Italian Vocal 78rpm records Nos. P0679 - P0830

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Auction Number 147 ­- AUCTION Closing Date: Wednesday, 18 May, 2016



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Section VI: Italian Vocal 78rpm records: Nos. P0679 - P0830

P0679. FIORELLO GIRAUD: Primavera / Lungi (both Tosti).
10” black Gramophone 7-52088/89 [6446/47ae], POM-16 March, 1918.
A, superb copy has faintest pap.rubs, inaud. MB 150

“Fiorello Giraud had a highly successful career throughout Italy and parts of South America and was well-respected both in Wagnerian and verismo roles. He will be remembered for creating the role of Canio (PAGLIACCI). His strong, vibrant voice was first captured on eight very rare G&T records. In 1916 and 1917, he recorded an additional 12 sides for Italian HMV, all song titles.”

- Ward Marston

P0680. FIORELLO GIRAUD: LUISA MILLER - Quando le sere al placido.
12” black Milano G & T 052070 [273i], Original 1904 Stamper. A to A-, superb copy has faintest pap.rubs & hint of grey on peaks, inaud.; uncommonly bright label. MB 275

"Rodolfo's 'Quando le sere' from LUISA MILLER with its elegant phrasing has a decided charm; it also has something to tell us of the style of the earlier Verdi....For an echo of [the real Verdi tradition] we should turn to the records of Giraud and his contemporaries."

- Michael Scott, THE RECORD OF SINGING

“Fiorello Giraud was able to study singing at the Conservatory of Parma with Auteri Manzocchi, then in Milan, with tenor Barbacini. At 21 he made his début at the Teatro Civico of Vercelli in LOHENGRIN, where he was noticed by Leoncavallo. His great success came on the evening of 21 May, 1892 in the premiere of PAGLIACCI at the Teatro Dal Verme in Milan, for which he had been specifically requested by the composer. On that occasion came to the fore also another young Parmesan, the conductor Arturo Toscanini. In 1894 he was heard in Warsaw in PAGLIACCI, FAUST, and CARMEN. Although equipped with a warm, vigorous voice, he was equipped as well with an art-class refined musical sense and diction of considerable quality, phrasing and declamation. He débuted in the 1903 season of the Teatro dell'Opera in Rome with TRISTAN AND ISEULT, the work that led to further success in Trieste and Brescia in 1906, DIE WALKÜRE, among others, at the Teatro Massimo in Palermo in 1907, DIE MEISTERSINGER and LOHENGRIN at La Fenice, TANNHÄUSER in Barcelona (directed by Campanini), to reach the peak in 1907 with GÖTTERDÄMMERUNG at La Scala, directed by Toscanini. In that season he sang in the same theater PELLÉAS ET MÉLISANDE. His records were few and far between.”

- archivioteatroregio@lacasadellamusica.it

P0681. ROSA CALIGARIS: ERNANI – Ernani, involami. 10” black Milano G & T
G.C.-53326 [Con 185], only form of issue,1904. A-B, very decent copy has tiny scr, audible only a few turns; lt. grey on peaks, momentarily quite audible. MB 45

P0682. ROSA CALIGARIS: FORZA – Madre pietosa Vergine.
12” black Milano G & T 053011 [Con 564], only form of issue,1903.
A-B, very decent copy has very lt.rubs a wee scuff; lt. grey on peaks. MB 45

P0683. GEMMA BELLINCIONI: TOSCA – Vissi d’arte.
11˝” etched label center-start H & D Pathé 4390 [14446], recorded 1904, Paris.
B, very decent copy has numerous tiny lt.scrs; 1” hlc appears both sides. MB 15

P0684. GEMMA BELLINCIONI: LA TRAVIATA – Ah! fors’ e lui (1904 Version) /
OTELLO – Ave Maria. 11˝” black paper label H & D Pathé 10206 [4396/97],
recorded 1904, Paris. A-, very decent copy has lt.grey & 2 wee pressing bumps. MB 15

P0685. GEMMA BELLINCIONI: LA TRAVIATA – Ah! fors’ e lui (1903 Version) / CELESTINA BONINSEGNA: Cavalleria – Voi lo sapete. 12” white Archive HMV VB 11, RR-1903 / POM-1907. MINT MB 4

“I have rarely been more affected by anyone with whom I have acted than by Bellincioni, who apparently did not think of herself as a singer, indeed her voice was not of the best quality and at the time it was in its decline; yet she possessed that indefinable personality and magnetism which excited the deepest emotion in the minds of her auditors.”

– David Bispham, A QUAKER SINGER’S RECOLLECTIONS, pp.166-167

P0686. EMMA CARELLI: MIGNON – Connais-tu le Pays?/
MANON – Adieu notre petite table (both in Italian).
11˝” etched label center-start H & D Pathé 4373/4380 [22290/44288],
recorded 1905, Paris. M-A, superlative copy. MB 55

P0687. EMMA CARELLI: AĎDA - Ritorna Vincitor! / – LA GIOCONDA – Suicidio!
11˝” etched label center-start H & D Pathé 4377/4378 [38522/34667], recorded 1905, Paris. B-, very decent copy has occasional wee scr & lt grey on peaks. MB 45

P0688. EMMA CARELLI: TOSCA – Vissi d’arte / MEFISTOFELE – L’altra notte.
11˝” etched label center-start H & D Pathé 4379/4382 [19178/13434], recorded 1905, Paris. A to M-A, exceptional copy has faint hint of grey on peaks. MB 45

[‘L’altra notte’] is a great record. Her phrasing is conceived in wide arching sweeps….In the cadenzas she stresses the madness of Margherita by elaborating the passages representing the flight of her soul and singing them very quickly indeed….On [Carelli’s] records we hear a well-trained voice of considerable charm too often indulging in hysterical, neurotic performances. She can execute all the crescendo and diminuendo effects called for by her scores, float beautiful soft high notes, and, as we hear in MEFISTOFELE, she could trill. However, not for nothing were Carelli, Eugenia Burzio, and others of the realist school referred to as ‘le disperate’ (the desperate ones)! For Carelli the words were very important….’Vissi d’arte’… is a deeply felt performance.

Giacomo Lauri-Volpi relates that while she was teaching him MANON, when they came to the climax of the Saint-Sulpice duet she was unable to restrain herself and burst into song. The young tenor felt that never would he hear anyone reach such an exalted level of expression. Other singers who owed much to her included Tito Schipa, Carlo Galeffi, Luigi Montesanto, Rosa Raisa, and Bidú Sayăo.”

- Michael Aspinall, Program Notes for Marston’s THE CREATORS OF VERISMO

P0689. CELESTINA BONINSEGNA: IL TROVATORE – Tacea la notte (1905 Version).
12” red Milano G & T 053063 [537c], POM-1905.
A to A-, lovely copy has lt. rubs & hint of grey on peaks. MB 20

P0690. CELESTINA BONINSEGNA: IL TROVATORE – Tacea la notte /
D’amor sull’ali rosee (1910 Versions).12” Col. A5194, POM-14 Feb., 1910. M-A MB 8

P0691. CELESTINA BONINSEGNA: IL TROVATORE – D’amor sull’ali rosee
(1910 Version). 12” S/S Col. late shellac ‘Test’ pressing (w.rough shellac edges) of
Col. 30351, POM-14 Feb., 1910. M-A, exemplary copy. MB 20

P0692. CELESTINA BONINSEGNA: FORZA – Pace, pace, mio Dio! /
AĎDA – Ritorna vincitor! 11˝” etched label center-start H & D Pathé 4177/78 [26384/82], recorded 1906, Paris. A to M-A, choice copy. MB 15

