BARITONE & BASS  VOCAL  78RPM  RECORDS:  G1179  –  G1567
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G1179 – G1567: BARITONE & BASS VOCAL 78RPM RECORDS.

G1179. ADRIEN LEGROS, w.Semler-Collery Cond.: La médaille militaire (Fauré-Moret) / La Complainte des barbèles (Laffont). 10” EL dark-green Pathé PG 695, only form of issue, 1953. M-A, a gleaming copy. MB 12

G1180. VICTOR MAUREL: Rondel de l'adieu (de Lara) / Mandolinata (Paladilhe). 10¾" AC red German Odeon X 39246/45 (xPh 67/68-2), POM-21 Nov., 1904. M-A, gleaming copy of this choice mid-1930s pressing has very occasional superficial mk, inaud. MB 95

G1181. VICTOR MAUREL: Ninon (Tosti) / Don Giovanni – Deh, vieni alla finestra. 10" AC silver & blue blue shellac Columbia IRCC 9, (xPh 69-2/66), POM-23 / 21 Nov., 1904. Numbered Copy #58 of a Limited Edition. M-A MB 75

G1182. VICTOR MAUREL: Don Giovanni – Deh, vieni alla finestra / Otello – Era la notte (Creator, 5 Feb., 1887. La Scala). 10¾“ AC red Eng. Odeon PO 18 (xPh 58/66), POM-21 Nov., 1904. M-A, gleaming copy of choice mid-1930s pressing. MB 95

G1183. VICTOR MAUREL: Otello – Era la notte (Creator, 5 Feb., 1887. La Scala) / FRANCESCO TAMAGNO: Ora e per sempre addio (Creator, 5 Feb., 1887. La Scala). 10" AC silver Victor IRCC 193, Sd. 1 = RR-1904; Sd. 2 = POM-1903. Numbered Copy #108 of a Limited Edition; M-A, lovely copy has, Sd. 1 only, sev infinitesimal superficial mks, inaud. & pinpoint closed blister. MB 25

G1184. POL PLANÇON: Le Soupir (Bemberg) / Dinorah – En chasse (Meyerbeer). 10” AC gold PW Victor HRS 1021 (B-2335-1 / B-2338-1), POM-25 Feb., 1905. Numbered copy #27 of extremely Limited Edition. M-A, a gleaming copy. MB 35

G1185. POL PLANÇON: Credo (J.B. Faure) / Martha – Chi mi dirà. 10" AC silver Victor IRCC 133, POM-25 Feb., 1905 / 27 March, 1907. Numbered Copy #14 of a Limited Edition. M-A MB 35

G1186. POL PLANÇON: Roméo – Allons! jeunes gens (Gounod) [Sung one half tone low]. 10” AC white Vla 81035, POM-29 Jan., 1904, Never Doubled, US. M-A MB 20

G1187. POL PLANÇON: La Damnation de Faust – Une puce gentille. 10” AC white Vla 81087, POM-27 March, 1907, Never Doubled, US. M-A MB 20

G1188. POL PLANÇON: La Damnation de Faust – Voici des roses (Berlioz). 12” AC white Vla 85117 (w.Victor spiderweb embossed verso), POM-27 March, 1907, Never Doubled, US. M-A MB 20

G1189. POL PLANÇON: Stabat Mater – Pro peccatis (Rossini), 1908 Version / L’Étoile du Nord – O jours heureux (Meyerbeer). 12” AC PW silver Victor IRCC 81, POM-14 Apr., 1908. Numbered copy #87 of A Limited Edition. Plançon’s Photo affixed to Sd. 2 label. M-A, a gleaming copy. MB 35

G1190. POL PLANÇON: Don Carlos – Elle ne m’aime pas (Verdi). 12” AC white Vla 85116, POM-27 March, 1907, Never Doubled in any regular series. M-A MB 35

G1191. POL PLANÇON: Don Carlos – Elle ne m’aime pas (Verdi) / La Sonnambula – Vi ravviso (Bellini). 12” AC PW silver Vla IRCC 49, POM-27 March, 1907 / 23 Dec., 1903, neither side ever doubled in any regular series. Numbered copy #34 of Limited Edition. Among the most sought-after IRCC issues – truly legendary performances! M-A, gleaming copy has, Sd 1 only, faintest pap. rub, inaud. MB 35

G1192. POL PLANÇON: La Sonnambula – Vi ravviso (Bellini). 12” AC white Vla 85018, POM-23 Dec., 1903 (w.Victor spiderweb embossed verso), Never Doubled in any regular series. M-A MB 25

G1193. POL PLANÇON: Zauberflöte – In diesen heil’gen Hallen (in Italian). 12” AC Vla 85077 (w.Victor spiderweb embossed verso), POM-25 Feb., 1905, Never Doubled, US. M-A, choice copy of mid-1930s Elaine pressing. MB 20

G1194. POL PLANÇON, EMMA EAMES & CHARLES DALMORÈS: Faust – Alerte! Alerte! (Final Trio). 12” AC white Vla 95300, POM-25 March, 1907, Never Doubled in any regular series. M-A Elusive issue, in catalogue less than 2 months. MB 20

"With such a combination of gifts and achievements it is not surprising that Plançon passes down to history as the most accomplished and artistic basso in the operatic constellation....[Journet, the] great basso was the natural successor to Plançon, and had a marvellous operatic career. A vivid and striking stage personality, whose repertoire was enormous." - P.G. Hurst, RECORDED MEMORIES

G1195. MARTIAL SINGHER, w.Reynaldo Hahn Cond.: Le Marchande de Venise – Air de Bassanio / ANDRÉ PERNET, w.Reynaldo Hahn Cond.: Air de Shylock (both Cond. by the Composer). All Creator Record, (21 March, 1935, l’Opéra). 10" EL PW Disque Gram. DA 4871, only form of issue, 1935 (possibly Japan also). M-A, a gleaming copy. MB 35

G1196. MARTIAL SINGHER: French Folk Songs for Children, 4s. 2–10” EL vinyl Decca 88103/04, only form of issue, c.1950. M-A, a gleaming copy. MB 20

G1197. MARTIAL SINGHER, w.Darius Milhaud (Pf.): Chants Populaires Hébraïques (Acc. by the Composer), 4s. 2-10” EL MasterWorks Col. 4213/14-M, POM-1932. M-A, a gleaming copy. MB 35

G1198. MARTIAL SINGHER, w.Coppola Cond.: Don Quichotte à Dulcinée, 3s / Sd. 4 = Ronsard à son âme (both Ravel). 2-10” EL PW Disque Gram. DA 4865/66, POM-20 Nov,. 1934 (prior to Première Performance, 1 Dec., 1934, in which Singher created this work [of which Singher was the dedicatée]). M-A, a gleaming copy. MB 35

G1199. MARTIAL SINGHER & JEANNE GUYLA, w.Bret Cond.: Cantata #212 – Der Herr is mein getreuer Hirt (in French) (Bach), 4s. 2-12” EL PW Disque Gram. DB 4939/40, POM-28 March, 1934. M-A, Exemplary! MB 15, the Pair. G1200. LOUIS NOUGERA: Chant des aviateurs / Le Roi de l’air (both Delagneaux). 10” EL burgundy La Voix des Nôtres DR 556, only form of issue, 1946. M-A Exceedingly elusive! MB 20

G1201. LOUIS NOUGERA, w.Blot Cond.: Don Giovanni – Madamina! (in French), 2s. 10” EL blue French Col. LF 272, only form of issue, 1949. M-A, a gleaming copy. MB 12

G1202. LOUIS NOUGERA, w.Fourestier Cond.: Zauberflöte – Der Vogelfänger bin ist ja / Ein Mädchen oder Weibchen (in French). 12” EL blue French Col. LFX 900, only form of issue, 1950. M-A, gleaming copy has, Sd Sd. 2 only, sev. infinitesimal dust mks, positively inaud. & barely visible. MB 12

G1203. CHARLES GILIBERT: Malgré moi (Pfeiffer). 10” AC GP V 81090, Orig. ‘A’ Plate Issue, POM-1 April, 1907, Never Doubled. A, lovely copy has faint label nr. MB 20

G1204. CHARLES GILIBERT: Plaisir d’amour (Martini). 12” AC RCA Vla 85118, only form of issue, 1 April, 1907, choice mid-1930s Elaine pressing. M-A MB 20

G1205. CHARLES GILIBERT: Les Rameaux (Faure). 12” AC Col. 30089 (w.Manhattan Record label superimposed), Original Issue, 29 March, 1907. M-A, choice copy has, 2 infinitesimal pap. scrs, inaud. MB 15

G1206. CHARLES GILIBERT: La Vierge à la crèche (Périlhou). 12” AC Col. 30088 (w.Manhattan Record label superimposed), Original Issue, 29 March, 1907. A-, very decent copy has lt. rubs, various edge lams & few tiny scrs, inaud. MB 12

G1207. CHARLES GILIBERT: Xerxes – Ombra mai fu (in French) (Handel). 12” AC V 74155, POM-28 Jan., 1910. M-A, a gleaming copy. MB 12

G1208. CHARLES GILIBERT: Don Giovanni – Deh, vieni alla finestra (in French) (2nd Version). 12” AC Col. 30121, POM-1908. M-A MB 25

G1209. CHARLES GILIBERT: Don Giovanni – Deh, vieni alla finestra (1st Version). 12” AC Col. 30096 (w.Star Record label superimposed), POM-29 March, 1907. M-A, lovely copy has numerous edge lams, visible topside only, inaud. MB 15

G1210. CHARLES GILIBERT: Bergerette (arr.Weckerlin); Margoton va-t-à l’iau. 12” AC GP V 85120, POM-1 April, 1907, Never Doubled (other than elusive IRCC issue). A-B, very decent copy has few lt. scrs, inaud.; pinpoint nd will sound briefly. MB 10

G1211. CHARLES GILIBERT: Margoton va-t-à l’iau (delightfully introduced in English (as ‘Old French Song’) spoken introduction by Gilibert); Don Giovanni – Deh, vieni alla finestra (1st Version) / LILLIAN BLAUVELT: Home, sweet home (Bishop). 12” AC Col. A5008, POM-29 / 27 March, 1907. M-A/A-, lovely copy has, Sd. 2 only, sev. pap. scrs, inaud. & tiny label tear. MB 15

G1212. CHARLES GILIBERT: Véronique – Strophes de la lettre (Messager) / JEAN NOTÉ: Guillaume Tell – Sois immobile. 10" AC silver IRCC 187, RRs-1906/’05, Edison. Numbered Copy #82 of a Limited Edition. M-A MB 15

G1213. CHARLES GILIBERT: Lakmé – Lakmé, ton doux regard. 12” AC Col. 30107 (w.Manhattan Record label superimposed), Original Issue, 12 Oct., 1907. A to M-A, exemplary copy has few faint pap. scrs & infinitesimal edge lams, visible topside only & inaud. MB 15

G1214. CHARLES GILIBERT: La Jolie Fille de Perth – Quand la flamme de l’amour (1907 Version) (Bizet). 12” AC Col. 30108 (w.Manhattan Record label superimposed), Original Issue, 12 Oct., 1907. A to M-A, choice copy has infinitesimal edge lams, barely visible topside only & inaud. MB 20

G1215. CHARLES GILIBERT: La Jolie Fille de Perth – Quand la flamme de l’amour (1910 Version) (Bizet). 12” AC Pat.’08 V 74208, POM-28 Jan., 1910. M-A MB 12

G1216. CHARLES GILIBERT: La Jolie Fille de Perth – Quand la flamme de l’amour (1910 Version) (Bizet) / CHARLES GILIBERT, w.Lejeune, Duchêne, Dumesnil & Leroux: Carmen – Nous avons en tête une affaire. 12" AC mauve-&-gold HMV AGSB 73, POM-28 Jan./25 March, 1910. MINT MB 20

G1217. CHARLES GILIBERT, w.Lejeune, Duchêne, Dumesnil & Leroux: Carmen – Nous avons en tête une affaire. 12” AC Pat.’08 Vla 88237, only form of issue (other than the elusive AGSB issue), 25 March, 1910. A MB 15

G1218. JULIEN LAFONT, w.Cloez Cond.: Louise – Les pauvres gens peuvent-ils être heureux? / Voir naître une enfant. 10” EL French Odéon 188.538, POM-1927. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

G1219. JULIEN LAFONT, w.Cloez Cond.: Les Contes d’Hoffmann – Je me nomme Coppélius . . . J’ai des yeux / Faust – Vous qui faites l’endormie. 10” EL French Odéon 188.620, POM-1928. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

G1220. JULIEN LAFONT, w.Cloez Cond.: La Favorite – Léonore, viens! / Pour tant d’amour. 10” EL French Odéon 188.569, POM-1928. A to M-A, lovely copy has faintest pap. rubs, inaud.; Sd. 2 only has wee ec into initial grooves, far from performance. MB 6

G1221. JULIEN LAFONT, w.Cloez Cond.: Boris Godounov – I have attained the highest power (in French), 2s. 10” EL French Odéon 188.549, POM-1927. M-A Exceedingly elusive! MB 10

G1222. JULIEN LAFONT, w.Cloez Cond.: Tosca – Te Deum (in French), 2s. 10” EL French Odéon 188.632, POM-1928. M-A MB 10

G1223. GAETAN AUZENEAU (des Concerts Colonne et lauréat du Concours Internat. de Genève), w.André Collard (Pf.): Les roses d’Ispahan (Fauré) / La Jolie Fille de Perth – Quand la flamme de l’amour (Bizet). 10” EL pale-blue French Col. LF 251, only form of issue, 1947. M-A, a gleaming copy. MB 12

G1224. ANDRÉ BAUGÉ: Si J’Étais Roi – Dans la sommeil (Adam) / Le Comte de Luxembourg – Bonheur, n’est-ce pas toi? (Lehár). 10½” AC green paper label H & D French Pathé 2104, recorded c.1925. M-A MB 10

G1225. ANDRÉ BAUGÉ: La Basoche – Quand tu reconnaîtras Colette (Messager) / La Traviata – Di Provenza il mar (in French). 10½” AC green paper label H & D French Pathé 0399, recorded 1923. M-A MB 10

G1226. ANDRÉ BAUGÉ, w.Andolfi Cond.: Quand Madelon (Robert) / Auprès de ma blonde (arr.Andolfi). 10” EL dark-blue Pathé X.94.180, only form of issue, 1931. M-A, a gleaming copy. MB 10

G1227. ANDRÉ BAUGÉ, w.Andolfi Cond.: Sérénade (Gounod) / Don Giovanni – Deh, vieni alla finestra (in French). 10” EL dark-blue Pathé PA 973, only form of issue, 1936. A-, lovely copy has faintest pap.rubs, inaud. MB 8

G1228. ANDRÉ BAUGÉ, w.Andolfi Cond.: Les Mousquetaires au Couvent – Pour faire un brave mousquetaire (Varney) / Si J’Étais Roi – Dans la sommeil (Adam). 10” EL green Pathé PG 73, only form of issue, 1936. M-A, gleaming copy has, Sd. 2 only, infinitesimal rub at very end, inaud. MB 10

G1229. ANDRÉ BAUGÉ, w.Andolfi Cond.: Monsieur Beaucaire – La rose rouge (Messager) / Paganini – J’ai toujours cru qu’un baiser (Lehár). 10” EL green Pathé PG 66, only form of issue, 1935. M-A, a gleaming copy. MB 10

G1230. ANDRÉ BAUGÉ, w.Andolfi Cond.: Benvenuto Cellini – De l’art splendeur immortelle / La Traviata – Di Provenza il mar (in French). 10” EL Pathé X.90.042, only form of issue, 1931. M-A, choice bright copy has faintest pap. rubs, inaud. MB 8

G1231. ANDRÉ BAUGÉ, w.Andolfi Cond.: Ariodant – Femme sensible (Méhul) / w.Mme Cariven (Harp): Plaisir d’amour (Martini). 12” EL MasterWorks Col. P-9155, POM-1933. M-A, a gleaming copy. MB 10

G1232. ANDRÉ BAUGÉ & SUZANNE LAYDEKER, w.Andolfi Cond.: Véronique – Duo de l’escarpolette (Swing Song) / De ci, de là (Duo de l’âne) (Messager). 10” EL green Pathé PG 67, only form of issue, 1935. M-A, gleaming copy has, Sd. 1 only, lt. scr at end, ever-so-faintly audible. MB 10

G1233. ÉTIENNE BILLOT, w.Piano: Cimetière de campagne (Hahn) / Ariodant – Femme sensible (Méhul). 10” EL French Odéon 188.680, POM-1929. M-A, choice copy has, Sd. 2 only, few infinitesimal dust mks, only occasionally very ltly audible. Exquisitely beautiful artistry here! MB 10

G1234. ÉTIENNE BILLOT, w.Cloez Cond.: Manon – Épouse quelque brave fille / Hérodiade – Vision fugitive. 10” EL French Odéon 188.527, POM-1927. M-A, choice copy has, Sd. 2 only, few infinitesimal dust mks. MB 8

