TENOR  VOCAL  78RPM  RECORDS:   G829  –  G1178
Regarding AUCTION #143 (Closing Date: Saturday, 8 May, 2010), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you.

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G829 – G1178: TENOR VOCAL 78RPM RECORDS.

G829. JEAN de RESZKÉ, w.Flon Cond.: L'Africaine – O Paradis! / w.Damrosch Cond.: Siegfried – Forge Scene (fragments). 10” AC gold IRCC 110, RR's from Mapelson Cylinders, Live Performances, Met Opera, 15 / 19 March, 1901. Numbered Copy #111 of a Limited Edition. de Reszké's Photo affixed to both Labels. M-A MB 20

G830. JEAN de RESZKÉ, w.Damrosch Cond.: Lohengrin – Mein Herr und König, recorded during Actual Performance, Met Opera, 29 March, 1901 / JEAN de RESZKÉ & LUCIENNE BRÉVAL; Flon Cond.: L'Africaine – Selections, recorded during Actual Performance, Met Opera, 15 March, 1901. 12” AC gold IRCC 183, RRs from Mapleson Cylinders. Numbered Copy #40 of a Limited Edition; de Reszk‚'s photo missing from Sd.1 Label. M-A MB 25

G831. JEAN DE RESZKE, w.Mancinelli Cond.: Le Cid – O noble étincelante (fragment) / ALBERT ALVAREZ: Le Cid - O noble étincelante (fragment). 10” AC red & silver IRCC 3031, RRs from Mapelson Cylinders recorded during Actual Performance, Metropolitan Opera House, 1901/'02, resp. M-A/A-, lovely copy has, Sd. 2 only, few very lt. scrs. MB 15

G832. HENRI SAINT-CRICQ, w.Andolfi (Pf.): Der Nussbaum (Schumann) / Die Forelle (Schubert) (both in French). 10” EL green Pathé X.3472, only form of issue, 1930. M-A MB 25

G833. HENRI SAINT-CRICQ: Carmen – Air de la fleur / Les Pêcheurs de Perles – Je crois entendre. 10” EL green Pathé X.0694, only form of issue, 1928. M-A, lovely copy has, Sd. 1 only, tiny scr, audible sev. turns. MB 15

G834. LÉON ESCALAÏS: Pastorale languedocienne (Rupès) / Le Cid – Ô Souverain! (Massenet). 10¾“ AC Milano Fonotipia 39546/63 (XPh 1674/1720), only form of issue, 28 Feb. / 20 March, 1906. A-B, very decent unworn copy has lt. rubs & occasional very lt. scr, positively inaud. MB 75

G835. LÉON ESCALAÏS: L’Africaine – O paradis! / Robert le Diable – Ô fortune, à ton caprice (Sicilienne) (both Meyerbeer). 10¾“ AC Milano Fonotipia 39426/14 (XPh 491/498), only form of issue, 27 Nov. / 1 Dec., 1905. A-/A-B, very decent copy has, Sd. 2 only, lt. grey on peaks; these brilliant performances come through clearly. A remarkably fine copy of Escalaïs’ duly celebrated recording, Sd. 2! MB 75

G836. LÉON ESCALAÏS: Polyeucte – Source délicieuse (Stances) (Gounod) / JEAN LASSALLE: Le Roi de Lahore – Promesse de mon avenir (Massenet). 12” AC Société Française de Gramophilie AFG 3, RRs-26 March, 1906 / 1901, resp. Choice 1948 pressing, with Escalaïs' & Lassalle’s signatures in inner margins of shellac. M-A, lovely copy has 2 infinitesimal dust scrs; Sd. 2 only has harmless lateral lam. Numbered copy #85. MB 25

G837. LÉON ESCALAÏS & AMÉLIE TALEXIS: Sigurd – Avec ces fleurs; Oublions les maux soufferts (Reyer), 2s. 10¾“ AC Milano Fonotipia 39525/26 (XPh 1636/37), only form of issue, 1 Feb., 1906. A-, lovely copy has, Sd. 2 only, lt. grey on peaks; various minuscule pressing ‘pimples’ are mainly cosmetic MB 75

“…Léon Escalaïs sang the most strenuous and demanding of the tenor repertoire and, as we have seen, he was unstinting in giving of himself to please his audiences. Little surprise, then, that during his career he was one of the most sought-after singers. That situation still remains, but now it is among collectors and lovers of thrilling tenor voices.” - Larry Lustig, THE RECORD COLLECTOR, 2004

G838. CÉSAR VEZZANI: U Banditu l’onore / U Trenu di Bastia (both Corsican songs). 10" EL plum Disque Gram. K-7152, only form of issue, 1933. M-A, gleaming copy has, Sd 2 only, sl. damaged upper portion of label. Exceedingly elusive! MB 65

G839. CÉSAR VEZZANI: Les Pêcheurs de Perles – Je crois entendre / LOUIS MORTURIER: Les Huguenots – Piff, paff. 10" EL black Disque Gram. P-733, only form of issue, 11 April, 1927 / 8 Oct., 1926. M A MB 20

G840. CÉSAR VEZZANI: L'Africaine – Pays merveilleux / Pagliacci - Vesti la giubba (in French). 10¾" AC orange French Odéon X 111339/37 (XP 5788/86-1), POM-1912, Sd. 2 is ‘Take’ 1 (of 2 issued ‘takes’). A to A-, lovely copy has occasional insiginficant mk; alas, very faint hlc appears Sd. 2 only. MB 15

G841. CÉSAR VEZZANI: L'Africaine - Pays merveilleux / Pagliacci - Vesti la giubba (in French). 10¾" AC brown French Odéon X 111339/37 (XP 5788/86-2), POM-1912, Sd. 2 is ‘Take’ 2 (of 2 issued ‘takes’). B, decent copy has lt. grey on peaks, certainly audible, and numerous scrs. MB 15

G842. CÉSAR VEZZANI: Sigurd – Prince du Rhin / Oui, Sigurd est vainqueur (1924 Versions). 10" AC plum Disque Gram. U-73, only form of issue, 8 July, 1924; quickly deleted at end of AC Era, replaced by 1927 Versions. M A, lovely copy has, Sd. 1 only, infinitesimal pap. scrs, inaud. MB 45

G843. CÉSAR VEZZANI: Sigurd - Prince du Rhin / Oui, Sigurd est vainqueur (1927 Versions). 10” EL black Disque Gram. P-728, only form of issue, 11 April, 1927. A to M A, lovely copy has occasional superficial mk. MB 20

G844. CÉSAR VEZZANI: Sigurd – Esprits gardiens / Guillaume Tell – Asile héréditaire. 10¾" AC black & beige French Odéon X 111340/288 (XP 5790-2/5789), POM-1912. B, decent copy has very occasional superficial scrs, inaud.; Sd. 1 only has long ‘heat’ mk, causing no more than an occasional faint thump. MB 15

G845. CÉSAR VEZZANI: Sigurd – J'ai gardé mon âme ingénue / Esprits gardiens. 10" EL black Disque Gram.P-753, only form of issue, 12 April, 1927. M-A MB 25

G846. CÉSAR VEZZANI: Guillaume Tell - Asile héréditaire (1929 Version) / Otello - Niun mi tema (in French). 10" EL black Disque Gram. P-816, only form of issue, 1929. A to M-A, lovely copy has, Sd. 1 only, mere hint of grey on peaks. MB 25

G847. CÉSAR VEZZANI: Werther – J'aurais sur ma poitrine / Tosca – E lucevan le stelle (in French). 10¾" AC black & beige French Odéon X 111899/93 (XP 6405/12), POM-c.1913. A-/B, very decent copy has, Sd. 1 only, few lt. scuffs, inaud.; Sd. 2 only has lt. grey on peaks & few lt. scrs.; alas, neatly mended lateral hlc is ltly audible during initial inch. Very critically graded. MB 12

G848. CÉSAR VEZZANI: Werther – J'aurais sur ma poitrine / Invocation à la nature. 10" EL black Disque Gram. P-808, only form of issue, 26 / 27 Feb., 1929. M A MB 25

G849. CÉSAR VEZZANI: Werther – Lorsque l’enfant revient / Carmen – Air de la fleur. 10" EL black Disque Gram. P-844, only form of issue, 27 Feb., 1929. M A, lovely copy has, Sd. 2 only, ec not into grooves MB 20

G850. CÉSAR VEZZANI: Jérusalem – Je veux encore entendre (Verdi) / Le Pardon de Ploërmel – Les blés sont bon à faucher (Meyerbeer). 10" AC plum Disque Gram. U-67, POM-28 March, 1923. A-, lovely copy has hint of grey on peaks; alas, tiny hlc appears both sides. MB 15

G851. CÉSAR VEZZANI: Il Trovatore – Di quella pira / Deserto sulla terra (both in French). 10" EL black Disque Gram. P-803, only form of issue, 28 Feb., 1929. M A MB 25

G852. CÉSAR VEZZANI: Il Trovatore – Ah! si, ben mio (in French) / L'Africaine - O Paradis! 10" EL black Disque Gram. P-854, only form of issue, 1931. M A MB 25

G853. CÉSAR VEZZANI: Pagliacci - Vesti la giubba / Cavalleria - O Lola (both in French). 10" EL black Disque Gram.P-727, only form of issue, 1927. M-A, lovely copy has sl. damaged upper portion of label. MB 20

G854. CÉSAR VEZZANI: Rigoletto - Questa o quella / La donna e mobile (both in French) (1925 Versions). 10" AC black Disque Gram. P-600, only form of issue, 20 Feb., 1925; quickly deleted at end of AC Era, replaced by 1927/’29 Versions. A to M-A, lovely copy has, Sd. 2 only, 3 infinitesimal pap. scrs, inaud. MB 25

G855. CÉSAR VEZZANI: Rigoletto - Questa o quella / La donna e mobile (both in French) (1927/’29 Versions). 10" EL black Disque Gram. P-801, only form of issue, 11 April, 1927 / 19 Feb., 1929. M A MB 25

G856. CÉSAR VEZZANI: Samson et Dalila – Arrêtez, ô mes frères; Implorons à genoux, 2s. 12” EL black Disque Gram. W 1069, only form of issue, 1931. M-A MB 35

G857. CÉSAR VEZZANI: Aïda - Celeste Aïda (in French) / Les Huguenots – Plus blanche que la blance hermine. 12” EL black Disque Gram. W 1087, only form of issue, 1931. M-A MB 35

G858. CÉSAR VEZZANI: Roméo – Ah, lève-toi, soleil! / Le Roi d’Ys – Vainement, ma bien aimée. 10¾" AC black & beige French Odéon X 111894/96 (XP 6413/17), POM-c.1913. A-, very decent copy has very occasional lt. scrs, ever-so-faintly audible. MB 20

G859. CÉSAR VEZZANI: Roméo – Ah, lève-toi, soleil! / Salut, tombeau. 12” EL Disque Gram. DB 4931, only form of issue, 10 Sept., 1931. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 25

G860. CÉSAR VEZZANI: Lohengrin – In fernem Land / Mein lieber Schwan (in French). 12” EL Disque Gram. DB 4828, only form of issue, 10 Sept., 1931. M-A, gleaming copy has faintest ‘heat’ mk, positively inaud.; Sd. 2 pressed off-center. Sensitive renditions! MB 25

G861. CÉSAR VEZZANI: Lohengrin – Atmest du nicht / Höchstes Vertrau’n (in French) (1929 Versions). 10" EL black Disque Gram. P-828, only form of issue, 28 Feb., 1929. M A MB 35

G862. CÉSAR VEZZANI: Hérodiade – Ne pouvant réprimer / Manon – Ah! fuyez. 12” EL LVSM DB 4844, only form of issue, 28 Jan., 1932. M-A MB 25

G863. CÉSAR VEZZANI & PAUL PAYAN: Tosca – E sempre lava! / ROSE HEILBRONNER: Vissi d’arte (both in French). 10¾" AC brown French Odéon X 111558/97562 (XP 6096/- - -), POM-c.1913. B, very decent copy various lt. scrs, minimally audible; Sd. 2 only has ec, not to grooves. MB 15

G864. CÉSAR VEZZANI & WILLY TUBIANA: Faust – Mais ce Dieu, que peut-il pour moi…, 2s. 12” EL black Disque Gram. W 1041, only form of issue, 25 Feb., 1929. A to M-A, lovely copy has hint of grey on peaks. MB 20

G865. CÉSAR VEZZANI & JEANNE GUYLA: Hérodiade – Jean, je te revois / Quand nos jours s'énteindront. 12” EL Disque Gram. DB 4907, only form of issue, 22 Nov., 1932. M-A, a gleaming copy. MB 35

G866. CÉSAR VEZZANI & JEANNE GUYLA: Manon – J’ai marqué l’heure du départ; Non! je ne veux pas croire (Duo de la Rencontre), 2s. 12” EL Disque Gram. DB 4846, only form of issue, 28 Jan., 1932. M-A, lovely copy has, Sd. 2 only, faintest dust mks, positively inaud. MB 35

G867. CÉSAR VEZZANI & JEANNE GUYLA: Manon – Ah! Des Grieux; Le ciel lui-même te pardonne (Finale, Act V), 2s. 12” EL Disque Gram. DB 4847, only form of issue, 28 Jan., 1932. A to M-A, lovely copy has hint of grey on peaks. MB 45

G868. CÉSAR VEZZANI & MIREILLE BERTHON: Lohengrin – Das süsse Lied verhallt (in French), (Sds. 1 & 2 only [of 4 issued sides; the remaining two being ‘Atmest du nicht / Höchstes Vertrau’n’]) (1933 Versions), 2s. 12” EL Disque Gram. DB 4920, only form of issue, 13 Oct., 1933. M-A, lovely copy has, Sd. 2 only, infinitesimal dust mk, inaud. MB 45

G869. CÉSAR VEZZANI & LUCY PERELLI: Werther – Il faut nous séparer, 2s. 12” EL black Disque Gram. W 1138, only form of issue, 1931. A to M-A MB 30

G870. CÉSAR VEZZANI & LUCY PERELLI: Werther – Werther! Werther! Rien! Dieu! Ah! du sang (La mort de Werther) (Sds. 1 & 2 only [of 4 issued sides]), 2s. 12” EL Disque Gram. DB 4813, only form of issue, 10 Sept., 1931. M-A, gleaming copy has, (Orchestral) Sd. 1 only, tiny nr, positively inaud. MB 25

“César Vezzani’s clarion voice and robust approach has won for him a secure place in the pantheon of great French tenors of the 20th Century. He made more than 170 sides, most of which were issued only in France and are, today, eagerly sought by collectors.” - Ward Marston, Program notes to Marston’s 1st Vezzani issue

“Vezzani was born in Bastia on Corsica and came to Paris in 1908. He made his début in Grétry’s RICHARD COEUR DE LION at the Opéra-Comique in 1912. A disagreement with the management of the Opéra-Comique arose, after which his career was largely confined to the opera houses of Nizza, Marseille, Toulon and Toulouse and Brussels; he never returned to Paris. During World War II he lived in exile and appeared at the Opera of Algiers, where he was much admired. In 1947 he signed a contract for three years with the La Monnaie Brussels, but during a rehearsal on stage in Toulon he suffered a stroke which paralysed him completely. He died in 1951. Vezzani is a dramatic tenor of great brilliance and with a ringing top. There is a vibrant vitality in his singing.” - Andrea Shum-Binder, subito-cantabile

G871. LUCIEN MURATORE: Berceuse d’amour (Delmet) / Sérénade florentine (Moret). 10½ AC Test Pressing for A.P.G.A 1502/03, only form of issue, 1907, both sides announced. M-A, lovely copy has, Sd. 2 only, wee scuff, ever-so-faintly audible a very few turns at very end. Exceedingly elusive! MB 45

G872. LUCIEN MURATORE: L’heure grise (Berger) / À quoi pensez-vous. 10½ AC Test Pressing for A.P.G.A 1569/70, only form of issue, 1907, both sides announced. M-A, lovely copy has, Sd. 1 only, infinitesimal pap. scr, positively inaud. Exceedingly elusive! MB 45

