German Vocal 78rpm records

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

Since 1972



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



Regarding AUCTION #149 (Closing Date: Monday, 21 May, 2018), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

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Section VII - German Vocal 78rpm records Nos. V0902 - V1106

V0902. OTTO GORITZ: Wenn du kein Spielmann wärst (Hofmann) / Spielmann Lied (Nicolai). 12” orange Col.E5130 (59420/23), only form of issue, 1917. M-A Elusive! MB 25

V0903. OTTO GORITZ: Der deutschen Lied (Stahlberg) / Fern von der Heimat in schwerer Zeit (Sung by the Composer). 12” orange Col.E5125 (59419/21), only form of issue, 1917. M-A Elusive! MB 20

V0904. OTTO GORITZ: Der Sturme auf Lüttich / Fridericus Rex (both Loewe). 12” orange Col.E5124 (59418/22), only form of issue, 1917. M-A Elusive! MB 25

V0905. OTTO GORITZ: Spielmannsleben (Lorleberg), 4s. 2-10” Tri-Color Col. A2066 & A2076 (43928, 43929, 43941, 43943), only form of issue, 1916. M-A Elusive! MB 25, the Pair.

V0906. OTTO GORITZ: Ich wand're nicht / Ich grolle nicht (both Schumann). 10” orange Col. E3271 (44533/44560), only form of issue, 1917. M-A MB 15

V0907. OTTO GORITZ: Morgenrot, morgenrot / O Strassburg du wunderschöne Stadt. 10” orange ‘Art-Label’ Col. E3268 (44599/44600), only form of issue, 1917. A to M-A Elusive! MB 25

V0908. OTTO GORITZ: SÜSSER PAPA - Ach das erfreut! / Schnuteken, Schnuteken, komm und tanz doch (Sung by the Composer). 10” pale-green Col. E3464 (58305/06), only form of issue, 1917. A to M-A, excellent copy has lt.rubs, inaud. [This Opera by Goritz was premiered in Hamburg, 1914. An Elusive Creator Record!] MB 20

V0909. OTTO GORITZ: ZAUBERFLÖTE – Der Vogelfänger bin ich ja (1911 Version). 10” Pat.’08 V 64163, POM-23 Jan., 1911, Orig. ‘A’ Plate Issue, Never Doubled. M-A MB 10

V0910. OTTO GORITZ: ZAUBERFLÖTE – Der Vogelfänger bin ich ja (1916 Version) / LUSTIGEN WEIBER - Als Büblein klein (Nicolai). 10” etched label H & D Edison 82103 (4220-C/4314-B), sole issue, 1916. Most Elusive! M-A MB 25

V0911. OTTO GORITZ: NOZZE – Aprite un po’ (in German). 12” Pat.’12 V 74289, Orig. ‘A’ Plate Issue, POM-15 March, 1912, Never Doubled. A to M-A MB 15

V0912. OTTO GORITZ: KÖNIGSKINDER – O, du liebheilige Einfalt du (Humperdinck) (Creator Record, 28 Dec., 1910, Metropolitan Opera). 10” Pat.’08 V 64184, POM-10 March, 1911, Never Doubled. A to M-A MB 15

V0913. OTTO GORITZ: KÖNIGSKINDER – Ihr Kindlein, sie sid gefunden (Humperdinck) (Creator Record, 28 Dec., 1910, Metropolitan Opera). 12” Pat.’12 V 74287, Orig. ‘A’ Plate Issue, only form of issue, 15 March, 1912. Elusive! M-A MB 15

V0914. OTTO GORITZ: ZAR UND ZIMMERMANN – Sonst spielt’ ich mit Szepter und Krone (Lortzing). 12” V 74288, POM-15 March, 1912, Never Doubled, US. A to M-A MB 15

V0915. OTTO GORITZ: GOLDENE KREUTZ – Wie anders was es (Brull). 12” V 74342, POM-5 May, 1913. M-A MB 10

V0916. OTTO GORITZ: DER TROMPETTER VON SÄKKINGEN – Behüt’ dich Gott (Nessler). 12” Pat.’08 V 74212, POM-23 Jan., 1911, Never Doubled, US. M-A MB 10

V0917. OTTO GORITZ: FIDELIO – Ha, welch ein Augenblick. 10” Pat.’08 V 64165, Orig. ‘A’ Plate Issue, only form of issue, 23 Jan., 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 15

V0918. OTTO GORITZ: HÄNSEL UND GRETEL – Eine Hex’ steinalt (1911 Version). 10” Pat.’08 V 64164, POM-23 Jan., 1911, Never Doubled. M-A MB 10

V0919. OTTO GORITZ: HÄNSEL UND GRETEL – Eine Hex’ steinalt (1911 Version) / DAS RHEINGOLD – Bin ich nun frei. 10” black & gold Pathé Actuelle 01184, recorded 1917 – unknown to most collectors!. A-, lovely copy has faint rubs, inaud. MB 15

V0920. OTTO GORITZ: DER FLIEGENDE HOLLÄNDER – Wie aus der Ferne. 12” Pat.’12 V 74322, POM- 14 March, 1911, Never Doubled. M-A MB 15

V0921. OTTO GORITZ: DER FLIEGENDE HOLLÄNDER – Wie oft in Meeres tiefsten Schlund. 12” V 74230, only form of issue, 28 March, 1911. M-A MB 15

V0922. OTTO GORITZ: TANNHÄUSER – Blick’ ich umher. 12” Pat.’08 V 74215, POM-23 Jan., 1911. M-A MB 10

V0923. OTTO GORITZ: DAS REINGOLD - Bin ich nun frei? 10” Pat.'08 Vla 64203, POM-10 March, 1911, Never Doubled, US. M-A MB 15

V0924. OTTO GORITZ: SIEGFRIED – Wohin schleichst du? 10” Pat.’08 V 64215, POM-11 April, 1911, Never Doubled. M-A MB 10

“Otto Goritz was a baritone with the Metropolitan Opera from 1903 to 1917 where he performed 25 roles. In his 14 seasons there, he appeared over 400 times in 23 different roles, including creating the key role of the Fiddler in the acclaimed world premiere of KÖNIGSKINDER at the Met on December 28, 1910. In its rave review, THE NEW YORK TIMES praised the humor and spirit….After the USA entered World War I, he departed under a cloud, having been rumoured to have sung a parody celebrating the sinking of the RMS Lusitania at a party hosted by Johanna Gadski on New Year's Eve, 1916. He returned to Germany.”
- Gustav-Mahler.eu


V0925. ERNESTINE SCHUMANN-HEINK: Der Tod und das Mädchen (1903 Version) (Schubert). 10” black & silver Col. 1382, self-announced, only form of issue, 1903. A to M-A, an outstanding copy. MB 225

V0926. ERNESTINE SCHUMANN-HEINK: Der Tod und das Mädchen (1907 Version) (Schubert). 10” Pat.’08 Vla 87013, POM-24 July, 1907, Never Doubled. A to M-A, a superb copy. MB 12

V0927. ERNESTINE SCHUMANN-HEINK: Frühlingszeit (Becker). 10” 5-line Pat.’08 Vla 87012, only form of issue, 24 July, 1907. A to M-A, lovely copy has hint of grey on peaks, positively inaud. MB 10

V0928. ERNESTINE SCHUMANN-HEINK: The Children’s Prayer (Reger); Liebesfeier (Weingartner). 10” 5-line Pat.’08 Vla 87032, only form of issue, 17 Sept., 1909. A-, lovely copy has faint rubs, inaud. MB 10

V0929. ERNESTINE SCHUMANN-HEINK: Sapphische Ode (1915 Version) (Brahms). 10” V 87239, POM-14 Sept., 1915, Never Doubled, US. A to M-A, lovely copy has faintest rubs, inaud. MB 12

V0930. ERNESTINE SCHUMANN-HEINK: Sapphische Ode (1923 Version) (Brahms) / Traum durch die Dämmerung (Strauss). 10” Vla 1045, POM-3 / 5 Oct., 1923, only form of issue, Sd.1. A to M-A, lovely copy has faintest rubs, inaud.; Sd.1 only has 2 minuscule pap.scrs, inaud. MB 12

V0931. ERNESTINE SCHUMANN-HEINK: Leggero invisibile (Arditi) / Der Erlkönig (1929 Version) (Schubert). 12" PW V 7177, only form of issue, 18 July, 1929. M-A, exceptional copy has, Sd.1 only, faintest tiny pap.rub, inaud. MB 12

V0932. ERNESTINE SCHUMANN-HEINK: Spinnerliedchen (Reimann). 12” Pat.’12 Vla 87124, POM-16 Jan., 1916. M-A, lovely copy has faintest rubs, inaud. MB 10

V0933. ERNESTINE SCHUMANN-HEINK: The robin sings in the apple tree (MacDowell). 10” V 87171, only form of issue, 17 Sept., 1913. A to M-A, lovely copy has faintest rubs, inaud. MB 15

V0934. ERNESTINE SCHUMANN-HEINK: At parting (Rogers) / Pirate dreams (Huerter). 10” Orth Vla 1300, only form of issue, 14 / 15 Sept.,1927. A to M-A, lovely copy has faintest rubs, inaud. MB 12

V0935. ERNESTINE SCHUMANN-HEINK: The Kerry Dance (Molloy) / Danny Boy. 10” PW V 1464, only form of issue, 9 / 5 May,1930, superior late pressing. M-A MB 12

V0936. ERNESTINE SCHUMANN-HEINK: By the waters of Minnetonka (Lieurance) / Trees (Rasbach). 10” Orth Vla 1198, POM-1 Nov., 1926. A to M-A, lovely copy has, Sd.2 only, faintest rubs, inaud. MB 8

V0937. ERNESTINE SCHUMANN-HEINK: Barbchen; Schlafliedchen (both Hermann). 12” Pat.’12 Vla 88400, only form of issue, 17 Sept., 1909. M-A Elusive! MB 20

V0938. ERNESTINE SCHUMANN-HEINK: Es ist bestimmt in Gottes Rath (Mendelssohn). 12” Pat.'12 Vla 88155, POM-28 Sept., 1908, Never Doubled. M-A MB 8

V0939. ERNESTINE SCHUMANN-HEINK: Wie ein grüssen (Merkens) / ROSALIA CHALIA: L’ÉTOILE DU NORD – Lą, lą, lą, air chéri (Meyerbeer). 10” vinyl red label IRCC 3143, RRs, 1901 / ’00. M-A MB 15

V0940. ERNESTINE SCHUMANN-HEINK: Taps (1918 Version) (Esenwein). 10” V 87299, POM-29 July, 1918, issued USA only & enjoyed a brief Catalogue Life. A to M-A, lovely copy has faintest rubs, inaud. MB 12

"When war broke out in Europe in 1914, Schumann-Heink made her choice swiftly. Enlisted men loved her so much that they called her ‘Mother Schumann-Heink’; few of them knew that she had sons fighting on both sides of the conflict. She resumed her professional career at the war's end.”
- Cecilia Rasmussen, LOS ANGELESTIMES, 30 May, 2004


V0941. ERNESTINE SCHUMANN-HEINK: Taps (‘Take’ 1) (1931 Version) (Esenwein). 12" S/S vinyl pressing of CVE 67406-1, POM-20 Jan., 1931 (issued as V 7584). MINT MB 25

V0942. ERNESTINE SCHUMANN-HEINK: Taps (‘Take’ 1) (1931 Version) (Esenwein) / There is no death (‘Take’ 1) (O'Hara). 12” Orth Vla 7584, only form of issue, 20 / 26 Jan., 1931. A-, lovely copy has faint rubs, inaud. MB 15