G1235. ÉTIENNE BILLOT, w.Cloez Cond.: Faust – Vous qui faites l’endormie / Le veau d’or. 10” EL French Odéon 188.528, POM-1927. M-A MB 10

G1236. ÉTIENNE BILLOT, w.Cloez Cond.: Les Contes d’Hoffmann – Scintille diamant / Je me nomme Coppélius . . . J’ai des yeux. 10” EL French Odéon 188.529, POM-1927. M-A, choice copy has, Sd. 2 only, few wee pap. mks. MB 8

G1237. ÉTIENNE BILLOT, w.Cloez Cond.: Le Jongleur de Notre-Dame – Il pleure . . . un peu de foi (Massenet) / La Boheme – Vecchia zimarra (in French). 10” EL French Odéon 188.531, POM-1927. Billot was involved in the first performance of JONGLEUR at l’Opéra-Comique, 10 May, 1904, albeit in a different rôle. M-A MB 10

G1238. ÉTIENNE BILLOT, w.Cloez Cond.: Le Châlet – Arrêtons-nous ici / Entendez-vous ces airs (Adam). 10” EL French Odéon 188.674, POM-1929. M-A MB 10

G1239. ÉTIENNE BILLOT, w.Cloez Cond.: L’Africaine – Adamastor, roi des vagues, 2s. 10” EL French Odéon 188.677, POM-1927. M-A MB 10

G1240. ÉTIENNE BILLOT, w.Cloez Cond.: Guillaume Tell – Sois immobile / Rigoletto – Pari siamo! (in French). 10” EL French Odéon 188.676, POM-1929. M-A Sd. 2 is most heartfelt, sensitive singing! MB 10

G1241. ÉTIENNE BILLOT, w.Cloez Cond.: La Damnation de Faust – Devant la maison (Berlioz) / La Traviata – Di Provenza il mar (in French). 10” EL French Odéon 188.530, POM-1927. M-A MB 10

G1242. ÉTIENNE BILLOT, w.Cloez Cond.: Thaïs – Hélas, enfant encore / Toi qui mis la pitié dans nos âmes. 10” EL French Odéon 188.725, POM-1930. M-A MB 10

G1243. ÉTIENNE BILLOT, w.Cloez Cond.: Pelléas – Il avait toujours suivi / La Damnation de Faust – Voici des roses. 10” EL red Decca-Odeon G-20539, POM-1930. M-A MB 8

G1244. ÉTIENNE BILLOT, w.Cloez Cond.: Die Meistersinger – Was duftet doch der Flieder (Fliedermonolog) (in French), 2s. 10” EL French Odéon 188.730, POM-1930. M-A, choice copy has, Sd. 2 only, sev. infinitesimal dust mks, inaud. Billot at his most poetic! Exceedingly elusive! MB 12

G1245. ÉTIENNE BILLOT & CHARLOTTE TIRARD, w.Defosse Cond.: Faust – Scène de l’église, 4s. 2–10” EL red Decca-Odeon G-20512/13, POM-1930. M-A MB 20

“Étienne Billot was a member of l’Opéra-Comique for over thirty years…. He was involved in five premières at l'Opéra-Comique…and sang a total of nineteen different rôles during this time. He performed at the Théâtre de la Monnaie in Brussels during the period of 1910-14 and returned as a guest until 1928.” - Lewis R. M. Hall, Program Notes to VRCS 2001 Issue G1246. GÉRARD SOUZAY, w.Jean Michel Damase (Pf.): En sourdine / Après un rêve (both Fauré). 10” EL burgundy Italian Decca 4003, POM-10 Oct., 1946. A-, lovely copy has various lt. rubs & occasional scr., minimally ltly audible. MB 12

G1247. GÉRARD SOUZAY, w.Jean Michel Damase (Pf.): L’Horizon Chimérique (Fauré), 2s. 12” EL red French Decca K.1693, POM-7 Oct., 1946, issued UK & France only. M-A, lovely copy has, Sd. 1 only, wee pap. rub, inaud. MB 15

G1248. GÉRARD SOUZAY, w.Irène Aïtoff (Pf.): None but the lonely heart / At the ball (both in French) (both Tschaikowsky). 10” EL red Eng. Decca M.633, POM-10 Aug., 1948, issued UK & France only. M-A, lovely copy has, Sd. 1 only, faint pap. rubs, inaud. MB 12

G1249. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): Sept poèmes de François Maynard (Leguerney), 4s. 2–10” EL buff French Souzay Photo Label Decca AF 21369/70, only form of issue, c.1951. M-A, gleaming copy has, Sd 3 only, 2 infinitesimal dust scrs. MB 25

G1250. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): Clavierbüchlein für Anna Magdalena Bach – Willst du dein Herz mir schenken / Wie wohl ist mir (Bach). 12” EL buff Trésors de la Musique TM 1, only form of issue, 10 Feb., 1950, Salle Chopin, Paris. A-, very decent unworn copy has a few tiny scrs, only occasionally audible. Extremely late 78-era rarity! MB 10

G1251. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): Nacht und Träume / Der Wanderer an den Mond (both Schubert). 10” EL red Eng. Decca M.618, only form of issue, 27 Oct., 1947. M-A, lovely copy has faintest pap. rubs, inaud. MB 12

G1252. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): O ma belle rebelle / À la brise; Quanti mai (all Gounod). 12” EL red Eng. Decca K.1991, only form of issue, 27 Oct., 1947. M-A MB 10

G1253. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): O cessate di piagarmi (Scarlatti) / Posate, dormite (Bassani). 10” EL green Boîte à Musique 61, only form of issue, 1948. A-, very decent copy has lt. rubs & superficial scrs. MB 10

G1254. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): Vergin tutt’amor (Durante) / Cadmus et Hermione – Vous êtes le charme (Lully). 10” EL green Boîte à Musique 62, only form of issue, 1948. M-A, a gleaming copy. MB 20

G1255. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): Dein Angesicht / Der Sandmann (both Schumann). 10” EL green Boîte à Musique 70, only form of issue, 1949. M-A, a gleaming copy. MB 20

G1256. GÉRARD SOUZAY, w.Jacqueline Bonneau (Pf.): Der Arme Peter (Schumann), 2s. 10” EL green Boîte à Musique 69, only form of issue, 1949. M-A, a gleaming copy. MB 20

G1257. GÉRARD SOUZAY & GENEVIÈVE TOURAINE, w.Irène Aïtoff (Pf.): My dearest, my fairest / Sound the trumpet (both Purcell). 10” EL green Boîte à Musique 77, only form of issue, 1949. M-A, a gleaming copy. MB 20

“Gérard Souzay was still in the early dawn of his career when he recorded his discs for the French label Boîte à Musique; the tone is wonderfully fresh, the manner delightfully spontaneous.” - Alan Blyth, THE RECORD OF SINGING, Vol. IV, Program Notes

G1258. GÉRARD SOUZAY, w.Lindenberg Cond. Paris Conservatoire Orch.: Mandoline; Chansons de France – La Grotte / Trois Ballades de François Villon – Ballade que fait Villon à la requeste de sa mère (all Debussy). 12” EL red Eng. Decca K.2333, only form of issue, 14 Feb., 1950. A to M-A, lovely copy has very occasional superficial pap. mk, inaud. MB 10

G1259. GÉRARD SOUZAY, w.Lindenberg Cond. Paris Conservatoire Orch.: In questa tomba oscura (Beethoven) / Berenice – Si tra i ceppi (Handel). 12” EL red Eng. Decca K.2290, POM-2 June, 1949. Sd.2 won the Grand Prix du Disque, 1951. M-A, a gleaming copy. MB 10

G1260. GÉRARD SOUZAY & GERMAINE LUBIN: Signes (Leguerney) / Per valli, per boschi (Blangini). 12” EL vinyl Historic Masters HMA 94 (10” record pressed onto a 12” blank), POM-25 April, 1944, both from Unpublished Masters. MINT MB 15

“Gérard Souzay's art carried the DNA of the great French tradition. Studies and close associations with such greats as Claire Croiza, Vanni-Marcoux, Pierre Bernac, and Germaine Lubin burnished that which nature gave him….a warm, supple baritone, an instinctive sense for flowing phrasing, and a gift for perfectly balancing the text with the musical line. ‘Elegant’ is an appropriate description, as he never exploited the music for cheap effects nor did he lapse into the prosaic blandness of some singers undeservedly described with that term. If I dwell on Souzay's flexible top, that should not imply anything other than its place in a vocal arsenal centered on a firm, strong timbre. Fauré's songs often seem insubstantial when sung by wispy voices with misconceived notions of ‘French’ style, but Souzay's warm timbre is like a soft covering of a shaft of granite. He's always sensitive to a song's particular demands.” -- Dan Davis, classicstoday.com

G1261. ABREU, w.Mme Villa-Lobos (Pf.): Serestas – Cancão do Carreiro / Poemas indigenas – Canide youne sabath; Xangô (Chant africain) (all Villa-Lobos). 10” EL PW black Disque Gram. P-761, only form of issue, 20 June, 1928. M-A, choice copy has, Sd.2 only, faintest pap. rub, inaud. Companion disc to #375, Elsie Houston (also acc. by Mme Villa-Lobos), Sd.1 is a compelling version of Houston’s which is far better-known. Abreu’s sole recordings. MB 25

G1262. ANDRÉ PERNET, w.Cloez Cond.: Les Contes d’Hoffmann – Scintille diamant / Je me nomme Coppélius . . . J’ai des yeux. 10” EL French Odéon 188.715, POM-1930. M-A MB 10

G1263. ANDRÉ PERNET, w.Cloez Cond.: Die Walküre – Wotan’s farewell (in French), 2s. 12” EL French Odéon 123.728, POM-1930. M-A Exceedingly elusive! MB 15 G1264. PAUL PAYAN: Paul et Virginie – L’oiseau s’en voile / Galathée – Tristes amours (both Massé). 10½” AC Paris etched label H & D Aérophone 1086/87, recorded c.1912, Paris, missing in Girard & Barnes. A to M-A MB 15

G1265. PAUL PAYAN: Barbiere – La calunnia (in French) / L’Étoile du Nord – Au jours heureux (Meyerbeer). 10½” AC Paris etched label H & D Aérophone 908/911, recorded c.1912, Paris, missing in Girard & Barnes. A-, very decent copy has lt. grey on peaks, positively audible; Sd. 2 only has 2 wee scrs, very ltly audible. MB 10

G1266. PAUL PAYAN, w.Cloez Cond.: La Juive – Si la rigeur / Les Huguenots – Pif! Paf! Pouf! 12” EL French Odéon 123.567, POM-1929. M-A/A-B, lovely copy has, Sd. 2 only, few lt. scrs, positively ltly audible. MB 8

G1267. PAUL PAYAN, w.Cloez Cond.: Barbiere – La calunnia (in French) / La Jolie Fille de Perth – Quand la flamme de l’amour (Bizet). 12” EL French Odéon 123.655, POM-1929. M-A MB 10

“Paul Payan studied with Jacques Isnardon at the Paris Conservatory. His first engagement was with the Paris Opéra-Comique in 1906 as the Philosopher in LOUISE. His lengthy career there encompassed dozens of principal and secondary roles. He created a number of parts as well. His work outside of France included the Chicago Opera (1921), the Colón in Buenos Aires (1924), and Covent Garden (1928). His extensive discography includes recordings for French HMV, Aérophone, acoustic and electric Odeon, and ten four-minute Edison cylinders.” - Vincent Giroud, Program notes to Marston’s MEYERBEER ON RECORD

G1268. EMILIO de GOGORZA: In the gloaming (Harrison) / Drink to me only with thine eyes. 10” AC Vla 1061, POM-11 Jan. / 28 March, 1924, Sd. 1 being ‘Take’ 7 (of 2 issued ‘takes’),. A to M-A, lovely copy has, Sd. 1 only, sev. faint pap. scrs, inaud. Elusive very late AC-era issue enjoyed a brief catalogue life! MB 10

G1269. EMILIO de GOGORZA (as Carlos Francisco): La paloma (1904 Version) (Yradier). 12” AC black V 31346 (C-1917), ‘Take’ 2, POM-9 Nov., 1904. A, lovely copy has few faint rubs & pap. scrs, positively inaud. MB 10

G1270. EMILIO de GOGORZA (as Carlos Francisco): La golondrina (Serradell) / La paloma (1913 Version) (Yradier). 10” AC black Pat.’12 V 17442, POM-3 / 5 Sept., 1913. A to M-A, lovely copy has, Sd. 1 only, 2 infinitesimal pap. scrs, positively inaud. MB 8

G1271. EMILIO de GOGORZA: La paloma (1926 Version) (Yradier) / La golondrina (Serradel). 10” EL Orth Vla 1141, POM-12 Jan., 1926. M-A MB 8

G1272. EMILIO de GOGORZA: Juanita (Norton) / In old Madrid (Trotère). 10” EL Orth Vla 1179, POM-12 Jan., 1926. M-A MB 8

G1273. EMILIO de GOGORZA: Teresita mia (Nicto) / La Sevillana (Yradier). 10” EL Orth Vla 1203, POM-12 Jan., 1926. M-A MB 8

“Probably [de Gogorza] was one of the greatest singers ever to have recorded; the critic W.J. Henderson in 1926 characterized de Gogorza as ‘the supreme artist of them all’.” - John Stratton, SEVENTY YEARS OF ISSUES, p.IV

G1274. EMILIO de GOGORZA: El relicario (Padilla) / Rosario de la aurora. 10” EL Orth Vla 1294, POM-18 May, 1927. M-A/A-, lovely copy has, Sd. 2 only, few lt. mks, inaud. MB 8

G1275. EMILIO de GOGORZA: Romanza andaluza, Op.22, #1 (as Perlas Gadiranas – Ay!) (Sarasate, arr. Hernandez) / Noche serena. 10” EL Orth Vla 1278, POM-17 / 18 May, 1927. A to M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud.; minor ‘heat’ mk is ltly audible during 1st inch, both sides. Exceedingly elusive, Sd. 1 being particularly enchanting! MB 10

G1276. EMILIO de GOGORZA: For all eternity (Mascheroni). 10” AC black Monarch 4084 (B-1734), POM-5 Oct., 1904. A, choice copy has occasional lt. scr, positively inaud.; few ‘stressed’ grooves at beg.; uncommonly bright label. MB 12

G1277. EMILIO de GOGORZA (as Sig. E. Francisco): The lost chord (Sullivan). 10” AC black Monarch 1963 (B-1540), POM-29 June, 1904. A-, very decent copy has lt. rubs & lt. scrs. MB 15

G1278. EMILIO de GOGORZA (as Carlos Francisco): The lost chord (Sullivan). 10” AC black Pat.’08 V 1963 (B-1540), POM-29 June, 1904. A, lovely copy has few entirely superficial scrs, positively inaud. MB 8

G1279. EMILIO de GOGORZA (as Sig. Francisco): Consejos (Alvarez). 10” AC black Monarch 2999 (B-972), only form of issue, 26 Jan., 1904. A-, lovely copy has lt. rubs & 3 wee mks, ever-so-faintly audible 3 times. MB 15

G1280. EMILIO de GOGORZA (as Herbert Goddard): Good bye (1901 Version) (Tosti). 10” AC black flush label Eldridge R. Johnson Monarch 3331 (M-3331), only form of issue, 6 May, 1901. A-, lovely copy has few lt. entrely superficial scrs, positively inaud.; faintest label nr; label pressed off the ellipse, thus final grooves run into it. MB 25

G1281. EMILIO de GOGORZA (as Herbert Goddard): Good bye (1905 Version) (Tosti). 10” AC black GP V 1852 (B-2613), POM-8 June, 1905. A-, very decent copy has lt. rubs & few lt. scrs, minimally audible. MB 8

G1282. EMILIO de GOGORZA (as Herbert Goddard): Still wie die Nacht (Böhm; in English). 10” AC black GP V 1849 (B-65), ‘Take’ 10 (of 2 issued ‘takes’), only form of issue, 30 July, 1903. A-, very decent copy has lt. rubs & few lt. scrs, minimally audible. MB 12

G1283. EMILIO de GOGORZA (as Sig. Francisco): Tango del café (Nieto). 10” AC black GP V 4291 (B-2191), ‘Take’ 3 (of 2 issued ‘takes’), only form of issue, 1 Feb., 1905. A-B, very decent copy has lt. rubs & few superficial scrs, positively inaud. MB 10 G1284. EMILIO de GOGORZA (as Herbert Goddard): Dear heart (Mattei). 7” AC black flush label Eldridge R. Johnson Victor A-782, only form of issue, 6 May, 1901, Announced. B, decent copy has rubs & various scrs, positively audible. MB 25