“Among those ‘minor’ companies that flourished in France before the end of the first decade, there is one that stands out above all the others for its originality of organization and its technical excellence. A.P.G.A. (L’Association Phonique des Grands Artistes) was founded in May, 1906…with a group of ten artists: Agustarello Affre, Charlotte Agussol, André Gresse, Jean Noté, Alice Verlet, Henri Weber, Bergeret, Dranem, Mayol & Polin….The records were uniform in size: 27cm. or about 10½ inches….All A.P.G.A. records play at an average speed of 86 r.p.m., and I know of many that go well over 90. These extraordinary speeds might have accounted for the lack of sales….However, when pitched properly, these records are astoundingly good – I might venture to say better than any other needle-cut record of the period.” - Victor Girard, THE RECORD COLLECTOR, 1954

G873. LUCIEN MURATORE: Chanson de Barbarine (Loret) / Fortunio – La maison grise (Messager). 11¼” AC grey paper label H & D US Pathé 63009, recorded 1917, original form of issue. A to M-A MB 15

G874. LUCIEN MURATORE : Non m’amate più / Il pescatore canta! (both Tosti). 11¼” AC grey paper label H & D US Pathé 64009, recorded 3 Jan., 1917, original form of issue. M-A, a gleaming copy. MB 15

G875. LUCIEN MURATORE : Tu ne saurais jamais! (Rico) / Carmen – Halte-là! 11¼” AC grey paper label H & D US Pathé 63003, recorded 3 Jan., 1917 / 6 May, 1916, original form of issue. A-, lovely copy has faintest pap. rubs, inaud. MB 12

G876. LUCIEN MURATORE : Le temps des cerises (Renard) / Werther – Pourquoi me réveiller? 11¼” AC grey paper label H & D US Pathé 64002, recorded 1916, original form of issue. M-A, gleaming copy has, Sd. 1 only, wee pressing bump. MB 15

G877. LUCIEN MURATORE : Reviens! (Christiné) / Roméo – Ah, lève-toi, soleil! 11¼” AC grey paper label H & D US Pathé 63015, recorded 1916 / ’17, resp., original form of issue. A-B, decent copy has lt. rubs & scrs. MB 8

G878. LUCIEN MURATORE : ‘O surdato ‘nnamorato (Cannio) / Rigoletto – La donna è mobile. 11¼” AC grey paper label H & D US Pathé 63014, recorded 3 Jan., 1917, original form of issue. M-A MB 15

G879. LUCIEN MURATORE : E comm’ ‘o zuccaro (Fonzo) / Pagliacci – Vesti la giubba. 11¼” AC grey paper label H & D US Pathé 63016, recorded 3 Jan., 1917, original form of issue; only form of issue, Sd. 1. A to M-A MB 15

“Muratore made a number of discs of French, Italian and Neopolitan songs, and in ‘mélodie’ he sensitively lightens his tone, vocalising in a relaxed manner, yet in the Italian ‘canzone’ he brings a genuine passion to bear, which shows a singer of exceptional abilities….In his singing, Muratore’s use of dynamics and tonal colour can convey an effect, at times, of a lovely voice. This is something not given to all singers. As an artist, he was indeed truly ‘surdoué’.” - Alan Bilgora, THE RECORD COLLECTOR, 2009

G880. LUCIEN MURATORE: La Marseillaise (de l'Isle) / LUCIEN MURATORE & LINA CAVALIERI: La forêt de Noël (Christmas Waltz) (Margis). 11¼” AC grey paper label H & D US Pathé 64003, recorded 6 May, 1916 / April, 1916, original form of issue. M-A/A-, lovely copy has, Sd. 2 only, faint rubs& superficial scrs, positively inaud. MB 12

G881. LUCIEN MURATORE: L’Africaine – O Paradis! 11¼” AC grey paper label H & D US Pathé 54006, recorded 1918, original form of issue. A-, lovely copy has few superficial scrs, inaud. MB 12

G882. LUCIEN MURATORE: Manon – Ah! fuyez. 11¼” AC grey paper label H & D US Pathé 54001, recorded 1916, original form of issue. M-A MB 12

G883. LUCIEN MURATORE: Roméo – Ah, lève-toi, soleil! 11¼” AC grey paper label H & D US Pathé 54008, recorded 1918, original form of issue. A to M-A, lovely copy has occasional superficial scr, inaud. MB 10

G884. LUCIEN MURATORE: Faust – Salut! demeure. 11¼” AC grey paper label H & D US Pathé 54018, recorded 1918, original form of issue. M-A MB 10

G885. LUCIEN MURATORE: Werther – Pourquoi me réveiller? 11¼” AC grey paper label H & D US Pathé 54003, recorded 1916, original form of issue. M-A, a gleaming copy. MB 12

G886. LUCIEN MURATORE: Monna Vanna – Elle est à moi (Février) / Roméo – Ah, lève-toi, soleil! 10” AC gold HRS 1092, RRs–1918, Pathé. Creator record, Sd. 1, 10 Jan., 1909, l’Opéra. Numbered Copy #282 of a Limited Edition. M-A MB 10

G887. LUCIEN MURATORE : Roméo – Ah, lève-toi, soleil! / Manon – Ah! fuyez. 10" AC silver IRCC 198, RRs-1918/’16, resp., Pathé. Numbered Copy #68 of a Limited Edition; Muratore's Photo is affixed to Sd.1 label. A to M-A, lovely copy has, Sd. 2 only, few lt. rubs, inaud. MB 12

G888. LUCIEN MURATORE: Pagliacci – Vesti la giubba. 11¼” AC grey paper label H & D US Pathé 54012, recorded 3 Jan., 1917, original form of issue. M-A, a gleaming copy. MB 12

G889. LUCIEN MURATORE : Fedora – Amor ti vieta / Il pescatore canta! (Tosti). 11¼” AC grey paper label H & D US Pathé 63010, recorded 1918/3 Jan., 1917, original form of issue. M-A, a gleaming copy. MB 15

G890. LUCIEN MURATORE: Fedora – Amor ti vieta / I Pagliacci – Vesti la giubba. 10” AC gold HRS 1058, RRs–1918/3 Jan., 1917, Pathé. Sd. 1 Label Autographed by Muratore. M-A MB 10

“Lucien Muratore made his début at the Odéon theatre in Paris, where he played opposite such actresses as Sarah Bernhardt and Réjane. He then studied at the Paris Music Conservatory, and made his operatic début 16 Dec., 1902 at the Opéra-Comique, creating the King in Reynaldo Hahn 's LA CARMÉLITE (performing with Calvé, Marié de l’Isle & Dufranne). He made his début at La Monnaie in 1904, as Werther, and the following year at the Palais Garnier, as Renaud in Lully's ARMIDE. He created several Massenet operas such as ARIANE AND BACCHUS, at the Opéra, and ROMA, in Monte Carlo. He also took part in the creation of LA CATALANE by Le Borne, MONNA VANNA by Henry Février, DÉJANIRE by Camille Saint-Saëns, and PÉNÉLOPE by Gabriel Fauré. He became principal French tenor at the Opera Houses of Boston and Chicago from 1913 until 1922. He also appeared at the Teatro Colón in Buenos Aires. Muratore retired from the stage in 1931. He was married first to soprano Magali Beriza, and later to soprano Lina Cavalieri, with whom he appeared in a silent movie, MANON LESCAUT, in 1914”

G891. GASTON MICHELETTI: Vado ben spesso (Buononcini) / Mitrane – Ah! rendimi quel core (Rossi). 12” EL French L’Anthologie Sonore 64, only form of issue, 1937. A to M-A,, lovely copy has, Sd. 1 only, sev. infinitesimal pap. scrs. MB 12

G892. GASTON MICHELETTI, w.Gerlin (Harpsichord): Comme une hirondelle; Sombres forêts (both Montéclair); J’ay surprise l’Amour (Lacoste); Amis, buvons nuit et jour (Renauld); Iris (L’Affilard); Le bon vin chasse let chagrin. 12” EL French L’Anthologie Sonore 98, only form of issue, 1938, accompanied by original notes and texts. A to M-A,, lovely copy has, Sd. 1 only, sev. infinitesimal pap. scrs. MB 12

G893. GASTON MICHELETTI, w.Cloez Cond.: L’Ajaccienne (Giacobini) / Vocero (Corsican song). 10” EL French Odéon 188.712, only form of issue, 1931. M-A/A-, lovely copy has, Sd. 2 only, lt. rub, inaud. Most uncommon! MB 15

G894. GASTON MICHELETTI, w.Cloez Cond.: Mireille – Anges du Paradis / Werther – Invocation à la nature. 10” EL French Odéon 188.510, only form of issue, 1927. M-A, a gleaming copy. MB 12

G895. GASTON MICHELETTI, w.Cloez Cond.: Manon – Ah! fuyez!, w.recit., 2s. 10” EL French Odéon 188.660, only form of issue, 1929. A to M-A, lovely copy has, Sd. 1 only, 2 wee scrs. MB 10

G896. GASTON MICHELETTI, w.Cloez Cond.: Manon – Le rêve / Werther – J’aurais sur ma poitrine. 10” EL French Odéon 188.655, only form of issue, 1929. A to M-A, lovely copy has, Sd. 2 only, faint rub, inaud.; Sd. 1 only has tiny insignificant lateral edge lam. MB 10

G897. GASTON MICHELETTI, w.Cloez Cond.: Le Roi d’Ys – Vainement ma bien aimée / Werther – Lorque l’enfant revient d’un voyage. 10” EL French Odéon 188.654, only form of issue, 1929. A to M-A, lovely copy has, Sd. 2 only, 2 infinitesimal pap. scrs, positively inaud. MB 10

G898. GASTON MICHELETTI, w.Cloez Cond.: Carmen – Air de la fleur / Faust – Salut! demeure. 12” EL French Odéon 123.650, only form of issue, 1929. M-A, a gleaming copy. MB 12

“Born at Tavaco on the island of Corsica, Micheletti studied at the Conservatoire de Paris and made his début at Reims in 1922, as Faust. Three years later he was contracted to the Opéra-Comique, where his first rôle was Des Grieux. This opera house became the centre of his activities until his retirement in 1946. He sang in a wide range of rôles, including Don José, Turiddu, Hoffmann, Gérald, Pinkerton, Canio, Dimitri in Alfano’s RISURREZIONE, Mylio, Werther, Rodolfo, Cavaradossi and Roméo. He created numerous rôles in premières of forgotten French operas. His career was largely restricted to French and Belgian opera houses. He is a lirico-spinto tenor of remarkable subtlety. The timbre of his voice is attractive, warm and velvety, with a slightly baritonal tinge. There is a hint of rapid vibrato which I like very much. Micheletti is an ideal Faust. He is poetic and natural sounding, quite the contrary to the more ‘intellectuel’ and mannered Nicolai Gedda. He is also wonderful in Massenet’s HÉRODIADE. Micheletti’s intimate sound and inner emotion are perfectly adequate for Werther. His Don José opposite Conchita Supervia has become a classic.” - Andrea Shum-Binder, subito-cantabile

G899. CHARLES FRIANT: La Hulla – Nos destins sont écrits (Samuel-Rousseau) / Pagliacci – Vesti la giubba (in French). AC 11½" French H & D Pathé 0415, recorded 1924, only form of issue, Sd.1 (that being a Creator record, 9 March, 1923, l’Opéra-Comique). M-A MB 25

G900. CHARLES FRIANT, w.Cloez Cond.: Tosca - Recondita armonia / E lucevan le stelle (both in French). 10" EL French Odéon 188.544, POM-1927. M-A MB 12

G901. CHARLES FRIANT, w.Cloez Cond.: Carmen - La fleur que tu m'avais jetée (1927 Version) / L'Enfant Prodigue - O temps à jamais effacé (Debussy). 12” EL French Odéon 171.028, POM-1928. M-A, lovely copy has, Sd.2 only, faintest pap. rub, inaud. MB 15

G902. CHARLES FRIANT, w.Cloez Cond.: Werther – Lorsque l’enfant revient d’un voyage / J’aurais sur ma poitrine. 10" EL French Odéon 188.502, POM-1927. M-A, lovely copy has, Sd. 2 only, mere hint of grey on peaks. MB 12

G903. CHARLES FRIANT, w.Cloez Cond.: Werther – Pourquoi me réveiller? / Lakmé – Ah! viens dans la forêt profonde. 10" EL French Odéon 188.503, POM-1927. M-A, lovely copy has, Sd. 1 only, 3 minuscule dust mks, inaud. MB 12

G904. CHARLES FRIANT & MARGUERITE PRINVOT: Manon - Avez-vous peur; J'écris à mon père / SUZANNE BROHLY: Mireille - Voici la saison, mignonne. 12” AC black Disque Gram. W 491, only form of issue, 24 June / 25 Oct., 1921. A-, very decent copy has very lt. rubs, inaud.; wee edge dam., nowhere near grooves. MB 15

G905. CHARLES FRIANT & JANE ROLLAND, w.Cloez Cond.: Carmen - Parle-moi de ma mère, 2s. 12” EL red Decca-Odeon G-25918, POM-1932. M-A MB 12

G906. CHARLES FRIANT & GERMAINE CERNAY, w.Cloez Cond.: Werther - Au clair de la lune, 2s. 12” EL PW French Odéon 123.556, POM-1928. M-A MB 15

G907. CHARLES FRIANT & GERMAINE CERNAY: Werther – Mort de Werther, 3s / Sd. 4 = GERMAINE CERNAY, w.Cloez Cond.: Mignon – Elle est aimée. 2–12” EL French Odéon 123.585/86, POM-1928. M-A MB 35

G908. CHARLES FRIANT, w.Roger Bourdin & Pierre Dupré; Cloez Cond. l'Opéra-Comique Orch.: Le Jongleur de Notre-Dame - Le Miracle (Act III), 6s. 3-10” EL red Decca-Odeon G-20585/87, POM-1930. M-A, lovely copy has, Sds. 1, 2 & 5, wee pressing bump; Sds. 3 & 5 have tiny dust scrs, inaud. MB 20

“…the rôle that combined all of Friant’s talents and of which he was the greatest interpreter in France between the two wars was that of Jean in Massenet’s miracle LE JONGLEUR DE NOTRE-DAME, for it drew upon his grace and agility as a dancer, his presence as an actor and his musical instincts as a singer. Friant remained at the Opéra-Comique from 1920 until 1939, and he was often chosen to create rôles in operas composed in his own day. Friant cut a large number of records; he made acoustical discs for Pathé and the Compagnie Française du Gramophone, and electrical recordings for Odéon. He made a number of sides from some of the rôles he created, as in LE HULLA, LE BON ROI DAGOBERT, and LA PEAU DE CHAGRIN, which makes them of considerable historical interest. These recordings as well as his interpretations of the more common arias reveal the intensity of his performances. Vocally, the top of his range was not produced with ease, and sometimes it was forced, but his articulation, his musical sensibility, and his sense of phrasing are always evident. His dramatic sense of reality made the characters he portrayed unforgettable.” - Lewis Morris Hall, Program Notes to Marston’s THREE TENORS OF L’OPÉRA-COMIQUE

G909. AUGUSTIN (FRANCISCO) NUIBO: Faust – Salut! demeure. 12” AC Special red vinyl Pressing of C-2205, POM-25 Jan., 1905. from Unpublished Master. MINT MB 25

G910. AUGUSTIN (FRANCISCO) NUIBO: Marta – M’appari (1905 Version) (in French). 10” AC GP V 81057 (B2204), Orig. ‘A’ Plate Issue, POM-25 Jan., 1905, Never Doubled. A-, very decent copy has lt. rubs & various minor scrs at beginning, ever-so-faintly audible a few turns. MB 15

G911. JOSÉ MOJICA: Eres tú / Golondrina – Mensajera (both Oteo). 10” AC paper label Edison H & D 80792 (9527/28), only form of issue, 1924. M-A, a gleaming copy. MB 25

G912. JOSÉ MOJICA: Te he de querer (Oteo) / Morena mia (Villarrel). 10” AC paper label Edison H & D 60048 (10377/92), only form of issue, 1925. M-A, a gleaming copy. MB 25

G913. JOSÉ MOJICA: Cual pálida estrella (Garcia) / El nopal (Talavera). 10” AC paper label Edison H & D 60047 (10399/10402), only form of issue, 1925. M-A, a gleaming copy. MB 25

