Slav, Hungarian & Scandinavian Vocal 78rpm records Nos. P0831 - P1094

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



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Section VII: Slav, Hungarian & Scandinavian Vocal 78rpm records: Nos. P0831 - P1094

P0831. REGINA LAZAREVA: LA GRANDE-DUCHESSE DE GÉROLSTEIN
Légende du verre /YEVDOKIYA LEBEDEVA: ORPHÉE AUX ENFERS –
Arietta Eurydice (both in Russian) (both Offenbach) (both w.Georgy Fuchs-Martin Cond. Bolshoi Theatre Orch.). 10” pale blue Aprelevski Zavod 9351/ 9342 [ГРК 935½/954½/], recorded 1939. B-, very decent copy has rubs & very lt.scrs, positively inaud. MB 15

"Of all the actresses of the older generation, I preferred Regina Feodorovna Lazareva. She was and remains for me the most beloved in our art form. Her talent was unique. She had a rare kind of role - cascade-lyrical. She had a special operetta style, she was born for the operetta [very reminiscent of Claudiya Novikova].”
- Tatyana Shmyga

P0832. CLAUDIA NOVIKOVA: LA PÉRICHOLE – Tu n’es pas beau,
tu n’es pas riche (Offenbach) /PI︠A︡TNIT︠S︡KOGO: Dorozhenka (Kozʹmina).
10” black Aprelevski Zavod ‘1939 World’s Fair’ 6300 [6300/6367], recorded 1939.
M-A, choice copy has, Sd.2 only, minor rub, in aud. MB 45

P0833. CLAUDIA NOVIKOVA: LA PÉRICHOLE – Ah, quel diner! (Offenbach) /
DIE LUSTIGE WITWE – Vilja Lied (Lehár) (both in Russian).
10” red Aprelevski Zavod 6202/03 [0220/0219], recorded 1939.
M-A, choice copy has very occasional microscopic dust mk,
faintly audible only a turn or three. MB 45

“Although she had a very long and successful career performing operettas in the Soviet Union, soprano Claudia Novikova made only 9 recordings. Her recording of ‘Ah, quel diner’ from Offenbach's LA PERICHOLE is legendary. Almost as much fun and perhaps even more astonishing techniquewise, ‘The Song of the Laugh’ was interpolated into performances of Sidney Jones' operetta, THE GEISHA, to highlight her unique and inimitably delightful gifts.”

- Off the Beaten Path, THE CLASSICAL SINGER

P0834. CLAUDIA NOVIKOVA: BOCCACCIO – Isobel’s couplets (von Suppé) /
THE GEISHA – Song of the laugh (Lambelt; inserted into the Sidney Jones operetta ‘The Geisha’) (both in Russian). 10” red Aprelevski Zavod 10457/58 [432/433],
recorded 1939. MINT MB 45

“Claudia Novikova studied with the contralto Eugenia Zbruyeva and in 1920 débuted in Odessa, then later appearing at the Hermitage Theatre in Moscow. Her career gathered momentum when she devoted herself to operetta, then in 1926 joined the Moscow Operetta Theater where she was stable member of the group until her retirement in 1958. Her record ‘Song of the laugh’ from Sidney Jones’ operetta THE GEISHA made her famous. In 1947 she received the distinction of Honorary Artist of the Soviet Union.”

- Ned Ludd

P0835. VIKTORIA KAVETSKAYA: Under the lime trees (Felix) /
Serenata (in Russian) (Tosti). 12” vinyl Historic Masters HMB 56, POM-1911.
[A delightfully enchanting disk, especially for soubrette fanciers!] MINT MB 6

P0836. VIKTORIA KAVETSKAYA: The Nightingale (Alabiev) /
FEODOR CHALIAPIN: ASKOLD’S TOMB – In golden days of our forefathers (Verstovky). 12” vinyl Historic Masters HMB 95, POM-1911/’10, resp.,
Sd.2 from Unpublished matrix. MINT MB 6

P0837. VIKTORIA KAVETSKAYA: HER ADJUTANT – Lied der Erna /
VIKTORIA KAVETSKAYA & NICOLAI MONAKHOV: Duet, Erna & Henersdorf (Winterberg). 12” vinyl Historic Masters HMB 33, POM-1911. MINT MB 6
[An utterly delightful Kavetskaya delicacy, think Lazareva & Novikova!] MINT MB 6

P0838. ANASTASIA VIALTSEVA: Give me your hand, my friend, for luck (Luchich) / How beautiful your eyes (Uocchie c'arraggiunate) (Falvo).
10" plum HMV EK 14 [16338/41b], POM-31 March, 1912.
M-A, pristine copy has, alas, long hlc, very faintly audible. MB 4

P0839. ANASTASIA VIALTSEVA: Do not ask (Mikhailov) / If you love me (Lincke).
10" plum HMV EK 11 [8787/8796L], POM-1909. M-A MB 20

“Affectionately known as ‘Nesravnennaya, the Seagull of the Russian popular music’, [Vialtseva had a] sensuous voice of thick, natural and highly original timbre, [reminiscent of] a lively cello.”

- OBOZRENYE TEATROV, 30 July, 1909, # 805, pp.4–5

P0840. ANASTASIA VIALTSEVA: Ding-ding-ding (Yurev) / A little breeze (Gott).
10" plum HMV EK13 [16320/25b], POM-1912. A to M-A MB 20

P0841. ANASTASIA VIALTSEVA: Give me your hand, my friend, for luck (Lucich) /
How beautiful your eyes (Falvo). 10" plum HMV EK14 [16338/41b], POM-1912.
A to M-A MB 20

P0842. ANASTASIA VIALTSEVA: The Wind (Taskin) / Go away, my poor friend (Yurev). 10" plum HMV EK 15 [16337/16326b], POM-1912. A to M-A MB 20

P0843. ANASTASIA VIALTSEVA: I shall love if I want to (Shishkin) /
The little breeze (Gerdal). 10” dark green Zonophone X-63554/63562
[2783/8789L], POM-1905/’09. B-, very decent copy has rubs & lt.scrs,
ever-so-faintly audible only the occasional turn. MB 20

P0844. ANASTASIA VIALTSEVA: Will you understand (Sartinsky-Bey) /
Whip up your horses, coachman (Semenov). 10" plum HMV EK 16
[8798L /16321b], POM-1909/’12. M-A MB 20

P0845. ANASTASIA VIALTSEVA: I love you, tell me the same (Sadovsky) /
The tender kisses are forgotten (Lenin). 10" plum HMV EK 18
[16329/16339b], POM-1912. M-A MB 20

P0846. ANASTASIA VIALTSEVA: The night was bright (Chernyavsky) /
Ah, let people say what they will (Zilotti). 10" plum HMV EK 19
[16322/16343b], POM-1912 A to M-A MB 20

"...that sweetest and dearest of all Russian romance singers, Vialtseva....one of the busiest of artists and only after extended negotiations was she signed up to sing ten songs. When we asked her to repeat a record that was returned from the factory as defective, she demanded further payment: indeed she literally worked herself to death piling up a large fortune….Her sad and untimely demise in 1914, at the age of 40, at St.Petersburg, was marked by an overwhelming demonstration of the people's love."

- F.W. Gaisberg, THE MUSIC GOES ROUND, p.31

P0847. ANTONINA PANINA: Forgotten are the tender kisses (Lenin) /
The world exults in triumph (de Beauvais). 10” dark blue US-Universal
Talking Machine Zonophone 60030 [1440z/3001L], POM-1903/’05, resp.
B, very decent copy has rubs & very faint scrs, inaud. MB 15

P0848. ANTONINA PANINA, w.guitar: We were young (Konstantin Romanov) /
MARIA KARINSKAYA: You jokingly said I love you (Gypsy Romance).
10” PW plum HMV EK 48 [(6540L/1448ab)], POM-1907/’09, resp.
A to M-A, beautiful copy has faintest rubs, inaud. MB 25

P0849. ANTONINA PANINA, w.guitars: I long for gaiety / A quiet corner
(Gypsy romances). 10” PW plum HMV EK62 [6537/39L], POM-1908. M-A MB 25

P0850. ANTONINA PANINA, w.guitars: Eyes (I am in love with your eyes) (A.Vilensky) / NATALYA TAMARA: Swan song (I am so yearning! If you only could
understand my soul, so deeply sensitive) (Maria Poiret).
10” PW plum HMV EK63 [6542L/18125b], POM-1908/’13, resp. M-A MB 25

P0851. ANTONINA PANINA: PIQUE DAME - Dear friends for whom I sing /
MARIA MICHAILOWA & KLAVDIA TUGARINOVAEvening already (Tschaikowsky).
10” black St Petersburg Amour Gram. 2-23106 [4966L/2809L], POM-1906/’05, resp.
A-, lovely copy has lt.rubs & occasional lt scr, positively inaud. MB 35

“Varvara Vasilyevna Panina was a Russian singer of Romani origins, famous for her deep contralto, one of the Russian popular music stars of the early 20th century. In 1902 Varya Panina débuted on stage at the Saint Petersburg's Dvoryanskoye Sobranye (The Gentry Assembly) and had her first success. She then performed only on stage, giving solo concerts, performing Gypsy songs and Russian romances to rapturous response.”
- Ned Ludd

P0852. YURY MORFESSI: Always and everywhere with you (Sergey Gerdel) /
We went out into the garden (Countess Tolstaya) (both in Russian).
10" plum HMV EK 28 [18054/55b], POM-28 Oct., 1913. M-A MB 12

P0853. YURY MORFESSI: Like a sweet smelling flower (Sasha Makarov) /
The Guslyar-player´s song (Drizo) (both in Russian). 10" plum HMV EK29 [5340ae/17989b], POM-20 Jan., 1914 / 21 Oct., 1913. M-A MB 12

“Yury Morfessi was a hugely popular singer whose career in Russia began a decade before the war and who had even performed for Nicholas II. I was fascinated by his beautiful appearance, his beautiful baritone voice. Morfessi - like a king, like an eagle - looked around the room. The hall froze and all attention was directed at the singer from whom poured soft music. Morfessi somehow stretched the future and began to sing softly, as if speaking to someone in the audience….
- Vladimir Alexandrov, Black Russian Blog

P0854. IMRE PALLO, w. Rékai Cond.: HÁRY JÁNOS – Toborzó /
Piros alma; Felszántom a Császár udvarát (Kodály). 12” PW plum Czech HMV AN 213, POM-1 Dec., 1928. M-A, choice copy of important Creator record;
Palló created the role of Háry János, 16 Oct., 1926, Budapest. MB 20

P0855. IMRE PALLO & IZABELLA NAGY, w. Rékai Cond.:
HÁRY JÁNOS – Tiszán innen, Dunán túl / Rékai Cond.: Intermezzo (Kodály).
12” plum PW Czech HMV AN 208, only form of issue, 1 Dec., 1928.
A-/A, lovely copy has, Sd.1 primarily, faintest pap.rubs, inaud.
Important Creator Record, 16 Oct., 1926, Budapest. MB 15

“Imre Palló was a Hungarian baritone, and later opera house manager. Palló studied in Budapest with Georg Anthes and in Italy with Mario Sammarco. His Budapest début was as Alfio at the Royal Opera House in 1917, where he went on to sing many lyric baritone rôles in a career lasting over 35 years. He created leading rôles in both HÁRY JÁNOS and SZÉKELYFONÓ by Kodály, and sang in Bartok’s ‘Cantata profana’ under Erno Dohnányi in 1936.”
- Ned Ludd

P0856. IZABELLA NAGY, w. Rékai Cond.: HÁRY JÁNOS - Hogyan tudtál rózsám idejönni; Hej két tyúkom Tavalyi / Szegány vagyok, szegenyek Születtem (Kodály).
12” plum PW Czech HMV AN 212, only form of issue, 1 Dec., 1928. A-, lovely copy has, lt. rubs, inaud. Important Creator Record, 16 Oct., 1926, Budapest. MB 15

P0857. KAPITON ZAPOROZHETS: Song of the flea (Mussorgsky) /
In tiefen Keller sitz’ ich hier (Drinking) (Fischer) (in Russian).
12” PW Eng. Col. L1991 (AX 2739/40), POM-1928. [Apart from Zaporozhets’ mere handful
of St Petersburg Pathé issues (1910-12), this appears to be his sole Electrical Recording.] M-A MB 20

P0858. THALILA SABANIEVA & ANNA CRIONA: At the seashore (Grodsky) /
PIQUE DAME – Alas my chosen swain (Act II) (Tschaikowsky). EL 12” Orth Vla 9303, only form of issue, 14 Nov., 1928. M-A, pristine copy has wee pressing bump. MB 30

“The lyrico-colortura soprano Sabaneyeva, at the beginning of her career and without great experience, had this power to reach an audience’s feelings through her silvery voice, something that is not always given to more famous and experienced arists, later to become an outstanding singer and actess, she was enchanting…..”

- Sergej Jurevich Levik, MEMOIRS OF AN OPERA SINGER, p.237

P0859. ANNA MEITSCHIK (C): Aufenthalt (Schubert) / XERXES – Ombra mai fu (Handel). 10” purple Bruns. 53010, only form of issue, 25 Nov., 1927.
M-A, exemplary copy. Magnificent & Exceedingly Rare! MB 145

“Anna Meitschik made her début after the turn of the century in Tbilisi. From1907-10 she appeared at different Italian stages; she guested at the beginning of her career also in Spain and sang at the Teatro San Carlo in Lisbon. In the 1909-10 season she was a member of the Metropolitan Opera, making her début as La Cieca in LA GIOCONDA under Toscanini. In 1910 she sang there the role of the old countess in the New York première of Tchaikovsky’s PIQUE DAME. Afterwards she returned to Europe, and in 1915 back to North America. In 1922 she gave a very successful concert in New York, then became a pedagogue. This fabulous record, her only electrical recordings, was made shortly after her retirement and is highly sought-after.”
- Ned Ludd

P0860. I. K. GONDRAROV: EUGEN ONÉGIN – Written words (Tschaikowsky) / DEMON – Weep not, o child (Rubinstein). 10” brown Columbia E-701 [35328-29],
POM-1902, Moscow, both announced. A to M-A MB 25

P0861. IVÁN YERSHOV: SIEGFRIED - Hoho! Ho-hei! (in Russian) (Wagner)
12” black St Petersburg Monarch Gram. 022034 [96y], only form of issue, 1903.
A-B, excellent copy has very lt.rubs & hint of grey on peaks, inaud.;
minor spindle hole rubs, but not enlarged. MB 550

“Yershóv was]…the most brilliant jewel on the Mariinsky’s Wagnerian crown.”

