB 12

V0347. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: LA FAVORITE - Pour vous, qui vous taisiez … Pour tant d’amour ne soyez pas ingrate / Jardins de l’Alcazar … Léonor, viens ... Léonor, mon amour brave. 12” Pathé X.90.038, only form of issue, 1932. Exceedingly Elusive! M-A, excellent copy has faintest rubs, inaud. MB 25

V0348. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: LA DAMNATION DE FAUST – Voici des roses / SAMSON ET DALILA – Maudite à jamais soit la race. 10” Pathé PD 18, POM-1932. M-A MB 20

V0349. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: GUILLAUME TELL - Sois immobile / SAMSON ET DALILA – Maudite à jamais soit la race (same performance as above). 10" Pathé‚ X.90.060, only form of issue, 1932. A-/M-A, lovely copy has, Sd.1, sev. superficial scrs, positively inaud. MB 15

V0350. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: SIGURD - Et toi, Freia, déesse de l’amour (Reyer) / HAMLET – J’ai pu frapper le misérable … Être ou ne pas être 12” Pathé X.90.035, only form of issue, 1932. Exceedingly Elusive! M-A MB 35

V0351. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: BALLO – Eri tu? (in French) / HAMLET – Ô vin dissipe la tristesse. 12” Pathé X.90.066, only form of issue, 1932. Elusive! M-A MB 25

V0352. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: TANNHÄUSER – O du mein holder Abenstern / Blick ich’ umher (both in French). 12” Pathé X.90.040, only form of issue, 1932. M-A Most Elusive! MB 25

V0353. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: DIE WALKÜRE - Leb wohl, du kühnes, herrliches Kind (Wotan’s Farewell, in French), 2s. 12” green Pathé PGT 12, only form of issue, 1934. Most Elusive! M-A, as unplayed! MB 45

V0354. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: HAMLET – J’ai pu frapper le misérable … Être ou ne pas être / FAUST – Écoute-moi bien, Marguerite! [Mort de Valentin]. 12” Pathé PDT 51, POM-1932. M-A MB 15

V0355. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: DER FLIEGENDE HOLLÄNDER - Die Frist ist um (in French), 2s. 12” green Pathé PGT 26, only form of issue, 1936. Most Elusive! M-A, as unplayed! MB 45

V0356. ARTHUR ENDRÈZE, w. Cloëz Cond.: LAKMÉ – Lakmé, ton doux regard se voile / PAGLIACCI – Si può? (Prologo) (in French). 12” French Odéon 123.802, only form of issue, 6 October 1931. Most Elusive! M-A MB 25

V0357. ARTHUR ENDRÈZE, w. Cloëz Cond.: LA BOHEME-Vecchia zimarra (in French) / MANON-Épouse quelque brave fille. 10” French Odéon 188.864, only form of issue, 29 Jan., 1932. M-A MB 25

V0358. ARTHUR ENDRÈZE & PAUL-HENRI VERGNES, w.Cloez Cond.: LES PECHEURS DE PERLES – Au fond de temple saint, 2s. 12” French Odéon 123.803, only form of issue, 6 October 1931. M-A Most Elusive! MB 25

V0359. ARTHUR ENDRÈZE, w. Cloëz Cond.: CARMEN - Chanson du Toréador / ARTHUR ENDRÈZE & GASTON MICHELETTI: Je suis Escamillo. 12” French Odéon 123.776, POM-14 / 9 May, 1931. M-A, lovely copy has, Sd.2 only, numerous minuscule short lams. MB 15

V0360. ARTHUR ENDRÈZE, NINON VALLIN, ENRICO di MAZZEI & PAUL PAYEN, w.Cloëz Cond.: TOSCA – Excerpts (in French), (Complete, as recorded), 14s. 7-12” red Decca-Odeon G-25921/27, POM-8-14 June, 1932. Most elusive set! M-A MB 55, the Set.

“On records, Endrèze projects a romanticism that supports his image. His voice is velvety and sensual. He articulates each phrase with a feeling for the particular color that helps illuminate its meaning. As a singing actor, Arthur Endrèze was the heir to Jean de Reszké's legendary magic; he also deserves recognition as one of the greatest American baritones.”
- Harold Bruder


V0361. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: GUERCOEUR - Où suis-je? Quel murmure me charme / Si cruelle, si touchante! … Le calme rentre dans mon coeur (Magnard). 12” Pathé X 90.079, POM-1933 (CREATOR Record, 24 April 1931, l’Opéra). Exceedingly rare, the sole copy to have passed through here! M-A, as unplayed! MB 65

“GUERCOEUR is an opera by the French composer Albéric Magnard to his own libretto. It was first performed posthumously at the Paris Opéra on 24 April 1931, though it had mostly been written between 1897 and 1901. The composer died trying to save his house from the invading Germans at the beginning of World War I in 1914 and the score was partially destroyed in the resulting fire. Magnard's friend Guy Ropartz reconstructed the missing sections so the opera could be staged. The music shows the strong influence of Wagner.”
- Wikipedia


“A pupil of Jean de Reszké, Mr. Endrèze a young American baritone, did unusually good work in the difficult rôle of Guercoeur. He has the best voice which has been heard for some years on the Opéra boards. His voice has, in reality, the characteristic timbre of a tenor and he is able to reach both the upper and lower extremes with ease. The power of his voice is unusual. He is, moreover, an artist who is full of intelligence and one who has proved himself to be an excellent actor. His success was great.”
- Henry Prunières, THE NEW YORK TIMES


V0362. PAUL PAYAN: Le Cor (Flégier) / MIGNON - Berceuse - De son coeur j'ai calmé le fièvre (Thomas). 10” (France) orange & black Electra 4091, (presumably) only form of issue, 3 July, 1910). B-C, decent copy has label nrs & lt grey on peaks. MB 10

V0363. PAUL PAYAN, w.Dangreau (Cello): Panis Angelicus (Franck) / Mme DONIAU-BLANC: Ave Maria (Bach-Gounod). 12" Lumen 32.007, only form of issue, 8 Jan., 1945. [Mme Doniau-Blanc sang minor & leading roles at l’Opéra, 1933-42.] M-A, beautiful copy has Paris label sticker, Sd.2 label. MB 15