G914. JOSÉ MOJICA: Amores y amorios (del Moral) / La Cruz y la Espada - Gratia plena (Talavera). 10” EL Orth Vla 1297, POM-22 Sept., 1927. Never listed in a pre-1931 U.S. catalogue. B-, decent copy has lt. rubs & scrs, positively ltly audible. MB 12

G915. JOSÉ MOJICA: Miniatura / Unidos por siempre (both Sanders). 10” EL Brasilian RCA 4252, POM-1928. A to M-A, lovely copy has very occasional superficial pap. scrs, inaud. MB 20

G916. JOSÉ MOJICA: En donde estas? (Sanders) / Alguna vez (Stamper). 10” EL PW Argentinian V 4238, POM-1928. B-, decent copy has lt. rubs & lt. scrs. MB 12

G917. JOSÉ MOJICA: María la o (Lecuona) / Hojas muertas - Añoranza (Maduro). 10” EL Brasilian RCA 4240, RCA transcription, 1928. A-, lovely copy has lt. rubs, inaud; Sd. 2 has tiny scr at end. MB 15

G918. JOSÉ MOJICA: La Sultana (Fraga) / Que queres que jo li haga (Padilla). 10” EL Brasilian RCA 4237, RCA transcription, 1928. M-A, a gleaming copy. MB 25

G919. JOSÉ MOJICA: Júarme (Grever) / Un beso loco (Sanders). 10” EL silver RCA 423-0007, RCA transcription, 22 Sept., 1927 / 9 June, 1930. A-, lovely copy has faint rubs & hint of grey on peaks. MB 12

G920. JOSÉ MOJICA: Faust – Salut! demeure (in Italian). 12” EL S/S vinyl special pressing of Victor Mx CVE-42962-3 (released only as 6892-A), POM-20 Sept., 1928. Remarkably quiet playing surface. MINT MB 25

G921. JOSÉ MOJICA: Snegoroutchka – Full of wonders (in [impeccable] English) (Rimsky-Korsakov). 12” EL S/S vinyl special pressing of Victor Mx CVE-42963-1 (released only as 6892-B), POM-20 Sept., 1928. Remarkably quiet playing surface. MINT MB 25

“Born in México in poverty, but gifted with a fine voice and good looks, José Mojica joined the Chicago Opera Company in 1919 and remained there until 1930, when he went into films, returning once more to Chicago to sing Fenton in FALSTAFF in 1940. His parts ranged from Pelléas, which he sang opposite Mary Garden , to Don Basilio in LE NOZZE DI FIGARO. In 1921 he sang the Prince in the première of THE LOVE FOR THREE ORANGES, in which he scored a further success the following year in New York. On his mother's death in 1943 he gave up his career and became Father José Francisco de Guadaloupe , a Franciscan priest, working as a missionary in Peru. He undertook a concert tour of Central America to raise funds in 1954, and later wrote his autobiography, YO PECADOR (I, a sinner) (México City, 1956). His recordings show an attractive lyric voice often used with skill and imagination.” - J. B. Steane

G922. TOMAZ ALCAIDE: La Favorita - Spirto gentil / Les Pêcheurs de Perles - Je crois entendre (in Italian). 12” EL PW Eng. Col. LX 108, POM-10 Oct., 1930. M-A MB 10

G923. TOMAZ ALCAIDE: Mignon – Adieu, Mignon, courage / El ne croyait pas (in Italian). 10” EL black Viva-Tonal Col. 2447-D, POM-6 Oct., 1930. A-, lovely copy has lt.rubs. MB 6

G924. TOMAZ ALCAIDE: Rigoletto – La donna è mobile / MARIA CANIGLIA: Tosca – Vissi d’arte. 10” EL Italian Col. DQ 1138, POM-6 Oct., 1930/ ‘30. M-A MB 10

G925. PABLO CIVIL: Andrea Chénier – Si, fui soldato / Mefistofele – Giunto sul passo. 10” EL PW brown Eng. Col. D 6064. A to M-A, lovely copy has alas, long lam visible side 2 only, very ltly audible. MB 10

G926. PABLO CIVIL, w.Tansini Cond.: Lucrezia Borgia – Di pescatore ignobile / PABLO CIVIL & MARIA VINCIGUERRA: La Wally – M'hai salvato. 12” EL dark blue Cetra CC.2322, only form of issue, 25 April, 1942. M-A MB 15

G927. PABLO CIVIL, GINA CIGNA, IDA MANNARINI & TANCREDI PASERO: Mefistofele – Scena del giardino (Boito), 3s. / Sd. 4 = PABLO CIVIL, GINA CIGNA & TANCREDI PASERO: Faust – Final trio (in Italian). 2–12” EL dark-blue Italian Col. D 14581/82. M-A MB 25

“Civil’s voice was considered by some to be lyric tenor, but the rôles he undertook and the recordings he has left us, as a legacy of his art, demonstrate a true lirico-spinto. With a dark timbre to the centre, the tone takes on a full bodied dramatic edge in the upper register, an excellent control of the passaggio with notes from top G to the high B-natural having a thrilling ‘squillo’….an excellent control of line and tension, allowing the composers’ intentions and melodic creativity to be beautifully served.”

- Alan Bilgora, liner notes to Pearl’s THE CETRA TENORS

G928. ANTONIO CORTIS: Una Vieja (Gaztambide) / La Alegria del Battalon – Canción del soledad (Serrano). 10" EL PW Disco Grammofono DA 762, POM-4 / 8 Sept., 1925. M-A, lovely copy has, beg. Sd. 2 only, mere hint of nr, positively inaud. MB 20

G929. ANTONIO CORTIS: Doña Francisquita – Mujer fatal (Vives) / El Dictator – Canción de la carta (Millán). 12" EL AC label Vla 6554, POM-3 Sept., 1925. M-A, lovely copy has very minor adhesive, on upper labels . Exceedingly elusive! MB 50

G930. ANTONIO CORTIS: L’Africaine – O Paradis! (in Italian) / Andrea Chénier – Io non o amato ancor (Credo a una possanza). 10" EL Orth Vla 1527, POM-18 / 19 Sept., 1930. M-A, a gleaming copy. Exceedingly elusive! MB 25

G931. ANTONIO CORTIS: La Cena delle Beffe – Ahi che tormento / Mi svesti (Giordano). 10" EL Orth Vla 1240, POM-28 March, 1927. M-A, a gleaming copy. MB 12

“Outstanding are the two pieces from LA CENA DELLE BEFFE. I do not think anybody else has recorded them, and there is no need for anybody to try. Surely they cannot be bettered, and this is the Cortis record to own….Cortis had quite a success [in this opera, in Chicago] and recorded his two sides about the same time….The sides are a vocal tour-de-force, yet, as with all of Cortis’ discs there is never any apparent sense of strain; he makes it all sound as if it lay easily within his range….” - James F. E. Dennis, THE RECORD COLLECTOR, 1971

G932. ANTONIO CORTIS: La Cena delle Beffe – Ahi che tormento / Mi svesti (Giordano). 10” EL white Archive HMV VA 1, POM-28 March, 1927. MINT MB 6

G933. ANTONIO CORTIS: Carmen – La fleur que tu m'avais jetée / Manon – Ah, fuyez! (both in Italian). 12” EL LVDP DB 1363, only form of issue, 20 / 23 Sept., 1929. M-A, gleaming copy of preferred late LVDP pressing. MB 15

G934. ANTONIO CORTIS: Tosca – Recondita armonia / E lucevan le stelle. 10" EL LVDP DA 1074, only form of issue, 19 Sept., 1929. M-A, gleaming copy of preferred late LVDP pressing. MB 15

G935. ANTONIO CORTIS: Iris – Apri la tua finestra. 10" EL S/S red vinyl special pressing of Victor Mx MB 1122-1 (released only as 1462-B & LVDP DA 1076), POM-20 Sept., 1929. M-A, a gleaming copy. MB 12

G936. ANTONIO CORTIS: Iris – Apri la tua finestra / Werther – Pourquoi me réveiller? (in Italian). 10" EL LVDP DA 1076, POM-20 / 29 Sept., 1929. M-A, gleaming copy of preferred late LVDP pressing. MB 12

G937. ANTONIO CORTIS: Cavalleria – Siciliana / IRENE MINGHINI-CATTANEO: Il Trovatore – Stride la vampa! 10" EL LVDP DA 1277, only form of issue, 23 Sept., 1929/’29. M-A, a gleaming copy. MB 15

G938. ANTONIO CORTIS: Rigoletto – Questa o quella / La donna e mobile. 10" EL LVDP DA 1153, only form of issue, 18 / 27 Sept., 1930. M-A, a gleaming copy. MB 15

G939. ANTONIO CORTIS: Rigoletto – Ella mi fu rapita; Parmi veder le lagrime, 2s. 10" EL LVDP DA 1152, only form of issue, 17 / 18 Sept., 1930. M-A, a gleaming copy. MB 15

G940. ANTONIO CORTIS: Il Trovatore – Di quella pira / Ah! si, ben mio. 10" EL LVDP DA 1155, POM-25 Sept., 1930. M-A, gleaming copy of preferred late LVDP pressing. MB 12

G941. ANTONIO CORTIS: La Boheme – Mimi e una civetta / Favorita – Una vergine, un angiol di Dio. 10" EL LVDP DA 757, POM-8 Sept., 1925. M-A MB 12

G942. ANTONIO CORTIS: Turandot – Non piangere, Liù / Nessun dorma. 10" EL HMV DA 1075, only form of issue, 23 / 19 Sept., 1929. MINT MB 8

G943. ANTONIO CORTIS: La Boheme – Che gelida manina / Faust – Salut! demeure (in Italian). 12” EL LVDP DB 1468, POM-19 / 27 Sept., 1930. M-A, gleaming copy of preferred late LVDP pressing. MB 12

“In 1917, Cortis sang in South America as Arlecchino in PAGLIACCI; Enrico Caruso was Canio. The famous tenor tried to persuade the young singer to accompany him to the United States, but Cortis declined the offer. In 1919 Cortis departed with his family to Italy where he was soon contracted by the Teatro Costanzi of Rome, Napoli and Bari. He also appeared at La Scala and was re-invited to sing in South America. His career became essential when he he was engaged as a member of the Chicago Opera which Cortis considered the peak of his career. He continued to sing performances in London, at La Scala, in Verona, Torino, Monte Carlo, Barcelona, Boston, Baltimore, Los Angeles, Washington, Pittsburgh and Santiago de Chile. During this successful epoch he made some of his finest recordings for Victor and Voce del Padrone. His last performance was in Zaragoza in 1950, as Cavaradossi.

Antonio Cortis is certainly the most beautiful and thrilling of all Spanish tenors. It was essentially a lyric, yet a ‘romantic’ voice. He was superior to Miguel Fleta, Hipolíto Lazáro and even to Francesco Vignas. It is the richness of his tone, which is ideally combined with a lively and spontaneous responsiveness of style that makes him one of the greatest tenors. There was undoubtedly a certain similarity in emission and style between Cortis and Caruso. Cortis’ recordings are a ‘must’!” - Andrea Shum-Binder, subito-cantabile

G944. ICILIO CALLEJA: Carmen – Mia tu sei (Final scene, as solo!) / IDA CATTORINI: Je dis que rien ne m’épouvante (both in Italian). 10” AC green Col. E2348 (41924/86), POM-1913. A to M-A, unusually bright copy. MB 20

G945. ICILIO CALLEJA: Andrea Chénier – Improvviso / Come un bel dì di maggio. 10” AC buff Brazilian Col. S60 (41917/19), POM-1913. A to M-A, lovely copy has hint of grey on peaks. MB 30

G946. ICILIO CALLEJA: Otello – Ora e per sempre addio / ICILIO CALLEJA, ESTER MAZZOLENI, LAURA DEL LUNGO & DOMENICO VIGLIONE-BORGHESE: Aïda – Di Nàpata le gole (Act III finale). 10¾“ AC Milano Fonotipia 92674/73 (XPh 4124/4366), POM-30 Oct. 1909 / 10 Oct., 1910. A-, lovely copy has lt. rubs, inaud.; Sd. 1 only has faint scr, positively inaud MB 45

“The number of tenors throughout the first half of the twentieth century considered great exponents of the rôle of Otello ever since Francesco Tamagno premièred Verdi's opera in 1887, can be counted on the fingers of one hand. One of them was Icilio Calleja who became the second tenor after Tamagno to sing this demanding rôle at the same opera house, after he was auditioned and subsequently chosen by a La Scala Commission chaired by Arrigo Boito and Tullio Serafin, much to the consternation of other Italian tenors who felt they were being discriminated against to favour a ‘foreign' singer! The Commission set up for the specific purpose of organising these festivities decided on a production of OTELLO which had not been staged there for 26 years since Francesco Tamagno had created this rôle. After holding a number of auditons, both Arrigo Boito and Tullio Serafin were decided on the best choice for the title-rôle which fell on Icilio Calleja. Letters in the press complained that the special occasion called for a choice of an Italian tenor rather than a foreigner. Tullio Serafin kept firm and reiterated that the Commission opted for the best interpreter and in the circumstances the Commission's decision was final. In order to portray as faithfully as possible the rôle of Otello, Calleja had made an in-depth study of the effects of convulsions, jerking and facial congestion that are brought about by a fit of epilepsy. He would then put them to good use in Act III when the Moor is overcome by his rage and emotion and falls in a swoon. The Italian newspaper ‘Adriatico’ of the 24 November, 1913 reported that Arrigo Boito felt duty bound to visit Calleja in his dressing room after the third act, to congratulate him for his excellent portrayal which he rated as the finest since Tamagno.”

- Emy Scicluna, GRANDI TENORI

G947. JOSÉ SOLER, w.Basile Cond.: Il Trovatore – Di quella pira / Ah! si, ben mio. 10” EL pale-blue Cetra AT 0318, only form of issue, 21 Jan. / 3 Feb., 1953. M-A, a gleaming copy. Exceedingly Elusive late 78rpm era issue featuring the very young Soler! MB 50

G948. JOSÉ SOLER, w.Basile Cond.: Tosca – Recondita armonia / Pagliacci – Vesti la giubba. 10” EL pale-blue Cetra AT 0319, only form of issue, 21 Jan. / 3 Feb., 1953. M-A, gleaming copy has, Sd. 1 only, tiny ‘damp’ spot, inaud. Exceedingly Elusive late 78rpm era issue featuring the very young Soler! MB 50

G949. FRANCESCO SIGNORINI & INES de FRATE: Aïda – Il ciel dei nostri amori. 12” AC red Milano Gram. Monarch 054213 (1492c), POM-1908. A-B, very decent copy has lt. grey on peaks & 2 faint scrs, inaud.; pinpoint nd ticks ltly sev times. A stunning record which would list for $1000 if in superior condition. MB 395

“Born in Rome and trained at the Accademia di Santa Cecilia, Francesco Signorini made his début in 1882 in Florence, and after 1897 sang regularly in leading dramatic Italian rôles at La Scala. He made guest appearances in 1907 in San Francisco and Los Angeles, appearing also in Buenos Aires. He retired in 1910 and taught in Rome.”