- Sergej Jurevich Levik, MEMOIRS OF AN OPERA SINGER

P0862. IVÁN YERSHOV: LE PROPHÈTE - Pour Berthe…Versez! que toutrespire (Pastorale & Brindisi) (1905 Version, in Russian) (Meyerbeer).
10” flush black & silver Col. 35469, announced & only form of issue, 1905.
B-C, very decent copy has lt rubs, scrs & scuffs, absolutely minimally ltly audible;
rough start affects spoken announcement & piano introduction,
the voice shines through beautifully; tiny hlc appears topside only. MB 350

“Between 1891 and 1893 IvánYershóv performed in many student performances, but in 1894 he traveled to Milan in order to refine his technique with Cesare Rossi. By 1895 Ershóv had settled back in St. Petersburg as a member of the Imperial Opera where he performed for 34 years until 1929. During his early years at the Maryinsky Theatre in St. Petersburg he became known not only for a varied repertoire, but also for his Wagner interpretations, which brought an earthy Russian character to Wagner’s music. His renown in these roles grew to such an extent that in 1901, Cosmia Wagner invited him to Bayreuth to perform in her husband’s operas. Ershóv declined. He didn’t want to re-learn all his roles in German, and he feared he would have to ‘suppress his own interpretations of the roles in order to fit in with the Bayreuth traditions’ [Larry Lustig, The Record Collector, December, 1997]….Audiences were amazed at his ease and dexterity in the area of high C and D flat. Actually, Ershóv’s repertoire was quite vast and included some 58 roles, 30 of which were by Russian and Soviet composers….Ershóv rarely sang outside St. Petersburg and was not concerned with becoming famous. From all reports he was a rather shy, modest man….Handsome, with intense, dark eyes and a mobile face, like Chaliapin he took charge of his own makeup and costuming and was concerned about the quality of the productions surrounding him. Photos of Ershóv in character prove to be as fascinating as those of Chaliapin.

Yershóv made only 13 recordings….Although small, this is an invaluable legacy. The recordings show Ershóv to have been a solid, versatile musician proficient in refined nuance. His finely spun voice was mellow yet capable of tremendous intensity. His low register was sweet with a pleasing, dark tinge and a curious, but not unattractive, throaty quality in its lower extremes while the top register blossomed like the more modern Franco Corelli - open-throated and ringing….Although these recordings are [over] 100 years old, they have astonishing clarity and presence. Yershóv’s voice emerges as if he is in your living room….[He] could deliver Siegfried’s Forging Scene with dramatic diction (Russian, of course), crisp rhythm and floridity. But Yershóv was more than loud high notes as his decrescendi and trills in the Pastorale and Drinking Song from LE PROPHETE prove….I find that every time I listen to Yershóv’s recordings I want to hear more. Fortunately, Yershóv has left us at least a small glimpse of his artistry.”

- Nicholas E. Limansky, CLASSICAL SINGER, 1 May, 2001

P0863. IVÁN YERSHOV: LE PROPHÈTE - Pour Berthe…
Versez! que toutrespire (Pastorale & Brindisi) (1903 Version) /
LEV KLEMENTIEV: LES HUGUENOTS – Plus blanche que la blanche ermine
(both in Russian) (Meyerbeer). 12” black Angel St Petersburg Monarch Gram.Concert G.C. 022012 / 022130 [95y / 406fl s], POM-1903/’09, resp. A-B, excellent copy has
very lt.rubs & hint of grey on peaks, inaud.; very few superficial scrs, inaud., of course. [Ershovs’ beautiful diminuendi delightfully shaded trills resonate most clearly! Klementiev’s powerful voice is on brilliant display here!] MB 650

P0864. LEV KLEMENTIEV: LES HUGUENOTS – Plus blanche que la blanche hermine / LEV SIBIRIAKOV & EVGENIA BRONSKAYA: Tu m'as compris, adieu!
(both in Russian) (both Meyerbeer). 12” vinyl Historic Masters HMB 68,
POM-1909/’14. MINT MB 8

“From 1892 to 1902 Klementiev performed at the Moscow Bolshoi Theatre where he made his début as Hermann in Tchaikovsky’s PIQUE DAME. At the Bolshoi Theatre he appeared in 35 operas. Another of the legendary imperial Russian singers, Klementiev’s few records are incredibly scarce and most collectors have never even seen a copy. The style of his phrasing may prove controversial with some collectors, but there is an exciting authenticity to the performance.”
- Stanley Henig, HISTORIC MASTERS

P0865. MALKA BOBKOVA: HUBICKA – Okolébavkla (Smetana), announced.
10” black Prague G & T G.C.-71390 [103z], Original 1902 Stamper.
B, very decent copy has very lt rubs & lt scrs, occasionally
ltly audible but mainly cosmetic; rubbed label. MB 85

P0866. MALKA BOBKOVA: RUSALKA – Zpev lesné zínky (My hair is golden) (Dvorák) / JOSEFINE KRAUSOVÁ: Ach, neni tu, neni. 7” dark green Prague / Berlin
Zonophone 103027/28 [3245 / 2121g], POM-1903, missing in Bauer.
B-/B, very decent copy has lt.rubs & scrs, inaud.; Sd.1 only has long scr., only briefly & very faintly audible. Bobkova’s haunting dimenuendo is heard most clearly. MB 25

P0867. EVGENIYA ZBRUYEVA: From the shores of thy far distant land (Borodin) / ELIZAVYETA PETRENKO: SONGS AND DANCES OF DEATH – Serenade (Mussorgsky). 12” vinylHistoric Masters HMB 74, POM-1910. MINT MB 6

P0868. EVGENIYA ZBRUYEVA: PRINCE IGOR – Now, the day! (Borodin) / KHOVANTSCHINA – In shame and disgrace (Act III) (Mussorgsky).
12” vinyl Historic Masters HMB 70, POM-1911/'09, resp;
(Sd.2 from 10" Master pressed onto a 12" Blank). MINT MB 8

P0869. EVGENIYA ZBRUYEVA: A LIFE FOR THE CZAR – Vanya’s recit & Aria (Glinka), 2s. 12” vinylHistoric Masters HMB 18, POM-1913. MINT MB 4

"In...Vanya's aria from Glinka's A LIFE FOR THE TSAR, which does not appear in some editions of the score, [from Zbrúyeva, daughter of composer Bulakhov] we can hear a dark, powerful, vibrant voice, very Russian, ranging easily accross the wide and difficult intervals, particularly impressive at the top. The recitative [Zbrúyeva] declaims cleanly and to considerable dramatic effect....”

- Michael Scott, THE RECORD OF SINGING

P0870. ALMA GLUCK, w.Efrem Zimbalist (Violin): The Monotone (Cornelius).
10” V 87208, POM-15 Nov., 1914.M-A, choice copy has a mirror-like surface. Exceedingly Rare, this enjoyed an extremely brief Catalogue life! MB 35

“This haunting song comprises a vocal melody of just a single note. It was written in 1854 by German composer Peter Cornelius. It was sung by world-famous Romanian-born American soprano Alma Gluck, accompanied on violin by Efrem Zimbalist, who she later married. It was recorded in New York on November 15th, 1914 with Samuel Chotzinoff on piano.”

- David Nelligan, HUNDRED YEARS LATE

P0871. ALMA GLUCK: HIPPOLYTE ET ARICIÉ – Rossingols amoureux (Rameau) /
CZARSKAIA NEVESTA (CZAR'S BRIDE) – (Lyubasha's Aria, ‘Take’ 2, Unaccompanied) (Rimsky-Korsakov, in German). 12” AC gold Victor HRS 1037, POM-20 July, 1911 /
31 Dec., 1913. Numbered Copy #22 of an extraordinarily Limited Edition.
Sd.2 label Autographed by Gluck. M-A, as New. MB 65

"Perhaps best of all is the aria 'Rossignols amoureux' from Rameau's HIPPOLYTE ET ARICIE, just the sort of music that the great golden age singers leave most conspicuously alone, yet requiring the assurance of technique and beauty of voice that were supposed to be theirs. Gluck's record, with its clear placing and pure flutelike ease, did something to fill a notable gap in the old catalogues."

– J.B. Steane, THE GRAND TRADITION

P0872. ALMA GLUCK: CZARSKAIA NEVESTA (CZAR'S BRIDE) – (Lyubasha's Aria) (Unaccompanied) (Rimsky-Korsakov; in German). 12” V 74383, ‘Take’ 2, POM-31 Dec., 1913, only form of regular issue (other than in most elusive HRS Series [above]). M-A, a gleaming copy. MB 15

P0873. ALMA GLUCK, w.Victor Herbert Cond.: NATOMA –
I list the trill of golden throat (Cond. by the Composer). 12” Pat.’12 V 74274,
POM-10 June, 1912. A to M-A, lovely copy has faintest rubs, inaud. MB 15

“No soprano of [Gluck’s] own or subsequent generations has surpassed the instrumental purity of her tone and line, which could fairly be called immaculate.”
– Desmond Shawe-Taylor

P0874. LYDIA LIPKOVSKAYA: TOSCA – Vissi d’arte.
10” Berlin Concert Gram. G.C.-2-23699 [17158b], POM-21 Dec., 1912.
M-A, an immaculate copy. [An exceptionally lovely performance!] MB 65

P0875. LYDIA LIPKOVSKAYA: SYLVIA - Pizzicato (Delibes).
12” HMV 023140 [287af], POM-20 Jan., 1914. M-A MB 35

P0876. LYDIA LIPKOVSKAYA: COPPELIA - Waltz (Delibes). 12” HMV 023135 [286af], POM-20 Jan., 1914. A to M-A, lovely copy has faint rubs, inaud. MB 25

"Lipkowska's voice was a light lyric soprano of wide compass and if her coloratura technique hardly rivalled Nezhdanova never mind Tetrazzini, the tone was notably pure and smooth. Her records reflect her wide-ranging musical taste."
- Michael Scott

P0877. LYDIA LIPKOVSKAYA: SNEGOROUTCHKA - How painful here.
12” HMV Special Shellac Pressing of Mx.2725c [023114], POM-12 Dec., 1919.
M-A, as New. [A positively exquisite performance!] MB 45

P0878. LYDIA LIPKOVSKAYA: RIGOLETTO - Caro Nome / LUCIA - Ardon gl'incensi.
12” Col.A5295, POM-5 April, 1911. A to M-A, lovely copy has faint rubs, inaud.;
Sd.2 only has infinitessimal scr, very faintly audible 2 or 3 turns. MB 15

P0879. LYDIA LIPKOVSKAYA: BARBIERE - Una voce poco fa / Io sono docile
(Russian). 12” vinylHistoric Masters HMB 41, POM-1912, St. Petersburg. MINT MB 8

P0880. LYDIA LIPKOVSKAYA: IOLANTA – Why did I never know of sadness? (Tschaikowsky) / TSAR’S BRIDE – Marfa’s mad scene (Rimsky-Korsakov).
10” vinylHistoric Masters HM 211 [17157b/5335ae],
POM-1912/’14, St. Petersburg. MINT MB 8

“Lipkovskaya made her début in 1904 at St. Petersburg singing the role of Gilda in RIGOLETTO opposite Nikolai Figner. From 1906 to 1917 season, Lipkovskaya performed at the St. Petersburg Mariinsky Theatre. In 1908, 1911 and in 1929 she made guest appearances at the Moscow Bolshoi Theatre. In the 1915-1916 season she appeared in Kiev. In 1909 she sang with great success at La Scala, Milan where she appeared in LAKMÉ, LA TRAVIATA and I PURITANI. The same year she also performed in Paris (Grand Opera), London (Covent Garden) and Boston, where she sang in LUCIA DI LAMMERMOOR opposite her husband, Georgy Baklanov. From 1908 to 1912 she sang at the MET where she made her début as Gilda in RIGOLETTO. In the same period (1910-1911) she appeared at the Théâtre National de l'Opéra-Comique, Paris. In 1910 she sang at the Rome Opera and then at La Scala in LA SONNAMBULA and in other operas under Arturo Toscanini. She had a beautiful silvery, but warm voice and an amazing vocal range (she could easily sing F in the 3rd octave). Her technical ability was perfect and allowed her to perform even the most difficult passaggi with ease.”
- Ashot Arakelyan

P0881. SALOMEA KRUSZELNICKA: TOSCA - Vissi d'arte.
10" S/S Special vinyl Pressing of Mx.407z [66005], POM-1902. MINT MB 35

[Kruszelnicka] "...was indeed an extraordinary singer, possessing a beautiful voice, extensive and of great ductility, and with an exquisite feeling, by which she attained dramatic and musical performances of rare quality, most of them unsurpassable for the style, singing line and acting ability she exhibited."

- Eduardo Arnosi, THE RECORD COLLECTOR, Feb., 1969

P0882. WACLAW BRZEZINSKI: ERNANI – O sommo Carlo /
HAMLET – O vin disippe la tristesse (both in Polish).
12” dark green Warsaw Zonophone Z-062003/04 [191/92af], POM-28 Aug., 1911.
A to M-A/A-, lovely copy has, Sd.2 only, sev.minuscile scrs, positively inaud. MB 65

“Waclaw Brzezinski studied in Italy and made his début there in 1904 at the Teatro del Corso in Bologna in MARTHA. Additionally he studied singing under Witold Aleksandrowicz in Warsaw and in 1906 joined the opera house of Lvov. In 1908 he guested in Palermo and in Bologna. In 1908 he was engaged by the Warsaw Opera where he débuted as Silvio in PAGLIACCI. He remained the first baritone of this opera house for twenty years and was called the ‘Polish Battistini’. In the season 1911-12 he gave guest performances in southern Italy and in Sicily, above all as Rigoletto and as Figaro in BARBIERE. Brzeziński appeared also in Moscow. In Warsaw he sang the whole baritone belcanto repertoire, in addition to Polish operas of Moniuszko. He then became a pedagogue in Warsaw.”
- Ned Ludd

P0883. MIKHAIL VAVICH: FAUST – Invocation à la nuit / Le veau d´or (in Russian).
10” black St Petersburg Favorite 1-75082/87 [6419/6424-O], POM-1910.
A-B, very decent copy has tiny hlc, lt.scuffs & lt.grey on peaks, positively inaud.;
top of Sd.1 label scuffed. This plays absolutely as A. [A magnificent example of
a true basso profondo – a wonderful record, especially for basso enthusiasts!] MB 45

P0884. ANDREII IVANOV, w. Walter (Pf.): Four Dargomyzhsky Songs, 2s.
7¾ ” red CCCP Aprelevski Zavod 00008/09, recorded 1951.
A to M-A, lovely copy has, Sd.1 only, infinitessimal nr, inaud. MB 12

P0885. ANDREII IVANOV, w. Golovanov Cond.:
KHOVANSHCHINA - All is Quiet in the Camp (Mussorgsky), 2s.
10” yellow CCCP Aprelevski Zavod 12732/33, recorded 1945. M-A MB 12

P0886. ANDREII IVANOV, w. Nebolsin Cond.: PIQUE DAME – It chanced at Versailles (Tschaikowsky), 2s. 10” black CCCP Aprelevski Zavod 15209/10, recorded 1947.