V0364. PAUL PAYAN, w. Cloez Cond.: SIGURD – Odin, Dieu farouche / LE CAÏD – La Diane (Thomas). 10” French Odéon 188.604, POM-19/20 Sept., 1928. A to M-A MB 12

"Paul Payan studied with Jacques Isnardon at the Paris Conservatory. His first engagement was with the Paris Opéra-Comique in 1906 as the Philosopher in LOUISE. His lengthy career there encompassed dozens of principal and secondary roles, such as Sarastro, the Commendatore, Zuniga, and Lothario. He created a number of parts as well. His work outside of France included the Chicago Opera (1921), the Colón in Buenos Aires (1924), and Covent Garden (1928)."
- Vincent Giroud


V0365. ANDRÉ PERNET, w. Cloez Cond.: LOUISE - Berceuse - De son coeur j'ai calmé le fièvre / THAIS – Voila donc la terrible cité. 12” French Odéon 123.711, POM-1930. M-A MB 10

V0366. ANDRÉ PERNET, w. Cloez Cond.: MIREILLE – Si les filles d’Arles sont reines / MANON – Epouse quelque brave fille. 10” French Odéon 188.716, POM-1930. M-A MB 10

V0367. ANDRÉ PERNET, w.Cloez Cond.: LES CONTES D’HOFFMANN – Scintille diamant / Je me nomme Coppélius . . . J’ai des yeux. 10” French Odéon 188.715, POM-1930. M-A, as unplayed! MB 10

V0368. ANDRÉ PERNET, w.Cloez Cond.: DIE WALKÜRE – Wotan’s farewell (in French), 2s. 12” French Odéon 123.728, POM-1930. A to M-A Exceedingly elusive! MB 20

V0369. ANDRÉ PERNET, w.Bigot Cond.: LES HUGUENOTS – Comptez sur mon courage (Bénédiction des poignards) / ANDRÉ PERNET, BASSONNET & DONIAN-BLANC & DELEU: Les troubles renaissants. 12” Disque Gram. DB 5044, only form of issue, 1937. A to M-A, lovely copy has lt. rubs, inaud. MB 10

V0370. ANDRÉ PERNET, w.Coppola Cond.: DON GIOVANNI - Deh, vieni alla finestra; Finch’han dal vino / ANDRÉ PERNET & SOLANGE DELMAS: La ci darem la mano (all in French). 10” Disque Gram. DA 4850, only form of issue, 1934. M-A, as unplayed! MB 10

“The bass-baritone André Pernet is perhaps best remembered as the Father in Abel Gance’s 1939 film of Charpentier’s LOUISE, starring Grace Moore and Georges Thill. After serving as an officer in World War I, Pernet studied at the Paris Conservatoire before making his début, in Massenet’s HÉRODÏADE, at Nice, in 1921. He sang in Paris at the Opéra from 1928 in a variety of rôles, including several premières. His parallel career at the Comique lasted from 1932 until 1948.”
- Peter Dempsey


V0371. RAYNAUD, w.Cohen Cond.: LA JUIVE – Si la rigeur / ZAUBERFLÖTE – O Isis und Osiris (in French). 12” red French Col.D 14242, POM-1929. M-A, choice copy has, Sd.2 only, faint rubs, inaud. MB 12

V0372. ALBERT HUBERTY: Le pas d’armes du Roi Jean (Saint-Saëns) / Le cor (Flégier). 12” green Pathé X.3446. M-A MB 12

“From the point of view of pure voice, Huberty was blessed by nature with a magnificent vocal organ, large, sonorous, and of strong timbre, much like that of Marcel Journet….[A student of Hippolyte Belhomme], Huberty debuted at the Opéra de Paris in 1916, singing Capulet in the company’s Roméo et Juliette. He remained with this compaby to the end of his career in 1940. Albert Huberty had an enormous repertoire.”
- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS


V0373. ÉDOUARD ROUARD, w.Defosse Cond.: THAIS - Voilà donc la terrible cité / TANNHÄUSER – O du mein holder Abenstern (in French). 12” French Odéon 123.009, only form of issue, 1928. M-A MB 12

“Édouard Rouard made his debut in 1900 at Nice. After significant success at the opera houses of Lyon, Lüttich (1904-05) and Geneva (1906-07), he sang in the 1910-11 season at the Opera House of Nice, and from 1911-14 at the Opera House of Brussels (Théâtre de la Monnaie) where he appeared with great success. In 1914 he sang Amfortas in Brussels’ first performance of PARSIFAL, repeating this later that year in Paris at L’Opéra, where he had made his debut in 1912 as Grand Prêtre in SAMSON ET DALILA. He sang at the Opéra until 1936.”
- Ashot Arkelyan


V0374. MARCEL ROQUE, w. Cloëz Cond.: MANON – Ne bronchez pas / O Rosalinde. 10” French Odéon 188.791, only form of issue, 1930. Most Elusive! M-A MB 10

V0375. GEORGETTE BRÉJEAN-SILVER: MANON – Oui, dans les bois (Fabliau) (1905 Version) / LA BOHEME – Mi chiamano Mimi (in French). 10½” brown & white French Odéon 56011/10 (XPh679/651-2). (Creator Record, Sd.1; [written for Bréjean-Silver by Massenet, as the alternative to the Gavotte, 'Obéissons, quand leur voix appelle']). M-A, superb copy has, Sd.2 only, 2 infinitessimal scrs, inaud.; very beg., Sd.1, has wee lateral scr., ltly audible sev. turns. MB 65

V0376. GEORGETTE BRÉJEAN-SILVER: MANON – Je suis encore tout étourdie / FAUST – Faites-lui mes aveux. 10½” brown & white French Odéon 56069/72 (XP2864/3269), Sd.1 is announced. M-A, superb copy, w. wee rub Sd.2,, inaud. MB 65