- Stephen R. Clarke, Program notes to Marston’s CHATTERTON Issue

G950. DANILO CESTARI, w.Simonetto Cond.: L’Africaine – O Paradis! / Werther – Pourquoi me réveiller? (both in Italian). 10” EL pale-blue Cetra AT 0398, only form of issue, 16 March, 1955. Absolutely stunning performances! M-A, lovely copy has considerable lt. rubs, inaud.; remarkably quiet surfaces. MB 50

G951. DANILO CESTARI, w.Basile Cond.: Manon – Ah fuyez (in Italian) / DANILO CESTARI & MARIA LUISA GEMELLI: La Boheme – O soave fanciulla. 12” EL red Cetra PE 194, only form of issue, 18 / 19 Nov., 1953. M-A, a gleaming copy. MB 50

G952. CARLO DANI: Don Pasquale – Cercherò lontana terra / Com’è gentil. 10¾“ AC Milano Fonotipia 39965/66 (XPh 2320/21), POM-1907. A-, lovely copy has faintest rubs, inaud.; somewhat ‘gritty’ copy, yet these ‘forward’ performances play beautifully. MB 15

G953. CONSTANZO GERO, w.Basile Cond.: Don Giovanni – Dalla sua pace / Il mio tesoro. 10” EL green Cetra TI 7045, only form of issue, 30 April, 1946. M-A, a gleaming copy. MB 25

G954. CONSTANZO GERO, w.Gallino Cond.: L’Elisir d'Amore – Quant’è bella / Cavalleria - Siciliana. 10” EL green Cetra TI 7041, only form of issue, 29 / 30 Oct., 1945. M-A, gleaming copy has, Sd 2 only, wee label tear. MB 25

G955. CONSTANZO GERO, w.Gallino Cond.: Don Pasquale – Sogno soave e casto / Barbiere – Se il mio nome. 10” EL green Cetra TI 7039, only form of issue, 11 Oct., 1945. M-A, gleaming copy has, Sd 1 only, infinitesimal pap. scr, positively inaud. MB 25

G956. CONSTANZO GERO, w.Gallino Cond.: La Traviata – De miei bollenti spiriti / Don Pasquale – Com’e gentil. 10” EL green Cetra TI 7040, only form of issue, 29 / 30 Oct., 1945. M-A, gleaming copy has, Sd 2 only, infinitesimal label tear. MB 25

“[Gero’s] by now very experienced account of the rôle of Ernesto in DON PASQUALE was also heard at the New York City Opera in the 1955 Spring season. Recordings of the two well known arias…give a good idea of Gero’s vocal qualities. A lyric tenor with a light tone that could be compared to a dry white wine….Certain notes in the upper register have been compared to the young Tagliavini, but that would be doing an injustice to that which, in the main, is an individual timbre and one that is well worth hearing for its own sake.”

- Alan Bilgora, liner notes to Pearl’s THE CETRA TENORS

G957. FRANCO PACE, w.Gallino Cond.: Frasquita – Oh fanciulla all’imbrunir / Paganini – Se le donne vo’ baciar (both Lehár; in Italian). 10” EL red Cetra AA 416, only form of issue, 27 March, 1945. M-A, a gleaming copy. MB 20

G958. AUGUSTO FERRAUTO, w.Barzizza Cond.: O mare ‘e Margellina (Falvo) / Carmela (de Curtis). 10” EL dark-blue Cetra DC 4453, only form of issue, 1938. M-A, gleaming copy has, Sd. 2 only, 3 infinitesimal dust scrs, positively inaud. MB 20

G959. AUGUSTO FERRAUTO, w.Petralia Cond.: Torna a Surriento (de Curtis) / ‘O Marenariello (Gambardella). 10” EL dark-blue Cetra DC 4446, only form of issue, 7 Nov., 1937. M-A, a gleaming copy. MB 20

“Ferrauto’s voice is that of a tenore di forza with considerable weight and projection in the middle register, and real squillo above the stave, where the dramatic effect of his top notes can easily be appreciated….But for the intervention of World War II, Ferrauto might well have enjoyed a great international career.”

- Alan Bilgora, liner notes to Pearl’s THE CETRA TENORS

G960. MUZIO GIOVAGNOLI, w.Tansini Cond.: Werther – Pourquoi me réveiller? / Mignon – Elle ne croyait pas (both in Italian). 12” EL red Cetra PE 146, only form of issue, 4 Jan., 1942. M-A, a gleaming copy. MB 25

“A nastier figure was cut by the tenor Muzio Giovagnoli, who not only used Mussolini’s personal secretary to win parts at the Rome Opera and La Scala but denounced anti-fascist conductors who did not appreciate him at his true worth.”

- Mario del Monaco, LA MIA VITA E I MIEI SUCCESSI, pp.36-37

G961. ARISTODEMO GIORGINI: Don Pasquale – Cercherò lontana terra / Com’è gentil. 13½” AC Milano etched label H & D center-start Pathé 86261/62 (77167/54), recorded 1913. M-A, superb copy has, Sd. 2 only, faintest pap. rub, inaud. MB 20

G962. ARISTODEMO GIORGINI: Fedora – Mia madre (sung as a solo); La fante mi svelà, 2s. 13½” AC Milano etched label H & D center-start Pathé 86247/48 (77218/19), recorded 1913. M-A, superb copy has, Sd. 2 only, faintest pap. rubs, inaud. Giorgini at his most extroverted, certainly leaning into his verismo period. MB 20

G963. ARISTODEMO GIORGINI: La Sonnambula – Predi l’anel ti dono / Manon – Ah fuyez! (in Italian). 11½" AC grey paper label H & D US Pathé 62007, recorded 1912, Milano. A-, lovely copy has few superficial mks. MB 15

G964. ARISTODEMO GIORGINI: La Traviata – De’ miei bollenti spiriti / ENRICO CARUSO: L'Elisir – Un solo instante. 12” AC white Archive HMV VB 16, POM-1908 / RR-1 Feb., 1904. M-A MB 8

G965. ARISTODEMO GIORGINI & EZIO PINZA: Faust – Eh bien? Que t’en semble (in Italian) / EZIO PINZA & ROBERT d’ALESSIO: La Favorita – Non sai tu che d’un giusto. 10” AC white Archive HMV VA 70, POM-19 Dec., 1924 / 20 June, 1923. M-A MB 10

G966. ARISTODEMO GIORGINI & MARIA GALVANY: Don Pasquale – Tornami a dir / La Sonnambula – Son geloso. 12” AC white Archive HMV VB 26, POM-1906. MINT MB 6

G967. ARISTODEMO GIORGINI, ANNITA SANTORO & NICOLICCHIA SALVATORE : Manon – O dolor (in Italian). 10” AC white Vla 87083 (13253b), POM-14 May, 1909. A-, lovely copy has lt. rubs & few superficial mks. MB 12

G968. ARISTODEMO GIORGINI & LISA MOGLIA: L’Amico Fritz – Suzel, buon dì (Cherry Duet) / ARISTODEMO GIORGINI & ELVIRA MAGLIULO: La Favorita – Sia vero lasciarti. 13½” AC Paris etched label H & D center-start Pathé 86371/72 (83089/82755), recorded 1913. M-A MB 25

G969. ARISTODEMO GIORGINI & ROMANO RASPONI: Forza – Solenne in quest’ora / ARISTODEMO GIORGINI & ELVIRA MAGLIULO: La Favorita – Vieni, ah! vieni. 13½” AC Paris etched label H & D center-start Pathé 86275/74 (89791/83139), recorded 1913. M-A/A-, lovely copy has, Sd. 2 only, faintest rub & wee nd, ltly audible at very beginning. MB 25

G970. ARISTODEMO GIORGINI, ROSINA TORRI, ERNESTO BADINI, etc; Sabajno Cond. La Scala Ensemble: LA BOHEME, 26s. 13-12” EL Orth Vla 9512/24, POM-1928, On ‘Z’ shellac, in Orig. Album M-35, w.Brochure. M-A, gleaming copy has rarely occasional faintest pap. rub, inaud. MB 75

“The recordings of Aristodemo Giorgini give the impression of an ample lyric tenor of a size similar to, for example, that of the early di Stefano. Although he was trained in a period when established Italian tenors sang in a bel-canto style…with a full-throated forte and a range that encompassed an easy top C, must have made him an exponent of the bel-canto and lyric tenor repertoire.”

- Larry Lustig, THE RECORD COLLECTOR, 1994

G971. AMEDEO BASSI: Manon Lescaut – Tra voi belle / Pagliacci – Vesti la giubba. 13½” AC US grey paper label H & D Pathé 80012 (86396/97), recorded 1912, Milano. M-A MB 25

G972. AMEDEO BASSI: Tosca – Recondita armonia / La Fanciulla del West – Ch’ella mi creda libero. 10” AC gold HRS 1060, RRs–1912, Pathé. Numbered Copy #257 of a Limited Edition. M-A MB 12

”Amedeo Bassi belonged to that group of tenors who were graced with the luck of embracing the dawn of the era of recordings and starring in an avalanche of new operas at the turn of the 20TH century, above all in that genre described as the ‘new school’ – verismo. Rightly, he was the ‘tenor of opera prèmieres’. Conductor/Composer Luigi Mancinelli was so pleased with his performances that he chose him for the local première of his opera ERO E LEANDRO at the San Carlo in Naples (9 March, 1900). The world première had been in Madrid in 1897. He also appeared in LA BOHEME (4 March) with Lina Cavalieri. Like Caruso he was one of the first performers of the rôle of Cavaradossi in TOSCA. In Genoa (Politeama, October, 1900) he had to sing ‘E lucevan le stelle’ five times. He sang in the world première of MEDIO EVO LATINO (17 November), an opera by the Argentinian Composer/Conductor Ettore Panizza.”

G973. CESARE VALLETTI, w.Basile Cond.: Gianni Schicchi – Firenze è come un albero fiorito / LUIGI RUMBO, w.Fighera Cond.: Rigoletto – La donna è mobile. 10” EL green Cetra TI 7066, only form of issue, 12 Nov. / 21 Oct., 1948. M-A, a gleaming copy. MB 50

“As one of the younger tenors to emerge soon after World War II, it was obvious that Valletti was an artist whose reputation would be made based on artistic and musical considerations….His musicianship and vocal colour made him an ideal interpreter of Mozart roles, and like Schipa [his mentor], he became a renowned Werther with sensitivity and nuance being the key to his interpretation….he was considered a lyric tenor of the front rank.” - Alan Bilgora, program notes to Pearl’s THE CETRA TENORS

G974. ENZO de MURO LOMANTO: Torna a Surriento / Voce è notte (both de Curtis). 10” EL red US Col. 14999-F, POM-7 Nov., 1934. M-A MB 10

G975. ENZO de MURO LOMANTO: Piscatore e’ pusilleco (Murolo) / Core ‘ngrato (Cardillo). 10” EL PW violet Italian Col. DQ 3768, POM-11 Feb. / 27 May, 1933. M-A, a gleaming copy. MB 15

G976. ENZO de MURO LOMANTO: Ständchen (Schubert; in Italian) / Ave Maria (Bach-Gounod). 10” EL PW violet Italian Col. DQ 2296, POM-22 March, 1937, only form of issue, Sd.2. M-A, a gleaming copy. MB 15

G977. ENZO de MURO LOMANTO: Marechiare (1927 Version) (Tosti) / La mattinata (Leoncavallo). 10” EL PW violet Italian Col. DQ 1102, POM-1927/’28, resp. M-A, a gleaming copy. MB 15

G978. ENZO de MURO LOMANTO: Marechiare (1935 Version) (Tosti) / Funiculì, funiculà (Denza). 10” EL PW violet Italian Col. DQ 1701, POM-22 Oct., 1935, only form of issue, Sd.1. M-A, a gleaming copy. MB 15

G979. ENZO de MURO LOMANTO: ‘A Vela (Frustaci, w.the Composer Cond.) / Maria Marì (di Capua). 10” EL PW violet Italian Col. DQ 1046, POM-17 Sept., 1934, only form of issue, Sd.1. M-A, a gleaming copy. MB 15

G980. ENZO de MURO LOMANTO: Tosca – Recondita armonia / E lucevan le stelle. 10” EL PW violet Italian Col. DQ 1061, POM-9 Nov., 1927 / 21 Feb., 1928. M-A, a gleaming copy. MB 15

G981. ENZO de MURO LOMANTO: Rigoletto – Parmi veder le lagrime / MARIA GENTILE: Tutte le feste. 10” EL PW dark-blue Eng. Col. 5147, POM-27 March, 1928 / ’26, resp. M-A MB 10

G982. ENZO de MURO LOMANTO: Rigoletto – Questa o quella / La donna è mobile. 10” EL PW dark-blue Eng. Col. 5060, POM-26 March, 1928. M-A MB 10

G983. ENZO de MURO LOMANTO: L’Arlesiana – E la solita storia / La Boheme – Che gelida manina. 12” EL green Italian Col. GQX 10251, POM–1928. M-A, a gleaming copy. MB 15

G984. ENZO de MURO LOMANTO: La Sonnambula – Prendi l’anel ti dono (as solo) / Manon – Le rêve (in Italian). 10” EL PW Australian Col. 03600, POM-27 Oct. / 24 Nov., 1927, both labels Autographed & dated ‘Sydney, 1928’ in de Muro Lomanto’s hand. M-A/A-, lovely copy has, Sd. 2, lt. scuffs, inaud. MB 25

G985. ENZO de MURO LOMANTO: La Sonnambula – Prendi l’anel ti dono (as solo) / Manon – Le rêve (in Italian). 10” EL green Viva-Tonal Col. 3847-X, POM-27 Oct. / 24 Nov., 1927. M-A/A-, lovely copy has, Sd. 2, lt. rubs, inaud. MB 10

G986. ENZO de MURO LOMANTO & MARIA GENTILE: La Sonnambula – Son geloso del Zeffiro, 2s. 10” EL black Viva-Tonal Col. 1931-M, POM-1927. M-A, a gleaming copy. MB 25

“If [de Muro Lomanto’s] style and voice remind me of anyone, it’s Ferruccio Tagliavini, though at his best he approaches Léopold Simoneau and Cesare Valletti. I imagine you have already guessed (if you were unfamiliar with him, as most people are) that he possessed a light, flexible voice and had a caressing way with the music he sang.” - James Miller, FANFARE, May/June, 2003

G987. GIUSEPPE ANSELMI: Carmela (de Curtis) / Maria, Marì! (de Capua). 10¾“ AC Milano Fonotipia 62478/79 (XPh 4260/61), POM-19 Jan., 1910. A-B, very decent copy has lt. rubs & scrs, inaud.; Sd. 2 only has nd, positively audible a few turns. MB 15

G988. GIUSEPPE ANSELMI: Il Duca d’Alba – Angelo casto e bel (Donizetti) / La Traviata – De’ miei bollenti spiriti. 10¾“ AC Milano Fonotipia 62471/70 (XPh 4060/4257), POM-4 Oct., 1909 / 17 Jan., 1910. A to M-A, a choice copy. MB 15

G989. GIUSEPPE ANSELMI: Mignon – Elle ne croyait pas (in Italian) / Pagliacci – Vesti la giubba. 10¾“ AC Milano Fonotipia 62161/60 (XPh 2583/61), POM-29 / 22 April, 1907. A-, very decent copy has lt. rubs, inaud.; Sd. 2 only has lt grey on peaks. MB 15

G990. GIUSEPPE ANSELMI: Fedora – Amor ti vieta / Manon – En fermant les yeux (Le rêve) (in Italian). 10¾“ AC Milano Fonotipia 62164/65 (XPh 2562/68-2), POM-22 / 25 April, 1907, Sd. 2 is ‘Take’ 2 (of 2 issued ‘takes’). A-, lovely copy has very occasional cosmetic scr, inaud. MB 20

G991. GIUSEPPE ANSELMI: Luisa Miller – Oh! fede negar potessi / Quando le sere al placido. 10¾“ AC Milano Fonotipia 62159/66 (XPh 2836/2569), POM-8 Nov / 25 April, 1907. A-B/A-, very decent copy has lt. rubs, inaud.; Sd. 1 only has few cosmetic scrs, inaud. MB 15

G992. GIUSEPPE ANSELMI: Rigoletto – Ella mi fu rapita; Parmi veder le lagrime, 2s. . 10¾“ AC Milano Fonotipia 62150/51 (XPh 2607/08), POM-6 May, 1907. A-/B, very decent copy has lt. rubs & scrs, inaud.; Sd. 2 only has long scr causing lt. ticks. MB 10

G993. GIUSEPPE ANSELMI: Lucia – Tu che a Dio / Harry Humphrey: Explanatory talk. 10” AC etched label Edison H & D 83018 (1377/2699), POM-15 Oct., 1913, London. M-A MB 15

G994. GIUSEPPE ANSELMI: Don Pasquale – Sogno soave e casto / Luisa Miller – Quando le sere al placido (1907 Version). 10¾” AC buff German Odeon O-5600 (XPh 2559/69), POM-22 / 25 April, 1907. M-A, lovely copy of preferred mid-1930s pressing. MB 25

G995. GIUSEPPE ANSELMI: Les Pêcheurs de Perles – Je crois entendre (w.recit.), 2s. 10¾“ AC Milano Fonotipia 62270/71 (XPh 2840/41), POM-8 Nov., 1907. A-/A-B, very decent copy has, Sd. 2 only, lt. rubs & few cosmetic scrs, inaud. MB 15

