Italian Vocal 78rpm records

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



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Section VI - Italian Vocal 78rpm records Nos. J0823 – J1025

J0823. TAURINO PARVIS: Occhi di fata (Denza). 10” dark-green Zonophone 12558 (5655), POM-1905. A-, lovely copy has faintest rubs, inaud; uncommonly bright label. MB 15

J0824. TAURINO PARVIS: Malia (Tosti). 10” dark-green Zonophone 12562 (5669), POM-1905. A-, lovely copy has faintest rubs, inaud; uncommonly bright label. MB 12

J0825. TAURINO PARVIS: Marechiare (Tosti). 10” dark-green Zonophone 12516, POM-1905; [label indicates ‘of the Concied (Conried?) Metropolitan Opera Company of New York’]. A-, lovely copy has faintest rubs, inaud. MB 15

J0826. TAURINO PARVIS: PAGLIACCI - Un nido di memorie (Prologo). 10” flush black & silver Col. 3079, POM-1905. A-, beautiful copy has faint rubs, wee pressing bumps & lt. grey on peaks; uncommonly large & bright label. MB 20

J0827. TAURINO PARVIS: LA TRAVIATA – Un dì quando. 10” flush black & silver Col. 10583, POM-c.1905; [no listing for this issue can be found anywhere!] A-, beautiful copy has 2 wee scuffs, inaud. MB 15

J0828. TAURINO PARVIS: IL TROVATORE – Il balen. 10” flush black & silver Col. 3139, POM-1905. A-, beautiful copy has faint rubs & few superficial tiny scrs; uncommonly bright label. MB 15

J0829. TAURINO PARVIS: IL TROVATORE – Il balen. 10” dark-green Zonophone 12512, POM-1905; [label indicates ‘of the Concied (Conried?) Metropolitan Opera Company of New York’]. A-, lovely copy has faint rubs & few superficial tiny scrs. MB 15

J0830. TAURINO PARVIS: CARMEN – Chanson du Toréador / ELVINO VENTURA: C’est toi? (both in Italian). 10” dark-green Zonophone 40076 (4491/A425), POM-1905. A-, lovely copy has faintest rubs, inaud; uncommonly bright label. MB 12

“Elvino Ventura made his début in 1894 at the Teatro Epicarmo in Noto and was soon widely recognized as one of the most important tenors in Italy. In 1896 he appeared at the Teatro Regio in Turin as Marziale in Buzzi-Peccia‘s FORZA DELL’AMORE. In 1900 he sang Alfredo in LA TRAVIATA at the Teatro Carlo Felice in Genoa. The next year, Ventura appeared at the Teatro Massimo in Palermo as Osaka, one of his most famous roles, in Mascagni's IRIS with Fausta Labia. In 1901 he created the role of Florindo in the premiere of Mascagni's LE MASCHERE at the Teatro La Fenice in Venice. He appeared in almost all significant italian opera stages, also made guest appearances in London, Paris, Buenos Aires, Madrid, St. Petersburg and Warsaw. In his book Titta Ruffo wrote that he had the honour to sing with Elvino Ventura and soprano Pandolfini in LA TRAVIATA. He was one of the most prolific recording opera singers of his time.”
- Ashot Arkelyan


J0831. TAURINO PARVIS & GINA CIAPARELLI: IL TROVATORE - Mira d’acerbe lagrime. 10” flush black & silver Col. 3158, POM-1905. A-, lovely has faint rubs & infinitessimal nr, inaud. Tiny nd is ltly audible; uncommonly bright label. MB 12

J0832. TAURINO PARVIS: Giulia (Denza). 10” flush black & silver Col. 3114, POM-1905. A-, beautiful copy has faint rubs & tiny audible nd at end; uncommonly bright label. MB 20

J0833. TAURINO PARVIS & GINA CIAPARELLI: Morremo (att. Mozart). 10” flush black & silver Col. 3495, POM-1906. M-A, a stunningly beautiful, bright copy, amazing for this era; uncommonly large & bright label. MB 20

J0834. TAURINO PARVIS & GINA CIAPARELLI: CARMEN – Si tu m’aimes (in Italian). 10” flush black & silver Col. 3496, POM-1906. M-A, a stunningly beautiful, bright copy, amazing for this era; uncommonly large & bright label. MB 20

“Parvis appears to have made his début in 1900 at the Teatro Lirico in Rio de Janeiro as Kyoto in IRIS. In 1901 he sang at the Teatro Carignano in Turin as Marcello in Puccini’s LA BOHEME. Then appearances followed at the Teatro Nazionale in Bucharest and at the Teatro Vittorio Emanuele, Turin (1902). From 1904 to 1906 he was a member of the Metropolitan Opera, New York. In 1908 he appeared at La Scala, in the premiere of Mancinelli’s PAOLO E FRANCESCA. In 1917 he again sang at La Scala where he appeared with Ninon Vallin in the premiere of Wolf-Ferrari’s SEGRETO DI SUSANNA. In the 1926-27 season he performed once more at La Scala in the premiere of Pedrollo’s DELITTO E CASTIGO. At the Teatro dell'Opera in Rome he appeared in 1922 in the premiere of Mascagni’s IL PICCOLO MARAT, and in 1923 in Riccitelli’s I COMPAGNACCI. In 1925 he returned to the Teatro dell'Opera in Rome in the premiere of Zandonai’s I CAVALIERI DI EKEBU.”


- Ashot Arkelyan


J0835. GINA C. VIAFORA: LA BOHEME – Quando m’en vo. 10” Pat.’08 [5 line] V 64085, POM-15 May, 1908, Never Doubled. M-A MB 8

J0836. GINA C. VIAFORA: LA BOHEME - Mi chiamano Mimi. 12” S/S Special vinyl Pressing of Unpublished Victor Matrix C 6196-2, POM-15 May, 1908. MINT MB 25

J0837. GINA C. VIAFORA: IL TROVATORE –Tacea la notte. 12” Pat.’08 [5 line] V 74116, only form of issue,15 May, 1908, Never Doubled. M-A MB 10

“Gina Ciaparelli-Viafora began her career in Italy under her real name Gina Ciaparelli. Her début probably occurred in 1894 at the Teatro Nuova Fenice in Osimo. In 1907 she moved to the USA where she married the conductor Viafora, then she began to appear on stage as Gina Viafora. In 1910 she guested at the Metropolitan opera as Mimi in LA BOHÈME with Enrico Caruso as Rodolfo.”


- Ashot Arkelyan


J0838. ENRICO CARUSO: Noche feliz (in Spanish) (Pasadas) / A Granada (Álvarez). 10” PW Victor ‘Picture Record’ 17-5001, POM-14 Sept., 1920 / 26 Sept, 1918. A to M-A, a superb copy! MB 275

J0839. ENRICO CARUSO: Luna fedel (with false start after first stanza) (Zardo). 10” red Milano G & T G.C.-52442 (2882), Original Stamper, POM-1 Dec., 1902, Never Doubled in any regular series. A to M-A, bright, unworn copy with uncommonly bright label has 2 insignificant tiny scrs, very ltly audible a few turns. MB 195

J0840. ENRICO CARUSO: Non t’amo più! (Tosti). 10” flush red Milano G & T G.C.-52441 (2877), Original Stamper, POM-30 Nov., 1902, Never Doubled, USA. A-, bright, unworn copy has faint rubs, a few insignificant minuscule scrs, positively inaud.; large pressing bump seriously thumps; incipient minuscule edge patina; very sl.rubbed label. MB 145

J0841. ENRICO CARUSO: Première caresse (de Crescenzo) / AMADIS DE GAUL – Bois épais (Lully). 10” Orth Vla 1437, RRs-9 Sept., 1919 / 16 Sept., 1920. No pressings from the original masters were published. Never listed in a pre-1931 U.S. catalogue. A to M-A, beautiful copy has faintest rubs, inaud. MB 20

J0842. ENRICO CARUSO: Tiempo antico (Sung by the Composer). 12” V 88472, POM-20 March, 1916. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J0843 ENRICO CARUSO: La mia canzone (Tosti). 10" Victor Monarch 91010 (2879), POM-1 Dec., 1902, Never Doubled, USA. A-, lovely copy has faintest rubs & 2 very lt. scrs, inaud. MB 35

J0844. ENRICO CARUSO: Mattinata (Leoncavallo, Acc. by the Composer; sung by the dedicatée, the first song ever written expressly for the Gramophone Company). 10" red Milano G & T G.C.-52034, (2181) Stamper VI, POM-8 April, 1904, Never Doubled, USA. A-, lovely copy has faintest rubs & hint of grey on peaks, inaud. MB 45

J0845. ENRICO CARUSO: Tu non mi voi più ben (Antonio Pini-Corsi) / GLI UGONOTTI – Qui soto in ciel (Meyerbeer). 11½" H & D center-start etched label Pathé 84003/08 [63091/63034], recorded 1903 in Milano by Anglo-Italian Commerce Co. - announced. M-A, a glorious copy! MB 65

J0846. ENRICO CARUSO: Tu non mi voi più ben (Antonio Pini-Corsi) / TOSCA – E lucevan le stelle. 11½" H & D center-start etched label Pathé 84003/04 [10918/43271], recorded 1903 in Milano by Anglo-Italian Commerce Co. - announced. M-A, a glorious copy! MB 65

J0847. ENRICO CARUSO: Addio (Tosti) / L’AFRICAINA – Deh, ch’io ritorni (Meyerbeer). 12” Vla 7156, RRs-29 Dec., 1910 / 16 Sept., 1920. A to M-A , lovely copy has faint rubs, inaud. MB 20

J0848. ENRICO CARUSO: LA BOHEME - Vecchia zimarra (Coat Song) / FRANCES ALDA; Speaking, w.Wally Butterworth: Why Caruso recorded the Coat Song (Butterworth had been a pupil of Pasquale Amato). 10" vinyl RCA D9-QB-7758/2234, RR-1916/'49, Sd.1 dubbed by RCA from only known copy. M-A, appears unplayed. MB 20

“During a 1916 Met performance of LA BOHEME in Philadelphia, de Segurola, the basso who was about to sing the ‘Coat Song’ (‘Vecchia Zimarra), turned to Caruso and whispered ‘I’ve lost my voice’. Caruso replied, ‘You just stand still and move your lips and I’ll sing it for you’. And so, with his back turned to the audience, Caruso sang the aria for de Segurola. de Segurola then acknowledged the cheers from the audience, who didn’t realize that it was Caruso who had done the singing. Alda (the Mimi) and de Segurola persuaded Caruso to record this aria in the Victor studio, and the above recording is the result (albeit unpublished until 1949)!”