G1285. EMILIO de GOGORZA (as Herbert Goddard): Charity (Faure). 7” AC black depressed label V 1334, only form of issue, 196 March, 1902, Announced. A-, lovely copy has lt. rubs & few superficial mks, inaud. MB 25

G1286. EMILIO de GOGORZA (as Señor Francisco): Ständchen (Schubert; in Spanish). 10” AC black Pat.’12 V 4643 (B-3085), POM-5 Feb., 1906, ‘Take’ 2 (of 2 issued ‘takes’; ‘Take’ 1 issued in Canada). A to M-A MB 10

G1287. EMILIO de GOGORZA (as Sig. Francisco): Dormi pure (Scuderi). 10” AC black GP V 1343 (B-1456), ‘Take’ 1, only form of issue, 9 June, 1904. A-, very decent copy has lt. scuffs, inaud.; infinitesimal mk is ltly audible at very end. MB 8

G1288. EMILIO de GOGORZA (as Carlos Francisco): Dormi pure (Scuderi) / Santa Lucia (Braga). 10” AC black V 62595 (B-1456/1916), Sd. 1 being ‘Take’ 4 (of 2 issued ‘takes’), POM-29 June / 9 Nov., 1904. M-A MB 10

G1289. EMILIO de GOGORZA (as Sig. Francisco): Ideale (Tosti). 12” AC black GP V 31184 (C-967), POM-26 Jan., 1904. A-, lovely copy has few lt. rubs, inaud. MB 10

G1290. EMILIO de GOGORZA: El Canto del Presidiario (1928 Version) (Alvarez) / La Partida – Canción española (Alvarez). 12” EL Orth Vla 6839, only form of issue, 6 April, 1928. M-A, lovely copy has, end Sd. 2 only wee pap. scr, ever-so-faintly audible. Exceedingly elusive! MB 15

G1291. EMILIO de GOGORZA: The clang of the forge (Rodney). 12” AC black DeLuxe 31326 (C-1763), POM-12 Oct., 1904. A-, lovely copy has few lt. rubs & pinpoint nd. MB 25

G1292. EMILIO de GOGORZA: Goodbye, sweetheart, goodbye (1905 Version) (Hatton). 12” AC black GP V 31431 (C-2612-2), POM-8 June, 1905, ‘Take’ 2 (of 2 issued ‘takes’). B-, very decent copy has lt. rubs & few lt. scrs. MB 8

G1293. EMILIO de GOGORZA: Goodbye, sweetheart, goodbye (1904 Version) (Hatton) / The Bohemian Girl – The heart bow’d down (Balfe). 10” AC black Pat.’08 V 16064 (B-2612-3 / 1464), POM-8 / 9 June, 1904. A to M-A, lovely copy has, Sd. 2 only, 2 infinitesimal scrs, positively inaud.; wee label nr, Sd. 2. MB 8

G1294. EMILIO de GOGORZA (as Carlos Francisco): Martha – Chi mi dirà (Porter Song) (Flotow) / FRANCESCO CIGADA: Il Trovatore – Il balen. 10” AC black Pat.’12 V 16812 (B-1106/7310½b), POM-11 March, 1904 / 1905. A to M-A MB 8

G1295. EMILIO de GOGORZA (as Sig. E. Francisco): Carmen – Chanson du Toréador (1902 Version). 10” AC black Monarch 1453 (A-1543), only form of issue, 25 June, 1902. B-, decent copy has rubs & numerous lt. scrs, possibly ltly audible. MB 15

G1296. EMILIO de GOGORZA (as Sig. Francisco): Carmen – Chanson du Toréador (1904 Version). 10” AC black Monarch 4074 (B1105), POM-11 March, 1904. A-, lovely copy has lt. rubs few superficial scrs, positively inaud.; uncommonly bright label. MB 10

G1297. EMILIO de GOGORZA (as Sig. Emilio de Gogorza): Pagliacci – Prologo, 2s. 2–10” AC black Monarch 2822/23 (B-1430 A & B), both sides are ‘Take’ 2 (of 2 issued ‘takes’), only form of issue, 7 June, 1904. A-B, very decent copies have lt. rubs & wee scrs.; uncommonly bright labels MB 25

G1298. EMILIO de GOGORZA: Patrie - Jadis elles chantaient gaiment (Paladilhe) / Benvenuto Cellini – De l'art, splendeur immortelle (Diaz). 12” AC silver Victor IRCC 141, POM-19 Sept., 1911 / 1 Feb., 1909, resp; Sd.2 from Unpublished Master. Numbered Copy #22 of a Limited Edition. Sd.1 label Autographed by de Gogorza. M-A, lovely copy has very occasional wee pressing bump. Among the most desirable and elusive IRCCs! MB 65

G1299. EMILIO de GOGORZA, w.Helen Winslow (Pf.): Bergère légère (arr.Weckerlin) / Menuet (Exaudet). 10 ” AC Vla 1108, only form of issue, 4 Feb., 1925 / 11 Dec., 1922. M-A Elusive very late AC-era issue enjoyed a brief catalogue life! MB 15

G1300. EMILIO de GOGORZA & TITO SCHIPA: A la luz de la luna (Anton & Michelena) / Los rumberos (Guaracha). 10” EL Orth Vla 3049, POM-17 Feb., 1928. M-A MB 10

G1301. EMILIO DE GOGORZA & EMMA EAMES: Zauberflöte – Bei männern (in Italian) / Il Trovatore – Mira d’acerbe lagrime. 12” AC mauve & gold HMV AGSB 15, POM-9 March, 1906 / 7 April, 1909. M-A MB15

“de Gogorza was an American baritone of Spanish descent. He spent his youth in Spain, France and in England, where he sang as a boy soprano. He returned to New York and made his début as assistant to Marcella Sembrich in 1897. Because he was extremely short-sighted he never sang in opera, but he soon found a place as a leading recitalist and festival soloist, often appearing jointly in recitals with Emma Eames, whom he married in 1911. From about 1898 he was very active in various recording studios, using a variety of pseudonyms (Carlos Francisco, M. Fernand, Herbert Goddard, etc.); eventually under his own name he became one of the most successful and prolific Victor Red Seal artists. Because of his own success and his association with many of the leading singers of his day, he became artistic director for Victor and supervised many recording sessions. In 1925 he joined the faculty of the Curtis Institute. His voice was a vibrant and virile baritone of wide range and ample power, as can be heard on numerous recordings. He was master of many styles, especially admired in music of the French and Spanish schools, but he had a gift of lending distinction to simple home songs and popular selections.” - Philip Lieson Miller G1302. FERRUCCIO CORRADETTI (as “FERCOR’): Gli ultimi istanti de Cesare Battisti / La Battaglia del Monte Corno (both Vitullo). 10” AC green Col. E4176 (84606/07), POM-c.1919. A-, very decent copy has lt. rubs, inaud.; Sd. 2 only has wee ec, not to grooves. This spoken, delightful rarity is missing from the definitive McPherson RECORD COLLECTOR 1998 discography. MB 20

G1303. FERRUCCIO CORRADETTI: Ave Maria (Cherubini) / Panis Angelicus (Franck). 10½” AC Milano Fonotipia 39555/39885 (XPh 1705/2217), POM-14 March / 6 Nov., 1906. A-, bright unworn copy has, Sd. each Sd., very lt. scrs, ever-so-faintly audible, if at all. MB 20

G1304. FERRUCCIO CORRADETTI: Barbiere – La calunnia / FERRUCCIO CORRADETTI & ELISA TROMBEN: Dunque io son. 10¾" AC brown Milano Fonotipia Odeon 37009/37121 (Xm22/127), POM-1908. A-, very decent copy has few lt. rubs, inaud.; Sd. 2 only has lt. scuff & tiny nd., very ltly audible a few turns. MB 15

G1305. FERRUCCIO CORRADETTI: Ernani – Lo vedremo / FERRUCCIO CORRADETTI, ERNESTINE TEBRO & ALFREDO CECCHI: O, sommo Carlo. 10¾“ AC brown Milano Fonotipia Odeon 37102/37063 (Xm 228/295), POM - 1905. A-, lovely copy has very occasional pap. scr or rub, inaud. MB 15

G1306. FERRUCCIO CORRADETTI & GIUSEPPE de LUCA: Don Pasquale – Cheti, cheti immantinente, 2s. 10¾“ AC Milano Fonotipia 39975/76 (XPh 2294/95), POM-12 Jan., 1907. A to M-A, exemplary copy has, Sd 1 only, faintest pap. rub, inaud. MB 20

G1307. FERRUCCIO CORRADETTI & GIUSEPPE ARMANINI: Don Pasquale – Prender moglie / Sogno soave e casto. 10¾“ AC Milano Fonotipia 92112/13 (XPh 2973/74), POM-4 Dec., 1907. A to A-, lovely copy has few minuscule pressing bumps, very ltly audible. MB 15

G1308. FERRUCCIO CORRADETTI, GIUSEPPE de LUCA & AÏDA GONZAGA : Don Pasquale – Via, da brava / La Scala Chorus: I Lombardi – Coro della Processione. 11¾“ AC Milano Fonotipia 74023/24 (XXPh 2388/2133), POM-31 Jan., 1907 12 Oct., 1906. Sd. 1 is ‘Take’ 1 (of 2 issued ‘takes’). A to M-A/B, lovely copy has, Sd. 2 only, sev. lt. scrs, ltly audible; Sd. 1 plays as M-A MB 15

G1309. PASQUALE AMATO: Andrea Chénier – Un dì m’era di gioia / RICCARDO STRACCIARI: Pagliacci – Prologo. 10¾“ AC Milano Fonotipia 92497/69058 (XPh 3871/3772), POM-1 June / 8 Feb., 1909. A to M-A MB 20

G1310. PASQUALE AMATO: Forza – Urna fatale / Son pereda, son ricco d’onore. 10¾“ AC Milano Fonotipia 92503/04 (XPh 3904/05), POM-8 June, 1909. A to M-A, choice copy has few wee pressing bumps MB 20

G1311. PASQUALE AMATO: Otello – Inaffia l’ugola. 10¾“ AC Milano Fonotipia 92760 (XPh 3948), POM-17 June, 1909. A-, very decent copy has lt. rubs & faint scrs, positively inaud. MB 15

G1312. MARIO SAMMARCO: Carmen – Chanson du Toréador (in Italian) / Don Giovanni – Deh, vieni alla finestra - 13½” AC US grey paper label H & D Pathé 80027 (86400/04), recorded 1912, Milano. A-, lovely copy has very occasional wee scr, inaud. MB 20

G1313. MARIO SAMMARCO: La Traviata – Di Provenza il mar / Il Trovatore – Il balen. 13½” AC US grey paper label H & D Pathé 80026 (86398/86402), recorded 1912, Milano. B-C/A-, very decent copy has lt. rubs & scrs, inaud.; Sd. 2 only has numerous heavy scrs, positively audible albeit causing no more than lt. clicks. MB 12

G1314. MARIO SAMMARCO: I Pagliacci - Prologo (1903 Version). 12” AC red Milano G & T 052041 (Con 711), only form of issue, 1903. A-, lovely copy has occasional lt. rub & infinitesimal pap. scr, inaud.; tiny edge spiderweb hlc, visible topside only; unusually bright label. MB 25

G1315. MARIO SAMMARCO: Otello – Credo (1903 Version). 12” AC red Milano G & T 052034 (Con 701), only form of issue, 1903. B-C, decent copy has rubs & numerous lt. scrs, positively audible. MB 25

G1316. MARIO SAMMARCO: Otello – Era la notte (1903 Version). 12” AC red Milano G & T 052039 (Con 707), only form of issue, 1903. B-, decent copy has lt. rubs & few lt. scrs, ltly audible; tiny hlc at edge. MB 25

G1317. MARIO SAMMARCO: L’Africaine – Adamastor, roi des vagues (in Italian). 12” AC red Milano G & T 052025 (Con 690), only form of issue, 1903. B, decent copy has lt. rubs & tiny scrs.; faint label nr MB 25

G1318. MARIO SAMMARCO & EDOARDO GARBIN: La Boheme – O Mimi, tu più non torni / GIANNINA RUSS & ORESTE LUPPI: Forza – Venite fidente alla croce. 10¾“ AC Milano Fonotipia 39223/39064 (XPh 254/40), POM-15 May, 1905 / 21 Oct., 1904. A-, lovely copy has, Sd. 2 only, lt grey on peaks. MB 20

G1319. MARIO SAMMARCO & ARMIDA PARSI-PETTINELLA: La Favorita – Quando le soglie paterne varcal … Ah! l’alto ardor, 2s. 10¾“ AC Milano Fonotipia 39683/84 (XPh 1930/31), POM-30 May, 1906. A-B, very decent copy has lt. rubs & faint scrs, ltly audible, if at all. MB 20

G1320. MARIO SAMMARCO: Rigoletto – Cortigiani / SAMMARCO & MARCELLA SEMBRICH: Tutte le feste al tempio. 12” AC PW gold V HRS 1005, POM-23 March, 1911 / 26 March, 1910, Neither side ever doubled in any regular series. Numbered Copy #23 of a Limited Edition. M-A, a gleaming copy. MB 45

G1321. MARIO SAMMARCO & EMMA CARELLI: Tosca – Act II duet, beginning ‘Quanto? Il prezzo!’ to the introduction to ‘Vissi d’arte’. (Carelli’s name is missing on label) 12” AC red Milano G & T 054028 (Con 703), only form of issue, 1903. B, decent copy has lt. rubs & scrs. MB 35

G1322. FRANCESCO M. BONINI: I Due Foscari – O vechio cor / Il Trovatore – Il balen. 10½” AC Milano Fonotipia 39831/39671 (XPh 1884/2112), POM-16 May / 3 Oct., 1906. A-B, decent copy has lt. rubs & scrs, mainly cosmetic. MB 20 G1323. GIOVANNI MILANI: Aïda – Rivedrai le foreste. 7” AC black Milano flush label Zonofono 1293, only form of issue, 1901. A to M-A, superlative copy. MB 25

G1324. GIOVANNI MILANI: Don Carlos – O sommo Carlo. 7” AC black Milano flush label Zonofono 1325, only form of issue, 1901. A-, very decent copy has lt. grey. MB 25

G1325. GIOVANNI BARDI: Faust – Souviens-toi du passé (Church scene) / Vous qui vaites l’endormie (both in Italian). 13½” AC Milano etched label H & D center-start Pathé 84124/25 (60915/13), recorded 1908. A to M-A MB 20

G1326. GIOVANNI BARDI & GIUSEPPE SALA: Ernani – Duetto della congiura / BINDO GASPARINI & ADOLFO PACINI: Forza – Amici in vita e morta. 13½” AC Milano etched label H & D center-start Pathé 86270/91 (82771/83095), recorded 1913. M-A MB 25

G1327. GIOVANNI BARDI, Baldassari-Tedeschi, Lopez-Nunez, di Bernardo, Giuseppe Sala & Adolfo Pacini: Lucia – Chi mi frena / Ranzato Cond. La Scala Chorus: Il Trovatore – Coro di zingari. 13½” AC Milano etched label H & D center-start Pathé 86350/51 (89474/88506), recorded 1912. A to M-A MB 20

G1328. VINCENZO RESCHIGLIAN: Il Guarany – Senza tetto, senza cuna (Gomez). 7” AC black Milano flush label Zonofono 472, only form of issue, 1901. A-, lovely copy has lt. scuffs, inaud. MB 25

G1329. TITO GOBBI, w.Olivieri Cond.: Musica Proibita – Femme sunnà cu ‘tte (Luccione) / Musica proibita (Gastaldon). 10” EL LVDP AV 51 (OBA.5166/67), only form of issue, 1942, Italy only. M-A Exceedingly elusive virtually unknown, missing from Steane discography in Gobbi’s autobiography! MB 35

G1330. TITO GOBBI, w.la rosa Parodi Cond. London S.O.: Marechiare (Tosti) / Santa Lucia (Cottrau). 10” EL HMV DA 2022, only form of issue, 2 Oct., 1952. M-A MB 12

G1331. TITO GOBBI, w.Erede Cond.: ‘A vucchella (Tosti) / Occhi di fata (Denza). 10” EL HMV DA 1887, only form of issue, 17 Feb., 1948. M-A MB 10

G1332. TITO GOBBI, w.Erede Cond.: Dicitencello vuje (Falvo) / Torna (Valente). 10” EL purple RCA 25-7146, POM-17 Feb., 1948, missing from Steane discography in Gobbi’s autobiography! M-A MB 12

G1333. TITO GOBBI, w.Erede Cond.: I Pagliacci – Prologo, 2s. 12” EL LVSM DB 6822, only form of issue, 2 Feb., 1948. M-A, gleaming copy of preferred French pressing. MB 12

G1334. TITO GOBBI, w.Erede Cond.: Otello –Era la notte / Barbiere – Largo al factotum. 12” EL HMV DB 6626, only form of issue, 2 Feb., 1948. M-A, lovely copy has, Sd. 2 only, wee pap. rub, inaud. MB 8