G996. GIUSEPPE ANSELMI: La Favorita – Una vergine, un angiol di Dio / Spirto gentil. 10¾” AC US Fonotipia 62318/19 (XPh 3068/67), POM-12 March, 1908. A-/A-B, very decent copy has, Sd. 2 only, few cosmetic scrs, inaud. MB 15

“In 1900, Anselmi made his début in Genoa, singing Rodolfo, the Duke and Edgardo (to Fanny Toresella’s Lucia). That same year he appeared at the San Carlo in Naples, where he sang with Angelica Pandolfini and Rina Giachetti (the sister of Caruso’s mistress) in LE MASCHERE, a new work by Mascagni. Anselmi made his London début at Covent Garden (1901) as the Duke in Rigoletto (with Suzanne Adams as Gilda). He returned to London on several occasions, but was especially admired in St. Petersburg, Buenos Aires, Milan (La Scala), Warsaw and Madrid in a variety of rôles that included Cavaradossi, Loris in FEDORA, Maurizio in ADRIANA LECOUVREUR, Osaka in Iris, Lensky, Edgardo, Nadir in PESCATORI DI PERLE and many others. He sang Almalviva to Adelina Patti’s Rosina in her last ever operatic appearance. Giuseppe Anselmi, a fine actor, was tall and handsome as well, and became very much a ‘matinée idol’ in his day, more or less in the tradition of Jean de Reszké. But good looks in his case were merely an eye-pleasing ornamentation, for he possessed an equally lovely voice and was very musically intelligent. The records speak for themselves so far as Anselmi’s vocal powers and musical intelligence are concerned. After listening to only a few, one senses that his sole concern in their making was the artistic presentation of the music he sang, as opposed to the glorification of his own voice. There are trills delivered with a coloratura skill that must have been the envy of many a soprano, and high Cs enough to satisfy the multitudes who base their evaluation of a tenor’s talents on this one magical note. Anselmi proves why he is so highly regarded to this day by collectors of fine historical recordings.” - Andrea Shum-Binder, subito-cantabile

G997. ELVINO VENTURA: Manon – Ah! fuyez, douce image (in Italian) / REGINA PINKERT & ANTONIO MAGINI-COLETTI: Barbiere – Dunque io son. 10¾“ AC Milano Fonotipia 39350/45 (XPh 386/421), POM-1905. B, very decent copy has lt. rubs & few pap. scrs, inaud.; Sd.1 has tiny nr, also inaud. MB 12

G998. LUCCA BOTTA & IRENE SOLLOHUB: Tosca – Amaro sol per te / FRANCO DE GREGORIO & NOEMI CASINI: O dolci mani. 10” AC black V 67134 (1948/2670ah), POM-24 Sept., 1912 / 22 Feb., 1913. M-A MB 25

G999. LUCA BOTTA & EBE BOCCOLINI: Manon Lescaut – O tentatrice / LUCA BOTTA & IRENE SOLLOHUB: Mefistofele – Amore! Misterio! 12” AC black V 68418, POM-17/25 Sept., 1912. M-A, gleaming copy has, Sd. 2 only, infinitesimal pap. scr, inaud. MB 25

“…after singing his first note, [Botta] was the center of interest. Though small of stature, he is big of voice and sings with exhaustless power. His tonal purity and intelligent shading so aroused enthusiasm that…the whole audience rose as a body.” - MUSICAL AMERICA, 1913 (after Botta’s US début, San Francisco)

G1000. CARLO ALBANI: O sole mio (di Capua) / Carmela (de Curtis). 10½” AC brown French Odéon 97294/96. A/A-, lovely copy has, Sd. 2 only, sev. infinitesimal dust mks, inaud. MB 20

G1001. CARLO ALBANI: La Favorita – Spirto gentil / Lucrezia Borgia – Di pescatore ignobile. 11½” AC Paris etched label H & D center-start Pathé 4153/56, recorded 1907, Paris; Sd. 2 announced. B, decent copy has considerable rubs & lt. scrs, very ltly audible. MB 15

G1002. CARLO ALBANI: Il Trovatore – Di quella pira / CARLO ALBANI & EMILIA CORSI: Poliuto – Al suon del’arpa angelica (Donizetti). 10½” AC brown French Odéon X 110197/98. A to M-A MB 20

G1003. CARLO ALBANI: Il Trovatore – Deserto sulla terra / Miserere. 11½” AC Paris etched label H & D center-start Pathé 4141/54, recorded 1907, Paris; both sides announced. A-B, very decent copy has lt. rubs & occasional lt. scr, inaud. MB 15

G1004. AUGUSTO SCAMPINI & CECILIA DAVID: Les Huguenots – O ciel! O ciel! où courez-vous (in Italian). 12” AC red Milano Pre-Dog 054179 (1275c), POM-1907. B, very decent copy has lt. grey, rubs & superficial scrs., occasionally very ltly audible. MB 35

G1005. AUGUSTO SCAMPINI, LUIGI MONTESANTO & BIANCA LENZI: Il Trovatore – Di geloso amor / AUGUSTO SCAMPINI, LUIGI MONTESANTO & ELVIRA MAGLIULO: Aïda – Io son disonorato. 11½" AC grey paper label H & D US Pathé 59071, recorded 1912, Milano. M-A MB 25

G1006. GIUSEPPE TACCANI & PASQUALE AMATO: Forza – Le minaccie, 2s. 10¾“ AC Milano Fonotipia 92495/96 (XPh 3876/77), POM-2 June, 1909. A-, lovely copy has faintest rubs, inaud. MB 25

G1007. GINO MATTERA, w.Basile Cond.: Manon – Le rêve (in Italian) / Rigoletto – La donna è movile. 10” EL pale-blue Cetra AT 0289, only form of issue, 5 Aug., 1952. M-A, gleaming copy has faintest rubs, inaud. MB 25

G1008. ACHILLE BRASCHI, w.Basile Cond.: Cavalleria – Siciliana / ACHILLE BRASCHI & PELLEGRINI: Addio alla madre. 10” EL pale-blue Cetra AT 0278, only form of issue, 7 March, 1952. M-A, a gleaming copy. MB 25

G1009. ACHILLE BRASCHI & FERNANDA CADONI, w.Basile Cond.: Cavalleria – Viva il vino spumeggiante, 2s. 10” EL pale-blue Cetra AT 0279, only form of issue, 7 March, 1952. M-A, a gleaming copy. MB 25

G1010. GIOVANNI ZENATELLO, w.Delle Ponti (Pf.): Siberia – T’incontrai per via (Giordano). 10” AC Milano G & T G.C.-52775 (Con 396), only form of issue, 1903. Important Creator record, 19 Dec., 1903, La Scala. A-, lovely copy has hint of grey on peaks & 2 infinitesimal pap. scrs, positively inaud., although inherently noisy surface. This enjoyed a very brief catalogue life. MB 85

G1011. GIOVANNI ZENATELLO: Faust – Salut! demeure (in Italian) / GIOVANNI ZENATELLO & MARIE RAPPOLD: Il Trovatore – Miserere. 10” AC paper label Edison H & D 82288 (4426/5007), only form of issue, 1923. M-A, a gleaming copy. MB 20

G1012. GIOVANNI ZENATELLO: Ballo – Dì tu se fedele / Ah! morte infamia (Morte di Riccardo). 12" EL mauve-&-gold HMV AGSB 20, POM-3 / 12 March, 1930. M-A MB 20

G1013. GIOVANNI ZENATELLO: La Traviata – De’ miei bollenti spiriti / Questa donna conoscete? 10½” AC Milano Fonotipia 39663/64 (XPh 1802/03), POM-20 April, 1906. B-/A-B, very decent copy has lt. rubs & scrs, inaud.; Sd. 1 only has heavier rubs & isolated scrs, ltly audible. MB 15

G1014. GIOVANNI ZENATELLO: Il Trovatore – Di quella pira / Otello – Ora e per sempre, addio. 10¾“ AC Milano Fonotipia 92607/08 (XPh 4068/49), POM-5 / 1 Oct., 1909. M-A MB 25

G1015. GIOVANNI ZENATELLO: Manon Lescaut – Guardate, pazzo son! / Donna non vidi mai. 10½“ AC US-Fonotipia 39994/93 (XPh 2450/51), POM-9 Feb., 1907. A-/A, lovely copy has, Sd. 1 only, lt. rubs, inaud. MB 20

G1016. GIOVANNI ZENATELLO: Carmen – La fleur que tu m’avais jetée (in Italian) / Tosca – E lucevan le stelle. 12" EL Orth Vla 6961, POM-31 / 29 Jan., 1929. M-A, choice copy has, Sd.2 only, tiny scr., ever-so-faintly audible. MB 20

G1017. GIOVANNI ZENATELLO: Andrea Chenier – Sì, fui soldato / Pagliacci – Un tal gioco. 10" EL Orth Vla 1433, POM-21 / 31 Jan., 1929. M-A MB 15

G1018. GIOVANNI ZENATELLO: Manon Lescaut - Ah! Manon, mi tradisce / GIOVANNI ZENATELLO & MARIA GAY: Tosca - O dolci mani. 10" EL Orth Vla 1399, POM-31 / 29 Jan., 1929 (Gay’s name does not appear Sd. 2 label), (this appeared otherwise only as the elusive AGSA 3). M-A MB 15

G1019. GIOVANNI ZENATELLO: Otello – Ora e per sempre addio! / GIOVANNI ZENATELLO & PASQUALE AMATO: Si, pel ciel. 10¾“ AC Parl.-Odeon PO 107 (XPh 4049/70), POM-1 / 6 Oct., 1909. M-A, lovely copy has, Sd. 1 only, infinitesimal dust mk, inaud. MB 15

G1020. GIOVANNI ZENATELLO & MARIO SAMMARCO: La Boheme – Nei cieli bigi. 10¾“ AC Milano Fonotipia 92611 (XPh 4072), POM-6 Oct., 1909. A-, lovely copy has faintest pap. rubs & sev. infinitesimal pap. scrs, inaud. MB 20

G1021. GIOVANNI ZENATELLO & ADAMO DIDUR: Mefistofele – Strano figlio del Caos … Se tu mi dono / LINA PASINI-VITALE & RINALDO GRASSI: Dimmi se credi, Enrico. 10¾“ AC Milano Fonotipia 39509/92567 (XPh 1631/4032), POM-20 Feb., 1906 / 1 July,1909. A/A-, lovely copy has, Sd. 2 only, faintest rubs, inaud. MB 15

G1022. GIOVANNI ZENATELLO & NINI FRASCANI: Aïda – Già i sacerdoti adunansi, 2s. 10¾“ AC Milano Fonotipia 39527/28 (XPh 1664/63), POM-26 Feb., 1906. A, lovely copy has lt. rubs, inaud.Sd. 2 only has few wee pressing bumps. MB 15

G1023. GIOVANNI ZENATELLO & ESTER MAZZOLENI: Aïda – O terra addio / Otello – Vengo la morte! 10¾” AC Milano Fonotipia 92809/10 (XPh 4690/4713), POM-25 May / 12 June, 1911. A-, lovely copy has occasional dust scr, minimally audible; Sd. 2 only has wee nd. MB 15

G1024. GIOVANNI ZENATELLO & MARIA GAY: Carmen – Final Scene (in Italian), 2s. 12” EL Orth Vla 7314, POM-12 March, 1930. M-A Most elusive in this form. MB 25

“[The above]...is a record which few collectors will be able to resist. Our better judgement may say 'No' to such reckless treatment of the music, but the torrential passion sweeps all objections aside....Zenatello's B flats on the second side are tremendous....Such a performance opens the door wide to all the bad singing in the world; without genius it would be merely coarse.” - Desmond Shawe-Taylor

G1025. GIOVANNI ZENATELLO, MATZENAUER, RAPPOLD, MIDDLETON, CHALMERS & BARONI: Lucia – Chi mi frena / ALICE VERLET, CICCOLINI, MIDDLETON, SCOTT, ALCOCK & BARONI: Lucia – Chi mi frena. 10” AC paper label Edison H & D 82266 (5224/5787), only form of issue, 1922. M-A MB 20

G1026. MARIO BERINI (Israel Burstein), w.Max Rudolf Cond. Met Opera Orch.: Wien, du Stadt meiner Träume (Sieczynski) / Ich muss wieder einmal in Grinzing sein (Benatzky). 12” EL Col. 72847-D, only form of issue, 1947. M-A, beautiful copy has, Sd. 2 only, 2 infinitesimal dust mks. Exceedingly elusive! MB 25

“The Met did not lack for good native tenors at the time of Mario Berini’s arrival, among them an exceptional artist with a voice of sumptuous tonal quality, someone like Berini, of Russian-Jewish heritage and just three months his junior, Richard Tucker. Brooklyn-born Tucker had made his début with the company in 1945….Like so many others, Berini parted company with the Met over a choice of repertory: he didn’t want to take on the rôle of Peter Grimes.” - Michael F. Bott, THE RECORD COLLECTOR, 2009 G1027. ROBERTO TURRINI, w.Narducci Cond.: La Fanciulla del West – Ch’ella mi creda / Turandot – Nessun dorma. 10” EL pale-blue Cetra AT 0292, only form of issue, 7 / 9 July, 1952. M-A, gleaming copy has faintest rubs, inaud. MB 50

G1028. ANTONIO SALVAREZZA, w.Basile Cond.: Il Trovatore – Di quella pira / Turandot – Nessun dorma. 10” EL dark-blue Cetra AT 0131, only form of issue, 11 / 7 Oct., 1948. M-A, gleaming copy has, Sd. 1 only, sev. lateral lams which cause lt. ticks during 1st half of the stunning performance; Sd. 2 plays perfectly. MB 35

G1029. ANTONIO SALVAREZZA, w.Basile Cond.: La Fanciulla del West – Ch’ella mi creda libero / LIDIA CREMONA, w.Simonetto Cond.: Adriana Lecouvreur – Io son l’umile ancela. 10” EL dark-blue Cetra AT 0132, only form of issue, 11 Oct. / 18 Nov., 1948. M-A, a gleaming copy. MB 35

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

G1030. LICINIO FRANCARDI, w.Basile Cond.: Gloria – Pur dolente son io (Cilea) / Lodoletta – Ah ritrovarla nella sua campanna (Mascagni). 10” EL pale-blue Cetra AT 0323, only form of issue, 6 May, 1953. M-A, gleaming copy has, Sd 1 only, infinitessimal pap. rub, inaud. MB 50

G1031. LICINIO FRANCARDI, w.Basile Cond.: La Favorita – Una vergin, un angiol di Dio / I Puritani – A te, o cara. 10” EL pale-blue Cetra AT 0324, only form of issue, 7 May, 1953. M-A, a gleaming copy. MB 50

G1032. ERMANNO LORENZI, w.Basile Cond.: Luisa Miller – Quando le sere al Plácido / Martha – M’appari. 10” EL pale-blue Cetra AT 0367, only form of issue, 1 Dec. / 23 Nov., 1953. M-A, gleaming copy has, Sd 1 only, infinitesimal pap. scr, inaud. & wee label tear. MB 35

G1033. GIUSEPPE CAMPORA, w.Erede Cond. Suisse Romande Orch.: Tosca – E lucevan le stelle / ROSETTA NOLI: Turandot – Tu che di gel. 12” EL Eng. Decca K.28435. M-A, gleaming copy has, Sd 1 only, infinitesimal pap. rub, barely visible & certainly inaud. MB 20

G1034. CARLO BALLIN: Isabeau – Fù vile l’editto / CARLO BALLIN & FRANCESCA SOLARI: Dormivi? Sognavo (Mascagni). 10¾“ AC Milano Fonotipia 92971/70 (XPh 4864-2/66), POM-23 Nov. 1912. A-B, decent copy has lt. rubs & few superficial scrs, naud.; Sd. 2 only has heavy nd, positively audible sev. turns. MB 15

G1035. AROLDO LINDI (Gustav Lindau): For you alone (Geehl) / Until (Sanderson). 10” EL PW dark-blue Eng. Col. DB 173, only form of issue, 19 May, 1930. M-A, a gleaming copy. MB 12

G1036. AROLDO LINDI (Gustav Lindau): Pagliacci – No, Pagliaccio non son! / Il Trovatore – Di quella pira. 10” EL PW red Eng. Col. D12568, POM-1927. M-A, a gleaming copy. MB 10