V0377. GEORGETTE BRÉJEAN-SILVER: LAKMÉ – Tu m'as donné le plus doux rêve / Pourquoi dans les grands bois. [Hauntingly beautiful!] 10½” brown & white French Odéon 56039/54 (XP2858/54), announced. M-A, an extraordinary copy! MB 95

“In the years around 1900, Georgette Bréjean-Silver held her own against stiff competition at the Opéra-Comique. These years saw the zenith of the French operatic tradition. Bréjean-Silver shared roles with their most famlous divas, and in the role of Manon she was arguably second to none, her ravishing voice and polished technique being immortalized by the records she made for Odéon and Fonotipia. She possessed a characteristically French soprano voice of the period with bright timbre and pointed focus. Georgette Bréjean-Silver made her debut (as Brejean-Gravière) at the Opéra-Comique as Manon, 17 Sept., 1894. This theatre remained the centre of her activities for the rest of her career. It was in 1894 that Massenet first heard Brejean-Silver as Manon. In a letter of September 16th 1894 to his publisher Henri Heugel, he described her interpretation as ‘first-rate’. Massenet was sufficiently impressed to write an additional aria, the ‘Fabliau’ to showcase her coloratura talents and as an alternative to the famous ‘gavotte’ for her debut in the role in Brussels. It was a remarkable compliment considering that MANON was already well established as his greatest masterpiece. Brejean-Silver remained closely associated with Massenet for the rest of her career.
- Patrick Bade


V0378. HENRI SAINT-CRICQ, w.Andolfi (Pf.): Der Nussbaum (Schumann) / Die Forelle (Schubert) (both in French). 10” green Pathé X.3472, only form of issue, 1930. M-A MB 15

“Henri Saint-Cricq sang in both big opera houses in Paris, at the Grand Opéra (1932-1936, debut as Lohengrin) and at the Opéra-Comique. His most significant achievements were appearing in dramatic roles, as Samson in SAMSON ET DALILA, Radames, as Don José and as Faust in Berlioz’s LA DAMNATION DE FAUST.”
- Ashot Arkelyan


V0379. LOUIS GUÉNOT, w.Cohen Cond.: PATRIE – Pauvre martyr obscur (Paladilhe) / MANON – Épouse quelque brave fille. 10” red PW Eng. Col. D12032, POM-1929. M-A MB 12

V0380. LOUIS GUÉNOT, w.Cohen Cond.: MIREILLE - Si les filles d'Arles / CARMEN - Chanson du Toréador. 12” red French Col. D 14211, POM-1929. M-A MB 12

V0381. LOUIS GUÉNOT, w.Cohen Cond.: LAKMÉ – Lakmé, ton doux regard se voile / BARBIERE – La calunnia (in French). 12” red French Col. D14219, POM-1929. M-A’ lovely copy has faintest ru8bs, Sd.1 oly, inaud. MB 12

V0382. LOUIS GUÉNOT, w.Cohen Cond.: HÉRODIADE - Vision fugitive / THAIS - Voilà donc la terrible cité. 12” Eng.Col. D 14220, POM-1929. A to M-A MB 12

“The bass-baritone Louis Guénot was born in 1891 and was a stalwart of the Opéra-Comique from 1922 until after the Second World War, equally adept in leading rôles such as Escamillo in CARMEN or Zurga in THE PEARL FISHERS and in character rôles - he even sang Osmin in ENTFÜHRUNG. He took part in Elie Cohen’s recordings of CARMEN (taking three rôles) and WERTHER and also made some solo discs.”
- Tully Potter


V0383. AUGUSTE BOUILLIEZ: Le Père la Victoire (Ganne) / Inno di Mamali (Novaro). 10” brown & gold Pathé Actuelle 025071, recorded 1917-18. A-, beautiful copy has faintest rubs, inaud. MB 10

“For many years [after an illustrious Belgian and French career], Auguste Bouilliez was inactive. In fact he was the proprietor of a fruit and vegetable business in Brussels when Sir Thomas Beecham found him and induced him to return to opera, in this instance as Le Père in LOUISE [26 May, 1936]….Auguste Bouilliez had sung with the Beecham company during the war years 1914-1918 and Sir Thomas was only too happy to have ‘rediscovered’ the Belgian baritone.”
- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS


V0384. GUSTAVE HUBERDEAU: Les deux Grénadiers (Schumann) / Élégie (Massenet). 10” brown & gold Perfect 11507, recorded 1919. A-, beautiful copy has faintest rubs, inaud. MB 10

“Gustave Huberdeau was a French operatic bass-baritone who had a prolific career in Europe and the United States during the first quarter of the twentieth century. He sang a wide repertoire encompassing material from French composers like Gounod and Massenet to the Italian grand operas of Verdi, the verismo operas of Mascagni, and the German operas of Wagner and Strauss. He sang in numerous premieres during his 30-year career, including the original production of Puccini's LA RONDINE in 1917. Although possessing a rich and warm voice, Huberdeau had a talent for comedic portrayals which made him a favorite casting choice in secondary comedic as well as leading roles. After retiring from opera in 1927, Huberdeau remained active as a performer in stage plays and in French cinema throughout the 1930s.

In 1908 he joined the roster of Oscar Hammerstein I's Manhattan Opera Company in New York where he periodically sang leading roles over the next three years. In 1911 Huberdeau became a member of the Chicago Grand Opera Company, remaining with that company until it closed in 1914. He appeared in several notable productions including the American premiere of Kienzl's DER KUHREIGEN and the world premiere of Victor Herbert's NATOMA. In 1914 he debuted at England's Royal Opera as a visiting artist, where he sang Méphistophélès in Gounod's FAUST. Huberdeau later joined the Chicago Opera Association where he sang leading roles until 1920. In 1921 Huberdeau returned to France where he continued to sing throughout the 1920s in such cities as Paris, Nice, Monte Carlo, Vichy, and Brussels. He sang a wide repertory, which included everything from lead roles to character roles. In 1922 he sang in the world premiere of Massenet's AMADIS. In 1927, Huberdeau sang his last season in Monte Carlo, which included Hunding in DIE WALKÜRE.”
- revolvy.com