A to M-A, lovely copy has, Sd.2 only, infinitessimal nr, inaud. MB 12

P0887. ANDREII IVANOV, w. Leonid F. Khudoley Cond.:
PIQUE DAME – Everyone knows love on earth (Tschaikowsky), 2s.
10” pale blue CCCP Aprelevski Zavod 13347/48, recorded 1946.
A-, lovely copy has faint rubs & very occasional superficial scr, inaud. MB 6

P0888. ANDREII IVANOV, w. Dunajevsky Cond.: THE THREE COMRADES - Kakhovka's song (Dunajevsky) / Partisan Zhelezniak (Blanter).
10” red USSR Aprelevski Zavod 14401/37, recorded 1947.
A to M-A, lovely copy has, Sd.1 only, wee superficial pap.scr, inaud. MB 6

“A redoubtable baritone was Andrei Ivanov (easy to confuse with Alexei Ivanov, also an interesting singer). His voice was weightier than Lisitsian's and not quite so seamless technically. But he is the best Igor on records, the most specifically inflected Mazeppa. His large, dark instrument sustains and shades Rigoletto's tessitura impressively, and he lightens the sound with a lyrical, conversational touch for his Onégin. Both vocally and interpretively, he is the finest Russian dramatic baritone of the past sixty years, at least on the recorded evidence."
- Conrad L. Osborne, OPERA NEWS, Oct., 2000

P0889. VLADIMIR POLITKOVSKY, w. Matvey Sakharov (Pf.): Two Mussorgsky songs. 10”buff & dark blue Noginski Zavod 1876/77 [8429/30], recorded 1939. [A pupil of Masetti, Politkóvsky sang many major roles at the Bolshoi, 1920-48.] A to M-A MB 15

P0890. OLIMPIA BORONAT: Senza l’amore (Tosti).
10” red St Petersburg G & T G.C. -53347 [1771L], Stamper II, only form of issue, 1904. A, beautiful copy has neatly mended wee hlc, inaud. MB 15

“The point Hanslick makes about Patti might as well have been written of her: ‘She was capable of offering an utterly individual pleasure almost independent of the composition at hand’. We hear this in her recording of Tosti’s ‘Senza l’amore’….her singing has an evocative fragrance redolent of times now long ago vanished.”

- Michael Scott

P0891. OLIMPIA BORONAT: Ave Maria (Bach-Gounod) / I PURITANI – Qui la voce (1908 Version). 12” vinyl Historic Masters HMB 20, POM-1908. MINT MB 6

P0892. OLIMPIA BORONAT: RIGOLETTO – Caro nome.
10” red St Petersburg G & T G.C. -53348 [1772L], Stamper II, POM-1904.
A-, lovely copy has wee pressing bump & lt.rubs, inaud. MB 35

P0893. OLIMPIA BORONAT: LES PÊCHEURS DE PERLES – Comme autrefois
(in Italian). 10” red St Petersburg G & T G.C. -53353 [1777L], POM-1904.
A-B, very decent copy has lt.scuff & rubs, inaud., except for 2 wee ticks.
This plays virtually as M-A. MB 25

P0894. OLIMPIA BORONAT: I PURITANI – Qui la voce (1904 Version).
10” red St Petersburg G & T G.C. -53351 [1775L], POM-1904.
A-, beautiful copy has faintest rubs & minuscule scr, inaud., minor label scuff.
This plays virtually as M-A. MB 35

P0895. OLIMPIA BORONAT: I PURITANI – Qui la voce (1904 Version) /
MIREILLE – O légère hirondelle. 10” PW silver Victor IRCC 50, POM-1904.
Numbered Copy #16 of Limited Edition. M-A, a gleaming copy. MB 20

P0896. OLIMPIA BORONAT: I PURITANI – Qui la voce (1904 Version) /
LES PÊCHEURS DE PERLES – Comme autrefois (both in Italian).
10” white Archive HMV VA 11, POM-1904. MINT MB 6

P0897. OLIMPIA BORONAT: DON PASQUALE - So anch'io la virtù magica / RIGOLETTO - Tutte le feste. 12” red vinylRCA 15-1023, POM-1908. M-A MB 8

“What perhaps most distinguishes Boronat’s singing is its charm. Nowhere more so than in Norina’s aria, ‘Son anch’io’ from DON PASQUALE, a piece many pretty young soubrettes make a feint at, but few have a just appreciation of the right style. Her interpretation is an education, both technically and musically - the voice rhythmically responsive, the repeated grace notes executed limpidly….”
– Michael Scott

P0898. OLIMPIA BORONAT: MARTHA – The last rose of summer
(1904 Version, in Italian). 10” red St Petersburg G & T G.C. -53354 [1778L],
Stamper II, POM-1904. A to M-A, a choice copy. MB 35

P0899. OLIMPIA BORONAT: MARTHA – The last rose of summer
(1904 Version, in Italian) /ANTONINA NEZHDANOVA: Die Nachtigall (Alabieff).
10” white Archive HMV VA 19, POM-1904/’08. MINT MB 4

P0900. OLIMPIA BORONAT: MARTHA – The last rose of summer
(1908 Version, in Italian) / LES HUGUENOTS – Ô beau pays.
12” vinyl Historic Masters HMB 29, POM-1908; First Editions. MINT MB 10

P0901. OLIMPIA BORONAT: ZABAVA PUTYATISHNA – Guai! No no! (Ivanov).
10” red St Petersburg G & T G.C. -53350 (1774L), Stamper II, POM-1904.
A-, lovely copy has minuscule scr at very end, ltly audible only 2 turns. MB 20

“Olimpia Boronat was one of the very best of singers, possessing a bewitching voice, great musicality and all the resources of Italian bel canto; but this singer wanted nothing more than to increase her success by ingratiating her public!”

- Sergej Jurevich Levik, MEMOIRS OF AN OPERA SINGER

P0902. OLIMPIA BORONAT: ZABAVA PUTYATISHNA – Guai! No no! (Ivanov).
10” S/S HMV Special shellac Pressing of Mx. 1774L, POM-1904. M-A, pristine copy of preferred late pressing, audibly superior to the original G & T. MB 35

P0903. OLIMPIA BORONAT: ZABAVA PUTYATISHNA –
Guai! No no! (Ivanov). 10” vinyl Historic Masters HMA 65
(10” record pressed onto a 12” blank), POM-1904. MINT MB 6

“Fortunately, many metal masters still exist for…recordings at EMI’s archive. During the 1950s and 1960s the archive offered a special service to collectors whereby new custom pressings of old recordings could be ordered, pressed directly from the masters. This was apparently a fairly well-guarded secret known to only a few collectors, but during this time, many such pristine pressings found their way into private collections and institutional archives….[These] tend to provide the clearest reproduction of [the] voice and the least amount of surface noise. Depending on the condition of the metal master at the time of pressing, most of these discs sound absolutely magnificent.”
- Ward Marston

P0904. ANTONINA NEZHDANOVA: Ave Maria (Bach-Gounod).
10” red St Petersburg Amour Gram. G.C.-2-23319 [7221L], POM-1908.
B, very decent copy has lt. rubs, few lt. mks & hint of grey on peaks;
2 tiny pressing bumps are ltly audible. MB 15

P0905. ANTONINA NEZHDANOVA: Mtsura (Ah, stay with me, my lovely boy) (Arensky) 10” S/S HMV Special shellac Pressing of Mx. 7220L, POM-1908. M-A, pristine copy of preferred late pressing, audibly superior to the original G & T. MB 50

P0906. ANTONINA NEZHDANOVA: Mtsura (Ah, stay with me, my lovely boy) (Arensky) / FEODOR CHALIAPIN: LA BOHEME – Vecchia zimarra (in Italian,
from Unpublished Matrix). 10” mauve & gold HMV AGSA 11 [7220L/B 29247-2],
POM-1908/’24, resp. MINT MB 12

“[Nezhdánova] sang at the Bolshoy 1902-34….In addition to her mastery of coloratura technique, she had a warm, sweet, true tone, and a winning simplicity and directness.”

- Richard D. Sylvester, TSCHAIKOWSKY’S COMPLETE SONGS

P0907. ANTONINA NEZHDANOVA: Parla (Arditi) /
LES HUGUENOTS – Nobles seigneurs (Meyerbeer) (both in Russian).
12” vinylHistoric Masters HM 122, POM-1912/’14, resp. MINT MB 12

P0908. ANTONINA NEZHDANOVA: La Serenata (Tosti) / Si vous l’aviez compris (Denza). 12” vinylHistoric Masters HMB 48, POM-1913/’14, resp. MINT MB 6

P0909. ANTONINA NEZHDANOVA: Der Vogel im Wald (in Russian) (Taubert) /

DEMON – The Night was warm (Rubinstein). 12” mauve & gold HMV AGSB 71
[1927c / 398ac], POM-1910/‘11, resp. MINT MB 12

P0910. ANTONINA NEZHDANOVA, w.Furer (Violin) & Golovanov (Pf.):
It is not the wind (Rimsky-Korsakov) / MASQUERADE - Nina’s romance (Glazounov). 10” red Aprelevski Zavod 8961/60, POM-4 May, 1939.
A-, lovely copy has very lt. rubs, inaud. Exceedingly Elusive! MB 35

P0911. ANTONINA NEZHDANOVA: LES HUGUENOTS – O beau pays de la Touraine (in Russian). 10” red Moscow Pre-Dog G.C.-2-23317 [7219L], POM-1908.
A-, lovely copy has light rubs & occasional light scrs, very minimally audible.
[Such an immaculate performance!] MB 65

P0912. ANTONINA NEZHDANOVA:DEMON – The Night was warm (Rubinstein).
12” S/S HMV Special shellac Pressing of Mx. 398ac, POM-9 May, 1911.
M-A, pristine copy of preferred late pressing, audibly superior to original G & T. MB 50

P0913. ANTONINA NEZHDANOVA: WINTERMARCHEN –
Schmuchket euch mir Rosen (Goldmark). 12” S/S HMV Special shellac Pressing of
Mx. 1931c, POM-28 Jan., 1910. M-A, pristine copy of preferred late pressing,
audibly superior to the original G & T. MB 50

P0914. ANTONINA NEZHDANOVA: WINTERMÄRCHEN - Schumücket euch mit Rosen (Goldmark) / ZAUBERFÕTE - Der Hölle Rache (both in Russian).
12” Archive HMV VB 37, POM-1910/'12, resp. MINT MB 4

"Neshdánova was a lyrical and coloratura soprano of great purity, and her many records are invariably well made.... Undoubtedly the pick of...specimens of Neshdánova's art is the rare aria from Goldmark's Shakespearian Opera....Her long-drawn-out, unconventional cadenza is a beautiful piece of workmanship."
- Desmond Shawe-Taylor

P0915. ANTONINA NEZHDANOVA: SNEGOROUTCHKA – To go gathering berries / LEV SIBIRIAKOV: RUSALKA – Well, what do I see! (Dargomyzhsky).
10” vinyl Historic Masters HM 212, POM-1909/’14,
Sd.2 from Unpublished Matrix. MINT MB 12

P0916. ANTONINA NEZHDANOVA: RUSSLAN AND LUDMILLA -
Ah, destiny (Glinka). 10” S/S HMV Special shellac Pressing of Mx. 2710r, POM-1907.
M-A, pristine copy of preferred late pressing, audibly superior to original G & T. MB 50

P0917. ANTONINA NEZHDANOVA: RUSSLAN AND LUDMILLA - Ah, destiny (Glinka) / Matushka golobushka (Gurilev). 12” vinylHistoric Masters HM 96,
(10” record pressed onto a 12” blank), POM-1907/’12, resp. MINT MB 6

P0918. ANTONINA NEZHDANOVA: BARBIERE - Una voce poco fa (in Russian) /
A LIFE FOR THE CZAR - I do not grieve (Glinka). 12” vinyl Historic Masters HMB-24 [2799c / 319af], POM-1913/'14, resp. MINT MB 6

P0919. ANTONINA NEZHDANOVA: A LIFE FOR THE CZAR - I do not grieve (Glinka).
10” S/S HMV Special shellac Pressing of Mx. 2718r, POM-1907.
M-A, pristine copy of preferred late pressing, audibly superior to original G & T. MB 50

“After studies in Odessa, Nezhdánova graduated from Umberto Masetti’s famous class at the Moscow conservatory in 1902 (among other students: Nadezhda Obukhova and Nina Koshetz). She was immediately engaged at the Bolshoi, where she remained for nearly 40 years, singing leading rôles in Russian and west European operas, most frequently opposite Leonid Sobinov. In 1922 it was felt that selected Russian artists should visit places abroad to convince the West that Russia had not descended into utter barbarism. Nezhdánova was ambassadress in this, appearing in Berlin, Prague, Warsaw, the Baltic capitals and other cities in Germany and Poland. Nezhdánova is one of the greatest representatives of the Russian-Italian school. Hers is a beautiful, firm and pure voice and she sings with a phenomenal coloratura technique (trills and staccati!). She was married to the conductor Nikolai Golovanov and died in Moscow in 1950. Nezhdánova made a number of recordings that display the beauty and flexibility of her voice and the excellence of her technique.”