V0943. ERNESTINE SCHUMANN-HEINK: Taps (‘Take’ 3) (1931 Version) (Esenwein). 12" S/S vinylpressing of CVE 67406-3, POM-20 Jan., 1931, Unpublished 'Take' 3. MINT MB 35

“Joseph Berg Esenwein was an American editor, lecturer and writer….he was made editor and manager of Lippincott's Magazine, a position which he held until 1914 while teaching a private course on short-story writing. In 1915 he became editor of The Writer's Monthly, Springfield, Mass. [Schumann-Heink’s aversion to war caused her to embrace ‘Taps’].”
- Wikipedia


V0944. ERNESTINE SCHUMANN-HEINK: There is no death (‘Take’ 1) (O'Hara). 12" S/S vinyl pressing of CVE 62319-1, POM-26 June, 1930 (issued as V 7584). MINT MB 25

V0945. ERNESTINE SCHUMANN-HEINK: There is no death (‘Take’ 3) (O'Hara). 12" S/S vinyl pressing of CVE 62319-3, POM-26 June, 1930, Unpublished 'Take' 3. MINT MB 35

V0946. ERNESTINE SCHUMANN-HEINK: RINALDO – Lascia ch’io piango (1909 Version) (Handel). 12" V 88189, Orig. ‘A’ Plate Issue, POM-18 Sept., 1909, Never Doubled. M-A, exemplary copy. MB 20

V0947. ERNESTINE SCHUMANN-HEINK: LOVE’S LOTTERY – Sweet thoughts of home (Edwards) (Creator Record, 3 Oct., 1904, Broadway Theatre). 12" GP V 85092, only form of issue, 3 Jan., 1906. M-A, exemplary copy has one wee rub, positively inaud. [Very brief Catalogue Life!] MB 25

"Disregarding the advice of her husband, in September 1904, Schumann-Heink forsook the operatic and concert stages to tour in LOVE'S LOTTERY, a musical comedy. Fred C. Whitney, her manager, had promised her an income of $240,000 for 40 weeks of appearances plus a 5 percent share of the gross receipts. Composer Julian Edwards and lyric author Stanislaus Strange followed the singer during her 1903 concert tour to become acquainted with her voice and stage manners. Using the knowledge thus obtained, they created the role of a buxom German washerwoman in love with an equally robust English sergeant. Schumann-Heink supplied the stilted English and heavy accent that convulsed her audience. An attack of tonsillitis forced the diva to close her season with LOVE'S LOTTERY in November 1905. Physicians had told her she would lose her voice permanently if she continued to sing. It cost her $5,000 to be released from her contract."
- Richard W. Amero, SOUTHERN CALIFORNIA QUARTERLY, Summer 1991, pp. 157-182


V0948. ERNESTINE SCHUMANN-HEINK: SAPHO – O ma lyre immortelle (Gounod). 12” white Vla 88212, only form of regular issue, 17 Sept., 1909, (appeared otherwise only as extremely rare IRCC 93). M-A, an extraordinarily bright copy of a preferred late pressing. MB 25

V0949. ERNESTINE SCHUMANN-HEINK: LA CLEMENZA DI TITO - Parto, parto. 12" Pat.’08 Vla 88196, POM-18 Sept., 1909, Never Doubled in any regular issue. M-A, lovely copy has faintest rubs, inaud. MB 15

V0950. ERNESTINE SCHUMANN-HEINK: LA CLEMENZA DI TITO - Parto, parto. 12" white RCA ‘Test’ Pressing of 88196, with Victor ‘Spiderweb’ embossed on verso. Never Doubled in any regular issue. A to M-A, lovely copy has faintest rubs, inaud. MB 15

V0951. ERNESTINE SCHUMANN-HEINK: PAULUS - But the Lord is mindful of his own (in English) (1930 Version) (Mendelssohn) / Cantata #68 - My heart ever faithful (1931 Version) (Bach). 12” PW V 7388, only form of issue, 26 June, 1930 / 20 Jan., 1931. M-A, exemplary copy. MB 25

V0952. ERNESTINE SCHUMANN-HEINK: LE PROPHČTE – Ah, mon fils! (in German) (1903 Version). 10” black & silver Col. 1378, self-announced, only form of issue, 1903. A to M-A, an outstanding copy, albeit minor lt. ‘thumping’ during initial turns; insignificant minuscule scr (not to edge; could be mistaken for a faint hlc, but assuredly is not) is inaud. MB 225

V0953.ERNESTINE SCHUMANN-HEINK: LE PROPHČTE – O prźtres de Baal; Il va venir (Prison Scene) (in German), (1907 Version), 2s. 2-12” GP V 88094/95, POM-26 Sept., 1907, Sd.1 Never Doubled in any regular issue. M-A, lovely copy has 2 wee pressing bumps. [Extraordinary to find not only as a pair, but unworn as well!] MB 25, the Pair.

V0954. ERNESTINE SCHUMANN-HEINK: LE PROPHČTE – O prźtres de Baal; Il va venir (Prison Scene) (in German), 2s. 12” mauve & gold HMV AGSB 17, POM-26 Sept., 1907, Sd.1 Never Doubled in any regular issue. M-A MB 15

V0955. ERNESTINE SCHUMANN-HEINK: LUCREZIA BORGIA - Brindisi (in German) (1903 Version). 12” S/S Special vinyl Pressing of Columbia Mx.1379-2, POM-1903. MINT MB 15

V0956. ERNESTINE SCHUMANN-HEINK: LUCREZIA BORGIA - Brindisi (in German) (1909 Version). 12” Pat. ’12 Vla 88188, POM-17 Sept., 1909. [This object lesson in vocalism belongs in every collection!] M-A MB 12

"...the LUCREZIA 'Brindisi' is a tour de force, including every technical device known to the singer. Especially notable are a wonderful trill, and an amazing downward leap to the penultimate note, of over an octave."
- John Freestone, RECORD NEWS, 1950


V0957. ERNESTINE SCHUMANN-HEINK: RIENZI - Gerechter Gott! 12" white RCA ‘Test’ Pressing of 88169, with Victor ‘Spiderweb’ embossed on verso, POM-29 Sept., 1908, Never Doubled in any regular issue. M-A, lovely copy has faintest pap.rubs. MB 25

V0958. ERNESTINE SCHUMANN-HEINK: RIENZI - Gerechter Gott! / LA CLEMENZA DI TITO - Parto, parto. 12" silver Victor IRCC 31, POM-1908/'09, resp., an extremely Limited Edition; Sd.1 Label Autographed in green ink by Schumann-Heink, to which her Photo is affixed. A to M-A, beautiful copy has faintest pap.rubs. MB 35

V0959. ERNESTINE SCHUMANN-HEINK: DAS RHEINGOLD – Weiche, Wotan, weiche! (1929 Version) / GÖTTERDÄMMERUNG – Höre mit Sinn, was ich dir sage! 12” PW V 7107, POM-17 July, 1929, ‘z’ shellac’ pressing, only form of regular issue (its sole other appearance was in the highly elusive AGS series). M-A MB 12

"The voice had to be used with special care, but there are not many contraltos now singing Wagner who achieve such an artistic impression. . . . If one had expected to witness a memorial service, they were corrected long before Schumann-Heink had ended.… the grand old singer took her leave of the Metropolitan by singing Erda in SIEGFRIED….she projected Erda's prophecy to Wotan of the coming of Siegfried with an eloquence that took the breath away."
- Olin Downes, THE NEW YORK TIMES, 12 March, 1932


V0960. ERNESTINE SCHUMANN-HEINK & HERBERT WITHERSPOON: DAS RHEINGOLD – Weiche, Wotan, weiche! (1907 Version) 12” Pat.’08 Vla 88092, POM-30 July, 1907, Never Doubled. M-A MB 15

V0961. ERNESTINE SCHUMANN-HEINK: DREI PAAR SCHUHE - I und mei Bua (Swiss Yodel Song) (Millöcker). 12” Pat.'12 Vla 88139, POM-29 Sept., 1908. [This delight will positively lift anyone’s spirits; to call it a ‘hoot’ is a great understatement! An absolute treasure!] A to M-A 15.00

“Schumann-Heink became a well-known interpreter of Wagner, singing at Bayreuth Festivals from 1896 to 1914. Cosima Wagner called her ‘my dear Erda’ and indeed Schumann-Heink’s rendering of the latter’s ‘Weiche, Wotan, weiche’ became world-famous. On March 11, 1932 she bade farewell to the stage, singing Erda at the Metropolitan Opera, but she continued to perform in weekly radio programs sponsored by a manufacturer of baby foods, which led to her being termed ‘The Nation’s Beloved Mother’. Though not beautiful, Schumann-Heink turned her plainness into an asset by playing the part of an ideal, self-sacrificing mother who loved her children (that is, everybody) yet scolded them when they did not come up to expectations. She once said that her lack of good looks enabled her to avoid temptations that might have proved enjoyable.”
- Beatrix Borchard, Jewish Women's Archive


V0962. AKSEL SCHIŲTZ, w.Thomsen Cond.: Night and day (Cole Porter) / Trees (Rasbach) (both in impeccable English). 10” plum HMV X.6694, only form of issue, 2 Sept. / 26 June, 1941, Copenhagen - an absolute delight! [For those who enjoy sensitive singing and, in the case of Sd.1, have a great sense of humor! Not to be missed!] M-A Most Elusive! MB 15

V0963. BERTHA KIURINA: NORMA – Casta Diva / Ah! bello a me ritorna (in German). 12” grey & red Polyphon 50188 (231/232as), POM-1920. A to M-A, superb copy of this glorious disk. MB 45

V0964. BERTHA KIURINA: CARMEN – Je dis que rien ne m’épouvante / FAUST – Air des bijoux (in German). 12” dark-blue Ultraphon E287 (30350/49), POM-11 Jan./, 1929. A to M-A, lovely copy has very faintest rubs, inaud. MB 25

V0965. BERTHA KIURINA, w.Weissmann Cond.: TURANDOT–Principessa, l’amore / Tu che di gel (in German). 12” dark-blue Lindström Parlophon P.9165 (20371/72), POM-6 Oct., 1927. A-, fine copy has, primarily Sd.1, light rubs, positively inaud. [Recommended copy of a great beauty – these titles chosen by Seltsam for IRCC reissue, albeit a dubbing.] MB 25

V0966. BERTHA KIURINA: WINTERMÄRCHEN – Lebt wohl ihr Wiesen (Goldmark) / BALLO – Saper voreste (in German). 10” dark-green Wien Zonophone X-23296/95 (12856/12845u), POM-1908. A to M-A / A-B, lovely copy has, Sd.2 only, grey & distortion on peaks. MB 25

“Berta Kiurina was still studying at the Vienna Conservatory when she made her debut in Linz in 1904. Her first two roles at the Hofoper—as a guest—were in the local premieres of Blech’s DAS WAR ICH and Pfitzner’s DIE ROSE VOM LIEBESGARTEN in 1905 . She remained with the ensemble until 1921 and was a guest until 1927. Despite a respectable career, Kiurina never really fulfilled her early promise. [Kiurina possessed a coloratura voice of uncommon beauty and was particularly admired for her effortless flexibility in the upper ranges].”
- Ward Marston


V0967. HEDWIG FRANCILLO-KAUFFMANN: Ave Maria (Bach-Gounod) / Maria wiegenlied (Reger). 10” red German Odeon O-2901 (Be 5947/48), POM-25 Feb., 1927. A to M-A, lovely copy has faintest rubs, inaud. MB 15