P0693. CELESTINA BONINSEGNA: FORZA - Pace, pace, mio Dio! 12” red Milano Gram. Monarch 053088 [793c], POM-1906. A to M-A, an extraordinary copy. MB 20

P0694. CELESTINA BONINSEGNA: FORZA - La vergine degli angeli /
Madre pietosa vergine (1911 Versions). 10” PW red Eng. Col. D 4290 [11045/46],
POM-1911. A to M-A MB 15

P0695. CELESTINA BONINSEGNA: FORZA – La Vergine degli angeli /
w.Virgilio Ranzato (Violin): La Leggenda Valacca (Braga).
11˝” etched label center-start H & D Pathé 84138/84347 [63952/----],
recorded 1908, Milano. A to M-A, lovely copy has hint of grey on peaks. MB 15

P0696. CELESTINA BONINSEGNA: AĎDA – I sacri numi. 12” V 88223 [1951c],
POM-2 April, 1909. A-, lovely copy has faint rubs, inaud; wee label tear.
[Truly a fabulous record, amond Boninsegna’s most glorious!] MB 12

P0697. CELESTINA BONINSEGNA: AĎDA – Qui Radamčs verrŕ…
O Patria mia (1909 Version) / BALLO – Ma dall’arido stelo divulsa.
12” red vinyl Heritage RCA 15-1006, POM-1909/’05, resp. MINT MB 4

P0698. CELESTINA BONINSEGNA: AĎDA – Ritorna vincitor! / O Patria mia
(1910 Versions).12” Col. A5196, POM-14 March, 1910. M-A MB 8

P0699. CELESTINA BONINSEGNA: BALLO – Morrň, ma prima in grazia /
IL TROVATORE – D’amor sull’ali rosee. 11˝” etched label center-start
H & D Pathé 4175/81 [35281/26186], recorded 1906, Paris.
A to M-A, lovely copy has, Sd.2 only, faint rubs, inaud. MB 15

P0700. CELESTINA BONINSEGNA: L’AFRICANA – Giŕ l’odio m’abbandonna.
12” red Milano G & T 053068 [535˝c], POM-1905.
A-, lovely copy has lt.rubs & hint of grey on peaks. MB 15

P0701. CELESTINA BONINSEGNA: NORMA – Casta diva; Ah! bello a me ritorna, 2s.
12” Col. A5197, POM-18 Feb., 1910. M-A MB 10

P0702. CELESTINA BONINSEGNA: NORMA – Casta Diva / SEMIRAMIDE – Bel raggio lusinghier. 11˝” etched label center-start H & D Pathé 84520/21 [33901/34032], recorded 1908, Milano. A-, lovely copy has hint of grey on peaks. MB 15

P0703. CELESTINA BONINSEGNA: MEFISTOFELE – Spunta l’aurora pallida /
LA GIOCONDA – Suicidio! 11˝” etched label center-start
H & D Pathé 4182/4184 [26192/93], recorded 1906, Paris; Sd.2 announced.
A-, lovely copy has hint of grey on peaks. MB 15

P0704. CELESTINA BONINSEGNA: MEFISTOFELE – Spunta l’aurora pallida /
LUCREZIA BORGIA – Com’č bello! 11˝” etched label center-start
H & D Pathé 84524/25 [46407/33943], recorded 1908, Milano.
A-, lovely copy has hint of grey on peaks. MB 15

P0705. CELESTINA BONINSEGNA: SEMIRAMIDE – Bel raggio lusinghier.
12” Col. 30359, POM-18 Feb., 1910. M-A, choice copy of Original issue. MB 12

P0706. CELESTINA BONINSEGNA: ERNANI – Ernani, involami.
12” Col. 30380, POM-14 March, 1910. M-A, choice copy of Original issue. MB 12

P0707. CELESTINA BONINSEGNA: ERNANI – Ernani involami /
FAUST – Le Roi de Thulé (in Italian). 11˝” etched label center-start
H & D Pathé 4173/4176 [26386/87], recorded 1906, Paris; announced.
A to M-A, choice copy, in original Pathé sleeve. MB 15

P0708. CELESTINA BONINSEGNA: LA BOHEME – Mi chiamano Mimi /
TOSCA – Vissi d’arte. 11˝” etched label center-start
H & D Pathé 4174/4179 [26597/26383], recorded 1906, Paris; Sd.1 announced.
A to M-A, choice copy, in original Pathé sleeve. MB 15

P0709. CELESTINA BONINSEGNA: MEFISTOFELE – L’altra notte /
LA GIOCONDA – Suicidio! 11˝” etched label center-start H & D Pathé
4189/4184 [26190/93], recorded 1906, Paris. A-, lovely copy has,
primarily Sd.2, hint of grey on peaks. MB 15

P0710. CELESTINA BONINSEGNA: TOSCA – Vissi d’arte /
LA BOHEME – Mi chiamano Mimi. 12” Col. A5195, POM-14 Feb., 1910. M-A MB 10

P0711. CELESTINA BONINSEGNA: TOSCA – Vissi d’arte / LA GIOCONDA – Suicidio!
12” pink Eng. La Cigale Col. D17514, POM-14 March, 1910. M-A MB 10

P0712. CELESTINA BONINSEGNA: CAVALLERIA – Voi lo sapete /
TOSCA – Vissi d’arte. 12” dark blue South American Col.H1012 [30352/55],
POM-1910. M-A MB 10

P0713. CELESTINA BONINSEGNA: CAVALLERIA – Voi lo sapete /
LA GIOCONDA – Suicidio! 12” Col. A5198, POM-1910. M-A MB 10

P0714. CELESTINA BONINSEGNA: CAVALLERIA – Voi lo sapete /
MANON LESCAUT – In quelle trine morbide. 11˝” etched label center-start
H & D Pathé 4180/4183 [26385/32641], recorded 1906, Paris.
A-, lovely copy has heat mk at end of each side, positively audible. MB 10

P0715. CELESTINA BONINSEGNA & NINI FRASCANI: LA GIOCONDA –
L’amo come il fulgor del Creato / AĎDA – Vieni, sul crin ti piovano(Act II). 11˝ H & D
green paper label Pathé 12565 [86599/86600], recorded 1918, Milano. [An exceptionally veristic, powerful performance!] A to M-A, lovely copy has lt.grey on peaks. MB 15

P0716. CELESTINA BONINSEGNA, w.Virgilio Ranzato (Violin):
Ave Maria (Bach-Gounod) / ALBERT VAGUET: O Salutaris (Fauré).
11˝” etched label center-start H & D Pathé 84346/3678 [60198/70587], recorded 1908, Milano / 1902, Paris. A to M-A, lovely copy has, Sd.2, hint of grey on peaks. MB 15

"On record [Boninsegna] has few rivals in the dramatic soprano field. The luscious, easily produced voice rings out so impressively that the limitations of the acoustic process are quite forgotten."

- Vivian A. Liff, AMERICAN RECORD GUIDE, Sept./Oct., 2004

P0717. AMELIA PINTO: LA GIOCONDA – Suicidio!.
10” red Milano G & T G.C.-53240 [1781b], Stamper II, only form of issue, 11 April, 1902.
A to M-A, choice copy has wee scuff at very beginning, audible during first 4 turns. MB 45

[Amelia Pinto’s] 1902 Milan G & Ts reveal an important voice, an Isolde voice indeed: rich and voluminous in tone, with splendid high notes, a solid medium register, and a properly developed chest register….In ‘Suicidio!’ she breaks phrases to take a breath, but there is no doubt about the power and glory of the tone, and there is a great deal of dramatic intensity.”