G1335. TITO GOBBI, w.Berrettoni Cond.: Don Giovanni – Deh, vieni alla finestra / La Fanciulla del West – Minnie, dalla mia casa. 10” EL LVDP DA 5430, only form of issue, 1942, Italy only. M-A Wonderful example of the very young Gobbi! MB 15

G1336. TITO GOBBI, w.Berrettoni Cond.: Don Carlos – Per me giunto, 2s. 12” EL LVDP DB 5447, only form of issue, 1942, Italy only. M-A MB 15

G1337. TITO GOBBI, w.Berrettoni Cond.: Zazà - Zazà, piccola zingara / Buona Zazà. 10” EL LVDP DA 5429, only form of issue, 1942, Italy only. M-A MB 15

G1338. TITO GOBBI, w.Robertson Cond. Philharmonia Orch.: Nozze – Aprite un pò quegli occhi / Non più andrai. 10” EL HMV DA 1946, only form of issue, 14 March, 1950. M-A MB 8

G1339. TITO GOBBI, w.Robertson Cond. Philharmonia Orch.: Otello –Credo / Forza – Urna fatale del mio destino. 12” EL HMV DB 21071, only form of issue, 14 March, 1950. M-A MB 8

G1340. TITO GOBBI, w.Green Cond.: The Glass Mountain – Song of the mountains (Pigarelli) / Take the sun (Rota). 10” EL HMV DA 1940, only form of issue, 29 March, 1950. M-A MB 10

”Tito Gobbi made his operatic début in the town of Gubbio in 1935, as Count Rodolfo in LA SONNAMBULA. He sang the rôle of Germont in LA TRAVIATA at the Teatro Reale in Rome in 1937. In the same year he sang Lelio in Ermanno Wolf-Ferrari's LE DONNE CURIOSE, and was promoted to primary rôles; in 1941 he sang Ford in Verdi's FALSTAFF during a visit by the company to Berlin in 1941. Meanwhile, in a guest appearance at Rieti, he first sang the rôle of Scarpia in TOSCA in 1940. Gobbi made his (official) La Scala début in as Belcore in L'ELISIR D'AMORE. He first appeared in Stockholm in 1947 as Rigoletto; in 1948 he went to Covent Garden in concerts and to San Francisco to début as Figaro in Rossini's BARBER OF SEVILLE. His London operatic début was at Covent Garden as Belcore when the La Scala Company toured there. He appeared in Chicago in 1954 as Rossini's Figaro, and débuted at the Metropolitan Opera as Scarpia, 13 January, 1956. He sang Don Giovanni in Salzburg in 1952 under von Karajan's direction.

He took up producing as well, often at Chicago, where he made regular appearances, and producing opera became an ever more important part of his career after 1965, which is when he produced a performance starring himself in the title rôle of Verdi's SIMON BOCCANEGRA in London. Although he was particularly well known for his portrayal of Verdi's baritone roles, he had a very large repertory of well over 100 rôles. He was an excellent actor, had a high degree of musicianship and intelligence, had a flexible, rich, but not large baritone voice, and was at home in a wide variety of parts. He also appeared in 26 movies. He was the brother-in-law of another eminent singer, Boris Christoff. Gobbi retired from the operatic stage in 1979. He published an autobiography (Tito Gobbi: My Life, 1979) and Tito Gobbi and His World of Italian Opera (1984). He left a significant legacy of recorded performances, mainly made in the 1950s and 1960s.” - Joseph Stevenson, All Music Guide G1341. EZIO PINZA: L'ultima canzone (Tosti) / La Boheme – Vecchia zimarra. 10” EL HMV DA 908, only form of issue, 17 Feb., 1927, although recorded USA, never issued there! M-A MB 8

G1342. EZIO PINZA: Norma – Ah! del Tebro (1923 Version) / EZIO PINZA & ROBERT d’ALESSIO: La Favorita – Non sai tu che d’un giusto. 10” AC PW HMV DA 566, POM-12 July / 20 June, 1923. M-A MB 8

G1343. EZIO PINZA: Norma – Ah! del Tebro (1929 Version) / Faust – Le veau d’or. 10” EL Orth Vla 3053, POM-8 April, 1929. M-A MB 6

G1344. EZIO PINZA & ROBERT d’ALESSIO: La Favorita – Non sai tu che d’un giusto / EZIO PINZA & ARISTODEMO GIORGINI: Faust – Eh bien? Que t’en semble (in Italian). 10” AC white Archive HMV VA 70, POM-20 June, 1923 / 19 Dec., 1924. M-A MB 10

G1345. EZIO PINZA: Lucia di Lammermoor – Dalle stanze / I Puritani – Cinta di fiori. 12” AC white Archive HMV VB 70, POM-11 July, 1923 / 17 Dec., 1924. MINT MB 6

G1346. EZIO PINZA: Simon Boccanegra – Il lacerato spirito / Lucia di Lammermoor – Dalle stanze. 12” AC PW Disco Grammofono DB 699, POM-19 June / 11 July, 1923, never issued US. M-A MB 12

G1347. EZIO PINZA: Mignon – De son coeur j’ai calme la fièvre (Berceuse) (1924 Version) / La Favorita – Splendon più belle (1924 Version). 10” AC Vla 1103, POM-17 Dec., 1924, Never listed in a North American Victor Catalogue. A-, decent copy has lt. rubs & scrs, mainly cosmetic. MB 8

G1348. EZIO PINZA: Mignon – De son coeur j’ai calme la fièvre (Berceuse) (1927 Version) / Le Caïd – Enfin chéri (Air du Tambour-Major) (Thomas). 12” EL PW Czech Gramola DB 1086, POM-29 March / 14 April, 1927. A to M-A, lovely copy of preferred Czech pressing. MB 15

G1349. EZIO PINZA: Robert le Diable – Nonnes, qui reposez / Zauberflöte – O Isis und Osiris (both in Italian). 12” EL LVDP DB 1088, POM-22 March, 1927. M-A, lovely copy of preferred LVDP pressing. MB 10

G1350. EZIO PINZA: La Juive – Si la rigeur (1923 Version) (in Italian) / EZIO PINZA & ANNA MARIA TURCHETTI: Mose in Egitto – Dal tuo stellato soglio. 12” AC LVDP DB 698, only form of issue, 12 / 11 July, 1923. M-A, lovely copy of preferred LVDP pressing. MB 15

G1351. EZIO PINZA: La Juive – Si la rigeur (1927 Version) / Vous qui du Dieu vivant. 10” EL Orth Vla 1246, POM-22 March, 1927. M-A MB 8

G1352. EZIO PINZA: Don Giovanni – Deh, vieni alla finestra / Finch'han dal vino. 10” EL Orth Vla 1467, POM-28 March, 1930. M-A MB 6

G1353. EZIO PINZA: Don Giovanni – Finch'han dal vino (sung twice, to enthusiastic applause). 10” EL S/S private acetate of undated broadcast performance. A to M-A MB 15

G1354. EZIO PINZA: Don Carlos – Ella giammai m’amò / NINA KOSHETZ: Prince Igor – Arioso of Jaroslavna (Borodin). 12” EL grey CCCP 013598/99, RRs-17 Feb., 1927 / 13 April, 1928. A to M-A MB 12

G1355. EZIO PINZA: La Favorita – Splendon più belle (1930 Version) / Ernani – Infelice e tu credevi. 12” EL V 7552, POM-9 April, 1930 / 7 May, 1929. Sd. 1 label has Pinza’s Autograph affixed. M-A MB 20

G1356. EZIO PINZA, w.Stevenson Barrett (Pf.): Il cacciatore del bosco (arr. Sinigaglia) / L’amour xe una pietanza (arr.Sadero). 10” EL Canadian Col. C10198, POM-12 Dec., 1947. M-A, lovely copy has, Sd. 1 only, lt. lams, ltly audible. MB 8

G1357. EZIO PINZA, w.Stevenson Barrett (Pf.): La Girometta (arr.Sibella) / Il maritino (arr. Sinigaglia). 10” EL Canadian Col. C10197, POM-12 Dec., 1947. M-A MB 10

G1358. EZIO PINZA, w.Gibner King (Pf.): Deep River (arr. Burleigh) / Thunderin' wonderin' (MacGimsey). 10” EL Col.17383-D, only form of issue, 30 Jan., 1945. M-A MB 8

G1359. EZIO PINZA, w.Gibner King (Pf.): Into the night (Edwards) / Do you remember? (Levitzki). 10” EL Col.17378-D, POM-30 Jan., 1945; issued USA & Australia only. M-A MB 8

G1360. EZIO PINZA, w.Fritz Kitzinger (Pf.): Songs & Arias by Monteverdi, Falconieri, Cavalli, Legrenzi, Sarti, Handel, Giordani, Buononcini, Torelli, Paisiello & Scarlatti, 6s. 3-12” EL PW V 17914/16, only form of issue, 9 & 10 May, 1940, in Orig. Album M-766, w.Brochure. M-A MB 25

"...The set of old Italian arias M-766 is a definite ‘must’....Some of [the arias] are hauntingly beautiful, especially the 'Oblivion soave' from Monteverdi's L'INCORONAZIONE DI POPPEA and Falconieri's 'O bellissimi capelli'....a collector's item to be snatched up, if you manage to get hold of it." - Leo Riemens, RECORD NEWS, Dec., 1950

G1361. EZIO PINZA, w.The Guadalajara Trio: Mr Imperium – You belong to my heart (in Spanish & English) (Lara) / w.Johnny Green Cond.: Let me look at you (Arlen). 10” EL white vinyl Promotional Copy RCA 10-3225, POM-16 / 21 Jan., 1951. B, decent unworn copy w.various scrs, positively audible. Sd. 1 label appears both sides. MB 8

G1362. EZIO PINZA, w.Norman Leyden Cond.: My Concerto (Alstone) / Paint Your Wagon – I still see Elisa (Loewe). 10” EL white vinyl Promotional Copy RCA 20-4313, only form of issue, 14 Sept., 1951. M-A MB 10

G1363. EZIO PINZA, w.Johnny Green Cond.: Knickerbocker Holiday – September Song (Weill) / Roberta - Yesterdays (Kern). 10” EL white vinyl Promotional Copy RCA 10-3256, POM-16 Dec., 1950, issued USA only. M-A MB 10 G1364. EZIO PINZA, w.Lehman Engel Cond.: Fanny – Welcome home / Love is a very light thing (Rome). 10” EL black Canadian RCA 20-6011, only form of issue, 21 Nov., 1954. Uncommon late 78-era issue. M-A MB 12

G1365. EZIO PINZA, w.Johnny Green Cond.: Strictly Dishonorable – I'll see you in my dreams (Jones) / Everything I have is yours (Lane). 10” EL RCA 10-3395, only form of issue, 7 May, 1951. M-A MB 8

G1366. EZIO PINZA, w.Johnny Green Cond.: Mr Imperium – Let me look at you / EZIO PINZA & FRAN WARREN: Andiamo (both Arlen). 10” EL RCA 10-3391, POM-21 Jan., 1951 / 15 Dec., 1950, issued USA only. M-A MB 8

G1367. EZIO PINZA, w.Voorhees Cond.: Don Carlos – Ella giammai m’amò / BIDU SAYÃO, w.Barlow Cond.: The last rose of summer. 12” EL vinyl V Disc 209, only form of issue, Live Broadcasts, 15 Jan. / 5 Feb., 1945, from Bell Telephone Hour / Voice of Firestone, resp. A-B, very decent copy has lt.rubs & scrs, endemic to this series, positively audible. MB 10

G1368. EZIO PINZA, w.Voorhees Cond. Bell Telephone Hour Orch.: Xerxes – Ombra mai fu / RICHARD CROOKS, w.Barlow Cond.: L'Elisir – Una furtiva lagrima. 12” EL vinyl V Disc 327, only form of issue, from broadcasts 5 June / 1 May, resp., 1944, NBC Studios, New York. M-A, choice copy appears unplayed has, Sd. 1 only, faint pap. scr, positively inaud. Extraordinary for this series which usually turns up quite battered! MB 35

G1369. EZIO PINZA & JAN PEERCE, w.Alfred Newman Cond.: Faust – Vous qui faites l’endormie (w.recit.) / ROBERTA PETERS, w.Alfred Newman Cond.: Faust – Air des bijoux; La Traviata – Sempre libera. 12” EL HMV DB 21577, only form of issue, 4 Sept., 1952. M-A Exceedingly elusive! MB 15

G1370. EZIO PINZA, JAN PEERCE, ROBERTA PETERS & ISAAC STERN; Alfred Newman Cond.: Tonight We Sing – Excerpts, 4 Sept., 1952, incl.: Kalinka; Song of the Volga Boatmen; Boris Godounov - Coronation Scene & Death Scene (all Pinza); Faust - Air des bijoux; La Traviata - Sempre libera (Peters); Mme Butterfly - Bimba degli occhi; Faust - Garden Scene (both Peters & Peerce); Mattinata (Leoncavallo); Mme Butterfly - Addio fiorito asil (both Peerce); Faust - Mais ce Dieu (Pinza & Peerce); Faust - Alerte! Alerte! ou vous ˆtes perdus! (Pinza, Peters & Peerce); Zigeunerweisen (Sarasate) & Concerto #2 in d – Excerpt (Wieniawski) (both Isaac Stern), 16s. 8-12” EL 20th Century Fox Special Private Issue, w.typewritten titles on 20th Century Fox printed labels. M-A MB 150

“…the mellow fruitfulness of Pinza’s tone, the richness of its colouring, the sturdiness of its growth and the strength of its flavour….He remains now as one of the great basses of the century.” - J. B. Steane, SINGERS OF THE CENTURY, Vol. I, pp.59-60

G1371. CESARE SIEPI, w.Gallino Cond.: Occhi di fata (Denza) / Malia (Tosti). 10” EL pale-blue Cetra AT 0133, only form of issue, 19 Oct., 1948. M-A, a gleaming copy. MB 25

G1372. CESARE SIEPI, w.Basile Cond.: Don Carlos – Ella giammai m’amò; Dormirò sol, 2s. 12” EL Parl.-Odeon R.30016, POM-11 July, 1947. A-, lovely copy has faintest pap. rubs, inaud. MB 8

G1373. CESARE SIEPI, w.Basile Cond.: I Vespri Siciliani – O tu, Palermo / Mefistofele – Son lo spirito che nega. 12” EL Parl.-Odeon R. 30007, POM-13 July, 1947. A-, very decent copy has lt. rubs & faint scrs, inaud. MB 8

G1374. CESARE SIEPI, w.Basile Cond.: L’Italiana in Algeri – Le femmine d’Italia / La Gioconda – Si, morir ella dè. 12” EL dark-green Cetra BB 25249, POM-18 / 16 Oct., 1948. A-, lovely copy has faintest pap. rubs, inaud. MB 8

“Siepi began singing as a member of a madrigal group. After his 1941 début (in Schio, near Venice, as Sparafucile in RIGOLETTO), Siepi, an opponent of the fascist regime, fled to Switzerland. After the end of the war his career immediately took off. Success as Zaccaria in NABUCCO at La Fenice was followed by the first of many engagements at La Scala. His early engagements there were in the Verdi bass roles, the title rôle in Boito's MEFISTOFELE under Arturo Toscanini. His international reputation was established in 1950, when Rudolf Bing brought him to the Metropolitan Opera to open the 1950 season as King Philip II in DON CARLOS. He was to remain principal bass at the Met until 1974. In 1953 Siepi débuted at the Salzburg Festival with a legendary DON GIOVANNI conducted by Wilhelm Furtwängler, staged by Herbert Graf, and designed by Austrian architect Clemens Holzmeister. He made an immediate impact at the Salzburg Festival in the title rôle of Don Giovanni which became perhaps his best known rôle, as it had been for the most famous Italian bass of the generation before, Ezio Pinza. Siepi was a frequent guest at the Vienna State Opera. He was a particularly fine recital artist and a sensitive interpreter of German lieder.”

G1375. GIUSEPPE TADDEI, w.Basile Cond.: Guglielmo Tell – Resta immobile / La Fanciulla del West – Minni, della mia casa. 10” EL pale-blue Cetra AT 0404, only form of issue, 17 March, 1955. A-, lovely unworn copy has lt rubs, inaud. Recommended copy of an extremely late 78-era issue. MB 25

G1376. GIUSEPPE TADDEI, w.Basile Cond.: Falstaff – L’onore / Don Giovanni – Deh, vieni alla finestra. 10” EL pale-blue Cetra AT 0403, only form of issue, 17 March, 1955. A-, lovely unworn copy has lt rubs, inaud. Recommended copy of an extremely late 78-era issue. MB 25

“Taddei was born in Genoa, Italy, and studied in Rome, where he made his professional début in 1936 as the Herald in LOHENGRIN. He sang at the Rome Opera until he was conscripted into the army in 1942. After the war, he resumed his opera career and appeared for two seasons at the Vienna State Opera. He made his début in London in 1947, at the Cambridge Theatre. The following year, 1948, saw his début at the Salzburg Festival, La Scala in Milan, and the Teatro di San Carlo in Naples. His American début took place at the San Francisco Opera in 1957, followed by the Lyric Opera of Chicago in 1959. He sang regularly at the Royal Opera House in London from 1960 to 1967.