V0385. MICHEL DENS, w.Gérard Nony (Pf.): Les Violins d’amour (Fourdrain) / Je veux te dire (Acc. by the Composer). 10” Pathé PD 107, only form of issue, 22 Nov., 1949. Most Elusive! A to M-A, lovely copy has faintest rubs, inaud. MB 10

V0386. MICHEL DENS, w.Blot Cond.: TANNHÄUSER – O du mein holder Abendstern / Blick’ ich umher (in French). 12” Pathé PDT 279, only form of issue, 1952. M-A, as unplayed! MB 12

V0387. MICHEL DENS, w.Cluytens Cond.: LE JONGLEUR DE NOTRE-DAME – Fleurissait une sauge (Légende de la Sauge) / BARBIERE – Largo al factotum (in French). 12” Pathé PDT 162, only form of issue, 1948. M-A, as unplayed! MB 12

“Michel Dens ranks with Robert Merrill and Pavel Lisitsian as one of the great lyric baritones of the period after the Second World War. Born in Roubaix, he studied the violin as a boy and planned to go into the textile business, but was urged to take his singing seriously, studied at the local Conservatoire and made his début in 1934 at Lille as Wagner in FAUST. After learning his craft in such cities as Bordeaux, Grenoble, Toulouse, Marseille and Monte Carlo, he arrived in 1947 at both the Opéra and the Opéra-Comique in Paris. As a guest artist he sang at many opera houses in France, Belgium, Switzerland, Canada and North Africa. Gifted with a high-lying voice of great beauty and flexibility, he was equally at home in the French repertoire and in such Italian rôles as Rigoletto and Figaro. He was also a wonderful singer of both French and Viennese operetta, and could even handle Tauber’s rôles in Lehár’s works convincingly. Dens had a long career and was still singing well at the age of eighty. Fortunately he made a vast quantity of recordings.”
- Tully Potter


V0388. LOUIS MUSY: PAGLIACCI – Prologo (in French), 2s. 10” black Disque Gram. P-676, only form of issue, 10 Nov., 1926. M-A MB 10

V0389. LOUIS MUSY: LE CHEMINEAU – La Jeannette s’en va t’aux champs (Leroux) [Musy’s debut role in 1925 at the Opéra-Comique] / SAMSON ET DALILA – Maudite à jamais soit la race. 10” black Disque Gram. P-663, only form of issue, 1 Oct., 1926. M-A MB 10

V0390. LOUIS MUSY: MANON – Regardez-moi bien / A quoi bon l’économie. 10” black Disque Gram. P-743, only form of issue, 14 Oct., 1927. A to M-A, lovely copy has faintest rubs, inaud. MB 8

V0391. LOUIS MUSY, w.Lauweryns Cond.: LE ROI MALGRÉ LUI – Je suis du pays Gondoles / La Polonais est triste et grave (Chabrier). 10” black Disque Gram. P-842, only form of issue, 1927. M-A MB 10

“Louis Musy was a French operatic baritone and stage director principally active at the Paris Opéra-Comique. His teacher was Léon David and he made his début in LE CHEMINEAU in 1925 at the Opéra-Comique and went on to sing many other French and Italian roles in their repertoire. Musy was a member of the four-member committee which ran the Opéra-Comique after the liberation of Paris during 1944. From 1947 he was a director of staging at the theatre. His pupils included Xavier Depraz, Jean Dupouy, Jacques Loreau, Irène Sicot and Remy Corazza. He played Dr. Bartolo in the 1948 Opéra-Comique film of LE BARBIER DE SÉVILLE directed by Jean Loubignac and conducted by André Cluytens.”
- Zillah Dorset Akron


V0392. YVON LE MARC'HADOUR, w.Gerlin Cond.: L'ORFEO - Ahi, sventurato amante / Plaintes d'Orphée; Qual Honor (Monteverdi). 12” dark-blue Pathé PAT 76 (CPTX273/274), only form of issue, 23 Sept., 1936. M-A, as unplayed! MB 12

V0393. YVON LE MARC'HADOUR, w.Maroussia Le Marc’Hadour (Pf.): Shylock; Prison; Cigne sur l’eau (all Fauré). 12” French Boîte à Musique #31, only form of issue, 1946. M-A MB 12

V0247. YVON LE MARC'HADOUR & MARTHA ANGELICI: LA NITTETI - Puoi vanter (Sacchini) / MARTHA ANGELICI, w.Gerlin Cond.: IL POMO D'ORO - Ah! quanto è vero (Cesti). 12” L'Anthologie Sonore 82, only form of issue, 1938, w.Printed Notes & Texts. M-A as unplayed. MB 15

V0394. HUC SANTANA, w.Tomasi Cond. l’Opéra-Comique Orch.: Le Pas d’Armes du Roi Jean (Saint-Saëns) / Le cor (Flégier). 12” Pathé PDT 244, only form of issue, 1950. [Stunning characterizations!] M-A MB 15

V0395. HUC SANTANA, w.Ricardo, Scalon & Melfi (Guitars): Entre San Juan y Mendoza (Carlos Montbrun Ocampo) / Por el camino (Carlos V. G. Flores). 10” green Pathé PG 514, only form of issue, 1951. [Redolent of Santana’s cabaret period, far from his operatic norm.] M-A, as unplayed. MB 15

V0396. HUC SANTANA, w.Ricardo, Scalon & Melfi (Guitars): A dos guitarras (Cirilo Allende) / Nostalgias Tucumanas (Atahualpa Yupanqui). 10” green Pathé PG 515, only form of issue, 1951. M-A, as unplayed MB 15

“André Huc-Santana was born 11 Oct., 1912 in Toulouse. In France, he studied with Vanni-Marcoux, and earned a meagre living singing Chansonette and Tango in cabaret, and then appeared for the first time in opera in Marseille in a small role in Charpentier's LOUISE. He continued to perform in cabarets during the war, but met a friend of Countess Lili Pastré who was president of an association of young artists. She organized a concert where she invited Paul Bastide, current Marseille Opéra's director. He immediately engaged Huc Santana for his début as Phanuel in Massenet's HÉRODIADE.