- Michael Aspinall, Marston Program Notes for THE CREATORS OF VERISMO

P0718. LINDA CANNETTI: L’AFRICANA – Addio, terra nativa /
MADAMA BUTTERFLY – Un bel dě. 11ľ” Milano Fonotipia 74163/64
[XXPh 4319/4328]. A-, lovely copy has faintest rubs, inaud.;
Sd.2 only has various lt.scrs, inaud. MB 25

“Linda Cannetti achieved her greatest success as Chrysothemis in the 1909 Italian premiere of ELEKTRA, at La Scala. In 1913 she appeared in another Richard Strauss premiere in Italy, that of FEUERSNOT, and at Turin sang the title role in the world premiere of Riccardo Zandonai's FRANCESCA DA RIMINI (1914). Other notable events included commemorative performances of Boito's MEFISTOFELE under Arturo Toscanini and a personal triumph in Buenos Aires in Italo Montemezzi's L’AMORE DEI TRE RE. Her recordings show warmth of voice and emotion, with a quick, somewhat uneven vibrato, probably more acceptable then than it is now.”

- Ashot Arakelyan

P0719. ESTER MAZZOLENI: LORELEY – Dove son? donde vengo / O forza recondita (Catalani). 10˝” Milano Fonotipia C 69269/70 [XPh 5164/65]. M-A, lovely copy has, Sd.2 only, faint rub barely visible & inaud.; tiny label stkr, Sd.1. MB 65

P0720. ESTER MAZZOLENI: NORMA - Teneri figli /
ESTER MAZZOLENI & GIOVANNI ZENATELLO: In mia man alfin tu sei.
10˝” Milano Fonotipia 92812/11 [XPh 4696/97].
M-A, lovely copy has, Sd.1 only, faintest rub barely visible & inaud. MB 35

P0721. ESTER MAZZOLENI & NICOLA FUSATI: AĎDA – Tomb Scene, 2s.
10˝” Milano Fonotipia C 69251/52 [XPh 5146/47].
A, lovely copy has lt.rubs, inaud. MB 20

P0722. ESTER MAZZOLENI & ARMIDA PARSI-PETTINELLA:
AĎDA – Fu la sorte dell’armi, 2s. 11ľ” Milano Fonotipia 74145/46 [XXPh 3947/52].
A-/A-B, lovely copy has very faint rubs; Sd.2 only has few wee mks, inaud. MB 25

P0723. ARMIDA PARSI-PETTINELLA: AĎDA – Radamčs, č deciso il tuo fato
(Scena del giudizio) (Act IV), 2s. 11ľ” Milano Fonotipia 741013/14 [XXPh2170-2/71-2; (‘take’ 1 of Sd.2 also issued)]. A-/A-B, very decent copy has lt. rubs & grey on peaks, positively inaud. – an extremely forward recording; Sd.2 only has minor closed ‘blister’, very ltly audible several turns. MB 20

P0724. ARMIDA PARSI-PETTINELLA, GIANNINA RUSS & MAGINI-COLETTI:
LA GIOCONDA – Figlia, che reggi, 2s. 11ľ” Milano Fonotipia 74004/01 [XXPh418/262]. A-, very decent copy has lt.rubs & few isolated tiny scrs, only one being briefly audible. The prompter is faintly audible during the ‘Agnus Dei’ portion! Rare! MB 45

"[Armida Parsi-Pettinella] is a genuine contralto, happy also in mezzo-soprano roles because she has fully developed all three registers: her chest tones are rich and full, properly supported and not barked or forced in any way, her medium register is warm, her head register beautifully rounded and, if she is not pushing for too big a sound, bell-like and almost of soprano quality."

- Michael Aspinall, THE RECORD COLLECTOR, 2015

P0724a. EDOARDO GARBIN: LA BOHEME – Che gelida manina, 2s.
10” green Col.E 1808 [41979/41], POM-1913. A to M-A MB 12

P0725. EDOARDO GARBIN: MANON LESCAUT – Guardate, pazzo son!
10” red Milano G & T G.C.-52430 [2844-W], Original 1903 Stamper.
A to M-A, choice copy has only a hint of grey on peaks. MB 25

P0726. EDOARDO GARBIN: MANON LESCAUT – Guardate, pazzo son!
10” black Milano G & T G.C.-52430 [2844-W], Stamper III, POM-1903.
A to M-A, choice copy has mere hint of faint nr at very end, ltly audible
only during piano postlude. MB 15

“Garbin made his début (1891) as Don Alvaro in LA FORZA DEL DESTINO, in Vicenza. Then he performed in Milan (Teatro Dal Verme) and Naples (Teatro San Carlo). In 1892 he sang at the Teatro Carlo Felice in Genoa in the premiere of Franchetti’s CRISTOFORO COLOMBO. He repeated the role of Guevara in 1897 at La Scala. He sang Fenton in 1893 in the premiere of Verdi’s FALSTAFF, while his wife, the soprano Adelina Stehle created the role of Nannetta. They appeared together for many years, principally in the Puccini operas. In 1900 he sang the role of Dufresne at the Teatro Lirico in Milan in the premiere of Leoncavallo’s ZAZŔ. Garbin guested also in Vienna, Berlin, Lisbon, Barcelona and at the opera houses of Odessa and Warsaw. In 1905 at the Teatro Vittorio Emanuele in Turin he took part in the premiere of the Montemezzi’s opera GIOVANNI GALLURESE.“

- Ashot Arakelyan

P0727. RINA AGOZZINO: NERONE - Pater noster /
RINA AGOZZINO & MARIANO STABILE: Fra giunchi di Genesarčth.
10ľ“ Milano Fonotipia 152597/152029 [XPh 5444/43], POM-1924.
A to M-A, choice copy has very few cosmetic mks, inaud. MB 12

“Rina Agozzino made her début in 1906 at Mercadante of Neaples as Lola in CAVALLERIA RUSTICANA. In 1914 she appeared at the Teatro Real in Madrid in WALKIRIA with Ofelia Nieto, Guido Vaccari and Jose Segura-Tallien. In 1916 she sang in LA FAVORITA at the Teatro Regio in Parma with Giuseppe Paganelli as Fernando and Edoardo Faticanti as Alfonso XI.”

- Ashot Arakelyan

P0728. MARIA FARNETI: Colloque sentimental (Panizza) / LA FANCIULLA DEL WEST – Io non son che una povera fanciulla. 10” PW green Eng. Col. GQ 7171,
POM-10 Dec., 1931, Milano. B-, very decent copy has considerable rubs &
various lt.scrs, only occasionally faintly audible; highly recommended copy of
a magnificent record and legendary rarity. MB 25

P0729. MARIA FARNETI: LA WALLY - Ebben? ne andro lontana /
Prendi, fanciul e serbala. 10˝” Milano Fonotipia 69199/69200 [XPh 5094/95].
A, very decent copy has lt.rubs, inaud. MB 25

P0730. MARIA FARNETI: LA WALLY - Ebben, ne andrň lontana /
MADAMA BUTTERFLY - Un bel dě. 12” vinylHistoric Masters HMB 67,
POM-10 Aug., 1931, Milano. MINT MB 6

P0731. MARIA FARNETI: IRIS - Io piango / La Piovra (Mascagni).
12” vinylHistoric Masters HMB 61, POM-10 Aug., 1931, Milano. MINT MB 4

“Maria Farneti was well known as an interpreter of verismo operas. In 1899 she débuted at the prestigious Teatro Regio of Turin in its premiere performance of Mascagni's IRIS to an enormous reception. She appeared in the U.S. in 1902 under Mascagni’s direction and was a great success in Buenos Aires, where she created Mascagni’s ISABEAU in 1911. In 1912 Farneti sang in the local premiere of PAOLO E FRANCESCA at Genoa and later in the local premiere of ISABEAU at Naples. She sang in the local premiere of ISABEAU at Brescia and in February of 1913 she sang in the Rome premiere to unanimously favorable reviews and huge audience response. The summer found her on another long visit to South America, and ISABEAU was again the centerpiece. The tour began at Buenos Aires' Coliseo and included stops at Rosario, Cordoba, Montevideo, Rio de Janeiro and Sao Paolo. In addition to ISABEAU, Farneti sang in LOHENGRIN, IRIS, MADAMA BUTTERFLY, Nepomuceno's ABUL and MEFISTOFELE. Bernardo de Muro, who was to perform Folco nearly four hundred times during a twenty five year career, sang with Farneti in the two Mascagni operas throughout the tour. Farneti [was invited by] Umberto Giordano to appear in the Italian premiere of MADAME SANS GENE, an offer that was immediately accepted.”