- www.enricocaruso.dk


J0849. ENRICO CARUSO: IRIS - Apri la tua finestra. 10” red Milano G & T G.C.-52368 (1791) – CO (‘the quality of remastered stampers is vastly superior to the ones remastered from the April recordings’ – John Bolig, CARUSO RECORDS, p.34), Stamper IIIII, only form of issue, 11 April, 1902. A to M-A, glorious copy has 2 barely visible nr, inaud., terminating with 1 wee mk which ticks lltly 3 times (albeit noisy surface, endemic to all copies); uncommonly bright label. MB 125

J0850. ENRICO CARUSO: GERMANIA – Studenti! udite (Presentazione di Federico) (Franchetti) (Creator Record, 11 March 1902, La Scala, Milano). 10” red Milano G & T G.C.-52378 (1782), Stamper IIIII – CO (‘the quality of remastered stampers is vastly superior to the ones remastered from the April recordings’ – John Bolig, CARUSO RECORDS, p.34), POM-11 April, 1902, Never Doubled, USA. A to M-A, lovely copy has various minuscule pressing bumps, very occasionally just barely audible. MB 195

J0851. ENRICO CARUSO: GERMANIA – No, non chiuder gli occhi vaghi (Franchetti) (Creator Record, 11 March 1902, La Scala, Milano). 10” red Milano G & T G.C.-52370 (1788), Stamper IIII – CO (‘the quality of remastered stampers is vastly superior to the ones remastered from the April recordings’ – John Bolig, CARUSO RECORDS, p.34), POM-11 April, 1902, Never Doubled, USA. A, lovely copy has faint rubs & mere hint of nr, barely visible, most certainly inaud.; barely audible pressing bump; tiny numeral penned on label. MB 95

J0852. ENRICO CARUSO: ADRIANA LECOUVREUR – No, più nobile (Cilea, Acc. by the Composer). (CREATOR Record,6 Nov., 1902, Teatro Lirico, Milano. 10” red Milano G & T G.C.-52419 (2880), Original Stamper, only form of issue, 1 Dec., 1902. A to M-A, lovely copy has hint of grey on peaks, inaud.; very sl.rubbed label. MB 275

J0853. ENRICO CARUSO: FEDORA – Amor ti vieta (Giordano, Acc. by the Composer). (CREATOR Record,17 Nov., 1898, Teatro Lirico in Milano). 10” red Milano G & T G.C.-52439 (2872b), Stamper V – CO (‘the quality of remastered stampers is vastly superior to the ones remastered from the April recordings’ – John Bolig, CARUSO RECORDS, p.34), POM-30 Nov., 1902, Never Doubled, USA. A to M-A, lovely copy has hint of grey on peaks, inaud. MB 95

J0854. ENRICO CARUSO: TOSCA – E lucevan le stelle (Caruso starts in wrong place and wrong key). 10” red Milano G & T G.C.-52349 (1790), Stamper IIII, POM-11 April, 1902, Never Doubled, USA. A-, lovely copy has faint rubs, inaud.; very sl.rubbed label. MB 95

”In this ‘E lucevan le stelle’ Caruso bungles! And badly, too, right at the beginning of the recitative. He starts in th wrong place, and on the wrong note, and the confusion persists until the singer and the pianist compromise and fall in line.”
- Aïda Favia-Artsay, CARUSO ON RECORDS, p.47


J0855. ENRICO CARUSO: PAGLIACCI - Vesti la giubba. 10” red Milano G & T G.C.-52440 (2875), Stamper III, POM-30 Nov., 1902, Never Doubled, USA. A to M-A, lovely copy has wee pressing indents, hint of grey on peaks & microscopic edge scr, inaud. MB 65

J0856. ENRICO CARUSO: CAVALLERIA - O Lola (Siciliano [1902 Version]). 10” red Milano G & T G.C.-52418 (2876), Stamper IIII, POM-30 Nov., 1902, G.C.-52418 (2876), Never Doubled, USA. A to M-A, lovely copy has 1 long very lt.scr, positively inaud. MB 95

J0857. ENRICO CARUSO: CAVALLERIA - O Lola (Siciliano) – announced [1903 Version]. 10” flush pale-blue Milano Zonofono X-1556, Stamper II, only form of issue, 19 April, 1903, (pressed by the G & T Company, this has ‘Zonofono’ embossed twice, at right angles, on the verso). A to M-A, extraordinarily bright copy has 2 superficial mks, barely visible & inaud.; microscopic scr at very beginning is ltly audible during spoken announcement. MB 795

J0858. ENRICO CARUSO: LA GIOCONDA – Cielo e mar. 10” red Milano G & T G.C.-52417 (2874), Stamper IV, POM-30 Nov., 1902, G.C.-52418 (2874), Never Doubled, USA. A to M-A, lovely copy has few faint rubs, inaud.; tiny incipient ipc from label, barely into grooves, barely visible topside only & inaud. MB 95

J0859. ENRICO CARUSO: AÏDA – Celeste Aïda (final note sung falsetto, ends with two piano chords). 10” flush red Milano G & T G.C.-52369 (1784), Original Stamper, only form of issue, 11 April, 1902. A to M-A, choice copy has faint rubs & a few superficial mks, inaud.; uncommonly bright label. MB 95

J0860. ENRICO CARUSO: AÏDA – Celeste Aïda (final note omitted by singer and piano, Caruso’s strangely aborted rendition). 10" Victor Monarch 91007 (2873), Original Stamper, only form of issue, 30 Nov., 1902, Never Doubled, USA. A to M-A, choice copy has faint rubs & a few superficial mks, inaud. & hardly worth mention. MB 95

J0861. ENRICO CARUSO: AÏDA – Celeste Aïda (Unpublished 1906 Version). 12” S/S vinyl special pressing of Unpublished Victor Mx C-3180-1 (although assigned issue #88025), POM-13 March, 1906. MINT MB 65

J0862. ENRICO CARUSO: RIGOLETTO – Questa o quella (Caruso clears his throat after first verse). 10” red Milano G & T G.C.-52344 (1783) – CO, Stamper V, only form of issue, 11 April, 1902. B-, very decent copy has lt.grey briefly audible only on peaks, primarily at the beginning, yet the performance comes through brilliantly. MB 75

J0863. ENRICO CARUSO: RIGOLETTO – La donna è mobile - announced. 10” flush pale-blue Milano Zonofono X-1555, Original Stamper, only form of issue, 19 April, 1903, (plain verso). A-, lovely copy has minor scrabble near beginning, ltly audible a few turns; audible pressing bump. MB 395

J0864. ENRICO CARUSO: L’ELISIR – Una furtiva lagrima. 10” red Milano G & T G.C.-52346 (1786) – CO, Stamper IIII, only form of issue, 11 April, 1902. A to M-A, beautiful, bright copy has 2 infinitessimal nr, inaud.; 1 minuscule scr at beg. which ticks lltly 3 times; uncommonly bright label has faintest nr. MB 95

J0865. ENRICO CARUSO: MANON – Le rêve (in Italian). 10” red Milano G & T G.C.-52345 (1785) – CO, Stamper VI, only form of regular issue, 11 April, 1902 (issued otherwise only in ‘Archive’ reissue). A, lovely copy has faint rubs, inaud. MB 95

J0866. ENRICO CARUSO: MEFISTOFELE – Dai campi, dai prati (1st 1902 Version) (Caruso starts two beats early, commonly described as ‘false start’). 10” flush red Milano G & T G.C.-52348 (1789), Stamper II, only form of issue, 11 April, 1902. A to M-A, superlative bright copy has 2 barely visible mks & ltly rubbed label. MB 295

J0867. ENRICO CARUSO: MEFISTOFELE – Dai campi, dai prati (2nd 1902 Version). 10” red Milano G & T G.C.-52348 (2871) Stamper X, only form of issue, 30 Nov., 1902. A to M-A, outstanding, bright copy has microscopic mk, hardly worth mention, & ltly rubbed label. MB 145

J0868. ENRICO CARUSO: MEFISTOFELE – Giunto sul passo. 10” red Milano G & T G.C.-52347 (1787), Stamper V, only form of issue, 11 April, 1902. A, lovely copy has faint rubs & 3 wee just barely audible pressing bumps, hardly worth mention; uncommonly bright label. MB 245

J0869. ENRICO CARUSO: LES HUGUENOTS - Plus blanche que la blanche ermine (in Italian) (1909 Version) / DON SEBASTIANO - Deserto in terra ('take' 2). 12” red vinyl RCA Heritage DeLuxe 15-1037, POM-7 Nov., 1909 / 10 Jan., 08, only form of issue, Sd. 2 (from previously Unpublished Master). M-A, as New! MB 25

J0870. ENCRICO CARUSO: LES PÊCHEURS DE PERLES – Je crois entendre (in Italian) / CARUSO & GERALDINE FARRAR: LA BOHEME – O soave fanciulla. 12" silver Victor IRCC 61, POM-8 April, 1904 / 30 Dec., 1912, resp., Sd.2 from Unpublished Mx.C-12751. Numbered Copy #37 of an Limited Edition. Each Label has artist’s Photo affixed. M-A MB 65

J0871. ENRICO CARUSO & FRANCES ALDA: IL TROVATORE - Miserere (Unpublished 1909 Version, without chorus). 12” S/S vinyl special pressing of Unpublished Victor Mx C-8506-1 (an unusually ‘forward’ recording), POM-27 Dec., 1909. MINT MB 65

J0872. ENRICO CARUSO & FRANCES ALDA: CARMEN – Parle-moi de ma mère (Unpublished). 12” S/S special heavy acetate professional dubbing of Unpublished Victor Mx C-15483-3 (another unusually ‘forward’ recording), recorded 10 Dec., 1914, (assigned Victor #89083, but never issued as such – that number was used for Caruso & de Gogorza Michelena duet, four years later). M-A MB 65

J0873. GIUSEPPE BORGATTI: MYRTEN - Die Lotusblume; Du bist wie eine Blume (both Schumann, both in Italian) / TOSCA – E lucevan le stelle. 10½” Milano Fonotipia 39409/06 [XPh 1525/16], only form of issue, 14 / 13 Dec., 1905. A, lovely copy has faint rubs & minuscule pressing indents; Sd.1 shows infinitessimal edge patina, inaud. MB 85