He returned to Paris in 1943, where he encountered Gustave Cloëz, conductor in Paris’ Salle Favart. Cloëz was so impressed by Huc Santana's voice that he obtained for him an audition with Paris Opéra director, Jacques Roucher. He sang Flégier's ‘Le Cor’, and was engaged for RIGOLETTO's Sparafucile. After this, he sang there as Ramfis and the Commendatore. He then moved to Monte Carlo's Opéra where he débuted as the four villains of LES CONTES D'HOFFMANN, conducted by Raoul Gainsbourg, then continuing with Boris, Mephisto in FAUST, and the title roles of MEFISTOFELE and DON GIOVANNI. Due to those successes, Paris’ Palais Garnier also offered him these rôles, also Mephisto in LA DAMNATION DE FAUST. In 1946, he sang his first Basilio in the Salle Favart. But he enjoyed his greatest successes in Brussels, where he sang during seven years, with the chance to choose the roles he wanted to perform for each season's opening, thus he sang Galitzky in Borodine's PRINCE IGOR, appearing also in operetta, especially those of Offenbach. His performances in this theatre as Boris (1954) and Don Quichotte were advantageously compared to those of Feodor Chaliapine. During this period in Brussels he participated in the creation of Carl Orff's DIE KLUGE, in the role of the King.

He was then regularly invited to Buenos Aires’ Teatro Colón (as Padre Gardiano in LA FORZA DEL DESTINO), and one time in Aix en Provence in 1956, as Jupiter in Rameau's PLATÉE. Among other roles, he sang Flambeau in L'AIGLON, Blue-Beard in Dukas’ ARIANE ET BARBE-BLEUE, and the creation of the father in Vladimir Kosma's CANUTS.”
- Z. D. Akron


V0397. GEORGES VILLIER, w.Bernard Cond.: LA MASCOTTE – Les Envoyés du Paradis (Audran) / LES MOUSKETAIRES AU COUVENT – Pour faire un brave mousquetaires (Varney). 10” red Eng. Col. RF 3, POM-1929. M-A, choice copy has faintest rub, Sd.2 only, barely visible & inaud. MB 10

V0398. GEORGES VILLIER, w.Cohen Cond.: RÉSURRECTION – Oh! non, non! Gardez-vous croire (Alfano) / MIREILLE – Si les filles d’Arles (Gounod). 10” red Eng. Col. D 12051, POM-1929. M-A, choice copy has faintest rub, Sd.1 only, barely visible & inaud. MB 10

V0128. GEORGES VILLIER & LOUISE DHAMARYS, w.Georis Cond.: VÉRONIQUE – Duo de l’âne / Duo de l’escarpolette (Messager). 10” PW red French Col. D 12025, POM-1928. M-A MB10

“Georges Villier was born in Brussels in 1884 and was a leading Belgian baritone. He studied law but gravitated to music at the Liège Conservatoire, making his début at the Monnaie in 1910. During the Great War, after military service in which he was taken prisoner, he directed the opera house at Antwerp. He then sang in Marseille and at the Trianon Lyrique in Paris, moving to the Opéra-Comique in 1925 and singing major rôles there for ten years. In Belgium he organized the Quatuor Villier which gave many concerts, and he was a well-known solo recitalist. His later opera performances were in Belgian houses, giving his farewell performance as Figaro in BARBIERE at the Théatre du Parc in 1946.”
- Tully Potter


V0399. CHARLES PANZÉRA: Come raggio di sol (Caldara) / DON GIOVANNI – Finch’han dal vino (both in Italian). 10” black Disque Gram. P 784, only form of issue, 11 / 4 Oct., 1926. M-A, lovely has faintest pap.rubs. MB 20

V0400. CHARLES PANZÉRA: D’une prison (1927 Version) / Cimetière de campagne (both Hahn). 10” black Disque Gram. P 758, only form of issue, 6 Oct., 1927. M-A MB 15

V0401. CHARLES PANZÉRA, w.Piero Coppola Cond.: Noël des enfants qui n’ont plus de maison (Debussy) / Chanson triste (Duparc). 10” black Disque Gram. P 723, only form of issue, 7 / 5 Oct., 1926. A to M-A, lovely has faintest pap.rubs, inaud. MB 15

V0402. CHARLES PANZÉRA, w.Piero Coppola Cond.: La mer (Ropartz) / Phydilé (1928 Version) (Duparc). 12” black Disque Gram.W-950, only form of issue, 1928. A, lovely has faint rubs, inaud.; Sd.2 has very few mks, ltly audible. MB 12

V0403. CHARLES PANZÉRA, w.Piero Coppola Cond.: TROIS BALLADES DE FRANÇOIS VILLON – Nos. 2 & 3 (Complete, as recorded) – Ballade que fait Villon à la requeste de sa mère / Ballade des femmes de Paris (Debussy). 10” Disque Gram. DA 4810, only form of issue, 3 Nov.,1931. M-A, a gleaming copy. MB 15

V0404. CHARLES PANZÉRA, w.Piero Coppola Cond.: Clair de lune (1926 Version) / Lamento (both Fauré). 10” black Disque Gram. P 739, POM- 6 Oct., 1926; only form of issue, Sd.2. M-A MB 15

V0405. CHARLES PANZÉRA, w.Piero Coppola Cond.: La vague et la cloche / Phidylé (both Duparc). 12” Disque Gram. DB 4820, POM-3 / 10 Feb., 1932. Original Issue. M-A, gleaming copy has micropscopic pap.scr, Sd.2. MB 15

V0406. CHARLES PANZÉRA, w.Piero Coppola Cond.: La vague et la cloche / Phidylé (both Duparc). 12” PW Japanese V ND-68, POM-3 / 10 Feb., 1932. M-A MB 15

V0407. CHARLES PANZÉRA, w.Piero Coppola Cond.: Le pas d'armes du Roi Jean (Saint-Saëns) / TANNHAÜSER - O du mein holder Abendstern (in French). 12” black Disque Gram.W-802, only form of issue, 1926. A-, very fine copy has lt.rubs, inaud. MB 12