- Andrea Shum-Binder, subito-cantabile

P0920. LEV SIBIRIAKOV: DEMON – Accursed world / I am he whom you called (Rubinstein). 10” PW plum HMV EK 52 [16516/17b], POM-6 May, 1912, St Petersburg. M-A, choice copy has, Sd.1 only, infinitessimal dusk mk, certainly inaud. MB 35

P0921. LEV SIBIRIAKOV: LA JUIVE – Si la rigeur (in Russian) (Halévy) /
JUDITH – Cease your grumbling (Serov). 12” vinyl Historic Masters HMB 25,
POM-1910/’13, resp. MINT MB 6

P0922. LEV SIBIRIAKOV: DON CARLOS – Elle ne m’aime pas / Je dormira
(in Russian). 12” vinylHistoric Masters HMB 57, POM-27 Sept., 1910. MINT MB 6

“I listened attentively [to Sibiriakov] and what did I hear? An enormous wave of soft sound which was phenomenally powerful, where the top and the bottom notes sounded equally rich and strong and the middle was wonderfully firm – a voice in which the forte and piano were equally full and supported unshakably firmly on a column of air, marvellously supported on the breath.

- Sergej Jurevich Levik, MEMOIRS OF AN OPERA SINGER, p.136

P0923. LEV SIBIRIAKOV & EVGENIYA ZBRUYEVA:
BORIS GODUNOV- Duet – Marina & Rangoni (Mussorgsky).
12” S/S HMV Special shellac Pressing of Mx. 2905c, POM-12 Nov., 1913.
M-A, pristine copy of preferred late pressing, audibly superior to original G & T. MB 60

P0924. ADOLFS KAKTINS (B): EUGEN ONÉGIN – Everyone knows love on earth / MAZEPPA – The three treasures (both Tschaikowsky). 12” plum HMV EL 1002
[CS1759-2/1761-1], POM-25 June, 1929, Copenhagen. M-A, as New. MB 12

“Adolfs Kaktins made his début in 1910 in Riga in Kreutzer’s DAS NACHTLAGER VON GRANADA. From 1918 to 1944 he was one of the leading singers of the Latvian National Opera in Riga. In 1925 he made guest appearances at the Opéra de Monte-Carlo in Rubinstein’s DEMON and Borodin’s PRINCE IGOR. He sang there also Tonio in PAGLIACCI and Scarpia in TOSCA partnered by Gilda dalla Rizza.”
- Ashot Arkelyan

P0925. CONSTANTIN E. KAIDANOFF (B): RUSLAN AND LUDMILA –
The Happy day is gone (Farlaff’s Rondo) (Glinka) / KAIDANOFF & G. M. YOURENEFF:
PRINCE IGOR – How goes it, prince? (Borodin). 12” plum HMV EL 9
[2G540-2/2G392-2], POM-3 March, 1931, Paris. M-A, as New. MB 8

P0926. G. M. YOURENEFF (B): PRINCE IGOR – No sleep, no rest (Borodin) /
RUSLAN AND LUDMILA – O say, ye fields! (Glinka). 12” plum HMV EL 8
[2G390-1/2G548-1], POM-1931. M-A, as New. MB 8

“Youreneff’s voice was strong and powerful with a metallic edge, being ideal for the dramatic baritone roles in the operas of Verdi. For a while, Youreneff was the protege of Chaliapin. Youreneff also recorded for LA VOIX DE SON MAITRE (HIS MASTER’S VOICE). Herman Klein wrote ‘a Russian baritone, G.M. Youreneff,with a capital voice, gives ample justice’….even in his 70s, Youreneff boasted that he could sing a powerful high C and said if anyone would pay him $100 he would gladly demonstrate this for them.”

- D.N. Ferensick, generalplatoffdoncossackchorus

P0927. ALEXANDR M. BRAGIN: PAGLIACCI – Prologo (in Russian) (Leoncavallo) / THE DEMON - Weep not, o child (Rubinstein). 10” pink Stella Concert 12235/40,
POM-c.1908. B-, decent copy has rubs & lt.scrs, only very occasionally faintly inaud.;
‘X’ on Sd.1 label. This plays virtually as A. MB 25

“[Bragin's] "...records indicate that in his youth, at any rate, his accomplishments were representative of the high standards extant in Imperial Russia. The voice seems to have been a good-sized high baritone....A much-abbreviated rendering of Tonio's [PAGLIACCI] Prologo (in Russian) [above] reveals a wider range of dynamics and the big melody is carried in an attractive and well-focused tone."

- Michael Scott, THE RECORD OF SINGING

P0928. BERNARDO OLSHANSKY (Bar): A LIFE FOR THE CZAR –
And yet you come, my sunrise (Glinka) /NATHALIE P. POPOVA (C),
w. David Mendoza (Violin): A Pair of horses (in Russian). 12” black Victor 68590,
POM-6 March, 1917 / 21 Sept., 1921. A to M-A MB 12

“Bernardo Olshansky made his début with the Boston Opera Company in 1911. After singing a few minor roles in Boston and making some recordings for several companies, Olshansky seems to have disappeared from sight. Nothing more about him is known, but he did, however, leave us some beautiful recordings which make one wonder why a singer with such a fine voice did not go on to a successful career.”
- Ashot Arkelyan

P0929. YELENA KATULSKAYA: Evening glow (Cui) / I love thee (in Russian) (Grieg). 10” red CCCP Aprelevski Zavod 20011/12, recorded 1951. MINTMB 8

P0930. YELENA KATULSKAYA: In an enchanting dream / Only one instant
(both Glinka). 10” redCCCP Aprelevski Zavod 18587/88, recorded 1950. MINT MB 8

“[Katúlskaya’s] voice was esteemed for its noble, expressive, silvery timbre.”

- Richard D. Sylvester, TSCHAIKOWSKY’S COMPLETE SONGS

P0931. YELENA KATULSKAYA: DEMON – Calm and clear is the night
(Rubinstein), 2s. 10” red Art Label (commemorating the Bolshoi’s
175th Anniversary) redAprelevski Zavod 16453/54, POM-1948.
A to M-A, lovely copy has occasional dust scr, inaud. MB 8

P0932. ELENA KATULSKAYA & SERGEI LEMESHEV: Do not tempt me (Glinka), 2s. 10” redAprelevski Zavod USSR 15971/72, POM-1947. A-, lovely copy has rubs, inaud.; end Sd.2 has infinitessimal nr, ltly audible only during postlude. MB 8

P0933. ELENA KATULSKAYA & ALEXANDR ALEXANDROVITCH:
FAUST – Il se fait tard (Garden Scene) (in Russian) (Gounod), 2s.
12” vinyl Historic Masters HMB-128, POM-1913. MINT MB 12

“Katúlskaya made her début at the Mariinsky in 1909 and remained there until 1913 when she received a contract to appear at the Bolshoi in Moscow. She was a star performer, singing a wide variety of coloratura rôles in the Russian, French and Italian repertoires until 1945. Levik considered her voice as being superior in warmth and technique to that of Kuznetsova….Her singing [offers] a poised control and a beautiful timbre.”

- Alan Bilgora, Program Notes to Collectors’ Treasures, Vol. II

P0934. VASILI DAMAEV: MAY NIGHT - Sleep, my beauty /VASILI DAMAEV &
ELENA KATULSKAYA:
Duettino, Levko & Pannochka (Rimsky-Korsakov).
12” vinyl Historic Masters HMB 27, POM-1910/'13, resp. MINT MB 6

P0935. VASILI DAMAEV: SADKO - Ho, faithful friends / As if I had a chest of gold
(Rimsky-Korsakov). 12” vinyl Historic Masters HMB 98, POM-1911/'12, resp.
MINT MB 6

“Vasili Damaev sang Dimitri with Chaliapin in Zimin’s Russian troupe in Paris in 1908 and with the Diaghilev troupe in 1913 in London and Paris. Damaev left the Zimin company in 1930 and became a concert singer. His voice was noted for its brightness and power. Damaev was given ‘red label’ distinction by Amour, a designation reserved for artists of the highest repute.”

- VRCS Program Notes

P0936. A. A. DERSCHAWIN (B): LES HUGUENOTS - Seigneur, rempart et seul soutien / I. C. VASLINSKY (T): TOSCA – E lucevan le stelle (both in Russian).
10” black Victor 69569 [7555/7486L] POM-1905. A-, very decent copy has lt.rubs, inaud.; very beg. Sd.2 only has wee scr, faintly audible only a few turns. MB 12

P0937. Y. S. GALSKY (T): Si vous l’aviez compris / Torna (both Denza; in Russian). 10” dark green Zonophone X-2-62943/44 [16195/96b], POM-1911.
A /A-, choice copy has, Sd.2 only, long but light scr, minimally audible. MB 45

P0938. NATALIA ERMOLENKO-YUZHINA:
PIQUE DAME - ‘Twill soon be midnight. (Tchaikovsky).
10” black Moscow Gram.Concert G.C. 2-23313 [71200L], POM-1908.
A-B, very decent copy has lt.rubs & few lt.scrs, inaud. This plays as M-A. MB 85

P0939. NATALIA ERMOLENKO-YUZHINA: AÏDA - O patria mia /
NATALIA ERMOLENKO-YUZHINA & DAVID YUZHIN: Fuggiam gli ardori inospiti (in Russian). 10” black Angel Moscow Gram.Concert G.C. 2-24023 / 2-23309 [7188/87L], POM-1909. B, very decent copy has lt.rubs & only
very occasional mark, seldom audible; lt.nr, Sd.1 label. MB 45

P0940. NATALIA ERMOLENKO-YUZHINA: ROGNEDA - The blue sea moaned (Serov). 10” black Moscow Gram.Concert G.C. 2-23310 [7191L], POM-1908.
C-, decent copy has considerable greying causing minimal distortion;
small & audible nd at beginning does not affect performance; a few lt.scrs cause no more than a very few ticks. Yuzhina comes through brilliantly. MB 65

P0941. NATALIA ERMOLENKO-YUZHINA:
NORMA – Casta Diva / Ah! bello a me ritorna (in Russian).
12” vinyl Historic Masters HMB 81, POM-1910. MINT MB 12

P0942. NATALIA ERMOLENKO-YUZHINA:
THE OPRICHNIK - Little Nightingale (Tschaikowsky) /
YUZHINA & DAVID YUZHIN: AÏDA - Fuggiam gli ardori (in Russian).
12” vinyl Historic Masters HMB 66, POM-1911/'08, resp. MINT MB 4

P0943. NATALIA ERMOLENKO-YUZHINA: MADAMA BUTTERFLY – Un bel dì / DER FLIEGENDE HOLLÄNDER – Senta’s ballad (both in Russsian).
12” vinyl Historic Masters HMB 108, POM-1911. MINT MB 6

P0944. NATALIA ERMOLENKO-YUZHINA: TANNHÄUSER - Allmächt’ge Jungfrau (in Russian) (Wagner) / PRINCE IGOR - How dreary is everything [Yaroslavna’s Aria] (Borodin). 10” black Angel Moscow Gram.Concert G.C.
2-23475 / 2-23486 [7057r / 14200b], POM-1909/’10, resp.
M-A, superlative copy has, Sd.2 only, faintest rub, positively inaud. MB 95

"The recordings of Natalya Yermolenko-Yuzhina are a revelation. Yuzhina was born in Kiev in 1881 and studied with Maria Zotova in both Kiev and St. Petersburg. She later worked with Paul Vidal in Paris. Her operatic début in 1900 as Lisa in PIQUE DAME in Kiev was swiftly followed by a 1901 début in St Petersburg that lead to a contract with the Mariinsky Theatre. Yuzhina sang with the Mariinsky from 1901 to 1905, continuing guest appearances at the Bolshoi. A 1903 GÖTTERDÄMMERUNG paired Yuzhina’s Gutrune with Litvinne’s Brünnhilde. In 1904 she sang Brünnhilde in the Bolshoi’s RING Cycle. She joined the Bolshoi afterwards, remaining until 1908. Important appearances at La Scala during the 1906-1907 season, and as Marina in the 1908 Paris première of BORIS GODUNOV with the Diaghilev Company and Chaliapin in the title role, added to Yuzhina’s renown; she was awarded the Légion d’Honneur. From 1910 to 1915 Yuzhina was the leading dramatic soprano at the Bolshoi singing the Russian première in 1913 of Richard Strauss’ ELEKTRA. From 1915 to 1920 she was once again at the Mariinsky, having great success in 1915 with Chaliapin in PRINCE IGOR and MEFISTOFELE in 1918. Yuzhina immigrated to Paris in 1924 and joined the Russian community there, occasionally concertizing. In December 1930 she sang Natasha in Dargomyzhsky’s RUSSALKA with Dimitri Smirnoff and Chaliapin at the Théâtre des Champs-Élysées. Yuzhina would have only been 49, but this was probably her last stage performance. Although large voices often gave early recording devices a difficult time, Yuzhina’s records are thrilling. It clearly was a superb natural voice, with a solid, rich timbre throughout her range. Her voice has no weak patches and her range seems endless."