G1037. AROLDO LINDI (Gustav Lindau): Tosca – Recondita armonia / E lucevan le stelle. 10” EL blue Viva-Tonal Col. 2043-M, POM-1926. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 8

G1038. AROLDO LINDI (Gustav Lindau): Carmen – Air de la fleur (in Italian) / Il Trovatore – Ah! si, ben mio. 12” EL PW blue Eng. Col. L 1816, POM-23 / 24 June, 1926. A-B, decent copy has lt. rubs & occasional dust scrs. MB 8

G1039. AROLDO LINDI (Gustav Lindau): Otello – Ora e per sempre addio (1927 Version) / Dio! mi potevi scagliar. 12” EL black Viva-Tonal Col. 52803-D, POM-16 / 18 Nov., 1927. A to M-A, beautiful copy has faintest pap. rubs, barely visible & certainly inaud. MB 12

G1040. AROLDO LINDI (Gustav Lindau): Otello – Ora e per sempre addio (1926 Version) / Niun mi tema. 12” EL blue Viva-Tonal Col. 7118-M, POM-18 June, 1926. M-A MB 12

“[Lindi’s] career lasted over 28 years and was a truly international one [singing] alongside colleagues who could be numbered among some of the very best singers of his generation. He sang with success as a leading dramatic tenor in many of the most important European opera houses….From 1932…he continued to sing as a principal tenor in every major operatic centre in the USA.” - Alan Bilgora, THE RECORD COLLECTOR, 2001

G1041. ABRAHAM BEHRMAN: Barditshewer kaddish / Menashe. 12” EL EMI Private Issue JG.364 (CTPX 14478-2/77-1). M-A, a gleaming copy. Sd. 1 label Inscribed & Autographed by Behrman, and dated June, ’56. MB 15

G1042. JOSEF BASSER: Zaddik katomor / Kol nidrei. 10” AC dark-green Wien Pre-Dog V.*102450/51 (4015/18L), POM-1906. B, decent copy has lt. rubs & scrs, only occasionally ltly audible. MB 10

G1043. ISAIAH MEISELS: Eitz chaim (Sultzer) / Shma Israël (Solomon). 10” AC black Pat.’11 Canadian V 16188 (B-4573/72), POM-10 June, 1907. B, decent copy has lt. rubs & scrs, inaud.; Sd. 1 only has wee ndl cut which ticks ltly 4 times. MB 10

G1044. SAWEL KWARTIN: Kadisch l’nila / Ow huachmin hu Jerachim. 12” AC green & black Opera Disc 0211510/11 (588/90m), POM-12 Jan., 1912, Vienna. A-, lovely copy has faintest pap. rubs, inaud.; Sd. 2 ony has sev. superficial scrs, also inaud. MB 15

G1045. WILLIAM SCHWARTZ: Jewish folk song / WILLIAM SCHWARTZ & CHARLIE COHEN: Vocal duet (both Friedsell): 12” AC pale-green Flags Label Col. E5261 (59755/52), POM-c.1919. M-A, choice copy has, Sd. 1, wee scr, inaud. MB 10

G1046. YOSSELLE ROSENBLATT: Élégie (Méodie for the Jewish War Victims) (Massenet) / Eili, Eili (1916 Version). 12” AC orange Col. E5143 (59454/58), only form of issue, 1916. A, lovely copy has 2 infinitesimal pap. scrs, inaud. MB 15 G1047. YOSSELLE ROSENBLATT: Kol Nidre (1913 Version) / El Mole rachmin (für Titanik). 12” AC black V 35312, POM-3 / 29 July, 1913. A to M-A MB 12

G1048. YOSSELLE ROSENBLATT: Kol Nidre / Eili, Eili (1930 Versions). 12” EL Orth Vla 9792, POM-2 May, 1930, Rosenblatt’s final recordings. A to M-A/A-, lovely copy has, Sd. 2 only, long but faint scr, positively inaud. MB 12

G1049. YOSSELLE ROSENBLATT: Sefirah – Ribono Shel Olom (Sung by the Composer), 2s. 12” EL Orth Vla 9072, POM-9 March, 1927. M-A/A-, lovely copy has, Sd. 2 only, few lt. mks, positively inaud. MB 12

G1050. YOSSELLE ROSENBLATT: Hineni heoni mimaas / Yaale (both Sung by the Composer). 12” EL Orth Vla 9108, POM-3 Feb., 1927. M-A/A-, lovely copy has, Sd. 2 only, few lt. scrs, positively inaud. MB 12

G1051. YOSSELLE ROSENBLATT: Akavyo ben mahalalel / Wehu rachum (both Sung by the Composer). 12” EL plum HMV JOX.29, POM-18 Oct., 1928. M-A, gleaming copy has label stkr, Sd. 1. MB 12

G1052. YOSSELLE ROSENBLATT: Melech elyon – Kel dar bamoron / L’keil orech den. 12” EL Orth Vla 9119, POM-6 / 7 Sept., 1927. M-A, lovely copy has, Sd. 2 only, tiny ulc, nowhere near grooves. MB 15

G1053. YOSSELLE ROSENBLATT: Uvnucho yomar (Sung by the Composer), 2s. 12” EL Orth Vla 9234, POM-1 May, 1928. M-A, a gleaming copy. MB 20

G1054. GERSHON SIROTA: Wêseeraw olecho (1902 Version, Sung Unaccompanied) / Rezei (1903 Version). 10” AC black V 17740 (419/1683z), POM-1902/’03, resp. A-B, very decent copy w. lt. rubs & scrs, mainly cosmetic. MB 12

G1055. GERSHON SIROTA: Wêseeraw olecho (1909 Version, Sung w.Choir) / W’nemor loi hibit owoja. 10” AC black V 17744 (1235/23ab), POM-24 / 22 June, 1909. A-B, very decent copy has lt. rubs & scrs, mainly cosmetic. MB 12

G1056. GERSHON SIROTA: Rezei (1908 Version) / Yhi Rotzon Milfonecho. 12” AC pink Warsaw Favorite 2–75501/02 (140/141p), POM-1908. B, decent copy has rubs & lt. scrs, certainly audible although Sirota’s voice peals forth brilliantly. MB 15

G1057. GERSHON SIROTA: Odom yasoido meator. 12” AC GP V 71026 (169HP), POM-1903. This enjoyed a very brief catalogue life. A-, lovely copy has few lt. rubs, inaud. MB 20

G1058. GERSHON SIROTA: Yaale / Elohenu Velohei Avonseinu. 10” AC pink Warsaw Favorite 1-75597/1-75602 (4090/95-o), POM-1908. A-/A, lovely copy has, Sd. 1 only, faint rubs & 1 wee scr, ever-so-faintly audible 2 turns. MB 20

G1059. GERSHON SIROTA: Unsaneh Tokef / K'vakoras. 10” AC pink Warsaw Favorite 1-75598/1-75605 (4091/98-o), POM-1908. B, decent copy has, primarily Sd. 2, rubs & very lt. scrs, ltly audible; sl. damaged spindle hole. MB 15

G1060. GERSHON SIROTA: Tzadik Katomor Yifrach / Vehoser Soton. 10” AC black / pink Warsaw Favorite 1-75599/1-75606 (4092/99-o), POM-1908. A-, very decent copy has, primarily Sd. 2, rubs, positively inaud., this plays as M-A. MB 25

G1061. GERSHON SIROTA: Habein Yaker Li Ephraim / V'sayorev Alecho. 10” AC black / pink Warsaw Favorite 1-75600/1-75611 (4093/4104-o), POM-1908. A-, very decent copy has lt. rubs & occasional wee scr, positively inaud. MB 20

G1062. GERSHON SIROTA: B'rosh Hashono / Hayom Haras Olam. 10” AC pink Warsaw Favorite 1-75603/1-75604 (4096/97-o), POM-1908. A-, very decent copy has lt. rubs & occasional wee scr, positively inaud. MB 20

G1063. GERSHON SIROTA: Shishnas Yaacov / Haneros Hallalu. 10” AC pink Warsaw Favorite 1-75609/10 (4102/03-o), POM-1908. A-B, very decent copy has lt. rubs & occasional wee scr, positively inaud.; beg. Sd. 2 only has wee scr, ltly audible before Sirota’s entrance. MB 15

G1064. GERSHON SIROTA: Umsanei teikef / B’roish haschoni. 10” AC dark-green Eng. Zonophone 655 (7095/96L), POM-1908. A to M-A, lovely copy has faintest rubs, inaud. MB 15

G1065. GERSHON SIROTA: Hamchadeisch b’tuwo / Zur Israel. 10” AC dark-green Eng. Zonophone 654 (1230/31ab), POM-1909. A-/B, very decent copy has, primarily Sd. 2, lt. rubs & few superficial scrs. MB 10

G1066. GERSHON SIROTA: Himoze Iopu. 10” AC Pat.’08 V 61100 (1682z), POM-1903. A, lovely copy has faintest rubs, inaud.; infinitesimal edge scr. MB 15

“Blanche Marchesi, in her book A Singer’s Pilgrimage, states that although the voice of Caruso was remarkable, she was of the opinion that the voices of Tamagno and the cantor from Warsaw, Sirota, were just as outstanding. As a longtime observer at the classes given by her mother, Mathilde, and from her own career as singer and teacher, she was in a position to hear many of the greatest singers in the world at the time. Thus any comment of hers as to an artist’s vocal abilities, whether natural or highly cultivated, must be taken seriously. Sirota possessed a rare elemental quality of tenor voice which invariably invokes in the listener a reaction usually associated with hearing artists like Ponselle, Ruffo, Chaliapin or the young Gigli for the first time.” - Alan Bilgora, liner notes to Symposium’s Sirota CD issue

G1067. JOHANNES REINHARDT & JENNY POHLNER: La Traviata – Parigi, o cara / JOHANNES REINHARDT, JENNY POHLNER, BELLA PAALEN & JOSEF SCHWARZ: Rigoletto – Bella figlia dell'amore (both in German). 13½” AC Wien etched label H & D center-start Pathé 51181/75 (58987/59023), recorded 1911. M-A Choice copy of an exceptionally rare ensemble-issue of Josef Schwarz! MB 35

G1068. FRANZ NAVAL: Cavalleria – Siciliana (in German) / Kark Cond. Odeon Orch.: Introduction to the Opera. 10½” AC brown German Odeon 50604/99243 (XB4351/??), POM-1909. A to M-A MB 25 G1069. FRANZ NAVAL, w.August Pilz (Pf.): DIE SCHÖNE MÜLLERIN – 1st 13 Songs (Schubert). 6–10¾” AC pale-blue, w.dark-blue print Odeon X.52807/18 (XB 4707-18), POM-1909. M-A, gorgeous bright copy has, Sd. 11 only, wee pressing bump. MB 125

“The main interest here will be that which it tells us about style….And it’s quite an interesting interpretation….The rapid pace suits the chamber quality of this interpretation….one hears much of the young miller’s character conveyed….It’s a beautiful sound: soft, warm, with minimal vibrato.” - Nils-Göran Olve, THE RECORD COLLECTOR, 2007

“Franz Naval studied in Vienna with Joseph Gänsbacher and made his début in 1888 in Frankfurt. He went to Berlin in1895, singing Rodolfo in the local première of Puccini’s LA BOHÈME in 1897. He was engaged for the Hofoper the next year, remaining until early 1902. He sang light to lyric roles, ranging from Tonio in LA FILLE DU RÉGIMENT to Don José and Hoffmann. He recorded for Berliner, G&T, and Odeon, including the first complete recording of the Schubert cycle, DIE SCHÖNE MÜLLERIN.” - Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNA

G1070. HERMANN WINKELMANN: Lohengrin – Höchstes Vertrauen. 12” AC black Wien Monarch G & T 042110 (479C), only form of issue, 1905. A to M-A, remarkable copy has, alas, long ¾” edge break into first few vocal measures. Regardless, one rarely finds such a clean copy of this rarity. MB 150

G1071. HERMANN WINKELMANN: Die Meistersinger – Morgenlich leuchtend / Tannhäuser – Der töne Lob! 10” AC black Wien G & T G.C.-3–42465/42370 (6769/71b), only form of issue, 1905. B/B-, decent copy has lt. rubs, inaud.; Sd. 2 primarily has 2 scuffs & audible grey on peaks, yet the brilliant performances come through. MB 125

“Hermann Winkelmann made his début in 1875 as Manrico and went to Hamburg three years later. He created Parsifal at Bayreuth on 26 July 1882 and joined the Vienna Hofoper the following year. There he sang the local premières of DALIBOR, OTELLO, and TRISTAN UND ISOLDE and remained at the house singing all the Wagner rôles until May 1906. During the Mahler era, he sang 440 performances of 22 rôles, the most frequent being Tannhäuser, which he sang 77 times.” - Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNA

G1072. TOM BURKE: La Serenata (Toselli) / Song of songs (Moya) (1932 Version). 12” EL red Eng. Imperial Z.120 (160/161-4), only form of issue, 1932. A to M-A, lovely copy has, Sd. 2 only, few superficial pap. scrs, inaud. MB 15

G1073. TOM BURKE: My dreams (Tosti) / Esmeralda – O vision entrancing (Goring Thomas). 12” EL PW dark-blue Eng. Col. L1951, only form of issue, 1927. M-A, a gleaming copy. MB 20

G1074. TOM BURKE: Rigoletto – Questa o quella. 12” AC purple Eng. Col. 7202 (76406), POM-c.1920. A to M-A MB 15

“During the 30s, [Burke] made a lot of records for minor companies, and some are very successful: the voice had darkened into an heroic tenor, and he would have been a first choice Radames or Otello in any opera house in the world….A great career was thrown away because of a fatal flaw in his character….” - F.S. Winstanley, THE RECORD COLLECTOR, 1990

G1075. HEDDLE NASH: La Danza (Rossini) / Manon – Le rêve (both in English). 10” EL dark-blue Eng. Col. DB 961, only form of issue, 30 June, 1931 / 9 Sept., 1932. M-A, a gleaming copy. MB 8

G1076. HEDDLE NASH: Wenn die kleinen Veilchen blühen (Wild Violets) (Stolz; in English) / Tell me Tonight – Tell me tonight (Spoliansky). 10” EL dark-blue Eng. Col. DB 979, only form of issue, 28 Oct., 1932. M-A, a gleaming copy. MB 8

G1077. HEDDLE NASH: Mary, kind and gentle is she (Richardson) / Sally in our alley (Carey). 10” EL PW dark-blue Eng. Col. 2293R, only form of issue, 28 June, 1927. A to M-A MB 8

G1078. HEDDLE NASH: Jephtha – Deeper and deeper still; Waft her, angels (Handel), 2s. 12” EL PW dark-blue Eng. Col. DX 295, only form of issue, 15 July, 1931. M-A, a gleaming copy. MB 10

G1079. HEDDLE NASH: Frederica – O Mädchen, mein Mädchen / Sah ein Knab (Lehár; in English). 12” EL PW dark-blue Eng. Col. DX 115, only form of issue, 3 Sept., 1930. M-A, gleaming copy has, Sd 2 only, 2 infinitesimal dust mks. MB 10

G1080. HEDDLE NASH: Zauberflöte – Die Bildnis bezaubernd schön / Wie stark ist doch dein Zauberton (both in English). 12” EL PW dark-blue Eng. Col. 9228, only form of issue, 3 June, 1927. M-A, choice copy has, Sd 1 only, infinitesimal dust mk. MB 10

G1081. HEDDLE NASH: Don Giovanni – Dalla sua pace / Il mio tesoro (both in English). 12” EL PW dark-blue Eng. Col. 9880, only form of issue, 27 June / 19 Sept., 1929. M-A, a gleaming copy. MB 10

G1082. HEDDLE NASH: Barbiere – Ecco ridente / Se il mio nome (both in English). 12” EL dark-blue Eng. Col. DX 18, only form of issue, 19 Sept., 1929. M-A, a gleaming copy. MB 10

G1083. HEDDLE NASH: L’Africaine – O Paradis! / L’Elisir d'Amore – Una furtiva lagrima (1926 Version) (both in English). 12” EL PW dark-blue Eng. Col. 9104, only form of issue, 24 Feb. / 23 April, 1926. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 10