J0874. GIUSEPPE BORGATTI: LOHENGRIN – Atmest du nicht / DIE MEISTERSINGER - Am stillen Herd (both in Italian). 10½” Milano Fonotipia 39407/08 [XPh 1517/24], only form of issue, 13 / 14 Dec., 1905. M-A, glorious copy has, Sd.1 only, faintest rubs, inaud. & hardly worth mention. MB 95

J0875. GIUSEPPE BORGATTI: LOHENGRIN – Atmest du nicht / DIE WALKÜRE – Winterstürme (both in Italian). 10” brown PW Eng.Col. D 6073 (B 1925/2589), POM-1 May, 1928. M-A, superlative copy has minuscule label spot, Sd.2. MB 45

“Giuseppe Borgatti was an Italian dramatic tenor with an outstanding voice. The creator of the title role in Giordano's ANDREA CHÉNIER, he subsequently earned renown for his performances of the music of Wagner, becoming in 1904 the first Italian tenor to appear at the Bayreuth Festival. He sang a variety of leading roles at La Scala, Milan, from 1896 until 1914, but deteriorating eyesight caused by glaucoma put a premature end to his stage career, after which he turned successfully to teaching. Although Borgatti continued to appear in a number of Italian operas after 1896, earning particular renown for his performances in works by Verdi, Puccini and the various verismo composers, he fell strongly under the spell of Wagner's music dramas. From 1898 through into the early 1900s he worked closely with La Scala's principal conductor, Arturo Toscanini, and proceeded to master all the main tenor parts of the Wagnerian repertoire, namely, Lohengrin, Tannhäuser, Walther, Tristan, Siegmund, Siegfried and, finally, Parsifal. The important Wagnerian conductor Hans Richter praised Borgatti's voice and artistry. In 1906, he made a different venture into the field of German opera when he sang Herod in the La Scala premiere of SALOME by Richard Strauss. In 1898, he toured South America with a first-class troupe of Italian singers which included his fellow tenor Francesco Tamagno, the soprano Luisa Tetrazzini and the baritones Mario Sammarco and Eugenio Giraldoni. He also visited Spain and Russia.

Good-looking and solidly built - as photographs attest - Borgatti is described in contemporary reviews of his performances as having possessed abundant reserves of stamina and strong histrionic ability in addition to a smooth, well-schooled voice of robust size. His last public performance occurred in Bologna in 1928. He taught singing in Milan following the curtailment of his opera house career. His best known pupils were the English lyric tenor Heddle Nash and the German lyric baritone Willi Domgraf-Fassbaender. In 1928, he recorded several rare sides electrically for the Columbia company. Overall, Borgatti's recordings did not sell well and are major rarities in the record collecting world. The general view is that Borgatti's art was too subtle for commercial success on record.”


- Michael Scott


J0876. EDOUARDO CASTELLANO: LA GIOCONDA - Cielo e mar. 12” Tri-Color Col. 30093, Original 1907 Issue. A to M-A, superlative copy has faded label. MB 12

J0877. EDOUARDO CASTELLANO: TOSCA – E lucevan le stelle. 12” Tri-Color Col. 30064, Original 1906 Issue. A to M-A, lovely copy has faintest rubs, inaud. MB 12

J0878. EDOUARDO CASTELLANO: LA BOHEME - Mimi è una civetta. 12” Col. 30085, Original 1907 Issue with ‘Manhattan Record’ label superimposed. A, lovely copy has lt. rubs, inaud. MB 12

J0879. EDOUARDO CASTELLANO: RIGOLETTO – Questa o quella. 12” Col. 30094, Original 1907 Issue with ‘Manhattan Record’ label superimposed. A, lovely copy has faintest rubs, inaud. MB 12

J0880. EDOUARDO CASTELLANO: IRIS – Apri la tua finestra. 12” Col. 30120, Original 1907 Issue with ‘Manhattan Record’ label superimposed. A-, lovely copy has rubs, inaud.; infinitessimal incipient edge patina only on verso, inaud. MB 10

J0881. ANTONIO SALVAREZZA, w.Basile Cond.: IL TROVATORE – Di quella pira / TURANDOT – Nessun dorma. 10” dark-blue Cetra AT 0131, only form of issue, 11 / 7 Oct., 1948. M-A, gleaming copy has, Sd. 1 only, sev. lateral lams which cause lt. ticks during 1st half of the stunning performance; Sd. 2 plays perfectly. MB 15

“Salvarezza’s voice was that of a true lirico-spinto, possessing a phenomenal upper register that was produced with ease and brilliance. Mario del Monaco was overheard saying that he thought Salvarezza was ‘the best tenor in Italy’, with another colleague expressing the view that ‘Salvarezza’s acuti (top notes) were the finest to be heard anywhere’.”


- Alan Bilgora


J0882. EUGENIA BURZIO: Ave Maria (Bach-Gounod) / L’AFRICAINE – Figlio del sol. 10” red Eng.Col. D 8076 (11052/44), POM-1911. A-, lovely copy has lt.rubs, inaud. MB 12

J0883. EUGENIA BURZIO: NORMA – Deh! non volerli vittime, 2s. 10” dark-brown Eng. Col. D 4387 (11393/94), POM-1913. A, lovely copy has faint rubs, inaud. MB 20

“The intensity of [Burzio’s] performance of Norma's ‘Deh! non volerli vittime’ stretches the emotional force of the drama to the breaking point….Burzio's excesses tumble out with extraordinary power to produce a touchingly human interpretation. Surely Bellini would not have complained.”


- Harold Bruder, THE OPERA QUARTERLY


J0884. EUGENIA BURZIO: NORMA – Qual cor tradiste / RAMÓN BLANCHART: BALLO – Alla vita che t’arride. 10” buff Brazilian Col. S51 (11392/4437), POM-1913/1910. A to M-A, beautiful copy has faint rubs, inaud. MB 20

J0885. EUGENIA BURZIO: ADRIANA LECOUVREUR – Io son l’umile ancella / Poveri fiori. 10” buff Brazilian Col. S46 (11355/61), POM-1913. A to M-A, exceptional copy! MB 25

J0886. EUGENIA BURZIO: OTELLO – Ave Maria / MEFISTOFELE – L’altra notte. 12” buff Brazilian Col. S5052 (74715/16), POM-1913. A to M-A, choice copy has faintest rubs, inaud.; Sd.1 only has wee internal patina, inaud. & of no consequence. MB 25

J0887. EUGENIA BURZIO: AÏDA – O cieli azzurri / MEFISTOFELE – Spunta l’aurora pallida. 10” pink Eng. La Cigale D 9260 (11043/49), POM-1911. A, lovely copy has faint rubs, inaud. MB 20

J0888. EUGENIA BURZIO: ZULMA– Da tanto tempo / Oh! Si, ricordiamo (Romani). 10” pink Eng. Grand Opera D 4293 (11050/51), POM-1911. [Creator Record, 30 Nov., 1909, Livorno / Goldoni]. A to M-A, superb copy has faint rubs, inaud.; extremely minor writing mentioning alaternate release number on labels. MB 35

J0889. EUGENIA BURZIO: SAFFO – L’amo ognor (Pacini) / ANDREAS DE SEGUROLA: FAUST – Vous qui faites l’endormie (in Italian). 10” dark-blue Brazilian Col.H50 (11869/19857), POM-1913/’12, resp. A to M-A, lovely copy has, Sd.1 only, faintest rubs & 1 very light nr, positively inaud. MB 25

J0890. EUGENIA BURZIO: FORZA – Ma pellegrino ed orfana / LA FANCIULLA DEL WEST – Laggiu nel Soledad. 10” dark-blue Brazilian Col. H45 (11362/68), POM-1913. A to M-A, lovely copy has faint rubs, inaud.; Sd. 1 only has partially cloudy spot on shellac surface, positively inaud.; Sd.2 has tiny label nr. [This is a gem – you’ll never hear a Minnie like this today!] MB 25

J0891. EUGENIA BURZIO: FORZA – Ma pellegrino ed orfana / ADRIANA LECOUVREUR – Io son l’umile ancella 12” plum Eng. La Cigale D 6001 (74724/23), POM-1913. A to M-A/M-A, superlative copy has, very beg. Sd.1, microscopic dust scr, positively inaud. MB 35

J0892. EUGENIA BURZIO: FORZA – Pace, pace mio Dio! / EUGENIA BURZIO & GIUSEPPE de LUCA: LA GIOCONDA – Cosi mantieni il patto? 12” green Italian Odeon F 5513 (XPh 2279/XXPh2391), POM-18 Dec., 1906 / 31 Jan., 1907. A to M-A, beautiful copy of preferred late pressing has, Sd.1 only, very faint rubs, inaud. MB 20

“Eugenia Burzio’s recorded legacy is one of the most revealing of any Italian soprano of her generation. Her emphatic use of the open chest voice—ugly to some ears, exciting to others—harkens back to the nineteenth century, when large-voiced Italian sopranos emphasized the ‘voce di petto’ register for dramatic and emotional effect, and were expected to do so. What to some listeners sounds like an unevenly equalized scale is for a singer of Burzio’s effusive temperament just one of many colors in a rich palette. Burzio’s recording of Minnie’s ‘Laggiù nel Soledad’ from FANCIULLA is of particular interest. As reported above, she participated in the Italian premiere, conducted by Toscanini, who had also led the world premiere at the Met the previous December. One of the most regrettable lacunae in phonograph history is the relative scarcity of examples from this score by the first generation of its interpreters. Burzio’s performance is a marvel of variegated details, particularly in the expansive tenderness she lends to the phrase, ‘S’amavan tanto!’ Listening to this endearing performance with the elastic way she contours certain phrases, one cannot help wondering if this really reproduces the way she sang it at the Costanzi with the formidable martinet Toscanini in the pit. The odds and ends of musicians recruited into a recording studio were there to accompany a vocal star, not necessarily to serve a composer scrupulously. It is this resulting sense of untrammeled interpretative freedom that makes Burzio’s records such a particularly engrossing experience because she involved herself so intensely in the emotions of the characters she was representing. She was not a perfect singer with her lack of a trill and her occasional glottal bump or some attenuated portamenti, but such blemishes can easily be forgiven in a singer who, in my estimation, never made an uninteresting recording and also bequeathed us some unforgettable ones.”