V0968. HEDWIG FRANCILLO-KAUFFMANN: Die Nachtigall (Alabieff) / LES CONTES D’HOFFMANN – Les Oiseaux dans la charmille (both in German). 10” black Wien Gram.Concert G.C.-2-43323/24 (14589/90), POM-1909. A to M-A MB 15

V0969. HEDWIG FRANCILLO-KAUFFMANN: LE DOMINO NOIR – Ah! quelle nuit (in German) (Auber), 2s. 10” black Wien Gram.Concert G.C.-2-43330/31 (10854/55), only form of issue, 6 May, 1910. A to M-A, superb copy has faintest rubs, inaud.; Sd.2 only has wee ec, not to grooves. MB 15

V0970. HEDWIG FRANCILLO-KAUFFMANN: LA TRAVIATA - Ah! fors’ č lui / Sempre libera (in German). 12" black ‘Art-Label’ (Girl at Gramophone, in Window) Lindström Parlophon 7014/15, POM-1911. A to M-A, lovely copy has faintest rubs, inaud.; both sides have tiny ‘burn’ mk at very edge, obviously mending a minuscule incipient hlc. MB 15

V0971. HEDWIG FRANCILLO-KAUFFMANN: IL TROVATORE – D’amor sull’ ali rosee / LA SONNAMBULA – Ah! non giunge (both in German). 12" black ‘Art-Label’ (Girl at Gramophone, in Window) Lindström Parlophon 2-1918/1930, POM-1914. B, very decent copy has lt.rubs & occasional mk, briefly audible & very occasional grey mk, distorting for a split-second. MB 15

"Francillo-Kauffmann made her debut in 1898 at the Stadttheater in Stettin. In the 1899-1902 seasons she was at the Hoftheater in Wiesbaden, then in the 1902-1903 season she sang at the Hofoper of Munich. In the 1903-1905 seasons she appeared at the Berlin Hofoper, and from 1905-1907she had a huge success at the Komische Oper in Berlin. In the 1907-08 season she was engaged by the Hofoper in Berlin, then she joined the Hofoper in Wien in 1908 where she was active until 1912. In the 1912-1917 seasons she was at the Opernhaus of Hamburg, then she sang in Vienna, Berlin, Brussels, Paris, London and Munich and South America.”
- Ashot Arkelyan


V0972. MARGARETHE HEYNE-FRANKE, w.Weigert Cond.: Guten Abend, gute Nacht (Brahms) / Schlafe, mein Prinzchen (Flies; att. Mozart). 10" PW green German Polydor 23340, only form of issue, 1930. M-A MB 12

“Heyne-Franke made her debut in 1917 in Nuremberg as Zerbinetta in Strauss’ ARIADNE AUF NAXOS. From 1918-21 she was a member of the State Theater of Gera (Thuringia). Fritz Busch heard her perform in a guest performance in Leipzig and engaged her as an interim singer to the State Opera of Stuttgart, where she was engaged in 1921-24. From 1924-28 she was a member of the State Opera of Dresden. After 1928 she was associated with the opera houses of Munich, Leipzig, Frankfurt a.M., with the National Theater of Mannheim, the Kroll Opera and the State Opera of Berlin through guest performance contracts. She sang a varied repertoire ranging from the most difficult coloratura roles to roles such as Aida or Venus in TANNHÄUSER. She was also a major concert singer.”
- OPERISSIMO AG


V0973. HILDE RÖSSL-MAJDAN, w.Rossmayer Cond. Vienna Staatsoper Orch: WEINACHTSLIED AUS TIROL – Es wird schon glei dumper / Rossmayer Cond. Vienna Staatsoper Chorus & Orch: Es hat sich halt eröffnet. 10" blue Austrian Decca F 49424, only form of issue, c.1949. [Early Rössel-Majdan, and an absolute delight!] M-A MB 12

“Hilde Rössel-Majdan substituted for the soloist in a performance of J.S. Bach's MATTHÄUS-PASSION in Vienna under Wilhelm Furtwängler and had a brilliant success. In 1950 she heeded a call to the Vienna State Opera, of which she remained a member for over 20 years. As an oratorio and Lieder singer she had a most successful career in Germany, Austria, and Italy. Later she worked in the Conservatory of Graz (until 1972) as a sought-after singing teacher, and then at the Vienna Academy of Music.”
- Yoėl L. Arbeitman


V0974. LUCILLE WEINGARTNER MARCEL: TOSCA - Vissi d'arte. 12” V 76018 (508m) (76018), POM-16 Dec., 1910. A to M-A, superb copy has faintest rubs, inaud. & hardly worth mention. MB 45

V0975. LUCILLE WEINGARTNER MARCEL, w.FELIX WEINGARTNER Cond.: Thou art a child (in English) (Cond. by the Composer) / Otello – Ave Maria (in Italian). 12“ Tri-Color Col. A5482 (36608/32) only form of issue, 20 / 19 Feb., 1913. A to M-A, superb copy has faintest rubs, inaud. & hardly worth mention. MB 85

“Lucille Wasself Marcel debuted quite unexpectedly in 1908 at the Vienna Court Opera as Elektra in the Richard Strauss' opera of the same name. She was promoted by the manager at that time of the Vienna Court Opera, Felix von Weingartner, whom she married in 1911 (in third from a total of five marriages). In 1912 she joined to the Municipal Theatre of Hamburg. Her USA debut came about in February, 1911 at the Boston Opera in TOSCA. She remained active there where she took over the title role in 1913 in the American premičre of Bizet’s DJAMILEH until 1914, at which time she made a guest appearance at the Théātre des Champs-Élysées in Paris as Desdemona in Verdi's OTELLO and as Eva in DIE MEISTERSINGER. When Felix von Weingartner went to the Court Theatre of Darmstadt in 1914, she appeared there only once. She sang on 17. May, 1914 in the Darmstadt Court Theatre in the premiere of her husband’s CAIN AND ABEL. In 1919 she performed in Vienna Court Theatre, where she died two years later at the age of 44.”
– Ashot Arkelyan


V0976. MELANIE KURT: FIDELIO - Abscheulicher; Komm' Hoffnung, 2s. 10" black Berlin Concert Gram.G.C.-2-43414 (14737/38L), POM-9 Dec., 1912. M-A, supreme copy has, Sd.1 only, very faintest rub, inaud. & hardly worth mention. MB 25

V0977. MELANIE KURT: TANNHÄUSER – Dich, teure Halle / SIEGFRIED - Ewig war ich, ewig bin ich. 12” orange Col.E5139 (59450/51), only form of issue, 1916. A to M-A, beautiful copy has, Sd.1 only, faintest rub at edge, inaud. Elusive! MB 25

V0978. MELANIE KURT & JACQUES URLUS: AĻDA – La fatal pietra / O terra addio (in German). 12” black Gram. Monarch 044180/81 (2136/37c), POM-7 Jan., 1911. A to M-A, beautiful copy has, Sd.1 only, faintest rub, inaud. Elusive! MB 25

V0979. MELANIE KURT, JACQUES URLUS & PAUL KNÜPFER: FIDELIO – Euch werde Lohn in besser’n Welten / Faust – Final trio (in German). 12” black Schall Gram. 044203/04 (606/07m), POM-13 March, 1912. M-A MB 25

"As was to be expected from [Kurt's] previous Wagnerian impersonations since she arrived here....her effects were gained without a sacrifice of repose and with a consistent unfolding of the dramatic development. It was a performance on her part worthy of the best traditions of the house."
- Richard Aldrich, NEW YORK TIMES, 19 Feb., 1915


V0980. JACQUES URLUS: LE CID - O Souverain! O Juge! O Pčre (in French) / LOHENGRIN - In fernem Land. 12" brown Parl.Odeon PXO 104, POM-25 Jan., 1927, Urlus' sole electrical recording, from his final recording session. M-A MB 25

“There was obviously one bright man at Odeon who knew his operatic history and included Urlus' PXO 104 in the galaxy of Stars in that company's Famous Voices of the Past series, only ten years after it had been recorded and the only electrical recording to get into the series. Unfortunately, it was available only during the war years, was introduced in the 1938-39 Parlophone catalogue, and fell victim to the wholesale deletions in the 1943-44 issue. Though it is Urlus' swan song made a few days after his 60th birthday, it is a very desirable record.”
- James Dennis, THE RECORD COLLECTOR, 1981


V0981. MARGARETE OBER: Dem Unendlichen (Schubert). 12” V 74441, only form of issue, 22 March, 1915 – very brief catalogue life. M-A, a glorious copy! MB 25

V0982. MARGARETE OBER: LE PROPHČTE – Ah, mon fils! (in German). 12" V 74397, only form of issue, 2 April, 1914; although assigned a D/S number for Victor’s ‘Heritage’ series, this was never issued. M-A MB 20

V0983. MARGARETE OBER: LE PROPHČTE – Qui je suis? … Je suis, hélas! la pauvre femme! / Grand Dieu, exaucez ma pričre (in German). 11½” grey paper label H & D US-Pathé 60022 (54532/33), recorded 1911, Berlin. M-A, a gleaming copy. MB 15

V0984. MARGARETE OBER & KARL JÖRN: AĻDA – Gią i sacerdoti (Act IV) (in German), 2s. 12” black Gram. Monarch 65478 (044265/66) (1228/29s), only form of issue, 23 Oct., 1913. M-A, glorious copy has, Sd.2 only, very faintest rub, inaud. & hardly worth mention. Elusive! MB 25

V0985. MARGARETE OBER & REINALD WERRENRATH: DAS RHEINGOLD – Weiche, Wotan, weiche. 12" V 74396, only form of issue, 2 April, 191 – very brief catalogue life. A to M-A, with very faintest rubs, inaud. MB 20

V0986. MARGARETE OBER & PAUL ALTHOUSE: BORIS GODOUNOV - Garden Scene (in Italian). 12” V 76031, POM-23 April, 1915, although assigned a D/S number for Victor’s ‘Heritage’ series, this was never issued. M-A MB 10

"Ober's was a fine mezzo soprano in the tradition of Marianne Brandt....the voice is smoothly produced and sits smoothly on the breath....her singing has a polish and smoothness that always makes it a pleasure to listen to...Although the quality is not as dark or resonant as Schumann-Heink's she makes a very grand Fidčs....Ober enjoyed a particularly long and fruitful association with the Berlin State Opera from 1907 to 1944.