- Harold Bruder, Program notes to Marston’s Juzhina Issue

P0945. VLADIMIR KASTORSKY: Autumn / Travelling Song (both Glinka).
10” purple CCCP Aprelevski Zavod 3133/34, recorded 1935. B-, very decent copy
has lt.rubs & few light scrs., faintly audible; sl enlarged spindle hole.MB 12

P0946. VALDIMIR KASTORSKY: PRINCE IGOR - No sleep, nor rest (Borodin) / RUSLAN AND LUDMILLA - The happy day is gone (Glinka).
12” vinylHistoric Masters HMB 26, POM-1908. MINT MB 6

P0947. VALDIMIR KASTORSKY: LAKMÉ – Lakmé, ton doux regard /
Die Beiden Grenadiere (Schumann) (both in Russian).
12” vinylHistoric Masters HMB 80, POM-1908/'09, resp. MINT MB 8

P0948. VALDIMIR KASTORSKY: FAUST – Vous qui faites l’endormie /
(in Russian) / IVAN SUSANIN – They guess the truth (Glinka).
10” black ‘Art Label’ Tonophone 213 [no matrices visible (obviously obliterated)], presumably 1906. A-, excellent copy has very occasional rub, inaud. MB 35

“’Tonofon’ is a new hotbed of piracy in St. Petersburg. After a little ‘market research’, the purpose of which was to identify the most purchased artists’ records, the infamous ‘gramophone pirate’ K. Mazel with particular zeal began to replicate the popular M.A.Emskoy plate and managed to enroll almost all firms then existing in Russia. But Mr Mazel, releases its records under the decals ‘Aurora ‘ and ‘Tonofon’. Soon after Mazel were ‘competitors’ acting exactly in the same manner as he did. The question remained unanswered, and ‘Tonofon’ continued their dirty work. Sales agents traveled throughout Russia - and all of this was based on outright fraud”
-Aleksandr Tikhonov

P0949. VALDIMIR KASTORSKY: A LIFE FOR THE TSAR –
They guess the truth (Glinka) / PIQUE DAME – It chanced at Versailles.
10” vinyl Historic Masters HM 120, POM-1907. MINT MB 15

“Vladimir Kastórsky was one of a number of outstanding singers associated with the Imperial Russian Opera in St. Petersburg, and, like so many other Russian artists active at that time his records have always fascinated the collector. Possessing an exceptional voice he was one of an important quartet of basses - the others being Feodor Chaliapin, Lev Sibiryakov, and Konstantin Serebriakov. What they had in common was the ability to sing the demanding roles requiring gravitas that has for the most part dominated the Russian operatic scene….Had Kastórsky performed outside Russia Kastórsky himself might well have become even more universally acclaimed than his great colleagues and rivals Chaliapin and Sibiryakov, for it is reported that in certain roles he surpassed them both. On 19 May 1908 at the age of only 37 it was Kastórsky, as a member of the Moscow Imperial Opera Company, who created the role of Pimen in BORIS GODUNOV at the sensational first performance in Paris. It was an all star cast that included Chaliapin as the Tsar. Dimitri Smirnov sang the false Dimitri, the Marina was Natalie Yermolenko, Ivan Alchevsky sang Shuisky, Vasili Sharanov was Varlaam and Mitrofan Chuprinikov sang the Innocent. Throughout his professional career Kastórsky would always be so fortunate and talented to appear with singers of international repute, particularly at the Mariinsky.

Indeed Kastórsky’s vocal method and his style of singing was frequently compared with that of Mattia Battistini, the universally acknowledged epitome of Italian Bel Canto, and with such a comparison made, no greater praise was considered possible…. Kastórsky considered management of the breath to be the most important aspect of vocal technique. He followed the axiom of those famous Italian maestri who claimed ‘If you know how to breathe, you know how to sing’. He was still singing major roles in the theatre in 1930, and when he retired from the stage he formed an operatic quartet with Mitrofan Chuprinikov and the Kedrov brothers. Kastórsky became a committed exponent of folk music, always including the national songs of his native land in his recital programmes. For almost another decade he divided his time between teaching and touring the provinces with the vocal quartet. He was still performing well in his seventy-fifth year, and shortly before his death he was invited (as a special guest) to sing a small role at the Bolshoi in Tchaikovsky’s PIQUE DAME, a wonderful testament to his longevity as a singer of the front rank. One of the most admired artists of his generation Vladimir Kastórsky died in Leningrad on 2 February 1948.”
- Alan Bilgora

P0950. ARTUR FRINBERG: OTELLO – Dio! mi potevi, scagliar /
BALLO – Di tu se fedele (both in Latvian). 10” red Aprelevski Zavod CCCP 19956/57, recorded 1951. M-A, as New. [Although sung in Latvian,
Sd 1 is truly a glorious performance!] MB 8

P0951. EVGENY WITTING: Nyzhegorodzy (Napravnik) /
EVGENY WITTING & ELENA KATULSKAYA: SADKO –
Your tresses shine like honey-hued dew (Rimsky-Korsakov).
12” vinyl Historic Masters HMB-99, POM-1910/’12, resp. MINT MB 10

P0952. EVGENY WITTING & MARIA MICHAILOVA: IL TROVATORE – Miserere /
LEV SIBIRIAKOV: LAKMÉ – Lakmé ton doux regard (both in Russian).
12” black Angel St Petersburg Monarch Gram. 024054/022146 [2469c / 417s],
POM-1909. A to M-A, spectacular copy has very occasional faint rub or pap scr, positively inaud.; uncommonly bright label. MB 65

“Witting’s voice was beautiful and quite large….Having studied singing in Italy with del Fiume, Witting brought to the Russian theatre the best qualities of the Italian school….His farewell performance was as Eléazar in LA JUIVE, Riga, in 1946! His voice was large and beautiful. His records are stunning!”

- Sergej Jurevich Levik, MEMOIRS OF AN OPERA SINGER, p.292-93

P0953. NIKOLAI SHEVELEV (Bar.): KHOVANSCHINA – All is quiet in the camp (Mussorgsky) / EUGEN ONÉGIN – Written Words (Tschaikowsky).
12” black ‘Art Label’ Homokord 50098/99 (E16P) [31511 A/B],
POM-16 May, 1911, St. Petersburg. A-, lovely copy has lt.rubs &
very minor scuffs, inaud. This plays absolutely as A to M-A. MB 65

“Russia has always produced a plethora of superb bass voices, but great baritones are another matter. Certainly Nikolai Shevelev can be counted among the top handful. He had an outstanding beautiful voice….”
- Richard Bebb

P0954. NIKOLAI SHEVELEV (Bar.): DEMON – Do not weep, child /
Epithalamium (Rubinstein). 10” black Angel St Petersburg Monarch Gram.
G.C. 3-22810/12 [7750/61L], POM-1908. B-C, very decent copy has lt.rubs & scrs,
only occasionally very ltly audible. MB 45

“The possessor of a rich,musical voice and outstanding diction, Shevelev studied during the years from 1889 to 1896 with Signoretti, in Milan. In 1901 he took lessons from Pauline Viardot-Garcia, then in Tbilisi he studied also with Eugene Ryadnov. In 1896 at the Moscow Private Opera Theatre of S. Mamontov, Shevelev made his début in Rimsky-Korsakov’s SNEGOROUTCHKA. While he was with the Moscow private opera, he took part in the first productions of two Rimsky-Korsakov operas: TSAR’S BRIDE, on 3 Nov., 1899, with Zabela-Vrubel’ as Maria and Shevelev as Grjaznoj, and TSAR SALTAN on 2 Nov., 1900, again with Zabela-Vrubel’ in the leading feminine role, in both cases conducted by Ippolitov-Ivanonv.”

- Harold Barnes

P0955. IVAN PATORZHINSKY (B): Stenka Razin (arr. Trailin) / A Night
(arr. M. Slonov). 10” dark blue Gramplasttrest 123 [5252/5261], recorded 1937.
A-, very decent copy has rubs & lt.grey on peaks; Sd.2 only has 2 lt.scrs,
very faintly audible only two turns. This plays beautifully. MB 12

P0956. NIKANDER KHANAEV:PIQUE DAME – I do not know her name / What is life? 10” red & gold Muz-Trust 1577/78, only form of issue, 1930.
A to M-A, lovely copy has faintest pap. rub, inaud. MB 25

“Certainly Khanaev’s career is worthy of a long overdue consideration, as his importance as an artist has not been so easily recognised in the West, mainly because his recordings are rarely found as they were not distributed in the same volume as those of Kozlovsky and Lemeshev….For admirers of the Russian tenor voice and a singer who deserves to be better appreciated, this CD is a ‘must’.”
- Alan Bilgora, THE RECORD COLLECTOR, 2011

P0957. GERSHON SIROTA: AÏDA – Celeste Aïda / TOSCA – E lucevan le stelle
(both in Italian). 10” Eng. Vocalion Broadcast Twelve 5017, only form of issue, 1928.
A to M-A, excellent copy has faintest rubs, inaud. [Most exceptional to hear
these sung by such a glorious, baritonal voice. A great record!] MB 45

P0958. GERSHON SIROTA: Habein Yaker Li Ephraim / V'sayorev Alecho.
10” pink Warsaw Favorite 1-75600/1-75611 [4093/4104-o], POM-1908.
A-, very decent copy has rubs & occasional wee scr, positively inaud. MB 10

“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, Symposium’s Sirota CD issue

P0959. ALEXANDER MIKHAILOVICH DAVIDOV:
LA JUIVE - Rachel, quand du Seigneur / L’AFRICAINE – O Paradis! (both in Russian). 10” dark green St. Petersburg Zonophone X-2-62547/48 [326z/2845L], POM-1902/’05, resp. B-, very decent copy has lt.rubs & lt.scrs, very minimally audible;
faintest hlc, inaud. Critically graded, this plays virtually as A. MB 25

P0960. ALEXANDER MIKHAILOVICH DAVIDOV:
Give happiness to my dear friend's hand / Gypsy romance.
10” dark green St. Petersburg Zonophone X-3-62056/63 [6797/6912r], POM-1909.
A-B, very decent copy has lt.scuffs, positively inaud. This plays virtually as A. MB 20

P0961. ALEXANDER MIKHAILOVICH DAVIDOV: You are my morning /
I will not forget that dark night. 10” dark green St. Petersburg Zonophone X-2-62688/89 [6719r/4890L], POM-1909. A-B, very decent copy has lt.scuffs & occasional minor scr, positively inaud. This plays virtually as A. MB 20

P0962. ALEXANDER MIKHAILOVICH DAVIDOV: CAVALLERIA RUSTICANA – Siciliana (in Russian) (Mascagni) / DUBROVSKY - O give me oblivion (Napravnik).
10” black St. Petersburg Favorite 1-75122 [6559-o], POM-1910.
A-B, very decent copy has lt.scuffs, positively inaud. This plays virtually as A. MB 25

P0963. ALEXANDER MIKHAILOVICH DAVIDOV:
PIQUE DAME: Forgive Me, Bright Celestial Visions /
MARIA CHERKASSKAYA & ANTONINA PANINA: Already Shades of Night Enfold (Tschaikowsky). 10” plum PW HMV EK 45 [4982L/4966L], POM-1906. M-A MB 12

“Like every major artist [Davidov] didn't fix an interpretation once created, but worked at it in every way... I was able to see his deeply lyrical [Pique Dame] Hermann. There's no doubt that Davidov deviated from Pushkin's intentions as well as Tchaikovsky's, but it was done with such skill that any critic's hair-splitting crumbled before the fresh perception of this wonderful artist's creative charm.”

- Sergej Jurevich Levik, MEMOIRS OF AN OPERA SINGER, pp.140-41

P0964. ALEXANDER MIKHAILOVICH DAVIDOV, w. A.I. Labinsky (Pf.):
A Pair of Bay Horses (Donaurov) / I will not tell you (Sung by the Composer).
10” plum PW HMV EK 102 [0G567/68], POM-9 April, 1931. M-A MB 12

P0965. ALEXANDER MIKHAILOVICH DAVIDOV, w. A.I. Labinsky (Pf.):
I shall not forget that dark night (Artemev) / You jested (von Ritter).
10” plum PW HMV EK 103 [0G569/70], POM-9 April, 1931. M-A MB 12

“In 1892 Alexander Davydov made his début at the Tiflis opera. In 1900 he joined the Saint Petersburg's Mariinsky Theatre and made his début there as Hermann in PIQUE DAME to huge critical and popular acclaim. In 1909 Sergey Dyagilev invited now famous Davydov to take part in his Russian Seasons in Paris. In 1924 he was invited by Fyodor Chalyapin to become the artistic director of his opera troupe. In 1935 Davydov returned to the USSR. In later years he taught voice at Mariinsky Theatre.”
- Wikipedia

P0966. LEONID SOBINOV: At the Ball (Tschaikowsky) /
HALKA – The wind wails in the hills (Moniuszko).
12” PW Historic Catalogue #2 HMV DB 892, POM-1911
M-A, excellent copy has, Sd.1 only, 2 infinitessimal mks, positively inaud. MB20

P0967. LEONID SOBINOV: MEFISTOFELE – Giunto sul passo (in Italian).
12” red St Petersburg Gram.Monarch 052293 [2058c], POM-30 Oct., 1911.
A-, an excellent copy with various lt.rubs & superficial scrs, this plays as M-A,
with a remarkably quiet surface; wee label sticker. MB 65

P0968. LEONID SOBINOV: RUSALKA – Unwillingly to these sad shores (Dargomyzhsky). 10” red Moscow Gram.Concert G.C. 2-22654 [1969L], POM-1904.
A-B, an excellent copy with various lt.rubs & superficial scrs, this plays as M-A. MB 45

P0969. LEONID SOBINOV: EUGEN ONÉGIN – Faint echo of my youth /
I love you, Olga. 12” PW Historic Catalogue #2 HMV DB 889,
POM-1910/’11, resp. M-A, as New. MB20

P0970. LEONID SOBINOV: MANON – Le Rêve (in Russian) / SNEGOROUTCHKA - The joyous day departs. 12” red Aprelevski Zavod 07210/12, recorded 1910/’11, resp. A-, lovely copy has faintest rubs & 2 infinitessimal mks, faintly audible twice. MB 15

“[Sóbinov was] a famous Lensky and Lohengrin, an elegant, expressive singer with a voice of rare beauty….His handsome appearance and committed concert singing made him a huge favorite with the public.”
- Richard D. Sylvester, TCHAIKOVSKY’S COMPLETE SONGS

P0971. LEONID SOBINOV: MAY NIGHT - Sleep, my beauty /
SNEGOROUTCHKA - The joyous day departs (both Rimsky-Korsakov).
12” PW Historic Catalogue #2 HMV DB 890, POM-1910/’11, resp.
M-A, as New. MB15

P0972. LEONID SOBINOV: MAY NIGHT - Sleep, my beauty /
SNEGOROUTCHKA - The joyous day departs (both Rimsky-Korsakov).
12” dark blue Connoisseurs' Record Club HMV ABHB 7, POM-1910/’11, resp.
MINT MB 6

P0973. LEONID SOBINOV: RAPHAEL – My heart trembles with passion and tenderness (Arensky) / ROUSSALKA – Unwillingly to these sad shores (Dargomyzhsky). 12” white Archive HMV VB 45, , POM-1910. MINT MB8

P0974. LEONID SOBINOV:RAPHAEL – My heart trembles with passion and tenderness (Arensky) / ROUSSALKA – Unwillingly to these sad shores (Dargomyzhsky). 12” PW Historic Catalogue #2 HMV DB 893, POM-1911. M-A, as New. MB15

P0975. LEONID SOBINOV: PÊCHEURS DE PERLES – Je crois entendre /
MANON – Le Rêve (in Russian). 12” white Archive HMV VB 19, POM-1910.
MINT MB8

P0976. LEONID SOBINOV: & ANTONINA NEZHDANOVA:
LOHENGRIN – Das süsse Lied / LES PÊCHEURS DE PERLES – Ton coeur n’a pas compris (both in Russian). 12” red Muz Trust 0316/17 [1983/84c], POM-6 Feb., 1910. A-B, very decent copy has lt. rubs & very minor scrs, only occasionally very ltly audible; Sd. 2 only has hint of grey on peaks; this plays beautifully. MB 25

P0977. LEONID SOBINOV: LES PÊCHEURS DE PERLES – Je crois entendre /ANTONINA NEZHDANOVA & LEONID SIBINOV: Ton coeur n’a pas compris
(both in Russian). 12” PW Historic Catalogue #2 HMV DB 896,
POM-1910/’11, resp. M-A, as New. MB20

P0978. LEONID SOBINOV: LOHENGRIN – Mein lieber Schwan (in Russian).
12” pink Moscow Gram.Concert 022137 [1979c], POM-5 Feb.,1910.
A-B, an excellent copy with various lt.rubs & superficial scrs, faintly audible
[Truly an ethereal rendition!] MB 45

“Sóbinov was a celebrity almost from the very start and the gentle, caressing timbre of his voice, his vocal charm, his wonderful enunciation and his elegant stage-presence, along with a highly developed intellect, rare in an opera singer, all combined to make him a first-class exponent of a wide repertoire which included Lensky, the Prince in RUSALKA, Nadir, Alfredo and Lohengrin. Sóbinov rightly said about himself: ‘My artistic individuality is more inclined to the elegiac than to brio’."