Taddei was equally effective in comedy and drama. His vocal longevity allowed him to continue singing into old age, including a début at the Metropolitan Opera, on 25 September, 1985, as Falstaff, at the age of 69.” G1377. GIAN PIERO MALASPINA, w.Piero Pavesio (Pf.): Tti ricordi / Con te ho vissuto una vita (both Mascheroni). 10” EL green Cetra DC 5643, only form of issue, 10 Nov., 1952. M-A, a gleaming copy. MB 30

G1378. GIAN PIERO MALASPINA, w.Piero Pavesio (Pf.): Verde ucrania (Olivieri) / Show Boat – Ol’ man river (as Vecchio fiume) (Jerome Kern; in Italian). 10” EL green Cetra DC 5644, only form of issue, 10 Nov., 1952. M-A, a gleaming copy. Most elusive, Jerome Kern certainly never sounded like this – nor so beautifully sung! MB 30

G1379. GIULIO NERI, w.Basile Cond.: Simon Boccanegra – Il lacerato spirito / Barbiere – La calunnia. 12” EL red Cetra BB 25295, POM-17 Oct., 1951. M-A, a gleaming copy with remarkably quiet surfaces. Sd. 1 is a particularly magnificent example of Neri’s dignified singing and eloquent black bass quality. One would be most unlikely to encounter a Fiesco so beautifully-sung these days! MB 25

G1380. GIULIO NERI, w.Basile Cond.: Boheme – Vecchia zimarra / Mefistofele – Son lo spirito che nega (same as below). 10” EL pale-blue Cetra AT 0269, POM-17 Oct., 1951. M-A, a gleaming copy. Quite appropriately named (Neri’s nickname in early life was ‘Bronzone’), Neri’s deep, dark voice displays an especially sonorous pure bass quality! MB 25

G1381. GIULIO NERI, w.Basile Cond.: La Favorita – Splendon più belle / Mefistofele – Son lo spirito che nega. 10” EL pale-blue Cetra AT 0268, POM-17 Oct., 1951. M-A, gleaming copy has, Sd. 2 only, infinitesimal ipc nowhere near edge, positively inaud. MB 15

“Neri sang throughout Italy, making his La Scala début in 1941. After the war he began appearing abroad, notably at the Royal Opera House in London, the Liceo in Barcelona, the Munich State Opera, the Teatro Colón in Buenos Aires, etc. He sang most of the great bass roles in opera by Verdi and some Wagner with his dark, powerful, cavernous voice and a strong stage presence.”

G1382. GIUSEPPE VALDENGO,w.Petralia Cond.: Sogno / L'ultima canzone (both Tosti). 12” EL red Italian Cetra PE 98, only form of issue. A to M-A, lovely copy has, Sd. 1 only, tiny edge flake & faintest edge lams, visible topside only. MB 10

G1383. GIUSEPPE VALDENGO,w.Basile Cond.: Nozze – Non più andrai / Andrea Chénier – Nemico della Patria. 12” EL red Italian Cetra PE 197, only form of issue, 4 / 5 Dec., 1953. M-A, gleaming copy has, Sd. 1 only, 2 faintest pap. rubs, positively inaud. MB 25

G1384. GIUSEPPE VALDENGO, w.Erede Cond.: La mia canzone / ‘A vucchella (both Tosti). 10” EL red London R.10126, POM-1949. M-A MB 15

G1385. GIUSEPPE VALDENGO, w.Erede Cond.: T’amo ancora (Tosti) / Mia sposa sara la mia bandiera (Rotoli). 12” EL red London T.5259, POM-1949. M-A MB 12

G1386. GIUSEPPE VALDENGO, w.Erede Cond.: E’il canta il grillo (Billi) / Se (Denza). 12” EL red London T.5260, POM-1949. M-A, a gleaming copy. MB 12

G1387. GIUSEPPE VALDENGO, w.Erede Cond.: Aprile / L’ultima canzone (both Tosti). 12” EL red London T.5258, POM-1949. M-A MB 12

G1388. GIUSEPPE VALDENGO, w.Erede Cond.: Rigoletto – Cortigiani / Pari, siamo! 12” EL orange Eng. Decca X.304, POM-1949. M-A, a gleaming copy. MB 15

G1389. GIUSEPPE VALDENGO, w.Erede Cond.: Pagliacci – Prologo, 2s. 12” EL orange Eng. Decca X.303, POM-1949. M-A, a gleaming copy. MB 15

G1390. GIUSEPPE VALDENGO, w.Erede Cond.: Pagliacci – Prologo, 2s. 12” EL red London T.5255, POM-1949. M-A MB 10

G1391. GIUSEPPE VALDENGO, w.Erede Cond.: Hamlet – Brindisi / Faust – Avant de quitter ces lieux (both in Italian). 12” EL red London T.5257, POM-1949. M-A, a gleaming copy. MB 12

“After studying in Turin, Valdengo made his début in 1936 at Parma as Rossini 's Figaro, then sang Sharpless at Alessandria. Though engaged at La Scala in 1939, he did not sing there (because of military service) until 1941 , when he made his début as Baron Douphol. In 1946 he performed at the New York City Opera, then in 1947 made his San Francisco début as Valentin, returning as Escamillo, Sharpless, Iago, Amonasro and Rigoletto. At the Metropolitan (1947–54) he sang Tonio, Marcello, Germont, Count Almaviva, Belcore, Ford, Paolo (SIMON BOCCANEGRA) and Giacomo Puccini 's Lescaut. In 1955 he sang Don Giovanni and Raimbaud (LE COMTE ORY) at Glyndebourne, and in 1961 he created the Lawyer in Renzo Rossellini's UNO SGUARDO DAL PONTE in Rome. His recordings of Iago, Amonasro and Falstaff, deriving from NBC broadcasts (1947–50) conducted by Arturo Toscanini, are vividly and firmly sung, with an even, flexible line.” - Alan Blyth

G1392. LUIGI MONTESANTO: Pagliacci – Prologo, 2s. 11½” AC H & D grey paper label US-Pathé 59070 (84159/60), recorded 1912, Milano. This issue number missing in Girard & Barnes. M-A, a gleaming copy. MB 15

G1393. LUIGI MONTESANTO & ELVIRA MAGLIULO: Aïda – Rivedrai le foreste, 2s. 13½” AC Milano etched label H & D center-start Pathé 84167/68 (70228/70065), recorded 1911. M-A MB 25

G1393a. NICOLA ROSSI-LEMENI: Lament of the Siberian prisoner (Unaccompanied, in Russian) (same as above) / w.Basile Cond.: Boris Godounov – Ah! I am suffocating (Clock scene) (in Russian). 12” EL red Cetra BB 25279, POM-26 / 27 Nov., 1950. Sd. 1 is hauntingly beautiful. M-A, a gleaming copy. MB 15

G1394. NICOLA ROSSI-LEMENI, w.Giorgio Favaretto (Pf.): Come raggio di sol (Caldara) / Widmung (in German) (Schumann). 10” EL pale-blue Cetra AT 0234, only form of issue, 26 Nov., 1950. M-A, a gleaming copy. MB 25

G1395. NICOLA ROSSI-LEMENI, w.Giorgio Favaretto (Pf.): Ich grolle nicht (in German) (Schumann) / Occhi neri (in Russian). 10” EL pale-blue Cetra AT 0236, only form of issue, 23 Feb., 1951. M-A, a gleaming copy. MB 25

G1396. NICOLA ROSSI-LEMENI, w.Giorgio Favaretto (Pf.): Verborgenheit (Wolf) / Der Doppelgänger (Schubert) (both sung, exquisitely, in Italian). 12” EL Parl.-Odeon R 30046, POM-22 Feb., 1951. M-A, a gleaming copy. MB 20

G1397. NICOLA ROSSI-LEMENI, w.Giorgio Favaretto (Pf.): Song of the flea (in Russian) (Mussorgsky) / Don Quixote – Chanson de la mort (in French) (Ibert). 10” EL pale-blue Cetra AT 0233, only form of issue, 26 Nov., 1950. M-A, a gleaming copy. MB 25

G1398. NICOLA ROSSI-LEMENI, w.Basile Cond.: Boris Godounov – I have attained the highest power (in Russian), 2s. 12” EL red Cetra BB 25278, POM-27 Nov., 1950. M-A, gleaming copy has, Sd. 2 only, sev. infinitesimal rubs, positively inaud. MB 15

G1399. NICOLA ROSSI-LEMENI, w.Basile Cond.: Faust – Le veau d’or (in French) / Mefistofele – Ecco il mondo (in Italian). 10” EL pale-blue Cetra AT 0235, only form of issue, 24 Feb., 1951. M-A, a gleaming copy. MB 25

G1400. NICOLA ROSSI-LEMENI, w.Benintende-Neglia Cond.: Faust – Vous qui faites l’endormie / w.Fistoulari Cond.: Le veau d’or (both in French). 10” EL HMV DA 2050, only form of issue, 1 / 6 Aug., 1952. M-A MB 10

G1401. NICOLA ROSSI-LEMENI, w.Benintende-Neglia Cond.: A Life for the Tsar – They guess the truth / w.Braithwaite Cond.: Prince Igor – I hate a dreary life (both in Russian). 12” EL HMV DB 21559, only form of issue, 4/5 Aug., 1952. M-A MB 10

“Rossi-Lemeni was born in Istanbul, Turkey, the son of an Italian colonel and a Russian mother. In his prime he was one of the most respected bassos in Italy. The composer Ildebrando Pizzetti wrote the opera ASSASSINIO NELLA CATTEDRALE (1958) specifically for Rossi-Lemeni. He was also a prize-winning poet and a painter. The basso made his début as Varlaam in BORIS GODOUNOV, at Venice, in 1946. He sang at La Scala from 1947 to 1960, the Teatro Colón (1949) and Covent Garden (1952). He appeared at the Metropolitan Opera, opening the 1953-54 season, in FAUST (with Jussi Björling, Victoria de los Ángeles and Robert Merrill, conducted by Pierre Monteux and directed by Peter Brook in his Met début), followed by the title roles of DON GIOVANNI and BORIS GODOUNOV. Rossi-Lemeni was married to Romanian soprano Virginia Zeani.”

G1402. KIM BORG, w.Hjalmar Jensen (Organ): Komm, süsser Tod / O Jesuslein süss (both Bach). 10” EL yellow Danish Felix 231/232, only form of issue, 1952. M-A MB 10

G1403. KIM BORG, w.Arthur Rother Cond. Münchener Phil.: Boris – Pimen’s Monologue (in Russian) / Barbiere – La calunnia (in Italian). 10” EL Variable Micrograde DGG 36095, only form of issue, 30 Dec., 1953. M-A, a gleaming copy. MB 10

G1404. KIM BORG, w.Arthur Rother Cond. Münchener Phil.: Boris – Pimen’s Monologue / Barbiere – La calunnia (both in German). 10” EL Variable Micrograde DGG 36088, only form of issue, 29 Sept., 1953. M-A, a gleaming copy. MB 10

G1405. KIM BORG, w.Arthur Rother Cond. Münchener Phil.: Zauberflöte – In diesen heil’gen Hallen / O Isis und Osiris. 10” EL Variable Micrograde DGG 36089, only form of issue, 20 March, 1953. M-A, a gleaming copy. MB 10

“Finnish bass-baritone and composer, Kim Borg made his operatic début in 1952 at Århus, Denmark, as Colline in LA BOHÈME. An international career opened up in 1956 when he sang at Salzburg and Glyndebourne, his rôles there being Don Giovanni, Pizarro and Prince Gremin. He made his Metropolitan début in 1959 as Count Almaviva. From 1960 he was a member of the Swedish Royal Opera, also singing regularly in Hamburg where in 1966 he appeared in the world première of Gunther Schüller's THE VISITATION. Borg retired from the stage in 1980. From 1972 to 1989 he was professor of singing at the Copenhagen Conservatory. A fine linguist and a cultivated musician, he can be heard in many recordings from the 1950s and 60s when his firm, full-bodied voice was in its prime.”

G1406. ALEXANDER SVÉD, w.Charles Benci’s Gypsy Orchestra: Alexander Svéd in the ‘Csarda’, 8s. 4-10” EL purple RCA 25-6056/59, only form of issue, c.1949, in Orig.Album S-47. M-A, choice copy has occasional pap. rub, inaud. MB 20

G1407. ALEXANDER SVÉD, w.Olivieri Cond.: Macbeth - Pietà, rispetto, amore / Guillaume Tell – Sois immobile (in Italian). 12” EL LVDP DB 5366, only form of issue, 1940. M-A, a gleaming copy. MB 12

G1408. ALEXANDER SVÉD, w.Simonetto Cond.: Ballo – Eri tu?, 2s. 12” EL dark-green Cetra BB 25191, only form of issue, 27 / 28 June, 1947. M-A, a gleaming copy. MB 12

G1409. ALEXANDER SVÉD, w.Simonetto Cond.: Rigoletto – Cortigiani / Guillaume Tell – Sois immobile (in Italian). 12” EL dark-green Cetra BB 25203, only form of issue, 5 July / 29 June, 1947. M-A, a gleaming copy. MB 12

G1410. ALEXANDER SVÉD, w.Simonetto Cond.: Rigoletto – Pari siamo / ALEXANDER SVÉD & LINA PAGLIUGHI: Figlia! Mio padre!, 3s. 2–12” EL dark-green Cetra BB 25199/25200, only form of issue, 1-5 July, 1947. M-A, a gleaming copy. MB 20

G1411. ALEXANDER SVÉD & LINA PAGLIUGHI, w.Simonetto Cond.: Rigoletto – Chi è mai, chi è qui in sua voce . . . Lassù in cielo, 2s. 12” EL dark-green Cetra BB 25202, only form of issue, 1 July, 1947. M-A, a gleaming copy. MB 10 G1412. ALEXANDER SVÉD, w.Simonetto Cond.: Die Meistersinger – Wahn! Wahn! Überall Wahn! (in German), 2s. 12” EL dark-green Cetra BB 25198, only form of issue, 3 July, 1947. M-A, a gleaming copy. MB 15

G1413. ALEXANDER SVÉD, w.Simonetto Cond.: Die Meistersinger – Was duftet doch der Flieder (Fliedermonolog) / Tannhäuser – O du mein holder Abendstern (both in German). 12” EL dark-green Cetra BB 25205, only form of issue, 6 July, 1947. M-A, a gleaming copy. MB 15

G1414. ALEXANDER SVÉD, w.Simonetto Cond.: Otello – Era la notte / Credo. 12” EL dark-green Cetra BB 25192, only form of issue, 27 / 28 June, 1947. M-A, lovely copy has, Sd. 2 only, long laterla lam, ltly audible during 1st inch. MB 8

G1415. ALEXANDER SVÉD, w.Kossuth Cond.: Don Giovanni – Finch'han dal vino / w.Vilmos Cond.: Deh, vieni alla finestra (both in Hungarian). 10” EL pale-green Budapest M.H.V. MK 1553. A to M-A, lovely copy has occasional lt. rub, inaud. MB 12

G1416. ALEXANDER SVÉD & MIHÁLY SZÉKELY, w.Varga Cond.: Rigoletto – Quel vecchio maledivami! (Sparafucile & Monterone duet) / Simon Boccanegra – Del mar sul lido fra gente ostile (Simon & Fiesco) (in Hungarian). 12” EL pale-green Budapest M.H.V. MN 1127. A to M-A, beautiful copy has, Sd. 2 only, 3 infinitesimal dust mks, inaud. Remarkably quiet surfaces. MB 12

G1417. ALEXANDER SVÉD, w.Gyukovics, Tiszay & Simandy, w.Kulka Cond.: Rigoletto – Bella figlia dell’amore / w.Littassy & Kulkey: Lucia – Chi mi frena (both in Italian). 12” EL blue & white Qualiton MX 2553/52. M-A, a gleaming copy. Remarkably quiet surfaces. MB 12

“Alexander Svéd studied singing with Fritz Feinhals in Berlin, and with Mario Sammarco and Riccardo Stracciari in Milan. He made his début in Budapest in 1928 as Count di Luna in IL TROVATORE. He made his first appearance at the Vienna Staatsoper in 1936 and continued to sing there until 1939. He also sang at Covent Garden in 1936, and at the Salzburg festivals of 1936-38. In 1938 he appeared at La Scala in the title rôle of MACBETH, the first of several Milan rôles that included Germont, Prince Igor, William Tell and Amfortas. After his 1940 Metropolitan début in UN BALLO IN MASCHERA, he sang there regularly until his return to Hungary in 1950, when he rejoined the Budapest opera.”