- William Ashbrook, Marston Program Notes


J0893. UMBERTO SORRENTINO: DON PASQUALE – Cerchero lontana terra / RIGOLETTO – Parmi veder le lagrime. 10” black Pat.’08 V 63324, POM-20 / 21 June, 1911. A to M-A, an exceptional copy! MB 15

“In Italy, critics delighted to tell their readers that Sorrentino is an artist who has the power to thrill one evening as Canio in PAGLIACCI; on a second evening as Cavaradossi in TOSCA, or as Nemorino in ELISIR D’AMORE; again, on another occasion, to appear calmly on the unadorned platform of the concert hall and uplift the assemblage by his poetic rendition of songs. Sig. Sorrentino sings with dramatic fervour, his voice, ample in volume, has a suave quality and a legato that few tenors can boast of. He toured America from coast to coast, in opera and recital and appeared as a soloist with many leading orchestras. He was also a great friend of Enrico Caruso. He claimed to be able to relieve the tightness in his throat by squeezing the lateral aspect of his forefinger and the thumb, as these points helped and governed the vocal cords.”


- Dr. Fitzgerald, History and Theory of Hand Reflexology, Ontario College of Reflexology


J0894. VITTORIO ARIMONDI: Mia sposa sarà la mia bandiera (Rotoli) / EDOUARDO CASTELLANO: PAGLIACCI – Ridi Pagliacco. 12” Tri-Color Col. A5002 (30111/30118), POM-1907. M-A MB 20

J0895. VITTORIO ARIMONDI: FAUST – Vous qui faites l’endormie / DAVID BISPHAM: Avant de quitter ces lieux (both in Italian). 12” Col. A5010, POM-13 April, 1907 / 14 June, 1906. M-A MB 20

J0896. VITTORIO ARIMONDI: SIMON BOCCANEGRA – Il lacerato spirito. 12” Tri-Color Col. 30090, Original 1907 Issue with ‘Manhattan Record’ label superimposed. A to M-A, superlative copy has a few faintest rubs, inaud. MB 25

J0897. VITTORIO ARIMONDI: MARTHA – Chi mi dirà (Porter Song) (Flotow) / EDOUARDO CASTELLANO: LA GIOCONDA - Cielo e mar. 12” dark-blue Col. C1056 (30110/30093), POM-1907. M-A, a choice pressing. MB 25

J0898. BERNARDO de MURO: LA FANCIULLA DEL WEST – Ch’ella mi creda libero (1920 Version) / BERNARDO de MURO & INES VIGANÒ: AÏDA – Pur ti riveggo 10” LVDP DA 171, POM-17 May, 1920 / 22 May, 1922. M-A MB 15

J0899. BERNARDO de MURO: LA FANCIULLA DEL WEST – Ch’ella mi creda libero (1920 Version) / BERNARDO de MURO & INES VIGANÒ: AÏDA – Pur ti riveggo 10” Vla 949, POM-17 May, 1920 / 22 May, 1922. Never listed in a North American Catalogue. M-A MB 15

J0900. BERNARDO de MURO: LA FANCIULLA DEL WEST – Ch’ella mi creda libero / Or son sei mesi (1928 Versions). 10” LVDP DA 997, 27 April, 1928. M-A MB 8

J0901. BERNARDO de MURO: LA FANCIULLA DEL WEST – Ch’ella mi creda libero / Or son sei mesi (1928 Versions). 10” Orth Vla 1331, Original Issue, 27 April, 1928. Never listed in a North American Catalogue. M-A MB 10

J0902. BERNARDO de MURO: LA FANCIULLA DEL WEST – Or son sei mesi (1922 Version, mis-labelled as ‘Sono Ramerrez’!) / BERNARDO de MURO & ANNA GRAMEGNA: AÏDA – Di lei non più … Misero appien mi festi. 12” Vla 6422, POM-17 / 20 May, 1922. Never listed in a North American Catalogue. M-A MB 15

"De Muro was praised as a ‘tenore di forza’ by no less than Giacomo Lauri-Volpi. De Muro's is a stupendous sound with enormous thrust, natural color and, in the earlier recordings, great beauty."


- Albert Innaurato, OPERA NEWS, Oct., 1996


J0903. BERNARDO de MURO: IRIS – Or dammi il braccio tuo / BERNARDO de MURO & INES VIGANÒ: IL PICCOLO MARAT – Va, nella tua stanzetta (both Mascagni). 12” Vla 6553, POM-4 April, 1914 / 27 May, 1922. Never listed in a North American Catalogue. [Thrilling renditions; Sd 2 is an unusually ‘forward’ recording!] A, lovely copy has faint rubs, inaud.; Sd.2 has wee label tear. MB 12

J0904. BERNARDO de MURO: CARMEN – Air de la fleur (1917 Version) I BERNARDO de MURO & ROBERTO JANNI: Je suis Escamillo (both in Italian). 12” Vla 6385, POM-19 May, 1917 / 30 March, 1914. Never listed in a North American Catalogue. M-A MB 12

J0905. BERNARDO de MURO: CARMEN – Air de la fleur (1928 Version, in Italian) I IL TROVATORE, Ah, sì, ben mio. 12” Orth Vla 6891, POM-2 May / 27 April, 1928. [Very convincing renditions; Sd 2 is an unusually ‘forward’ recording!] Never listed in a North American Catalogue. A to M-A/A-, lovely copy has, Sd.2 only lt.rubs, inaud. MB 12

J0906. BERNARDO de MURO: ANDREA CHÉNIER – Sì, fui soldato. 12” Vla 74641, POM-2 May, 1917. M-A MB 12

J0907. BERNARDO de MURO: ANDREA CHÉNIER – Sì fui soldato / Un dì all’azzurro spazio (Improvviso) (1912 Version). 12” LVDP DB 553, POM-2 May, 1917 / 1 March, 1912. Never listed in a North American Catalogue. M-A MB 12

J0908. BERNARDO de MURO: ANDREA CHÉNIER – Credo a una possanza arcano I BERNARDO de MURO & AUGUSTA OLTRABELLA: Vedi? La luce incerta … La nostra morte. 12” Vla 6551, POM-10 / 12 Feb., 1923. Never listed in a North American Catalogue. M-A MB 15

J0909. BERNARDO de MURO & AUGUSTA OLTRABELLA: ANDREA CHÉNIER – Ora soave; Vicino a te, 2s. 10” PW Disco Grammofono DA 495, POM-12 Feb., 1923. A to M-A, lovely copy has faintest rubs, inaud. MB 12

J0910. BERNARDO de MURO: ISABEAU - Tu ch'odi lo mio grido / E passerà la viva creatura (Mascagni). 12” LVDP DB 557, POM-7 March, 1912. M-A, pristine copy of preferred late pressing. MB 15

J0911. BERNARDO de MURO: ISABEAU - Fu vile l'Editto / BERNARDO de MURO & INES VIGANÒ: IL PICCOLO MARAT – Va, nella tua stanzetta (both Mascagni). 12” LVDP DB 558, POM-8 March, 1912 / 27 May, 1922. M-A, pristine copy of preferred late pressing. MB 15

J0912. BERNARDO de MURO: DON CARLOS – Io l’ho perduto / BERNARDO de MURO, ESTER TONINELLO, ERNESTO BADINI & GIUSEPPE QUINZI-TAPERGI: LA GIOCONDA - Già ti veggo. 12” Vla 6552, POM-30 March, 1914 / 14 Feb., 1923. Never listed in a North American Catalogue. M-A MB 15

J0913. BERNARDO de MURO: IL TROVATORE - Di quella pira / BERNARDO de MURO & ELVIRA CASAZZA: Ai nostri monti. 12” LVDP DB 562, POM-2 May, 1917. M-A MB 15

J0914. BERNARDO de MURO: IL TROVATORE - Di quella pira / BERNARDO de MURO & ELVIRA CASAZZA: Ai nostri monti. 12” Vla 6529, POM-2 May, 1917. Never listed in a North American Catalogue. M-A MB 15

J0915. BERNARDO de MURO: OTELLO - Esultate! / Ora e per sempre addio. 12” LVDP DB 559, POM-19 May / 25 April,1917. M-A MB 15

J0916. BERNARDO de MURO: OTELLO - Esultate! / Ora e per sempre addio. 12” Vla 6528, POM-19 May / 25 April,1917. Never listed in a North American Catalogue. M-A MB 15

J0917. BERNARDO de MURO: OTELLO – Niun mi tema / Dio! mi potevi scagliar. 12” LVDP DB 560, POM-30 March, 1914 / 9 May,1917. M-A, superb copy has, Sd.1 only, faintest rub, inaud. MB 12

J0918. BERNARDO de MURO & MARIA ROGGERO: IL TROVATORE – Miserere / BERNARDO de MURO, MARIA ROGGERO & ERNESTO BADINI: Prima che d’altre vivere. 12” Vla 6412, POM-28 April / 19 May, 1917. Never listed in a North American Catalogue. M-A MB 15

J0919. BERNARDO de MURO: OTELLO – Niun mi tema / Dio! mi potevi scagliar. 12” Vla 6386, POM-30 March, 1914 / 9 May,1917. Never listed in a North American Catalogue. M-A MB 15

J0920. BERNARDO de MURO & ELVIRA CASAZZA: IL TROVATORE - Mal reggendo al aspro / Perigliarti ancor laguente. 12” Vla 6411, POM-2 / 9 May, 1917. Never listed in a North American Catalogue. M-A MB 15

J0921. BERNARDO de MURO & INES VIGANÒ: AÏDA - Fuggiam gli ardori / BERNARDO de MURO, ANNA GRAMEGNA, INES VIGANÒ & ARISTIDE BARACCHI: Sì: fuggiam da queste mura. 12” Vla 6421, POM-22 / 24 May, 1922. Never listed in a North American Catalogue. A, lovely copy has faintest rubs, inaud. MB 12

“Despite the power and penetration of the voice, de Muro could also sing with much subtlety and commanded a wide dynamic range….this diminutive tenor amazed all who heard him by the sheer size and power of his Tamagno-like voice.”
- Vivian A. Liff, AMERICAN RECORD GUIDE, Jan./Feb., 2004


J0922. NICOLA ZEROLA: L’alba nascente (Parelli). 10” Pat.’08 V 64207, POM-10 March, 1911. M-A MB 10

J0923. NICOLA ZEROLA: ANDREA CHÉNIER – Un dì all’azzurro spazio (Improvviso). 12” Pat.'08 V 74216, POM-14 March, 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 12

J0924. NICOLA ZEROLA: ANDREA CHÉNIER – Un dì all’azzurro spazio (Improvviso) / PAGLIACCI - No, Pagliaccio non son! 12” blue Victor 55134, POM-19 Nov., 1909 / 14 March, 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 12

J0925. NICOLA ZEROLA: PAGLIACCI - No, Pagliaccio non son! 12” Pat.'08 V 74247, POM-14 March, 1911. M-A MB 10