- Sergej Jurevich Levik, MEMOIRS OF AN OPERA SINGER, p.269

P0979. DMITRI SMIRNOV, w.Gerald Moore (Pf.): Lilacs (Rachmaninoff) / Berceuse (Gretchaninoff). 10” PW Disque Gram. DA 752, POM-28 Aug., 1925. A to M-A MB 15

P0980. DMITRI SMIRNOV: LOHENGRIN – In fernem Land /
LES PÊCHEURS DE PERLES – Je crois entendre (both in Russian).
12” vinylHistoric Masters HMB 104, POM-1911/'09, resp. MINT MB 15

“The editor of France’s LE FIGARO newspaper declared in an interview with Sergei Diaghilev of Dmitry Smirnov’s voice that ‘I would give four Carusos for one Smirnov’. It is said that during a tour to Paris, Enrico Caruso asked the impresario of the Italian Opera Company with which he was touring to drop Bizet’s LES PÊCHEURS DE PERLES from the repertoire. He justified his request by saying that ‘Now Russian tenor Dmitry Smirnov is performing here, and he sings the role of Nadir better than I’. Fyodor Chaliapin lamented ‘Why am I not a tenor? What a voice! After Mitya’s performance of the Prince’s cavatina you feel that you have been beaten’. Smirnov was a true master of his art on a huge scale had a supreme command of vocal technique.”
- The State Academic Mariinsky Theatre

P0981. DMITRI SMIRNOV: LAKMÉ – Ah! viens dans la forêt profonde / SNEGOROUTCHKA – The joyous day departs. 12” vinyl Historic Masters HMB 119, POM-14 Oct.,1913, both from Unpublished Matrices. MINT MB 15

P0982. DMITRI SMIRNOV: CARMEN - Air de la fleur /
LES HUGUENOTS - Plus blanche que la blanch ermine (both in Russian).
12” vinyl Historic Masters HMB 7, POM-1912/'13, resp. MINT MB 8

P0983. DMITRI SMIRNOV: EUGEN ONÉGIN - Echo lointain de ma jeunesse /
MAY NIGHT - Sleep, my beauty. 12” white Archive HMV VB 39, POM-1909. MINT MB 6

P0984. DMITRI SMIRNOV: ROMÉO – Ah! lève-toi, soleil (in Russian) / MEFISTOFELE – Giunto sul passo. 12” white Archive HMV VB 38, POM-1909/’10, resp. MINT MB 6

P0985. DMITRI SMIRNOV: TOSCA - E lucevan le stelle (in Italian).
12” pink Moscow Gram.Monarch 052269 [429½s], POM-1909.
A-B, an excellent copy with various lt.rubs & superficial scrs, very faintly audible
only twice; barely visible wee hlc appears topside only, inaud. & safe. MB 25

P0986. DMITRI SMIRNOV: TOSCA - E lucevan le stelle (in Italian) /
META SEINEMEYER & CARL MARTIN OEHMAN: O dolci mani (in German), 3s.
2-12” vinylHistoric Masters HMB 63/64, POM-1909/’26, resp.,
Sd.3 from Unpublished Matrix. MINT MB 8, the Pair

P0987. DMITRI SMIRNOV: LA TRAVIATA - De' miei bollenti spiriti
(in Russian) / MANON - Le rêve (in Italian).
12” vinyl Historic Masters HMB 28, POM-1910/'13, resp. MINT MB 8

P0988. DMITRI SMIRNOV: RUSLAN AND LUDMILA – There is a desert country (Glinka) / RUSALKA – Unwillingly to these sad shores (Dargomyzhsky).
12” vinylHistoric Masters HMB 8 [2853/54c], POM-1913. MINT MB 8

P0989. DMITRI SMIRNOV: RIGOLETTO – La donna è mobile /
IL TABARRO - Hai ben ragione. 10” white Archive HMV VA 49, POM-1921.MINT MB 6

P0990. DMITRI SMIRNOV: LA TRAVIATA - De' miei bollenti spiriti
(in Russian) / MANON - Le rêve (in Italian).
12” vinyl Historic Masters HMB 28, POM-1910/'13, resp. MINT MB 8

P0991. DMITRI SMIRNOV: SOROTCHINSKY FAIR – Pourquoi ma triste coeur /
DMITRI SMIRNOV & MARIA DAVIDOV: BORIS GODUNOV –
O Tsarevitch, I implore thee (both Mussorgsky).
12” mauve & gold HMV AGSB 72, POM-1924/’23, resp. MINT MB 15

“Smirnov made his French début at the Paris Opéra in 1907. His successful Parisian performances led to an invitation for him to appear at the Metropolitan Opera, where he sang in 1911-12. Competition from the celebrated international tenors Enrico Caruso and John McCormack, who were also singing at the Met at that time, resulted in Smirnov's achieving limited success with New York audiences. In 1914, he performed in the ‘Russian Seasons’ at London's Theatre Royal, Drury Lane. He would not sing in the United States again except for two performances of PIQUE DAME with the Washington National Opera - a semi-professional company not related to its present namesake - in 1926. Smirnov was equally comfortable performing lyric rôles in Russian, French or Italian opera. His voice was plaintive in tone with easy high notes, great breath control, and a distinctive vibrato that might not appeal to the taste of every modern-day listener. Smirnov's main tenor rivals in Moscow and St Petersburg prior to the 1917 Revolution had been Leonid Sóbinov (1871-1934) and Ivan Yershóv (1867-1943). Yershóv undertook heroic parts such as Siegfried and Otello which Smirnov never attempted, but Sóbinov's repertoire was similar to that of Smirnov.”
-Zillah Dorset Akron

P0992. S. A. BATURINA: DUBROVSKY – Masha’s romance (Nápravnik).
10” S/S Special vinyl Pressingof Mx. XVE-1851-3 (issued only as Vla 4064-A),
POM 17 May, 1928, Harbin, Manchuria. MINT MB 12

P0993. S. A. BATURINA: PIQUE DAME – ‘Twill soon be midnight.
10” S/S Special vinyl Pressingof Mx. XVE-1814-2 (issued only as Vla 4064-B),
POM 14 May, 1928, Harbin, Manchuria. MINT MB 12

“[Baturina’s] voice has a gleaming, expansive top and the style is fervent. Here, the sometimes poor balance of the recordings is especially evident, suggesting that the engineers were obliged to back away from so spectacular a voice. There is a distinct feeling that Baturina had more to offer than the discs were quite able to capture.”
- Houston Maples, THE RECORD COLLECTOR, 2001

P0994. NIKOLAY ABRAMOVICH BOLSHAKOV (T): The North Star (Glinka) / ALEXANDER M. KARENZIN: (T) The sweet scent of lilac (Plotnikov).
10" plum HMV EK 43 [4822/6592L], POM-1906/’07, resp.
A to M-A, beautiful copy has, Sd.1 only, faintest rub, inaud. MB 15

“In 1899 Bolshakov made his début in St. Petersburg as a member of the troup of Kharkov Opera Theatre. At the end of that year he also appeared in Moscow Private Opera Theatre. In 1901 he débuted in St. Petersburg National House. From 1901 to 1906 he studied in Paris with Léon Escalaïs. From 1906 to 1931 Bolshakov was a soloist of the Mariinsky Theatre in St. Petersburg where he made his début as Lensky in EUGEN ONÉGIN on 14 April, 1905. In 1908 he successfully guested in Berlin. In 1911 he sang Alfredo in LA TRAVIATA at the Bolshoi. From 1911 to 1913 he took part in performances of Dyagilev’s ‘Russian seasons’ in Paris (Théâtre des Champs-Élysées) and in London (Drury Lane Theatre 1913).”

– Ned Ludd

P0995. MARIA MAKSAKOVA, w.Naum Walter (Pf.): The black fan (in Russian)
(Pablo de Sarasate) / Journey from Mieres (Steinberg).
10” white & grey ‘Art Label’ Gramplasttrest Zavod 12664/63, recorded 1945,
Sd.1 featuring Maksakova’s photo); Sd.1 is absolutely beguiling!!! M-A MB 25

P0996. MARIA MAKSAKOVA: You will soon forget me / It’s all the same to me
(both Dargomyzhsky); My genius, my angel, my friend (Tchaikovsky).
10” orange CCCP Aprelevski Zavod 15807/06, recorded 1948. M-A MB 10

P0997. MARIA MAKSAKOVA: Hug me, kiss me (Balakirev) / No, it is not you (Titov). 10” blue Aprelevski Zavod 12112/13, recorded 1944. M-A MB 10

P0998. MARIA MAKSAKOVA: Songs by Borodin / Varlamov.
10” red CCCP Aprelevski Zavod 21100/21099, recorded 1952. M-A MB 10

P0999. MARIA MAKSAKOVA: PIQUE DAME – Dear friends for whom I sing /
MARIA MAKSAKOVA & XENIA DERZHINSKAYA: Already shades of night.
10” red CCCP Aprelevski Zavod 16743/42, recorded 1949. M-A, choice copy. MB 10

P1000. MARIA MAKSAKOVA: KHOVANSCHINA - Mysterious powers! (Mussorgsky), 2s. 10” red CCCP Aprelevski Zavod 24442/43, recorded 1955. M-A, as New. MB 12

P1001. MARIA MAKSAKOVA: THE STONE GUEST – Fog has descended on Granada / Here am I, Inezilla (Dargomyzhsky), 2s. 10” red USSR Aprelevski Zavod 15677/78, recorded 1948. M-A, lovely copy has, alas, hlc. MB 6

“Maria Maksakova was an ultimately Russian singer. The Bolshoi’s lead singers loved partnering with Maksakova on stage because she had that rare ability to feel her partner and latch onto his state of mind.

In 1919 she made her début as Olga in EVGENY ONÉGIN. In the autumn the baritone Max Maksakov arrived at the theater as a new director (and soloist) and gave her several new roles. The two became close, he proposed, and in 1920 they married, forming a sparkling duet on stage. In 1923 Maria Maksakova came to Moscow, débuted (as Amneris) substituting Obukhova, who fell ill, and was instantly invited to join the ensemble.

In 1925 Maksakova moved to Leningrad's Mariinsky Theatre, but in 1927 she returned to Bolshoi where she continued to work as a leading soloist until her retirement 1953. Maksakova was one of the first Soviet artists who were allowed in the mid-1930s to perform abroad.

In 1944 Maksakova won the 1st Prize at the Russian Folk song competition held by the Arts Committee of the USSR. In 1946 she was awarded her first Stalin Prize ‘for outstanding achievents in opera and the performing arts’. Two more were to come, in 1949 and 1951. In 1953 Maksakova retired or, rather, was informed of her retirement which came as an unpleasant surprise for a singer who had kept herself in superb shape, both physically and artistically. Rumours had it that some people at the Bolshoi found it safe to settle old scores now that Stalin, her much-feared patron, was now dead; specifically, the name of Vera Davydova, another famous Soviet soprano, has been mentioned. ‘Our relations were pure and friendly, each respected and valued what the other was doing on stage’, Davydova maintained.”