In 1913 Ober joined the roster of principal singers at the Metropolitan Opera in New York City, singing with the company for four seasons. She made her debut with the company on November 21, 1913, as Ortrud in Richard Wagner's LOHENGRIN. With the company she notably sang Octavian in the United States premiere of Richard Strauss' DER ROSENKAVALIER "
- Michael Scott, THE RECORD OF SINGING & Wikipedia (conflated)


V0987. LEONIE RYSANEK, w.Schüchter Cond.: FORZA – Pace, pace, mio Dio! / AĻDA – O patria mia (both in German). 12” Electrola DB 11584, only form of issue, 1955. M-A, gleaming copy has, Sd. 2 only, very faintest pap. rubs, inaud. [Exceedingly Elusive late 78rpm era issue featuring the very young and glorious Rysanek!] MB 25

V0988. HEDY IRACEMA BRÜGELMANN: ARIADNE AUF NAXOS – Es gibt ein reich, 2s. 12” brown German Odeon XX.76385/86 (xxB--), only form of issue,. 1 Jan., 1913. A to M-A, outstanding copy has very faintest rubs, inaud. MB 95

“On the advice of the composer and conductor Max von Schilling, Hedy Iracema Brügelmann struck the stage career after she had first acted as a concert singer. (Her artist name was formed from an anagram of the word ‘America’). In 1910 she made her debut at the Hofoper in Stuttgart as Elisabeth in TANNHÄUSER. Her 1913 guest appearance at London’s Covent Garden Opera as the Marschallin, which she sang in 1917 at the Municipal Theater of Zurich, was a great success. From 1917 she had great successes at the Stuttgart Opera where she also sang the title role on 26 Sept., 1915, in the premiere of Max von Schilling's opera MONA LISA. In 1916 she guested in this role in Amsterdam. From 1917-20 she was a member of the Vienna Court Opera and from 1920-26 was engaged at the Landestheater Karlsruhe. In 1920 she appeared in Karlsruhe in the premiere of Albert Noelte’s FRANĒOIS VILLON. She later lived as a pedagogue in Karlsruhe. Iracema Brügelmann had a large-sized dramatic soprano voice, especially appreciated in Wagner.”
- OPERISSIMO AG


V0989. ADELAIDE ANDREJEWA de SKILONDZ: LES HUGUENOTS – Une dame noble et sage / ROBERT LE DIABLE – Robert, toi que j’aime (both in German). 12” black Berlin Monarch Gram. 043233/34 (371/383ai), POM-4 / 10 Oct., 1913. M-A, An extraordinary copy. MB 45

V0990. ADELAIDE ANDREJEWA de SKILONDZ: BALLO – Saper vorreste / ROMÉO – Je veux vivre (both in German). 10” black Berlin Concert Gram. G.C.-2–43431/32 (13144/49r), POM-10 Oct., 1913. [Andrejewa de Skilondz is perhaps best-remembered as the teacher of Elisabeth Söderström.] M-A, an extraordinary copy! MB 45

“Adelaide von Skilondz was one of Strauss’ very early Zerbinettas. [Skilondz recorded the aria of Zerbinetta on March 6, 1913, less than five months after the world premiere of the original version.]”
- Elisabeth Söderström


V0991. AASE NORDMO-LÖVBERG, w.Levins Cond.: PEER GYNT – Solvejg’s sunshine song / Solvejg’s cradle song (Grieg). 10” brown Danish HMV AL 3336 (ONA 1024/25), only form of issue, c.1949. Late 78-era rarity, early in her career! M-A, superb copy has very faintest rubs, inaud. & hardly worth mention. MB 15

“More than twenty-five years after she retired, Aase Nordmo Lųvberg remains a vocal enigma. The Norwegian soprano enjoyed a long and successful career in Scandinavia but, despite her handsome voice and solid musicianship, never established a lasting presence on international stages. A single season at Bayreuth is commemorated in live recordings of LOHENGRIN and DIE WALKÜRE. A broadcast of DIE WALKÜRE also documents her brief career at the Metropolitan Opera: two seasons, four roles, and thirteen performances. From her debut in 1957 until her final performance in 1965, Lųvberg also sang only thirteen times in four roles at the Vienna Staatsoper: a single Amelia along with Leonore, Sieglinde, and Elisabeth. She sang in Hamburg, Munich, and London without achieving enduring success in any of those cities. Lųvberg began her career in the shadow of Kirsten Flagstad. But so did Ingrid Bjoner. Unlike Lųvberg, Bjoner made an international career on major European and American stages….[regardless], Lųvberg was an estimable singer.”
- Robert Baxter, THE OPERA QUARTERLY, Vol. 20, #4, Autumn 2004, pp. 750-752


V0992. AALTJE NOORDEWIER-REDDINGIUS, Anthon Van Der Hörst (Organ): RÜCKERT LIEDER ‎– Um Mitternacht (Mahler). 2s. 10” dark-blue Eng. Col. DH 81, POM-1928, Central Hall, Westminster, London. M-A [Noordewier-Reddingius mentored both Aafje Heynis & Erna Spoorenberg.] MB 12

V0993. AALTJE NOORDEWIER-REDDINGIUS, Anthon Van Der Hörst (Organ): Cantata #151 – Süsser Trost, mein Jesus kömmt (Bach), 2s. 12” dark-blue Eng. Col. DHX 38, POM-1928, Central Hall, Westminster, London. M-A, as Unplayed! MB 12

V0994. THEODORA VERSTEEGH: ELIJAH – O rest in the Lord / JO VINCENT: PAULUS – Jerusalem, thou that killest (both in Dutch) (both Mendelssohn). 12” dark-blue Eng. Col. D 17169, POM-6 July, 1927, Wesley-Kerk, London [Exceedingly elusive ‘Desert Island’ beauty, especially Sd.2 recorded in a spacious acoustic!] M-A MB 20

“Theodora Versteegh made her debut in Handel’s JOSHUA in 1914 and dedicated her career exclusively to oratorio, concert and song. She was a wonderful interpreter of Bach’s Passions (she sang the solo contralto part in ST. MATTHEW PASSION more than 250 times!) and cantatas. With Jo Vincent, Evert Miedema (later also with Louis van Tulder) and Willem Ravelli she formed a fine singing quartet. Theodora Versteegh regularly appeared in Belgium, Germany and France and went on to sing until 1948.”
- Wikipedia


V0995. JO VINCENT: ELIJAH – Hear ye, Israel (in Dutch) (Mendelssohn, 2s. 12” dark-blue Eng. Col. D 17212, POM-1 July, 1929, Central Hall, Westminster, London. [Another exceedingly elusive ‘Desert Island’ beauty, recorded in a spacious acoustic!] M-A MB 15

“The Dutch soprano Jo Vincent gave her first concert in the town of Assendelft in a village inn and in 1923 she performed with the Concertgebouw Orchestra Amsterdam for the first time,which was conducted by Cornelis Dopper. Two years later, in 1925,she made her debut at the Concertgebouw in Amsterdam and was conducted by Willem Mengelberg, with whom she was to work many times. Vincent was mostly a singer of oratorio and passion music (by Mahler, J.S. Bach, Schubert, Wolf and more). Her bright voice and the warm humanity of her unaffected performances turned her into one of the most adored vocalists in the Netherlands. Sometimes she and alto-singer and longtime friend Theodora Versteegh joined in duet. Although she was forced to prematurely end her career on March 30, 1942 as a result of the war, she returned and made a successful comeback when the war was over. Her popularity was felt in all of Western Europe. In 1953 she officially retired but continued to perform at times.”
- Bach Cantatas Website


V0996. HÉLČNE CALS, w.John Helden (Violin): Core 'n grato (Cardillo) / IL RE PASTORE – L’amaró saró costante (Mozart). 12” dark-blue German Odeon AA 178010 (Aoo 1274/1269), POM-1929. A-, lovely copy has faintest rubs & occasional lt.scr., audible only twice, Sd.1 only. [Fine copy of this exceedingly elusive Cals rarity, the only one ever to have passed through here!] MB 15

V0997. HÉLČNE CALS, w.Weissmann Cond.: Il bacio (Arditi) / MIGNON – Je suis Titania. 12” dark-blue PW Parl. E 10990 (Aoo 1280/1282), POM-1929. M-A

V0998. JOSÉ CANDEL, w.Hugo De Groot Cond.: Ave Maria (Bach, Gounod) / CASANOVA - Nuns' Chorus (Johann Strauss – Ralph Benatzky). 12” red Dutch Philips A 17901. [Date unknown, but a very late 78rpm issue – Candel’s sole recordings, another excellent Dutch soprano; the CASANOVA Aria is a special delight!] M-A MB 10

V0999. MARGARETHE SIEMS: - LES HUGUENOTS – O beau pays de la Touraine; A ce mot seul (w.cabaletta) (in German), 2s. 12” Art-Label (Girl holding phonodisc at morninglory gramophone by window) Lindström Parlophon P.574/75, recorded 1911, Berlin, only form of issue, Sd.2. [Siems exhibits exquisite phrasing, messa di voce, morendo, fila di voce and remarkable breath control, she exhibits her legendary 20-second shaded trill prior to a stunning high D!] A-, lovely copy has very few superficial tiny scrs, only occasionally faintly audible. MB 375

“The steady slow pulse of ‘O beau pays’ is hypnotically interpreted by Siems as she subtly colours phrases by swelling her tone and then pulls back to a narrow pianissimo….Margarethe Siems was clearly an extraordinary artist, and her recordings are treasures that still enrich our lives today. Along with the brilliant virtuosity, there is an emotional intensity in her singing that is hypnotic and haunting….She had the ability to colour her voice and drew out patterns of light and shadow as she sang.”
- Harold Bruder, THE RECORD COLLECTOR, 2000


V1000. MARGARETHE SIEMS: DER ROSENKAVALIER – Kann mich auch an ein Mädelerinnen (Marschallin’s monologue) MARGARETHE SIEMS, EVA von der OSTEN & MINNIE NAST: Hab’mir’s gelobt (Final trio). (Creator Record, 26 Jan., 1911, Dresden), 2s. 12” black Monarch Gram. 043179/044186 (2302/03c), POM-25 Aug., 1911. A -, lovely copy has lt. rubs, inaud. MB 65

“Finest of all, perhaps, is Margarete Siems, the original Marschallin, whose version is easily the most elaborate but who sings with indolent grace and effortless bravura. When this is allied to a meticulous attention to dynamic markings, it has the expansiveness and grandeur of style that this music requires.”
- Vivian A. Liff, IL CORRIERE DELLA GRISI, 9 Sept., 2008


V1001. MARGARETHE SIEMS & DESIDER ARĮNYI: LES HUGUENOTS – Ah! Wär' ich so wie and're Frauen (in German) (Meyerbeer). 12” black Prague Gram. Monarch 044034 (233y), only form of issue, 1903. B, very decent copy has very lt.rubs, inaud.; wee scuff midway ticks ltly a few times; minor ‘heat’ mk at edge, considerably audible only during initial turns; uncommonly bright label. [Siems’ delightfully shaded trills resonate most clearly! An enchanting performance!] MB 375

“Shortly after Margarethe Siems debuted as Marguerite in LES HUGUENOTS at the Prague Opera in 1902, Irene Abendroth retired. Siems, who took over many of the older soprano's roles, remained at Prague for 11 years. Richard Strauss cast her as Chrysothemis in his new opera ELEKTRA in 1909. She created the roles of Chrysothemis and the Marschallin in DER ROSENKAVALIER in 1911, both in Dresden, then created the role of Zerbinetta in ARIADNE AUF NAXOS in Stuttgart. She not only fulfilled the composer's vocal requirements and the Marschallin would become her most famous role. Her voice, rather than her acting ability, accounted for her fame. After appearing in many European opera houses, Siems retired to teach at the Berlin Conservatory and then in Dresden and Breslau.”
- John Haag, Athens, GA


V1002. JOSEF MANN: OTELLO – Niun mi tema (in German). 11¾” black, white & gold German Odeon Lxx 80919 (xxB 6686), POM-1921. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

V1003. JOSEF MANN: LA JUIVE - O Dieu, Dieu de nos pčres (in German). 11¾” black, white & gold German Odeon Lxx 80910 (xxB 6404), POM-1911. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

V1004. JOSEF MANN: AĻDA – Celeste Aļda (in Polish). 11¾” black, white & gold German Odeon Lxx 80921 (xxB 6689), POM-1921. A-, lovely copy has lt. rubs & few lt. scrs, positively inaud. MB 15