- Ashot Arakelyan

P0732. RINA GIGLI, w.Silvestri Cond. Philharmonia Orch.:
Mariä Wiegenlied (in German) (Reger) / PEER GYNT – Solveig’s Song (in Italian) (Grieg).12” HMV DB 6931, only form of issue, 11 June / 29 May,1947.
[An exceptionally lovely and haunting disk!] M-A MB 8

P0733. RINA GIGLI, w.Guarino Cond.: Era la vň (Sadero) / Berceuse (Piccinelli).
10” LVDP DA 11351, only form of issue, 17 March, 1953. MINT MB 10

P0734. RINA GIGLI, w.Silvestri Cond. Philharmonia Orch.:
LA SONNAMBULA – Ah! non credea mirarti / FORZA – Pace, pace, mio Dio!
12” HMV DB 21619, only form of issue, 28 April, 1953. M-A MB 6

P0735. RINA GIGLI, w.Rignold Cond. Royal Opera House Orch.:
I VESPRI SICILIANI – Mercč, diletti amiche / L’AMICO FRITZ – Non mi resta.
12” HMV DB 6459, only form of issue, 29 May, 1947. M-A MB 6

P0736. RINA GIGLI, w.Quadri Cond.: I PESCATORI DI PERLE – Si come un dě /

LA BOHEME – Donde lieta uscě. 12” LVDP DB 11316,
only form of issue, 1 March,1948. M-A MB 8

P0737. RINA & BENIAMINO GIGLI, w.Berrettoni Cond.:
CARMEN - Parle-moi de ma mčre (in Italian), 2s. 10” LVDP DA 5416,
only form of issue, 20 Feb., 1942. M-A, as New. MB 8

P0738. RINA & BENIAMINO GIGLI, Quadri Cond.:
L'AMICO FRITZ – Suzel buon dě (Cherry Duet) / MEFISTOFELE – Lontano, lontano.. 12” LVDP DB 11342, only form of issue, 18 Jan., 1951. M-A, as New. MB 12

P0739. RINA & BENIAMINO GIGLI, Quadri Cond.: L'ELISIR – Chiedi al rio /
LES PĘCHEURS DE PERLES – Par cet étroit sentier (in Italian) (Bizet).
12” LVDP DB 11347, only form of issue, 18 Jan., 1951. M-A, as New. MB 8

P0740. RINA & BENIAMINO GIGLI, Quadri Cond.: OTELLO – Giŕ nella notte densa, 2s. 12” LVDP DB 11345, only form of issue, 18 Jan., 1951. M-A, as New. MB 8

"A lyric soprano best known as the daughter of the legendary tenor Beniamino Gigli, Rina Gigli had a quite significant career in her own right. Raised within the operatic milieu under conditions of wealth and privilege, she manifested a talent for the piano early on, and as a young girl accompanied her father in his recitals. Rina gave her first public voice recital on 7 February, 1936, and following study with Rosina Storchio made her 23 May, 1943, operatic bow at the Teatro Regio di Parma as Violetta opposite her father as her lover Alfredo. Based primarily at the Rome Opera, she appeared in other major venues on both sides of the Atlantic including the Teatro Colón, La Scala, Opera Madrid, and London's Covent Garden, her repertoire including Lauretta, Manon, Nedda, Mimi, Micaela, Cio-Cio-San, Adina and Desdemona, as well as the soprano part in Verdi's MANZONI REQUIEM.”

- Bob Hufford

P0741. BENIAMINO GIGLI: LES PĘCHEURS DE PERLES – Je crois entendre (Italian) / BENIAMINO GIGLI & TITTA RUFFO: LA BOHEME – O Mimě, tu piů non torni.
12” mauve & gold HMV AGSB 56 [CVE-58119-3/37320-2],POM-18 Dec., 1929 /
17 Dec., 1926, both from Unpublished Matrices. MINT MB 15

P0742. BENIAMINO GIGLI & NINA BALDISSERI:
L'AMICO FRITZ – Suzel buon dě (Cherry Duet), 2s.
12” white Archive HMV VB 46, POM-1919. MINT MB 6

P0743. BENIAMINO GIGLI, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: PAGLIACCI (UFA-Italia Film) - Glückswalzer (in Italian) (Millöcker) /
PAGLIACCI – Si puň? (Sung, in this instance, by a tenor!).
12” LVDP DB 05353, POM 1943, Berlin. MINT copy of preferred late pressing. MB 12

P0655. BENIAMINO GIGLI & LUCREZIA BORI: ROMÉO – Ange adorable /
MIGUEL FLETA & LUCREZIA BORI: CARMEN – Parle-moi de ma mčre.
12” mauve & gold HMV AGSB 58,POM-1923/’24, resp.,
both from Unpublished Matrices. MINT MB 12

P0744. BENIAMINO GIGLI & TITTA RUFFO: FORZA – Solenne in quest’ora /
LA GIOCONDA – Enzo Grimaldo, Principe di Santafior. 12” mauve & gold HMV
AGSB 49,POM-17 Dec., 1926, both from Unpublished Matrices. MINT MB 12

P0745. MARIO del MONACO, w.Quadri Cond.: LOHENGRIN – In fernem Land
(in Italian) / ANDREA CHÉNIER – Un dě, all’azzurro spazio. 12” LVDP DB 11320,
only form of issue, 22 Nov., 1948. M-A, a gleaming copy. MB 20

“It was always a given that del Monaco possessed a remarkably powerful, steady voice with unsurpassed brilliance and power. He was, however, often criticized for singing with little finesse, for using his power unrelentingly. That was never true (his many live broadcast recordings give even stronger evidence of his ability to sing with light and shade)….I found myself thrilling to the sheer sound of the voice and to the commitment and passion with which he sang. What will surprise many is the variety of dynamics and color that the tenor did bring to his singing….It is easy for critics to comment on the method of a singer and to forget the most important element - the sound of the voice....His diction was a model of clarity and crispness, his intonation was almost always centered, and his rhythmic pulse was extremely strong. In many cases one listens to this kind of singing and longs for the days gone by when there were singers like this....old-timers...reminisce over one of the great operatic tenor voices to be heard in the 1950s and ‘60s, and younger listeners discover what a great ‘tenore di forza’ sounds like. We have nothing like him today.”

- Henry Fogel, FANFARE, 2016

P0746. FRANCO LO GIUDICE: PAGLIACCI – No, Pagliaccio non son! /
IL TROVATORE - Deserto sulla terra. 11˝” H & D green paper label Pathé 10367 [86850/51], only form of issue, 1923. A to M-A, lovely copy has lt.grey on peaks. MB 15

“Franco Lo Giudice was an Italian tenor who had a successful international opera career during the first half of the twentieth century. He was an important exponent of the works of Riccardo Zandonai, notably starring in the world premieres of his operas I CAVALIERI DI EKEBŮ (1925) and GIULIANO (1928). Alan Blyth described him as a ‘fiery, strong tenor’ who ‘excelled in verismo parts’.