- Olga Fyodorova, THE VOICE OF RUSSIA

P1002. MARIA MICHAILOWA: LUCIA - Quando rapita in estasi /
Regnava nel silenzio (in Russian). 10” black Angel St Petersburg
Monarch Gram.Concert 2-23538/12 [14823b/14890b], POM-1910.
Ato M-A, choice copy has occasional superficial mk, faintly aud. a few turns. MB 20

P1003. MARIA MICHAILOWA: LUCIA – Al fin son tua (in Russian).
10” black Angel St Petersburg G & T 23448 [2867L], POM-1905.
A-, lovely copy has faintest rubs & very light nr, positively inaud.;
infinitessimal hlc, barely visible topside only, certaonly inaud. MB 15

P1004. MARIA MICHAILOWA: I VESPRI SICILIANI – Mercè, diletti amici
(Bolero, in Russian) (Verdi). 7” flush black St Petersburg G & T 23277,
Original 1902 Stamper [520c]. A to M-A, a remarkable copy. MB 75

P1005. MARIA MICHAILOWA: Nocturne in E-flat, Op.9, #2 (in Russian) (Chopin-Drigo), ‘Take’ 2 of two issued ‘takes’ (Chopin). 10” black St Petersburg G & T 2-43132 [2827½L], Stamper II, POM-1905. A-, lovely copy has lt.rubs, inaud.; label nr. MB 20

P1006. MARIA MICHAILOWA: Sérénade - Quand tu chantes (Chantez, riez, dormez)
(in ‘Frussian’) (Gounod). 10” flush black St Petersburg G & T 23171 [314z],
Original 1902 Stamper. A to M-A, a fabulous bright copy; light nr on label. MB 20

P1007. MARIA MICHAILOWA, w. Gamoveckaja (Violin): Ave Maria (in Russian) (Gounod). 10” black HMV G.C.-23477 [2850L], POM-1905. A to M-A MB 12

P1008. MARIA MICHAILOWA: NOZZE - Deh vieni, non tardar (in Russian).
10” flush black St Petersburg G & T 23144 [462x], Original 1901 Stamper.
C-D, a very used copy replete with heavy rubs & lt.scrs, only occasionally audible.
The charming performance plays clearly and beautifully. MB 25

P1009. MARIA MICHAILOWA: LES HUGUENOTS – O beau pays / FAUST – Il m’aime (both in Russian). 10” black Angel St Petersburg Gram.Concert G.C.-23468/2-23217 [2934L/6313L], POM-1905/’07, resp. A, lovely copy has, Sd.1 only, faintest nr (label also) & tiny scr, positively inaud. A most appealing record, this plays as M-A. MB 20

P1010. MARIA MICHAILOWA: FAUST – Le Roi de Thulé / Air des bijoux
(in Russian). 10” black Angel St Petersburg Gram.Concert 2-23215/16 [6311/12L], POM-1907. A to M-A, choice copy has, Sd.2 only, 2 superficial mks, inaud. MB 20

P1011. MARIA MICHAILOWA & TUGARINOWA: PIQUE DAME - O viens mon
doux berger (in Russian). 10” black St Petersburg G & T 24377 [2810L], POM-1905.
A-, lovely copy has lt.rubs, few scuffs & infinitessimal nr, positively inaud. MB 20

“Maria Michailowa made her début at the Mariinsky Theater in 1892 and was a featured performer with that company for more than two decades. In the early years of the 1900s, she toured Russia extensively and performed in Japan in 1907. Michailowa had a fear of traveling over water [thus limiting] her ability to appear outside continental Europe. Oscar Hammerstein was so taken with her voice that he attempted to engage Michailowa for his Manhattan Opera Company, but she would not travel to New York.

Maria Michailowa was one of the most productive singers among recording pioneers. Beginning her career in 1901 with Gramophone and Typewriter, through 1914 Michailova made the astounding total of some 350 records for labels as diverse as Lyrophon, Columbia, Pathé, and HMV. About a half-dozen of these were released in the United States on Victor and were long-standing mainstays of their vocal catalog. Michailowa made her farewell appearance in Leningrad in 1921.”

- Uncle Dave Lewis, allmusic.com

P1012. NATALIYA SHPILLER: I opened the window wide (Tchaikovsky) /
Floods of Spring (Rachmaninoff). 10” salmon Art Label Aprelevski Zavod 11566/67, recorded 1943. M-A MB 15

“Natalia Shpiller was a Russian lyric soprano who débuted at the Bolshoi in 1934, remaining there until 1958. She was a highly regarded singer of the Russian school admired for her musicality and warm, polished expressiveness.”
- Richard D. Sylvester, TCHAIKOVSKY’S COMPLETE SONGS

P1013. I .N. BOBROV (Bar): Swift as the waves all the days of our life / Dubinushka. 10” dark green St. Petersburg Zonophone X-62795/96 [7510/11L], POM-1908.
A-B, very decent copy has rubs & various lt. scrs, very minimally audible, if at all. MB 45

P1014. ODA SLOBODSKAYA: w.Ivor Newton (Pf.):
If only I had known / Silence descends on the golden cornfields (both Tschaikowsky).
12” Eng. Decca RVW 107, only form of issue, 1938. M-A MB 12

P1015. ODA SLOBODSKAYA: w.Ivor Newton (Pf.): From my Tears, Spring Flowers; Water Nymphs (all Borodin) / The Dreary Steppe (Gretchaninoff); Hebrew Melody (Balakirev). 12” Eng. Decca K.1206, only form of issue, 1939. M-A MB 12

P1016. ODA SLOBODSKAYA: w.Ivor Newton (Pf.): Lullaby to an angel (Lermontov).
12” S/S Eng. Decca Special shellac Pressing of Unpublished Mx. AR9379-1,
POM-1939. M-A, superb copy has faintest rub, inaud. MB 25

P1017. ODA SLOBODSKAYA: w.Nicolas Medtner (Pf.): To a dreamer /
TATIANA MAKUSHINA, w.Nicolas Medtner (Pf.): Spanish romance; Butterfly
(all Acc. by the Composer). 12” HMV DB 6565, only form of issue, 1947. M-A MB 12

P1018. ODA SLOBODSKAYA: w.Nicolas Medtner (Pf.): Willow why forever bending; The Singer (both Acc. by the Composer). 12” S/S HMV Special shellac Pressing of Unpublished Mx. 2EA12244-2, 6 Sept., 1947. MINT MB 25

P1019. ODA SLOBODSKAYA, w.Percy Kahn (Pf.): Lilacs (Rachmaninoff);
Roses (Rubinstein) / SOROTCHINSKY FAIR - Parassia's Reverie (Mussorgsky).
10" plum HMV EK.113, only form of issue, 27 Feb., 1931. M-A, as New. MB 12

"[Slobodskaya] has a never-failing power to convey the precise significance of each song she sings to audiences ignorant of the Russian language. And it is with a Russian richness of temperament that she enjoys or suffers everything she sings....Working with her was always an adventure...."

- Ivor Newton, AT THE PIANO, THE WORLD OF AN ACCOMPANIST, p.111

P1020. N. I. NAGACHEVSKY: Tranquility (Kashevaroff) /
I opened the window (Tchaikowsky). 10” PW plum HMV EK 125,
only form of issue, 3 March, 1931. A, lovely copy has faintest rubs;
very end Sd.1 only has microscopic dust scr, very faintly audible twice. MB 8

P1021. N. I. NAGACHEVSKY: SADKO – Chant hindou (Rimsky-Korsakov) /
N. I. NAGACHEVSKY & HELENE SADOVEN: BORIS GODOUNOV –
Dmitri! Tsarevitch! (Fountain duet) (Mussorgsky).
10” plum HMV EK 94, POM-1 April, 1931. MINT MB 8

P1022. N. I. NAGACHEVSKY: SADKO – Chant hindou /
N. S. LUKIN: Song of the Venetian Guest (Rimsky-Korsakov).
10” plum HMV B 3994, POM-1 April, 1931. M-A MB 8

P1023. JUSSI BJÖRLING, w.Grevillius Cond: For you alone (Geehl) / Torna a Surriento (de Curtis) (both in Swedish). 10” plum HMV X.3376, POM-18 Dec., 1929. M-A MB 12

P1024. JUSSI BJÖRLING, w.Grevillius Cond: For you alone (Geehl) /
Mattinata (Leoncavallo, both in Swedish). 10” vinyl Historic Masters HM 189,
POM-18 Dec., 1929 / 29 Sept., 1930, [BE 1892-1/93-1], (Unpublished ‘Takes’).
MINT, albeit minuscule edge pap.scr, very beg.Sd.1, inaud. MB 12

P1025. JUSSI BJÖRLING, w.Grevillius Cond: I drömmen du är mig nära (Sjögren) /
Vita rosor (Körling). 10” plum HMV X.3377, POM-18 Dec., 1929. M-A MB 10

P1026. JUSSI BJÖRLING, w.Grevillius Cond: Sommernatt (Schrader) /
NAUGHTY MARIETTA – Ah, sweet mystery of life (Victor Herbert; in Swedish).
10” plum HMV X.3466, only form of issue, 12 May, 1930. M-A MB 25

P1027. JUSSI BJÖRLING, w.Grevillius Cond: Serenata (Toselli) / Today (Arthur)
(both in Swedish). 10” plum HMV X.3556, POM-8 Oct., 1930. M-A MB 15

P1028. JUSSI BJÖRLING, w.Grevillius Cond: Mattinata (1930 Version) (Leoncavallo) / Salut d'amour (Elgar) (both in Swedish). 10” plum HMV X.3622,
only form of issue, 29 Sept. / 8 Oct., 1930. M-A MB 15

P1029. JUSSI BJÖRLING, w.Grevillius Cond: ROMÉO – Ah! lève-toi, soleil! / RIGOLETTO - Questa o quella (both in Swedish). 10” plum HMV X.3628,
only form of issue, 29 Sept., 1930. M-A MB 15

P1030. JUSSI BJÖRLING, w.Grevillius Cond: När jag för mig själv i mörka skogen går / Bland skogens höga furustammar (both Peterson-Berger). 10” plum HMV X.3675,
only form of issue, 29 Sept., 1930. M-A MB 12

P1031. JUSSI BJÖRLING, w.Hanns Bingang Cond: THE DESERT SONG – Aria (Romberg) / DAS VEILCHEN VON MONTMARTRE – Aria (Kálmán) (both in Swedish).
10” plum HMV X.3683, only form of issue, 13 Feb., 1931. M-A MB 15

P1032. JUSSI BJÖRLING, w.Grevillius Cond: Ninon (Kaper) / Gitarren klinger (Gyldmark). 10” plum HMV X.4179, only form of issue, 10 Oct., 1933.
M-A; tiny label sticker. MB 15

P1033. JUSSI BJÖRLING, w.Grevillius Cond: Love me and the world is mine (Ball) /
The sunshine of your smile (Ray) (both in Swedish). 10” plum Scandinivian
HMV X.3724, only form of issue, 13 Feb., 1931. M-A MB 12

P1034. JUSSI BJÖRLING, w.Grevillius Cond: I lykans tempelgård (Aström) /
O milda sång (Törnquist). 10” plum HMV X.3829, only form of issue, 18 Sept., 1931.
M-A MB 12

P1035. JUSSI BJÖRLING, w.Grevillius Cond: LAND DES LÄCHELNS –
Dein ist mein ganzes Herz / Von Apfelblüten einen Kranz (both Lehár; in Swedish).
10” plum HMV X.3885, only form of issue, 11 Jan., 1932. M-A MB 15

P1036. JUSSI BJÖRLING, w.Grevillius Cond: Min sommarmelodie
(Bickvor, pseudonym of Bick) / Varför älskar jag? 10” plum HMV X.3928,
only form of issue, 7 Jan., 1932. M-A MB 15

P1037. JUSSI BJÖRLING, w.Jens Warny Cond: Slut dina ögon (Ahlberg) /
DAS VEILCHEN VON MONTMARTRE - Heut' nacht hab' ich geträumt von dir
(Kálmán; in Swedish). 10” plum HMV X.3993, POM-9 Sept., 1932,
only form of issue, Sd.1. M-A MB 10

P1038. JUSSI BJÖRLING, w.Grevillius Cond: L'ILLUSTRE FREGONA - Mélancolique tombe le soir (Laparra) / PRINCE IGOR - Daylight is fading (Borodin) (both in Swedish). 10” plum HMV X.4108, only form of issue, March, 1933. M-A MB 15

P1039. JUSSI BJÖRLING, w.Grevillius Cond: FANAL - I Männer över lag och rätt (Atterberg) / LA FANCIULLA DEL WEST - Ch'ella mi creda libero (in Swedish).
10” plum HMV X.4436, only form of issue, 1935. M-A, as New. MB 20

P1040. JUSSI BJÖRLING, w.Grevillius Cond: Ochi Chernye
(as ‘Svarta ogon’) (in Swedish). 10" S/S Special shellac Pressing of
Mx.OPK 128-1 (for X.4128), April, 1933. M-A MB 15

P1041. JUSSI BJÖRLING, w.Grevillius Cond: Ochi Chernye (as ‘Svarta ogon’) / Tangoflickan (K.O.W.A., pseudonym of Almroth). (both in Swedish).
10” plum HMV X.4128, only form of issue, April / June, 1933. M-A MB 15

P1042. JUSSI BJÖRLING, w.Grevillius Cond: Tangoflickan
(K.O.W.A., pseudonym of Almroth) (in Swedish). 10" S/S Special shellac Pressing of Mx.OPK 142-1 (for X.4128), June, 1933. M-A MB 15

P1043. JUSSI BJÖRLING, w.Grevillius Cond: Klovnens tango (Handberg-Jørgensen) / Min längtan är du (Bode). 10” plum HMV X.4176, only form of issue, 13 Sept., 1933.
M-A; tiny label sticker. MB 15

P1044. JUSSI BJÖRLING, w.Sune Waldimir (Engström) Cond:
Säg, att du evigt håller mig kär (Sylvain [Hansson]) / Var det en dröm
(‘Take’ 2 [of two issued ‘takes’]) (Armand Thiel).
10” plum HMV X.4204, only form of issue, 25 Oct., 1933. M-A MB 15

P1045. JUSSI BJÖRLING, w.Grevillius Cond: Carmela (de Curtis) / Tantis serenad
(in Swedish). 10” plum HMV X.3702, only form of issue, 11 Feb., 1931. M-A MB 15

P1046. JUSSI BJÖRLING, w.Meissner Cond: Bachanal (Dahl) / Brinnande gula flod (Nyblom). 10” plum HMV X.4127, only form of issue, 1 June, 1933. M-A MB 15

P1047. JUSSI BJÖRLING, w.Grevillius Cond: TOSCA – Recondita armonia /
E lucevan le stelle (1933 Versions, both in Swedish). 10” plum HMV X.4205,
only form of issue, 13 Nov., 1933. M-A MB 15

P1048. JUSSI BJÖRLING, w.Grevillius Cond: RIGOLETTO - La donna è mobile / PAGLIACCI - Vesti la giubba (1933 Versions, both in Swedish).
10” plum HMV X.4220, only form of issue, 20 Dec., 1933. M-A MB 12

P1049. JUSSI BJÖRLING, w.Grevillius Cond: IL TROVATORE - Di quella pira
/ CAVALLERIA RUSTICANA - Siciliana (1934 Versions, both in Swedish).
10” plum HMV X.4265, only form of issue, 3 March, 1934. M-A MB 12

P1050. JUSSI BJÖRLING, w.Grevillius Cond: Tonerna (Sjöberg) /
I de lyse naetter (Schrader). 10” plum Scandinivian HMV X.4716,
POM-7 / 8 Oct., 1936. M-A MB 10

P1051. JUSSI BJÖRLING, w.Sune Waldimir (Engström) Cond: Bryllupsvalsen (Christgau) / Lilla prinsessa (Enders). 10” plum ‘Art Label’ (featuring photos, both sides, of the King & Queen of Sweden) HMV X.4449, only form of issue, 1 May, 1935.
A to M-A, lovely copy has, Sd.1 only, faintest rubs, inaud. Most Elusive! MB 25

P1052. JUSSI BJÖRLING, w.Grevillius Cond: Dreams of long ago
(Enrico Caruso; in Swedish) / Sjung din hela Längtan (Widestedt).
10” plum HMV X.4832, only form of issue, 22 April, 1937. M-A MB 15

P1053. JUSSI BJÖRLING, w.Grevillius Cond: Ack Värmeland, du sköna /
Allt under himmelens fäste. 10” plum HMV X.4720, POM-7 Oct., 1936. M-A MB 12

P1054. JUSSI BJÖRLING, w.Grevillius Cond: Ay, ay, ay (Freire) /
SADKO – Song of the Indian guest (Rimsky-Korsakov) (both in Swedish).
10” plum HMV X.4723, POM-8 Oct., 1936. M-A MB 12

P1055. JUSSI BJÖRLING, w.Grevillius Cond:
LA BELLE HÉLÈNE – Au mont Ida trois déesses (Paris' Entrance) (Offenbach) /
DER BETTELSTUDENT – Ich hab' kein Geld (Millöcker) (both in Swedish).
10” plum HMV X.6090, POM-31 May, 1938. [Sd.1 is the single title with which
Björling is most famously and justifiably identified! Not a rarity, but this positively belongs in the collection of every self-respecting vocal collector - a treasure!] M-A MB 10

"...when Jussi Björling's famous recording of Paris' entrance song is permanently set in your ears, any other tenor is bound to sound strained."