G1084. HEDDLE NASH: La Jolie Fille de Perth - À la voix d’amant fidèle / La Boheme - Che gelida manina (in English). 12” EL dark-blue Eng. Col. DX 540, only form of issue, 9 Sept., 1932 / 9 June, 1933. M-A, a gleaming copy. MB 10

"Heddle Nash was probably the best of English lyric tenors on record....The individual timbre of his voice was ideally suited to the Serenade [above] from Bizet's JOLIE FILLE DE PERTH, and this was probably his most popular record [showing] the soft-grained quality of the voice and the poise of his style to perfection." - J.B. Steane, THE GRAND TRADITION G1085. HEDDLE NASH: Two eyes of grey (McGeoch) / To a wild rose (MacDowell); Diaphenia (1933 Version) (Moeran). 10” EL dark-blue Eng. Col. DB 1365, only form of issue, 26 July / 13 Oct., 1933. M-A, a gleaming copy. MB 10

G1086. HEDDLE NASH, w.Gerald Moore (Pf.): Eileen Alannah (Thomas) / Macushla (MacMurrough). 10” EL dark-blue Eng. Col. DB 603, only form of issue, 3 / 13 July, 1931. M-A, a gleaming copy. MB 8

G1087. HEDDLE NASH, w.Gerald Moore (Pf.): My pretty Jane / Bonnie Mary of Argyle. 10” EL dark-blue Eng. Col. DB 720, only form of issue, 13 July, 1931. M-A, a gleaming copy. MB 8

G1088. HEDDLE NASH, w.Gerald Moore (Pf.): Linden lea (Vaughan Williams) / Tolomeo – Silent worship (Handel). 10” EL plum HMV B.9719, only form of issue, 22 Nov., 1948. M-A, a gleaming copy. MB 10

G1089. HEDDLE NASH, w.Gerald Moore (Pf.): Diaphenia (1945 Version); The sweet o’ the year (both Moeran) / Ständchen (Strauss; in English). 10” EL plum HMV B.9412, only form of issue, 7 March, 1945. Sd.1 features Nash at his most captivating! M-A, a gleaming copy. MB 10

“[Heddle Nash] could have charmed the very birds off the trees. There were those who maintained that he sang Mozart better even than McCormack or Tauber. His fioriture in Rossini were as fluent de Lucia’s, or anybody else’s; his Handelian runs were as flexibly firm as Widdop’s. His legato, supple and floating free, was exemplary….” - Eric Rees, THE RECORD COLLECTOR, 1996

G1090. HEDDLE NASH, w.Gerald Moore (Pf.): Silent noon / The Vagabond song (both Vaughan Williams). 12” EL plum HMV C.4210, only form of issue, 6 March / 9 April, 1952. M-A, a gleaming copy. MB 10

G1091. HEDDLE NASH, w.Gerald Moore (Pf.): To the queen of my heart; Love's philosophy / Beecham Cond. London Phil.: Paris (opening section) (all Delius). 12” EL PW yellow Master Works Col. 11314-D, POM-18 Dec., 1934 / 2 Nov., 1936. M-A, lovely copy has, Sd. 1 only, harmless minuscule ipc. MB 8

G1092. HEDDLE NASH, w.Braithwaite Cond. Philharmonia Orch.: Judas Maccabeus – How vain is man; Sound an alarm, 2s. 12” EL plum HMV C.3550, only form of issue, 19 Nov., 1946. M-A, a gleaming copy. MB 8

G1093. HEDDLE NASH, w.Maurice Miles Cond. Philharmonia Chamber Orch.: Messiah – Every valley shall be exalted / Comfort ye, my people. 12” EL plum HMV C.3454, only form of issue, 10 Aug., 1945. M-A, a gleaming copy. MB 8

G1094. HEDDLE NASH, w.Sargent Cond. Liverpool Phil.: Les Pêcheurs de Perles – Je crois entendre / La Favorita – Spirto gentil (both in English). 12” EL plum HMV C.3409, only form of issue, 8 July, 1944. M-A, a gleaming copy. MB 10

G1095. HEDDLE NASH, w.Sargent Cond. Liverpool Phil.: Carmen – La fleur que tu m’avais jetée / Faust - Salut! demeure (both in English). 12” EL plum HMV C.3405, only form of issue, 5 July, 1944. M-A, a gleaming copy. MB 10

G1096. HEDDLE NASH, w.Süsskind Cond. Philharmonia Orch.: L’Elisir d'Amore – Una furtiva lagrima (1946 Version) / Roméo – Ah, lève-toi, soleil! (both in English). 12” EL plum HMV C.3492, only form of issue, 26 Feb., 1946. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 10

G1097. HEDDLE NASH, w.Ernest Irving Cond.: La Belle Hélène – The shepherd’s song (Offenbach) / Gräfin Dubarry – If I am dreaming (Millöcker) (both in English). 10” EL dark-blue Eng. Col. DB 815, only form of issue, 25 April, 1932. M-A, a gleaming copy. MB 8

G1098. HEDDLE NASH, w.Fritz Busch Cond. Glyndebourne Festival Orch.: Così fan Tutte – Un' aura amorosa. 12” EL HMV DB 7985, POM-26 June, 1935 (from Complete Performance). M-A MB 6

G1099. HEDDLE NASH & JOAN HAMMOND, w.Süsskind Cond. Philharmonia Orch.: Tosca – Non la sospiri / JOAN HAMMOND: Manon Lescaut – In quelle trine morbide (both in Italian). 10” EL plum HMV B.9705, only form of issue, 21 Feb., 1948. M-A, gleaming copy has, beg. Sd. 2 only, faint ‘heat’ mk, inaud. MB 10

G1100. HEDDLE NASH & JOAN HAMMOND, w.Süsskind Cond. Philharmonia Orch.: Pagliacci – Pagliacco, mio marito; O Colombina / JOHN HARGREAVES & JOAN HAMMOND: Decidi il mio destin (part 3 only) (both in English). 12” EL plum HMV C.3924, only form of issue, 14 June, 1949. M-A, a gleaming copy. MB 8

G1101. HEDDLE NASH & JOAN HAMMOND, w.Süsskind Cond. Philharmonia Orch.: Faust – Il se fait tard (Garden Scene, parts 1 & 2 only) (in English), 2s. 12” EL plum HMV C.3724, only form of issue, 20 Feb., 1948. M-A, a gleaming copy. MB 8

G1102. HEDDLE NASH & MIRIAM LICETTE: Il Trovatore - Miserere / HEDDLE NASH, MIRIAM LICETTE, MURIEL BRUNSKILL & DENNIS NOBLE: Rigoletto – Bella figlia dell'amore (both in English). 12” EL dark-blue Eng. Col. DX 302, only form of issue, 12 Oct., 1931. M-A, a gleaming copy. MB 10

G1103. HEDDLE NASH, HUBERT EISDELL, DENNIS NOBLE & NORMAN ALLIN: Passing by (Purcell) / Drink to me only with thine eyes (arr.Batten). 10” EL PW dark-blue Eng. Col. 5579, only form of issue, 19 July, 1929. M-A, a gleaming copy. MB 10

G1104. HEDDLE NASH, HUBERT EISDELL, DENNIS NOBLE & NORMAN ALLIN: Meet me by Moonlight (arr.Batten) / I know of two bright eyes (Clutsam). 10” EL PW dark-blue Eng. Col. 5526, only form of issue, 19 July, 1929. M-A, lovely copy has, Sd.2 only, infinitesimal edge lam, barely visible & inaud. MB 8

G1105. HEDDLE NASH, w.Eva Turner, Isobel Baillie, Elsie Suddaby, Stiles-Allen, Margaret Balfour, Astra Desmond, Muriel Brunskill, Mary Jarred, Parry Jones, Walter Widdop, Frank Titterton, Roy Henderson, Harold Williams, Robert Easton & Norman Allin; Henry J. Wood Cond. BBC S.O.: SERENADE TO MUSIC (Vaughan Williams), 4s. 2-12” EL Col. 70592/93-D, POM-15 Oct., 1938, in Orig. Album MX 121. M-A MB 25 G1106. HEDDLE NASH, GLADYS RIPLEY, DENNIS NOBLE & NORMAN WALKER; Sargent Cond. Liverpool Phil.: THE DREAM OF GERONTIUS (Elgar), 24s. 12-12” EL plum HMV C.7611/22, only form of issue, 8 April, 1945. M-A MB 45

“Heddle Nash’s is an outstandingly beautiful and sweet-toned voice. In many of his recordings you can hear a singer with a sure grasp of technical principles, but also with the ability to sing with a remarkable spontaneity, quite a rare combination in (English) singers. His recordings in Elgar’s THE DREAM OF GERONTIUS and in Handel’s JEPHTHA are unsurpassed. There are many fine records. One of his famous 78s is the Serenade from Bizet’s LES PÊCHEURS DE PERLES. In this aria you can enjoy the soft-grained quality of the voice, his excellent breathing technique, and not to forget, his fine mezza voce and the marvelous head tones!” - Andrea Shum-Binder, subito-cantabile

G1107. AKSEL SCHIØTZ, w.Thomsen Cond.: Night and day (Cole Porter) / Trees (Rasbach) (both in impeccable English). 10” EL plum HMV X.6694, only form of issue, 2 Sept. / 26 June, 1941, Copenhagen. M-A Most Elusive & an absolute delight! MB 20

G1108. PETER PEARS, w.Benjamin Britten (Pf.): Im Frühling / Auf der Bruck (both Schubert). 12” EL HMV DB 21423, only form of issue, 29 Sept. / 15 Nov., 1950. M-A, lovely copy has, Sd. 1 label only, minor identification stamp. MB 10

G1109. PETER PEARS, w.Benjamin Britten (Pf.): The Holy Sonnets of John Donne (Acc. by the Composer), 6s. 3–12” EL HMV DB 6689/91, only form of issue, 29 Aug. & 12 Dec., 1947. M-A MB 20

G1110. PETER PEARS, w.Benjamin Britten (Pf.): Seven Sonnets of Michelangelo (Acc. by the Composer), 4s. 12” EL plum HMV C.3312 & 10” plum HMV B.9302, only form of issue, 20 Nov., 1942. M-A MB 15

G1111. PETER PEARS, w.Benjamin Britten (Pf.): Odes and Elegies – The Queen’s Epicedium (Acc. by the Composer), 2s. 12” EL HMV DB 6763, only form of issue, 12 Dec., 1947. M-A MB 8

G1112. PETER PEARS, w.Benjamin Britten (Pf.): OLD AMERICAN SONGS – The boatmen’s song; I bought me a cat; Simple gifts; The dodger; Long time ago (Copland), 4s. 2-10” EL HMV DA 7038/39, only form of issue, 29 & 30 Sept., 1950. M-A Pears at his most delightful & winsome! Delightful & elusive pair which rarely appears. MB 25

G1113. PETER PEARS, w.Benjamin Britten (Pf.): Folk Song Arrangements – The foggy, foggy dew; The ploughboy; Come you not from Newcastle?, 2s. 10” EL HMV DA 1873, only form of issue, 27 Aug., 1947. M-A MB 8

G1114. PETER PEARS, w.Benjamin Britten (Pf.): Folk Song Arrangements – O Wally, Wally / Six dukes went a-fishin’. 10” EL HMV DA 2032, only form of issue, 15 Nov., 1950. M-A MB 8

G1115. PETER PEARS, w.Benjamin Britten (Pf.): The Sally Gardens / Little Sir William; Oliver Cromwell. 10” EL red Eng. Decca M.555. M-A MB 8

G1116. PETER PEARS, w.Benjamin Britten (Pf.) & Zorian String Quartet: On Wenlock Edge (Vaughan-Williams), 6s. 3–10” EL black Australian Decca Y6140/42. M-A, choice copy has, Sd. 4 only, few lt. rubs, inaud. MB 20

“[Pears] was one of the great originals among singers….[his voice’s] supremely distinctive feature was the inexhaustible capacity for expression.” - J. B. Steane, SINGERS OF THE CENTURY, Vol. II, pp.36-37

G1117. PETER PEARS & ANN WOOD, w.Woodgarte Cond. BBC Chorus: Corpus Christi / Leslie Woodgate Cond. BBC Chorus: A Cornish Christmas Carol (both Warlock). 12” EL dark-blue Eng. Decca K.827, only form of issue, 24 June, 1936. M-A, choice copy has occasional dust mk, inaud. Very early Pears, recorded a year before his association with Britten began. MB 12

“There are few operatic or recital voices as unique and recognizable as that of British tenor Peter Pears. His bright timbre and musicality were hallmarks of British operatic and concert stages in the middle part of the twentieth century. Pears premiered several important British operatic rôles, most notably those penned by Benjamin Britten, and was known for his intellect as much as his musicianship. He was awarded honorary doctorates from Cambridge, Sussex, and York universities, and received a knighthood in 1977. Born on 22 June, 1910, Pears became renowned for his ability to produce a smooth vocal line while retaining clear diction. A natural and perhaps less refined voice, he was equally at home performing both modern operatic roles with ‘angular’ vocal lines, and the linear, more melodic songs of John Dowland and his contemporaries. He met Benjamin Britten in 1937, and they developed a deep personal and professional relationship that would last until Britten's death. They spent nearly thirty years living together in the Red House, near the Aldeburgh Festival.” - Steve York, SIR PETER PEARS: AN ANNOTATED BIBLIOGRAPHY

G1118. JOSEF LOCKE: A dream (Bartlett) / It is no secret (Hamblen). 10” EL dark-blue Eng. Col. DB 2940, only form of issue, 1949. A to M-A MB 8

G1119. JOSEF LOCKE, w.George Scott-Wood Cond.: Santa Lucia / Come back to Sorrento (de Curtis). 10” EL dark-blue Eng. Col. DB 2322, only form of issue, 1947. M-A MB 10

G1120. JOSEF LOCKE, w.George Scott-Wood Cond.: My heart and I (Tauber) / White Horse Inn - Goodbye (Stolz). 10” EL dark-blue Eng. Col. DB 2336, only form of issue, 1947. M-A MB 10

“It was John McCormack who encouraged Joseph to take his talents across the Irish Sea and try his luck on the English variety shows. Joseph McLaughlin became Josef Locke in 1945, a name he was to keep for the rest of his life. It took a further two years for Josef Locke to get his very first record contract. He signed to Colombia Records in 1947 after he was recommended to them by George Formby.” G1121. MARIO CHAMLEE (as Archer Chamlee): Élégie (1919 Version) (Massenet). 10” AC green Bruns. 10003, only form of issue, 1919. M-A MB 15

G1122. MARIO CHAMLEE: Thank God for a garden (del Riego). 10” AC green Bruns. 10026, only form of issue, 1920. M-A MB 15

G1123. MARIO CHAMLEE: Absent (Metcalf) / A perfect day (Bond). 10” AC purple Bruns. 10104, POM-1919/’20, resp. M-A MB 12

G1124. MARIO CHAMLEE: O sole mio (di Capua). 10” AC green Bruns. 10042, only form of issue, 1921. A, lovely copy has lt. rub & 2 wee pap. scrs, inaud. MB 10

G1125. MARIO CHAMLEE: Dreams of long ago (1921 Version) (Caruso). 10” AC green Bruns. 10040, only form of issue, 1921. M-A MB 12

G1126. MARIO CHAMLEE: Your voice (Quirke) / Call me no more (Cadman). 10” AC purple Bruns. 10111, POM-24 April, 1923, issued USA only. M-A MB 12

G1127. MARIO CHAMLEE: Lolita (Buzzi-Peccia) / Mattinata (Leoncavallo) (1922 Versions). 10” AC gold Bruns. 15037, POM-1922, issued USA only. M-A MB 12

G1128. MARIO CHAMLEE: Lolita (Buzzi-Peccia) / Mattinata (Leoncavallo) (1928 Versions). 10” EL gold Bruns. 15207, only form of issue, 10 April / 18 May, 1928. M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud. MB 12

G1129. MARIO CHAMLEE: The old refrain (Kreisler) / Serenade (Drigo). 10” AC gold Bruns. 15077, POM-25 / 29 July, 1924, issued USA only. M-A MB 12

G1130. MARIO CHAMLEE: Out of the dusk to you (Lee) / Moon dream shore (Lockhart). 10” AC purple Bruns. 10117, POM-4 March / 14 Feb., 1924. M-A MB 12