On 7 March 1925 Lo Giudice made his La Scala début as Giosta Berling in the world premiere of Zandonai's I CAVALIERI DI EKEBŮ under the baton of Arturo Toscanini. Toscanini was quite taken with his performance and Lo Giudice was contracted by him frequently for performances at La Scala through the mid-1930s. In 1926 he alternated in the role of Prince Calŕf with tenor Miguel Fleta in the original production of Puccini's TURANDOT, although Fleta had the honor of singing the part for the opera's opening night.

- Wikipedia

P0747. FRANCESCO BRAVI: MEFISTOFELE – Giunto sul passo estremo.
10” flush black Zonophone X-1771, only form of issue, 1 May, 1905, announced.
A-B, very decent copy has lt. rubs & superficial scrs,
only one of which sounds ltly and briefly at very beginning. MB 25

“Francesco Bravi appears to have made his début in 1898 at the Teatro Metastasio in Regio in Guglielmo Branca ‘s LA FIGLIA DI JORIO. During of his short career he appeared not only in Italy, but also in Odessa, Egypt, Santiago del Cile, Lisbon, London and Madrid. He occasionally sang with his wife, soprano LINDA CANNETTI: in 1899 in LOHENGRIN at the Teatro Civico in Cagliari and in 1900 as Rodolfo in Puccini’s LA BOHEME.”

- Ashot Arakelyan

P0748. ALESSANDRO MORESCHI: Pie Jesu (Leybach) / Ave Maria (Bach-Gounod). 10” vinylHistoric Masters HMB 213 [2183/87h)], POM-1904. MINT MB 12

P0749. ALESSANDRO MORESCHI: PETITE MESSE SOLENNELLE - Crucifuxus (Rossini) / Hostias et preces (Terziani). 10” vinylHistoric Masters HMB 214 [2182/84h)], POM-1904. MINT MB 12

P0750. ALESSANDRO MORESCHI & Don Lorenzo Perosi Cond. Chorus of
Roman Singers: Oremus pro Pontifice (Calzanera). 12” Vla 71015 [284i],POM-1904. A-, lovely copy has has 2 wee scrs & faint pap. rubs, inaud.; nr on label only. MB 12

"...the sound of the castrato voice itself has been preserved by the gramophone. Alessandro Moreschi (1858-1922), described as a soprano of the Sistine Chapel, made a number of recordings, in Rome, in 1902/3....the voice itself is there, quite unlike any other, the tone pure and brilliant, with 'that peculiar affecting quality' Rossini spoke of, intense and passionate - the same we had been led to expect from the eighteenth-century descriptions."

- Michael Scott, THE RECORD OF SINGING

P0751. FRANCESCO SIGNORINI & INES de FRATE: AĎDA – Il ciel dei nostri amori. 12” red Milano Gram. Monarch 054213 [1492c], POM-1908. A-B, very decent copy
has 2 faint scrs which tick faintly only twice & lt. grey on peaks, ltly audible.
[A stunning record which would list for $1000 if in superior condition.] MB 345

“Francesco Signorini made his début in 1882 at the Teatro Politeama in Florence, and after 1897 sang regularly in leading dramatic Italian roles at La Scala. In 1898 he appeared at the opera house of Odessa, in 1902 at the German Theatre in Prague. In 1890 he appeared with success as Turiddu in CAVALLERIA RUSTICANA at the Teatro Pagliano in Firenze. He had around the turn of the century a significant success in all Italian major opera houses. In 1907 He made guest appearances in San Francisco and Los Angeles and also appeared in Buenos Aires. In 1910 he retired from the opera stage and taught in Rome.

Ines de Frate appears to have made her debut in 1892 in LA TRAVIATA at the opera theatre of Piacenza. In 1895 she guested at the Teatro Politeama in Buenos Aires, in 1898 at the Teatro Adriano in Rome in LA GIOCONDA. She appeared several times at the Teatro Argentina in Rome (ASRAEL 1895, NORMA 1899). In 1896 de Frate performed at the Teatro Carlo Felice in Genoa as Maria in Mascagni’s GUGLIELMO RATCLIFF. In 1895 she guested at La Scala in Milan as Leila in Bizet’s I PESCATORI DI PERLE. In the 1898-99 season she again appeared at La Scala as Norma under Toscanini. She was best known for her interpretations of Verdi heroines. In 1901 she appeared at the Teatro La Fenice in Venice in LA GIOCONDA, in 1907 at Reggio Emilia in NORMA. In 1902 at Berlin she sang soprano-solo in Rossini’s STABAT MATER. Then she moved to America where together with the other famous italian opera singers she guested at the Teatro Tivoli in San Francisco. Here she performed in LUCREZIA BORGIA, AĎDA AND NORMA with great success. In America she gave a series of concerts under the direction of Mascagni.”

- Ashot Arakelyan

P0752. GIOVANNI TAMAGNO: Ti vorrei rapire (Gastaldon).
10” S/S HMV Special shellac Pressing of Mx. 3023fl, POM-1903 from
Unpublished Matrix. [The handwritten label suggests ‘Tamagno??, ‘Pecche’ (naturally, this is impossible.) This baritone is thought to have been Francesco Tamagno’s younger brother who had a minor singing career. Suggestions that the singer might be Cotogni have been entirely debunked.]
M-A, choice copy has 2 faintest rubs, inaud., of course. MB 45

P0753. AUGUSTO SCAMPINI: JONE – O Jone, di quest’anima (Petrella).
12” red Milano Pre-Dog 052245 [14991/2 c], only form of issue, 1908.
A to M-A, extraordinary copy has mere hint of label nr. MB 45

“Scampini débuted in 1905 at Garlasco as Cavaradossi in TOSCA. In 1907 he guested in Teatro de l'Opera, Buenos Aires in Massenet’s HÉRODIADE. In the same year he sang in Teatro Massimo, Palermo as Radames in AĎDA and as Samson in SAMSON ET DALILA. Then he guested in the big theatres of Italy, Spain, South America and Russia with great success. In the 1910-11 season he appeared at La Scala in SIMON BOCCANEGRA and in Pacini’s SAFFO. In 1912 he sang at the Teatro Costanzi, Rome as Manrico in IL TROVATORE, in 1915 at Teatro Politeama, Pisa as Radames in AĎDA. In the 1913-14 season he sang at the German theatre, Prague. The critics called him successor of Enrico Caruso. In 1916 he sang in Spain and in Santiago de Chile.”

- Ashot Arakelyan

P0754. MATTIA BATTISTINI: Ancora (Tosti) /FERNANDO de LUCIA: LA TRAVIATA – Un dě felice eterea. 10” white Archive HMV VA 15, POM-1902/’04, resp. MINT MB 6

P0755. MATTIA BATTISTINI: Caro mio ben (Tomasso Giordani).
12” salmon La Société Suisse des Disques Phonographiques d’Art 302,
POM-1920. Battistini’s signature embossed in inner margin.
A-, lovely copy has hint of grey on peaks, inaud. MB 150

“A letter was read from Sabajno reporting an interview [with Battistini, stating] that he had sung two records in Zurich for a rival company and was offered a contract which he did not accept….Conclusive proof of breach of contract [with Gramophone Company] can be found in the catalogues of the Swiss company. Two records issued in Switzerland by La Société Suisse des Disques Phonographiques d’Art (and in Italy by La Fonotecnica, Milan) are listed in a catalogue dated January, 1922….”