V0408. CHARLES PANZÉRA, w.Piero Coppola Cond.: DON GIOVANNI – Madamina, il catalogo è questo (in French), 2s. 10” HMV DA 4858, only form of issue, 2 May, 1934. Grand Prix du Disque, 1935. M-A MB 10

V0409. CHARLES PANZÉRA, w.Maurice Blondel Quartet: Souvenir (Lalo). 10” S/S Test Pressing (w.handwritten label) for Disque Gram. OPG 1638-1 (issued as DA 4873), POM-4 June, 1934. A-, lovely copy has lt. rubs, inaud. [Exceedingly elusive ‘Desert Island’ beauty!] MB 20

V0410. CHARLES PANZÉRA, w.Jean Fournet Cond.: Colloque sentimental (Debussy) / Le galop (Duparc). 10” Disque Gram. DA 5015, only form of issue, 3 Nov., 1947, Panzéra’s final 78rpm session. M-A, gleaming copy has Paris label sticker, Sd.2 label. MB 15

V0411. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Chanson pour le petit cheval (de Séverac) / Les berceaux (Fauré). 10” black Disque Gram. P 724, POM-13 / 14 Oct., 1926. M-A MB 15

V0412. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Chanson populaire française / Chanson populaire espagnole (both Ravel). 10” black Disque Gram. P 795, only form of issue, 1929. Most Elusive! A, lovely copy has faint rubs, inaud. MB 15

V0413. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Soir / Les roses d’Ispahan (both Fauré). 10” black Disque Gram. P 852, only form of issue, 1929. M-A, choice copy has a few wee faintest rubs, inaud. MB 15

V0414. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Wohin? / Die Forelle (both Schubert; in French). 10” Disque Gram. DA 4856, only form of issue, 1933/’34, resp. M-A, a gleaming copy. MB 15

V0415. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): In questa tomba oscura (in Italian) / An die ferne Geliebte (in French, part 3 only – ‘Nimm sie hin denn, diese Lieder’) (both Beethoven). 12” Disque Gram DB 5082, only form of issue, 1938. M-A, a gleaming copy. MB 12

V0416. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Extase / Aurore (both Fauré). 10” Disque Gram. DA 4913, only form of issue, 8 Jan., 1937. Most Elusive! M-A, a gleaming copy. MB 15

V0417. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Clair de lune / En prière (both Fauré). 10” Disque Gram. DA 4887, only form of issue, 2 / 3 Oct., 1935. M-A, gleaming copy has faintest rub, Sd.2 only. MB 15

V0418. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): In der Fremde / Der Nussbaum (Schumann; in French). 10” Disque Gram. DA 4809, only form of issue, 20 Oct., 1931 / 5 Feb., 1932. M-A, a gleaming copy. MB 20

V0419. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Chanson triste / Soupir (1935 Versions) (both Duparc). 10” Disque Gram. DA 4880, POM-3 Oct., 1935. M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud. MB 12

V0420. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): La vie antérieure / L'invitation au voyage (both Duparc). 12” Disque Gram DB 4819, POM-1936. M-A, a gleaming copy. MB 15

V0421. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): L’HORIZON CHIMÉRIQUE (Fauré), 2s. 12” LVSM DB 5009, POM-1936. M-A (CREATOR Record, 13 May, 1922, Paris). MB 20

“In 1922, the baritone Panzéra attracted the notice of Gabriel Fauré, who admired his singing and offered him the first performance of L'HORIZON CHIMERIQUE (1921), which would be his last book of songs. Panzéra later spoke of this blessing as ‘one of those unforeseen acts of grace that come with youth’ and after the premiere at the Société Nationale came a prestigious concert of national homage to Fauré the following month that sealed Panzéra's fortunes. Though he had already sung a few secondary roles at the Opéra-Comique, he now advanced to the title role of his dreams: Pelléas, in which he made his most lasting theatrical impression. But the events of 1922 and Fauré's influence also seem to have confirmed him in his primary vocation as a recitalist and concert artist. Significantly, Panzéra and Magdeleine Baillot, his wife and accompanist, were summoned to the recording studios of La Voix de son Maître the following year, a significant beginning, for Panzéra's greatest legacy lies in this type of intimate song, the mélodie, and with scarcely less artistry, the Lied.

Panzéra's art, so deeply attuned to the needs of its repertoire, will mostly remain the delight of connoisseurs. Panzéra's voice, even at its most ingenuous and open-hearted, hearkens back to a historical cultivation of song we no longer hear in our concert halls or conservatories, much less the stage. Singing Fauré or Duparc, Panzéra renders a kind of chamber music of the French language; his voice intones a union of music and word that does not lightly surrender its values to listeners long since inured to another style. Yet if we attune ourselves to them, these interpretations can also shock us with musical shadings and values we never have heard before….even the best French baritones of the next generations, Bernac, Singher and Souzay, only occasionally equal Panzéra's intelligent suppleness, and none surpasses it….This wholly unaffected, traditional style may be heard again in Leporello's catalog aria from DON GIOVANNI. This is one of the most acoustically successful of his recordings with orchestra, and it earned Panzéra the Grand Prix du Disque in 1934….The ‘Noël des enfants qui n'ont plus de maisons’, written by Debussy during the war, has an inherent emotional stickiness, but Panzéra…finds the voice of child-like innocence, now small and afraid, now angry and urgent….The 1934 recording of ‘La vie anterieure’ with Magdeleine Panzera-Baillot at the piano is probably the best single performance of this song ever pressed.

Many of Panzéra's performances are still available only in their original 78 rpm format or on a few old microgroove transfers….one of the last singers claiming a direct link to the distant generation of Fauré and Duparc.”
- Carlo Caballero , ARSC Journal, XXV, I, ii, 1994


V0422. MARTIAL SINGHER: French Folk Songs for Children, 4s. 2–10” heavy vinyl Decca 88103/04, only form of issue, c.1950, in Original Decca Printed Sleeves. M-A, a gleaming copy. MB 15, the Pair.