- Peter G. Davis, NEW YORK, 5 Feb., 1990

P1056. JUSSI BJÖRLING & HJÖRDIS SCHYMBERG, w.Grevillius Cond:
DER BETTELSTUDENT - Soll ich reden...ich setz' den Fall (Millöcker) /
DER ZIGEUNERBARON - Wer uns getraut? (Johann Strauss) (both in Swedish).
10” plum HMV X.6146, only form of issue, 31 / 30 May, 1938. M-A MB 15

P1057. JUSSI BJÖRLING, w.Grevillius Cond: Sjung om studentens lyckliga d’ar
(Prince Gustaf) / Nämner du Sverige (Wide [Widestedt]).
10” plum HMV X.6235, POM-28 April / 30 May, 1938. M-A MB 15

P1058. JUSSI BJÖRLING, w.Grevillius Cond: Sjung om studentens lyckliga d’ar
(Prince Gustaf) / Hye-Knudsen Cond. Studenter-Sangforeningen [not with Björling]: Hellige Flamme (Weyse). 10” plum Scandinivian HMV X.7255, POM-28 April, 1938.
M-A MB 12

P1059. JUSSI BJÖRLING, w.Bertil Bokstedt Cond: Till havs (Nordqvist) /
Jungfrun under lind (Peterson-Berger). 10” plum HMV X.7947, POM-30 Sept., 1953, [sole issue pressed from Original Matrix; the RCA reissue is a dubbing.] M-A MB 15

P1060. JUSSI BJÖRLING, w.Bertil Bokstedt Cond: Sången till havet /
Visa kring slånblom och månskära (both Salén). 10” plum Swedish HMV X.7964,
POM-30 Sept., 1953, [sole issue pressed from Original Matrix;
the RCA reissue is a dubbing.] M-A MB 15

P1061. JUSSI BJÖRLING, w.Grevillius Cond: Land, du välsignade (Althén) /
Sverige (Stenhammar). 10” plum HMV X.4777, POM-26 Jan., 1937. M-A MB 10

P1062. JUSSI BJÖRLING, w.Harry Ebert (Pf.): Morgen / Cäcilie (both Strauss).
10” HMV DA 1704, POM-15 July, 1939, issued UK & Australia only. M-A MB 10

P1063. JUSSI BJÖRLING, w.Harry Ebert (Pf.): Adelaide (Beethoven), 2s.
10” Scandinavian HMV DA 1704, POM-15 July, 1939. M-A MB 8

P1064. JUSSI BJÖRLING, w.Grevillius Cond: In the silence of the night / Lilacs
(Rachmaninoff). 10” HMV DA 1890, only form of issue, 27 Nov., 1947. M-A MB 10

“[Björling’s first recording of ‘Lilacs’ is]…reminiscent of Mahler’s ‘Ich atmet einen Linden duft’…very slow and superbly sung…The voice is perfectly poised and rises to the song’s sustained climax very tastefully indeed.”
- David M. Jackson [in] Alan Blyth’s SONG ON RECORD, Vol. II, p.175.

P1065. JUSSI BJÖRLING, w.Grevillius Cond: Jeannie with the light brown hair (Foster) / Because (d'Hardelot). 10” HMV DA 1902, POM-7 Sept., 1948,
only form of issue, Sd.1; Neither side issued US. M-A MB 10

P1066. JUSSI BJÖRLING, w.Grevillius Cond: L’alba separa dalla luce l’ombra (Tosti) / JOCELYN – Cachés dans cet asile (Berceuse) (Godard). 10” HMV DA 1931,
POM-11 Aug., 1949, Neither side issued US. M-A MB 10

P1067. JUSSI BJÖRLING, w.Ivor Newton (Pf.): I bless ev'ry hour (Sjöberg) /
Ah, love, but a day! (Amy Beach) (both in English). 10” HMV DA 2025, POM-1952, issued UK & Australia only; [among Björling’s most exquisite recordings!] M-A MB 10

P1068. JUSSI BJÖRLING, w.Ivor Newton (Pf.):
A spirit flower (Campbell-Tipton) / Sylvia (Speaks).
10” HMV DA 2039, POM-21 Nov., 1952, issued UK & Australia only. M-A MB 10

P1069. JUSSI BJÖRLING, w.Harry Ebert (Pf.): Svarta rosor / Säf, säf, susa
(both Sibelius). 10” PW V 4531, POM-30 Jan. / 1 March, 1940,
Never Issued UK (although DA 1797 was assigned, but never used). M-A MB 8

P1070. JUSSI BJÖRLING, w.Harry Ebert (Pf.): Skogen sover (Alfvén); Morgon (Eköf) / An die Leier (Schubert). 12” PW V 12831, POM-1 March / 30 Jan., 1940. M-A MB 10

P1071. JUSSI BJÖRLING, w.Harry Ebert (Pf.): An Sylvia / Ständchen (both Schubert). 12” PW V 12725, POM-30 Jan., 1940. M-A, choice reviewer’s copy, ’X’ in labels. MB 12

P1072. JUSSI BJÖRLING, w.Frederick Schauwecker (Pf.): Ständchen / Die Forelle (both Schubert). 12” Scandinavian HMV DB 21593, POM-11 April, 1952, New York.
[Although recorded in New York, this was never issued in 78 format, USA.] M-A MB 10

P1073. JUSSI BJÖRLING, w.Harry Ebert (Pf.): Die böse Farbe (Schubert).
10” S/S vinyl ‘Test’ Pressing for Unpublished Mx. BS-046745-1,
POM-30 Jan., 1940, New York. MINT MB 25

P1074. JUSSI BJÖRLING, w.Harry Ebert (Pf.): Frühlingsglaube (Schubert).
10” S/S vinyl ‘Test’ Pressing for Unpublished Mx. BS-046746-2,
POM-30 Jan., 1940, New York. MINT MB 25

P1075. JUSSI BJÖRLING, w.Harry Ebert (Pf.): Wandrers Nachtlied (Schubert).
10” S/S vinyl ‘Test’ Pressing for Unpublished Mx. BS-046747-2,
POM-30 Jan., 1940, New York. MINT MB 25

P1076. JUSSI BJÖRLING, w.Harry Ebert (Pf.): Ich möchte schweben (Sjögren).
10” S/S vinyl ‘Test’ Pressing for Unpublished Mx. BS-047735-1,
POM-1 March, 1940, New York. MINT MB 25

P1077. JUSSI BJÖRLING, w.Grevillius Cond.: AÏDA – Celeste Aïda (w.recit.) /
LA BOHEME – Che gelida manina. 12” burgundy PW Electrola DB 3049,
POM-1 Dec., 1936. M-A, glorious copy of this choice Electrola pressing. MB 15

P1078. JUSSI BJÖRLING, w.Grevillius Cond.:
STABAT MATER - Cujus animam (Rossini) [the original 'Take' 1, [NOT a dubbing] / MANZONI REQUIEM - Ingemisco (Verdi). 12” red PW Electrola DB 3665,
POM-12 Oct., 1938. M-A, glorious copy of this choice Electrola pressing. MB 15

P1079. JUSSI BJÖRLING, w.Grevillius Cond.:
CARMEN – La fleur que tu m’avais jetée / MANON – En fermant les yeux (Le rêve).
12” Scandinavian HMV DB 3603, POM-10 Aug., 1938, Stockholm. M-A MB 10

P1080. JUSSI BJÖRLING, w.Grevillius Cond.: FAUST – Salut! demeure /
MARTHA – M’appari. 12” Scandinavian HMV DB 3887,
POM-14 July, 1939, Stockholm. M-A MB 12

P1081. JUSSI BJÖRLING, w.Cellini Cond.: AÏDA – Celeste Aïda (w.recit.) /
LA GIOCONDA – Cielo e mar. 12” Scandinavian HMV DB 21563,
POM-13 Jan., 1951, New York. [Although recorded in New York,
this was never issued in 78 format, USA.] M-A MB 10

P1082. JUSSI BJÖRLING, w.Cellini Cond.: LA BOHEME – Che gelida manina / PAGLIACCI – Vesti le giubba. 12” HMV DB 21602, POM-13 Jan., 1951, New York.
[Although recorded in New York, this was never issued in 78 format, USA.] M-A MB 10

P1083. JUSSI BJÖRLING, w.Cellini Cond.: L’AFRICANA – O Paradiso! /
FAUST – Salut! Demeure. 12” HMV DB 21621, only form of issue, 9 March, 1951,
New York; [although recorded in New York, this was never issued in 78 format, USA.]
A to M-A, lovely copy has faintest pap.rubs, inaud. MB 10

P1084. JUSSI BJÖRLING & HJÖRDIS SCHYMBERG, w.Grevillius Cond.:
LA BOHEME - O soave fanciulla / RIGOLETTO - E il sol dell'anima.
12” HMV DB 6119, POM-17 June, 1941. M-A MB 8

P1085. JUSSI BJÖRLING, w.Grevillius Cond.:
TOSCA – E lucevan le stelle / FANCIULLA – Ch’ella mi creda libero.
10” PW V 4408, POM-4 / 3 Sept., 1937. A-, very decent copy has lt.rubs &
grey on peaks. Sd.1 label Autographed in white ink by Björling. MB 25

P1086. JUSSI BJÖRLING, w.Grevillius Cond.: RIGOLETTO – Questa o quella / TURANDOT – Nessun dorma! 10” V 10-1200, POM-March, 1944.
A-, very decent copy has lt.rubs; Sd.2 has grey on peaks.
Sd.1 label Autographed in white ink by Björling. MB 25

P1087. JUSSI BJÖRLING & ROBERT MERRILL, w.Cellini Cond.:
FORZA - Solenne in quest'ora / LA BOHEME - O Mimi, tu più non torni.
12” HMV DB 21311, only form of issue, 3 Jan., 1951, New York;
[although recorded in New York, this was never issued in 78 format, USA.] M-A MB 10

P1088. JUSSI BJÖRLING & ROBERT MERRILL, w.Cellini Cond.:
OTELLO - Sì, pel ciel / LES PÊCHEURS DE PERLES - Au fond du temple saint.
12” HMV DB 21426, only form of issue, 3 Jan., 1951, New York;
[although recorded in New York, this was never issued in 78 format, USA.] M-A MB 10

"Jussi Björling was considered by many the greatest tenor since Caruso. There is evidence to support such a contention; both were in world-wide demand, both received the highest cachets and left an imposing list of records to serve as models for the future….Those ringing top tones, that even legato and spun-out pianissimo, resulted from four decades of countless performances on four continents; their effortless ease and reliability were the foundations of Björling’s mastery.”

- F.C. Schang, OPERA NEWS, 19 Nov., 1960

P1089. JOSEF ROSENBLATT: W’yirushulaim/ Omar Rabbi Elosor
(both sung by Composer). 10” flush black Eng.Col.E 3034 [44065/66],
w.pristine label, only form of issue, 15 June, 1916 [subsequent issues are dubbings].
M-A, choice copy has, Sd.2 only, infinitessimal pap.scr, inaud. MB 15

P1090. JOSEF ROSENBLATT: L’El Oirech dyn / K’vakoras
(both sung by Composer). 10” flush black Eng.Col.E 3750 [55852/53], w.pristine label, only form of issue, 15 June, 1916, [subsequent issues are dubbings].
M-A, a choice copy. MB 15

P1091. JOSEF ROSENBLATT: Achenu kol beth Israel
(sung by Composer). 2s. 10” blue V 45204, POM-15 Oct., 1920.
M-A, choice copy has wee pressing bump, Sd.1. MB 15

P1092. JOSEF ROSENBLATT: Umipnu chatuenu (sung by Composer). 2s.
10” blue V 45242, POM-4 Nov., 1920 / 31 Jan., 1921.
M-A, superlative copy. MB 15

P1093. JOSEF ROSENBLATT: Shlof in sisser ruh (sung by Composer) /
Shoifer shel moshiach (Goldfadden). 10” blue V 45425,
POM-9 May, 1924. [Elusive disk, from very end of Acoustic Era].
A / M-A, choice copy has, Sd. 2 only, hint of grey on peaks. MB 15

P1094. JOSEF ROSENBLATT: Hayom haras olom (sung by Composer) /
Machtenberg Male Choir: Arashas s’fosenu (Rapaport).
10” red Orth Vla 4034, POM-7 / 6 Sept., 1927.
A-, lovely copy has faint rubs; Sd. 2 only has hint of grey on peaks. MB 10