- Paul Lewis, THE RECORD COLLECTOR, 1997

P0756. MATTIA BATTISTINI: BARBIERE – Largo al factotum /
DON GIOVANNI – Finch’ han del vino. 10” mauve & gold HMV AGSA 24, POM-1902. M-A MB 8

P0757. MATTIA BATTISTINI: DON GIOVANNI – Deh, vieni alla finestra /
FORZA – Egli č salvo. 10” white Archive HMV VA 5, POM-1902/’21, resp. MINT MB 4

P0758. MATTIA BATTISTINI: DEMON – Deh non plorar /
FRANCESCO TAMAGNO: Samson et Dalila – Arrętez, ô mes frčres (in Italian).
12” vinyl Historic Masters HMB 85, POM-1902/’03, Sd.2 from Unublished Matrix. MINT MB 8

P0759. MATTIA BATTISTINI & EMILIA CORSI: ERNANI – Vieni meco /
MATTIA BATTISTINI & ARISTODEMO SILLICH: Lo vedremo.
12” white Archive HMV VB 23, POM-1906. MINT MB 4

P0760. MATTIA BATTISTINI: DON SEBASTIANO – O Lisbona (Donizetti) /
MATTIA BATTISTINI & EMILIA CORSI: DON GIOVANNI – La ci darem la mano.
12” white Archive HMV VB 18, POM-1906. MINT MB 4

P0761. MATTIA BATTISTINI: LA FAVORITA – A tanto amor / MARTHA – Io mio Lionel.
12” red vinyl Heritage RCA 15-1010 [884/833c], POM-1906. MINT MB 6

P0762. MATTIA BATTISTINI: QUO VADIS – Errar sull’empio /
Amici, l’ora attesa e questa (Nougučs). 12” white Archive HMV VB 14, POM-1912. MINT MB 4

P0763. MATTIA BATTISTINI: QUO VADIS – O Febea (Nougučs) / NERO – Epitalamio (Rubinstein). 12” white Archive HMV VB 63, POM-1912. MINT MB 4

P0764. MATTIA BATTISTINI: L’AFRICAINE - Fille des rois /
IL GUARANY – Senza tetto, senza cuna (both in Italian).
12” dark-blue Connoisseurs' Record Club ABHB 1, POM 1912/’24, resp.
A to M-A, lovely copy has occasional faint rub, positively inaud. [Unlike others in
the ABH series, this and ABHB 2 had extremely limited circulation and are rare!]. MB 20

P0765. MATTIA BATTISTINI: L’AFRICAINE – Avoir tant adorée /
Quando amor m’accende (both in Italian). 12” mauve & gold HMV
AGSB 4, POM-25 May, 1912. MINT MB 4

P0766. MATTIA BATTISTINI: PAGLIACCI – Prologo, 2s.
12” mauve & gold HMV AGSB 93, POM-1911. MINT MB 8

P0767. MATTIA BATTISTINI: DON CARLOS – Io morrň, ma lieto in core /
MATTIA BATTISTINI & EBE BOCCOLINI: THAĎS – Baigne d’eau (in Italian).
12” vinylHistoric Masters HMB 47 [CK1419-3/273ai],
POM-1911/’24, resp.; Sd.2 being First Edition. MINT MB 4

P0768. MATTIA BATTISTINI: ZAMPA - Pourquoi trembler (in Italian) (Hérold) /
PER LA PATRIA – Or limpida m’appare (Cocchi). 12” mauve & gold
HMV AGSB 52, POM-1906. MINT MB 12

P0769. MATTIA BATTISTINI: MACBETH - Pietŕ, rispetto, amore.
12” orange St Petersburg Amour Gram. 052369 [234af], POM-30 May, 1912.
A to M-A, beautiful copy w.faint scuff, positively inaud.; uncommonly bright label. MB 8

P0770. MATTIA BATTISTINI: FORZA – Urna fatale del mio destino /
MACBETH - Pietŕ, rispetto, amore. 12” dark blue Connoisseurs' Record Club
HMV ABHB 4, POM-1924/’12, resp. MINT MB 4

P0771. MATTIA BATTISTINI & MARIA MOSCISCA: PAGLIACCI – Decidi il mio destin / E alor perchč. 12” mauve & gold HMV AGSB 94, POM-1912. MINT MB 8

P0772. MATTIA BATTISTINI & ELVIRA BARBIERI:
IL TROVATORE – Mira d’acerbe lagrime / Vivra! Contende il giubilo.
12” vinyl Historic Masters HMB 5, POM-3 June, 1913. MINT MB 4

P0773. MATTIA BATTISTINI & ELVIRA BARBIERI: FAUST – Morte di Valentino, 2s.
12” white Archive HMV VB 69, POM-1913. MINT MB 4

P0774. MATTIA BATTISTINI & LULU HAYES:RIGOLETTO – Sě vendetta /
FERNANDO de LUCIA: DON GIOVANNI – Il mio tesoro.
10” white Archive HMV VA 65, POM-1921/’08, resp. MINT MB 6

“Battistini incontestably was the most noble ‘cavalier’ among all singers of his time. With the exception of a very few intimate friends, everyone called him Commendatore.…the last authentic representative of the era of florid singing, of real bel canto….An ideal technique in breathing and using head resonance made him a model for the messa di voce – the almost legendary art of crescendo and decrescendo on any tone. His coloratura and shake were unique His sensational career (forty-nine years) lasted even longer than that of Adelina Patti (forty-seven)….the noble timbre, the ease of singing, the sweet but manly mezza voce and piano, the vehement forte were evident until his last appearance.”

- Viktor Fuchs, OPERA NEWS, 25 Nov., 1957

P0775. TITO SCHIPA: Sento nel cor (Scarlatti) / ORFEO - Che farň senza Euridice.
12” LVDP DB 1723, only form of issue, 1932. MINT MB 8

"Schipa’s performances of arie antiche (especially Gluck's 'Che farň' and Alessandro Scarlatti's 'Sento nel core' are among his most celebrated) have the merit of an exceptional purity of line and vocalization and of an interpretative approach which shuns all individual quirks and seeks only to evoke the colours, fragrance and atmosphere of an era lost for ever."

- Rodolfo Celletti

P0776. TITO SCHIPA: Le Violette / Son tutta duolo (both Scarlatti). 10” Australian
HMV DA 5362, POM-1939. M-A, choice copy of preferred Australian pressing. MB 8

P0777. TITO SCHIPA: Ideale / Marechiare (both Tosti).
10” PW Disco Grammofono DA 1114, POM 1930. M-A MB 10

P0778. TITO SCHIPA: Ideale / Marechiare (both Tosti).
10” black PW V 26650, POM 1930. M-A MB 12

P0779. TITO SCHIPA:, w.Moreau (Organ): Gesu, noi ti adoriamo / Christus vincit.
12” Buenos Aires special decorative red label PW Victor 36128 [CAVE 86565-2/66-2], only form of issue, 1934, Basilica del SS. Sacramento, Buenos Aires [recorded during XXXII Congreso Eucaristico Internacional, both with Schipa’s spoken introduction;
infamous release invoking salutations both for Buenos Aires as well as Mussolini!] Extremely elusive, especially in this condition; very rarely offered! M-A MB 75

P0780. TITO SCHIPA: Amarilli (Caccini) / GUYANA - Ay-ay-ay (Perez) /
A Granada (Canción Andaluza) (Palacios).10” brown shellac Pathé X-3003 [80853/47],
recorded 1919, only form of lateral issue, Sd.1; Schipa’s only recording of the Caccini. M-A/A, lovely copy has minor scuff, Sd.2, inaud. Exceedingly uncommon disk. MB 20

P0781. TITO SCHIPA: Pesca d’ammore (Barthélemy).
11˝” H & D grey paper label US-Pathé 54073 [80851], recorded 1919. M-A MB 15

P0782. TITO SCHIPA: Pesca d’ammore / Chi se nne scorda ‘cchiů (both Barthélemy). 10” Italian salmon & gold Italian-Pathé Actuelle 15139 [80851/52], recorded 1919.
M-A, appears as New. MB 15

P0783. TITO SCHIPA, w.Huarte (Pf.): Chi se nne scorda ‘cchiů (Barthélemy).
10" S/S vinyl pressing of BS 81054-1, POM-15 Jan., 1934,
Unpublished 'Take' 1, ‘Personal recording’. MINT MB 25

“Judging from the dim piano accompaniment…[this recording was to be used] with puppets in a public performance….More than likely, the dim piano accompaniment was meant to accommodate the live accompaniment of the show [THE PICCOLI OF PODRECCA] playing at the Ambassador Theatre in New York City.”