J0926. NICOLA ZEROLA: PAGLIACCI – Vesti la giubba. 10” Pat.’08 V 64169, POM-3 March, 1910, Never Doubled. M-A MB 10

J0927. NICOLA ZEROLA: PAGLIACCI – Un tal giocco. 10” Pat.’08 V 64206, POM-10 March, 1911, Original ‘A’ Plate Issue Issue, Never Doubled. M-A MB 10

J0928. NICOLA ZEROLA: OTELLO – Niun mi tema. 10” Pat.’08 [5 line] Vla 88202, POM-1 Nov., 1909, Never Doubled. A to M-A, lovely copy has faintest rubs, inaud. MB 10

J0929. NICOLA ZEROLA: OTELLO – Ora e per sempre addio. 10” Pat.’12 V 64168, POM-19 Nov., 1909, Never Doubled. M-A, choice copy. MB 10

J0930. NICOLA ZEROLA: AÏDA - Final Scene (Sung as a Solo). 12” Pat.’12 V 74225, POM-17 Dec., 1909. M-A MB 10

J0931. NICOLA ZEROLA: BALLO – La rivedrà nell’estasi. 10” Pat.’08 [5 line] Vla 87037, POM-1 Nov., 1909, Never Doubled. M-A MB 10

J0932. NICOLA ZEROLA: BALLO – Di’ tu se fedele (Barcarola). 10” Pat.’08 V 87036, POM-1 Nov., 1909, Never Doubled. M-A, choice copy has label tear. MB 10

J0933. NICOLA ZEROLA: IL TROVATORE – Di quella pira. 10” Pat.’08 V 64170, POM-20 Oct., 1909, Never Doubled. M-A, choice copy. MB 10

J0934. NICOLA ZEROLA: IL TROVATORE – Deserto sulla terra. 10” V 64172, POM-17 Dec., 1909, Never Doubled. M-A, choice copy. MB 10

J0935. NICOLA ZEROLA: SAMSON ET DALILA – Figlia miei v’arrestate. 10” Pat.’08 V 64173, POM-3 March, 1910, Never Doubled in any regular series (other than as rare HRS reissue). A to M-A, lovely copy has lt.rubs, inaud. MB 10

“[Zerola] possessed a true tenore di forza which, in spite of its baritone origins, infused a fullness of tone to his middle register that did not at any time make him sound like a baritone who was singing in a higher register. The recordings, that would appear to reflect his basic repertoire closely, capture his bright, plangent and heroic tone very clearly, and therefore make it comparatively easy to analyse his method and basic technique, which seem to be very sound indeed….He was thought to be one of the best tenors engaged by Hammerstein for his New York opening season….He was gifted with a voice of considerable natural and virtually elemental quality, honed by numerous performances….”


- Alan Bilgora, THE RECORD COLLECTOR, 2013


J0936. ENRICO MOLINARI & AIDE MUSSINI: GUGLIELMO RATCLIFF – Padre nostro / Venturi Cond.: CAVALLERIA – A casa, a casa. 10” blue Pat.’08 Victor 45014, POM-3 / 2 May, 1910. M-A, a superlative copy! MB 8

“Molinari made his début in 1916 as a baritone in Palermo in LA FAVORITA starting a brilliant and long career which lasted for 47 years, until the early 1950s. In 1924 he made important débuts at La Scala (ANDREA CHÉNIER) and the Rome Opera House (GÖTTERDÄMMERUNG), roles which he repeated in the following decade.”


- Wikipedia


J0937. FRANCO di GREGORIO: MANON LESCAUT – Tra voi belle / EUGENIA LÓPEZ-NUNES: Sulla vetta, madrigale. 10” blue Victor 45015, POM-16 / 11 April, 1910. M-A MB 8

J0938. FRANCO di GREGORIO: ZAZÀ - Mai più Zazà / ERNESTO BADINI: LA BOHEME – Bella dama, da questi. 10” blue Victor 45034, POM-2 Dec. / 30 Nov., 1910. M-A, superb copy has wee white ink numeral, Sd.2 label. MB 8

J0939. FRANCO di GREGORIO & MARIA BRONZONI: LA BOHEME – Sono andati / LEOPOLDO da GRADI & ERNESTO BADINI: O Mimi, tu più non torni. 10” blue Pat.’12 Victor 45013, POM-23 / 13 April, 1910. M-A MB 8

J0940. FRANCO di GREGORIO, ERNESTO BADINI & FANNY LOTTI: LA GIOCONDA – Già ti veggo / AMLETO GALLI: Si, morir ella de’. 12” blue Pat.’12 Victor 55019, POM-17 / 9 Dec., 1910. A to M-A MB 12

J0941. ERNESTO BADINI: LA CENERENTOLA – Miei rampolli (Cavatina Don Magnifico), 2s. 10” red & gold Milano Fonotipia M 6059 (pho 6390/91), POM-18 Oct., 1928. M-A, a pristine copy! MB 15

J0942. ERNESTO BADINI: ZAUBERFLÖTE – Ein mädchen oder Weibchen (in Italian) / GIANNI SCHICCHI – In testa. 10” blue PW Eng. Col. D 1522, POM-c.1923. [Sd.2 is priceless!] M-A, a pristine copy! MB 15

J0943. ERNESTO BADINI: CRISTOFORO COLOMBO – Aman lassu le stelle (Franchetti) / VINCENZO BETTONI, GINO GIOVANELLI, GINO LUSSARDI & di ANNA: LUCIA – Chi mi frena (Sextet, as sung by a Quartet). 12” blue Victor 55043, POM-1 March / 16 Feb., 1910. A, lovely copy has faintest rubs, inaud. MB 10

J0944. ERNESTO BADINI: ANDREA CHÉNIER – Un dì m’era di gioia / Sabajno Cond.: Pastorelle addio. 10” dark-green HMV Concert Gram. R 5001, POM-30 May, 1917/----. A to M-A, lovely copy has hint of grey on peaks. MB 10

J0945. ERNESTO BADINI: BARBIERE – Largo al factotum (1909 Version) / OTELLO – Inaffia l’ugola! 10” blue Victor 45035, POM-24 April / 8 Nov., 1909. M-A, lovely copy has, Sd.1 only, faintest rub, inaud. MB 8

J0946. ERNESTO BADINI: BARBIERE – Largo al factotum (1928 Version) / GAETANO AZZOLINI: Manca un foglio. 12” black US-Odeon 86030 [XXPh 6371/6026], POM-15 Oct., 1928 / 12 Oct., 1927. A to M-A, superlative copy of a superb pressing! [If only we might hear Rossini sung in this manner today! A delightful idiomatic style by now long-abandoned!] MB 15

J0947. ERNESTO BADINI: LA GEISHA – Strofe di Hun-Ci / GAETANO PINI-CORSI: O mia Mimosa (Sidney Jones). 10” black Pat.’12 Victor 62091, POM-1907. A-B, fine copy has various very lt. scrs, momentarily ltly audible, Sd.2 only. MB 10

J0948. ERNESTO BADINI: LA MASCOTTE - Un jour le diable (Audran) (in Italian) / FRANCO di GREGORIO: Canti notturni (Mazucchi). 10” black Victor 65906, POM-14 April, 1910 / 21 March, 1913. M-A MB 10

J0949. ERNESTO BADINI: LA MASCOTTE - Un jour le diable (Audran) (in Italian) / FRANCO di GREGORIO: Canti notturni (Mazucchi). 10” black Victor 65906, POM-14 April, 1910 / 21 March, 1913. A to M-A, beautiful copy has nasty nd at very beg, audible during initial turns, not affecting voice. MB 8

J0950. ERNESTO BADINI: LA MASCOTTE - Andiamo - Son saltarelllo / R. PRIMAVERA: Un certo giorno (Audran) (in Italian). 10” green Col. E2701, POM-1914. M-A, a superlative copy! MB 12

J0951. ERNESTO BADINI: LA TRAVIATA – Di Provenza il mar / ERNESTO BADINI & GIULIETTA BATTAGLIOLI: Pura siccome un angelo. 10” blue Victor 45001, POM-2 / 5 April, 1909. M-A MB 8

J0952. ERNESTO BADINI: LA GIOCONDA – Ah, pescator affonda l’esca / Feste, pane (Badini’s name does not appear on label). 10” blue Victor 45010, POM-8 / 12 Nov., 1909. M-A, appears unplayed! MB 8

J0953. ERNESTO BADINI & GINO CONTI: LA GIOCONDA – Enzo Grimaldo, Principe di Santafior / Sabajno Cond.: Furlana. 10” blue Victor 45033, POM-22 Nov. / 10 May, 1910. M-A MB 8

J0954. ERNESTO BADINI & ADALGISA ROSSI-MURINO: LA GIOCONDA – Vo’ farmi più gaia / ERNESTO BADINI, ROSSI-MURINO, BETTONI, & LÓPEZ-NUNES: Figlia che reggi. 12” blue Pat.’12 Victor 55017, POM-4 / 11 April, 1910. M-A, a superlative copy! MB 12

J0955. ERNESTO BADINI & LINA LANZA: NERONE – Sento che ascende / ERNESTO BADINI & FERNANDO AUTORI: Guarda quaggiù. 10” green Flags Label Col. 14094-F (B441/B442), POM-1924. M-A, superlative copy of preferred pressing. MB 20

J0956. ERNESTO BADINI & GAUDIO MANSUETO: ERNANI – Lo vedremo / Sabajno Cond.: Beviam, beviam. 10” dark-green Disco Grammofono R 5195, POM-5 April, 1909 / ----. A to M-A, lovely copy has faintest rubs, inaud.; Sd.1 only has very lt.scr, positively inaud. MB 8

J0957. ERNESTO BADINI & LAURA MELLERIO: RIGOLETTO – Tutte le feste al tempio / Si, vendetta. 10” blue Pat.’08 Victor 45000, POM-6 April, 1909. A to M-A, lovely copy has hint of grey on peaks. MB 10

J0958. ERNESTO BADINI & ERNESTA COTTINO: PAGLIACCI – So ben che difforme, 2s. 10” blue Col. E 1994, POM-1913. M-A MB 8

J0959. ERNESTO BADINI & ERNESTA COTTINO: PAGLIACCI – Decidi al mio destin, 2s. 10” blue Col. E 1396, POM-1913. M-A, beautiful copy has mere hint of grey on peaks. MB 8

J0960. ERNESTO BADINI & GENNARO de TURA: LA BOHEME – Questo mar rosso. 12” white Vla 89156, POM-5 April, 1909. M-A MB 8