V1005. JOSEF MANN: PAGLIACCI – Vesti la giubba (in German). 11¾” black, white & gold German Odeon Lxx 80929 (xxB 6627), POM-1921. A-, lovely copy has lt. rubs, inaud. MB 15

“Josef Mann died tragically at the age of 38 of a heart attack during a performance of AIDA in Berlin on September 5, 1921, just a month before a scheduled trip to New York to make his Metropolitan Opera debut. The Met had offered him a five-year contract, hoping Mann would fill the shoes of Caruso, who had retired in 1920 and died in August, 1921….It is, in fact, the juxtaposition of real power with vocal elegance that makes Mann’s singing unique. If one were to list the virtues that one hopes to find in classically beautiful singing - firm, well-supported tone that retains its quality in all registers, smoothness of register shifts, a natural feeling for legato and phrase-shaping, clear diction, and a sense that the words and music have a dramatic meaning - these virtues are here in abundance. Virtually everything is sung in German, but the Italian numbers have the right ebb and flow, much as they did when Wunderlich sang Italian selections in German.
- Henry Fogel, FANFARE


V1006. ENID SZĮNTHÓ, w.Smallens Cond.: Morgen / Traum durch die Dämmerung (both Strauss). 10” Scroll V 1795, only form of issue, 27 Jan., 1936. A to M-A, lovely copy has faintest pap.rubs, inaud. MB 12

“True contralto voices of the volume, warmth and lusciousness made known by Mme Szantho…are always rare. Surely hers is one of the most phenomenal of the day, and one of the most perfectly produced. In addition, this remarkable artist displayed consummate musicianship, pronounced interpretative skill and profound depth of feeling.”
- THE NEW YORK TIMES, 28 Dec., 1935


V1007. ENID SZĮNTHÓ, w.Smallens Cond.: ORFEO – Che farņ senza Euridice / XERXES – Ombra mai fu. 12” PW V 14229, POM-27 Jan., 1936, issued USA & Switzerland only. A to M-A, lovely copy has faintest pap.rubs, inaud; Sd.1 only has 2 label tears. MB 12

“Szįnthó made her debut in 1928 at the Vienna Staatsoper where she was engaged until 1939. At Bayreuth (1930–37) she sang Erda, the First Norn and Waltraute in the RING, and an Esquire and a flowermaiden in PARSIFAL. She made her Covent Garden debut in 1936 as Erda and then sang Fricka (DIE WALKÜRE), the role in which she made her Metropolitan debut, 17 Feb., 1938. In 1939 she had taken refuge to the United States, because she was half a Jew.”
- bibl.u-szeged.hu


V1008. IRMGARD ARMGART, w.Arthur Grüber Cond.: NOZZE – Non so piu / Voi che sapete (in German). 10” pale-&-dark-blue GermanOdeon O-26596, only form of issue, c.1941. M-A MB 10

V1009. HELENA BRAUN, w.Leopold Ludwig Cond.: FIDELIO - Abscheulicher; Komm, o Hoffnung, 2s. 12” yellow DG 67929, POM-1942. M-A, as Unplayed! MB 10

“When I heard…Helena Braun…I was bowled over by the power, beauty, and particularly the line of her voice, which was so even and resplendent, and expressive beyond words. The voice is reminiscent of Helen Traubel and Eileen Farrell in terms of vocal comparison and power of voice. Helena Braun appeared at most of the legendary opera houses including those in Milan, Berlin, Hamburg, Stuttgart, and at Covent Garden, La Scala and, of course, the Metropolitan Opera in New York.”
- Lance G. Hill, The Classical Music Guide


V1010. MARCELLA SEMBRICH: Frühlingsstimmen (Johann Strauss). 10” black & silver Col. 1365, announced, only form of issue, 1903. A to M-A, an outstanding copy; uncommonly bright label. MB 150

V1011. MARCELLA SEMBRICH: Voci di primavera (Johann Strauss). 6¾ “ vinyl 45rpm S/S Primo P-1001, RR-1900 Bettini cylinder. M-A, as Unplayed. A rare New Zealand issue, issued via Stanford Archive Of Recorded Sound. MB 15

V1012. MARCELLA SEMBRICH: Der Nussbaum (Schumann). 10” Victor Monarch 81049 (B-1951), Orig. ‘A’ Plate Issue, POM-19 Nov., 1904. A-, lovely copy has faint rubs, inaud. MB 20

V1013. MARCELLA SEMBRICH: Der Nussbaum (Schumann). 10” Vla 81049 (B-1951), POM-19 Nov., 1904, Special ‘Elaine’ shellac Pressing w.Victor ‘spiderweb’ verso. A to M-A, beautiful copy has faint rubs, inaud. MB 12

V1014. MARCELLA SEMBRICH: Ständchen (Strauss). 10" S/S Special vinyl Pressing of Mx.B 1950-2 (81048), POM 19 Nov., 1904. MINT MB 25

V1015. MARCELLA SEMBRICH: Cyczenie (Mädchens wunsch) (in Polish) (1904 Version) (Chopin) / 10” Victor Monarch 81050 (B-1952), POM-19 Nov., 1904, Never Doubled. A-, very decent copy has lt.rubs,inaud. MB 15

V1016. MARCELLA SEMBRICH: Cyczenie (Mädchens wunsch) (in Polish) (1907 Version) (Chopin) / HALKA – Gdyby rannem slonkiem (Moniuszko) / 12” mauve & gold HMV AGSB 87, POM-9 / 5 Oct., 1907. MINT MB 12

V1017. MARCELLA SEMBRICH: Mazurka #23 in D, Op.33, #2; in Polish, as ‘Aime-moi’ (Chopin) / Si mes vers avaient des ailes (in French) (Hahn); DIE SCHÖNE MÜLLERIN - Wohin? (Schubert). 12” mauve & gold HMV AGSB 88, POM-9 Oct., 1907 / 30 Jan., 1908, resp, Sd.2 from Unpublished Master; Sd.1 Never otherwise Doubled. MINT MB 12

V1018. MARCELLA SEMBRICH: LA SONNAMBULA – Ah! non giunge / LILLIAN BLAUVELT: I VESPRI SICILIANI – Mercč dilette (in French). 10” white & gold PW IRCC 8, POM-19 Nov., 1904 / 13 April, 1905, Numbered Copy #38. A to M-A MB 20

V1019. MARCELLA SEMBRICH: ERNANI – Ernani, involami / LA TRAVIATA – Ah, fors’ e lui (1903 Versions). 10” blue & gold Col. ‘Notes’ A618 (1364/1366) POM-1903, both announced. A to M-A, an extraordinary copy! MB 45

V1020. MARCELLA SEMBRICH: ERNANI – Ernani, involami (1908 Version, ‘Take’ 3 of two issued ‘takes’). 12” Vla 88022, POM-3 Nov., 1908, Special ‘Elaine’ shellac Pressing w.Victor ‘spiderweb’ verso. M-A MB 12

V1021. MARCELLA SEMBRICH: THE DOLLAR PRINCESS – Waltz (in Italian) (Leo Fall). 12” Pat.’12 V 88387, POM-3 Oct., 1912. M-A, superb copy has very faintest rubs, inaud. & hardly worth mention. This enjoyed a very brief Catalogue life. MB 25

V1022. MARCELLA SEMBRICH: THE DOLLAR PRINCESS – Waltz (in Italian) (Leo Fall). 12” S/S Special RCA vinyl Pressing of Mx.C 12440-3 (88387), POM-3 Oct., 1912. M-A MB 20

V1023. MARCELLA SEMBRICH: WALZERTRAUM - Non sai mia bella (in Italian) (Oscar Straus). 12” white Vla 88389, only form of issue, 4 Oct., 1912. M-A, an extraordinarily bright copy of a preferred late pressing. Most Elusive, this enjoyed a very brief Catalogue life. MB 20

V1024. MARCELLA SEMBRICH: WALZERTRAUM - Non sai mia bella (in Italian) (Oscar Straus). 12” S/S Special vinyl Pressing of Mx.C 12456-2 (88389), POM-4 Oct., 1912. MINT MB 15

V1025. MARCELLA SEMBRICH: DON GIOVANNI – Batti, batti, o bel Masetto. (1903 Version). 12” Victor De Luxe 85038 (C-1954-1), POM-19 Nov., 1904, Never Doubled; This enjoyed a very brief Catalogue life. A-, fine copy has rubs, inaud. MB 12

V1026. MARCELLA SEMBRICH: LA TRAVIATA – Ah, fors’ e lui; Sempre libera (1908 Version, ‘Take 4, of two issued ‘Takes’,1908). 12” Pat.’12 Vla 88018, POM-3 Nov., 1908. . M-A, an extraordinary copy! MB 12

V1027. MARCELLA SEMBRICH: RIGOLETTO – Caro nome. 12” V 88017, POM-2 March, 1906. M-A MB 8

"Marcella Sembrich taught music during the so-called Golden Age of Opera at the turn of the 19th century. This was an era when opera singers had hordes of infatuated fans, much like pop stars nowadays, and Sembrich was cherished by crowds all over Europe and America. She had a vocal range of 2.5 octaves and a flute-like timbre that gave her coloratura soprano a special frailty. To this magnificent voice she applied the sensibility of a violinist, making her singing voice absolutely unique. Her artistic qualities secured her a place among the most successful opera singers of the time.

Sembrich made her Met debut as Lucia in the company premiere of LUCIA DI LAMMERMOOR on October 24, 1883. She was also the Met's first Elvira in I PURITANI, Violetta in LA TRAVIATA, Amina in LA SONNAMBULA, Gilda in RIGOLETTO, Marguerite in LES HUGUENOTS and Rosina in IL BARBIERE DI SIVIGLIA. While away from New York, Sembrich was a tremendous favorite at the Italian Opera in St. Petersburg, Russia, from 1890 to 1897. Sembrich returned to the Met in 1898. In total, she sang more than 450 Met performances in her 11 seasons there, and remained associated with the company until 1909, when the silver jubilee of her Met debut was celebrated with a farewell gala. "
- Culture.pl, 12 Oct., 2016


V1028. IRENE EDEN: LAKMÉ – Oł va la jeune Hindoue / MIGNON – Je suis Titania (both in German). 12” black Schall. Gram. 65694 (525/526), only form of issue, 1921. A-B/A-, lovely copy has, primarily Sd. 1, lt. audible rubs & scrs. MB 20

V1029. JOSEPH SCHWARZ: Heimliche aufforderung (Strauss). 10” red Schall.Gram. 70614 (19097L), POM-1918. M-A, a superlative copy. MB 35

V1030. JOSEPH SCHWARZ: O quand je dors (in German) (Liszt) / Caro mio ben (in Italian) (Giordani). 12” red German Polydor 72537 (1032/1267m), POM-1916/’19, resp. M-A, a superlative copy! MB 35

V1031. JOSEPH SCHWARZ: Caro mio ben (in Italian) (Giordani) / w.Heinrich Grünfeld (Cello): Kol Nidrei (Lewandowski). 12” red German Grammophon 72533 (1267/1031m), POM-1919/’16, resp. A to M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. MB 35

V1032. JOSEPH SCHWARZ, w.Heinrich Grünfeld (Cello): Kol Nidrei (Lewandowski). 12” red Schall Gram. 72533 (1031m), POM-1916. A to M-A, beautiful copy has faintest rubs, inaud. MB 25

V1033. JOSEPH SCHWARZ: L'AFRICAINE - Fille des rois / PAGLIACCI – Prologo (1907 Versions, both in German). 10” dark-green Wien Zonophone X-22552/49 (9970/67u), POM-1907. A to M-A/A-, lovely copy has faint rubs, inaud. MB 45