V0423. MARTIAL SINGHER, w.Darius Milhaud (Pf.): Chants Populaires Hébraïques (Acc. by the Composer), 4s. 2-10” MasterWorks Col. 4213/14-M, POM-1932. M-A, a gleaming copy. MB 20, the Pair.

V0424. MARTIAL SINGHER, w.Philippon (Flute & Cond.): Le pauvre étameur / Le chevrier dans la montagne. 10” Florilège 101, only form of issue, 1936. M-A MB 12

V0425. MARTIAL SINGHER, w.Philippon (Flute & Cond.): Chanson de labour / RENÉE MAHÉ: Chanson de la laine. 10” Florilège 102, only form of issue, 1936. M-A MB 12

V0426. MARTIAL SINGHER, w.Philippon (Flute & Cond.): Chanson de la Aveine; Le rémouleur / Lou bouié. 10” Florilège 103, only form of issue, 1936. M-A MB 12

V0427. MARTIAL SINGHER, w.Philippon (Flute & Cond.): Les tilloliers / Les marins de Groix. 10” Florilège 104, only form of issue, 1936. M-A MB 12

V0428. MARTIAL SINGHER, w.Philippon (Flute & Cond.): Les tisserands / Scions la planche. 10” Florilège 106, only form of issue, 1936. M-A MB 12

V0429. MARTIAL SINGHER, w.Philippon (Flute & Cond.): Plantons la vigne / RENÉE MAHÉ: Margaridette se regarde. 10” Florilège 105, only form of issue, 1936. M-A MB 12

V0430. MARTIAL SINGHER, w.Coppola Cond.: DON QUICHOTTE À DULCINÉE, 3s. (sung by the dedicatée) / Sd. 4 = Ronsard à son âme (both Ravel). 2-10” Disque Gram. DA 4865/66, POM-20 Nov,. 1934 (prior to Première Performance, 1 Dec., 1934). M-A, a gleaming copy! MB 25, the Pair.

V0431. MARTIAL SINGHER, w.Coppola Cond.: DON QUICHOTTE À DULCINÉE, 3s. (sung by the dedicatée) / Sd. 4 = Ronsard à son âme (both Ravel). 2-10” PW V 4404/05, POM-20 Nov,. 1934 (prior to Première Performance, 1 Dec., 1934). M-A, choice pair has very occasional faintest rub, inaud. MB 20, the Pair.

V0432. MARTIAL SINGHER, w.de Abravanel Cond.: TROIS BALLADES DE FRANÇOIS VILLON (Debussy), 3s. / DON QUICHOTTE À DULCINÉE (Ravel), 3s. (sung by the dedicatée). 3-10” Col. 17579/81-D, only form of issue, 1947, in Orig. Album MM-820. M-A MB 15, the Set.

V0433. MARTIAL SINGHER, w.Piero Coppola Cond.: PARSIFAL - Nein! Lasst ihn unenthüllt! (in French), 2s. 10” PW Disque Gram. DA 4841, only form of issue, 1933. M-A MB 15

V0434. MARTIAL SINGHER, w.Piero Coppola Cond.: PARSIFAL – Ja, Wehe! . . . Mein Vater (in French), 2s. 10” PW Disque Gram. DA 4842, only form of issue, 1933. M-A MB 15

V0435. MARTIAL SINGHER, w.Breisach Cond. Metropolitan Opera Orch.: Arias from Amadis; Richard, Coeur de Lion; Hérodiade; La Damnation de Faust; Hamlet; Les Contes d’Hoffmann & Carmen, 8s. 4-12” Col. 71678/81-D, only form of issue, 1945, in Orig. Album M-578. M-A, Exemplary! MB 15, the Set.

"Martial Singher, a French baritone, made his Metropolitan Opera debut in 1943. He made his debut at the Paris Opéra in 1930 and soon became a principal baritone with the company. After 11 seasons with the Paris Opéra he enjoyed many guest appearances in Europe and South America. In more than 100 opera roles and in recitals with leading orchestras, he eschewed showmanship and histrionics and stressed smoothness, subtlety and clarity. He was particularly celebrated for the lean, elegant phrasing of his native French repertory.

Of his Met debut as Dapertutto in LES CONTES D'HOFFMANN, Virgil Thomson in THE NEW YORK HERALD TRIBUNE reported Mr. Singher 'gave a stage performance of incomparable elegance and did a piece of singing that for perfection of vocal style had not been equaled since Kirsten Flagstad went away'. Several weeks later at the Met Singher sang his first Pelléas. Mr. Thomson found him 'the glory of the evening, vocally impeccable and dramatically superb'. Olin Downes of THE NEW YORK TIMES hailed the baritone as 'a fine and experienced artist, an authoritative actor, one firmly grounded in the traditions of his language and stage action and a potent element of the occasion'. The baritone remained with the Met until 1959, when a severe heart disorder forced him to shift to teaching. He taught at the Mannes College of Music in Manhattan, the Curtis Institute in Philadelphia and, as director of the voice and opera department, the Music Academy of the West in Santa Barbara (1962 to 1981), where he also produced operas. He was also an artist in residence at University of California at Santa Barbara."
- Peter B. Flint, THE NEW YORK TIMES, 12 March, 1990


V0436. HIPPOLYTE BELHOMME: Chanson pour Jean (Chizat) / CHARLES ROUSSELIÈRE: LE ROI D’YS – Vainement, ma bien aimée. 1¾” etched label center-start H & D Pathé 4558/4711 (14822/9442), recorded 1906/’07, Paris. M-A MB 25

V0437. HIPPOLYTE BELHOMME: LE CHALET – Vallons de l’Helvétie (Adam) / LE DOMINO NOIR – Nous allons avoir, grâce à Dieu (1906 Version) (Auber). 11½” etched label center-start H & D Pathé 4554/4555 (22994/9914), recorded 1906, Paris. M-A, beautiful copy has, Sd.1 only, hint lof grey on peaks, hardly worth mention. MB 25