J0961. ERNESTO BADINI, ANDREINI & BETTONI: LA BOHEME – Questo mar rosso / ERNESTO BADINI, ANDREINI, BETTONI & BARACCHI: Pensier profondo. 12” black Victor 68765, POM-8 / 17 Feb., 1917. M-A, a superlative copy! MB 6

J0962. ERNESTO BADINI, ANDREINI, BOSINI, BETTONI, BARACCHI & CECCARELLI: LA BOHEME – Pranzare in casa? / Ha visto? 10” black Victor 70050, POM-14 Feb., 1917. M-A, a superlative copy! MB 6

J0963. ERNESTO BADINI, ANDREINI, BETTONI, BARACCHI & CECCARELLI: LA BOHEME – Parpignol! Parpignol! / E ch’io beva del tossico! 12” black Victor 68734, POM-10 Feb., 1917. M-A, a superlative copy! MB 6

J0964. ERNESTO BADINI, GIANA, BOSINI, ANDREINI, BETTONI, BARACCHI, BETTONI & CECCARELLI: LA BOHEME – Quando m’en vo / Oh! Marcello! 12” black Victor 68735, POM-12 Feb., 1917. M-A, a superlative copy! MB 6

J0965. ERNESTO BADINI & FANNY LOTTI: AMICA – Più presso al ciel / EBE BOCCOLINI & GUIDO CICCOLINI: L’AMICO FRITZ – Suzel, buon dì (Cherry Duet) (both Mascagni). 12” black Pat.’12 V 68376, POM-26 Nov. / 14 Dec., 1910. M-A, appears unplayed! MB 35

J0966. ERNESTO BADINI & GAETANO PINI-CORSI: DON PASQUALE – Son nov’ore / ANTONIO PINI-CORSI & EMILIA CORSI: Signorina in tanta fretta. 12” black Victor 68273, POM-1906. M-A MB 8

J0967. ERNESTO BADINI, GIUSEPPINA HUGUET & ANTONIO & GAETANO PINI-CORSI: BARBIERE – Guarda Don Bartolo / PIETRO LARA: FRA DIAVOLO – Agnese la zitella. 10” black Victor 63171, POM-1906/’07, resp.. M-A MB 8

“Pietro Lara’s reputation was established as one of the most promising young tenors in Italy. He was the leading tenor of Mme. Sembrich's Opera Company with whom in 1901 he performed in San Francisco and in Berlin.”


- Ashot Arkelyan


“Badini débuted in Rossini’s BARBIERE at Pavia, then in 1909 he sang the role of Kyoto in IRIS at the Teatro Regio di Torino directed by Tullio Serafin with Emma Carelli, and in 1913 Ford in FALSTAFF directed by Cleofonte Campanini with Flora Perini at the Teatro Regio di Parma and at La Scala conducted by Arturo Toscanini, with Lucrezia Bori and Antonio Scotti. In 1914 he sang Manfredo in L'AMORE DEI TRE RE at Teatro San Carlo in Naples, then Hermann in LORELEY directed by Rodolfo Ferrari at the Teatro Comunale di Bologna. In 1915, again directed by Ferrari, he sang Belcore in L'ELISIR D'AMORE with Alessandro Bonci and Antonio Pini-Corsi. In DON PASQUALE he sang Malatesta in Bologna, the Teatro Costanzi in Rome, the Teatro La Fenice in Venice and Parma. In 1916 he sang Laertes in MIGNON at La Scala directed by Ettore Panizza, with Rosina Storchio. He achieved early success which led him to sing in the most prestigious Italian and European theaters, as well as in South America where he appeared in Chile and at the Teatro Colón in Buenos Aires. In 1920 he sang in GIANNI SCHICCHI directed by Panizza, with Toti Dal Monte, and Sixtus Beckmesser in DIE MEISTERSINGER directed by Serafin, with Maria Zamboni and Francesco Merli. In 1920 he sang Marco in GIANNI SCHICCHI with Gilda Dalla Rizza, Giulio Crimi and Giuseppe de Luca at the Royal Opera House, London. In 1921, directed by Victor de Sabata, he sang GIANNI SCHICCHI with Dalla Rizza, then Papageno in ZAUBERFLÖTE with Graziella Pareto and John McCormack, then Don Bartolo in BARBIERE with Pareto and McCormack in Monte Carlo. He sang Dandini in LA CENERENTOLA with Cesira Ferrari and Conchita Supervia in Bologna, then Ford in FALSTAFF under Toscanini at La Scala.”


- Wikipedia


J0968. GUIDO CICCOLINI: CAVALLERIA – Mamma, quel vino è generoso (Addio alla madre) / ERNESTO BADINI & BIANCA BESALÙ: Turiddu, mi tolse l’onore. 12” blue Victor 55021, POM-22 / 24 Nov., 1910. M-A MB 12

J0969. GUIDO CICCOLINI & BIANCA BESALÙ: CAVALLERIA –Tu qui, Santuzza?, 2s. 12” blue Victor 55022, POM-25 Nov., 1910. M-A MB 12

“A student of famed teacher Antonio Cotogni, Ciccolini made his 1907 début in Bologna as Alfredo in LA TRAVIATA. He was very successful in Russia where he appeared at the Opera Theatres of St. Petersburg and Odessa as well as in Warsaw. In 1911 he undertook an Australian tour with Nellie Melba’s opera troupe. In 1914 he sang at the Teatro Lirico in Milan in the Italian premiere of Ermanno Wolf-Ferrari’s I QUATTRO RUSTEGHI. In 1914 he appeared several times at the Boston Opera Theatre, in 1915 at Havana and in the 1918-19 season with the Chicago Opera. He retired from the stage in 1922.”


- Ashot Arkelyan


J0970. EDOARDO FERRARI-FONTANA: Inno di Garibaldi (Olivieri) / VIRGILIO LAZZARI: BARBIERE –La calunnia. 10" H & D etched label Edison 82555, only form of issue, 23 Oct., 1918 / 12 Dec., 1916. M-A, lovely copy has faintest rubs, inaud. MB 20

J0971. EDOARDO FERRARI-FONTANA: TRISTAN – Notto Regina e a me / PAGLIACCI – Un tal giocco. 10” Tri-Color Col. A1731, only form of issue, 20 Feb., 1914. M-A, superlative copy! MB 15

J0972. EDOARDO FERRARI-FONTANA: I GIOIELLI DELLA MADONNA - Madonna, dei dolori / Madonna, con sospiri (Wolf-Ferrari). 12” Col. A5663, only form of issue, 20 Feb., 1914. A-, very decent copy has lt. rubs, inaud. MB 10

J0973. EDOARDO FERRARI-FONTANA: OTELLO – Niun mi tema / CARMEN – Air de la fleur (in French!). 12” Tri-Color Col.A5721, only form of issue, 1 March, 1915. M-A, lovely copy has faintest rubs, inaud. MB 12

“Edoardo Ferrari-Fontana was an Italian tenor who was born 8 July 1878 in Rome, Italy. He married Margarete Matzenauer on 26 June 1912 at the Italian Club in Buenos Aires, Argentina, and they divorced in 1917. His American début was in TRISTAN UND ISOLDE in Boston when he was the only tenor available when the original lead singer left the country a day before the performance. In 1914, he made his Metropolitan Opera début at the in the role of Avito in the United States Premiere of Montemezzi’s L'AMORE DEI TRE RE, conducted by Arturo Toscanini. He had previously created the role in the world premiere at Teatro alla Scala under Tullio Serafin.”


- Wikipedia


J0974. GIUSEPPE NESSI, EMILIO VENTURINI, & GIOVANNI INGHILLERI: TURANDOT – Terzetto di Ping, Pang, Pong, 2s. [Creator Record, Teatro alla Scala, Milano, 25 April, 1926]. 12” red & gold Milano Fonotipia 6567 (Nxx 120049) (xxPh 5885/86), POM-11 May, 1927. M-A, choice copy has faintest rubs. MB 15

J0975. BICE ADAMI, ANGELO PINTUCCI & FERRUCCIO CORRADETTI: LA TRAVIATA- Prendi, quest'è l'imagine. 10” flush black Milano G & T G.C.-54007 (435b), only form of issue, 1901. A, beautiful copy has faintest rubs, hardly worth mention; uncommonly large & bright label. MB 35

J0976. ACHILLE BRASCHI & FERNANDA CADONI, w.Basile Cond.: CAVALLERIA – Viva il vino spumeggiante, 2s. 10” pale-blue Cetra AT 0279, only form of issue, 7 March, 1952. M-A, a gleaming copy. MB 25

“Achille Braschi is one of those wide vibrato-owners, very wide some would say, but he is vibrant and I’d loved to hear more from him though he probably didn’t make another recording (apart from a few arias on a French LP and a ‘live’ selection of arias circulating among collectors).”


- Jan Neckers


J0977. BENIAMINO GIGLI, w.Zamboni & Carnevali Cond.: Arie Antiche by Caldara, Scarlatti, Durante, Cesti, Monteverdi, Giordani, Bononcini, Fasolo, Carissimi, Bassani & Handel. 12s. 6-10” HMV DA1896, 1906, 1927, 1934, 1955 & 1956, only form of issue, 1947-49, in Elaborate pale-blue buckram HMV Album 457, w.Brochure & texts. M-A, as New. MB 45, the Set.

J0978. BENIAMINO & RINA GIGLI, Quadri Cond.: L’AMICO FRITZ – Suzel, buon dì (Cherry Duet) / MEFISTOFELE – Lontano, lontano.. 12” LVDP DB 11342, only form of issue, 18 Jan., 1951. M-A, superb copy has, Sd.1 only, faintest rub, inaud. MB 25

J0979. EUGENIA MANTELLI: Der Asra (in German) (Rubinstein). 10” dark-green (crossed bugles label) Zonophone 12619 (6499), only form of issue, 1906-07. A-, decent copy has lt rubs & scrs, inaud; tiny hlc into 1st inch, ever-so-faintly audible. MB 25

J0980. EUGENIA MANTELLI: LA CENERENTOLA – Nacqui all affama. 10” dark-green (crossed bugles label) Zonophone 12614 (6553), only form of issue, 1906-07. M-A, a spectacular copy with exceptionally bright label. MB 95

J0981. EUGENIA MANTELLI & TAURINO PARVIS: DON GIOVANNI – Là ci darem la mano. 10” dark-green (crossed bugles label) Zonophone 12573 (6013), only form of issue, 1906-07. B, lovely copy has lt.rubs & superficial scrs, but a large nd is audible for 15 turns; exceptionally bright label. MB 25

J0982. EUGENIA MANTELLI & TAURINO PARVIS: MIGNON – Légerès hirondelles (in Italian). 10” dark-green (crossed bugles label) Zonophone 12574 (6014), only form of issue, 1906-07. B-, decent copy has rubs & lt.scrs, rgus a noisy surface; very fine label nr. MB 25

“Italian mezzo-soprano Eugenia Mantelli made her début in 1883 as Urbain in LES HUGUENOTS at the Teatro São Carlos in Lisbon. She made long guest appearance tours in Germany, Italy, and South America with the famous Spanish tenor Julien Gayarré. She appeared at the Metropolitan Opera for six seasons (1894–1900) and sang again at the Met for the 1902–1903 season. She recorded for the American Zonophone label and her recordings are among the most sought after in the world.”