V1034. JOSEPH SCHWARZ: L'AFRICAINE - Fille des rois / Avoir tant adorée (in German). 12” red Schall.Gram. 72534 (1029/30m), POM-1916. M-A MB 45

V1035. JOSEPH SCHWARZ: L'AFRICAINE - Fille des rois (in German). 12” red Schall Gram. 042501 (1029m), POM-1916. A-, lovely copy has faintest rubs, inaud. MB 20

V1036. JOSEPH SCHWARZ: L'AFRICAINE - Fille des rois / Avoir tant adorée (in German). 12” red German Polydor 72534 (1029/30m), POM-1916. M-A MB 45

V1037. JOSEPH SCHWARZ: L'AFRICAINE - Avoir tant adorée (in German). 12” red Schall Gram. 042502 (1030m), POM-1916. A to M-A, lovely copy has faintest rubs, inaud. MB 20

V1038. JOSEPH SCHWARZ: ZAZA – Zaza, piccola zingara (in Italian) / PAGLIACCI – Prologo (in German). 12” red Schall.Gram. 72668 (1409/06s), POM-1918. A to M-A, lovely copy has faint rubs, inaud. MB 20

V1039. JOSEPH SCHWARZ: IL TROVATORE – Il balen / LA TRAVIATA – Di Provenza il mar (both in German). 12” pink German Lindström Art-Label Parlophon P.330 (7010/12), POM-1912. A to M-A, lovely copy has faintest rubs, inaud. MB 35

V1040. JOSEPH SCHWARZ: GUILLAUME TELL – Sois immobile (1916 Version) (in German) / ZAR UND ZIMMERMANN – Sonst spielt’ ich mit Szepter (Lortzing). 12” black Art-Label (Girl w.record & horn, at window) Parlophon 1670/71, POM-1912. M-A MB 45

V1041. JOSEPH SCHWARZ: LE ROI DE LAHORE – Promesse demon avenir (in Italian) / HÉRODIADE - Vision fugitive (in French). 12” pink German Lindström Art-Label Parlophon P.336 (1677/78), POM-1912. A to M-A, lovely copy has very faintest rubs, inaud. MB 45

V1042. JOSEPH SCHWARZ: LES CONTES D'HOFFMANN - Scintille diamant (in German). 12” black Art-Label (with an Apollo and the lyre) Opera Disc 72530 (954m), POM-1916. A-, fine copy has lt rubs, inaud. MB 15

V1043. JOSEPH SCHWARZ: LES CONTES D'HOFFMANN - Scintille diamant / LA TRAVIATA – Di Provenza il mar (both in German). 12” red German Polydor 72530 (954/1023m), POM-1916. M-A, a spectacular copy! MB 35

V1044. JOSEPH SCHWARZ: LES CONTES D'HOFFMANN - Scintille diamant / Rigoletto – Pari siamo (both in German). 12” black Schall.Gram. 042495/94 (954/953m), POM-1916. M-A, superlative copy! MB 35

V1045. JOSEPH SCHWARZ: BALLO - Alla vita che t'arride (1916 Version) (in German). 12” red Schall.Gram. 72599 (1020m), POM-1916. M-A, lovely copy has wee faintest rub, inaud. MB 15

V1046. JOSEPH SCHWARZ: BALLO - Alla vita che t'arride (1916 Version) / FAUST - Avant de quitter ces lieux (both in German). 12” red German Polydor 72599 (1020m/1408s), POM-1916/'18, resp. M-A, superb copy has, Sd.2 only,very faintest pap.rubs, inaud. MB 25

V1047. JOSEPH SCHWARZ: BALLO - Eri tu / IL TROVATORE - Il balen (both in German). 12” black Schall.Gram. 042496/97 (955/96m), POM-1916. M-A, a spectacular copy! MB 35

V1048. JOSEPH SCHWARZ: IL TROVATORE - Il balen (in German). 12” red Schall.Gram.72532 (956m), POM-1916. A-, fine copy has faint rubs & hint of nr, inaud. MB 15

V1049. JOSEPH SCHWARZ: RIGOLETTO - Cortigiani (in German) / HANS HEILING - Am jenem Tag (Marschner). 12” red Schall.Gram.72600 (1021/1407m), POM-1916/’18, resp. M-A MB 35

V1050. JOSEPH SCHWARZ: TANNHÄUSER - O du mein holder Abendstern. 12” red Shall.Gram.72675 (1405s), POM-1918. A to M-A, lovely copy has faintest pap.rubs, inaud. MB 15

V1051. JOSEPH SCHWARZ: TANNHÄUSER – Blick ich umher / O du mein holder Abendstern. 12” red Shall.Gram.72674 (1405/04s), POM-1918. M-A, a spectacular copy! MB 35

V1052. JOSEPH SCHWARZ & HERMANN JADLOWKER: Guarda che bianca luna (in Italian) (Campana). 10” blue & black (with an Apollo and the lyre) Opera Disc 74590 (14075r), POM-1918. M-A, lovely copy has faintest rubs, inaud. MB 25

V1053. JOSEPH SCHWARZ & HERMANN JADLOWKER: FORZA – Solenne in quest’ora (in Italian) / LES PŹCHEURS DE PERLES – O fond du temple saint (in German). 12” red German Polydor 72931 (1389/87s), POM-1918. A to M-A, lovely copy has faintest pap.rubs, inaud.; Sd.1 label has nr near center. MB 35

V1054. JOSEPH SCHWARZ & HEDWIG FRANCILLO-KAUFMANN: RIGOLETTO - Piangi, fanciulla / Si vendetta (in German). 12” black Art-Label (Girl at window with morning glory horn) Parlophon O.7043/44, POM-1912. A-, lovely copy has faint rubs & hint of grey on peaks, inaud.; Sd.1 label lltly rubbed. MB 35

V1055. JOSEPH SCHWARZ & CLAIRE DUX: IL TROVATORE – Vivrą! contende il giubilo (in German) / CLAIRE DUX: LA BOHEME – Quando m'en vo (in Italian). 10” brown shellac Vocalion 24062 (19024L/1120ar), POM-1917. M-A, a gleaming copy. MB 15

"Joseph Schwarz made his debut at Linz in 1900 as Amonasro. Subsequently he toured with enormous success and returned to his home town Riga at the Imperial Opera in St. Petersburg. He was invited to the Vienna Volksoper and later became a member of the Imperial Vienna Opera where he remained an admired member of the ensemble from 1909 to 1915. After the sudden demise of Leopold Demuth he had to take over the latter's roles. Very soon triumphant acclaim followed, especially when he partnered Enrico Caruso, who often made guest appearances in Vienna. His repertory included roles such as Amfortas, Wanderer, Wolfram, Scarpia, Germont, Escamillo, Renato and Valentin. After a guest appearance in Berlin in 1915, Schwarz decided to terminate his contract with the Vienna Opera and moved to Berlin where he was hailed as 'second Battistini'. He soon became one of the most splendid and popular members of the ensemble. His psychological study of Iago made theatre history in Berlin. In 1921 he toured the United States, and for several years he was associated with the Civic Opera Company in Chicago and was also immediately engaged at the Met (where he never appeared since he died prematurely). His singing was enhanced by his superb stage presence. His histrionic ability caused his style to be compared to Chaliapin's! Josef Schwarz ideally combined classical Italian 'belcanto style' with emotional intensity; he is among the greatest baritones of the 20th century. His is a gloriously vibrant, warm and dark-colored voice of outstanding quality. His legato and resonant mezza voce, his musical expression and flexibility are remarkable, in particular his exceptional use of portamento."
- Ned Ludd


V1056. RICHARD MAYR: TIEFLAND – Gebet (d’Albert) / WINTERMÄRCHEN – Soll ich nicht schelten (Goldmark). 10” black Wien Pre-Dog G.C.-4-42109/11 (13052/13055u), only form of issue, 1908. M-A MB 25

V1057. RICHARD MAYR: BARBIER VON BAGDAD – So schwärmet Jugend (Cornelius) / LA BOHEME– Vecchia zimarra (in German). 10” black Schall Gram. 62391 (1400/03ar), only form of issue, 1920-21. M-A MB 25

V1058. RICHARD MAYR: LE DOMINO NOIR – Deo Gracios (Auber) / LEO SLEZAK: DIE KÖNIGIN VON SABA – Magische Töne (Goldmark). 10” orange Opera Disc 13960 (15214/14585u), POM-1909. A to M-A, lovely copy has faintest rubs, inaud. MB 12

V1059. RICHARD MAYR: LA JUIVE – Si la rigeur (Halévy) / BARBIERE – La calunnia (both in German). 12” black German Polydor 65652 (538/547as), only form of issue, 1920-21. A to M-A, superb copy has faintest rubs, inaud. MB 25

V1060. RICHARD MAYR & ANNI ANDRASSY; Bruno Walter Cond. Berlin Staatsoper Orch.: DER ROSENKAVALIER – Final Scene, Act II, 2s. 12” early PW Col.9087-M, POM-5 Feb., 1930, on Royal Blue Shellac, POM-18 May, 1929. M-A, a pristine copy of this preferred Royal Blue Shellac issue. Not from any Set. MB 12

“Richard Mayr made his professional opera debut to critical acclaim at the Bayreuth Festival in 1902 as Hagen in Wagner's GÖTTERDÄMMERUNG. He notably created the role of Barak, the Dyer in the world premiere of Strauss' DIE FRAU OHNE SCHATTEN. Mayr also sang at the Royal Opera, London from 1911-1913 and again from 1924 (when he made his second debut at the house in 1924 in one of his signature roles, Baron Ochs in DER ROSENKAVALIER), to 1931. He sang for three consecutive seasons at the Metropolitan Opera in New York, making his Met debut as Pogner in DIE MEISTERSINGER in 1927. He was also a mainstay at the Salzburg Festival, appearing every year there from 1921 until his retirement from the stage in 1934."
– (partially) Ward Marston


V1061. HELGE ROSWAENGE, w.Seidler-Winkler (Pf.): Ach, Lieb’, ich muss nun sceiden / Freundliche Vision (both Strauss). 10” PW V 1841, POM-1936, only form of issue, Sd.2 (this being ‘Take’ 2; ‘Take’ 1 was issued as DA 4412). M-A, a gleaming copy. MB 12

V1062. HELGE ROSWAENGE, w.Seidler-Winkler Cond.: PAGLIACCI – Un tal giocco / Vesti la giubba (both in German). 10” PW Electrola DA 4472, only form of issue, Germany only, 24 Oct., 1939. M-A, a gleaming copy. MB 12

V1063. HELGE ROSWAENGE, w.Seidler-Winkler Cond.: FIDELIO - Gott, welch'dunkel hier, 2s. 12” HMV DB 4522, POM-1938. M-A, as Unplayed! [This is truly a ‘Desert Island’ record!] MB 8

“One of Roswaenge’s most celebrated roles was Florestan in Beethoven’s FIDELIO. His monologue ‘Gott, welch Dunkel hier’ which opens the second act is one of the hardest tenor arias in the entire operatic repertoire because of its punishing tessitura. Rosvaenge’s huge voice and rare ability at shading makes his interpretation just about as good as can be found anywhere.”
- Neil Kurtzman, 1 Aug., 2015