-THE NEW YORK TIMES, 31 Jan., 1934

P0784. TITO SCHIPA: Somewhere a voice is calling (Tate) /
DON PASQUALE – Cercheró lontana terra. 10” US-Pathé Actuelle 025090,
recorded 1921 [68381/83], Sd.1 issued USA only. M-A, appears as New. MB 6

P0785. TITO SCHIPA: Santa Lucia / Marechiare (both Tosti).
10” brown shellac Perfect 11512 [68385/86], recorded 1921. A to M-A MB 8

P0786. TITO SCHIPA: Non č Carmella mia (Valente) /
Scrivenno a Mammena (Schipa). 10” Orth Vla 1547, POM-11 Oct.,1932.
M-A, choice copy has identification, Sd.1 label only. Uncommon! MB 15

P0787. TITO SCHIPA: La cumparsita (Rodriguez) / Ammore canta (Tagliaferri).
10” Buenos Aires Orth Vla 1488, POM-6 Oct., 1930, Buenos Aires, only form of issue, Sd.2. A-, lovely copy has hint of grey on peaks. Uncommon! MB 15

P0788. TITO SCHIPA: Donde estas corazon (Berto) / Fenesta ascura (Pizzaroni).
10” Buenos Aires Orth Vla 1535, only form of issue, 6 Aug., 1931, Buenos Aires.
A-, lovely copy has hint of grey on peaks. Uncommon! MB 15

P0789. TITO SCHIPA: Canto pe te / Quando? (Italian Version) (both Caslar).
10” PW V 1996 [OPG122-1/25-2], POM-17 Dec.,1929.
M-A, choice copy has tiny piece of tape, Sd.1 label. MB 15

P0790. TITO SCHIPA: O marenariello (Gambardella) / Torna a Surriento (de Curtis). 10” LVDP DA 1379, POM-1934. M-A, choice copy has wee rub, Sd.2, inaud. MB 12

P0791. TITO SCHIPA: EL MATRERO – Pontezuela, mi vigüela sabe que viene a llorar (Boero) / SADKO - Chanson indoue (in French) (Rimsky-Korsakov).
10" Buenos Aires ORTH Vla 1543, only form of issue, 1931, Buenos Aires.
A to M A, an extraordinary copy. [The rarest of Schipa's Victors.] MB 45

P0792. TITO SCHIPA: La Partida (Alvarez) / ALMA DE DIOS – Canción del Vagobundo (Serrano). 12” ORTH Vla 6632, POM 23 Dec., 1926. A to M A, lovely copy has
faintest rubs, inaud. [A very rare Schipa electrical issue, in any form.] MB 20

P0793. TITO SCHIPA: La Partida (Alvarez) / ALMA DE DIOS –
Canción del Vagobundo (Serrano). 12” PW Disque Gram. DB 1079,
POM 23 Dec., 1926. A to M A, lovely copy has, Sd.2 only, tiny edge crunch, not near grooves & obviously inaud. [A very rare Schipa electrical issue, in any form.] MB 15

P0794. TITO SCHIPA: GUYANA - Ay-ay-ay (Perez) /
A Granada (Canción Andaluza) (Palacios). 12” ORTH Vla 6601,
on Z-type shellac, POM 7 Sept., 1926; Sd.1 issued USA only.
M A, superb copy; Sd.1 only has faintest rub, barely visible & certainly inaud. MB 8

P0795. TITO SCHIPA: BARBIERE - Ecco ridente, 2s.
11˝” H & D grey paper label US-Pathé 59057 [86562/64], recorded 1916. M-A MB 12

P0796. TITO SCHIPA: FALSTAFF - Dal labbro il canto / SONNAMBULA –
Prendi, l'anel ti dono. 10” US-Pathé Actuelle 025083 [68384/82], recorded 1921.
A to M-A, a supremely beautiful copy. MB 8

P0797. TITO SCHIPA: LA SONNAMBULA – Prendi, l'anel ti dono.
11˝”S/S shellac Pathé ‘Test’ Pressing for E-68382-1, recorded 1921.
B-, very decent copy has lt.rubs & scrs., certainly ltly audible. MB 8

P0798. TITO SCHIPA: L’ARLESIANA Č la solita storia / BARBIERE – Ecco ridente. 11˝” H & D black paper label Pathé 6011 [86561/62], recorded 1916. A-, very decent copy has hint of grey on peaks; Sd.1 only has wee nd, minimally audible. MB 12

P0799. TITO SCHIPA: TOSCA – Recondita armonia / E lucevan le stelle.
11˝” H & D green paper label Pathé 10315 [80842/43], recorded 1919.
M-A, superlative copy. MB 12

P0800. TITO SCHIPA: ZAZŔ – Ed ora io mi domando /
TITO SCHIPA & GIUSEPPINA BALDASSARE-TEDESCHI:
TOSCA – Amaro sol per te. 11˝” H & D grey paper label US-Pathé 59052
[86559/63], recorded 1916. A to M-A MB 12

P0801. TITO SCHIPA: MANON - Le ręve (in Italian) / PAGLIACCI – O Colombina.
10” red PW Electrola DA 875, POM-8 Sept., 1926. M-A MB 8

P0802. TITO SCHIPA: MANON - Ah, fuyez (in Italian) / BOHEME - Che gelida manina.
12” vinyl Historic Masters HMB 21, POM-1913. MINT MB 4

P0803. TITO SCHIPA: LA BOHEME – Che gelida manina.
11˝” H & D grey paper label US-Pathé 54033 [80841], recorded 1919.
M-A, lovely copy has faintest nr, inaud. MB 8

P0804. TITO SCHIPA: RIGOLETTO - Parmi veder le lagrime / LUISA MILLER –
Quando le sere al placido. 12” PW HMV DB 1372, POM-11 Sept., 1928,
Sd.1 label Autographed in black ink by Schipa. M-A MB 15

P0805. TITO SCHIPA: RIGOLETTO - Parmi veder le lagrime / LUISA MILLER –
Quando le sere al placido. 12” ORTH Vla 7145, POM-11 Sept., 1928. M-A MB 8

P0806. TITO SCHIPA: RIGOLETTO – Parmi veder le lagrime.