- Ward Marston


J0983. ALBERTO de BASSINI: DON GIOVANNI – Deh, vieni alla finestra. 10” flush black & silver Col. 1435, POM-1903, announced; de Bassini’s name not on label. A-, beautiful copy has a few superficial tiny scrs, most minimally ltly audible; uncommonly bright label. MB 20

J0984. ALBERTO de BASSINI: RIGOLETTO – Miei signori. 10” flush black & silver Col. 1707, POM-1903, announced. B-, very decent copy has a few ltly audible tiny scrs & sev. tiny nd, positively momentraily audible; uncommonly bright label. MB 15

“Alberto de Bassini was the son of a famous Italian baritone Achille De Bassini (1819-81), who appeared in 1849 in the premiere of Verdi’s LUISA MILLER and in 1862 at St. Petersburg in LA FORZA DEL DESTINO. He was trained by his father and débuted in 1870 at Venice in Donizetti’s BELISARIO, together with his father. In 1881 he sang at the Teatro Paganini in Genoa, then at the Teatro Malibran in Venice as Almaviva in IL BARBIERE DI SIVIGLIA. In 1883 De Bassini appeared at the Teatro Carcano in Milan. In 1890 De Bassini made his second début, this time as a baritone, in Teatro Filodramatico, Milan. As a baritone, and in 1898 he emigrated to the North America, where he appeared at different opera societies especially in French repertoire. Later he was a song pedagogue in New York.”


- Ashot Arkelyan


J0985. MARIO BERINI (Israel Burstein), w.Max Rudolf Cond. Met Opera Orch.: Wien, du Stadt meiner Träume (Sieczynski) / Ich muss wieder einmal in Grinzing sein (Benatzky). 12” EL Col. 72847-D, only form of issue, 1947. M-A, lovely copy has faint rubs, inaud. Exceedingly elusive! MB 25

“Mario Berini, an opera singer known for his interpretation of dramatic tenor roles, sang Cavaradossi in TOSCA in February 1944 in the first opera performance at City Center. Two years later he made his début with the Metropolitan Opera, taking over the title role in FAUST with just nine hours' notice when the scheduled tenor, Raoul Jobin, became ill. In his two seasons with the Met he appeared as Don Jose in CARMEN, Dimitri in BORIS GODUNOV and other roles. Mr. Berini was born in Russia and grew up in California. He made his New York début in 1940 with the San Carlo Opera Company and later sang with major opera companies and orchestras in the United States. He also sang at Radio City Music Hall and on radio and television.”


- THE NEW YORK TIMES, 11 March, 1993


J0986. EDOARDO GARBIN: CAVALLERIA – Viva il vino spumeggiante / La Scala Chorus: A casa, a casa. 11½” Milano Fonotipia 74129/30 (XXPh 3453/3827), POM-1 Oct., 1908 / 19 April, 1909. A to M-A, beautiful copy has very few faint rubs, inaud. MB 20

J0987. EDOARDO GARBIN: LA FAVORITA - Una vergine, un angiol di Dio. 10” flush red Milano G & T 52434 (2843-R), Original 1902 Issue. M-A, a spectacular copy with exceptionally bright label. MB 35

J0988. EDOARDO GARBIN: MANON LESCAUT - Donna non vidi mai (1902 Version). 10" Victor Monarch 5037 (2838b), POM-1902, Never Doubled. A-, very lovely copy has faint rubs, inaud. MB 35

J0989. EDOARDO GARBIN: MANON LESCAUT - Donna non vidi mai (1913 Version) / CESARE FORMICHI: Sei splendida e lucente. 10” blue Col. E1861 (41939/11457), POM-1913. M-A MB 12

J0990. EDOARDO GARBIN: MANON LESCAUT– Ah! non v’avvicinate / EUGENIA LOPEZ-NUÑES: Sulla vetta tu del monte (La Madrigale). 10” green Col. E2867 (41973/41913), POM-1913. M-A MB 12

J0991. EDOARDO GARBIN: LUCREZIA BORGIA – Di pescatori ignobile / EUGENIA LOPEZ-NUÑES: Il segreto per essere felice. 10” dark-brown Eng. Col. D 4463 (41940/41910), POM-1913. M-A, beautiful copy has, Sd.2 only, faint rubs, inaud. MB 12

J0992. EDOARDO GARBIN: MEFISTOFELE – Dai campi, dai prati / Giunto sul passo estremo [duly sensitive renditions!]. 10” green Col. E2250 (41942/41943), POM-1913. A to M-A, lovely copy has, Sd.1 only, hint of grey on peaks, inaud. MB 12

J0993. EDOARDO GARBIN: LA BOHEME – Che gelida manina, 2s. 10” green Col. E1808 (41941/41979), POM-1913. A-, lovely copy has faint rubs & superfcicial mks, inaud. MB 10

J0994. EDOARDO GARBIN: TOSCA – E lucevan le stelle / CESARE FORMICHI: Ella verra.. 10” green Col. E2279 (41978/11460), POM-1913. A-, lovely copy has faint rubs & superfcicial mks, inaud. MB 10

“Edoardo Garbin was an Italian operatic tenor, married to the soprano Adelina Stehle. One of the most important Italian tenors of his day, Garbin created, inter alia, tenor roles in Franchetti's CRISTOFORO COLUMBO, Fenton in Verdi's last opera FALSTAFF (1893), and Milio in Leoncavallo's ZAZÀ, in 1917. At his death in 1943, Edoardo Garbin was the last male solo vocal artist to have created a part and worked with Giuseppe Verdi – some fifty years' previously in the composer's FASTAFF of 1893. It was a role he had repeated in 1913 at La Scala at the Verdi Centenary Celebrations.”


- Wikipedia


J0995. GIULIO ROSSI: SIMON BOCCANEGRA – Il lacerato spirito. 9” dark green dark-brown shellac Zonophone 2509, POM-8 Sept., 1904. B-, decent copy has very numerous audible pressing bumps, yet plays clearly. MB 15 J0996. GIULIO ROSSI: LUCREZIA BORGIA – Vieni, la mia vendetta / MARIA GRISI & ANDREAS DE SEGUROLA: GLI UGONOTTI – Nella notte io sol qui veglio. 10” black Victor 63404, POM-1906. M-A/A-, beautiful copy has, Sd.2 only faintest rubs, inaud.; faintest nr on both labels. MB 12

J0997. GIULIO ROSSI: MEFISTOFELE – Son lo spirito che nega / MOSÉ IN EGITTO – Dal tuo stellato soglio. 10” red & silver IRCC 3020, RRs-c.1901. MINT MB 8

“Giulio Rossi studied with Oreste Tomassoni in Rome and made his début in 1887 in Parma in Petrella’s JONE. He appeared in 1892 at La Scala, where in 1894 he performed in the premiere of Franchetti’s FIOR D'ALPE and in 1897 in IL SIGNOR DI POURCEAUGNAC of the same composer. In 1903 he sang at La Scala in a concert performance of PARSIFAL. In 1889 he had taken part in a South American tour with Adelina Patti; in 1897 he appeared again in South America. Tours led him also to England, Spain and Russia. In 1908 he joined the Metropolitan Opera in New York (début as the King in AÏDA) and remained there until 1919. Here he performed also as Sid in the World Premiere of Puccini’s LA FANCIULLA DEL WEST (1910) and in de Koven’s THE CANTERBURY PILGRIMS (1917).”


- Ashot Arkelyan


J0998. ARCANGELO ROSSI: DON GIOVANNI – Nella bionda (2nd part of Catalogue Aria). 10” black GP Victor 4443 (B-2507), POM-1 May, 1905. M-A, beautiful, bright copy; uncommonly bright label. MB 15

J0999. ARCANGELO ROSSI: LA CENERENTOLA – I miei rampolli femminini (1903 Version, w.piano) [a priceless and uproarious rendition!]. 10” flush black & silver Col. 3117, POM-1903. A to M-A, superb copy has lt.rubs & an uncommonly bright label. MB 35

J1000. ARCANGELO ROSSI: LA CENERENTOLA – I miei rampolli femminini (1905 Version, w.orchestra) [another priceless and uproarious rendition!]. / EMMA TRENTINI & ALBERTO CAFFO: FRA DIAVOLO - Quell'uom dal fiero aspetto. 10” black Pat.’12 V 62621 (B-2510 / 7022b), POM-1 May, 1905 / 1905. M-A, beautiful, bright copy; uncommonly bright label. MB 15

“Arcangelo Rossi was considered the best Italian basso-buffo active between the late nineteenth and early twentieth century. After a long tour that took him to major US cities with the Marcella Sembrich company, he landed at New York's Metropolitan Opera, where he made his début on 27 November, 1903 in Puccini’s LA BOHEME. Soon after, on 2 December, he appeared in in TOSCA with Caruso, with whom he would sing many times. They sang in many works that were performed at the Metropolitan for the first time. He made his fortune mainly in America, and at the Metropolitan he sang for 112 times over five years. He suffered a heart attack in 1906 in San Francisco, then signs of a deep depression took over, thus the mental block which prevented him from singing, resulting in suicide. The circumstances of his death were dramatic. Back in Italy, he met at dinner with friends, sang for the last time and then, in front of everyone, he cut his tongue. He died from loss of blood.”