G1131. MARIO CHAMLEE: Last hour (Kramer) / Dreams dimly lying (Roxas). 10” AC gold Bruns. 15065, POM-24 Dec., 1923, issued USA only. M-A, a gleaming copy. MB 12

G1132. MARIO CHAMLEE: The Vagabond King – Only a rose (Friml) / Dearest Enemy – Here in my arms (Rodgers). 10” AC purple Bruns. 10214, only form of issue, 12 / 20 Jan., 1926. A-/M-A, lovely copy has, Sd. 1 only, lt. scuff & various lt. dust scrs, only occasionally very ltly audible. MB 8

G1133. MARIO CHAMLEE: When my ships come sailing home (Dorel) / In a Persian Garden – Ah! moon of my delight (Liza Lehmann). 12” AC gold Bruns. 50040, recorded 26 Sept. / 15 Oct., 1923, issued USA only. M-A MB 12

G1134. MARIO CHAMLEE: Agnus Dei (Bizet) / Ave Maria (Kahn). 12” AC gold Bruns. 50021, only form of issue, 1922. M-A, a gleaming copy. MB 20

G1135. MARIO CHAMLEE: Paquita (1924 Version) (Buzzi-Peccia) / Jocelyn - Berceuse (Godard). 10” AC purple Bruns. 10126, POM-4 Aug., 1924, issued USA only. M-A MB 12

G1136. MARIO CHAMLEE: Canzoni d’Amante – L’alba separa dalla luce l’ombra (Tosti) / Triste ritorno! (Barthélemy). 12” AC gold Bruns. 50020, only form of issue, 1922. M-A Among Chamlee’s very best! MB 20

G1137. MARIO CHAMLEE (as Archer Chamlee): Cavalleria – Siciliana (1919 Version). 10” AC green Bruns. 10008, only form of issue, 1919. M-A MB 15

G1138. MARIO CHAMLEE: Cavalleria – Siciliana (1919 Version) / Tosca – Recondita armonia. 10” AC gold Bruns. 15008, POM-1919/’20, resp., issued USA only. M-A, lovely copy has, Sd. 1 only, infinitesimal dust mk, positively inaud. MB 12

G1139. MARIO CHAMLEE: Cavalleria – Brindisi (1923 Version) / La Gioconda – Cielo e mar. 10” AC gold Bruns. 15056, only form of issue, 28 March, 1923. M-A, lovely copy has, Sd. 2 only, sev faint scrs, inaud. MB 10

G1140. MARIO CHAMLEE: Cavalleria – Brindisi / Siciliana (1928 Versions). 10” EL gold Bruns. 15175, POM-26 April, 1928, issued USA only. A-, very decent copy has lt. rubs & occasional superficial scr, inaud. MB 10

G1141. MARIO CHAMLEE: Tosca – Recondita armonia. 10” AC green Bruns. 10020, POM-1920, issued USA only. A to M-A, lovely copy has faint rubs, inaud. MB 10

G1142. MARIO CHAMLEE: Tosca – E lucevan le stelle. 10” AC green Bruns. 10024, POM-1920, issued USA only. M-A, choice copy has wee pressing bump at very beginning, ltly audible, just a few turns, before vocal performance. MB 10

G1143. MARIO CHAMLEE: Pagliacci – Vesti la giubba / Tosca – E lucevan le stelle. 10” AC gold Bruns. 15007, POM-1919/’20, resp., issued USA only. A to M-A, lovely copy has, Sd. 2 only, few wee dust scrs, very ltly audible. MB 10

“In many of Chamlee’s recordings, the influence of Caruso is very striking….It is not simply a matter of copying the externals of the interpretation…but the production of the voice itself, the attack, the way of launching ascending phrases and general conception of tone is almost a carbon print of Caruso.” - Michael Scott, THE RECORD OF SINGING

G1144. MARIO CHAMLEE: La Boheme – Che gelida manina / Manon – Ah! fuyez (1922 Versions). 12” AC gold Bruns. 50003, only form of issue, 1922. M-A, a gleaming copy. MB 12

G1145. MARIO CHAMLEE: La Boheme – Che gelida manina / Manon – Ah! fuyez (1926 Versions). 12” EL gold Bruns. 50075, only form of issue, 8 / 9 March, 1926. M-A, gleaming copy has, Sd. 2 only, infinitesimal ndl cut, faintly audible 1 turn. MB 12 G1146. MARIO CHAMLEE: Fra Diavolo – Pour toujours disait-elle (in English) / The Bohemian Girl – Then you’ll remember me (Balfe). 10” AC purple Australian Bruns. 10227, only form of issue, 9 Feb., 1926. M-A/A-, bright copy has, Sd. 2 only, fw wee dust scrs, ever-so-faintly audible a turn or three. MB 12

G1147. MARIO CHAMLEE: Rigoletto – La donna è mobile / Don Pasquale – Com’e gentil. 10” EL gold Bruns. 15194, POM-22 / 19 Oct., 1928. A/A-, lovely copy has lt. rubs, inaud. MB 10

G1148. MARIO CHAMLEE: Rigoletto – Questa o quella. 10” AC green Bruns. 10014, POM-1920, issued USA only. M-A MB 12

G1149. MARIO CHAMLEE: L'Elisir – Una furtiva lagrima / Faust – Salut! demeure. 12” AC gold Bruns. 50030, only form of issue, 15 Feb. / 15 March, 1923. M-A MB 12

G1150. MARIO CHAMLEE: L’Africaine – O Paradis! (in Italian) / Manon – Le rêve (in French). 10” AC gold Bruns. 15040, only form of issue, 1923. M-A MB 12

G1151. MARIO CHAMLEE: Carmen – Air de la fleur. 12” AC green Bruns. 30018, only form of issue, 1921. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

G1152. MARIO CHAMLEE & SIGRID ONÉGIN: Il Trovatore – Ai nostri monti / Mal reggendo. 10” AC gold Bruns. 15093, POM-5 March, 1924. M-A, choice copy has, beg. Sd. pinpoint nd, ltly audible 3 turns. Remarkably quiet surfaces! MB 15

G1153. MARIO CHAMLEE & JOHN CHARLES THOMAS: Crucifix (Faure) / JOHN CHARLES THOMAS: The lost chord (1925 Version) (Sullivan). 10” EL purple Bruns. 10218, only form of issue, 23 April, 1925. A-, lovely copy has lt. rubs, inaud.; beg. Sd. 2 only has few superficial scrs, inaud. MB 12

G1154. MARIO CHAMLEE & FLORENCE EASTON: La Traviata – Parigi, o cara / Faust – Laisse-moi. 12” EL gold Bruns. 50157, only form of issue, 8 Oct., 1928. A to M-A, lovely copy has very occasional superficial scr, inaud. Remarkably quiet surfaces! MB 20

G1155. MARIO CHAMLEE & RICHARD BONELLI: Martha – Solo profugo / Forza – Solenne in quest’ora. 12” EL gold Bruns. 50142, POM-15 May, 1928. M-A, lovely copy has very occasional superficial rub, inaud. Remarkably quiet surfaces! MB 20

“On 20 November 1920, Chamlee débuted at the Metropolitan Opera singing Cavaradossi. Engagements followed with various opera companies later in his career in the United States and Europe, including the Ravinia Summer Opera in Chicago; the San Francisco Opera; his acclaimed appearance in Henri Rabaud's MAROUF at the Paris Opéra and the Brussels Théâtre de la Monnaie; the Vienna Volksoper and the Deutsches Theater in Prague. He later reprised MAROUF in his return to the Met. With a powerful yet beautiful sound, Chamlee's lyric tenor voice emerged as one of the world's finest tenors in the era which followed Caruso's death in 1921. Chamlee's abilities were underestimated, however, and although he was always well received by opera fans and critics alike across America and around the world, and his records sold well, he never achieved the same level of recognition of his talents and abilities that Caruso had.”

G1156. PAUL ALTHOUSE: There is no death (O’Hara) / The blind plowman (Clarke). 9¾” AC grey paper label H & D US Pathé 27029, only form of issue, 1917-18, missing in Girard & Barnes. A-, very decent copy has occasional lt. scrs, merely cosmetic. MB 15

G1157. PAUL ALTHOUSE: When Johnny comes marching home (Lambert) / The Star-Spangled Banner (Key). 10½” AC grey paper label H & D US Pathé 27011, only form of issue, 1917. M-A MB 15

G1158. PAUL ALTHOUSE: Christ in Flanders (Stephens) / Waiting (Coke). 10½” AC grey paper label H & D US Pathé 27022, only form of issue, 1918. A to M-A MB 15

G1159. PAUL ALTHOUSE: The sunshine of your smile (Ray) / A Sevilla love song (de Nogero). 11½” AC grey paper label H & D US Pathé 59015, only form of issue, 1918. M-A MB 15

G1160. PAUL ALTHOUSE: The Creation – In native worth (Haydn) / REINALD WERRENRATH: By the waters of Babylon (Cowell). 12” AC blue V 55076, only form of issue, 3 Sept., 1915 / 23 July, 1914. M-A, choice copy has, Sd. 1 only, sev. infinitesimal pap. scrs, inaud. MB 8

G1161. PAUL ALTHOUSE: In a Persian Garden – Ah, moon of my delight (Liza Lehmann) / Hiawatha’s Wedding Feast – Onaway! awake, beloved! (Coleridge-Taylor). 12” AC blue V 55059, POM-29 June / 3 Sept., 1915. M-A, a gleaming copy. MB 12

G1162. PAUL ALTHOUSE: Die Walküre – Winterstürme / La Gioconda – Cielo e mar! 10” AC blue V 45076. Althouse sang Siegmund to the then unknown Flagstad’s Sieglinde at her Met début, 2 Feb., 1935. M-A MB 8

G1163. PAUL ALTHOUSE: Tosca – E lucevan le stelle / I Pagliacci – Vesti la giubba. 10” AC blue V 45055, POM-1 May, 1914. M-A, choice copy has, Sd. 2 only, 2 infinitesimal pap. mks, inaud. MB 8

G1164. PAUL ALTHOUSE & LUCY MARSH: Aïda – Fuggiam gli ardori (Act III) / PAUL ALTHOUSE & OLIVE KLINE: Madama Butterfly – O quanti occhi fisi. 12” AC blue V 55058, POM-30 June, 1915. M-A, a gleaming copy. MB 10

“[Jan] Peerce probably did his biggest favor for Tucker by bringing him to Paul Althouse, who was enjoying far more success as a singing teacher than he had during his modest Metropolitan career competing with Caruso, and later with Melchior. Althouse and Tucker hit it off instantly, a fruitful teacher-pupil relationship in which the older singer instilled a lifetime of good vocal habits into his impetuous young charge and gradually build a rather small but securely placed voice into a brilliant lyric tenor of operatic proportions.” - Peter G. Davis, THE AMERICAN OPERA SINGER, p.426 G1165. DAVID LLOYD: Don Giovanni – Dalla sua pace / Il mio tesoro. 12” EL dark-blue Eng. Col. DX 983, only form of issue, 10 Sept., 1940. M-A MB 10

G1166. DAVID LLOYD, w.Gerald Moore (Pf.): Bless this house (Brahe) / Sylvia (Speaks). 10” EL dark-blue Eng. Col. DB 2012, only form of issue, 8 April, 1941. M-A MB 10

G1167. ROLAND HAYES: Were you there? (1939 Version) (Unaccompanied) / w.Reginald Boardman (Pf.): Hear de lambs a cryin'; Plenty good room. 12” EL Eng. Col. DX 1132, POM-29 Sept.,1939. M-A, a gleaming copy. MB 15

G1168. ROLAND HAYES: Were you there? (Unaccompanied) / w.Reginald Boardman (Pf.): Lit’l boy (1948 Versions). 12” EL vinyl Angel-Mo’ 3122, only form of issue,.29 Jan., 1948. M-A, as New. MB 20

G1169. ROLAND HAYES: Swing low, sweet chariot (1917 Version) (arr.Burleigh). 10” AC Col. Personal Record 62050, only form of issue, 21 Dec., 1917. Never ‘officially’ released, this rarity was subsidized by Hayes himself near the time of his legendary Symphony Hall (Boston) recital, 15 Nov., 1917. This was Hayes’ very first recording. M-A MB 45

G1170. ROLAND HAYES: By and by (1917 Version) (arr. Burleigh). 10” AC Col. Personal Record 91012, only form of issue, 15 June, 1918. Never ‘officially’ released. M-A MB 45

G1171. ROLAND HAYES: Pagliacci – Vesti la giubba. 10” AC Col. Personal Record 62281, only form of issue, 4 May, 1918. Never ‘officially’ released. M-A MB 65

G1172. ROLAND HAYES: Pagliacci – Vesti la giubba. 10” AC Col. Personal Record 62281, only form of issue, 4 May, 1918. Never ‘officially’ release. A-B, very decent copy has lt. rubs & superficial scrs, inaud. This plays beautifully except for very lt ‘swish’ throughout. Most of the label print is gone. MB 35

“I had made a few discs at home, back in 1917, in order to earn a little extra money, and had set up a small distributing office…in Boston, with a sales manager and a letterhead which read ‘Roland W. Hayes, Sole Owner’ in small letters, and ‘Roland W. Hayes, Phonograph Records’, in capitals. My best salesman was my mother, who sold a good many records to members of her church.” - Roland Hayes, ANGEL MO’ AND HER SON ROLAND HAYES, p. 166

G1173. ROLAND HAYES, w.Lawrence Brown (Pf.): Steal away (arr. Brown) / Swing low, sweet chariot (1922 Version) (arr. Burleigh). 10” AC Canadian Vocalion 21003, only form of issue, 1922, England. M-A. MB 20

G1174. ROLAND HAYES, w.Lawrence Brown (Pf.): Go down, Moses / By an’ by (1922 Version) (both Burleigh). 10” AC Canadian Vocalion 21002, only form of issue, 1922, England. M-A MB 20

G1175. ROLAND HAYES, w.Reginald Boardman (Pf.): Micheu banjo (Mister Banjo) (Louisiana Creole folksong) / Xango (arr. Villa-Lobos). 10” EL PW Col. 17294-D, only form of issue, 20 Feb., 1941. M-A MB 10

G1176. ROLAND HAYES, w.Reginald Boardman (Pf.): Lit’l boy (1941 Version) / I want to go home; You’re tired, chile! 10” EL PW Col. 17275-D, only form of issue, 20 Feb., 1941. M-A MB 10

G1177. ROLAND HAYES, w.Reginald Boardman (Pf.): Du bist die Ruh’ (Schubert). 12” EL S/S vinyl special pressing of Unpublished Columbia Mx 32633, 7 April, 1942. M-A MB 45

G1178. ROLAND HAYES, w.Reginald Boardman (Pf.): A Song [& Aria] Recital, incl. Songs by Bach, Monteverdi, Galuppi, Bononcini, Beethoven, Quilter, etc.; Manon – En fermant les yeux (Le rêve), 8s. 4-10” EL PW Col. 17174/78-D, only form of issue, 1939, in Orig. Album M-393, w.Brochure. M-A MB 35

“[After his celebrated 1917 Symphony Hall recital], Hayes promptly set out on a cross-country tour, billing himself as ‘Roland W. Hayes, Celebrated Negro Tenor,’ and his handbills could quote a rave review from the New York Tribune comparing him to the great French tenor Edmond Clément.” - Peter G. Davis, THE AMERICAN OPERA SINGER, pp.331-32

In early 1918 Hayes began a U.S. tour, which he managed himself, and in 1920 he set sail for London, England. After a year of scraping by with whatever small performances came their way, Hayes and his accompanist, Lawrence Brown, were booked to perform at the prestigious Wigmore Hall. Although he was suffering from pneumonia, Hayes sang masterfully. Two days later he gave a command performance for King George V and Queen Mary. While in London, Hayes also studied lieder singing with Sir George Henschel. Upon his return to the United States in 1922, the world famous Hayes performed at Symphony Hall in Boston to rave reviews. Shortly afterward he became the first black singer to appear at Carnegie Hall. Hayes then began a series of concert tours that took him to nearly every corner of the country. By 1924 he was performing more than eighty concerts per year, many with major orchestras, such as those in Boston, Philadelphia, New York, and Detroit. He was widely praised for his interpretations of German and French songs, as well as his renditions of black folk songs and spirituals.”