V0438. HIPPOLYTE BELHOMME: PHILÉMON ET BAUCIS – Air de Vulcan (Gounod) / FAUST – Vous qui faites l’endormie. 11½” brown paper label H & D Pathé 98 (4559/368), recorded 1906, Paris. M-A MB 20

V0439. HIPPOLYTE BELHOMME: Chanson pour Jean (Chizat) / MIGNON - Berceuse - De son coeur j'ai calmé le fièvre (Thomas). 11½” brown paper label H & D Pathé 3137 (4558/4561), recorded 1906, Paris. M-A MB 20

V0440. HIPPOLYTE BELHOMME, DAVID DEVRIÈS, NANSEN & DANGÈS: L’ARLÉSIENNE – Marche des Rois (Bizet) / HENRI ALBERS, LAPEYRETTE & LASALLE: La Marseillaise (de Lisle). 11½” grey paper label H & D US-Pathé 59013 (0777/0590), recorded 1910. M-A/A-, lovely copy has, Sd. 2, long nr, positively inaud. MB 15

“At the Opéra-Comique, Belhomme sang in the world premieres of Offenbach’s LES CONTES D’HOFMANN (Crespel) and Charpentier’s LOUISE (the minor role of ‘le vieux Bohême’). He also participated in lesser-known world premieres by Paladilhe, Lecocq, Pierné, Rousseau, and others. In addition to being a member of the Opéra-Comique, Belhomme sang with the opera houses in Lyons, Marseilles, Brussels, Monte Carlo, and Nice. Belhomme was known to be a fine actor and was a favorite with the public.”
- Vincent Giroud, Marston Program Notes


V0441. MAURICE RENAUD: Rondel de l’adieu (de Lara). 10” red Victor G & T 91069 (5716o), POM-1906. A-, lovely copy has faint rubs & tiny very lt scr., positively inaud. MB 20

V0442. MAURICE RENAUD: Noël païen (Massenet). 10” red Victor G & T 91070 (5786o), POM-1906. A-, lovely copy has faint rubs, positively inaud. MB 20

V0443. MAURICE RENAUD: LE ROI DE LAHORE: Promesse de mon avenir (Massenet). 10” black flush Paris G & T 32081 (716G), POM-1901. A , beautiful copy has faintest rubs & hint of grey on peaks; sl.noisy start; tiny edge ‘ding’, far from grooves. MB 65

V0444. MAURICE RENAUD: TANNHÄUSER: O du mein holder Abendstern (in French, as ‘O douce étoile’). 10” black flush Paris G & T 2-2702 (2113FG), POM-1902. M-A, immaculate copy, quiite unheard of for this vintage! MB 125

V0445. MAURICE RENAUD: LA DAMNATION DE FAUST - Voici des roses (Berlioz). 10” red flush Paris G & T 32077 (712G), POM-1901. A to M-A, beautiful copy has faintest nr, inaud. MB 95

V0446. MAURICE RENAUD: LA DAMNATION DE FAUST - Maintenant, chantons à cette belle...Devant la maison (Berlioz). 10” red Paris G & T 2-2713 (2112FG), POM-1902. A to M-A, beautiful copy has 1 wee pressing mk, inherent in matrix; considerably rubbed label. MB 65

V0447. MAURICE RENAUD: CARMEN - Votre toast je peux vous le rendre. 10” red Paris G & T 2-2705 (2111FG), POM-1902. A, lovely copy has faintest rubs, hardly worth mention; very faint ipc, nowhere near edge nor center. MB 75

V0448. MAURICE RENAUD: GUILLAUME TELL - Sois immobile (Rossini). 10” red Paris G & T 3-32671 (5731o), POM-1906. A-, lovely copy has faintest rubs, inaud. MB 15

"After almost fifty years of witnessing the greatest operatic performances of that golden age, Henry T. Finck described Maurice Renaud as 'one of the greatest, if not the greatest, opera singer'. The singing is smooth, the words are articulated clearly without breaking the phrase, and a sense of elegance is intrinsically part of the whole. What is surprising is how idiosyncratic a singer Renaud was. Maurice Renaud's imaginative artistry is communicated vividly through these recordings. His eloquence and sense of style is what we would expect from a classic exponent of the French school. Even without costume or makeup, his ability to create a realistic portrayal of a character, with voice alone on these primitive recordings, sets him apart."
- Harold Bruder


V0449. LÉON ESCALAÏS: OTELLO – Dio! Mi potevi scagliar / LA JUIVE – Dieu m’éclaire (in Italian). 10½ “ Milano Fonotipia 39326/62 (XPh 385/448). A to M-A, bright copy has faintest rubs, inaud. & hardly worth mention; end Sd.1 has very light scr, very ltly audible. MB 95

V0450. LÉON ESCALAÏS, ANTONIO MAGINI-COLETTI & ORESTE LUPPI: GUGLIELMO TELL – Troncar suoi di quell’empio, 2s. 10½ “ Milano Fonotipia 39196/39342 (XPh 433-2/432-2). M-A, superlative copy has numerous minuscule ‘pimples’, positively inaud. This glorious copy plays throughout as M-A! MB 175

“Escalaïs made his La Scala debut in LA JUIVE (Eléazar) on 31 January 1881….After 1892, he left the Paris Opéra following a falling out with the management. He then sang at a number of the major French provincial houses, Marseilles being chief among them. He made an important debut at the Teatro de São Carlos in December 1905, again singing Eléazar in LA JUIVE. He returned to the Paris Opéra during the 1907–1908 season, where he sang in GUILLAUME TELL (Arnold) and in AIDA (Radames). For the 1909-1910 season, Escalaïs performed numerous roles at the French Opera House at New Orleans to ecstatic acclaim; this marked the opera house’s 50th anniversary as well as his own. Escalaïs retired from the stage in 1912, devoting his time to teaching in Paris….He was a well-liked figure in the opera world whose voice will be remembered for its trumpet-like brilliance. His stunning high notes are unique on records. He recorded exclusively for Fonotipia.
- Vincent Giroud, Marston Program Notes