- Ned Ludd


J1001. GIUSEPPE DANISE: Sérénade (Panizza) / Sérénade Napolitaine (Leoncavallo). 10” gold Bruns.15140, POM-5 / 1 April, 1926. [Most uncommon!] A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J1002. GIUSEPPE DANISE: Eternamente (Mascheroni) / Canta il mare (de Leva). 10” purple Bruns.10237, only form of issue, 25 March / 1 April, 1926. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J1003. GIUSEPPE DANISE: La maison grise (Messager) / Réquiem du coeur (Pessard). 10” purple Bruns.10181, only form of issue, 11 March, 1925. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J1004. GIUSEPPE DANISE: Campana di San Giusto (Arona) / L’ultima canzone (Tosti). 10” purple Bruns.10128, POM-29 Jan. / 8 Feb., 1924. M-A, lovely copy has faintest rubs, inaud. MB 15

J1005. GIUSEPPE DANISE: When the king went forth to war (Könemann) / Song of the Volga boatmen. 10” purple Bruns.10150, only form of issue, 16 Oct., 1924. M-A, lovely copy has faintest rubs, inaud. MB 12

J1006. GIUSEPPE DANISE: Ave Maria (Carnevali) / STABAT MATER – Quae moerebat (Pergolesi). 10” gold Bruns.15139, POM-1 / 5 April, 1926. A to M-A, lovely copy has faintest rubs, inaud. MB 12

J1007. GIUSEPPE DANISE: Panis angelicus (Franck) / Pietà Signore! (att. Stradella). 12” purple Bruns.30109, only form of issue, 8 Feb., 1924 / 11 March, 1925, late AC-era Issue, in Catalogue briefly. [Most uncommon!] A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J1008. GIUSEPPE DANISE: Core ‘ngrato (Cardillo) / Canta pe’ me (de Curtis) (1923 Versions). 12” gold Bruns. 50034, POM-14 / 20 Feb., 1923. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J1009. GIUSEPPE DANISE: La paloma (Yradier) / Torna a Surriento (de Curtis) (1922 Versions). 12” gold Bruns. 50014, only form of issue, 1922. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J1010. GIUSEPPE DANISE: La paloma (Yradier) / Torna a Surriento (de Curtis) (1926 Versions). 12” purple Bruns. 30117, only form of issue, 20 April, 1926. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J1011. GIUSEPPE DANISE: La partida (Alvarez) / La Danza (Rossini). 12” gold Bruns.50011, only form of issue, 1922. A to M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. MB 12

J1012. GIUSEPPE DANISE: FAUST – Avant de quitter ces lieux (in French) / LA TRAVIATA – Di Provenza il mar (1921 Versions). 12” gold Bruns.50007, POM-1921. A to M-A, beautiful copy has faintest rubs, inaud. MB 10

J1013. GIUSEPPE DANISE: LA TRAVIATA – Di Provenza il mar (1921 Version). 12” green Bruns.30010, POM-1921. A to M-A, lovely copy has faintest rubs, inaud. MB 10

J1014. GIUSEPPE DANISE: FAUST – Avant de quitter ces lieux (in French) / LA TRAVIATA – Di Provenza il mar (1926 Versions). 12” gold Canadian Bruns.50083, only form of issue, 6 April, 1926. A to M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. MB 12

J1015. GIUSEPPE DANISE: LE JONGLEUR DE NOTRE-DAME - Fleurissait une sauge / LE ROI DE LAHORE - Promesse de mon avenir (both in French) (both Massenet). 12” gold Bruns.50082, only form of issue, 5 April, 1926. A to M-A, superlative copy has, Sd.2 only, faintest rubs, inaud. MB 12

J1016. GIUSEPPE DANISE: BARBIERE – Largo al factotum / ERNANI - O de’ verd’anni miei. 12” gold Bruns.50013, only form of issue, 1921/’22, resp. A to M-A, superlative copy! MB 12

J1017. GIUSEPPE DANISE: ANDREA CHÉNIER – Nemico della patria (1st issued ‘Take’, 5447) / OTELLO – Credo (1921 Versions). 12” gold Bruns.50004, POM-1921, only form of issue Sd.2. M-A, pristine copy! MB 15

J1018. GIUSEPPE DANISE: ANDREA CHÉNIER – Nemico della patria / OTELLO – Credo (1926 Versions). 12” gold Canadian Bruns. 50079, only form of issue, 6 April / 26 March, 1926. M-A, pristine copy has contemporaneous Montréal label sticker. MB 15

J1019. GIUSEPPE DANISE: HÉRODIADE – Vision fugitive (in French) / FORZA – Urna fatale del mio destino. 10” gold Bruns.15045, only form of issue, 1922. M-A, choice copy has, Sd. 1 only, faintest rubs, inaud. MB 12

J1020. GIUSEPPE DANISE: PAGLIACCI - Prologo. 12” green Bruns.30020, POM-1921. M-A, choice copy has faintest rubs, inaud. MB 12

J1021. GIUSEPPE DANISE: BALLO – Eri tu. 12” green Bruns.30012, POM-1921. M-A, choice copy has faintest rubs, inaud. MB 12

J1022. GIUSEPPE DANISE: BALLO – Eri tu / PAGLIACCI - Prologo. 12” gold Bruns.50006, POM-1921. A to M-A, lovely copy has very lt.rubs, inaud. MB 12

J1023. GIUSEPPE DANISE: ZAZÀ – Zazà, piccola zingara / Buona Zazà. 10” gold Bruns.15025, only form of issue, 1922. M-A, a gleaming copy. MB 12

“In a generation, which boasted so many great Italian baritones, Giuseppe Danise was among the most important ones, even though today he is undeservedly underrated. In 1906 he made his début at the Teatro Bellini as Alfio in CAVALLERIA RUSTICANA and soon established himself - yet on provincial stages - as one of the leading Italian baritones. At the Teatro Massimo in Palermo he sang in ISABEAU and in Leoncavallo´s LA BOHÈME in 1913. In the same year he appeared at the Teatro Regio in Parma stepping in for Titta Ruffo as Posa in DON CARLOS (the five-act version with Russ, de Cisneros and Bassi) at the centenary celebrations of Verdi´s birth. As Amonasro in AÏDA he took part in the opening season of the first Verona Festival, again in 1913. The summer of 1915 saw him busy at the Teatro Colón in AÏDA (with Raisa, Frascani and Caruso), LUCIA DI LAMMERMOOR (with Galli Curci and Caruso), LA GIOCONDA (with Poli-Randaccio and Caruso) and as Schaunard in LA BOHÈME (with Raisa, Galli Curci, Lázaro and Sammarco). At the Colón he also appeared in the local premiere of Zandonai´s FRANCESCA DA RIMINI (with Raisa, Spani and Lázaro).

During the 1915-16 season of La Scala, Danise´s début took place in the title role of PRINCE IGOR (with Dalla Rizza, Anitua and Schipa); in the following year he sang in Spontini´s FERNANDO CORTEZ (with Mazzoleni), in AÏDA (with Raisa and Dolci), CAVALLERIA RUSTICANA (with Hariclea Darclée, the first Tosca) and in the Scala-premiere of FRANCESCA DA RIMINI (with Raisa, Dal Monte and Pertile). In 1917-18 he again was heard at La Scala in SIBERIA (with Dalla Rizza and Bassi), TOSCA and in the world premiere of Victor de Sabata´s IL MACIGNO (with Melis and Lappas). On 17 November, 1920, Danise for the first time faced the American public on the occasion of his début at the Metropolitan Opera as Amonasro in AÏDA (with Destinn, Matzenauer, Martinelli and Rothier). His last two performances with Caruso were in LA FORZA DEL DESTINO (with Ponselle as Leonora). Danise remained at the Met for 12 years - until 1932 - and shared most of the big baritone roles with de Luca, Scotti, Basiola, Ruffo and later Tibbett. In his first year he was especially praised for his portrayal of Carlo Gérard in the Met premiere of ANDREA CHÉNIER (with Muzio and Gigli). In 1922 he again stepped in for Titta Ruffo, this time as Carlo V in a new production of ERNANI (with Ponselle, Martinelli and Mardones), which had been absent from the Met for a long time. When Lucrezia Bori sang her first TRAVIATA in 1923, Danise was her Germont-père. and on 5 January of the same year he appeared in the title role of GUGLIELMO TELL in a revival with Martinelli, Ponselle and Mardones. With great success he sang Nelusco in L´AFRICANA and David in L´AMICO FRITZ (with Bori and Fleta), he appeared in the Met premieres of Catalani´s LORELEY and Lalo´s LE ROI D’YS and in the New York premiere of Laparra´s LA HABANERA (with Easton and Tokatyan) and was an excellent Athanael to Maria Jeritza as Thaïs. He bade farewell to the Met on 16 January, 1932, as Count Luna in IL TROVATORE. In 1947 he married the soprano Bidú Sayão and he also taught singing in New York, one of his most famous students having been Regina Resnik. Probably one of the main reasons why Danise has fallen a into oblivion nowadays is that most of his records were made for Brunswick who stopped their production of classical music in 1930 and were not well presented in Europe.

Without a doubt Danise ranks among the best Italian baritones of his generation: he combined the lyricism of de Luca and the dramatic temperament of Scotti with Stracciari´s sonority. Among collectors his records are considered to be relatively rare. From 1921 on he made both acoustic and electric recordings exclusively for Brunswick in Chicago (presumably during his Ravinia seasons). He was the record company´s star-baritone and recorded many arias from his big operatic roles as well as Italian, Spanish and French songs, all of them quite excellent. The Spanish songs are sung much in the style of Emilio de Gogorza - in all languages Danise´s diction was exemplary.”


- Laura Wagner-Semrau, OPERA VIVA


J1024. MARIO FILIPPESCHI, w.Morelli Cond.: PAGLIACCI – Vesti la giubba / TOSCA – Recondita armonia. 10” plum LVDP HN 2362, only form of issue, 1948. M-A, gleaming copy has 2 faintest pap.rubs, barely visible & inaud. MB 35

“Filippeschi is the example of metal in the voice and he has the quality which can generate so much excitement in Italian tenors: the higher the voice goes, the more beautiful and impressive it sounds.”


- Jan Neckers


J1025. MARIO FILIPPESCHI, w.Morelli Cond.: RIGOLETTO – La donna è mobile / MADAMA BUTTERFLY – Addio fiorito asil. 10” plum LVDP HN 2376, only form of issue, 1948. M-A, gleaming copy has 2 faintest pap.rubs, barely visible & inaud. MB 35

“La Scala beckoned to Mario Filippeschi and record companies paid him increasing attention – many will know him best from his NORMA with Callas. Nevertheless he was not seduced by the prospect of radically upgrading his repertoire to meet international opportunities; he deliberately kept it small but retained works that he knew suited the voice. As Lauri Volpi wrote to him in 1978 – ‘Today you would be the King of Tenors’.”


- Jonathan Woolf, musicweb-international