G1418. IGOR GORIN, w.Donald Voorhees Cond. Bell Telephone Orch.: Homing (del Riego); Brother Will, Brother John (Sacco); Barbiere – Largo al factotum / GEORGE LONDON: When I’m looking at you (Stothart); For you alone (Geehl); Nozze – Non più andrai. 12” EL Lloyd Garrison 331/3 rpm Professional Acetate of Live Performances, 27 Dec., 1954 / 3 Jan., 1955. M-A MB 35

G1419. IGOR GORIN, w.Adolph Baller (Pf.): El Vito / Viallancico Vasco (both Nin). 10” EL V 2213, only form of issue, 2 July, 1941. A to M-A MB 10

G1420. IGOR GORIN, w.Albert Hay Malotte (Pf.): Pledge to the Flag / The Lord’s Prayer (both Acc. by the Composer). 10” EL PW V 4535, only form of issue, 16 / 22 Aug., 1940; Sd. 2 being a Creator Record. M-A MB 10

G1421. IGOR GORIN, w.Albert Hay Malotte (Pf.): Among the living / My friend (both Acc. by the Composer). 10” EL V 4554, only form of issue, 16 / 22 Aug., 1940. M-A MB 10

G1422. IGOR GORIN, w.Max Rabinowitsch (Pf.): Songs and Dances of Death; To the little star; The banks of the Don; The forgotten one; Sorochintski Fair – Reverie of the young peasant (all Mussorgsky), 8s. 4–10” EL PW V 2036/39, only form of issue, 23 June / 10 April, 1939, in Orig. Album M-636. M-A, a gleaming copy. MB 35

G1423. IGOR GORIN, w.Pilzer Cond.: Songs by Cadman, Romberg, Malotte, Kálmán, etc., 6s. 3-10” EL RCA 10-1290/92, POM-8 Feb., 1945 & 24 Sept., 1946, issued USA only, in Orig. Album M-1125. M-A, a gleaming copy. MB 15

G1424. IGOR GORIN, w.Shilkret Cond.: Caucasian melody (Sung by the Composer) / Kasbek (arr. Bolin). 10” EL PW V 4337, only form of issue, 26 Jan., 1937. A-B, very decent copy has lt. rubs, inaud. MB 8

G1425. IGOR GORIN, w.Pelletier Cond.: Over the steppe (Gretchaninoff) / Gopak (Moussorgsky). 10” EL PW V 4414, POM-28 April / 4 May, 1938. M-A MB 10

G1426. IGOR GORIN, w.Pelletier Cond.: Pagliacci – Prologo, 2s. 10” EL PW V 4409, POM-4 May, 1938. A, lovely copy has, Sd. 2 only, lt. grey on peaks. MB 10

G1427. IGOR GORIN, w.Pelletier Cond.: Non è ver (Mattei) / Barbiere – Largo al factotum. 12” EL PW V 12437, POM-28 April, 1938. M-A MB 12

G1428. IGOR GORIN, w.O’Connell Cond.: The song of the United Nations (Shostakovich) / Khovanschina – All is quiet in the camp (Act III) (Moussorgsky). 12” EL V 11-8250, only form of issue, 8 June, 1942. M-A MB 10

G1429. IGOR GORIN, w.Reibold Cond.: Attila – Dagli immortali vertici (Verdi; in Italian) / Die Königin von Saba – Blick empor zu jenen Räumen (Goldmark; in English). 12” EL V 18402, POM-3 July, 1941. M-A MB 10

“It was during NBC’s The Standard Hour programs that Gorin met the composer Albert Hay Malotte. As a result, Gorin was the first to perform Malotte’s famous setting of ‘The Lord’s Prayer’. It was to become Gorin’s most popular song on radio, television and in concerts. Notable future performances included portrayals of Rigoletto on the television program NBC Opera Theatre in 1958 and Giorgio Germont with NBC, again in 1960. He appeared with Boris Christoff in 1962 at the Lyric Opera of Chicago in Borodin’s PRINCE IGOR, directed by Vladimir Rosing. In 1963 Gorin sang with the New York City Opera, as Rigoletto, and Giorgio Germont in LA TRAVIATA (opposite Beverly Sills). He made one guest appearance at the Metropolitan Opera in LA TRAVIATA in 1964. - J.B. Steane G1430. MARK REIZEN: Oh, thou Volga / A young eagle flew over the Volga (both Russian folksongs). 7¾” EL red Aprelevski Zavod Extended Play D-00219/20, recorded c.1950. A to M-A, lovely copy has few lt. rubs, only momentarily ltly audible. MB 15

G1431. MARK REIZEN: A tear trembles / Autumn (both Tchaikovsky). 7¾” EL red Aprelevski Zavod Extended Play D-00616/17, recorded c.1950. M-A, a gleaming copy. MB 25

G1432. MARK REIZEN: Anchar / The gloomy day has faded (both Rimsky-Korsakov). 7¾” EL red Aprelevski Zavod Extended Play D-00713/14, recorded c.1951. M-A, a gleaming copy. MB 25

G1433. MARK REIZEN: The daring hawks (Mokroussov), 2s. 10” EL red CCCP Aprelevski Zavod 19423/24, recorded 1951. M-A, a gleaming copy. MB 15

G1434. MARK REIZEN: Farewell joy (Russian folksong) / SERGEI LEMESHEV: Russian folksong. 10” EL dark-blue Aprelevski Zavod 5945/5579, recorded 1937. M-A, lovely copy has, Sd. 2 only, few faint mks. MB 20

G1435. MARK REIZEN: I am sad (Dargomyzhsky) / Ich grolle nicht (Schumann; in Russian). 10” EL pale-blue Aprelevski Zavod 9154/55, recorded 1938. M-A MB 25

G1436. MARK REIZEN: The night wind / The titular councillor; The miller (all Dargomyzhsky). 10” EL taupe Aprelevski Zavod 9151/9664, recorded 1938. M-A MB 25

G1437. MARK REIZEN: O could I but express in song (Malashkin) / Gold rolls here below (Persian love song) (Rubinstein [although att. on label to Rimsky-Korsakov]). 10” EL pale-lavender Aprelevski Zavod 9152/53, recorded 1938. M-A MB 35

G1438. MARK REIZEN: Frenzied nights / The nightingale (both Tchaikovsky). 10” EL red USSR Aprelevski Zavod 9601/02, recorded 1938. A, lovely copy has very few superficial rubs. MB 15

G1439. MARK REIZEN: Night / Song of the Volga boatmen (both Russian folksongs). 10” EL red CCCP Aprelevski Zavod 10615/16, recorded 1940. M-A MB 15

G1440. MARK REIZEN: The tempest rages (Sokolov) / Speak to me not, bride (Russian folksong). 10” EL red CCCP Aprelevski Zavod 14047/48, recorded 1946. M-A MB 15

G1441. MARK REIZEN: So slowly pass my days / O, if you could for a moment (both Rimsky-Korsakov). 10” EL red USSR Aprelevski Zavod 14267/68, recorded 1946. M-A MB 15

G1442. MARK REIZEN: Octave (Rimsky-Korsakov) / We parted proudly (Dargomyzhsky). 10” EL burgundy Aprelevski Zavod 14269/14349, recorded 1947. A-, lovely copy has, Sd. 2 only, sev. lt rubs, positively inaud.; Sd. 1 only has few wee dust mks, only occasionally ever-so-faintly audible. Among Reizen’s most beautiful! MB 15

G1443. MARK REIZEN: Song of the flea (Mussorgsky) / Es war einmal (Song of the flea) (Beethoven; in Russian). 10” EL red CCCP Aprelevski Zavod 14910/15399, recorded 1947. M-A MB 15

G1444. MARK REIZEN: Sebastopol stone (Mokrousov), 2s. 10” EL burgundy CCCP Bellaccord Electro 15349/50 (651/47), recorded 1947 (missing in Linnell RECORD COLLECTOR discography). M-A MB 25

G1445. MARK REIZEN: An die Musik (1947 Version) (Schubert; in Russian) / A song of travel (Glinka). 10” EL red CCCP Aprelevski Zavod 15432/33, recorded 1947. M-A MB 15

G1446. MARK REIZEN: Der Wanderer; An die Musik (1952 Version) / Die Schöne Müllerin – Das Wandern (all Schubert; in Russian). 7¾” EL red Aprelevski Zavod Extended Play D-00951/52, recorded c.1952. M-A, gleaming copy has, Sd 2 only, faintest pap. scr, inaud. MB 25

G1447. MARK REIZEN: Der Döppelganger / Aufenthalt (1950 Version) (both Schubert; in Russian). 12” EL red CCCP Aprelevski Zavod 07521/20, recorded 1938. M-A, lovely copy has, Sd. 1 only, faintest pap. rub, inaud. MB 25

G1448. MARK REIZEN: The sailor’s last voyage (Alnaes) / Aufenthalt (1950 Version) (Schubert; in Russian). 12” EL pale-green Aprelevski Zavod 017774/75, recorded 1950. A-, lovely copy has few lt. rubs, inaud. MB 25

G1449. MARK REIZEN: I bless you, forests (Pilgrim’s song) / Night (both Tchaikovsky). 12” EL black Aprelevski Zavod 07518/19, recorded 1938. M-A MB 25

G1450. MARK REIZEN: Arise, red sun (Slonov) / On a high burial mound (Russian folksong). 10” EL red USSR Aprelevski Zavod 16053/52, recorded 1948. M-A MB 15

G1451. MARK REIZEN, w.Steinberg Cond.: Faust – Il était temps (Garden Scene) (in Russian) / Steinberg Cond: Faust – Waltz. 10” EL red CCCP Aprelevski Zavod 9917/18, recorded 1939. A-/A, lovely copy has, Sd. 1 only, few faintest scrs, ever-so-faintly audible, if at all. MB 15

G1452. MARK REIZEN, w.Melik-Pashaev Cond.: Ruslan and Ludmilla – The happy day is gone (Farlaf’s rondo) (Glinka) / Judith – Holofernes’ war cry (Serov). 10” EL red Aprelevski Zavod 15685/16312, recorded 1948. M-A MB 15

G1453. MARK REIZEN, w.Nebolsin Cond.: Prince Igor – How goes it, Prince?, 2s. 12” EL purple CCCP Aprelevski Zavod 017451/52, recorded 1941. M-A MB 25

G1454. MARK REIZEN, w.PREOBRAZHSKAYA & NECHAYEV; Khaikin Cond.: Khovanschina – Final scene (Mussorgsky), 2s. 10” EL red CCCP Aprelevski Zavod 16443/44, recorded 1948. M-A/A-, lovely copy has, Sd. 2 only, lt. rub, positively inaud. MB 15

G1455. MARK REIZEN, w.Melik-Pashaev Cond.: Eugen Onégin – Everyone knows love on earth (Gremin’s aria) (Tchaikovsky), 2s. 10” EL yellow CCCP Aprelevski Zavod 16266/67, recorded 1948. M-A, a gleaming copy. Another of Reizen’s most distinguished and beautiful records, this was the rôle of his Bolshoi farewell, 3 July, 1985, on his 90th birthday! MB 15

G1456. MARK REIZEN, w.Khaikin Cond.: Khovanschina – Scene of Dosifey (Act V) (Mussorgsky), 2s. 10” EL red CCCP Aprelevski Zavod 16439/40, recorded 1948. M-A, a gleaming copy. MB 15

“Ukrainian bass Mark Reizen studied at the Khar’kiv Conservatory and made his début with the Khar’kiv Opera as Pimen in BORIS GODUNOV in 1921. In the following seasons he appeared in a wide variety of rôles, including Méphistophélès in FAUST, Saint-Bris in LES HUGUENOTS, Ruslan and Farlaf in RUSLAN AND LYUDMILA and Dosifey in KHOVANSHCHINA. From 1925 to 1930 he was a member of the Leningrad Opera, where in 1928 he sang his first Boris. He then became principal bass at the Bolshoi, Moscow, remaining there for the rest of his long career. He also sang in Germany, Hungary and France, with appearances at the Paris Opéra and at Monte Carlo in MEFISTOFELE and IL BARBIERE DI SIVIGLIA. One of the greatest of Russian singers, Reizen had a voice of exceptional beauty, scrupulously used and so well preserved that he could sing at the Bolshoi to celebrate his 90th birthday. He was also an imposing figure and an accomplished actor. His recordings, dating from 1929 to 1980, include complete performances of BORIS GODUNOV, KHOVANSHCHINA and MOZART AND SALIERI, together with an impressively wide repertory of songs, mainly Russian.” - J.B. Steane

G1457. JOSEF GREINDL, w.Hertha Klust (Pf.): Edward / Der Nöck (both Löwe). 12” EL Variable Micrograde DGG 72063, only form of issue, 13 March, 1951. M-A, a gleaming copy. MB 12

G1458. JOSEF GREINDL, w.Hertha Klust (Pf.): Archibald Douglas (Löwe), 2s. 12” EL Variable Micrograde DGG 72102, only form of issue, 13 March, 1951. M-A, gleaming copy has, Sd 1 only, faintest pap. rub, inaud. MB 12

G1459. JOSEF GREINDL, w.Fritz Lehmann Cond.: Nozze – Non più andrai / Abrite un po’ (in German). 10” EL Variable Micrograde DGG 36025, only form of issue, 27 March, 1952. M-A, a gleaming copy. MB 12

G1460. JOSEF GREINDL, w.Fritz Lehmann Cond.: Boris Godounov – Death of Boris (in German), 2s. 10” EL Variable Micrograde DGG 36039, only form of issue, 2 Sept., 1952. M-A, a gleaming copy. A profoundly beautifuly sung and deeply moving performance! MB 12

G1461. JOSEF GREINDL, w.Rother Cond.: Don Carlos –Ella giammai m’amò; Dormirò sol (in German), 2s. 12” EL DGG 67999, POM-1942. M-A, a gleaming copy. MB 12

G1462. JOSEF GREINDL, w.Rother Cond.: Die Meistersinger – Das schöne Fest / Lohengrin – Gott grüss euch. 12” EL DGG 67975, POM-1942. M-A, a gleaming copy. MB 12

G1463. JOSEF GREINDL, w.Rieger Cond.: Faust – Le veau d’or / Vous qui faites l’endormie (1952 Versions) (both in German). 10” EL DGG 62887, only form of issue, 17 March, 1952. M-A, a gleaming copy. MB 12

G1464. JOSEF GREINDL, w.Schüler Cond.: Faust – Le veau d’or / Vous qui faites l’endormie (1948 Versions) (both in German). 10” EL Electrola DA 5419, only form of issue, 1948. M-A, lovely copy has, Sd. 1 only, few insignificant pap. mks, positively inaud. MB 12

G1465. GOTTLOB FRICK, w.Schüchter Cond.: La Juive – Si la rigeur / Eugen Onégin – Everyone knows love on earth (Gremin’s aria) (Tchaikovsky) (both in German). 12” EL Electrola DB 11566, only form of issue, 15 March, 1954. M-A, a gleaming copy. Gloriously beautiful and strong performances; remarkably quiet surfaces, as well! MB 20

G1466. GOTTLOB FRICK, w.Striegler Cond.: Die Kluge – O hätt ich meiner Tochter nur geglaubt / Fehenberger, Löbel & Kurt Böhme: Als die Treue ward geboren (w.Striegler Cond.) (Orff). 12” EL Musica Nova DGG 68151, POM-1944. M-A, a gleaming copy. MB 12

“Frick’s voice, instantly recognisable by its dark, evil-sounding, almost reptilian timbre, was aptly described by Wilhelm Furtwängler as 'the blackest bass in Germany' (der schwärzeste Bass in Deutschland). This made up for the fact that it was somewhat smaller than others such as Josef Greindl's, Ludwig Weber's, and Kurt Böhme's.”