12" S/S vinyl pressing of CVE 42942-2, POM-11 Sept., 1928, Unpublished 'Take' 2 (‘Take’ 1 is the published Version). MINT MB 25

P0807. TITO SCHIPA: RIGOLETTO - Ella mi fu rapita; Parmi veder le lagrime
(the 1913 acoustic versions), 2s. 10” LVDP DA 366, POM-1913.
MINT Copy of Preferred late LVDP Pressing. MB 8

P0808. TITO SCHIPA: RIGOLETTO – Questa o quella / La donna č mobile.
11˝” H & D green paper label Pathé 10316 [86568/80845], recorded 1916 / ’19, resp. M-A, superlative copy. MB 15

P0809. TITO SCHIPA: RIGOLETTO – Questa o quella / La donna č mobile.
10” Italian salmon & gold Italian-Pathé Actuelle 15110,[86568/80845],
recorded 1916 / ’19, resp. M-A MB 15

P0810. TITO SCHIPA: ANDREA CHÉNIER - Come un bel děŤdi maggio /
MARCELLA - Dolce notte misteriosa (both Giordano).
10” LVDP DA 5352, only form of issue, 1938. MINT MB 8

P0811. TITO SCHIPA: FAUST - Salut! demeure (in Italian) / LUCIA - Tu che a Dio.
10” LVDP DA 365, POM-1913. MINT Copy of Preferred late LVDP Pressing. MB 8

P0812. TITO SCHIPA: CAVALLERIA – Siciliana – O Lola / Viva il vino.
10” LVDP DA 364, POM-1913. MINT Copy of Preferred late LVDP Pressing. MB 8

P0813. TITO SCHIPA & AMELITA GALLI-CURCI: LUCIA - Verranno a te /
LA SONNAMBULA - Son geloso del zefiro.12” Vla 8067, POM-1924/'23, resp.,
neither Side ever issued as S/S. M-A, choice copy. Elusive late AC Era Issue! MB 10

P0814. TITO SCHIPA & TOTI dal MONTE: DON PASQUALE – Tornami a dir /
LA SONNAMBULA – Prendi, l’anel ti dono. 10” LVDP DA 1351, only form of issue,
4 Oct., 1933. M-A, pristine copy of preferred late LVDP issue. MB 8

"I appeared with all the leading tenors, Gigli and Pertile included, but the one from whom I learned the most artistically was Schipa, for he chiseled phrases like a goldsmith."

- Bidú Sayăo

P0815. TITO SCHIPA & EMILIO de GOGORZA: A la luz de la luna / Los rumberos.
10” Orth Vla 3049, POM-1928. M-A, superlative copy. MB 8

P0816. TITO SCHIPA: TROIS HOMMES EN HABIT - Je chante pour toi / Quand
(both in French!) (both Caslar). 10" PW Disque Gram.DA 4831, only form of issue, 1932 (issued France only). [A delightful memento from the celebrated Schipa film.]
A to M-A, gorgeous copy has, Sd.1 only, infinitessimal scr, positively inaud. MB 45

P0817. TITO SCHIPA, w.Semprini Cond.: Il mio bircchino / LA CANZONE DI OGNUNO - M’hai detto dě no! (both Caslar). 10" PW Disco Grammofono DA 1352,
only form of issue, 22 Oct.,1933. [A charming memento from the delightful Schipa film.] Very rare issue! A to M-A, gorgeous copy has, Sd.1 only,
infinitessimal scr, positively inaud. MB 45

P0818. TITO SCHIPA: Vivere / Torna, piccina (1939 Versions, in French!) (both Bixio).
10" PW Disque Gram.DA 4916 [OBA 2460-2/2459-2], only form of issue, 1939;
missing altogether in Tiberi discography from the new Schipa Biography.
M-A, superb copy has, Sd.2 only, faintest rubs, barely visible & inaud. MB 25

P0819. TITO SCHIPA: Vivere / Torna, piccina (1937 Versions, in Italian) (both Bixio). 10” HMV DA 1558, POM-1937. MINT MB 6

"I could go on and on about Schipa. Never did a man recieve from the muse of song so few means and yet manage, every time, to achieve miracles with them. He was a blessed artist and human being."

- Gianna Pederzini

P0820. TITO SCHIPA & MAFALDA FAVERO: L'AMICO FRITZ –
Suzel buon dě (Cherry Duet), 2s. 12” PW V 15837, POM-1937. M-A MB 8

"...in the Cherry Duet from L'AMICO FRITZ where the listener suddenly holds his breath before this fine-spun delicate thread of sound. This record also illustrates...a passionate intensity, rare in a lyric tenor, where grace and elegance will often seem to preclude depth of emotion and strength of character."

- J.B. Steane, THE GRAND TRADITION

P0821. GIUSEPPE de LUCA: Gia'il sole dal Gange (Scarlatti) /
FALSTAFF - Quand'ero paggio (with his spoken introduction). 10” vinyl CRS 55,
Live Performance, 7 Nov., 1947, Town Hall, New York. MINT MB 8

P0822. GIUSEPPE de LUCA: Voi dormite, Signora! (Tosti) / Berceuse (in Italian) (Gretchaninoff). 10” Vla 955, POM-1923/’18,resp., never issued as S/S [although Sd.1 assigned #66184); Sd.2 assigned Nos 64777 & 66050!]. M-A, exemplary copy. MB 12

P0823. GIUSEPPE de LUCA: Italian Art Songs: Giordani, Falconieri, Pergolesi, Caldara, Lotti, Caccini, Pasquini, etc., 6s. 3-12” vinyl Decca DV 90003/05, sole 78rpm issue, 1946, in Decca Album V-1, w.Brochure. M-A, exemplary. MB 25, the Set.

“De Luca, who had not been blessed with the golden voice of a Battistini nor the magnificent roar of a Ruffo, made a solid reputation as an artist who could be relied upon for any baritone part, whether in the new dramatic operas of Giordano or Puccini, or in the comic masterpieces of the past (in which he was superb)….He studied with Battistini’s teacher, Venceslao Persichini, at the Conservatorio di Santa Cecilia….Trapped in Italy during the War, where he would occasionally sing, he returned to America in 1946 and sang once more at the Metropolitan in DON PASQUALE and in a number of concerts in which all the old charm, most of the technique, and quite a lot of the voice were still there to be admired.”

- Michael Aspinall, Marston ProgramNotes for THE CREATORS OF VERISMO

P0824. GIUSEPPE de LUCA: IL TROVATORE - Per me ora fatale /
I GIOELLI DELLA MADONNA - Aprile, o bella (Wolf-Ferrari).
10” Orth Vla 1591, POM-24 March, 1930. M-A, superlative copy. MB 8

P0825. GIUSEPPE de LUCA: DON CARLOS – O Carlo, ascolta /
IL TROVATORE –Il Balen (1930 Versions). 10” Orth Vla 1591, only form of issue, 1929, a late electrical rarity. Issued briefly in 1930 but never appeared in the Victor general catalogue, this was offered as a Special Sectional Release in the 1933-34 Victor Catalogue, but no release date was assigned. M-A, superlative copy. MB 150

P0826. GIUSEPPE de LUCA: DON CARLOS – O Carlo, ascolta (1921 Version) /
TROVATORE –Il Balen (1917 Version). 10” Vla 593, POM-1921/’17, resp. M-A MB 8

P0827. GIUSEPPE de LUCA: BENVENUTO CELLINI – De l’art splendeur immortelle (Diaz) / DINORAH – Sei vendicata assai (Meyerbeer).12” white Archive HMV VB 6, POM-5 Feb., 1924.MINT MB 6

P0828. GIUSEPPE de LUCA: NOZZE - Aprite un po' quegl'occhi, 2s.
10” vinyl CRS 53, Live Performance, 7 Nov., 1947, Town Hall, New York. MINT MB 8

P0829. GIUSEPPE de LUCA: LA DAMNATION DE FAUST - Chanson de la puce, 2s. 10” vinyl CRS 54, Live Performance, 7 Nov., 1947, Town Hall, New York. MINT MB 8

P0830. GIUSEPPE de LUCA & LUCREZIA BORI & GIUSEPPE DE LUCA:
DON PASQUALE – Pronta io son; Vado corro, 2s.
12” buff PW HMV DK 102, POM-2 Nov., 1921. M-A, Exemplary! MB 8

“De Luca’s recordings are among the most treasured belcanto documents known to to posterity. He was an artist who combined exquisite musicality and taste with a voice of rare distinction. His cultivated tone production, his legato technique and, not least, his pellucid diction make him a paragon of vocal virtues...”

- Clemens Höslinger, allmusic.com