“Roswaenge’s 1938 version of Florestan's ‘Gott, welch' dunkel hier’ - the whole nine-minute scene - is exemplary. Not until Jon Vickers came on the scene had that initial ‘Gott’ sounded so wrenched from the innards of a long-suffering victim of injustice, and Roswaenge builds the scene with a strong sense of dramatic architecture. His feverish invocation of ‘mein engel, Leonora’ and shouts of ‘freiheit’ are overwhelming; if you don't know Roswaenge's art, this disc is an ideal introduction. The depth of feeling of which [Roswęnge] was capable is clear in his singing of Florestan's great solo in FIDELIO: he holds back at the modualtions in the last section so as to contain the excitement, and when the release finally comes it is as from unbearably accumulated emotion."
- Dan Davis, ClassicsToday.com


V1064. HELGE ROSWAENGE: GIUDITTA – Du bist meine Sonne / Freunde, das Leben ist lebenswert (Lehįr). 12” Electrola DB 7664, only form of issue, 1943. A-, lovely copy has, Sd. 1 only, lt. scuff, minimally audible. MB 8

V1065. HELGE ROSWAENGE: FORZA – O tu che in seno / BALLO – Ma se m’č forza perderti (both in German). 12” black PW German Polydor 67211, only form of issue, 1935. M-A MB 12

V1066. HELGE ROSWAENGE, w.Gerald Moore (Pf.): Der Feuerreiter / Gesellenlied (both Wolf). 12” HMV DB 3321, only form of issue, 29 Aug, 1937. M-A, pristine copy of Roswaenge’s legendary record! MB 8

“The Sunday morning on which we made the Hugo Wolf Society’s record of Feuerreiter and Gesellenlied was unforgettable…. I [had] sent out for a bottle of champagne. The effect of two glasses on that reluctant and almost teetotal singer was magical. His inhibitions and Nordic restraint dropped from him: he sang like a man possessed. When Roswaenge heard that record a fortnight later, he did not and could not believe he had ever sung like that. I doubt if he believes it even now.”
- Walter Legge, WALTER LEGGE – WORDS AND MUSIC, p.119


V1067. HELGE ROSWAENGE, w.Schmidt Cond.: LES HUGUENOTS – Plus blanche que la blanche Hermine (1932 Version) (Meyerbeer) / I VESPRI SICILIANI – Giorno di pianto (both in German). 12” black Geman Telefunken SK 1272, only form of issue, 12 Nov., 1932. M-A MB 12

V1068. HELGE ROSWAENGE, w.Schmidt Cond.: DIE MEISTERSINGER - Am stillen Herd / Morgenlich leuchtend. 12” black Geman Telefunken SK 1297, POM-24 Nov., 1932. A to M-A, gleaming copy has, Sd 2 only, a few minuscule dust mks, positively inaud. MB 12

V1069. HELGE ROSWAENGE, w.Weissmann Cond.: DON GIOVANNI – Il mio tesoro / LE POSTILLON DE LONGJUMEAU – Mes amis, écoutez l’histoire (1928 Version) (Adam) (both in German). 12” dark-blue German Odeon O-6588 (xxB 7963/64), POM-7 Feb., 1928, only form of issue, Sd.1. M-A MB 15

V1070. HELGE ROSWAENGE & WILHELM STRIENZ, w.Seidler-Winkler Cond.: EUGEN ONÉGIN – Wohin seid ihr entschwunden? / AĻDA – Celeste Aļda (in German). 12” Electrola DB 5580, only form of issue, 1940, issued Germany only. [Released in early 1941, shortly before Germany invaded Russia and all recordings of Russian music were suppressed.] M-A, beautiful copy has faintest rub, Sd.2, inaud. Most elusive! MB 75

V1071. HELGE ROSWAENGE & WILHELM STRIENZ, w.Seidler-Winkler Cond.: A LIFE FOR THE TSAR – Brüder, folgt mir / WILHELM STRIENZ: Sie ahnen die Warheit (in German). 12” Electrola DB 5563, only form of issue, 1940, issued Germany only. [Released in early 1941, shortly before Germany invaded Russia and all recordings of Russian music were suppressed.] M-A, a spectacular copy! Most elusive! MB 75

“Let me state unequivocally that for more than 40 years I have been an avid fan and collector of Roswaenge recordings. In my opinion he is one of the greatest tenors of the 20th century, and no serious collector should neglect him. He was able to produce a dulcet pianissimo , a velvety mezza-voce , as well as incredibly firmly focused forte high notes. In his A LIFE FOR THE TSAR aria, with its six high Cs and a D, you will hear a vocal tour de force not even remotely approached in this music.”
- Bob Rose, FANFARE


V1072. HELGE ROSWAENGE & FRIEDEL BECKMANN, w.Seidler-Winkler Cond.: BORIS GODOUNOV – Fountain Scene (in German), 2s. 12” Electrola DB 5563, only form of issue, 17 June, 1940, issued Germany only. [Released in early 1941, shortly before Germany invaded Russia and all recordings of Russian music were suppressed.] A-, lovely copy has lt. rubs & few lt. mks, merely very occasionally ltly audible. Exceedingly elusive! MB 75

V1073. HELGE ROSWAENGE, MARGARETE TESCHEMACHER & WILHELM STRIENZ, w.Seidler-Winkler Cond.: FAUST – Alerte! Alerte! (Prison Scene; mis-labeled as Church Scene) (in German), 2s. 12” PW Electrola DB 4507, only form of issue, 1938, issued Germany only. A-, lovely copy has faintest pap. rubs, inaud. MB 65

V1074. HELGE ROSWAENGE & GERHARD HÜSCH, w.Seidler-Winkler Cond.: FORZA - Solenne in quest'ora / LA BOHEME - Ah Mimi, tu pił non torni (both in German). 12” Swiss HMV DB 4499, only form of issue, 18 Oct., 1937; issued Germany & Switzerland only. M-A MB 15

V1075. HELGE ROSWAENGE & TIANA LEMNITZ, w.Erwin Baltzer Cond.: DIE ZAUBERIN – Mein Los ist seltsam (in German) (Tschaikowsky), 2s. 12” Electrola DB 5624, issued Germany only, 1941. [Released in early 1941, shortly before Germany invaded Russia and all recordings of Russian music were suppressed. Relatively few copies survived, almost none on this original label; most kown copies have blank or ‘test’ labels.] Exceedingly elusive! A-, lovely copy has faintest pap. rubs, inaud. MB 65

V1076. HELGE ROSWAENGE, w. Eduard Künneke Cond.: DIE GROSSE SÜNDERIN – Das Lied vom Leben / HELGE ROSWAENGE & TIANA LEMNITZ, w.Eduard Künneke Cond.: Immerzu singt dein Herz (Cond. by the Composer). 12” DGG 15099, POM-1935. (All-Creator Recording, 31 Dec., 1936, Berlin Staatsoper.) M-A, a gleaming copy. MB 12

V1077. HELGE ROSWAENGE, w. YODER, KINDERMANN, REINMAR &KUTTNER: DIE MEISTERSINGER – Seig wie die Sonne / RIGOLETTO – Bella figlia dell’amore (in German). 12” black German Telefunken SK 1162, only form of issue, 11 June, 1932. M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud. [Roswaenge is positively irresistible in the RIGOLETTO quartet – an exceptionally seductive and lyrical performance!] MB 12

V1078. HELGE ROSWAENGE, w. FRIND, LIEBENBERG & GUTTMANN: CARMEN – Potpourri (in German), 2s. 12” blue German Telefunken E1158, only form of issue, 12 Nov., 1932. M-A MB 12

“Helge Roswaenge never sang at the Met nor any other American opera house, but he did appear in New York in concerts at Carnegie Hall and Madison Square Garden in 1963 and 1964 [sung when he was past his mid-sixties, he amazed audiences with the extraordinary power he could still summon and his clarion top register.”
- Neil Kurtzman, 1 Aug., 2015


V1079. WOLFGANG WINDGASSEN, w.Rother Cond.: DER FREISCHÜTZ – Nein, länger frag’ ich nicht die Qualen / WOLFGANG WINDGASSEN & ANNELIES KUPPER: DER FLIEGENDE HOLLÄNDER – Fühls’ du den Schmerz. 12” DGG Variable Micrograde 72419, POM 19 Aug., 1953. M-A, a gleaming copy. MB 15

V1080. WOLFGANG WINDGASSEN,& MARIA MÜLLER, w.Leitner Cond.: DIE WALKÜRE –Winterstürme. 12” DGG Variable Micrograde 72173, POM 24 Jan., 1952. M-A, a gleaming copy. MB 15

V1081. HUGO MEYER-WELFING, w.Schönnher Cond. Wiener Unterhaltungsorchester: Eine lkeine Taverne im Golf von Napoli (Stolze) / O mia bella Napoli (Winkler). (both in German). 10” dark-green French Elite Special W.6045, POM-1950. [Most certainly out of the customary Meyer-Welfing’s fach . . . and a delight!] M-A, a gleaming copy. MB 35

V1082. HUGO MEYER-WELFING, w.Dobrindt Cond.: TIEFLAND – Zwei Vaterunser bet’ ich / Schau Her, das ist ein Taler (d’Albert). 12” brown Lindström Parlophon BX 607 (xxB 8796/97)., POM-1942 M-A, a gleaming copy. Exceedingly Elusive! MB 50

V1083. HUGO MEYER-WELFING, w.Moralt Cond. Vienna Phil.: DON GIOVANNI – Dalla sua pace (in German) / DIE ZAUBERFLÖTE – Dies Bildnis ist bezaubernd schön. 12” dark-blue Eng. Col. DX 1385, POM-5 Nov., 1946. M-A, a gleaming copy. [Exquisitely beautiful renditions! This was selected for THE RECORD OF SINGING Issue.] MB 35

V1084. HUGO MEYER-WELFING, w.Dobrindt Cond.: TURANDOT – Nessun dorma / MARTA – M’appari (both in German). 10” pale & dark-blue Odeon O-26 432, POM-1941. A-, excellent copy has faintest rubs, inaud. MB 35

“Hugo Meyer-Welfing made his début in 1928 at the State Theatre of Osnabrück. After the State Theatre of Aachen, in 1938 he came to the State Theatre of Königsberg (East Prussia), where he remained until 1940. From 1943 he was engaged by the State Theatre of Stettin, in 1943 at the Vienna Volksoper, and after 1945 he was a member of the Vienna Staatsoper. His great roles included Don Ottavio in DON GIOVANNI and Hoffmann in LES CONTES D’HOFFMANN. He was an outstanding concert and oratorio singer.”
- Ned Ludd


V1085. FRITZI MASSARY, w. Franz Hampe Cond.Metropol-Theaters Berlin Ensemble: DIE ROSE VON STAMBUL - Wenn sie Hochzeit machen ‘Alle Mägdelein können dort sich freu'n’ / Was man Hübsches hat ‘Bitte, nur nicht allzu nah!’ (Leo Fall). 10” duly elaborate pale-green w.flowers surrounding minarets Art-Label Spezialplatte Gram 62182 (2—43506/05)] (19020/21 L), only form of issue, 1917, Berlin. B, acceptable copy has rubs & very few scrs, only very momentarily & ltly audible. MB 35

V1086. FRITZI MASSARY: MADAME POMPADOUR - Im Liebesfalle / FRITZI MASSARY & MAX PALLENBERG: Josef, ach Josef (Leo Fall). 10” Orth Vla 4056, POM-1926. M-A, beautiful copy has microscopic dust scr, end Sd.2, inaud. MB 15

“At the Orpheum Fritzi Massary [the former Friederike Massarik] was discovered and engaged by the director of the Berlin Metropolitantheater, where she appeared primarily in revues. This was the decisive turning point in her career: at Berlin’s various revue theaters, the cheeky soubrette became a master of the performance arts, the idol of an entire generation. While she had her first sensational success in revue in 1904, the real breakthrough occurred in 1911, when she appeared as guest artist at Max Reinhardt’s Künstlertheater in Jacques Offenbach’s LA BELLE HÉLČNE, alongside Maria Jeritza. From then on she reigned over the Berlin stage, which was at the time the center of cabaret, revue and operetta. Among the works created especially for her was the operetta DIE KAISERIN by Leo Fall (1915). Under Bruno Walter she sang the title role in Franz Lehar’s THE MERRY WIDOW and Adele in Johann Strauss’ DIE FLEDERMAUS. Until 1930, Massary first nights were the highlight of every season and Berlin was overcome by a regular Massary-fever. Attempting to define the secret of her success, Oscar Bie, the author of a work on Fritzi Massary, observed her during rehearsals and commented, ‘The moment she walks on a stage, she becomes another person. Suddenly a desire to act surges through her body. … No matter what part she’s playing, whether it’s a dialogue, song, conflict, it overwhelms her like an inner vision’.