G1467. JOSEF von MANOWARDA, w.Arpad Sandor (Pf.): Die Uhr (Löwe), 2s. 10” EL PW dark-green German Grammophon 23157, POM-1930. M-A, a gleaming copy. MB 12

G1468. JOSEF von MANOWARDA, w.Arpad Sandor (Pf.): Auf dem Kirchhofe / Der Tod, das ist die kühle Nacht (Brahms). 10” EL PW dark-green German Polydor 23158, POM-1930. A-, very decent copy has lt. rubs & few lt. mks, inaud, MB 8

G1469. JOSEF von MANOWARDA, w.Arpad Sandor (Pf.): Die Fussreise / Verborgenheit (both Wolf). 10” EL PW dark-green German Polydor 23160, POM-1930. M A, lovely copy has, Sd. 2 only, sev. infinitesimal pap. scrs, positively inaud. MB 10

G1470. JOSEF von MANOWARDA, w.Arpad Sandor (Pf.): Gesang Weylas / Gebet (both Wolf). 10” EL PW dark-green German Polydor 23159, POM-1930. M A MB 10

G1471. WALTER BERRY, w.Rossmayer Cond.: Was soll das bedeuten / ANNY FELBERMAYER & HILDE RÖSSEL-MAJDAN: Stille Nacht (both Weihnachtslied). 10” EL blue Austrian Decca F 49425. M-A, lovely copy has, Sd. 1 only, wee harmless ‘damp’ spot. An example of the very young Walter Berry, recorded shortly after his début at the Vienna Staatsoper, 1947. MB 12 G1472. HEINRICH REHKEMPER: Carmen – Chanson du toréador / Don Giovanni – Deh, vieni alla finestra (both in German). 10” AC black Schall Gram. 62402 (1953/54ar), only form of issue, 1922. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 25

G1473. HEINRICH REHKEMPER: Ballo – Eri tu? / Pagliacci – Si puo (Prologo) (both in German). 12” AC black Schall Gram. 65702 (918/19as), only form of issue, 1922. M-A, a gleaming copy. MB 25

“[Rehkemper’s] acoustics fall into a fairly rare category, some being available only for a year or two before electrical records forced their withdrawal. Further, most of his records were sold over a period when record buying was hit by uneasy financial conditions.” - Dennis Brew, THE RECORD COLLECTOR, 1975

G1474. HEINRICH REHKEMPER: Zauberflöte – Papagena, Papagena / Ein Mädchen oder Weibschen. 12” EL black PW German Polydor 66714 (877/78bm), POM-1928. M-A, gleaming copy has, Sd. 2 only, infinitesimal pap. scr, ever-so-faintly audible, if at all. MB 20

G1475. HEINRICH REHKEMPER: Schwanengesang – Der Doppelgänger / Abschied (Schubert). 12” EL PW dark-blue German Polydor 95102, only form of issue, 1928. A-, lovely copy has faintest pap. rubs, inaud.; labels have tiny stickers. MB 12

G1476. HEINRICH REHKEMPER, w.Raucheisen (Pf.): Der Rattenfänger / Auftrag (both Wolf). 10” EL dark-green German Gram. 23149 (1685/88BH), POM-1929. M-A, a gleaming copy. Incl. Orig. Grammophon texts. MB 15

G1477. HEINRICH REHKEMPER, w.Raucheisen (Pf.): Zur Johannisnacht / Im Kahne (both Grieg). 10” EL dark-green German Polydor 23150 (1686/87BH), only form of issue, 1929. M-A MB 15

G1478. HEINRICH REHKEMPER, w.Raucheisen (Pf.): Nicht mehr zu dir zu gehen / Die Botschaft (both Brahms). 10” EL dark-green German Polydor 23148 (1689/90½BH), only form of issue, 1929. M-A MB 12

G1479. HEINRICH REHKEMPER, w.Raucheisen (Pf.): Der Feuerreiter / Storchenbotschaft (both Wolf). 12” EL dark-green Grammophon 27186 (874/75bi), POM-1929. M-A MB 12

G1480. HEINRICH REHKEMPER, w.Prüwer Cond.: Nozze – Non piu andrai / Se vuol ballare (in German). 10” EL DGG 26510 (1691½/92½), POM-1929. M-A, a gleaming copy. MB 12

G1481. HEINRICH REHKEMPER, w.Horenstein Cond.: Kindertotenlieder (Mahler), 6s. 3-12” EL PW black German Polydor 66693/95 (696-701bm), POM-1928. M-A, gleaming copy has, Sd 1 only, few infinitesimal scrs, occasionally faintly audible at beg.. MB 45

“From 1921 to 1924 Rehkemper was engaged at the Stuttgart opera, and during the first three years of this time he sang over forty different lead roles. At the end of three years he broke his contract, and was therefore legally forbidden to make stage appearances for the final year. In that time he began to develop his concert repertoire and persona. He gave recitals of songs by Schubert, Schumann, Wolf and Mahler….In 1925, he returned to the operatic stage, joining the Munich opera, where Hans Knappertsbusch was taking over direction from Bruno Walter. The leading baritone Friedrich Brodersen found a successor in Rehkemper, who remained at Munich for the next eighteen years. He seldom sang outside Germany, but he made guest appearances at other centres such as Berlin, Bremen, Darmstadt and Cologne. Rehkemper also had a wide repertoire of Lieder and Mahler's LIEDER EINES FAHRENDEN GESELLEN and KINDERTOTENLIEDER, the latter being preserved in an effective recording.”

G1482. JOSEF METTERNICH, w.Schüchter Cond.: Im Reiche Des Indra – Es war einmal (Lincke) / Gasparone – Dunkelrote Rosen (Millöcker). 10” EL plum Electrola EG 7990, only form of issue, 1953. M-A MB 15

G1483. JOSEF METTERNICH, w.Schüchter Cond.: La Traviata – Di Provenza il mar / Rigoletto – Cortigiani (both in German). 12” EL Electrola DB 11549, only form of issue, 13 June, 1953. M-A, a gleaming copy. MB 15

G1484. JOSEF METTERNICH, w.Schüchter Cond.: Ballo – Alla vita che t’arride / Eri tu?, w.recit. (both in German). 12” EL Austrian HMV DB 11558, only form of issue, 29 Aug., 1953. M-A, lovely copy has, Sd. 2, faintest pap. rubs, inaud. MB 15

G1485. JOSEF METTERNICH, w.Schüchter Cond.: Faust – Avant de quitter ces lieux / Barbiere – Largo al factotum (both in German). 12” EL Electrola DB 11547, only form of issue, 19 April, 1953. M-A, a gleaming copy. MB 15

G1486. JOSEF METTERNICH & WILHELM LANG, w.Schüchter Cond.: Il Trovatore – Qual suono … Per me ora fatale / Il balen (both in German). 12” EL Electrola DB 11568, only form of issue, 28 May, 1954. M-A, a gleaming copy. Remarkably wonderful and strong performances; remarkably quiet surfaces, as well! MB 15

G1487. JOSEF METTERNICH & DIETRICH FISCHER-DIESKAU, w.Fricsay Cond.: Falstaff – Signore, v’assista il ciel! (in German), 4s. 2-10" EL DGG Variable Micrograde 36016/17, only form of issue, 10 Jan., 1952. M-A, a gleaming copy. MB 20

“Josef Metternich made his début at Covent Garden in 1951. From 1952 until 1959 he was a member of the Vienna State Opera and appeared at La Scala, the Opéra of Paris, the Edinburgh Festival (1952) and at several German opera houses. From 1953 until 1956 he sang at the Met, where he débuted as Don Carlos in LA FORZA DEL DESTINO. His rôles at the Met included 22 performances (Tonio, Renato, Amonasro, Wolfram and Kurwenal). From 1954 he was a member at the opera houses of Munich, Berlin and Hamburg. His singing career lasted until 1971! Metternich was a singer with a vibrant voice of outgoing directness. He managed to sing Verdi’s high tessitura with ease, his metallic top register was almost that of a tenor.” - Andrea Shum-Binder, subito-cantabile G1488. LEOPOLD DEMUTH: Hand in Hand (Hans Cesek). 10” AC black Wien G & T G.C.- 2–42720 (888z), only form of issue, 1903. A to M-A, choice copy has very few superficial mks, inaud. MB 45

G1489. LEOPOLD DEMUTH: Wieder möcht’ ich dir begegnen (Liszt) / Die Uhr (1908 Version) (Löwe). 10” AC black Schall Gram. 61648 (13160/61u), POM-1908. A to M-A, lovely copy has mere hint of grey on peaks. MB 25

G1490. LEOPOLD DEMUTH: Die Uhr (1903 Version) (Löwe). 12” AC black flush Wien G & T 042059 (51Hp), only form of issue, 1903. A-B, lovely copy has lt rubs & scrs, inaud.; minor pressing indent will be ever-so-faintly audible only a few turns; uncommonly bright label. MB 35

G1491. LEOPOLD DEMUTH: Ich denke oft an’s blaue Meer (Weingartner) / Tiefland – Hüll’ in die Mantille (d’Albert). 10” AC black Schall Gram. 61650 (13837/13080u), POM-1908. A-, lovely copy has hint of grey on peaks & very occasional superficial mk, inaud. MB 25

G1492. LEOPOLD DEMUTH: Es muss ein Wunderbares sein (Liszt) / The Bohemian Girl – A heart bow’d down (Balfe; in German). 10” AC black Wien Gram. Concert G.C.-4–42265/64 (14645/44u), POM-1909. A to M-A/A-, lovely copy has, Sd. 2 only, hint of grey on peaks; Sd. 1 label has heavy nr. MB 25

G1493. LEOPOLD DEMUTH: Am Meer (Schubert) / Liebesglück (Silcher). 10” AC black Schall Gram. 61638 (11185/86u), only form of issue, 1907. A to M-A/A-, lovely copy has, Sd. 2 only, hint of grey on peaks, inaud. MB 25

G1494. LEOPOLD DEMUTH: Feldeinsamkeit / Die Mainacht (both Brahms). 10” AC black Schall Gram. 61602 (6733/6833b), POM-1905. A to M-A, lovely copy has, Sd. 1 only, sev ‘stressed’ grooves, positively inaud. MB 20

G1495. LEOPOLD DEMUTH: Prinz Eugen (Löwe) / Sängers Vorüberziehn (Grünfeld). 10” AC black Schall Gram. 62035 (10923/11089u), POM-1907. A-/A to M-A, lovely copy has, Sd. 1 only, hint of grey on peaks, inaud. MB 25

G1496. LEOPOLD DEMUTH: Don Giovanni – Deh, vieni alla finestra (in German). 10” AC black flush Wien G & T G.C.- 2–42732 (889z), only form of issue, 1903. A-, very decent copy has few lt. rubs & 2 wee scuffs, ever-so-faintly audible a few turns; uncommonly bright label. MB 45

G1497. LEOPOLD DEMUTH: Ballo – Alla vita che t’arride / Eri tu? (both in German). 10” AC black Wien G & T G.C.-3–42395/42557 (6734b/4255L), POM-1905/’06. A-/A to M-A, lovely copy has, Sd. 1 only, lt. grey on peaks & infinitesimal nr, inaud. MB 25

G1498. LEOPOLD DEMUTH: La Traviata – Di Provenza il mar (in German). 10” AC black flush Wien G & T G.C.- 42907 (1094x), only form of issue, 1902. A to M-A, lovely copy has mere hint of grey on peaks, infinitesimal nd near end will sound ltly a few times. MB 35

G1499. LEOPOLD DEMUTH: Faust – Avant de quitter ces lieux (in German) / Die Meistersinger – Wie duftet doch der Flieder. 12” AC black Schall. Gram. 65398 (0991/92v), POM-1909. A, lovely copy has faintest pap. rubs, positively inaud.; Sd. 1 label is smudged. MB 25

G1500. LEOPOLD DEMUTH: Faust – Écoute-moi bien (Death of Valentin) (in German). 10” AC black Wien G & T G.C.- 3–42749 (9935u), only form of issue, 1906. A-, lovely copy has sev wee rubs & infinitesimal scr, positively inaud.; uncommonly bright label. MB 35

G1501. LEOPOLD DEMUTH: Rigoletto – Piangi, piangi, fanciulla / Faust – Écoute-moi bien (Death of Valentin) (both in German). 10” AC black Wien G & T G.C.- 3–42300/12629 (6835b/4250L), POM-1905/’06, only form of issue, Sd.2. A to M-A, beautiful copy has very faint nr on Sd. 2 label only; uncommonly bright label. MB 35

G1502. LEOPOLD DEMUTH: Rigoletto – Piangi, piangi, fanciulla / Pari siamo (both in German). 10” AC black Wien Gram. Concert G.C.- 3–42300/42807 (6835b/10836u), POM-1905/’07, only form of issue, Sd.2. A to M-A, beautiful copy has, Sd. 2 only, 3 infinitesimal mks, inaud.; both sides have numerous tiny ‘damp’ spots, positively inaud. MB 35

G1503. LEOPOLD DEMUTH: Aïda – Quest’ assisa ch’ io vesto vi dica (in German) / Undine – Nun ist’s vollbracht. 10” AC black Wien Gram. Concert G.C.- 3–42345/73 (6847/34b), POM-1905, only form of issue, Sd.1. A to M-A, beautiful copy has, Sd. 2 only, 2 infinitesimal rubs, positively inaud. MB 35

G1504. LEOPOLD DEMUTH: Pagliacci – Prologo (1903 Version) (in German). 12” AC black flush Wien G & T 042049 (54½Hp), POM-1903. A-, lovely copy has faintest rubs, inaud. MB 35

G1505. LEOPOLD DEMUTH: Pagliacci – Prologo (1903 Version, as above) / LEOPOLD DEMUTH & GRETE FORST: Sei là? credea che te ne fossi andato (both in German). 12” AC black Monarch Gram. 042049/044155 (54½Hp/01216v), POM-1903 / 7 Oct., 1909. A to M-A, lovely copy has, Sd. 1 only; mere hint of grey on peaks. MB 25

G1506. LEOPOLD DEMUTH: Pagliacci – Prologo (1905 Version) (in German) / Das Glöckchen des Eremiten – Wenn man bein wein sitzt (Maillart). 10” AC black Schall Gram. 61606 (803r/4248L), POM-1905/’06. A to M-A, lovely copy has, Sd. 2 only, infinitesimal pap. scr, positively inaud. MB 25

G1507. LEOPOLD DEMUTH: Der Trompeter von Säkkingen – Behüt’ dich Gott (Nessler). 10” AC black Wien G & T G.C.- 3–42738 (9934u), POM-1906. A-, very decent copy has few lt. rubs & wee scuff, ever-so-faintly audible only at edge. MB 35

G1508. LEOPOLD DEMUTH: Der Trompeter von Säkkingen – Ihr heisset mich willkommen (Nessler) / FRIEDRICH WEIDEMANN: Der Waffenschmied – Du lässt mich kalt von hinnen scheiden (Lortzing). 10” AC black Wien Pre-Dog G.C.- 4–42035/36 (11088/99u), POM-1907. A to M-A, lovely copy has, Sd. 2 only, faintest pap. rub, positively inaud. MB 35

G1509. LEOPOLD DEMUTH: Zar und Zimmermann – Sonst spielt ich mit Zepter (Lortzing) / L’Africaine – Adamastor, roi des vagues (in German). 10” AC black Czech HMV (w.Gramola half-labels superimposed) ER 156 (9937/38u), POM-1906. A to M-A MB 25

G1510. LEOPOLD DEMUTH: Wintermärchen – O Menschenglück / ARTHUR PREUSS & GRETE FORST: Du bist’s Gelibte (Goldmark). 10” AC black Wien Pre-Dog G.C.- 4–42112/2–44400 (13091/13050u), only form of issue, 1908. A to M-A, lovely copy has faintest pap. rubs, positively inaud. MB 35

G1511. LEOPOLD DEMUTH: Tannhäuser – O du mein holder Abendstern (1903 Version). 12” AC black flush Wien G & T 042037 (48Hp), only form of issue, 1903. A, lovely copy has lt. rubs & few superficial mks, inaud. MB 35

G1512. LEOPOLD DEMUTH: Tannhäuser – Dir, hohe Liebe / Lohengrin – Dank, König, dir (Telramunds Klage). 10” AC black Schall Gram. 61664 (15095/15146u), POM-14 / 21 Sept., 1909. A to M-A MB 35

G1513. LEOPOLD DEMUTH: Die Meistersinger – Wahn! Wahn! Überall Wahn!, 2s. 10” AC black Gram. Concert G.C.-4–42283/84 (15093/94u), POM-14 Sept., 1909. A to M-A MB 35

G1514. LEOPOLD DEMUTH: Das Rheingold – Abendlich strahlt. 10” AC black flush Wien G & T G.C.- 42888 (1024x), only form of issue, 1902. A-, very decent copy has few lt. rubs, inaud. MB 45

G1515. LEOPOLD DEMUTH: Die Walküre – Der Augen leuchtendes Paar (Wotans Abschied). 10” AC black Gram. Concert G.C.- 4–42124/25 (12951/52u), POM-1908. A to M-A MB 35

G1516. LEOPOLD DEMUTH, ARTHUR PREUSS & ELISE ELIZZA: Ernani – Solingo, errante e misero (in German) / ELISE ELIZZA: Die Königin von Saba – Der Freund ist dein. 10” AC black Wien Pre-Dog G.C.- 3–42499/43752 (701/704r), POM-1905. A-, lovely copy has hint of grey on peaks; Sd. 2 only has 2 superficial pap. scrs, inaud. MB 20

“Leopold Demuth studied with Josef Gänsbacher in Vienna and came to the Hofoper in 1898, remaining there until his sudden death during a concert in 1910. He was highly praised for the beauty and size of his voice and the ease of its production. He was best in the standard Verdi rôles but also sang all the Wagner baritone parts….Erwin Stein wrote ‘vocal splendour had often to make up for his lack of stage personality’.” - Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNA

G1517. HERMANN UHDE, w.Leitner Cond.: Carmen – Chanson du Torréador / Rigoletto – Cortigiani (both in German). 10” EL Variable Micrograde DGG 36085, only form of issue, 17 Feb. / 4 March, 1953. M-A, a gleaming copy. MB 12

G1518. JULIUS von RAATZ-BROCKMANN, w.August Pilz (Pf.): WINTERREISE – Irrlicht / Gute Nacht (Schubert). 10¾” AC pale-blue, w.dark-blue print Odeon X.52851/52 (XB 5922/23), POM-1913. M-A, gorgeous bright copy has, Sd. 2 only, 2 wee pap. mks, inaud. MB 35

“Julius von Raatz-Brockmann [stands] out among his compatriots partly because his vibrato is faster and stronger and his rhythmic drive more urgent than theirs.” - Alan Blyth, SONG ON RECORD, Vol. I, p.99

G1519. ROBERT RADFORD: Blow, blow thou winter wind (Sargent) (1918 Version) / La Juive – Si la rigeur (in English). 10” AC red Eng. Zonophone GO 32, X-3–42876/77 (y21021/18e), POM-21 Feb., 1918. A, lovely copy has lt. rubs, inaud. MB 10

G1520. ROBERT RADFORD: Blow, blow thou winter wind (Sargent) (1912 Version) / Erlkönig (Schubert; in English). 12” AC black PW HMV D 257, POM-13 Nov., 1912 / 26 May, 1924. M-A MB 10

G1521. ROBERT RADFORD: The Sargent’s song (Holst) / The mill wheel. 10” EL black PW HMV E 472, only form of issue, 26 April, 1927 / 17 Sept., 1926. M-A, lovely copy has, Sd. 1 only, wee pap. rub, inaud. MB 10

G1522. ROBERT RADFORD: The Princess of Kensington – Four jolly sailormen (Edward German) / Die Lustigen Weiber von Windsor – Als Büblein klein (When that I was a tiny boy) (Nicolai; in English). 10” EL black PW HMV E 498, only form of issue, 22 Dec., 1927. M-A MB 10

G1523. ROBERT RADFORD: Scipio – Hear me ye winds and waves (Handel) / Son and stranger – I ’m a roamer (Mendelssohn; in English). 12” EL black PW HMV D 1300, only form of issue, 2 Dec. / 3 Sept., 1926. M-A MB 10

G1524. ROBERT RADFORD: The Creation – Roaming in foaming billows (Haydn) / Messiah – Why do the nations? (Handel). 12” EL Scroll V 9654, POM-6/15 Jan., 1926, on ‘Z’ shellac. M-A MB 15

G1525. ROBERT RADFORD: The Creation – Roaming in foaming billows (Haydn) / Messiah – Why do the nations? (Handel). 12” EL PW black HMV D 1213, POM-6/15 Jan., 1926. M-A MB 8

G1526. ROBERT RADFORD: Acis and Galatea – I rage, I melt, I burn . . . O ruddier than the cherry (Handel). 12” AC black HMV 02128 (2317f), POM-1908. A, lovely copy has faint rubs, inaud. MB 10

G1527. ROBERT RADFORD, w.Goossens Cond.: Die Meistersinger – Verachtet mir die Meister nicht / TUDOR DAVIES & ROBERT RADFORD: Morgenlich leuchtend (Preislied) (both in English). 12” EL blue AC label V 55288, POM-10 July, 1925. M-A MB 10

“Robert Radford, in my view one of the greatest basses to have trodden the concert or opera stage….was one of the few to straddle the rather different worlds of the ‘basso profondo’ and ‘basso cantante’. He was one of the great singers of Handel, blessed with a firm attack, a focused tone, an impressive degree of flexibility, a beautiful legato and a fine trill….He was a great Mozartian….[and] a great Wagnerian, who could rival the best ‘black’ basses but also sing with wonderful, unforced warmth….” - Tully Potter, THE RECORD COLLECTOR, 2009 G1528. OSCAR NATZKE: Sanctuary of the heart / In a monastery garden (both Ketelbey). 12” EL Eng. Parl. E11439, POM-15 Dec., 1939. M-A, lovely copy has, Sd 2 only, 2 infinitessimal pap. scrs. MB 10

G1529. OSCAR NATZKE: Captain Stratton’s fancy (Warlock) / Invictus (Hunn). 10” EL Eng. Parl. R 2737, POM-12 / 9 Jan., 1940. M-A MB 12

G1530. OSCAR NATZKE: Merrie England – The Yeomen of England / The Princess of Kensington – Four jolly sailormen (both Edward German). 10” EL Eng. Parl. R 2723, POM-20 Oct., 1939. M-A, lovely copy has very faint hlc. MB 8

G1531. OSCAR NATZKE: The song of Hybrias the Cretan (Elliott) / Scipio – Hear me ye winds and waves (Handel). 12” EL Eng. Parl. E 11426, POM-2 / 23 Feb., 1939. M-A MB 10

G1532. OSCAR NATZKE: Song of the flea (Mussorgsky) / w.Herbert Greenslade (Pf.): Oh, could but I but express in song (Malashkin). 10” EL Eng. Col. DB 2363, POM-9 Jan., 1940 / 14 Nov., 1947. A/M-A, lovely copy has, Sd. 1 only, faintest pap. rub, inaud. MB 10

G1533. OSCAR NATZKE, w.Herbert Greenslade (Pf.): Asleep in the deep (Petrie) / Friend o’ mine (Sanderson). 12” EL Eng. Parl. E 11415, POM-1939. M-A MB 10

G1534. OSCAR NATZKE, w.Herbert Greenslade (Pf.): Pilgrim's Song (Tschaikowsky) / In a Persian Garden - Myself when young (Liza Lehmann). 12” EL Eng. Parl. E 11397, POM-1939. M-A MB 10

G1535. OSCAR NATZKE, w.H. Robinson Cleaver (Organ): The lost chord (Sullivan) / The Holy City (Adams). 12” EL Eng. Parl. E 11430, POM-5 Nov., 1939. M-A, a gleaming copy. MB 10

G1536. OSCAR NATZKE, w.Eric Wild Cond.: Shenandoah / Blow the man down; Hullabaloo Ballay. 10” EL Eng. Col. DB 2167, POM-16 March, 1945. M-A MB 12

G1537. OSCAR NATZKE, w.Geehl Cond.: The village blacksmith (Weiss) / Samson – Honour and arms (Handel). 12” EL Eng. Parl. E 11402, POM-2 Feb., 1939. M-A MB 10

"Natzke’s career as a professional singer amounted to only ten years….The commercial recordings he left are a treasured legacy of his career in that they represent every facet of his opera and concert repertoire. We are fortunate indeed to have them." - Peter Downes, RECORD COLLECTOR, 2001

G1538. OSCAR NATZKE, w.Geehl Cond.: Zauberflöte – O Isis und Osiris (in German) / Barbiere – La calunnia (in Italian). 12” EL Eng. Parl. E 11423, POM-2 Feb., 1939. M-A, a gleaming copy. MB 10

G1539. OSCAR NATZKE, w.Braithwaite Cond.: Don Giovanni – Il catologo (in Italian), 2s. 10” EL Eng. Col. DB 2291, POM-29 Dec., 1939. M-A, a gleaming copy. MB 10

G1540. OSCAR NATZKE, w.Rankl Cond.: Zauberflöte – In diesen heil'gn Hallen / O Isis und Osiris (both in English). 12” EL Eng. Col. DX 1370, POM-10 May, 1947. M-A, a gleaming copy. MB 8

G1541. OSCAR NATZKE, w.Rankl Cond.: Die Lustigen Weiber von Windsor – Als Büblein klein (When that I was a tiny boy) (Nicolai) / w.Braithwaite Cond.: Entführung – Wer ein Liebchen hat gefunden (both in English). 12” EL Eng. Col. DX 1473, POM-10 May, 1947 / 29 Dec., 1939. M-A, a gleaming copy. MB 10

"[Natzke] became the leading bass of the New York City Opera Company and his versatility was demonstrated when, in 1947, he sang six new operas there, in five different languages within the space of ten weeks....it was while singing Pogner [there] in October, 1951, during the first act that he suffered a cerebral hemorrhage....He never recovered and died [in New York] on November the 4th, 1951, at 39 years of age. The New York City Opera Company were stunned and expressed deep regret at the loss of their principal bass." - Charles I. Morgan, RECORD COLLECTOR, 1985

G1542. ROBERT WEEDE, w.Pablo Miguel (Pf.): City called Heaven (arr. Hall Johnson) / Show Boat – Ol’ man river (Kern). 10” EL Col. 17293-D, only form of issue, 1941. M-A, choice copy has minor ‘heat’ mks near edge. MB 8

G1543. ROBERT WEEDE, w.Pablo Miguel (Pf.): Until (Sanderson) / Das Land des Lächelns – Dein ist mein ganzes Herz (Lehár; in English). 10” EL PW Col. 17282-D, only form of issue, 1941. M-A MB 10

G1544. ROBERT WEEDE, w.Leinsdorf Cond.: Rigoletto - Cortigiani / w.Weissmann Cond.: Pagliacci - Prologo. 12” EL PW Col.71261-D, only form of issue, 1941. M-A MB 10

“Weede made his Metropolitan Opera début in 1937, as Tonio in PAGLIACCI. His other rôles at the Metropolitan included Rigoletto (opposite Jussi Björling), Amonasro (AÏDA), Manfredo (L'AMORE DEI TRE RE), Shaklovity (KHOVANSHCHINA) and Baron Scarpia (TOSCA). Singing the rôle of Rigoletto, he made his débuts in Chicago (1939), San Francisco (1940), and at the New York City Opera (1948). At the New York City Opera, Weede also sang in PAGLIACCI and in the world première of William Grant Still's TROUBLED ISLAND, opposite Marie Powers, Marguerite Piazza and Robert McFerrin (Sr.). In Mexico City, the baritone appeared with Maria Callas in 1950 in AÏDA and TOSCA. Later, he sang again with Callas in Chicago, in IL TROVATORE and MADAMA BUTTERFLY. In 1956, he scored a great success on Broadway as Tony Esposito in the original production of Frank Loesser's THE MOST HAPPY FELLA, which was recorded complete by Columbia Records. He was also seen on Broadway in MILK AND HONEY (1961-63, also recorded) and CRY FOR US ALL (1970).”

G1545. WILLIAM WARFIELD, w.Adolph Deutsch Cond.: Show Boat – Ol’ man river / w.KATHRYN GRAYSON: You are love (Kern). 10” EL heavy vinyl M-G-M 30381, only form of issue, 1951. A-, lovely copy has lt.rubs, inaud. MB 8 G1546. RICHARD BONELLI: On the road to Mandalay (Speaks) / Tim Rooney’s at the fightin’ (Flynn). 12” AC dark-blue Bruns. 35000 (11925/55), POM-c.1924. M-A MB 15

G1547. RICHARD BONELLI: Tommy, Lad! / Calling me home to you (both Teschemacher). 10” AC dark-blue Bruns. 13009, only form of issue, 1920. M-A MB 15

G1548. RICHARD BONELLI: Les Rameaux (in English) (Faure) / The Holy City (Adams). 10” AC purple Bruns. 5181, POM-1922/’23. A-, lovely copy has faintest pap. rubs, inaud. MB 12

G1549. RICHARD BONELLI: Smilin’ through (Penn) / Mother o’ mine (Tours). 10” AC dark-blue Bruns. 13015, POM-1920. A-, lovely copy has lt. rubs, inaud.; Sd. 1 only has sev. wee scrs. MB 8

G1550. RICHARD BONELLI: Danny Deever (Damrosch) / The Clang of the forge (Rodney). 10” AC purple Bruns. 5166, only form of issue, 1922. A to M-A MB 15

G1551. RICHARD BONELLI: Rolling down to Rio (Edward German) / Song of the ‘Mush on’ (Victor Herbert). 10” AC purple Bruns. 5085, only form of issue, 1922. M-A MB 15

G1552. RICHARD BONELLI: For all eternity (Mascheroni) / The Bohemian Girl – A heart bow’d down (Balfe). 10” AC dark-blue Bruns. 13020, only form of issue, 1921/’20, resp. M-A, choice copy has, Sd. 2 only, infinitesimal pressing bump. MB 15

G1553. RICHARD BONELLI, w.Ernesto Lopez (Pf.): Time to go (Sanderson) / Come to the fair (Martin). 10” EL PW Col. 17277-D, only form of issue, 18 March, 1940. M-A, exemplary copy. MB 12

G1554. RICHARD BONELLI, w.Theodore Paxson (Orgatron): Annie Laurie (Scott) / Would God I were the tender apple blossom (Londonderry Air) (arr.Hinkson). 10” EL PW Col.17248-D, only form of issue, 1940. M-A, a gleaming copy. MB 12

G1555. RICHARD BONELLI, w.Theodore Paxson (Orgatron): Xerxes – Ombra mai fù (Handel) / La Basoche – Je suis aimé de la plus belle (Chanson ancienne) (Messager). 10” EL PW Col.17287-D, only form of issue, 1940. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

G1556. RICHARD BONELLI, w.Macklin Marrow Cond.: The Prayer perfect / Star-eyes (both Speaks). 10” EL M-G-M 30327, only form of issue, 1950. M-A, a gleaming copy. Exceedingly elusive! MB 20

G1557. RICHARD BONELLI, w.Macklin Marrow Cond.: The lane to Ballybree / On the road to Mandalay (both Speaks). 10” EL M-G-M 30329, only form of issue, 1950. M-A, a gleaming copy. Exceedingly elusive! MB 20

G1558. RICHARD BONELLI, w.Marie Tiffany, Elizabeth Lennox & Theo Karle: Martha – Good-night quartet (Flotow) / The Mikado – Madrigal (Sullivan). 10” AC gold Bruns. 13051, only form of issue, 1922; these titles missing in the excellent Larry Lustig 2006 discography. M-A, choice copy has, Sd. 2 only, infinitesimal pap. scr, positively inaud. Exceedingly elusive! MB 20

“On Richard Bonelli’s few commercial recordings we can certainly hear a timbre that, although lyrical and unconstricted in emission, was also dark-tinged and virile, with a wonderfully free upper extension and fully relaxed, resonant lower notes. From contemporary reviews he also looked well on stage and his histrionic ability, coupled with a well-schooled vocal technique, enabled him not only to be a considerable actor with his voice but to delineate each rôle physically with its required character.” - Alan Bilgora, THE RECORD COLLECTOR, 2006



G1559. DAVID BISPHAM: Mistress Magrath (Duncan) / Die beiden Grenadier (Schumann; in English). 10” AC brown Perfect 11532, recorded 1917, issued USA only. B, decent, unworn copy has lt. rubs & scrs, only very occasionally very ltly audible. Sd.1 being a grand example of Bispham’s delightful ‘character’ singing! MB 15

G1560. DAVID BISPHAM: Our country forever (Meredith) / Dixie (Emmett). 10½” AC grey paper label H & D Pathé 27002, only form of issue, 1917. M-A MB 15

G1561. DAVID BISPHAM: She wandered down the mountain side (Clay) / Die beiden Grenadier (Schumann; in English). 11¼” AC grey paper label H & D Pathé 59001, original form of issue, 1917. M-A MB 15

G1562. DAVID BISPHAM: O that we two were maying (Gounod) / Tannhäuser – Als du in kühnem Sange. 12” AC silver Victor IRCC 152 (02046 [268C] / 042050), POM-1904 / RR-1904. Numbered copy #21 of Limited Edition. M-A, exemplary copy. MB 35

G1563. ROYAL DADMUN: Stein song / ROYAL DADMUN & REED MILLER: Hunting song (both Bullard). 10” AC dark-blue Okeh 4009. A/A-, lovely copy has few lt. rubs; Sd. 2 only has insignificant pap. scr, inaud. MB 8

G1564. ROYAL DADMUN: Vittoria,vittoria mio core! (Carissimi) / Come raggio di sol (Caldara). 10” EL PW V 4003, only form of issue, 31 Dec., 1926. Never listed in a pre-1931 U.S. catalogue. M-A MB 8

G1565. ROYAL DADMUN, w.Myrtle C. Eaver (Pf.): Caro mio ben (Giordani) / The Indian Queen – I attempt from love’s sickness to fly (Purcell). 10” EL PW V 4009, only form of issue, 22 Feb., 1927. M-A MB 8

G1566. ROYAL DADMUN (as Ralph Crane): Euridice – Funeste piaggie (Peri) / Euridice – Non piango e non sospiro (Caccini). 10” EL black PW V 21752, only form of issue, 10 May, 1928. M-A, a gleaming copy. MB 8

G1567. ROYAL DADMUN (as Ralph Crane): Orontea – Intorno all’idol mio (Cesti) / O cessate di piagarmi (Scarlatti); Orfeo – Ecco purch’a voi ritorno (Monteverdi). 10” EL black Orth V 21747, only form of issue, 10 May, 1928. M-A MB 8