Together with her phenomenal abilities, he perceived an ‘iron will to work’ as the decisive factor in her success. According to her friend and adviser Alma Mahler-Werfel, she brought her intelligence to the stupidest operettas and thus ‘made the impossible credible’. Although we can no longer see her onstage, we can still hear her on recordings which testify to her masterly performance art. Famous recordings include ‘Joseph, oh, Joseph, why are you so chaste?’ from MADAME POMPADOUR by Leo Fall. In the latter, one can also hear the voice of one of the most distinguished actors of his time, the Viennese Max ‘Bully’ Pallenberg (1877–1934), whom Massary married in 1917, who appeared together with her for over two decades, and who was tragically killed in an airplane crash.

As a Jew she was no longer in demand in Berlin after 1933. She returned to Vienna for one year, then moved to Switzerland. Later, after a brief guest appearance in London, she lived with her daughter Elisabeth (Lisl) and her son-in-law, the author Bruno Frank, in Beverly Hills, California, among other exiles such as Elisabeth Bergner, Fritz Korner and Max Reinhardt in what was known as the ‘New Weimar’ on the Pacific. Once idolized, she lived a quiet, withdrawn life. ‘The Massary of the stage no longer exists’, she said. ‘Some people can remember her, if they wish, but I don’t want to anymore’. She died in Los Angeles on January 30, 1969.”
- Beatrix Borchard, Jewish Women's Archive


V1087. LOUISE KARTOUSCH & BERHARD BÖTEL, w.Franz Lehįr Cond.: DER GRAF VON LUXEMBURG – Boheme duet / Mädel klein, Mädel fein (Cond. by the Composer). 10” black Wien Concert Gram. G.C.-3-44061/62 (1850/52ab), POM-16 Nov., 1909. Important Creator record, Kartousch was featured in the original cast several days earlier, 12 Nov., at the Theatre an der Wien. A to M-A / A-B, beautiful copy has, Sd. 2 only, 3 wee scrs, ltly audible a few times. MB 15

“Kartousch attended the music school in Linz and was educated in Vienna. She had children’s roles in Linz and worked from 1902 as the second Soubrette in Graz, where she also appeared in the opera (e.g.as a Valkyrie). From 1907 to 1921 she played at the Theater an der Wien in Lehįr, Fall and Kalman operettas. The press emphasized her ability to play and dance. Kartousch also performed at the Raimundtheater, at the Volksoper and at the Theater in der Josefstadt.” - Wikipedia

“Botel debuted in 1905 at the Municipal Theatre of Aachen as Lancelot in Audran’s LA POUPÉE. Then he joined to the Komische Oper, where he had his great success as Hoffmann in LES CONTES D’HOFFMANN. He remained four years in Berlin and sang in this time also buffo roles. Later he had in Vienna a significant career as an operetta singer, first at the Opera House in Vienna, then in the 1912-1914 at the Raimund Theatre in Vienna. He took part on 17 Nov., 1909 in the premiere of Lehįr's operetta DER GRAF VON LUXEMBURG at the Opera House in Vienna. In the 1914-1915 season he was active at the Municipal Theatre of Halle/Saale. Then he worked again in Berlin and in the1920s as a tenor-buffo a respected member of the Berlin Urban Opera. At the same time he appeared as an operetta singer and was celebrated as a partner of famous diva Fritzi Massary. In the 1928-1931 seasons he appeared at the Berlin Kroll Opera.”
– Ashot Arkelyan


V1088. STEFAN ISLANDI, w.Thórdarson Cond. Reykjavik Men’s Choir: Ökuljóņ (Russian folksong) (in Icelandic). 10” HMV DAS 5208, POM-22 Nov., 1937. MINT copy of this unusual S/S issue, (w.HMV embossed spiderweb verso). [A record of haunting beauty and great sensitivity.] MB 25

V1089. ELISABETH SCHWARZKOPF: CANTATA #208 - Schafe können sicher wieden (Sheep may safely graze) (Bach), 2s. 12” Eng. Col. LX 1051, POM-1 Nov.,1946, issued UK & Italy only. M-A MB 8

V1090. ELISABETH SCHWARZKOPF, w.Gerald Moore (Pf.): Hat gesagt, bleibt's nicht dabei; Schlechtes Wetter (both Strauss) / Wiegenlied am Sommer; Mausfallen - Sprüchlein (both Wolf). 12” Eng. Col. LX 1577, only form of issue, 1952; unknown in this 78rpm format, (missing in the exhaustive Sanders discography, ELISABETH SCHWARZKOPF, A CAREER ON RECORD, p.92). M-A MB 10

V1091. ELISABETH SCHWARZKOPF, w.Gerald Moore (Pf.): ‘S Schätzli; Die Berughigte / O Du liebs Angeli; Maria auf dem Berge (all Folk Songs). 10” Eng. Col. LB 112, only form of issue, 3 April, 1952. M-A MB 8

V1092. ELISABETH SCHWARZKOPF, w.Gerald Moore (Pf.): Warnung (Mozart) / Love’s Labour’s Lost – When daisies pied; The Tempest – Where the bee sucks (in English) (both Arne). 10” Eng. Col. LB 73, only form of issue, 2 Oct., 1947. M-A MB 8

V1093. ELISABETH SCHWARZKOPF, w.Gerald Moore (Pf.) & Jean Pougnet (Violin): Ave Maria (Bach-Gounod). 12" S/S Special HMV vinyl Pressing of CAX 10050, POM-2 Oct., 1947, from Unpublished Master. Remarkably quiet surface. MINT MB 20

V1094. ELISABETH SCHWARZKOPF, w.Fritz Sedlak (Violin); Krips Cond. Vienna Phil.: IL RE PASTORE - L'Amerņ, sarņ costante, 2s. 12” Eng. Col. LX 1096, POM- 2 Nov.,1946, issued England & France only. M-A MB 8

V1095. ELISABETH SCHWARZKOPF, w.Josef Niedermayer (Fl.); Krips Cond. Vienna Phil.: IL PENSIEROSO - Sweet Bird (Handel), 2s. 12” Eng. Col. LX 1010, only form of issue, 2 Nov., 1946. M-A MB 8

V1096. ELISABETH SCHWARZKOPF, w.Nicolas Medtner (Pf.): The Rose; When roses fade (both in English); Im vorübergehen; Elfenliedchen (both in German) (all Acc. by the Composer). 12” Eng. Col. LX 1423, only form of issue, 18 Oct., 1950. M-A, beautiful copy has very faintest rubs,inaud. & hardly worth mention. MB 15

V1097. ELISABETH SCHWARZKOPF, w.Nicolas Medtner (Pf.): Meerstille; Glückliche fahrt / Die Quelle; Selbstbetrug (all in German) (all Acc. by the Composer). 12” Eng. Col. LX 1424, only form of issue, 18 Oct., 1950. M-A, beautiful copy has very faintest rubs,inaud. & hardly worth mention. MB 15

V1098. ELISABETH SCHWARZKOPF, w.Nicolas Medtner (Pf.): The Muse; The waltz (both in English) / So tanzet (in German) (all Acc. by the Composer). 12” Eng. Col. LX 1425, only form of issue, 16 Oct., 1950. M-A MB 15

V1099. ELISABETH SCHWARZKOPF, w.Nicolas Medtner (Pf.): Einsamkeit; Praeludium / Winternacht (all Acc. by the Composer). 12” Eng. Col. LX 1426, only form of issue, 16 Oct., 1950. M-A MB 15

“…the Russian composer Nicolas Medtner was given a concert at the Wigmore Hall, mainly at the request of the Maharajah of Mysore who was his patron also. Schwarzkopf sang some of Medtner’s songs and they were later recorded, but she does not seem to have enjoyed the experience of working with him. When asked about it much later, for a biography of Medtner, she would say nothing at all about him.”
- Alan Jefferson, ELISABETH SCHWARZKOPF, p.103


V1100. ELISABETH SCHWARZKOPF, w.Braithwaite Cond. Philharmonia Orch.: LA TRAVIATA - Ah! fors č lui / Sempre libera (in English). 12” Eng.Col.LX 1079, only form of issue, 12 April, 1948 – a most uncommon Schwarzkopf title due, primarily, to the language. M-A, beautiful copy has very faintest rubs, inaud. & hardly worth mention. MB 15

V1101. ELISABETH SCHWARZKOPF, w.Süsskind Cond. Philharmonia Orch.: Exsultate, Jubilate, K.165 (Mozart), 4s. 2-12” Eng. Col. LX 1196/97, only form of issue, 26 & 28 May, 1948. M-A MB 10, the Pair.

V1102. ELISABETH SCHWARZKOPF, w.von Karajan Cond. Vienna Phil.: NOZZE - Dove sono, 2s. 12” Eng. Col. LX 1575, only form of 78rpm issue, from the 1950 celebrated Complete Opera; the sole single disk excerpted from it! M-A, Exemplary! MB 15

V1103. ELISABETH SCHWARZKOPF, w.von Karajan Cond. Vienna Phil.: GIANNI SCHICCHI – O mio babbino caro / w.Böhm Cond. Vienna Phil.: TURANDOT – Tu chi di gel sei cinta (both in Italian). 10” Eng. Col. LB 85, POM-6 Nov., 1948 / 16 March, 1949; issued UK & Austria only. M-A MB 8

V1104. ELISABETH SCHWARZKOPF, w.Krips Cond. Philharmonia Orch.: DON GIOVANNI - In quali eccessi; Mi trad¨ quell'alma igrata, 2s. 12” Eng. Col. LX 1210, POM-26 Sept., 1947. M-A MB 8

V1105. ELISABETH SCHWARZKOPF, w.Krips Cond. Vienna Phil.: ENTFÜHRUNG - Welcher Kummer; Traurigkeit (Mozart), 2s. 12” Eng. Col. LX 1249, only form of issue, 31 Oct., 1946. M-A MB 8

V1106. ELISABETH SCHWARZKOPF & IRMGARD SEEFRIED; Krips Cond. Philharmonia Orch.: HÄNSEL UND GRETEL – Süse, liebe Suse, 2s; Brüderchen, komm tanz’ mit mir; Der Kleine Sandmann bin ich; Abends will ich schlafen geh’n, 2s. 2-12” Eng.Col. LX 1036/37, only form of issue, 26 Sept., 1947. M-A MB 10, the Pair.